Primo Theory

Level 8

How to Use this Book

Although some of the levels in this series have interactive capabilities, each level was designed to serve perfectly well as a stand-alone text. The interactive web apps are an enhancement, not a requirement for the completion of the exercises. They serve to reinforce and solidify ear training skills.

The Solo Ear Training Exercises

Many of the ear training exercises are designed for solo practice by the student. However, the teacher should first work with the student on these exercises until the student becomes familiar with the procedures. Afterward, the teacher should regularly observe the student perform them to ensure that the student is maintaining correct practice. The student may discontinue any exercise that can be executed easily and consistently. The exercises should be practiced as the student continues working through different sections in the book.

The Dictation Exercises

The rhythmic and melodic dictation exercises are designed so that the student can work through them with an interactive web app or with the teacher playing the dictation melodies. The teacher can fill in the missing measures with materials of his or her choice, or go to www.primotheory.com to find the complete melodies.

The QR Codes
The QR codes found throughout this series can only be read by using a smart phone or pad which has a QR code reader app installed. If you dont have a QR code reader and dont know where to get one, just follow these directions: Step 1 With your mobile device, open your App Store (iPhone), Market (Android), Marketplace (Windows Mobile), or App World (Blackberry). Step 2 Search for QR reader and download and install any one of the apps available. There are free or paid versions. Read the reviews and star ratings to decide which is best for you. Once installed, its ready to go. Step 3 To scan a QR code, activate the app and center the QR code in the viewfinder as if you are going to take a picture of it. Adjust the distance if necessary. Some code readers scan the code automatically when its in view, and some require you to press a button. Step 4 The app should load in a few seconds. If you want to bookmark the app in your web browser for later use, follow the instructions on your particular code reader on how to switch to your web browser. If, after you read these instructions, you are still unsure what to do, dont give up! Just go to www.primotheory.com for a video tutorial or email [email protected]

Online Resources
Be sure to visit www.primotheory.com or www.mytheoryapp.com to find links to an ever-growing list of supplemental materials for each level. Throughout the text you will find directions given as follows: PrimoTheory.com Resources Level 7 Page 10

This means to go to the website primotheory.com where you will be taken to a page containing a Resources link. From there just follow the linksclick on Resources, which will take you to a menu with all the volume levels; click on Level 7, which will take you to a page listing Level 7 resources by page number; finally, click on Page 10 to find the desired resource.

Contents
Section 1 Section 2 Section 3 Section 4 Section 5 Section 6 Section 7 Section 8 Section 9 Section 10 Section 11
Rhythm and Meter The Major Key The Minor Key The Circle of Fifths Intervals Chords Transposition Sight Singing The Melodic Line Melodic Dictation Definitions

page 4 10 14 23 29 38 47 49 52 61 63

Section 1 Rhythm and Meter

Note and Rest Values

The graphic below shows a hierarchy of note values. Each note or rest divides naturally into two equal parts called divisions. The whole note divides into two half notes, the half note divides into two quarter notes, and so on. Rests are divided the same way. whole note half note quarter note eighth note sixteenth note whole rest half rest

quarter rest eighth rest sixteenth rest

A dot placed after a note or rest increases the length of the note or rest by one-half of its original value. A dotted note or rest can divide into three equal parts.
. = . = . = . = . =

QQQ

. =

. =

1.

Write the correct number in each blank. A A A An A An An

. .

note equals note equals note equals

notes. notes. notes. notes. rests. rests. rests.

A A A A A A A
.

note equals note equals note equals note equals note equals rest equals rest equals

notes. notes. notes. notes.

Q rest equals
rest equals rest equals

note equals

Q rests. Q rests.

notes.

Meter is the pattern of strong and weak beats in a measure. Every time signature indicates a certain pattern of strong and weak beats. Duple meter has two beats per measure; one strong beat and one weak beat. Example: @4 Triple meter has three beats per measure; one strong beat and two weak beats. Example: #4 Quadruple meter has four beats per measure; two duple meter patterns with the first and third beat as the strong beats. Example: $4

2 4 1

2
weak

Strong

3 4 1

Strong

weak weak

4 4 1

duple

duple

2
weak

3
Strong

4
weak

STRONGEST

Duple Meter

Triple Meter

Quadruple Meter

Asymmetrical meter is a combination of duple and triple patterns in a measure, which creates an irregular pulse. Two common asymmetrical time signatures are those with (quintuple meter) or (septuple meter) as the top number.

Division of the Beat

There are two basic types of beat divisions: In simple time the beat is divided into two equal parts. The top number of a time signature in simple time is 2, 3 or 4. Simple In compound time the beat is divided into three equal parts. The top number of a time signature in compound time is 6, 9 or 12.
.
beat unit division beat unit division

Compound The combination of meter and beat divisions is shown here: 4 6 4 8 . beat unit
1
divided by 2 Simple time
2

.
2

beat unit divided by 3 Compound time

Quadruple meter

Duple meter

2.

For each example, write the type of meter (duple, triple, quadruple or asymmetrical). 3 1 2 Strong weak weak ___________________________________ meter 1 2 Strong weak ___________________________________ meter 3 4 1 2 5 STRONGEST weak weak Strong weak ___________________________________ meter 3 1 2 4 ___________________________________ meter STRONGEST weak Strong weak Circle the numbers that are the top figure of simple time signatures: Circle the numbers that are the top figure of compound time signatures: Identify the time signatures as simple (S) or compound (C). 6 4 9 2 12 3 8 8 4 8 4 4 Fill in the correct answers.
.

3.

4.

5.

12 16

6.

6 8 .

Duple (D), triple (T), quadruple (Q) or asymmetrical (A) meter? ________ Simple (S) or compound (C) time? ________ Duple (D), triple (T), quadruple (Q) or asymmetrical (A) meter? ________ Simple (S) or compound (C) time? ________

3 4 9 8 . 5 4
. .

Duple (D), triple (T), quadruple (Q) or asymmetrical (A) meter? ________ Simple (S) or compound (C) time? ________ Duple (D), triple (T), quadruple (Q) or asymmetrical (A) meter? ________ Simple (S) or compound (C) time? ________

7.

Each example represents one beat in simple (S) or compound (C) time. Circle the correct description:
=

S or C S or C S or C S or C S or C S or C

= = = = = =

S or C S or C S or C S or C S or C S or C
.

= = = = = =

S or C S or C S or C S or C S or C S or C

= = = = =

8.

At the beginning of each measure, write the correct time signature. The measures are written in simple time, compound time or asymmetrical meter.

h q q qq
Simple

q q q q. e h.
Asymmetrical

qq q qq
Simple Simple

q q q q qq
Compound

q q qq
9.

Compound

q. qq q q

q. e q q q

Compound

qqqq q

Below each arrow, write the one note that completes the measure.

4 4

q.

qeq

q qq

q q q qq q e q q h qqqe q. q. e

6 8 q. 3 q. 4

q q q qq q q q qqqq

qqeqq q q qqq q

Reading Rhythms
10. Clap the rhythms as you count aloud.
1

$4 q ry q ry\ q q rtty\ h ryq \ rttyh

\ q ryh

$4 q q q. e\ q ryryq \ q. eq q \ ryq q. e\ q q. eq

$4 rttyq. e\ q q q. e\ q. eq. e\ eq ertty\ q. eh

@4 dffgq \ r.g q \ r.gr.g\ q dffg \ q r.g\ rydffg \ r.g q

#4 q. ery\ q. edgy\ Q q. e\ Q rdgry\ E edgyq \Q rdgq

$4 dffgr.g q. e\ q eq edgy \ ryrdgq. e\ dffgdffg h

^8 rtyq. \ q. rty\ q eq e\ rtyq e\ q erty\ q. q. ^8 rdgyq. \ rrdgq e\ eE edffgy\ rdffgq E \ E dffgq. 98 dgty q edffffg\ q erdgy E ry\ dffgy q dg q. 98 dgty q edffffg\ q edgty rry \ dffgy q dg q.

10

More Rhythm Practice

On your PC, take the following route to find more rhythm exercises:
PrimoTheory.com Resources Level 8 Page 8

Ear Training: Rhythmic Dictation

The rhythms for assignment 11 may be played by the teacher or the student can complete this assignment alone by using web applications on a mobile device or PC. Scan the QR code to access the rhythms to be dictated: On your PC, take the following route:
MyTheoryApp.com Level 8 Rhythmic Dictation: Assignment 11

You may also use this address to access the app on your mobile device.

Rhythmic Dictation Exercises

11.
A

Using the web application given above, listen to the rhythms and write the notation on this sheet. You will hear four measures of rhythmic dictation. The first measure is given.

3 q qqq 4 3 qqqq q 4 3 q. 4 4 4 q.

q q q

e q q q qq q q q

4 4 qqqq q qqq q 4 4 q.
e q qq q

More exercises beyond the assignment on this page are available. Scan the code: On your PC:
MyTheoryApp.com Level 8 Rhythmic Dictation: Extra Rhythms

10

Section 2 The Major Key

The major scale is a series of eight successive tones arranged in the following ascending order of whole steps (W) and half steps (H):

`44444444444645-=
1

Tonic

C Major:

w
5

w
6

w
7

8 (1)

The tone that begins and names the scalethe first scale degreeis called the tonic or keynote. In a major scale, the half steps occur between scale degrees 3 and 4 and between 7 and 8. How to construct a major scale: A) Write the starting note, or tonic (the name of the major key is the same as the tonic). E Major

`444444444445-=
E E

B) From the starting note, add seven more steps to the top note of the scale. Do not add sharps or flats yet! Just write the notes stepping up.

`444444444445-=
C) Using the major scale whole step (W) and half step (H) pattern, add the accidentals.

`444444444445-=
W W H W W W H
D) The major scale is now complete. E Major

`444444444445-=

11

1.

On the staves below, construct the named major scales. Add sharps or flats as needed.

F Major B Major D Major A Major F# Major C# Major Db Major Bb Major Ab Major

`544444444444645-= 1544444444444645-= `544444444444645-= 1544444444444645-= `544444444444645-= 1544444444444645-= `544444444444645-= 1544444444444645-= `544444444444645-=

12

Major Key Signatures

The sharps or flats of a key signature will always appear in the same order. Order of Sharps Order of Flats

`44454 `44454 144454 144454

F CGDAE B B E A DGC F
Major SHARP Key Signatures To find the name of a major key with sharps in the key signature: a) Find the last sharp of the signature. b) Go up a *diatonic half step from the last sharp to find the tonic (keynote).

`464644
E Major

wE (tonic)

Major FLAT Key Signatures To find the name of a major key with flats in the key signature: The next-to-last flat in the key signature is the tonic (keynote).

`464644
Ab Major

w Ab (tonic)

2.

Name the major key for each key signature. Example: A Maj, Bb Maj, etc.

`4456-4456-4456-4456-4456-4456-4456-= 14456-4456-4456-4456-4456-4456-4456-=
*A diatonic half step is a half step which consists of two different letter names.

13

3.

In each measure, you are given a number of sharps or flats for the key signature: a) Write the appropriate key signatures on both the treble and bass staves. b) Write the names of the major keys on the lines provided below the grand staves.

`44454444444444444445 144454444444444444445 `44454444444444444445 144454444444444444445

4b 3# 2b 1#

Major

Major

Major

Major

7b

5#

5b

2#

Major

Major

Major

Major

Finding Key Signatures To find the key signature when given only a key name, the first thing you have to do is determine if the key signature you are looking for is made up of sharps or flats. For sharp key signatures: the name of the key is just a letter (E major), or the name includes a sharp (F# Major). For flat key signatures: the name of the key includes a flat (Eb major). The exceptions are F major (one flat) and, of course, C major (no sharps or flats).
4.

For every major key named, indicate if its key signature will be made up of sharps or flats. Circle the appropriate choice. G Major: sharps or flats B Major: sharps or flats A Major: sharps or flats Db Major: sharps or flats Eb Major: sharps or flats F# Major: sharps or flats Bb Major: sharps or flats Ab Major: sharps or flats C# Major: sharps or flats Gb Major: sharps or flats D Major: sharps or flats F Major: sharps or flats

14

Section 3 The Minor Key

The Relative Minor

Every major key has a relative minor key which uses the same key signature. The sixth scale degree of the major scale is the same as the tonic of the relative minor key. C Major

`444444445-= `444444445-=
1
2 3 4 5 6 7 8 (1)

w w w w w w w w w w w w w w w w a minor
1 2 3 4 5

8 (1)

tonic

C major and A minor are relative keys because they share the same key signature. Another way to find the relative minor key: From the tonic of a major key, go down three half steps to find the tonic of its relative minor. For example:

`44 `444444 `44

G Major

w ()
G

w
E

half steps

e minor

1.

`544-444-444-444-444-4441544-444-444-444-444-444`544-444-444-444-=

Name the minor key represented by each key signature. Use abbreviations and lowercase letters (e min, bb min, etc.).

15

2.

In each measure, you are given a number of sharps or flats for the key signature: a) Write the appropriate key signatures on both the treble and bass staves. b) Write the names of the minor keys on the lines provided below the grand staves.

`44454444444444444445 144454444444444444445
5b 4# 3b 6#

minor

minor

minor

minor

Finding the Key Signature for a Minor Key

You have learned how to find the relative minor of a given major key. The process involved can be visualized as follows: MAJOR key (thr

ee h

D#

alf s

teps

DO

WN )

C#
minor key To find the key signature for a given minor key, first identify the relative major key. Go up three half steps from the minor tonic to find the tonic of the relative major: MAJOR key As is the case when finding the relative major from a given (thre minor, the interval should be spelled as a minor 3rd. E eh
D# D
alf s teps UP)

C#
minor key The graphic on the right can be used as a template to identify relative keys:

MAJOR
?
(thre

(thre

e ha lf st

MAJOR to minor
eps)

minor to MAJOR

e ha lf st

eps)

minor

16

The Natural Minor Scale

The key signature of the relative minor produces the natural minor scale. The pattern of whole steps and half steps for the natural minor:

a minor

`444444444445-=
W H W W H W W

w w w w w w w w
1 2 3 4 5 6 7

8 (1)

Remember the difference: relative minor is a key, natural minor is a scale. How to construct a natural minor scale: A) Write the starting note, or tonic (the name of the minor key is the same as the tonic). g minor

`444444444445-= `444444444445-= `444444444445-=

(W H W W H W W)

B) From the starting note, add seven more steps to the top note of the scale. Do not add sharps or flats yet! Just write the notes stepping up.

C) The last step is to add the accidentals as required. This can be done in two ways: Use the whole step and half step pattern,

or use the key signature to determine the accidentals. g minor

`444444444445-=

17

3.

Write the pattern of whole steps and half steps used to construct the natural minor scale.

4. 5.

In the natural minor scale, a half step occurs between scale degrees _____ and _____ and also between scale degrees _____ and _____ .

On each staff below: a) Construct an ascending natural minor scale from the given note. b) Add the appropriate accidentals. e minor

d minor

b minor

f minor

f# minor

bb minor

c minor

`54444444444465455555-= 154444444444465455555-= `54444444444465455555-= 154444444444465455555-= `54444444444465455555-= 154444444444465455555-= `54444444444465455555-=

w w w w w w w

18

The Harmonic Minor Scale

If the seventh scale degree of the natural minor scale is raised one half step, the result is the harmonic minor scale. a minor

`444444444445-=
Augmented 2nd

w w w w w w w w
1 2 3 4 5 6 7

8 (1)

When the seventh scale degree is raised, the interval of an augmented 2nd is created between scale degrees 6 and 7. The augmented 2nd spans three half steps. This interval must be spelled and notated as a 2nd, not as a 3rd.
Augmented 2nd minor 3rd

`444-444444-= `444w w w w w
1 2

3 half steps

6.

On each staff below: a) Write the key signature of the named minor scale. b) Construct an ascending harmonic minor scale. Use whole notes. c) Circle the two notes of each scale which form an augmented 2nd. g harmonic minor

d harmonic minor

f# harmonic minor

`5444444444446565555445-= 15444444444446565555445-= `5444444444446565555544-= 15444444444446565555544-=

bb harmonic minor

19

The Melodic Minor Scale

In the standard use of the melodic minor scale, the sixth and seventh scale degrees are raised a half step when ascending.

a minor

`444444444445-=
ascending
(8)1

w w w w w w w w
1 2 3 4 5 6 7

8 (1)

The sixth and seventh scale degrees are lowered when descending, taking the same form as the natural minor.

`444444444445-=
descending On each staff below: a) Write the key signature of the named minor key. b) Construct an ascending and descending melodic minor scale. Use whole notes. Add accidentals where needed. d minor
7.

w w w w w w w w
7 6 5 4 3 2 1

eb minor

c# minor

`5444444444446565555445-= 15444444444446565555445-= `5444444444446565555544-= 15444444444446565555544-=

a minor

20

Ear Training: The Major and Minor Scale

The following drills are designed for solo practice by the student. They will help familiarize you with the sound of the three standard forms of minor scale. These exercises should be practiced as you proceed with the other sections of this book; you should discontinue these drills only when you can perform them easily and accurately. The numbers used in the exercises in bold font represent the scale degrees. 1 is tonic, 2 is scale degree 2, and so on. Sing using scale degree numbers, solfege (syllables given on p.49), or any neutral syllable. Transpose these exercises to any key in your comfortable singing range. Boxes are provided that will allow you or your teacher to list these keys.

The Major and Minor Pentachord

A pentachord, sometimes called the five-finger scale, is made up of scale degrees 1 through 5. The difference between the major and minor pentachord is in the third scale degree.

`444444-= `444444-=
w w w w w
1 2 3 4 5

C Major

w w w w w
1 2 3 4 5

c minor

Assignment
Practice the following exercises until they can be sung without the aid of the piano. From time to time, play a tonic triad (built on 1) before you start. When playing along on the piano, you may play the scale degrees being sung or just a triad.
8.

Starting on any tone: a) Pick an exercise, play the first tone and sing it. b) Sing the exercise in major, with or without the piano. c) Play the same exercise in minor (lower scale degree 3). d) Sing as you play the exercise in minor. e) Sing without playing along on the piano.
Students singing range:

Exercises
1 2 3 2 1 1 2 3 4 3 2 1 1 2 3 4 5 4 3 2 1 1 3 5 3 1

21

The Three Forms of Minor Scale

Scale degrees 1 through 5 of all three forms of minor scale are identical. The difference between the three forms of minor scale are found in scale degrees 6 and 7.
scale degree: 1
2

Natural

Harmonic

Melodic (ascending)

`444444444454455-= `444444445445445-= `4444444544454555-=

w w w w w w w w w w w w w w w w

w
5

w
6

w
7

8 (1)

Scale degrees 6 and 7 of the melodic minor scale are raised when ascending and lowered when descending.
a minor

`44444445445-=
5 6 7 8 (1) 7 6 5

w w w w w w w

Assignment
The following exercises will involve the full minor scale. List the minor keys to be sung: Play the tonic minor triad with the left hand whenever you sing 5; play the scale degrees with the right hand when needed. 9. Starting on any assigned minor key: a) Sing as you play the scale tones: 1 - 2 - 3 - 4 - 5 (Play the tonic minor triad whenever you sing 5.) b) Play and sing 5 - 6 - 7 - 8 (hold and pause) 8 - 7 - 6 - 5 c) Repeat steps a) and b) without playing along with the right hand. (You may play the tonic minor triad whenever you sing 5.) Use the three forms of minor in the following order: natural harmonic (raised seventh degree) melodic (raised sixth and seventh degree ascending)

22

Ear Training: Major and Minor Scales

Scan the QR code to practice distinguishing between the major scale and the three basic minor scales:
MyTheoryApp.com Level 8 Scales

Teacher/Student Drills
You will hear ascending and descending scales. Identify each scale heard as major (Maj), natural minor (nat min), melodic minor (mel min), or harmonic minor (har min).
A

1. 1. 1. 1. 1. 1. 1. 1. 1.

2. 2. 2. 2. 2. 2. 2. 2. 2.

3. 3. 3. 3. 3. 3. 3. 3. 3.

4. 4. 4. 4. 4. 4. 4. 4. 4.

5. 5. 5. 5. 5. 5. 5. 5. 5.

Section 4 The Circle of Fifths

The Circle of Fifths is a schematic representation that is used to illustrate the relationships among various key signatures and the major and minor keys associated with them. In the illustration below, the major keys are represented by the uppercase letters outside the circleC, Bb, etc. The minor keys are represented by the lowercase letters inside the circlea, f#, etc.

23

`45`466`456`456`456`465`4566`455`46456`464`4566 - `4645- `4456`4456C a F G Bb d e D g b Eb c f# A f c# Ab a# bb d# eb g# ab E C# Db F# Gb B Cb

`45-

Moving clockwise around the circle of fifths, notice that (1) sharps are added to the signature one at a time, and (2) each new key begins a perfect 5th higher than the previous key. Moving counter-clockwise around the circle of fifths, notice that (1) flats are added to the signature one at a time, and (2) each new key begins a perfect 5th lower than the previous key. The relative major and minor keys are paired and share the same key signature. Some sharp and flat keys will overlap at the bottom of the circle. These keyscalled enharmonic keysare two

different ways to notate the same pitches, or scales.

24

The Major Circle of Fifths: A Walk-through

Flats are added along the circle in counter-clockwise fashion. no flats one flat two flats three flats and so on... Sharps are added to the key signature in clockwise fashion. no sharps one sharp two sharps three sharps and so on...

As you add flats, the key names form a pattern of descending perfect 5ths. (Start on the right and go left.)
perfect 5ths

As you add sharps, the key names form a pattern of ascending perfect 5ths.
perfect 5ths

Cb Gb Db Ab Eb Bb F
7b 6b 5b 4b 3b 2b 1b

C
0b

D
2#

A E

F#
6#

C#
7#

0# 1#

3# 4# 5#

The pattern of descending perfect 5ths is placed counter-clockwise along the circle.
1b 2b Bb 3b Eb 4b Ab 5b Db 6b

The pattern of ascending perfect 5ths is placed clockwise along the circle.
0b

0b

0#

0#

G 1# D 2# A 3# E 4#

Cb 7b Gb

7# C# 6#

B 5# F#

You must be thoroughly familiar with the interval of a perfect 5th; otherwise, you will have some trouble. And it is best not to just copy what you see on this pagetry to complete the next assignment without checking this page. For a review of the volume 5 keyboard and notation drills for the perfect 5th, go to the back of this book for directions to online resources.

25

1.

Complete the major circle of fifths. Write the letter names of the major keys on the lines provided. Use capital letters.

0b 1b 2b 3b 4b 7# 5b 6# 6b

0# 1# 2# 3# 4# 5# 7b

The Minor Circle of Fifths

For the minor keys, the circle of fifths begins at the top with the relative minor of C majorA minor. As you add sharps, the key names form As you add flats, the key names form a pattern of ascending perfect 5ths. a pattern of descending perfect 5ths. (Start on the right and go left.)
perfect 5ths perfect 5ths

ab eb bb f
7b 6b 5b 4b

c
3b

g d
2b 1b

a
0b

a
0#

e
1#

b
2#

f# c# g# d# a#
3# 4# 5# 6# 7#

2.

Complete the minor circle of fifths. Write the letter names of the minor keys on the lines provided. Use lowercase letters.

0b 1b 2b 3b 4b 7# 5b 6# 6b

0# 1# 2# 3# 4# 5# 7b

26

REVIEW: Sections 2, 3 and 4

On the staves below, construct the named major scales. Add sharps or flats as needed.

1.

G Major Ab Major E Major

`544444444444645-= 1544444444444645-= `544444444444645-=

2.

Name the major key for each key signature. Example: A Maj, Bb Maj, etc.

`4456-4456-4456-4456-4456-4456-4456-= 14456-4456-4456-4456-4456-4456-4456-=
3.

`44454444444444444445 144454444444444444445
4b 2# 5b 6#

In each measure, you are given a number of sharps or flats for the key signature: a) Write the appropriate key signatures on both the treble and bass staves. b) Write the names of the major keys on the lines provided below the grand staves.

Major

Major

Major

Major

27

4.

Name the minor key represented by each key signature. Use abbreviations and lowercase letters (e min, bb min, etc.).

`544-444-444-444-444-4441544-444-444-444-444-4456-=
5.

`44454444444444444445 144454444444444444445
4b 2# 5b 5#

In each measure, you are given a number of sharps or flats for the key signature: a) Write the appropriate key signatures on both the treble and bass staves. b) Write the names of the minor keys on the lines provided below the grand staves.

minor

minor

minor

minor

6.

On each staff below: a) Write the key signature of the minor scale given. b) Write the notes of each minor scale, ascending form only. Use whole notes. c) Add accidentals where needed.

c natural minor

g natural minor

`5444444444446565555445-= 15444444444446565555445-=

28

f# harmonic minor

b harmonic minor

e melodic minor

f melodic minor

`5444444444446565555445-= 15444444444446565555445-= `5444444444446565555445-= 15444444444446565555445-=

Complete the major circle of fifths. Write the letter names of the major keys on the lines provided. Use capital letters.
0b 1b 2b 3b 4b 7# 5b 6# 6b

7.

8.

Complete the minor circle of fifths. Write the letter names of the minor keys on the lines provided. Use lowercase letters.
0b

0# 1# 2# 3# 4# 5# 7b 2b 3b 4b 7# 5b 1b

0# 1# 2# 3# 4# 5# 7b

6# 6b

Section 5 Intervals
Chromatic and Diatonic Half Steps
The two tones of a chromatic half step are spelled with the same letter name. On the staff, the notes will appear on the same line or space.

29

`44444445
both spaces

w w
F

F#

w w
both lines B

Bb

The diatonic half step consists of two different letter names. On the staff, the two notes appear as space-to-line or line-to-space.

`44444445
space to line

w w
F

line to space

Gb

w w
E F

4.

Write a diatonic half step BELOW each given note. Use quarter notes.

3.

Write a diatonic half step ABOVE each given note. Use half notes.

2.

`544-444-444-444-444-4466 6-= 1544-444-444-444-444-4466 6-= `544-444-444-444-444-4466 6-= 1544-444-444-444-444-4466 6-=

Write a chromatic half step BELOW each given note. Use quarter notes.

1.

Write a chromatic half step ABOVE each given note. Use half notes.

30

Major and Perfect Intervals

Intervals built above the tonic tone of a major scale are either major intervals or perfect intervals.
All intervals are classified by type and size.

`444444444444444444-=
type: Major size: 2nd

ww

Major 3rd

w w

Perfect 4th

w w

Perfect 5th

w w

Major 6th

w w

Major 7th

w w

Perfect 8ve

w w

A perfect prime, or perfect unison, consists of two tones of the same pitch and notation.

`456556
ww

The term diatonic refers to the major scale, natural minor scale or any scale comprised of five whole steps and two half steps. So, a diatonic half step is a half step which is found in any of these scalesspelled as a 2nd; likewise, a diatonic whole step is spelled as a 2nd. How to build an interval above a given note: Using the major scale to find perfect and major intervals works well when you are working with keys that are familiar to youjust think of the bottom note as tonic and apply the appropriate accidentals according to the key signature. But when the tonic tone calls for keys that are not familiar, you can find any interval easily if you know the following three intervals very well: Perfect 5th Major 3rd Major 2nd You can use these intervals to piece together other less familiar intervals. If you are unfamiliar with these intervals, that is, if you cant instantly form them with the appropriate spellings, then you should refer to the resource page at the back of this book. There you can find links to online resources to brush up your skills on these intervals. The following walk-through assumes that you are familiar with these three intervals. The following symbols will sometimes be used to indicate intervals: capital letters will represent major and augmented intervals; lowercase letters will represent minor and diminished intervals; a simple number will represent the interval size. For example, M2 for major 2nd, m2 for minor 2nd, P5 for perfect 5th, and so on. The perfect 5th is the easiest to recognize on the staff:

`544444444444 `4444
no accidentals only sharps only flats

The exception is the perfect 5th starting on B and Bb.

31

The major 2nd should always be spelled as a diatonic whole step; the two tones should be spelled as two consecutive letters of the alphabet.

`444-444 `444-444
diatonic whole steps same pitches INCORRECT spelling

You can combine the perfect 5th and major 2nd to find the perfect 4th or the major 6th.

`44 `44
Perfect 4th? Major 6th?

Start with a perfect 5th, then go a major 2nd down from the top note.

Start with a perfect 5th, then go a major 2nd up from the top note.

`44444 `44 `44444 `44

=
P5 M2 down Perfect 4th

P5

M2 up

Major 6th

5.

Construct the named intervals above the given notes. Use whole notes.

`5566 6-4566 -4566 -4566 -4566 -4566 -4566 -= 15566 6-4566 -4566 -4566 -4566 -4566 -4566 -= `5566 6-4566 -4566 -4566 -4566 -4566 -4566 -= 15566 6-4566 -4566 -4566 -4566 -4566 -4566 -=
Per 5th

w w

Maj 6th

w w

Per 4th

w w

Per 5th

w w

Maj 6th

w w

Per 4th

w w

Maj 7th

w w

Per 5th

Maj 6th

Per 4th

Per 5th

Maj 6th

Per 4th

Maj 7th

Per 5th

Maj 6th

Per 4th

Per 5th

Maj 6th

Maj 3rd

Per 4th

Per 4th

Maj 7th

Maj 3rd

Per 4th

Maj 3rd

Per 4th

Maj 6th

32

Minor Intervals
A major interval made one half step smaller becomes a minor interval. The minor intervals are as follows: minor 2nd, minor 3rd, minor 6th, and minor 7th.

`4565-4556- `4565-4556`4565-4556- `4565-4556Major 2nd

ww w w

minor 2nd

ww w w

Major 3rd

w w w w

minor 3rd

w w

Major 6th

minor 6th

Major 7th

minor 7th

w w

Be sure to use the correct spellinga minor 6th should be spelled or notated as a 6th. For example, a minor 6th above C is Ab, not G#.

`45655-555444556Maj 6th min 6th NOT a 6th

w w

w w

same pitches

w w

6.

In each measure, construct the indicated interval above the given pitch. Use half notes.

Maj 2nd

h h h

min 2nd

h h h

Maj 3rd

min 3rd

Maj 6th

min 6th

Maj 7th

min 7th

Maj 3rd

min 3rd

Maj 2nd

min 2nd

Maj 6th

min 6th

Maj 7th

min 7th

Maj 3rd

min 3rd

h h

h h

`44-446144-446`44-446144-446Maj 6th

min 6th

`44-446144-446`44-446144-446Maj 7th

min 7th

`44-446144-446`44-446144-446Maj 3rd

min 3rd

Ear Training: The Perfect 4th and Major 6th

This section will examine the more common contexts in which the perfect 4th and major 6th occur and how to recognize them. The perfect 4th can be heard two basic ways: A) The first tone is the fifth scale degree. The second tone is the tonic. This is the most common usage.

33

C Maj:

`4445
5 1 4

w w tonic

(scale degree)

Some songs that begin with this type of ascending perfect 4th are Amazing Grace, Here Comes the Bride or the theme from Harry Potter.

B) The first tone is the tonic. The second tone fourth scale degree. This usage is less common.

C Maj:

`4445
tonic

w w
1

An example of this usage is the last three tones of the tune, Good King Wenceslas. Play the melody notes with the right hand and with your left hand play the tonic and subdominant triads at the points marked with the roman numerals.
1

`44444-4445-44-=
Gath ring win - ter

perfect 4th

C Maj: I

fu

el.

IV

Or, you can hearwith the inner earthe steps between the tones of the perfect 4th. Play the melody written notes (the faint ones also) with the right hand and with your left hand play the I and IV triads where indicated.

`44444456444445
C Maj: I IV IV I

perfect 4th

perfect 4th

(You might notice that the exercise resembles the beginning of the song, Lean on Me.)
If you have completed the previous level 7 you should be familiar with the roman numerals and what they indicate. The material is reviewed on page 41 of this volume.
1

34

Perfect 4th Keyboard Drill The following exercise will help you recognize the effect of the perfect 4th. Play the notes with the right hand and the chords with the left hand. Play all chords in root position only.
7.

Play the following examples as described aboveright hand plays melody notes; left hand plays the triads. Transpose both exercises to as many keys as you are able.

C Maj: I

C Maj:

`44444-4445-44-= `44444-4445-44-=
I V I

c c

perfect 4th

Scale degree 5 up to 1

perfect 4th

Scale degree 1 up to 4

IV

You may discontinue this exercise when you can play these two passages fluently in every major or minor key you know.

Students singing range: Singing the Perfect 4th Repeat each of the following exercises on at least 3 or 4 different pitches every time you practice. You may discontinue these exercises when you can perform them easily and accurately.

8.

Starting on any tone: a) Play the tone. Sing the tone. With your inner ear, hear the second tone a perfect 4th HIGHER. b) Sing the second tone. Test pitch accuracy by playing the second tone on the piano. If necessary, play the two tones as you sing them. Starting on any tone: a) Play the tone. Sing the tone. With your inner ear, hear the second tone a perfect 4th LOWER. b) Sing the second tone. Test pitch accuracy by playing the second tone on the piano. If necessary, play the two tones as you sing them.

9.

35

The major 6th also appears in a major key in different contexts. The two most common are examined here: A) The first tone is the fifth scale degree. The second tone is the third scale degree. This is the most common use of the major 6th.

C Maj:

`444
w
5 3

Some songs that begin with this type of ascending major 6th are My Bonnie Lies Over the Ocean, or Hush Little Baby. B) The first tone is the tonic. The second tone is the 6th scale degree. This usage is unusual.

C Maj:

`444
w
1 6

Very few melodies begin with this type of ascending major 6th; some examples are Shortnin Bread, or The Holly and the Ivy. Major 6th Keyboard Drill The following exercise will help you recognize the effect of the major 6th. Play the notes with the right hand and the chords with the left hand.
10.

Play the following examples as described above. Transpose the example to as many keys as you are able.

C Maj:

`44444-4445-44-=
I I IV I

major 6th

Scale degree 1 up to 6

Singing the Major 6th 11. Starting on any tone: a) Play the tone. Sing the tone. With your inner ear, hear the second tone a major 6th higher. b) Sing the second tone. Test pitch accuracy by playing the second tone on the piano. If necessary, play the two tones as you sing them. c) With your inner ear, hear the starting tone (back down a major 6th). Sing the starting tone. Check with piano.

36

Ear Training Drills: Intervals

The following exercises are designed to develop your skill in recognizing and intoning major and perfect intervals above or below a given tone. Your singing range should be noted on the keyboard provided on this page.

Solo Drill: Singing Intervals

This drill is design for solo practice. Check your progress from time to time by recording a session and listening to that recording critically, or by performing this drill in the presence of your teacher. Be sure that you are forming the intervals correctly on the keyboard.
1)

Decide on an interval in your singing range. Pick from any below:

Unison Per 5th Maj 2nd Maj 6th Maj 3rd Maj 7th Per 4th Per 8ve

Students singing range:

Find and prepare both tones on the piano, but dont play them. For ascending intervals, start with the lower tone. For descending intervals, start with the higher tone.
2)

Play the top or bottom tone of the interval on the piano. Sing the tone. Hear the second note above or below your chosen interval with your inner ear. Sing the second tone. Sing both tones of the interval until you are satisfied. Test by playing the interval on the piano. Then, sing the interval as you play it. Repeat the process using a different interval. Repeat with different intervals and focus your efforts on the more difficult ones.

3) 4)

Teacher/Student Drill: Recognizing Intervals

Your teacher will play major or perfect intervals above or below a given note. All intervals will be an octave or smaller. Identify and name each interval by type and size. For example, say major 3rd. Or, you may write down the intervals played on a piece of paper. Your teacher will play six major or perfect intervals above or below a given note. Write the intervals down on a piece of paper. Classify each interval by type and size. Use abbreviations (ex., MAJ 6th, PER 5th).

37

Interval Reference
List your own song references for recognizing melodic intervals:

Perfect 8ve Major 7th Major 6th Perfect 5th Perfect 4th Major 3rd Major 2nd Perfect Unison

(ascending) (ascending) (ascending) (ascending) (ascending) (ascending) (ascending)

(descending) (descending) (descending) (descending) (descending) (descending) (descending)

Ear Training: Interval Identification

Scan the QR code to practice identifying major and perfect intervals:
MyTheoryApp.com Level 8 Intervals

38

Section 6 Chords

A chord is made up of three or more different tones sounded simultaneously. Chords may be implied when the tones are sounded one at a time (broken chord). A triad is a type of chord that has only three tones stacked in thirds (skips). The MAJOR triad contains a major third with a minor third stacked above it. The distance from the root to the 5th of the triad is a perfect fifth.
perfect fifth root
5th 3rd

minor thirdthree half steps MAJOR thirdfour half steps

1. Construct a major triad from each given note.

`444444444444444456-= 1444444444444444456-=
.

w w

w w

w w

w w

w w

The MINOR triad contains a minor third with a major third stacked above it. The distance from the root to the 5th of the triad is a perfect fifth.
perfect fifth root
5th 3rd

The difference between a major triad and minor triad is found in the 3rd of the triad.

( = `464-44-= `464-4(555G Major g minor D Major

w w w

w w w

w w w

MAJOR thirdfour half steps minor thirdthree half steps

w w w

d minor

w w w

2. Construct a minor triad from each given note.

`444444444444444456-= 1444444444444444456-=
.

w w

w w

w w

w w

39

The Diminished Triad

The diminished triad consists of two minor thirds. The distance from the root to the 5th of the triad is a diminished fifth. The interval of a diminished 5th is six half steps.
diminished fifth root
5th 3rd

minor thirdthree half steps minor thirdthree half steps

If you lower the 5th of a minor triad by a half step, it becomes a diminished triad.

`464-4555-=
a minor a diminished

w w w

w w w

3. Construct a diminished triad from each given note.

`444444444444444456-= 1444444444444444456-=
.

w w

w w

w w

w w

4.

Spell major triads from each given root. Use uppercase letters. Example: G - B - D BBb AEb Spell minor triads from each given root. Use lowercase letters. Example: g - bb - d fecg# Spell diminished triads from each given root. Use lowercase letters. Example: g - bb - db fecg# dbcd# Name the diminished triad that can be spelled without accidentals:

5.

6.

7.

40

Ear Training Drills: Triads

The following exercises are designed to develop your skill in hearing and producing the tones of the major, minor, and diminished triad. Note your singing range on the keyboard provided on this page. Solo Drill: Singing Triads This drill is designed for solo practice. Check your progress from time to time by recording a session and listening to that recording critically, or by performing this drill in the presence of your teacher. Be sure that you are forming the triads correctly.
1)

Decide on a triad type: major, minor, or diminished. Pick a starting tone in your singing range. This tone will be the root of the triad.

Students singing range:

2)

Play the root. Sing the root. Hear the tones of your chosen triad with your inner ear. Sing the 3rd and 5th of the triad. Sing all the tones of the triad until you are satisfied. Test by playing the tones of the triad on the pianoone at a time. Then, sing the tones as you play them. Repeat the process using a different tone and different triad. Repeat with different triads as often as is necessary and focus your efforts on the more difficult ones, such as the diminished triad.

3) 4)

Teacher/Student Drills: Recognizing Triads Your teacher will play major, minor, and diminished triads. Identify and name each interval by type. For example, major or diminished. Or, you may write down the triad played on a piece of paper. Your teacher will play five triads played in blocked and arpeggiated form. Write the intervals down on a piece of paper. Identify with abbreviations: major (MAJ), minor (min), and diminished (dim).

App Drills: Major, Minor, and Diminished Triads

Scan the QR code to practice identifying major, minor, and diminished triads:
MyTheoryApp.com Level 8 Triads

41

Major Key Primary Triads

Triads built on the first, fourth and fifth scale degrees are called primary triads. In a major key, the primary triads are major triads. When analyzing the chords of a major or minor key, a roman numeral is used to identify (1) the scale degree on which a chord is built and (2) the quality of that chord. Uppercase roman numerals are used for major chords and lowercase for minor chords. Tonic Triad (I) Built on scale degree one, the tonic chord is the most important chord in a key. As the tonic chord firmly establishes a key, most pieces will begin and end with it. Subdominant Triad (IV) Built on scale degree four, the subdominant chord usually acts in a supporting role, combining with the tonic and dominant chords to firmly establish a sense of key. Dominant Triad (V) Built on scale degree five, the dominant chord is the second most important chord in a key. It reinforces the tonic chord and usually precedes it.

C Major:

`44444444454-=
I IV V V I IV I

w w w w w w w w w w w w w w
1 2 3 4 5 6 7

8 (1)

8.

For each key signature: a) Identify the major key. Use uppercase letters. b) Write the primary triad indicated by the roman numeral.

`554446-4446-4446-4446-4446-= 1554446-4446-4446-4446-4446-=
triad: major key:
IV

triad: major key:

IV

IV

42

Minor Key Primary Triads

The three primary triads of a minor key are built on the same scale degrees as the major key. In minor keys, the tonic (i) and subdominant (iv) triads are normally minor triads.

c minor:

`4444444445456-=
i iv V

w w w w w w w w w w w w w w
1 2 3 4 5 6 7

8 (1)

The Dominant Triad (V) in Minor In a minor key, the dominant chord is usually alteredthe 3rd of the triad (seventh scale degree) is raised a half step, making the dominant triad a major triad (V).

For each key signature: a) Identify the minor key. Use lowercase letters. b) Write the the primary triads indicated by the roman numerals. Key of minor Key of minor

9.

Key of

Key of

Key of

`445-446-446-= 1445-446-446-= `445-446-446-= 1445-446-446-=

i iv V

minor

Key of

iv

minor

Key of

iv

minor

Key of

iv

`445-446-446-= 1445-446-446-= `445-446-446-= 1445-446-446-=

i iv V

minor

iv

minor

iv

minor

iv

43

Chord Inversions
When the root of a chord is the lowest tone, the chord is in root position. If the root is not the lowest tone of a chord, the chord is inverted. A chord may appear in the following positions: Root position: The root is the lowest tone. First inversion: The 3rd is the lowest tone. Second inversion: The 5th is the lowest tone.

`444444444545-=
root position first inversion second inversion The chords shown above are all F major chords. As long as the tones F-A-C are used, they can be arranged in any order and the name of the chord will remain F major. How to find the root of an inverted chord: A basic chord in root position (triad) will appear as a stack of thirds. A basic chord in inversion will contain the interval of a 4th. You can find the root of an inverted chord by first finding the interval of a fourth in the chord. The top note of the interval of the fourth is the root.

w w root w

w w w 3rd

w w w 5th

`44-445-445- `44-445-4454th
root

first inversion

w w w

w w w

w w w

second inversion

w w w

w w w

4th

w w w

root

10.

`445-445-445-445-445-445-445-446-= 1445-445-445-445-445-445-445-446-=
w w w w w w

Name the root of each chord.

w w w

w w w

w w w

w w w

w w w w w w

w w w
w w w

w w w w w w

w w w w w w

w w w

w w w

44

How to write the FIRST INVERSION of a chord: Take the root of the chord and move it up an octave, leaving the 3rd as the lowest note:

`65456-45664
11.

w w root w
w w w w w w

w root w w 3rd

For each chord given: a) Identify the chord by name and type. b) In the second measure, write the chord in first inversion.

`456-4566- `456-4566- `456-45661456-4566- 1456-4566- 1456-4566w w w w w w

How to write the SECOND INVERSION of a triad:
Take the root and 3rd and move both notes up an octave, leaving the 5th as the lowest note: w 3rd

w w w

w w w

`5456-4566w w w w w w

w 3rd w root w

w w root

12.

For each chord given: a) Identify the chord by name and type. b) In the second measure, draw the chord in second inversion.

`456-4566- `456-4566- `456-45661456-4566- 1456-4566- 1456-4566w w w w w w

w w w

w w w

45

REVIEW: Section 6
1.

Spell the major triads from each given root. Use uppercase letters. Example: G - B - D ADb EF# Spell the minor triads from each given root. Use lowercase letters. Example: g - bb - d adb ef# Spell the diminished triads from each given root. Use lowercase letters. Example: g - bb - db aef# db (use a double flat)

2.

3.

4.

Write the triad indicated and its inversions. Use whole notes.

`4566 -4566 6-4566 6-= `4566 -4566 6-4566 6-= 14566 -4566 6-4566 6-= 14566 -4566 6-4566 6-= `4566 -4566 6-4566 6-= `4566 -4566 6-4566 6-= 14566 -4566 6-4566 6-= 14566 -4566 6-4566 6-=
D Maj
1st inversion 2nd inversion

c# min

1st inversion

2nd inversion

Ab Maj

1st inversion

2nd inversion

B Maj

1st inversion

2nd inversion

e dim

1st inversion

2nd inversion

f min

1st inversion

2nd inversion

g# min

1st inversion

2nd inversion

A Maj

1st inversion

2nd inversion

5. Identify each triad. Use abbreviations. Example: e min, B Maj, a dim.

`445-445-445-445-445-445-445-446-=

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

46

6.

`566 444456-4444456-4444456-= 1566 444456-4444456-4444456-= `566 444456-4444456-4444456-= 1566 444456-4444456-4444456-=

I:

On the staves below: a) Identify the major or minor key signature. b) Write the indicated triad in root position, 1st inversion and 2nd inversion. Use whole notes. Major
1st 2nd IV: 1st 2nd V: 1st

root

root

root

2nd

Major
I:

root

1st

2nd

IV:

root

1st

2nd

V:

root

1st

2nd

minor
i:

root

1st

2nd

iv:

root

1st

2nd

(raise the 3rd a half step)

V:

root

1st

2nd

minor
i:

root

1st

2nd

iv:

root

1st

2nd

V:

root

1st

2nd

7.

For each key signature: a) Identify the major key. Use abbreviations (A Maj, F# Maj). b) Write the roman numeral under each chord. Major key:

`554446-4446-4446-4446-4446-= 1554446-4446-4446-4446-4446-=
w w w w w w
w w w

roman numeral:
8

w w w

w w w

w w w

w w w

w w w

For each key signature: a) Identify the minor key. Use abbreviations (d min, eb min). b) Write the roman numeral under each chord. Minor key:

w w w

roman numeral:

w w w

Section 7 Transposition
Transposition is the playing or rewriting of music in a key that is different from the original key. When music is transposed, all the intervals in the music will remain the same. Play the first phrase of Im a Little Teapot, written in C Major.

47

Now play the same phrase, transposed to the key of D Major.

`44444444444 `44444444444
q qqqq h h
Transposing a Melody

Suppose you are asked to transpose a melody from C Major to F Major on the staff: 4 4 4 qqq q 4 ? q C Major F Major

`444444-6 `444444-6
`45444
C Major
original key GOOD range

First, determine if it is better to transpose the melody up or down to F Major. Keep in mind the range of the melodyits highest and lowest note.

Find the interval between the original key and the new key. The interval between C major and F major is a perfect 4th. The intervals between the notes of the original and transposed melodies should be maintained throughout.

Consequently, the intervals between the notes of each melody will be maintained. C Major

`444444-6
steps 4th

F Major

`4444446-6
steps 4th

q q

original melody

4 4 qqq q q

q q

4 4 qq qq q

4 4

`454446 `454446 `45444 `4444446-6

F Major F Major
4th

too low

The note heads of both melodies.

4 4

transposed

4 4qqqq

48

1.

Transpose the melody in C Major to the keys of D Major and Bb Major.

D Major

2.

F Major

C Major

3.

G Major

`444544445444444444445-= `444544445444444444445-= 1444544445444444444445-= 1444544445444444444445-= 1444544445444444444445-= `444544445444444444445-= `444544445444444444445-= `444544445444444444445-= 1444544445444444444445-=

c c
Transpose the melody in G Major to the keys of F Major and C Major.
.

c c

Transpose the melody in F Major to the keys of Eb Major and G Major.

3 4

3 4

3 4

Section 8 Sight Singing

Sight singing is the singing of a melody from the score, without having seen it before. It involves knowing how a melody should sound before it is sung or performed. The singing exercises in this section serve as preparation for the singing of melodies written on the staff. The ultimate goal of all sight singing practice is (1) to develop the ability to look at a score and hear it inwardly, with the inner ear, without having to sing it out loud or play it, and (2) to develop the ability to hear a melody and notate it without the aid of an instrument.

49

Solfege in a Major Key

If you are using solfege, it is recommended that you use movable Do, that is, the tonic of any key is always Do, the second scale degree is Re, and so on.
scale degrees: 1 Do-based Major: Do
2 3 4 5 6 7 8

Re

Mi

Fa

Sol

La

Ti

Do

The pronunciation of the syllables: Re rhymes with say Mi and Ti rhyme with tee Fa and La rhyme with ah Do as in doh or doe; Sol as in sohl

Assignment The following drills are designed for solo practice. Perform these exercises for your teacher to make sure you are doing them correctly. Absent a teacher, record yourself and listen to ityou will likely hear things in the recordings that slipped your notice. These exercises should be practiced as you proceed with the other sections of this book; discontinue these drills only when you can perform them easily and accurately. The numbers used in the exercises in bold font represent the scale degrees. 1 is tonic, 2 is scale degree 2, and so on. Sing using scale degree numbers, solfege, or any neutral syllable. Transpose these exercises to any key in your comfortable singing range. Boxes are provided that will allow you or your teacher to list these keys. As you sing the exercises, play a scale or chord figure from time to time to establish the key. For example, or
C Maj:
1 3 5 8(1)

50

Use assignments 1 and 2 to practice the singing exercises provided. Follow these steps for each exercise: 1. Decide on a key and prepare with an arpeggio or scale. a) Play the starting tone of the exercise on the piano. b) Sing and match the starting tone. c) Sing the exercise as you play it. When the exercises are easy to sing with the aid of the piano, focus on assignment 2.
2.

Decide on a key and prepare with an arpeggio or scale. a) Play the starting tone of the exercise on the piano. b) Sing and match the starting tone. c) Hear the exercise with your inner ear. d) Sing the exercise with no piano. e) Test accuracy by playing the drill on the piano after you finish singing. If necessary, play the tones as you sing them.

Exercises
Use the following exercises for assignments 1 and 2. Your teacher will write which major keys to use in the box provided. A line under a number indicates that the scale degree is below the 8-note scale.
Scale degrees used:
7 1 2 3 4 5 6 7 8

C Major:

List the major keys to use:

Focus on Tonic Triad Tones

1 1 1 1 1 1 3 3 3 3 3 3 1 5 5 2 4 4 (Major 3rd) 3 1 4 3 2 1 1 3 5 3 2 1 2 1 5 3 5 1 8 7 6 5 1 1 1 1 1 1 2 5 5 5 5 5 3 1 3 4 6 3 4 5 4 3 2 1 (Perfect 5th) 1 3 2 1 7 8 5 8 7 6 5 1 1 1 1 1 1 3 8 8 8 8 8 5 1 7 7 7 5 8 (Perfect 8ve) 8 1 6 5 6 5 3 1 1

Focus on the 4th Scale Degree

1 1 1 1 2 4 4 4 3 1 3 3 4 3 2 1 (Perfect 4th) 2 1 1 4 3 3 3 3 4 4 4 1 3 3 1 4 1 4 3 5 1 4 1 4 3 5 1 4 5 5 5 5 3 1 3 1 4 4 4 4 3 3 3 3 5 1 2 1 5

51

Focus on the 6th Scale Degree

1 1 1 1 1 3 5 6 6 6 5 6 5 5 1 6 1 6 5 1 6 3 1 4 3 2 1 (Major 6th) 3 3 3 3 3 5 1 1 6 2 6 5 6 5 1 5 6 5 3 6 8 5 8 1 5 7 8 6 6 8 8 5 5 5 5 5 5 5 5 5 6 6 3 6 6 5 5 5 5 4 3 1 6 8 5 1 8 5 1 3 7 8 6 2 6 5 7 8 5 1

Now Lets Get Creative! 3. For the next assignment, sing one line from each column below in one continuous flow. Pause for an extra beat on the scale degree with a fermata above it (each fermata affects all the numbers running down the column). You can go across the columns or down each column, or jump to any line in random order, but end on a line from the last column. As with the previous exercises, pick a comfortable key and prepare the ear with a chord or scale figure.
1 1 8 8 7 3 5 5 1 4 6 3 6 3 5 4 5 2 4 5 4 5 3 3 3 3 2 2 3 3 3 3 4 2 1 2 3 1 7 3 1 7 5 1 5 1 4 6 6 3 3 4 5 5 2 5 5 5 5 5 6 3 1 8 5 4 7 5 1 2 1 3 4 3 3 4 3 1 2 2 2 2 5 2 1 1 1 1

Discontinue this exercise when you can jump around from line to line without the slightest hesitation.
4.

Take a single line from each column and sing it until you can do so from memory. Do not memorize the numbers. Memorize the sound, the tune that each line produces. When the tune is memorized: a) Pick a key and write the key signature on a separate sheet of staff paper. b) Write the scale degrees as whole notes on the staff. Do not look at the numbers; start with the sound first and try to divine the number from the sound! c) Write the same line in two different keys. For step b) you may write the notes out in rhythms instead of just whole notes. See if you can make each line fit in the space of two measures. Use any time signature.

52

Section 9 The Melodic Line

A melody is typically made up of smaller parts known as melodic units. The smallest type of melodic unit is the motive, or motif, which consists of three to eight notes that form a distinct musical idea. A motive may repeat itself in various forms within a melody. For example, J. S. Bachs Brandenburg Concerto no. 3 begins with a three-note motive that appears five times on different scale degrees.

4 4

motive

motive

A phrase is a larger melodic unit, typically four to eight measures in length, which conveys a complete musical thought. Think of a phrase as a complete musical sentence.

Some General Principles of Melodic Writing

A phrase should have a balance between the elements of variety and repetition. The key word is balance. If there is too much repetition the result tends toward dullness; if there is too much variety the result might sound like a confused, aimless jumble. When you begin writing melodies, always aim to reconcile these two opposing elements in a natural way. The above example by Bach illustrates one way these two elements can interact. In this example, the three-note motive which occurs five times is certainly repetitious. Ordinarily, this is something to be avoided but Bach balances this repetition by moving this motive around in disjunct fashion, thus providing the element of variety to this passage. A melody should have a sense of direction, which can be easily achieved by rising to a high note,

Christ is Alive, T. Williams

or by descending to a low note. 2 4

Joy to theWorld, Handel

It is common for a melody to have a high point, or apex, usually the highest note (circled), after which the notes fall to conclude the phrase.

Judas Maccabaeus, Handel

The three examples shown here are all examples of a four-measure phrase.

53

The Melodic Sequence

A melodic sequence occurs when a motive, or melodic unit, is repeated at different pitch levels in a regular ascending or descending pattern.

c
motive motive (a step lower)

AngelsWe Have Heard on High, French Carol

motive (a step lower)

The motive commonly ascends or descends at the interval of a 2nd or 3rd. The motive is generally not repeated more than three or four times.

Writing A Melodic Sequence

1.

In the following exercises, a motive is given in the first measure: a) Repeat this motive in measures 2 and 3, forming a melodic sequence. b) Use the black note head as a guide in beginning each measure.

The sequence ascends / descends (circle one) at the interval of a

2

`444545-44544-44454-44544-=
.

The sequence ascends / descends (circle one) at the interval of a

3

The sequence ascends / descends (circle one) at the interval of a

4

1444545-44544-44454-44544-= `444545-44544-44454-44544-=
.

1444545-44544-44454-44544-=
.

3 4

The sequence ascends / descends (circle one) at the interval of a

54

Rhythmic Imitation
Rhythmic imitation, or rhythmic repetition, occurs when a distinct and recognizable rhythm is repeated, but the melodic material varies. For example, in the Gigue from Bachs French Suite, the rhythmic motive repeats while the melodic line runs free in no fixed pattern.
3 8
rhythmic motive

Rhythmic repetition may involve a longer rhythmic motive of a few measures each, as occurs in Les Fifres by Dandrieu.
2 4
2.
rhythmic motive

Writing Rhythmic Imitations

In the following exercises, the same motives given in assignment 1 are given again. a) Repeat the same rhythm in the measures which follow (written above the staves). b) Vary the melodic material. Do not write a melodic sequence. c) Try to lead smoothly to the tonic note in the last measure.

`444545-44544-44454-44544-= 1444545-44544-44454-44544-= `444545-44544-44454-44544-= 1444545-44544-44454-44544-=

c
q q q q q q q q q q

q.

e q

q.

e q

3 4

55

How to Write an Original Four-Measure Rhythm

In this section you will learn how to compose an original melody four measures in length. You will be given only the notes of the first measure as a starting point. First you will focus on the rhythmic aspect of your melody. A good starting point is to use the following rhythmic schemes until you gain a natural feel for creating good rhythms. Two basic schemes are given here; the rhythms which repeat are bracketed. 1 2
3.

4 4 4 4

rhythm A

rhythm A

rhythm B

rhythm C

rhythm A

rhythm B

rhythm A

rhythm C

For each rhythm: a) Write a bracket above rhythm A, the rhythm which repeats. b) Clap the rhythms. Listen to the interplay between the repeated rhythms and the contrasting rhythms.
4 4 q
Example

3 4 q q q q q 4 4 q.

q q q

q h q. q

q q q q

q.

eq q q q

q q q q q q q. q q e q q q q

h. h h. h

3 4 q.

eq q q e q q

eq q q q q

Improvising With Prepared Rhythms

Using the four-measure rhythms provided in exercise 3, improvise on the keyboard a single-line melody using any major or minor scale. The first and last note should be tonic. Before beginning, establish the major or minor key in your ear by playing a scale or chord. IMPORTANT: Improvise upon each rhythm until you can do so easily with few pauses or missteps. How many sessions will it take to produce a pleasing melody for each rhythm? It will varyperhaps 5, 20 or more sessions will be necessary.

56

Now you will compose your own four-measure rhythms. The exercises will begin with a rhythm already given in the first measure. Keep the following in mind: Note the time signature and get a feel for it. Rely on your ear as your best guide. Hear the given rhythm in your head or clap it first (most likely you will spontaneously hear the continuation). Hold all judgment during the initial phase, dont think too muchlater you can go back and refine your work. Relax and let the rhythms flow freely and naturally.

Writing Rhythms
4.

A rhythm is given in the first measure of each example. Complete the last three measures by writing a rhythm which develops naturally from the first.
q q

4 4 qqqq q 4 4 q. 3 4 q 3 4 q.
5.

e q

q q q q e q

Using the rhythms you wrote in exercise 5, improvise on the keyboard a melody using any major or minor scale. Follow the rhythms strictly. The first tone should be a member of the tonic chord and the last tone should be the tonic.

A final thought on the improvisation exercises... Practice improvisation upon prepared rhythms on a regular basis. It does not matter whether these rhythms are taken from existing melodies or if they are original. Practicing this important skill will greatly improve the quality of your ideas when the time comes for you to create your own original melodies. Also, the ability to improvise fluently will give you added confidence as a musician and performer.

57

Stable and Active Tones

In every scale, there are two basic types of scale tones: stable tones and active tones. Stable tones, also called rest tones, are the tones of the tonic triad. Although the tonic scale degree is considered the most stable of all, the third and fifth scale degrees also share the same sense of rest, or repose. There is no immediate need for a stable tone to resolve to another tone. Scale degrees 1(or 8), 3 and 5 are stable tones. Active tones, or tendency tones, have a tendency to resolve to a neighboring stable tone. Active tones impart a sense of expectation or tension. To get an idea of this, play an ascending major scale and stop one tone short of completing an octave, on the leading tone. You should be able to hear why the seventh scale degree is called the leading toneit has a very strong tendency to move up to the tonic tone. Scale degrees 2, 4, 6 and 7 are active tones. They resolve to the nearest stable tone. The active tones (black note heads) and their resolutions (whole notes) in a major scale:

`444-444-444-4545-=
C Maj: 2
1 4 3 6 5 7 8(1)

These general tendencies are not absolute. For example, the leading tone, which has the strongest tendency to resolve to tonic, does sometimes move down to the sixth scale degree, another active tone, as part of a longer scale pattern. When the tones are fewer and slower, and when there are no accidentals added to the key, the stable/unstable character of the tones are more pronounced.

All Roads Lead to Tonic

With that said, it is the tonic which functions as the goal to which all the other scale tones are directed. All you need to do to confirm this is look at every piece you have ever played, or have on hand at the present moment, and identify the last note of the melody. You will find that the great majority end on the tonic tone. To illustrate with an analogy, consider the tonic tone as the sun of our solar system. Even though other planets (other stable tones) may have satellites (unstable tones) which revolve around them and are under their immediate gravitational pull, it is ultimately the sun which exerts the greatest influence and affects all the planets and satellites. Assignment 6. Decide on a major key and with the left hand play the tonic tone in the low bass register intermittently throughout this exercise:. a) Play scale degree 2 (while you play the tonic tone in the bass)note the tension. b) Resolve the 2 to 1 (tonic)note the release of tension, the feeling of resolution. c) Play scale degree 3note that there is no need to resolve it. d) Step down to 1 (as in 3 - 2 - 1) e) Repeat on all other scale degrees: (1) resolve all active tones to their natural resolution tones (2) step down to tonic from all stable tones.

58

Ending a Phrase on Tonic

Much of what happens in a melody is unpredictable, but you can be sure that most melodies will end on one of the three notes of the tonic chord. As the tonic is the most common ending tone, it is very useful to practice writing small melodic fragments which lead to the tonic tone, thus enabling you to end a melody well. The ending tonic note is usually approached by the second (a) or seventh scale degree (b), as shown here in the key of C major. (a)

scale degree:

`4455442 1 (tonic)
3 2 1

(b)

`4455447 1

When scale degree 2 occurs just before the final tonic note, it is usually part of a descending step pattern, as in the following examples.

Scale degree 7 almost always approaches tonic from one step below. Scale degree 7 may be part of a group which surrounds tonic (c), it may approach from below by step (d), or it may be a part of a broken dominant chord (e).

You are now ready to begin writing. Keep in mind that, while everyone has the ability to create original music, there is no one guaranteed way of doing it. Some people can spontaneously create well-formed phrases quite naturally with little training, while others need to take a more systematic approach. Always check your work by singing or humming it. A well-composed melody should be easy to sing.

.h

(e)

.h

3 4

6 5 4 3

3 4

.q

`544444-445-= `554-4644-445-= `544444-445-=

.h

q q q qq

3 4

`544444-445-= `544444-445-= `544444-445-=

2 1 7 1

(c)

(d)

3 8 q
5

.h q q q q
6

.h

q q q qqqq

3 4

3 4

59

First Writing Assignment: The Two-Measure Phrase

In exercises 7, 8 and 9 you will compose two-measure phrases in the key of G major. Begin each phrase on the black note head and progress smoothly to the notes given at the end of each line. Vary the style and rhythm for each example.
7.

Complete the first measure of each example. On the piano: a) Play the melody with the right hand. b) Play the chords indicated by the roman numerals with the left hand.

`4444444444-4444-= `4444444444-4444-=
G Major: V

4 4 4 4

h h

h
I

G Major:

h
I

8.

Complete the first measure of each example. Lead smoothly to the tonic note. Make sure the second scale degree occurs just before the final tonic note.

`444444444-4444-= `444444444-4444-=
3 4 4 4 4 4
h.
9.

3 4

h.

Complete the first measure of each example. Lead smoothly to the tonic note. Make sure the seventh scale degree occurs just before the final tonic note.

`44444444444-444-= `44444444444-444-=
w

60

Second Writing Assignment: The Four-Measure Phrase

You are ready to write a four-measure melody. Use a separate sheet for scratch, or write very lightly as you beginyou will very likely need to make corrections and changes. 10. Complete the melody on each staff below. The first measure is given. a) In measure two, write a rhythmic imitation of the first measure. b) End the melody on the tonic. c) The last note should end on a strong beat. C major

Bb major

G major

`444545-445445-444554-4454-= 1444545-445445-444545-4454-= `444545-445445-444545-4454-=

3 4 4 4

4 4 .

Complete the melody on each staff below. The first measure is given. a) In measure two, write a melodic sequence based on the first measure. b) End the melody on the tonic. c) The last note should end on a strong beat. F major

11.

C major

Eb major

`444545-445445-444545-4454-= 1444545-445445-444545-4454-= `444545-445445-444545-4454-=

3 4 4 4

4 4 .

Section 10 Melodic Dictation

The act of writing on the staff the notes of a melody that is performed is called melodic dictation. Two things to keep in mind: Develop a good musical memory; always try to quickly memorize what you hear. Keep the sound of tonic in mind; refer to it with your inner ear when needed. Although you might be tempted, do not begin writing immediately. At first, just relax and listen carefully to the entire phrase.

61

Ear Training: Melodic Dictation

Complete the melodic dictation exercises in this section by using a web application on your smart device or on your PC. Scan the QR code and you will be taken to a menu listing all the melodies for Section 10:
MyTheoryApp.com Level 8 Melodic Dictation: Assignment 1

1.

`444465-444465-444465-445-= `444465-444465-4445565-445-= `444465-444456-444465-445-=

2

Each melody is four measures in length. Fill in the blank measures. 1 C Major

F Major

G Major

62

`444465-44446-444565-65645-= `444465-44446-444565-65465-= `444465-44446-44446-445-= `444465-44446-44446-445-= `444465-44446-444556-6446-=

5

Eb Major

D Major

A Major

Eb Major

F Major

To access more melodies for dictation practice: Scan the QR code:

MyTheoryApp.com Level 8 Melodic Dictation: Extra Melodies

More Melodic Dictation Practice

Section 11 Definitions
accelerando animato arpeggio asymmetrical meter

63

Increasing in tempo gradually Animated, lively A chord whose pitches are sounded one at a time The combination of two simple meters where the pulse cannot be divided into 2, 3 or 4 beats per measure augmented second An interval of a second having three half steps (C - D#) cadence A resting point in the music cantabile In a singing style chromatic half step A half step using the same letter name (C - C#) compound meter A meter in which the beat can be subdivided into groups of three consonance The mixing of sounds that blend well diatonic half step A half step spelled using two different letter names - a minor second (C - Db) diatonic whole step A whole step spelled using two different letter names - a major second (B - C#) diminished triad A triad made up of two minor thirds dissonance The mixing of sounds that do not blend well together, that produce a discord dolce Sweetly double flat Lowers a tone a whole step double sharp Raises a tone a whole step first inversion A triad that has its third as the lowest pitch triad harmonic minor A minor scale in which scale degree 7 is raised a half step scale lento A slow tempo major interval The intervals found in a major scale using scale degrees 1-2, 1-3, 1-6 and 1-7 marcato Marked, emphasized melodic minor A minor scale in which scale degrees 6 and 7 are raised one half step scale when ascending and which takes the natural minor form descending meter The organizing pattern of strong and weak beats minor interval An interval which is a half step smaller than the corresponding major interval minor second An interval of a second having one half step (C - Db) minor third An interval with three half steps, spelled as a skip natural minor scale A scale using the following whole and half step pattern: W-H-W-W-H-W-W

64

octave perfect interval piu mosso root position triad second inversion triad simple meter subito suite syncopation transposition triad root note triad fifth triad third

An interval of two notes that are eight steps apart and share the same name The intervals found in a major scale using scale degrees 1-1, 1-4, 1-5, 1-8 More motion, quicker A triad with its root as the lowest pitch A triad that has its fifth as the lowest pitch A meter in which the beat can be subdivided into groups of two Suddenly A collection or set of pieces that are related to each other in some way The emphasis of beats which are normally weak in a meter, an off-beat The performing or writing of music in a key other than the original key The note a triad is built on, giving the triad its name The highest pitch of a triad which is a fifth above the root The middle pitch of a triad which is a third above the root

Definitions: Online Flash Cards

Scan the QR code:
PrimoTheory.com Level 8 Definitions