A COMPREHENSIVE SOURCE FOR ALL MUSICIANS - yea ee 2 a : Se es Vv coy Keith Wyatt & Cet La hal Lalai a) My hac Ua Ir ahhh)ESSENTIAL CONCEPTS HARMON & THEOR by Keith Wyatt & Carl Schroeder Seu 0-738-7993-0 HAL*LEONARD® HRORATION “Sono 198 by HALLEONARO CORPDRATION Coors Copyign Serces At Pigs Reseed pa one puicaaneay be rence any 4 ery nian oa ine pot woen person of ro bie ‘i at Laon ating a “tovivltoenars.comIntroduction... : PART I: TOOLS—Notes, Rhythms, and Scales waranRwn— 10 u 2 B 14 6 6 v7 ParT ll: STRUCTURES—Chords and Chord Progressions ESSENTIAL CONCEPTS HARMONY & THEORY Contents Pitch Major Seales anc sharp Keys Flat Keys and Accidentals Intervals. Triads Note Values Time Signatures and Ties - Minor Scales. Pentatonic Scales Harmonizing the Major Scal Harmonizing the Minor Scale Dietonic Seventh Chords... Key Centers BIUES on Chord Inversion... Extended Chords .. Other Chord Types. PART lll: VARIATIONS—Harmony and Melody In the Real World 18 ee 19 ns in Minor Harmony... 20 Variations in Minor Melody 21 Modal interchange 22 Secondary Dominants 23. Altered Chords. 24 Altered Scales ... 25 Diminished Seventh Chords 26 Symmetrical Scaies.. 2] Diatonic Chord substicution 28 ‘Flat Five Substitution ......~ 28 Modulation .. Afterword 14 ‘Appendix I: Chord Symbols ... Van 44a ‘Appendix Il: Solutions to ExercisesTHe THEORY OF love Wenaede Nevorivy Meo. Suns yo “9 7G) aus aha : “= + = a +4 Se = ¥ j 3 = / 1G) cuit Cues, 07 ae | ge i =i SS =introduction he chait on the facing page tells a complete story, but Ws a story written in a spacial i language: the language of music. It contzins information that allows eny two musicians anywhere on this planet, speaking entirely diferent languages with their tongues, to play the samo piece of music on their instruments, To musicians who know the language, charts like this are the beginning point of musical conversation; to those who con't, they-ara just 2 fot of meaningless numers ‘and symbols, If this chart jooks more confusing than enlightening, thie Book is for you. ‘Harmony and Theory evelved through years of wilting, teaching, and revising the course ol the same name at Musicians Insitute. Ml is a hands-on musical 9erformance’ schac! that emphasizes the stage, not the classroom, so in this context the reasan for studying harmony and theory is practical, not intellectual. The goal of the course is simply to enable anyone playing any instrument in any popular style to pick up @ 500k of sheet music and understand what they see. The pointis to know tho language wall enough that you don't have to stop playing while you think about it—io be eble to use it asa tol tohelp you think more musically and thereby play better, quicker. As such, the knowledge contained in this book doen't replace good instrumental technique, playing experience, an accurate ear, or a sense of style, but t does provide a structure to te all of those essentials together, making you a complete musician. Most harmony and theory books approach the subject from a classical or compositicn-oriented perspective, but this one is for those whose tirst love Is playing aopular music in al its variations —rock, funk, blues, 209, country, jazz, ete. Many, if not mest, popular musicians first learn to play by ear and by feel, copying what others have done without necessarily knowing why it works. “Ear* and “feet” players also tend to be very unsure about the virtue of studying theary, caught between a sense of frustration at being musically iterate and a fear thet too much knowledge will got in the way of natural insplration Weitrounded musicians, however, lear to use their intellect to focus and enhance their oreatvity, much 8 an artist studies the inside of the human body in order to be better able t9 paint the outside. This book ig intended 16 give you an understanding of the intemal structure of everyday music so that instead of shying aviay from the printed page you can read it and get past it, back to the music itself {As teachers end authors, we have made a great many choices regarding what to put into this book ‘and what to leave out. New concepts are introduced by showing how and why they relate in practical terms fo understanding and performing popular music, In some cases, when there are several valid ways of explaining a certain idea, we have chosen to lessen confusion by limiting our explanation to the one apptoech we consider the most practical. This doesn't mean that otner approaches are wrong, but simply that tco many possiblities presented too eady stand In the vay of your ability to clearly see the fundamentals, What this book does not attempt to do is to show you detailed methods for improving, ‘arranging, or composing, While those Subjecis are reterre¢ to from time to time, the emphasis here is on Linderstanding the basic principles of music so that you can begin to read, study and listen 2s an educated musician, ‘Since this book is written by players for players, we considerit to be essential that you also play what you see in this book Only by getting these ideas off the page, anio an instrument (preferably keyboard ‘er guitar, so that you can play the chords}, and into your eat wil you gain the full practical benefit: You don't need to have much technique, only the willingness to take the time to figure out the notes so that ‘you can hear what's being described in words. Many times. a complicated idea will quickly make sense when you hear it connected to a farrier sound. ‘When you've finished this cok, look back at that chart again, and you'l see how everything on the page now tells a story. You will have begun to understand a language tnat expresses things no other language cen, and as a knowledgeable rmusician, you 190 wil now be partof the conversation. Carl Schroeder Keith WyattPart I: Tools Motes, Rhythms, and Scales No matter what the siyle or complexity, music can be most simply describad as organized sound, and the purpose of studying harmony and theory isto feam the methods by which sounds are orgenized in both large and small ways: The tist step in this stucy isto leain the writen language by which music ie communicated from ene musician fo another, The system of musical notation we use now has besn developed over hundreds of yea's and, the any language, continues to evolve. The capacity of these symbols fo pass along both the broad and subtie siemients of music are what allow a Chinose musician, for example, to perform a piece of music today just 2s @ Garman composer intardled it 300 yoars ago, or a guitar player to write a chert this alternoon and hear the band play # tonight. Its very important that you develop a clear, coneistont way of wring the various notes and rests $0 that otner musicians wil understand what you're saying, This involves a fair amount of repetiion—simaly crewing the symbols over and over unti may become natural io your hard. In the process, their mening will become clearer. so that you can think less about them as shepes and concentrate more on the music that comes from them, At he same time. itis very heloful if you study music reading on your instrument. By using notation in a practical way. you'll quickly get past the merely visual part and get 1o the music itselt. As with any language. it only becomes usable through constant applicationUsic is made up of sounds that that can be organized Inia three main elements: melody, BE er cere nce er en ay music notation, which allows @ reader to precisely locate and reproduce any musical ‘sound by means of a set of symbols that represent both the piten ot a no's (relative sense of high or low) and its rhythm (placement In time). We will look first 2t the symtols that represent pitch The system for rapresanting pitch is based on assigning a different name to each note. These note amas are tho same as the firet seven lettore of the alphabet (A, B, C, D, E, F, and G) and togethor are called the musical alphaber. In spite of the large number of rotes that can be produced by musical instruments, only seven note names are needed because the elghth rote, called the octave, has the seme sound as the first, but higher in pitch—and therefore uses the same letter name es the first note, ‘The octave is both the end of the first set of notes and the beginning of the next. Different instruments ‘are capable of producing sounds in differant ranges of pitch, some in many diferent octaves and some in only a few, but all of these pitches are notated with the same seven letter names. Fig, 1: the musical alphabet EBs ert {Coat ele en lid tom nei cr A penet iy ene we Ceca? j ok « @& 8 @ BH NeW we. oe ociave ‘To\provide a consistent way of measuring pitch, notes are placed on a grid of five lines and four spaces called the staff The lines and spaces are numbered fom low to high to aid in showing the particular location of a note. The higher the pitch, the higher the note is placed on the staff Fig, 2:the staff higher 1 lower Slines A spaces Because different instruments produce higher or lower ranges of pitch, the staff can.be made to represent different ranges of pitch by mears of a cie/ sign. Tha two most common clef signs are treble lef, which is used to notate higher-pitched sounds (e-g., the guitar, the right hand of the keyboard), and ass clef, which is used to netate lower-pitched sounds (e.g., the bass, the left hand of the keyboard). ‘These symbols, while universally recognized by their shape alone, ars carefully placed on the staf so that they draw attention to specific notes. Tho treble Glat (also called the "G clef) spirals around the line where the note "G” is located. Fig. 3: the treble clet WebieceThe treble clef is drawn in two paris, wilh each par drawn trom top to bottom, as shown below. Draw line of treble cats, being careful to end each spiral on the second ling, and to keep the shape clear and simple, EXERCISE 1: Drawing the Treble Clef ‘The bass clet (also called the “F cle) has dots on eltner side of the line where the note "F” is found ‘The bass clet is drawn as shown; center the dot at the end of the spiral on the fourth line akang with the two separate dots. Draw a line of bass clets, EXERCISE 2; Drawing the Bass Clef a SS Because the keyboard uses both the treble and bass clef, the two aro placed one above the other and joined together to form the grand stalf. This wey, both the highest andl lowest pitches can be seer and played togethe:. The note that fails between the two clels is called midale G; as ft befongs to neither Glef, tis drawn with a short fine of ts own. Fig. 5: the grand stett Ever since the modem staf was developed, verious mettiods have been used to help beginners memorize the names of the notes. One of the most traditional and effectiva methods is to memorize sentences in which the first letter of each word represen's thenctes in ascending order on either the lines orthe spaces of the treble or bass clefs. Here are the cassic sentences used by genetations of English speaking music students:Chapter 1 ‘Treble clef lines (in order fram low to high): E G B Dd ¥ The sentence is: Every Good Boy Does Fine ‘Treble clef spaces: 5 A c = Since the notes themsalvas spell the word “FACE.” this is a good enough reminder as is. Bass clef lines: @ ibs ei W The sentence is: Good Boys Do Fine Always Bass clef spaces: S(O Be 5g: ‘Tha sentence is) All Cows Eat Grass It has also been the traditional habit of music students to Invent their own versions of these memory- prompting devices using more personal sets of references. The more humerous or striking the image, the rove likely that it will be accurately remembered. Fes! irae to improviee. EXERCISE 9: Naming Notes on the Staff Name the notes written on the staff, Write the lettername of ach nate in the space provided. Ee = : = = oe = o Se — ——— =e EXERCISE 4: yrawing Notes on the Staff Draw the indicated notes within the staff in all possible octaves. (The first ane Is done for you.)Ita pitch extends beyond the range of eitver.o! the bvo clefs, this temporary extension is indicated by means of a short line (like that used to notate middie C). which is drawn through the note and called a Jedgerline. Ledger lines function lkethe lines of the staf, and notes can be placed between ths lines just as in the speces of a staff. Again, mamorization is. required: simply counting spaces ard lines alphabetically up or down trom the stafl works at frst, then with repetition the names become fami, Fig, 6: ledger lines a 6 & & & eo 7 a SS le = EXERCISE 6: Writing Notes on Ledger Lines Wiite the indicated notes on ledger lines \Wte the Indicated notes on ledger lines above the indicated cet, below the indicated clet. sg @ © FF 4 Se & ae 5 7 pes St = = —— = o£ of pi 8 10Major Scales and Sharp Keys | ow that we have a system for arranging pitches on the staff using musical notation, we will look at how pitches are organized into groups. Popular music, and almost all music anywhere in the world, is tonal; that is, is melodies and harmonies tend to be centered around a single musical pitch called a tonic, A group af pitches arranged in steps around @ tonic is called a scale, end the scale thai formns the basis of most matodies Is the mejor ‘scale. The major scale is also known 2s a clatonic scale, meaning thatit contains all seven notes of the musical alphabet (called scale degrees or steps), arranged in a specific pattern above the tonic. The prattarn, oF formula, for the major scale is mace up of an ascending sarias of whole steps (the equivalent of a two-tret span on a guitar or bass, or two keys on a keyboard) and haf steps (the distance of one iret | ‘or one key). This formula never varies, regardtess of the tonic on which it begins, The formula for the major scate, showing the distance from each nete of the scale to the next, is as follows: Fig. 1: the formula for the major scale i=GS4- & Gs 8 Sia Se wow HW WW RB (W= whole step, H = half step) Notice that the half steps eccur beween the third and fourth degrees and the seventh and eighth degrees of the scale. This formula is the same regardless of the letier name of the tonic, or key, on which the scale is built, so the scale can be moved, or transposed, to any key and still have the same sound. Applying the major scale formula to the kay of C, the resulting scale looks Fig. 2: the C major scale Cp GR SP san Re ce a= ae wow HW WoW #H in C major, the half steps occur between the notes E-F and B-C, These are called naturally occurring half steps, because the distarce betwaen these notesis naturally a half step, while the distance between ailofthe other notes is naturally a whole step. You can eesily 596 this on ¢ Keyboard because thesa pairs ofojes tava no black key between them. Since the key of C major can be played on the keyboard using ‘only white keys, it is the easiest key to see and play on that instrument. 1It a major scale starts on a torte other then ©, the major scale formula will require that modifications tbe made to the notes of the musical alphabet. To see why this Is; begin a major scale on the tonic G, and build the scale step by step according to the formula (W:W:H-W-W:W-H EXERCISE 1 Build a G major scale on the staff below. ‘The formula siates that there must be a whole step between the sixth and seventh degress, and 2 hall step between the seventh degree and the octave, but the naturally occurring half step between E and F causes a mismatch. The solution is to raise the seventh degree, F, by a hall slop in piteh, thereby increasing its distance trom £ and decreasing its cistance from G, the ostave, This is accomplished by using a sharp sign (3) in front of the F. A sharp sign has the effect of raising the folowing note one halt step in pitch. Fig, 3: the sharp sign When F is raised to Fi, the @ scale fits the major scale formula, This means that a G maj must always contain an Fé NOTE: When spoken, the sharp is said after the name of the rote, as it "F sharp“ Likewise, when written in text, the sharp follows the letter name: Fé. When writen as s.note on the staf, however, the sharp Is alvays written before the note, centered on exactly the same line or space as the note itselt EXERCISE 2 Write a sharp before each of the notes shown on the staff. Place the sharp slightly to the left of the note, centered on the same line or space, with the horizontal linas angled slightly up, as shown:Chapter 2 EXERCISES Each of the following major keys requires the use of sharps. Build the scales according to the formula, ‘adding the sharps where necessary. Dimgjor ES Because each of these scales always requires the use of one or more shams in its construction, for convenience, the sharps are callected at the beginning of a picce of music next to the ele! sign. This is called tne key signature, Placing the key signature at the beginning Indicates that the sharps are to be automatically applied throughout the piece in all octaves, (This saves the time that would otherwise be spent writing the sharps in front of each individual note.) Sharps in a key signature are written on the siatt in-a specific octave and order, which naver varies: F?, C2, : the order of sharps in a key signature SSS The key signature of Cf major coniains all seven sharps. All other sharp key signatures have fewer. For each sharp key signature, draiv the necessary number of sharps starting with F? and continuing, in ‘order, to the rightEXERCISE 4 Write the key signatures for each of the sharp keys next to the clef signs. eS SSS Co Itie important to bo able to quickly name the key signature for each maior kay, including the number and order of sharps, To help memorize the key signatures of sharp Keys, use this system: 4. Memorize these letters in order, forward and backward: fe seen eA eer erst eG eC eee 2, To name the key signature of a sharp key, count from right to left until you arrive at the letter name one sts9 in pitch below the tonic of the Key. This glves you the number and order of sharps in the key. For example: Question’ What is the key signature of 5 major? Answer: Disthe note one step in pltch below E. Counting the letters of the formula from right to fet, Dis the fourth letter. Theretore, the key signature of & ‘major contains four sharps. in order, they are Fé, C2, Gz, and D? 14Chapter 2 EXERCISE 5 ‘Complete the exercise by naming the numer and names of the sharps each key contains: | key Number of sharps Names of sharps (in ordat) D major Amajor re E major B major Fi major Ci major Itis equally important io be able to look at a key signature on the siaif and instantly name the key. When looking at a sharp key signature on the siaff, the tonic of the key is the note one hall step above the last sharp to the right. Looking at the key signature below, the last sharp to the right is A:, One half step above that note is B; therafora, the key signature ie B major. Fig. 5: recognizing sharp key signatures SS EXERCISE 6 Name the keys represented by the following key signatures: ox _—__ — —— — 15Flat Keys and Accidentals s-we have seen, major scaies in certain keys require the use of sharps in order to match sk the notes of the musical alphabet to the major scale formula. There are still other keys that must ba modified in another way to fit the forrmula, To sae why this is, begin a major scale ‘on the tone F; and build tie scale step by step according to the formula (add a clef sign): EXERCISE 1: The F Major Scale Build an F major scale on the steif below. ‘The formula requites that here be a naif step betwieen the third and fourth scale degrees and 2 whole step between the fourth and fith, but the naturally occurring half step between B and C causes 2 mismatch, The solution is to lower the fourth degree, 8, by a half step:in pitch, thereby decreasing iis distence from A and increasing its distance from C. This is accomplished by using @ fat sign (6) n front of the B.A lat sign has the effect of lowering the following note one half step in pitch. Fig. 1: the flat sign ts & ————— g = FG CoB ep EF PEMA Bibec gibiedin # —- When Bis lowered to BS, the F scale fits the major scale formula, This means that the F major scale must always contain a Bo. NOTE: Like sharps, the fet is spoken atter the name of the note but writtan en the staff before the note, centered on exactly the same line or space as the ote Itsolt. EXERCISE 2 \Write-@ flat before each of the noies shown on the siatt, Place the flat slightly to the left of the note, ‘with the open part centered on the same line or space as the nolehead, as shown.Chapter 2 EXERCISE 3 Each of the following major keys requires the use of flats. Build the scales according to tHe formula, ‘adding the flats where necessary. Key signatures caniain either sharps or flats, never Doth. Bh major 3 Bb major z 5 Db major Like the sharps, the flals are collected at the haginning of any piece of music in a fat Key to form the Key signature. Fiat key signatures are witten in a specific ordor and octave that does not vary. Fig. 2: the order of flats in a key signature aN iH i Ifless than seven flets are required ‘or the key cignature, draw the recassary nuimbar starting with the B? and continuing to the right.EXERCISE 4 White the key signatures for each of the flat keys naxt to the clef signs as described atove. It Js important to be able ta quickly name the key signature for each flat kay, including the number and order of flats, To help memorize tho kay signatures of fiat keys, use this system 1. Use the same formula that was memorized for stiarp keys: fo 6 A Mm ela & OF 2, To name the Key signature of a flat key, count irom left fo right until you acrive at the leter name of the key, then go ane more Isiter fo the right. This gives you the number and order of fats in the key. For example: ‘Question: Whats the key signatura of A> major? Answer Counting from left to tight, is the third letter; the next leiter to the right is D. Therefore, the key of A> contains four tats. In orcer, they are B>, E>, Ab, and Db.Chapter 3 itis equally important that you be able to look at a key sianture on the siafi and instantly name the key, When looking at a fiat kay signature on the statt the tone of the key is the same as the second flat trom the eight. Looking ai the key signature below, for instance, the second flat from tha right és O»; thretore, the key is Ob Fig. 3: recognizing flat key signatures NOTE: Vihen someone is speaking the name of a key, to know right away vihether @ is @ sharp kay or fit key, remember that all lat Keys, except the key of F have the word “fat“in their name, such as Befat, Eat, A-fat, ate. Enharmonics and Accidentals you count the number of flat keys (seven), the number of sharp Keys (saven), and add the key of G. the total number of keys is fifteen, yet there are only twelve haif steps in-an octave. The reason for this apparent contradiction is that seme pitchos have two names—spectfcally, O> and C#, Gh and F, Cb and B, When « pitch has two possible names, their relationship is described as. enharmonic. Enharmonic tones sound the same but are spelled differently. Depending on the nature of the instrument and tne context of the melody or harmony, one cf the two possible names usually emerges as the best choice in a given situation, EXERCISES Write the C# major and D> major scales on the staf, and compare them note for note, Are the two scales enharmonic? Chrajor Db major 19EXERCISE 6 Write the enharmonic equivalent next to each of the notes below. Remember the naturally occurring hail steps; thase wil affect some of your answers. (Watch the clef sign} é sharps and flats may also be used outside of a key sighature to temporarily change the pitch of a note to suit a particular melody or harmony, Wher this happens, tie sharps or fats are.called accidentals [third type of accidental exists, which cancels a previously applied sharp or flat itis called a natural sign. Natural signs, like sharps and fats, are drawn sligitly to the left and directly in frant of the note. Fig. 4: the natural sign Beat Benatural EXERCISE 7 Draw 2 natural sign betore each of the notes onthe staff. Place the natural sign to the jet of the note, with the open part centered on the same line or space, and with the horizontal ines angled slightly up, as shown.intervals stale is 2 pattern of notes cantered around @ tonic. Within that overall pattem are smaller patterns, right down to the relationships batween individual motes that form the building blocks of both melodies and harmonies. By knowing thas small relaticnships, it is easier to gin a much greater understanding of the larger patterns an to learn to control the emotional elfects they create in listeners. Interval Quantity The distance between any two musical tones |S dascrived as en interval. the tones are played one alter the other, as ina melody, they form a melodic interval. The names of the intervats ere based on the ‘umber of scale tones they contain. For example, the distance from C toD contains two scale tones, that ia, Cand 0; therafore itis a second intorval. The distance from C to E contains three scale tones, C-O-E, $0 itis. a third interval, Intervals-are the same whether measured from the lower note or from the upper note; for instance, the distance from E down to C, containing three scale tones E-D-C, is stil a third interval. Tho number of scale tones an interval contains is celled the interval quaniily. The quanity is counted the same way in any key. For instanca, the quantity ofthe interval B> uo to E>, containing four soale tones, &-C-D-E5, is a fourth interval; the presence oF flats does not alter the interval quantity. Likewise, the distance trom C? to G? is a fifth interval, because it contains five scale tones, E:-FLG?, and the ‘shayps do not affect the quantity. f the interval contains eight scale tones, itis called an octave; also, the distance batween two notas of exactly the same pitch (containing only one scale tone) is called a unison. EXEACISE + Name the interval quantity of each of the following intervals. Watch the cle quintiys fifeInterval Quality ‘Some intervals contain the same number of scale tones, yet still look and souns different, Fig. ‘Although both intervals abave contain three scale tones, the exact distance from C to E is different than that from C to Eb. interval quantity gives us @ general measurement of the size of the interval. The exact measurement is called the interval quality, which is the number of half staps the interval contains. Quality can be measured in comparison to the major scale. How To Name Interval Quality 4, Determine the quantity by counting the scale tones. 2, the upper note of the interval belongs to the major scale of the lower nole, name it as follows: oni second ——— ; perfect fifth = major seventt perfesr youve 2Chapter 4 3, If the upper note daes not belong to the mejor scale of the lower note, name it as follows: sits one halt step smatier than a major interval, itis ealled minor “itis one half step smaller than a periact or minor interval, itis called diminishad. «if itis one half step larger than a perfect or major interval, it's called augmented. 4 [___aupmented Eve E mejor perfect [minor _ | smaller | | diminished Fig. 2: interval qualities — = rleor 2ne magjor 3rd singe ded perfect unison major 2nd diminished 5th ‘augmented 5th perfece 4th ‘augmented th perfect Sth major 7 minor 70 perfecrocnve smajoc 6th minor 6th EXERCISE 2 Name the quality of each of the following intervals. Watch the clef quality: perfecr sehBuilding Intervals “To build @ melodie interval going up, think of the given nolo as “1 and count the number of mefor scale tones indicated by the cuantily, If the given interval is perfect or major the process is complete. I not, adjust the major scale interval up or down to match the desired qually. Fig. 3: building ascending melodic intervals jo 6 minor 6 ‘Fo build'a minor 6th Count up 6 scale tones... Adjust he interval fnetval fron G.. NOTE: Raising a note does not alvays imply the use of a sharp, nor does lowering note always, imply the use of a ft The Key signature of the lower Aate wil stermine which accidental, # ary, is appropriate. EXERCISE 3 Wilte the indicated intervals above the nates. Abbreviations for quality are as follows: M formejor P forpertect d for diminished 1m for minor ‘Afor augmented exPs M3 a = Pa PL 7 eChapter 4 To build descending melodic intervals, the bottom note must be raised or lowered to achieve the desired quality. Starting with the given note, count down the: number of letter names indicated by the ‘quaniity. Now measure the distance fram the lover ndte back to the upper. If the upper note belongs to ‘the major scale of the lower note and the desited interval is perfect or major, the process is complete. If ‘ot, adjust the Iower note up or down to achieve the proper quailty, Fig. 4: bullding descending melodic intervals 3 tones = minor 3rd major 3d Tobuild amajor3nd Countdown the number of tones ‘Adjust the lower note! down from C... indicated by the quanti. EXERCISE 4 Write the Incieated intervale bolow the notes. es a7 AS m2 Pe m3 MS If twa notes are played simultaneously, they form a harmonic interval. The quantity and quality ot harmonic intorvale Ie counted in exactly the samo way as that of melodie intervals. Fig. 5: melodic and harmonic intervals nneledic harmonic smote hermoaie 2 ———— SSS . pedest Sh perfect 50 imino 6s nino thWhen augmented or diminished Intervals ere formed in certain keys, the presence of existing sharps of fits in the key signature plus the raised or lowered fit interval can create a situation in which a pitch must be raised or lowered twice from its natural postion. This is eecorrplished by means of cocdentals called double sharps and double flets. The double sharp is formed by wiring an “xin front of the note. Fig. 6: the double sharp (double sharp) t= wgmented Sih ‘Tho double flat is formed by drawing two flats next to cach other in front of the note. Fig. 7: the double tlat (ouite Nav) ——— ae luninished 5b EXERCISE 5 i Identify the following intervals using these abbreviations to name the quality: M for major P for porfect d for diminished m for minor Aor augmentedmelodic interval—two notes, one alter the other—is the smatiest urit of melody. Likewise, A @ harmonic interva—two notes played together—is the smallest unit of harmony. It takes ‘wo oF more tones written or played simultaneously to form 2.chord. Most basic chords are made up of specific arrangements of three notes, and these are called triads. Understanding how to Build {and identify the, four types of triads is the first step toward understanding more complex chords and the progressions that are created when chords are put togather. The first note of a triad, which gives the triad its name, is the root The root has the same relationship to 2 triad as the tonic has to a scale; itis the fundamental nota. In addition to the root, a triad contains the note a third interval above the rcot, called the third, and the nete a fifth interval aove tha root, called fhe fife. Fig. 1: ¢ triad See root thiet «Rh triad root hind «RA triad ‘There are two types of trads that are extremely common: major tads and minor triads. Their Popularity is due to the fact that they are both consonant; that is, they heve a sound that is generally described as smooth, stable, or restful, Although both triad types contain a root, third, and ith, their mids ave diferent qualities, which gives them their distinct sounds, The quality of the third in the major triad s a mejor third, and the qualty of the third in the minor tiad is a minor third. Both triads contain a perfect fith, When written on chord charts, the letter name of the chord by itsalfis the symbol for & major triad— the lottar "C," for instance, ia the symbol for *C major’—while the minor triad is symbolized by the letter fame followed by “mi,” as in “Omi.” Like interval qualities, the difterences in triads are called triad quaities. SS —— z — + iF : Chie Comoe — Cnr ExenCIse 1 Name the quatity, major or minar, of each of these trieds. Use the letter name of the root for major triads and the fetter name plus “mi” for minor triacs. aEXERCISE 2 Build major triads above the following roots. EXERCISE 9 Build minor tiads above the following roots, In addition ‘© major and minor tiads, there aro ‘wo other lypas cf tad qualities. One is a tied containing a rool, major third, and augmented fifth; this is called an augmented triad. In the chord symbol ‘orthe augmented tried, the quality is symbolized by “+ as in "G+." The other triad quality contains 2 root ‘minor third, and diminished fith and is called a diminished triad. Its quality is symbolized by °° * as in {Cx" Augmented and diminished tiiads are considered dissanant—tense, ot even farting, These triads are used in chord progressions in ways that will be described later in this book. Fig. 3: C augmanted and C diminished ° | Cougmemed —C diminished 28Chapter 5 EXERCISE 4 Name the quality, augmented or diminished, of each of these triads: Use the appropriate chord symbols. EXERCISE 5 Build augmented tviads on each of the following roots. EXERCISE 6 Build diminished triads on each of the following roots: EXERCISE 7 Build the appropriate triads on the indicated mots.0 far, we have explored two of the three & scales and chords. In order to actually 0 to-arrange these notes in the context of time; that i play them. This brings us 10 the topic of rhythm —or Beats and Meter Ordinary clock time is divided into Musieal time is also divided into units of measur, regular rhythm of a piece of music. Just as seconds are grouped into minuies, {eccentad) and weak (unaccented) beats form the merer, 3, or 4 beats, ‘The meter usually consists of groups of strongest, and this pattem usually stays the same consistant backdrop for the melody and harmony. main elements of music: melody and he ony. Bath Of those elements involve arranging rotes according to various patterns enc formulas (9 form ertort is, ma piece of music, nowever, is alse essential tp know when and for how ong to itis necessary , ow pitshes ara placed in time. yatious units of measure, of which the smallest is one second. of which the smallest is the beat—the underlying, repetitive patterns of strong ‘of overall rhythmie feoling, of a piece of music. with the first beat of each group being the throughout @ piece of musi¢ in order to provide a To noiate myths on the stat, groups of beats are set apart fcom each otner by vertcal ines. called bar tinas, drawn in front of measures, or Bars. Fig, 4: bar lines and measures the first beat of each group. The space: 1s between the lines are called bar lines —————_ SSS sf Es oS iter Within the context of ne meter, the duration of ¢ of symbols: symbols for sound (nates) and symbols are most easily understood in relation ‘0 the most Cor ‘Anois thal occupies a whole measure of four be: resting onits side. lis Fig. 2: whole note and whole rest whole nete eS SS ‘equivatont rests the whole rest, which is suspended a See ee 7 ach individual pitch is indicated by means of two sets {for silonee (rests). The durations of notes and rests mmori metic grouping, four boats in 4 measure. led a whole mote. Itlooks like an ermpty oval ‘rom the fourth line of ihe staf. ats is cal hole 2s EXERCISE 1 Practice drawing whole notes and rests. 30Chapter 6 Arnote that lasts for half of a measure, or two beats) is called @ half note, The half note resembles a whole: note but with the addition of a stem attached to the notehead. If the pitch of the note ig on the middle line of the staff or above, the stem is attached to the left side of the notehead, pointing down. It the pitch of the note is below the middle line, the stem is attached to the right side of the noteheed, pointing up. The equivalent rast, the half rest sits on the third line of the staf Fig, 3; half notes and rests half notes half rests & o EXERCISE 2 Practice drawing halt notes and hait rests. A npte that lasts for one fourth of a measure, or one beat, is called a quarter note, The quarter note Jooks like a flled-in half note. The equivalent rest, the quarter rest, is drawn as show. Fig, 4: quarter notes and rests quar notes quarter rests EXERCISE 9 Practice drawing quarter notes and quarter rests. ions of the Beat ust as seconds in ordinary time may be divided into fractions for more precise measurement of, ay, a fooltace, beats may also be divided into smaller units of musical time to accurately represent rhythms smaller than the quarter note. ‘Arnote that lasts for one halt of a beat is called an eighth note, (Notice that it is also ono sighth of measure.) The eighth note is the same as a quarter rote but with 2 flag attached to the stem, which is alwayson the right side regardless of stem alrection. Generally, when two, three, or four eighth notes ‘eecuir nox‘ to one another, thoy are connected together by means of a beam, which reduces the clutter ol Separate flags, The equivelent rest, the eighth rest, also hes a single flag, which is drawn in the third ‘space as shown, (Eighth resis are not beamed—as a rule, use a single larger rest rather than a group of-small rests.) aFig. 5: eighth notes and rests c= cighth noes cigtih rests eighth notes boomed Ss EXERCISE 4 Se Practice crawing separate eighth notes, beamed eighth notes, and eighth rasts, “The smallest common note value lasts for one fourth ofa beat arid is called a sixtesnin note. Itis the game 2 an eighth rote but with two flags altached. When two or more sixteenth notes occur within & singla beat, they are connected by a double beam. The equivalent rest, the sixteenth rest, also has wo flags, which are drawn in the second ard third spaces of the staff. Fig, 6; sixteenth notes and rests sixteenth ests sixteenah notes eS 3 === =ee $ 2 © + = EXERCISE 5 Practice drawing separate sixteenth notes, beamed sixteenth notes, and rests. Eighth and sixteenth notas may be beamed together with eact other by the use of partial beam. Partial beams always paint inward, never outward. Fig, 7: partial beams Yi). Ni hte ND = FG a2——————————— t—“iNSS Chapter 6 EXERCISE 6 Aedaw the notes on the left side of the dash into one: group by means ¢f full oF partial beams. oh sera d AD - | SNM - ddd = hy CN = DdDD= When sixteenth notes are that individual beats can be clearly sees. Beams should group nates 0 t .od separately from the others: involved, each beat should be beam« SSeS SS ‘yon the melody maves up orcown within a group of ros, fofew eganeal diaoton ofthe notes bby anging the beem up or down. Fig, 9: beam angle : = SSS; a Wier beaming ledger firs, stems must be fong enough so that al beams are within the staff. Fig. 10: beaming with ledger li good ee ft a oe e £ a EXERCISE 7 How many ofthe notes or rasis onthe right side of the eausl sign does it take to equal the value if the note or rast on the left? / =. earl oe —— 9)EXERCISE 8 What single large note do these smaller note values add up to? ll d d Se deed an Js Fa sys fT iad Tia= — ddN AMD = Ja Jv ce Nelo} 4 J l= Tuned Mees cl 7 sid a ay Triplets When @ note is divided into three equal pars Instead of wo, the result is called a triplet A triplet cccupies the same ienath of time normally occupied by two notes of tne seme value. This is indicated by craving the number "3" above the group of notes and-— itis a querter-note triplet, halt-note triplet, or arial triplet of any kind—framing it wth a square bracket Fig, 11: triplets eriginal now double division 34Chapter 6 Rests and notes of the same value may be used in any combination sithin a tiple. ig. 12: triplets with rests Dotted Notes Placed immouistely after and parallel to a notehead ot rest, & dot increases the value of the note or rest by one half its normal duration. Thie makas i possible to’ create note values in between the normal | roles witnout inventing anew type of notation. Fig. 13: dotted notes and rests whole notes whole ress —= quartet notee aqusrer rests eighth notes eighth ress NOTE: The dotted whole rest is theoretically the equivalent of dotted ‘whole nate, but in practica a simple whole rest is often used to indicate the tolal duration of a measure, regardless of how ‘many beats there are in the measure.EXERCISE 9 Draw the single dotted nate or rest that is equivalent to the notes or rasts on the left side of the equal sign, J dag y ad | sod dS Sa Fe | ] i EXERCISE 10 What single large note do these smaller notes.add up to? 3 3 iS A fain = i eae rn w . 36Chapter 6 Spacing and Clarity Vihen waiting music, Wt is vary important to be extramaly cleer and organized $0 that/a musician reading the notes can understand what is intended. Clarity in wilting is essentially a matter of common sense} that is, the music should ook the way it sounds. ‘Comparing all of the note values, one can see that each smaller note value divides the previous note velue In two, so that two half notes or reste occupy the same amaunt of time as one whole note or rest, {wo quarter notes or rests occupy the same amount of tine as ono half note or rest, and s9 en, The same relationship is used when writing note values on the staf, so that a half note occupies twive the spece of a quarter note, etc, This keeps the appearance of the musicin proportion to the way tt sounds, and makes it much eaeier for a reader to interpret the music property the first time. | Fig, 14: proportionate spacing of note values beat t beat? beard beats 4 ! lend mas SS a2 oe 8 6 oe 6 EXERCISE 11 ‘The following example uses incorrect spacing, stems, and beams. Revrite the example on the staff provided using correct notation. SSTime Signatures and Ties $ explained in Chapter 6, meter is the grouping of beats into repetitive pattems, These are essentially a way to notate various dance rhythms that nave been popular at une time or encther, which are then labeled as musical styles. For example, here are the common beat patterns along wth aaa Oa ie yey ecxaeea tie assneshvr sales HU Vig cea ATO HS Fig. 1: meter and style Groups of 2: march, polka, samba, country music ‘Accent pattern ap - ple ap + ple STRONG + weak STRONG - week ‘Accent pattern BLUE - ber - BLUE - ber - | STRONG - weak - weak STRONG - weak - weak Groups of 3: waltzes (Viennese waltz, jaze waltz, country waltz) | | f . | Grotips of 4: most other popular styles, including rock, funk, jazz, blues, cisco, etc. ‘Accent pattern HOT - 90 ~ ta + 0 HOT po: ia - STHONG - weak - weak" - weak STRONG - weak - weak - weak (The third beat in a group of four generally receives an accent of its own.) Time Signatures The mejor ot a piece of musie is indicated at the beginning, just to the right of the key signature, by a symbol called the time signature. This consists of two numbers, ona above the other. The top number indicates how meny beats there are in each measure, usually 4. The bottom numbor Indicates which note value receives one beat, almost always the quarter note, also shown ty the number 4. Thus, the most comman time signature is 4/4, which is the basic meter of rack, funk, blues, and even most jazz and fusion. A time signature of 3/4 most commonly indicates a waltz, while 2/¢ is found in some country mus, some styles of Latin music, marches, and polkes. Fig, 2: time signatures 28