Barbara Wharram Elementary Rudiments of Music Revised Edition edited by Kathleen Wood FREDERICK) HARRIS | MUSIC CZBarbara Wharram Bees. giiseseteesh. eee A Aah eesrre st Salaesaek fees im aa a Revised Edition % edited by = 2 Kathleen Wood Library and Archives Canada Cataloguing in Publication Wharram, Barbara Elementary rudiments of music / Barbara Wharram; edited by Kathleen Wood. — Rev. ed. ISBN 1-55440-01 1-2 1. Music theory-Elementary works. 2. Music theory-Elementary works-Problems, exercises, etc. I. Title. MT7.W55 2005 781 C€2005-903190-5 FREDERICK HARRIS © Copyright 2005 The Frederick Harris Music Co., Limited. MUSIC All Rights Reseverd ISBN 1-55440-011-2Preface to the Original Edition, 1969 ‘My sincere thanks for their criticism and advice go to several members ofthe teaching staff of the Royal Conservatory of Music of Toronto, especially Catherine Palmer, Margaret Parsons, and Clifford Poole, and also to the Principal Dr: David Ouchterlony, for their help and encouragement. Their assistance has been invaluable, ‘Throughout this book, the letter P before a paragraph number means that the Paragraph contains material relevant to Preliminary Rudiments. A paragraph matked 1 applies to Grade One Rudiments, and a paragraph marked 2, 10 Grade Two Rudiments Paragraphs that are marked Optional are not required for examination purposes, but contain additional information that may be helpful tothe student. Barbara Wharram LILO GOLASLS Na To my daughters, Heather and Pam,and my grandsons, Sean, Adam, Matt, and Kyle Preface to the Revised Edition, 2005 Elementary Rudiments of Music has been a well-loved and well-used staple of music students for almost forty years. In that time, although the book has received numerous printings and small corrections, no major changes were needed. With the revisions to ‘The Royal Conservatory of Music Theory Syllabus in 2002, a revised and expanded edition became necessary. The essential character of Barbara Wharram’s book remains intact: however, new material and an updated approach to language lend this new edition ' freshness and relevance that should appeal to a wide range of theory students of all ages. ‘Topics in theory are often interrelated. Therefore, the teacher and student are not expected to study one chapter alter another from beginning to end. Use the designations ‘of P. 1, and 2 asa guide to assist you in charting a logical course of sty. Kathleen Wood Chapter 1 Chapter 2 Chapter 3 Chapter 4. Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 CONTENTS Notation. The Music Staff Time Values Tones, Semitones, and Accidentals Major and Minor Scales. eee Major Scales Minor Seales Relative Majors and Minors ‘Other Scales and Modes Chromatie Scales The Whole Tone Scale The Blues Seale The Ociatonie Seale The Pentatonic Seale Modes Intervals... ee ree) Interval Type, Size, and Quality Inverted Intervals More about Inervals Chords Triads Iiwersions Dominant Seventh Chords Other Chord Types More about Chord Symbols Cadences and Melody Writing Cadence Types Inserting Cadences in a Tva-Phrase Melody Melody Writing with Cadences ‘Time poe 179) Simple Time Compound Time Synceparion and brregular Groups Mixed Meters Naming the Key, Transposition, and Detecting Errors. 206 Finding she Key of a Given Melody Transposition ‘Transposition Involving a Change of Key oF Clef Jnaroducrion to Transposing Instruments Detecting Errors in a Given Passage of Music Score Types... ‘Terms, Signs, and Abbreviations .. Talia, French, and German Terms ‘Signs and Abbreviations Dictionary of Terms and Form Analysis Questions and Test Papers Index of Subjects... Index of Composers and Sourespaz paz Piz Piz Piz CHAPTER | NOTATION ‘THE MUSIC STAFF 1. A NOTE is the name given to a sign that is used to represent a musical sound. It is ‘written ov a set of parallel lines called a STAPF, 2. These lines, and the spaces between them, are given the names of the first seven letters of the alphabet, A BCDEFG. FGABCDEFGABCDEFGABCDERG. ‘This many lines are dificult to read, and some of the lines are completely unnecessury 4 for the different voices, Middle C can he used by every voice, so the lines are divided = into two sets of five, leaving MIDDLE C between them, shown on a short ine only when it is needed. FGABCDE F ee 3. By the position of a note on this staff, you can tell its PITCI how high or how low its sound is. The higher up the not is on the staf, the higher its pitch willbe, = 4 and the lower down on the staff the lower its pitch will be ea 4. ACLEF (from the French word “clé” meaning key) is sign placed atthe begin of ech staf, which tells you the exact pitch of one particular line. Since the names Of the notes are in alphabetical order, if we ae given the name of one ine, we name the notes on al the other lines and spaces ofthat clef. 5. The most commonly used clefs are the TREBLE or G clef and the $s As you can see, the treble clef (which was originally written as «fancy capital G) curls ‘round Tine 2, which fixes this line as the G above middle C. ‘The bass clef (from an old form of the Jeter F) has two dots—one above and one below line fixing this line as the F below middle C. Therefore, the notes in the treble and bass clefs are: oe? ° BS =o CEGBDFFACE GBDFAACEG 2 6. Besides the treble and bass clfs, there used to be many others. Only one of these clef now remains. This is called the C clef [3 —and it fixes the place of middle C. ‘When it is placed on line 3, itis called the ALTO clef, and is used in music written for viola and alto trombone. mide © When itis placed on line 4, iis called the TENOR clef und is used in inasie written fos the tenor tombone. The tenor clef is sometimes used for the upper range of the cell, middle C ‘The notes in the ALTO clef are: ‘idle FAC EGGBDF “The notes in the TENOR clef sre: ° ——— = ‘wide DFACEEGBD ‘This iMlustration shows the relative position of the four elefs on the staff. treble ‘allo ee TenorP12 Jf you want to write notes that are higher or ower than will fit on the staff, you can extend the staff by adding LEDGER LINES. When putting STEMS on notes, be careful that you face them in the correct direction, For music with a single musical part in each staff, all the notes above the middle line should have their stems going down, and all the notes below the middie line should have their stems going up. The stem of a note on the third line can go up or down, bot down is preferred ‘These are all correct ee = Bur these are not: ‘When a group of notes is joined by a BEAM, the direction of the stems depends on which note is farthest away from the middle Line—the highest one or the lowest one. Here, E is father away from B than C is, so all the stems go up: e Here, E is farther away from B than G is, so all the stems go down: S ~ Cgo pa P12 EXERCISES 1, Write the following notes in the treble clef a) Fonaline b) Aina space ©) Gonaline ) Cin a space ©) Eonaline 1) Fina space 8) Bona line hy Din aspace 1) Gina space J) middle C 2. Write the following notes in the bass clef 2) Bin a space 9 Donatine ») Fonaline ®) Gina space ©) middle C h) Fina space ) Aonaline i) Gonalline ©) Bina space i) Cina space a bo 9 9 9 2» » »2 NOTE: If you need more experience in naming notes. practice on a separate sheet of staff paper. MORE EXERCISES 1. Name each of the following notes. P12 9, The lengths (or durations) of sounds are written as NOT 3. Write the following notes in the alto clef a) Aonaline f) Bina space b) Gonaline 8) Aina space ©) Dina space hn) midate C d) Fonaline i) Gina space ©) Bina space D Bonaline a) eee Olena 08 ae ike) 4, Write the following notes in the tenor elef. a) Donaline fy Fonaline b) Gina space 2) middle C ©) Aonaline b) Fima space d) Bina space i) Bina space e) Dina space j) Eonaline a) » oOo @ © 9 » TIME Vs JES. of different shapes. The lengths (or durations) of periods of silence are written as RESTS of different shapes, Here is a chart showing the different kinds of notes and their corresponding rests. or peeee end eel eae pee eee elec os ee eighth note d sigh res sineennnore | aN] ¥ | seen ees s thirty-second note thirty-second rest ~tee‘The relative time values of the above notes are: bi = ° evo 1 e ele ae Each note or rest in the chart has twice the value of the next one down, as shown in the following graph: P12 P12 12, P12 11, ADOT placed after a note or rest increases the length by one-half of ™ did ao did A. AS b= ber A second dot increases the length by one-half of the value ofthe first dot. Thus, d= dedad de di did ges ged ~tee For music with a single musieal part in euch staf, dots are placed as follows; For a note in a space, the dat goes in the same space:2 p12 13 “Another way of increasing the time value of a note is to use & ‘THE. This is a curved line joining two notes of the same pitch. It indicates that the second note is not to be sounded, but that the fist note is to be held for the combined duration of both. When a curved Tine is placed over notes of different pitch, jt is known as a SLUR, Do not confuse the tic and the slur. (For more about slurs, see Chapter 10, paragraph 18, P12 EXERCISES 1 Wite one note that is equal to the value of each of the following. = gee odd. ad = no oi - of o@ a? : i) sods , ee oe od. do DODD. Write three votes that are equal to the value of each of the following, » fddd - ) neddd. e eS eo es ey @y @ 3 a, j 6. 4 Write 00 rests that are equal tothe value of each of the following. »t y= = Complete the following statements. a) 2 quarter notes = by 1 half note ©) 3eighth nores = 4) 1 quarter note = ©) eighth notes - 1) Asixteenth notes = 8) 2 half notes = h) 1 whole note : i) A thiny-second notes = i) sixteenth notes k) 1 dotted quarter noe = ___ 1) Shalt notes = m) 4 half notes 1) 6 sixteenth notes ©} 1 dotted half note = queatern + 3 a — eighth motes sixteenth notes sixteenth notes quarter note. whole note eighth notes sixteenth notes _ eighth note cighth notes ‘whole notes breve note thiny-second notes quarter notes Write a single note (or a dotted note) which is equal to the value of each of the od dd. following. pee nid d. >perioral ag. is 2 8 em: om ad P12 15. A TONE (or WHOLE TONE) is equal to two semitones in succession, in the same 7 Write a single rest (or dotted rest) whieh is equal to the value ofeach ofthe e@ | P12 16. An accidental affects all the notes on its wa particular line or space for one compete a :. ‘measure, unless itis cancelled by another sigh, ot t= : Cg? ASHARP 4 ruses anote by ne semitone, Boo Cg? AFLAT blowers a note by one semitone, s ong. ne ye ge a or 4 »>9 94 og? A NATURAL cancels out a previous accidental, thus retuming ey the note to its original pitch. panei ADOUBLESHARP * raises a note by two semitones, ora whole tone e i 2 : Write a single note (or dotted note) which i equel tothe value of each of the es A DOUBLE FLAT fy lowers a note by two semitones or a whole tone following id > A group of one or more sharps or fats placed right after the clef sign is called a od ad: a) eg s = KEY SIGNATURE. This affects all the notes of those letter names throughout the e- GS _ A, piece, unless cancelled by another accidental. Key signatures are discussed further in 1 | ) ce ‘Chapter 2, with regard to scale: nda - 0 ed = yf E12 7. When s snine SAS ner ' S hen a semitone contains two notes with the same letter name, it is called a Jd ae 5 de) - e CHROMATIC SEMITONE 9 Aas c : Cre = be ONES, SEMITONES, AND ACCIDENTALS cl = ta f t “i in Western art music, a P12 14 A SEMITONEis the smallest distance beeen to sounds use in Wester at music 12 athe smal distance betwee nyt avn keys one plana, whee Bae py ¢ distance from one hey t0 the next Key with > and white, or white and white—that is, the distance f wv ° G 1 When a semitone contains two notes with different letter names, it is called a no ey between € i = DIATONIC SEMITONE, Hor Ab Aor Br Chor Db for ES Flor Gs God Ato = RP IRE WA NYENY e|> a _ ¢ t? : By = € | = my) polit Remember: Diatonic and Different both start with a D! e;9 c D EB iC cb) ve, But also note that there fs C to C$ (or Ds) is a semitone. Df (or Eb) to Bis a semiton cee acca tc ere sno Mkt tween hese es yesenne oJ be we | L16 P12. EXERCISES 3 ‘State whether euch of the following is a diatonic semitone, a chromatic semitone, or ‘a.whole tone, Woite a chromatic semitone above each of the following notes. Write a diatonic semitone above each of the following notes. ‘Write a chromatic semitone below each of the following notes. Write a diatonic semitone below each of the following notes. Give another name for each of the following notes. a) FA b)Bb__ ce) C___ d) Ab__e) F___ f) D4___ 9 Do_ ‘Name all the whole tones found between pairs of white keys on the piano. ‘Name all the whole tones found between pairs of black keys on the piano, lo) Cas oy <1 Se ep? Gre ee e.2 2 ae nneEngAnAaAs ry GUO OE W7 9. Write a whole tone above each of the following notes, 10, Write a whole tone below each of the following notes, 12 MORE EXERCISES 1. Complete the following statements. a) ‘ToTaise a § one semitone, you use a b) To lowers # one semitone, you use a ©) To lower a two semitones, you use a d) To raise a > one semitone, you use a ©) To lower a4 one semitone, you use a 1) Toraise a b two semitones, you use a 8) Toraise a 4 one semitone, you use a 1) To lower a two semitones, you use i) To lower a b-one semitone, you use a J) Toraison § 1wo se mes, You Use & 2. Write a chromatic semitone above each of the following notes, 3. Write a chromatic semitone below exch of the following notes,18 (CHAPTER 2 MAJOR AND MINOR SCALES MAJOR SCALES: A SCALE is a series of notes aoranged alphabetically and consecutively from any note (o its octaye. There are two kinds of scales in common use—DIATONIC and ‘CHROMATIC, A CHROMATIC scale (“chromatic” means colored) consists of all the twelve notes found between any note and its octave, all a semitone apart and all of equal importance, (This scale will be discussed Iater in Chapter 3.) Piz ih A DIATONIC SCALE (diatonic means “according to the tonic”) consists of only seven notes between any note and its octave, for example: CD EF GA BC. Notice that each ofthese seven notes has a different leter name. No letter is repeated, fr skipped. Fach has its own particular position in relation to the first note, which is, the TONIC or keynote. These seven notes are spaced out in tones and semitones, and the order or arrangement of these tones and semitones can produce different kinds of diatonic scales: |. Major 2. Minor 3. Other Diatonie Modes (These will be discussed in Chapter 3.) Pi2 2 Piz In all MAJOR SCALES, the tones (T) and semitones (ST) occur in the same order. ‘The notes or DEGREES of a scale are numbered in arabic numerals capped with a cara sign 0) hf 2 § 4 8 8 Fs Degrees of the sealer \ XSAN V/A YS Yost ge Spee If we only use the white notes on the keyboard, it wll be clearly seen that Cis the only note we can start om to produce a major scale that fas the (ones and semitones in the correct order = t Notice, for example, that if we take G as the keynote, the second semitone is in the ‘wrong place. =p 9 a ‘The F need 7 tied tobe altered by raising it to F sharp, to mike the necessary semitone between 7 and 8 1tis very important that the leer names not be changed, so that they fe | ; remain in alphabetical order, one note to each letter name, ea es . or i 3 3 4 8 é 4 8 a) : = 3 a) oe 3 oe Grd o.2 dana d = and a flat must be added to the B to make the required semitone between 3 and 4. © a —— Se oo ooo e os A a i 3 3 a 8 6 5 8 HR Seve vvUsGGUGUUauad In both these scales, the semitones are now in the correct plaves to produce the sound ‘of a major scale. From this we conclude that the key of G major contains one sharp: F sharp; and the key of F major contains one flat: B flat, P12 4 Forconvenience, instead of writing an accidental in front of each F or each B as they ‘occur throughout a piece, the sharps or flats are gathered together and placed atthe beginning of each staff, right after the clef, showing chat all dhe notes of thei letter names are to be played a5 sharps or flats throughout, unless cancelled by another accidental. This ycoup of accidentals is known us a KEY SIGNATURR. For example, the scale of D major with a key signature instead of accidentals is written as follows20 Pa2 5. 12 P12 6. 2 Opt. 7. MAJOR SCALES AND THEIR KEY SIGNATURES Memorize the following table. No.of's orb’s Sharp key Flat keys 0 c 1 G Fr 2 D Bb 3 A B 4 B % 3 B D> 6 Ft @ ce ‘There is an accepted order in which SHARPS must appear in key signatures: FCGDAEB ‘The FLATS must uppear in the reverse order: BEADGCF Hire is how they are placed on the staff BE ‘A scale may be divided into two halves, each of which is called a 'TETRACHORD. “Tetra” in Greek means four; terachord means four notes. A tetrachord, then, is hal a scale—that is, the first four or the last four consecutive notes of each scale. In a major scale the upper tetrachord has exactly the same order of tones and semitones as the lower one, and the two are separated by a whole tone, upper tetrachord_ eu « VEVUUUEUUGDS ANOS BARS Bee ee gS = < © cit ee) we? Cg? els ope oy Cys Gs es ei Gi» os aoe ene eal ao cia P12 NAMING DEGREES OF THE 12 ALE 8. ‘The degrees of a scale may be numbered in arabic numerals capped with a carat sign or in Roman numerals ‘The most important note of any scale or key is, of course, the keynote or TONIC the first degree of the scale, Almost as important us the TONIC is the DOMINANT (3 or V). This word is from the Latin “dominus.” meaning master. As will be discussed later, the chord built on the dominant is so strong that it “masters” the key. The fourth sale degre is called the SUBDOMINANT (do IV). ‘The Latin “sl means under: the subdominant i the dominant five degrees BELOW the tov, the “nderdominan Here is a complete list of the TECHNICAL NAMES for the degrees of the scale, i 1 Tonic 3 suPERTONIC ‘The Latin “super” means above: the note above the tonic. 30m) MEDIANT. The Latin “medius” means middle: the middle note between the tonic and the dominant 4 IV SUBDOMINANT $v DOMINANT 6 VI SUBMEDIANT ‘The third BELOW the tonic, midway between the tonie and the subdominant, the “undermediant.” LEADING NOTE A note necessary to the identity of a key. The leading note is always a semitone below the tonic and leads disectly to it2 Piz EXERCISES 1, Write the following scales in the treble clef, ascending only, using accidentals ‘stead of a key signature. Mark each semitone with a slur, and label the tonic, subdominant, and dominant notes. a) A major in half notes 1b) G major in dotted quarter notes, ©) F major in pairs of eighth notes 4) Ehisjor in whole notes 2. Write the following scales in the bass elef, ascending only, using the correct key signature for each. Mark each semitone with a slur, and label the tonic, subdominant, and dominant notes, a) major in dotted half notes &) Bomajor in whole notes ©) B major in quarter notes 4) ) Ab major in half notes | ‘ near 2eNNagnnong ee ol beh eo ee maaggagranannaaane ene —t ie St i) bbu Se BWUVGeoOUIVeuUIbuseds ve veo ‘aud a VVUVGYV 6 5) 2 Write the following scales in the treble clef, ascending and descending, using accidentals instead of a key signature. Mark each semitone with a slut and label the tonic, subdominant, and dominant notes, \ oS. a) E major in whole notes >) Abmajorin doted half nowes ©) © major in hatf notes 4) Bb major in pairs of eighth notes ©) Dimajor in quarter nates 4. Write the following scales in the bass clef, ascending and descending, using the ‘correct key signature for each, Mark each semitone with a slus, and label the tonic, subdominant, and dominant notes. 8) E> major in half notes 1b) G major in pairs of eighth notes ©) F major in dotted quarter notesw ‘Write the following key signatures in the treble clef, a) Ab major ©) By major b) E snajor @)D major a) » ° a) 6. Write the following key signatures in the bass clef a) F major ©) Bb major b) A major ) G major a » ° a) 7. Write the following notes in the treble clef, using the correct Key signature for each, a) the tonic of F major F ©) the dominant of A major ) the tonie of Eb major 5) the dominant of G major ) the dominant of D major 8) the tonic of Ab major 4) the subdominant of Bo major) the subdominant of E major ® b ° ® ° 5 a » 8. Write the following notes in the bass clef, using the corect key signature fo each 4 the tonie of E major ©) the dominant of Ab major ») the dominant of Bb major 1) the tonie of C major ©) the subdominant of F major —_g) the subdominant of G major © the subdominant of D major) the dominant of E> major a Dee) 4 9 D 2» ( hohe Us 2D cx ae JOws u SLL Od me VUVooSvvHuUuY JPVE ennnaan eu 19.9) vuve 3 -Sesnane 25 Write the following notes in the treble clef, using accidentals instead of key signatures 4) the tonic of G major ©) the subdominant of C major b) the subdominant of F major 0) the tonie of Bb major ©) the dominant of D major «) the dominant of E major 4) the dominant of Bb major 1) the subdominant of Eb major » 2 a 2 D 2 hy Write the following notes in the bass clef, using accidentals instead of key signarures. 2) the tonic of A major 6) the subdominant of Bb major ») the dominant of C major 4) the dominant of F major ©) the dominant of Eb major ) the subdominant of A major 4) the subdominant of G major fh) the tonic of D major » ° a 9 0 ® by Fill in the blanks in the following sentences. a) The key signature of D major 'b) The tonic of E> major is. ©) The key signature of A> major is, ) The major key that has three sharps is 2 is the key signature of major. 4) The majot key that has two flats is 8) The order of the first four sharps is 1) Semitones occur between __ and __, and __ and __in every major seale. {) The dominant of C major is 3) The names ofthe flats in Eb major are 1) The key signature of E major ig n 1m) The major key that has four flats s_—— 1) The fifth note of any scale is called the 0) ‘Avsale can be divided into wo the subdominant of __ major.oS 26 i) S vy p) Fis the dominant of __ major, 0) HE istorey seman ot — Oe anne eine 8) Ebis the subdominant of major. ©) The key that has no sharps or flats is ‘major. 12 MORE EXERCISES 1. Write the following notes in the treble clef, using the correct key signature for each, a) the mediant of B major f) the leading note of Eb major 1b) the dominant of F major ¢g) the subdominant of Cf major ©) the tonie of Gb major fy the dominant of Ab major 4) the submediant of D major 1 the supertonic of Bb major ) the supertonic of A major i) the leading note of E major » » ° ® 2 2. Write the following notes in the bass clef, using the correct Key signature for each, 2) the tonic of D> major £) the mediant of F# major ) the submediant of F major 28) the subdominant of ‘major 6) the superonic of C major by) the submediant of Ab major 2) the dominant of ES major 1) the mediant of Bb major ©) the leading note of G major j)the tonic of B major a) b ° 4 ° Dd yy Bay Ba ea yak LOO OO OF EO Enon VUVUYHVYVLOUUUUUUULULS bau 3. Write the following notes in the treble clef, using accidentals instcad of a key signature. 4) the subdominant of C major b) the tonic of Eb major ©) the dominant of D major 4) the mediant of A major ) the submediant of G major 4) the dominant of B major ) the supertonic of Ab major hy) the leading note of CH major ° p 2 ») a) ») ° 4d) 4, Write the following notes in the bass clef, using accidentals instead of a key signature, a) the leading note of A major b) the supertonie of Go major ©) the dominant of E’ major 4) the submediant of Bb major ©) the mediant of C# major £) the leading note of B major 1g} the supertonic of D major h) the subdominant of G major a by 9 ® °) p 2 hy 5. List the order of the sharps as they appear in a key signature. 6. List the order of the flats as they appear in a key 7. Name the major key and the technical degree naine of each of the following, it 0 degree: a key: one eee degree29 ©) G> major in whole notes 8. Name the major key and the technical degree name of each of the following, 11 Write the fotlowing scaes, ascending and descencing, inthe bass clef Use accidentals instead of a key signature, and mark the semitones with slurs. )-B major in quarter notes ) CE major in eighth notes GLE Fe Be tn 9, Write the following scales, ascending and descending, in the treble clef. Use accidentals instead of a key signature, and mark the semitones with slurs ) Go major in dotted half notes og. . VUOUGUVUUUUSUUUUUUGLULS HUE ) Fé major in half notes z & SS oy 12, Write the following scales, ascending and descending, in the bass clef. Use the ©) Comajor i quarter noes ai correct key signature for each, and mark the semitones with slurs. eG 2) FEmajor in dotted quarter notes, es. ©) Dh major in eighth notes a —————— ED b) Db major in whole notes — ee ue 10, Write the fottowing scales, ascending and descending, in the treble clef, Use the ae correct key signature for each, and mark the semitones with slurs oe ©) Chmajor in sixteenth notes © a) C# major in sixteenth notes on) E ——— 5-2 —————————— a2 =? b)B major in half notes 9 & qd : sy Leoo 13, Write the following scales in the treble clef, ascending only. Use the correct key —_ signature for each. Use whole notes ao a) the major scale whose key signature is five flats ay 'b) the major scale whose dominant is G# 3 ©) the major scale whose leading note is At : 1) the major scale whose key signature is six fats ee) {) the major scale whose supertonic is G# c3 1) the major scale whose mediantis E> " g) the major scale whose subdominant is F& 22 1h) the major scale whose submediant is GE 7. ’) the major scale whose leading note is F ce {the major seale whose mediant is G 3 a) ») 33 2 G3 22 ee) “| 3 o3 as ¥3 “= Ee => 22 bo as )— Ebmajor ad GC a oS = a] Cl ‘it i, a ‘Write the following scales in the alto clef, ascending and descending, Use accidentals ¢a instead of a key signature, and mark the semitones With slurs. Use whole notes. STILL MORE EXERCISES os a) A major S23 1, Write the following scales in the alto clef, ascending and descending. Use the comect “= key signature foreach, and mark the semitones with slurs, Use whole notes c= ay Bh major =e wee ‘b) Dp major — =? “3 oo es 3132 ) Abmajor SAN PO one se SUUEUUUUSUUUUUUUUUULOULUBUUUUUY 3. Write the following scales in the tenor clef, descending only. Use the correct key signature for each, and mark the semitones with slurs. Use whole notes. a) C major S = « a a) oe & LOD NALA ELS) yUU . &) Db major f) Fe major 8) Ab major 4, Write the following scales in the tenor clef, descending only. Use accidentals instead of a key signature, and mark the semitones with slurs. Use whole notes, a) Ce major @) B major ©) Bb major 1) D major 2) Gb majorme aed : 5, Write the following scales in the bass clef, ascending and descending. Use the S 4) D major, from leading note to leading note correct key signature, and mark the semitones with slurs, Use whole notes. . . : a) Bh major, from dominant to dominant a ————————l . ©) B major, from supertonie to supertonic LENO b) _E-major, trom supertonic to supertonic | VUGVVUUVUUOUVUUUYULUGUSELUL SEG Write the following scales in the alto clef, ascending and descending, Use the correct key signature, and mark the semitones with slurs. Use whole notes, ©) Db major, from subdominant to subdominant a) Absmajor, from dominant to dominant ed ©) Gmajor, rom s to submedian : ; nae eee ‘b) —-F# major, from leading note to leading note aS = —————— = & | o ° Jor, from tonic to tonic : ae eer © ©) Ghimajor, from supertonic to supertonic i © o & 8) B major, from subdominant to subdominant 6. Write the following seals in the treble clef, ascending and descending E Use accidentals instead of @ key signature, and mark the semitones with slurs. ~ ‘Use whole notes, wi 8) A major row mediant to mediant ©| ©) A major, from submediant to submediant © 1 er wo a b) FA major, from tonic to tonic So ; 3 eC | 3 == ———= =5 ©) major, fom dominant to dominant "Las © af? a]? a @36 8, Write the following scales in the tenor clef, ascending and descending, Use accidentals instead of a key signature, and mark the semitones with slurs. Use whole notes. a) Db major, from tonic to tonic b) EB major, from submediant to submediant ©) F major, from mediant to mediant 4)” C#major, from supertonic to supertonic ©) Bo major, from leading nove to leading note MINOR SCALES P12 9. Acthe beginning of this chapter, we noted two kinds of diatonic scales major and minor. The word “minor” means smaller, and these seals tne called boctse in them the interval ofa Sd fom 1 to 3 sone semitone smaller thn the conresponding interval in naj eae. $ oe major 7 aes = 3 Cminr, T 2 8 ‘Thats, there isa major 3ed between {and 3 ofa major scale, but a minor Sed between i and 3 of a minor scale. I is this diference inthe third degree (he median) that immediately idemities a scale a8 being major or minor imervals are discussed in Chapter) 3 2 = % é al § % enone BUEUGUSDUU no e { ey m5 = =2 or a) ee S,2 o> 2 a3 o 2 c | ee E32 e)/2 a? 2 a) ef 9 ey) ay 2 P12 Piz P12 P12 37 10, Here is the lower tetrachord of C major, compared to that of C minor, Notice thatthe position of the semitone has shifted, o =, oe fe, t Cee eee ot C minor: 203 4 ‘major 3rd minor 34a 11. Notice that, to begin with, we are making a comparison between a minor scale and its tonic major—that is, C minor as compared to C major. This is to enable you to hear ‘and understand clearly the differences between the minor and major modes, ‘A major scale and a minor seale that share the same tonic, as here, ate called YONIC MAJOR and TONIC MINOR. Thus, C major is the tonic major of C minor, and vice versa. ‘There are three kinds of minor scales, called NATURAL MINOR, HARMONIC MINOR, and MELODIC MINOR. The lower tetrachord is the same in all tree kinds, but the upper tetrachord is different, 12. NATURAL MINOR In the natural minor scale, the sixth and seventh degrees, as well as the third degree, are one semitone lower than in its tonic major. C major oe ame C minor, natura form % 1 = 2 oo o>? ot In the natural minor scale, semitones occur between 3 and 3 and between $ and 6, 13. Note that the natural minor scale has @ whole tone between the seventh scale degree and the tonic. Only a note that isa semitone below the tonic is called a “leading note.” When a whole tone separates these two notes, the seventh seale degree is called the SUBTONIC.38 Piz Pi2 Pi2 14, HARMONIC MINOR Of the three kinds of minor scales, this one is the most fundamental fo a sense of the ‘minor KRY. In the harmonic minor scale, the sixth degree as well as the third degree is one semitone lower than in its tonie major. leading C minor harmonic note % S = oS as = v8 Ee, ‘There are now three semitones in the harmonic minor: 5-8, 3-6, and 7-&, and there is a distance of a one-and-a-half or an augmented 2nd between 6 and 7. A careful study Of this new order of tones and semitones, with particular attention to the position of the augmented 2nd, is of vital importance. 15, MELODIC MINOR As the name implies, the effect of this minor scale is more melodic in character. ‘This is because in the upper tetrachord of the ascending scale, the slightly angular effect of the augmented 2nd is smoothed out by leaving the sixth degree as itis found in the tonic major, not lowering it as in the harmonic minor, In the descending scale, however, both 7 and 6 are lowered one semitone. Thus, there are two forms, one for ascending and one for descending. The lower tetrachord, as we have already said, is the same for both minors. leading ‘note C minor melodic, ascending C minor melodic, descending subronic _ S $o— ber ot ro = _y? e 2 In the melodic minor seal, semitones occur between 3 and 3, and between 7 and ascending, and between 6 and 8, and 3 and 3 descending. Notice that the descending melodic minor scale sounds the same as the natural minor scale, 16. MINOR KEY SIGNATURES First it should be stated that the same key signature is used forall three forms of a ‘minor scale—natural, harmonic, and melodie. An examination of the above examples in C minor will show chat at different times both B natural and B fat are used for the seventh degree, and both A natural and A flat forthe sixth degree (E flat and the other degrees remain unchanged.) But the problem is thatthe method used for selecting an adequate key signature is at best a compromise—there can be no key signature that ‘exactly meets all the requirements. % DOGO OA OD Bras yb VUUUGU SEUSS BUUU v VUUUGUU © © & & eeene VUBUUE ces Piz 39 ‘The solution to this dilemma is found by borrowing a key signature from the major that eserbles it most closely. Thu, it will be clear that the E> major signature is the closest to C minor in fat it can be vsed without any alteration for the natoral form ‘of C minor, and for the descending form of C melodic minor, being identical in every degree Bs major —————— Ww nor, natural form and melodic descending ‘Thus, the key signature of E> major is placed at the beginning of a piece of music in C minor, and the accidentals affecting the sixth and seventh degrees are added where necessary. € minor, natural form oo co C minor harmonic RELATIVE MAJORS AND MINORS, 17. A futhec study ofthese two scales—Eb major and C minor—will show tha: + Cis the sixth degree of Bb major: + his the third degree of C minor. + The two ronie notes are a minor 3rd (or three semitones) apart. ‘E> major is called the RELATIVE MAJOR of C minor, and C minor is called the RELATIVE MINOR of Eb major. Tht is, they both share the same key signature, snd in chat way are related. Every minor has its relative major, and in order to write a minor scale it is first necessary to find what that relative major is, and thus to know the key signature.40 Pi2 12 ‘The RELATIVE MAIOR of any minor key is found on the third note of that minor key. The RELATIVE MINOR of any major key is found on the sixth note of that major key. Therefore, to find the retative major, go up a 3rd, and to find the relative minor go down a 3rd, making sure in both cases that the new note is three semitones away from the old one. Example 1. The relative minor of C major is found on 6 of C major (six notes up or botter still three notes down), which is A. From A to Cis three semitones, s0 A tninor is the relative minor of C major, and has the same key signature of no sharps or fats Example 2. The relative major of A minor is found on 3 of A minor, which is C Since from A to C is three semitones, C major is the relative major of A minor, and hhas the same key signature of no sharps or flats ‘TABLE OF RELATIVE MAJOR AND MINOR KEYS, c A G E . : A Fe E ce > SS ORS lg 8 pee 7 i De = : ce — 9p =| Ae bi a o ~ @ cS S S G c ad VUIVGOUUUUUUUUsIUUEU UU S 3 glo ey a2 ~ bey ey? ep? oT? 12 Pi2 41 Major = Minor c A F D Bb G & c a r Db Bb Ge E> a & 19, NATURAL MINOR The natural minor scale sounds the same as its relative major scale starting from its sixth scale degree, When the natural minor scale is written using the key signature of its relative major, no additional accidentals are needed Bb major4 PL2 2. Jo write cither the harmonic or melodic form of the minor scale using the key signature of its relative major, certain adjustments need fo be made by means of ‘accidentals in order to produce the correct order of tones and semitones. HARMONIC MINOR “Look again atthe example of C minor harmonic on p. 38, and note again that the semitones are between 2-3, $6, and ?-8, with the toe and a half hetween & and 9, *Ceareful examination wil show that only one note neds aitraion-—that is, 7, which hast be raised one setone G minor harmonic (relative major: Bb) “aE Gis ee 744498 678 7 83 4498 i MELODIC MINOR Remembering the order of tones and semitones as seen in the example of minor melodic on p. 39, we see that two notes need altering—6 and 7—both of ‘which must be raised ome semitone in the ascending form, and lowered back again in the descending form. G minor melodic (elative major: Bb) SUMMARY ‘To write a natural minor seale, use the key signature of the relative major. ‘No additional accidentals are needed. ‘To write a harmonic minor scale, use the key signature of the relative major, and raise the leading note one semitone without changing its letter name, ‘To write a melodic minor scale, use the key signature of the relative major, and raise 6 and 7 ascending, and lower them descending, without changing their letter names. LO OOO OY eee LOG. eeUUTGFUUUFSUVOUUUEU Loma wy & P12 EXERCISES 1 [Name the relative major of the following minor keys. a) CH minor 4) B minor, ») A minor ©) G minor, ©) F minor: 8) E minor Name the relative minor of the following major keys. 3) Amajor 4) E-major: +b) Eb major 2) G major. ©) F major 1) Bb major Fill in the blanks in the following sentences. 2) The minor key whose key signature is one sharp is ) The key signature of B minor is ©) "The key signature of A major is ) ‘The major key whose key signature is four flats is ©) ‘The subdominant of D minor is 1) The minor key whose key signature is three sharps is 8) The key signature of Eb major is 1b) The dominant of F# minor is___. i) The major key whose key signature is two flats is, j) The key signature of F minor is, k) Tae minor key whose key signature is two flats is 1) The major key whose Key signature is one sharp is 1m) The key signature of C4 minor is 1a) The dominant of B minor is (9) The key signature of F major is ) The key signature of D minor is 4) The major key whose key signature is four sharps is —_. 1) The minor key whose key signature is three flats is __. 8) The key signature of D major is = 1) The subdominant of C# minor is‘Write the following scales in the treble clef, ascending and descending, Use the ‘correct key signature for each, and mark the semitones with slurs. Use whole notes. E minor, natural form 45 6. Write the following scales in the buss clef, ascending and descending. Use accidentals instead of a key signature. Use whole notes. a) Dminor melodic (C minor, natural form b) Eminor melodie FE minor, natural form Lo Oa ©) Cminor melodic Write the following scales in the treble clef, ascending and descending. Use the correct key signature for each, and label the tonic, subdominant, and dosninant notes. Use whole notes, SANG A minor harmonic (C4 minor harmonic nAnnocrenaneangaanan memes fl His fd o eSUUGUUUVUSUUUUUUUUUUUe VUE SUUS BUG Sor Fe minor melodie 7. Write the following scales in the treble clef, ascending and descending. Use accidentals instead of a key signature, and label the tonic, subdominant, and dominant notes. Use whole notes. a) Diminor, natural form ») —B minor, natural form ©) F minor, natural form8, Write the following scales in the bass clef, ascending and descending. Use the correct Key signature and label the tonic, subdominant, and dominant notes, Use whole notes. a) C minor harmonic >) Fé minor harmonic ) minor harmonic 4) D minor harmonic 9. Write the following scales in the treble clef, ascending and descending. Use accidentals instead of a key signature, Use whole notes. a) B minor melodic by Giminor melodic ©) Arminor melodie pha , OA e NORODOM IVUUUVUUUUUUeUUUUU GUUS Se > 2 = = > a 10, Write the following scales in the bass clef, ascending and descending. Use the correct key signature for each, and mark the semitones with slurs. Use whole notes. 8) G minor, natural forn | | b) A minor, natural form | ) CB minor, natural form 1) Fminor, natural forin 1. Write the following scales inthe weble clef, ascending and descending. Use accidentals instead of a key signature, and mark the semitones with slurs. Use whole noes. ) minor harmonic vi minor harmonic ©) Eminor harmonic4B 12, Write the following scales in the bass clef, ascending and descending. Use the correct key signature for each, and mark the semitones with slurs, Use whole notes. a) B minor melodic b)— F minor melodic ©) CE minor melodic @— Giminor melodie 13, Write the following scales in the bass clef, ascending and descending, Use accidentals, instead of a key signature, and mark the semitones with slurs. Use whole notes a) CA minor harmonic bP minor harmonic ©) A minor harmonic © Grminor harmonic an PHAM Nag t 12 14, a) by Cminor melodie ©) D minor melodic J) Eminor melodie ‘Write the following scales in the treble clef, ascending and descending. Use the correct key signature for cach, and mark the semitones with slurs, Use whole notes FH minor melodic MORE EXERCISES L a) Write the following scales in the teble clef, ascending and descending, Use the correct key signature for each, and mark the semitones with slurs. Use whole notes, (G# minor, natural form is six flats ° ”) ‘Ab minor, natural form the natural minor scale whose key signature is six sharps |50 ‘Write the following scales in the bass clef, ascending and descending. Use accidentals Jnstead of key signatures, and mark the sernitones with slurs. Use whole notes. 2. Bb minor, natural form the natural minor seule whose relative major is E )—Adminor, natural form 4) the natural minor scale whose relative major is Ab 3, Write the following scales in the treble clef, ascending and descending. Use the correct key signature for each, and mark the semitones with slurs. Use whole notes. a) Dif minor melodic b) the melodie minor seale whose relative major is D> BRO oo OA ® An GCUGGGY ¥ VO JUUUVUUVEVUU es sl Write the following scales in the treble clef, ascending and descending. Use accidentals instead of a key signature, and mark the semitones with slurs Use whole notes. a) A# minor melodic ! | b) the melodie minor sale whose telative major is G> | I] ¢} the melodic minor scale whose Key signature is five shaeps 5. Write the following seales in the bass clef, ascending and descending, using accidentals instead of a key signature, Use whole notes. 4) Bb minor melodie 'b) the melodie minor scale whose relative major is F ©) the melodic minor seale whose key si ©) the melodic minor seale whose key signature is seven flats ee JUGUUUUSGUUUU 6. Write the following scales in the bass clef, ascending and descending, using the correct key signature for each, Use whole notes. 8) E>minor harmonic32 ) the harmonic minor scale whose key signature js seven sharps 7. Write the following seals in the treble clef, ascending and descending, using the correct key signature for each. Use whole notes. a) Abmajor its relative minor, barmonic its tonic minor, melodic 6) Bbmajor its relative minor, harmonic its tonie minor, melodic | Write the following scales ascending and descending, in the bass clef, using the comrect key signature for each, Use whole notes. 48) the melodie minor scale whose supertonic is D b) the harmonic minor seale whose dominant is By © the melodic minor sale whose leading note is Gk We. its relative minor, melodic 4) the harmonic minor scale whose subdominant is E> VUUGUUUUUUU UU DUS DUUUU GUUS SIU its tonic minor, harmonic wu ») the harmonic minor seale whose mediantis A \ ee SAA° 9. Add the proper clef, key signature, and accidentals where necessary, to complete the following scales, 8) Ghmajor , E major ©) G minor melodie ) Ebmajor ©) EB minor harmonic 9) G4 minor harmonic STILL MORE EXERCISES 5 a) ») ‘Write the following scales in the given clefs, ascendi correct key signature for each, Use whole notes, ‘E> minor, natural form egnnnanangangna ling and descending. Use the ©, ——- j ay) sUU he eo VU renner ©) A4 minor, natural form 2. Write the following scales in the given clefs, ascending and descending, Use accidentals instead of a key signature. Use whole notes. a) F minor, natural form ©) CE minor, nataral form 3. Write the following scales in the alto clef, ascending and descending, using the correct key signature for each. Use whole notes. a) Abminor harmonic b)B minor melodic ©) Dé minor harmonic @)— G minor harmonicWrite the following scales in the tenor clef, ascending and descending, using the comrect key signature for each. Use whole notes a) C minor melodic b) G4 minor harmonic ©) E minor melodic @ Ff minor melodic ‘Write the following scales in the alto clef, ascending and descending, using accidentals instead of a key signature. Use whole notes. a) C minor harmonic b) — E minor harmonic ©) D minor melodie 4) F# minor harmonic JPN, Om UUVUGEUGEDU GGUS CoO DLO ANgnannnnnng FSUUGBEOU sengnanmens “ =~ @ 9 D o) PB) a ’ ST 6. Wit the following scales inthe tenor clef, ascending and descending, using accidentals instead ofa key signature. Use whole notes. a) B minor harmonic 7. Write the following scales in the given clets, ascending and descending, Use the correct Key signature for each, Use whole notes. 2) DE minor, natural form, from supertonie to supertonic }) G4 minor, natural form, from submediant to submediant = ; ©) Abminor, natural form, from subdominant to subdominant | 4) P minor, natural form, from dominant to dominant ©) By minor, natural form, from mediant to mediant ———38 8. Write the following scales, ascending and descending, in the bass clef. Use the correct key signature for each, and mark the semitones with slurs. Use whole notes. a) G#minor melodic, from dominant ro dominant b) —Cfminor harmonic, from subdominant to subdominant ‘¢) BE minor harmonic, from dominant to dominant !) Bo minor melodie, from tonic to tonic 2) Ff minor harmonic, from subdominant to subdominant Write the following scales in the alto clef, ascending and descending, using the correct key signature for each. Use whole notes. A minor melodic, from subdominant to subdominant ) FF minor harmonic, from leading note to leading note ©) Gé minor harmonic, from mediant to mediant & fgagnggngnnanannnnng | oe 3 9 4 from leading note to leading note ©) C minor melodic, from supertonic to supertonic f) > minor harmonic, from submediant co submediant 2) D minor harmonic, from dominant to dominant bh) Fe minor melodic, from supertonie to supertonic )) Bh minor harmonic, from subdominant to subdominant 10. Write the following scales in the tenor clef, ascending and descending, using the correct key signature for cach. Use whole notes, }) the major scale whose key signature is six sharps b) its relative minor, harmonic ©) its tonic minor, melodie11, Write the following scales in the bass clef, ascending and descending, using the correct key signature for each, Use whole notes. 8) the harmonic minor scale whose key signature is four sharps bb) its relative major 12, Add the proper clef, key signature, and accidentals where necessary to complete the following scales, 8) major, from mediant to mediant ») Gminor melodic, from submediant to submediant > SSeS oe =o & =. ©) Cf major, from submedtiant to submediant Pe minor harmonic, from tonie to tonie xo: ©) A minor melodic, from tonic to tonic — od <2 = £) _ E- minor melodic, from mediant to mediant NNO NonnInnAe 1® one JUGUUUVUUUS TUBE Cennarrgqnnag o9 ceanng UUUSETS e sVi rL 4 6 2) Br major, from dominant to dominant 5__o__o— 32? = 1h) C minor harmonic, from mediant to mediant i) Fminor harmonic, from supertoni to supertonie = a Se 9 13. Write the following scales in the treble clef, ascending and descending, using the correct key signature for each, Use whole notes, ®) — Ebmajor b)C minor, harmonic DE minor, harmonic ‘State the relationship of the first scale in question 13 to each of the others. relationship of a) to b) relationship of a) to ©) relationship of a) to d)ey 63 CHAPTER 3 * 312 3. CHROMATIC SCALES USING KEY SIGNATURES rm ; a ‘The chromatic scale can aso be written witha key signatre, Additonal accidentals OTHER SCALES AND MODES will be needed to form semitones; do ao forget the sharps or fats in the key signature ‘when writing the accidentals. bar fine after the fp note of Ue sale will ence al CHROMATIC SCALES preceding accidentals ut nt the key signature ‘A chromatic passage may occur in a piece of music that is in a major or minor key. 12 1. he term “scale” in its broadest sense means ladder, and this mans the orderly ‘The following examples show chromatic scales writen with the key signature forthe arrangement rising stepwise ofall the main notes found in the nasi ofa certain period of history ora certain country. The number of different scales that have been (and are being) used is enomnows; therefore, you should in no way limit your thinking about scales to the basic diatonic major and minor seales used in Western art music. ‘major scale with the same starting note. ‘To write a chromatic scale using the key signature of the tonie major scale, follow the steps outlined below. = As we mentioned in Chapter 2, a chromatic scale 5 1 It has twelve different notes; the thirteenth note ‘one made up entisely of semitones, aan octave from the starting note. There are several different ways of notating the chromatic scale, Regardless of which Write the key signature for the major key. = 2, Write the major scale, leaving spaces between each af the notes. method you use, de following two rules apply a) 3. Remember thatthe intervals between 44 and 7-8 of the major scale are already 1. Begin and end on the same letter name. Do not change the starting note = &) “3 semitones. ‘enharmonically (see p. 111). as 4. Fill in semitones between the other scale degrees: raise {, 3, 4, 3, and 6 ascending, 2. No letter name may occur more than twice in a row. (For example, do not write ! 9 and lower 7, 6, §, 8, and 3 descending. Db, Di, DE) te a) Example: F major scale = 12 2, CHROMATIC SCALES USING ACCIDENTALS ONLY cl When a chromatic cles writen without using key signature, acidenals ae used GD to mas nes ascending and Hower noes descending ar Hine athe top ofthe sale will cancel all the preceding accidentals and make it less complicated to write thee Aenoonding Sale a2 HF the stating note is natural or sharp note, use sharps ascenting and fats = descending. = Example: chromatie seale on C - > Example: Fd major seale Swe eeossa | SS = oe 63 ae ae re F eo # 3 44 $ 6 78% 6 $ 43 38 Ff Example: chromatic seale on C# oe chromatic scale on F¥ - shromatic 6 a ele - Benois a) a) Notice that he final note is CE eventhough all the other accidentals in the descending 3 Example: Gb major scale swe fan hs kien Ue tnag mic arto change eam Gy oo Ifthe starting note isa flat note, it may be necessary (0 use some flats or naturals going Gy 2 = up because of the mile agains using more than two of the same letter name in ap aapears succession, Switch to sharps as soon as possible in the ascending scale. Example: chromatic scale on D> hiromatic scale on G> ee ennag seuu =