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MUSICAL THEORY
Christian Congregation in the UK October/2012
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Contents
1st Module.......................................................................................................................................1 Sound pitch, duration, intensity and timbre................................................................................1 Music melody, harmony and rhythm...........................................................................................2 The stave.........................................................................................................................................2 Ledger lines and spaces..................................................................................................................2 Musical notes..................................................................................................................................3 Clef.................................................................................................................................................3 2nd Module......................................................................................................................................9 Figures...........................................................................................................................................9 Bar (or Measure) .........................................................................................................................12 Time signature..........................................................................................................................12 Bar-line.....................................................................................................................................13 Solfege.......................................................................................................................................13 Lessons 1 and 2.....................................................................................................................14 3rd Module.....................................................................................................................................15 Interval simple, compound, melodic and harmonic..................................................................15 Fermata........................................................................................................................................16 Lessons 3, 4, 5 and 6....................................................................................................................17 Lessons 7, 8, 9, 10 and 11............................................................................................................18 Lessons 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22 and 23............................................................20 Hymn 11........................................................................................................................................21 4th Module....................................................................................................................................22 Lessons 24, 25, 26, 27, 28, 29 and 30..........................................................................................22 Lessons 31, 32, 33, 34, 35, 36, 37 and 38....................................................................................23 Lesson 39......................................................................................................................................24 Hymn 416......................................................................................................................................24
5th Module....................................................................................................................................25 Metric accent duple, triple and quadruple................................................................................25 Backbeat/off-beat..........................................................................................................................26 Lesson 40......................................................................................................................................27 Initial rhythms thetic, anacrustic and acephalous....................................................................27 Lessons 41, 42, 43, and 44...........................................................................................................28 Ligatures tie, slur and phrase mark..........................................................................................29 Lesson 45......................................................................................................................................30 6th Module....................................................................................................................................31 Dotted notes..................................................................................................................................31 Point of decrease staccato, soft staccato and staccato accented..............................................31 Lessons 46, 47 and 48..................................................................................................................33 Lessons 49, 50 and 51..................................................................................................................34 Lesson 52......................................................................................................................................35 7th Module....................................................................................................................................36 Syncopation..................................................................................................................................36 Syncopation regular and irregular............................................................................................37 Lessons 53, 54 and 55..................................................................................................................38 Lessons 56 and 57........................................................................................................................39 Lesson 58......................................................................................................................................40 8th Module....................................................................................................................................41 Tone and semitone........................................................................................................................41 Chromatic and diatonic semitone.................................................................................................41 Accidentals...................................................................................................................................41 Key signature................................................................................................................................42 Courtesy accidental......................................................................................................................43 Lessons 59, 60 and 61..................................................................................................................46 Lesson 62, 63, 64, 65 and 66........................................................................................................47 Lessons 67, 68, 69, 70, 71, 72 and 73..........................................................................................48
Lesson 74......................................................................................................................................49 9th Module....................................................................................................................................51 Tempo...........................................................................................................................................51 Dynamics......................................................................................................................................52 Lesson 75......................................................................................................................................53 Tuplet - triple................................................................................................................................54 Tuplet sextuples.........................................................................................................................55 Lesson 76......................................................................................................................................56 10th Module..................................................................................................................................57 Simple time signature...................................................................................................................57 Simple time signature duple, triple and quadruple...................................................................58 Lessons 77 and 78........................................................................................................................66 Lessons 79 and 80........................................................................................................................67 Lessons 81 and 82........................................................................................................................68 Lessons 83 and 84........................................................................................................................69 11th Module..................................................................................................................................70 Compound time signature.............................................................................................................70 Lesson 85......................................................................................................................................77 12th Module..................................................................................................................................78 Corresponding time signature simple x compound...................................................................78 Signals of tempo and repetition....................................................................................................80 Lesson 86......................................................................................................................................81 13th Module..................................................................................................................................82 Diatonic scales in major mode.....................................................................................................82 Order of the sharps accidentals in the key signature...................................................................83 Order of the flats accidentals in the key signature.......................................................................84 Lesson 87......................................................................................................................................86 14th Module..................................................................................................................................87 Diatonic minor scales...................................................................................................................87
Table of the major scales and their relative minors.....................................................................87 Natural minor scale......................................................................................................................87 Harmonic minor scale..................................................................................................................88 Melodic minor scale.....................................................................................................................88 Lesson 88......................................................................................................................................89 15th Module..................................................................................................................................90 Homonym scales...........................................................................................................................90 Enharmonic scales........................................................................................................................90 Chromatic scales..........................................................................................................................90 Lesson 89......................................................................................................................................93 16th Module..................................................................................................................................94 Tonality.........................................................................................................................................94 Scales or keys of the hymns..........................................................................................................95 Lesson 90......................................................................................................................................96
1st Module
SOUND Sound is a mechanical wave caused by vibrations transmitted through a solid, liquid or gas that stimulates the auditory nerves and produce the sensation of hearing. Sound can be divided into two definitions: irregular sound (when irregular vibrations are produced at intervals) and regular sound, or musical sound (when regular vibrations are produced by musical instruments or by singing). The elements of sound are four: Pitch the technical term used to describe how high or low a note is. In other words, the higher the note is on the staff the higher its pitch will be. Duration identifies how long a note or rest is to be played. Notes and rests have fractional durations. That means that all notes have length, however, the number of beats they require will depend on the time signature (usually located at the start of the first line on a musical composition). Intensity It is represented by additional markings to show the various degrees of changes in volume or loudness. Timbre the quality or sound of a voice or an instrument. A note of the same pitch can be played on several different instruments, such as violins, trumpets, clarinets, among others. In other words, Timbre is the attribute of sensation in terms of which a listener can judge that two sounds having the same loudness and pitch are dissimilar.
Questions and exercises 1 What is sound? 2 What are the definitions perceived by hearing? 3 How many and what are the elements of sound? 4 Define the elements of sound. 5 Provide three examples of sound that are perceived by hearing daily? 6 Give one example of musical sound and other of noise? 7 What is the longest sound youve ever heard? And the shortest sound?
Musical Theory Christian Congregation in the UK
MUSIC Music is something that you feel, something that you bring to someone else through organizing a set of sounds. The art of arranging tones in an orderly sequence so as to produce a unified and continuous composition.
Music has three fundamental elements, which are: Melody is a musical and successive line of single tones or pitches perceived as a unity. Harmony is the relation of notes to notes and chords to chords as they are played simultaneously. Rhythm is musical time. It is the most important element in music. It drives the music forward. Generally speaking, rhythm is the relative duration of sounds. Musical Notation - originated in European classical music (between 1750 and 1830) and is now used by musicians of many different genres across the globe. The system uses a five-line stave (composed of 5 lines and 4 spaces), notes and rests, time and key signature, clef, and so on. THE STAVE A stave is made up of five horizontal lines and four spaces, and it is on the stave that notes are represented. Lines and spaces are counted from bottom to top.
LEDGER LINES AND SPACES Additional lines may be added above and below the stave for notes that go above or below it. These particular lines and known as ledger lines.
MUSICAL NOTES A sign used and pitch of a sound. There are 7 notes: DO, RE, MI, FA, SOL, LA, SI (pitch increasing) or DO, RE, MI, FA, SOL, LA, SI (pitch decreasing) Note that this particular system (A, B, C, D, E, F, G) is still used in some North American and European countries, including in England and the rest of the United Kingdom. in musical notation to represent the relative duration
In music, a scale is a sequence of musical notes in ascending and descending order.Scales are typically listed from low to high and/or from high to low; in other words, ordered by increasing (or decreasing) pitch.
CLEFS
The first symbol that appears at the beginning of every music stave is a clef symbol, a large fancy symbol to the far left. The clef symbol is very important because it informs the musician which note (DO, RE, MI, FA, SOL, LA, SI) is found on each line or space. At the Christian Congregation in the UK, the most common clefs are the treble clef, the bass clef (pronounced base clef) and C clef (both the treble and the bass clefs can be found on our hymnbooks).
treble clef
C clef
bass clef
The treble clef (the large fancy symbol to the far left) shows the musician that the stave is treble. Since it curls around line 2, it is called treble clef. The treble stave begins with the first line as E/MI. Each successive space and line is the next letter in the musical alphabet. The stave ends with the last line as F/FA.
RE
MI
FA
SOL
LA
SI
DO
RE
MI
FA
SOL
The bass clef, also known as the FA clef because it locates the line known as FA, can also be found on the far left of the first line. The bass clef uses the same musical alphabet as the treble, but the notes start in different places. Instead of an MI, the bottom line is a SOL, and the notes proceed orderly from there. The lines on the bass cleft, from bottom to top, are SOL, SI, RE, FA and LA, and the spaces are LA, DO, MI and SOL. The high DO on the ledger line 1 above the staff corresponds to the central DO on the piano. At the Christian Congregation, musicians only use either the treble or bass clefs, sometimes both together. Instruments as violin, flute, clarinet and trumpet use the treble clef whilst the bass clef is used by cello, bassoon, trombone, tuba, etc. It is very important to notice which clef is on the staff when music is read. As musicians, we need to know a common point among the clefs. All of them must have the same pitch regardless of the clef.
SOL
DO
DO
DO
DO
FA
FA
See the table below:
SOL LA SI DO RE MI FA SOL LA SI DO RE MI FA SOL LA SI DO RE MI FA SOL LA SI DO
To be able to read music it is important to recognize quickly the note that corresponds to each line or space on the staff. This can be achieved with practice and patience. However, memorizing the order of the notes in the spaces and on the lines will help the student to learn them. In treble clef, the notes on the lines, from bottom to top are: MI, SOL, SI, RE and FA, as you can see below. In the spaces the notes are FA, LA, DO and MI.
Notes on the lines
Notes in the spaces
MI SOL SI RE FA
FA
LA
DO MI
Ledger Lines
RE DO SI LA SOL
SOL LA SI DO RE
Any notes can be written on a stave, from the lowest to the highest one, when matching a treble clef stave with a bass clef one. Middle DO is above the bass clef and below the treble clef, so together these two clefs cover much of the range of most voices and instruments. Normally, we use these two clefs to play the piano, the keyboard and the organ. Questions and exercises 1 Define the three fundamental elements of music. 2 What is musical notation? 3 What is the stave? 4 What are the ledger lines? How are they counted? 5 What is scale? 6 What is clef and what it is for? 7 How many and what are the clefs?
8 Draw all the clefs, writing the middle DO on them.
9 Explain melody, harmony and rhythm. 10 Which clefs are spelled on our hymnbook? 11 Search in the hymnbook: find a note on many ledger lines. 12 Name the notes below:
13 Write notes according to their names (pitch at your choice).
14 Draw and name the notes according to the direction of the arrow (as the example):
15 Name the notes in accordance with the clefs bellow:
2nd Module The musical notes are represented by little ovals on the stave and the position of each one corresponds to a pitch. A note can have up to three parts: note head, stem and flag. However, some notes may only have a note head; others, a note head and a stem. Here is a note with three parts.
Figures represent the rhythm in music. In other words, the length of each note or rest duration. Figures and rests form a set of signs that represent this duration. The table below shows the notes and rests we use in music. Notice that we start with the head (an oval), then add the stem (a vertical line), then fill in the head and subsequently add flags to the stems (round flicks attached to the stem). Some of these notes and rests cannot be found on our hymnbooks. The following table shows the value of each note and rest. They are the figures most commonly used.
UNDER LINE 4
ON LINE 3
All the figures have always a relation of double and half considering semibreve as our biggest note. Dividing it into two equal parts and we get a minim. That means that two minims together form a semibreve. See the table bellow:
Semibreve is the figure of longest duration currently used.
In order to make reading easier, quavers, semiquavers, demisemiquaver and hemi-demisemiquavers can be joined together with a horizontal line going across the top of their stems. Such notes are known as beamed notes.
The stem of the notes must be written:
1) upwards if the note is below the middle line;
2) upwards or downwards if the note is on the middle line;
3) downwards if the note is above the middle line;
4) upwards or downwards when presented on their own. When this note joins another note that is below the middle line, their stems must be written downwards. However, their stems must be written upwards in case the note is above the middle line.
The flag (or tail) of a note is always written on the right-hand-side of the stem.
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Questions and exercises 1 What are figures? What are they called? 2 What are the figures most commonly used? 3 What are rests? 4 What is the figure of longest duration currently used? 5 Draw the figures and their corresponding rest (write their names above them).
6 How many minims make a semibreve? 7 How many crotchets make a minim? 8 How many quavers make a crotchet? 9 How many semiquavers make a crotchet? 10 How many semiquavers make a minim? 11 How many hemi demisemiquavers make a quaver? 12 How many demisemiquavers make a semibreve? 13 How many demisemiquavers make a minim? 14 How many crotchets make a semibreve? 15 How many quavers make a minim?
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16 How many hemi demisemiquavers make a quaver? 17 Search in the hymnbook: a hymn containing 3 different rests. 18 Group the values in a unit value (as in the example).
BAR (OR MEASURE) In musical notation, a bar (or measure) is a segment of time defined by a given number of beats of a givenduration. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the top number of a time signature (such as 3/4). The word bar is more common in British English, while the word measure is more common in American English, although musicians generally understand both usages. These vertical lines are called bar, too, but often the term bar-line is used in order to make the distinction clear. The bars are divided into two categories: Simple (module 10) and Compound (module 11).
TIME SIGNATURE Time signature specifies how many beats there are in each bar or measure. It is represented as a fraction located at the beginning of a musical score.
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BAR-LINE Vertical black bars known as bar-lines divide the staff into bars (or measures). The stave is split into several bars, each bar having the same number of beats as all the others in the piece.
A double bar-line consists of two single bar-lines drawn close together, separating two sections within a piece.
A bar-line followed by a thicker bar-line indicates the end of a piece or movement.
The repeat bar-line looks like the bar-line found at the end of a piece of music, only that it comes with two dots next to it. The first repeat bar-line, with dots to its left, represents that the following piece needs to be repeated. The end of the piece to be repeated is indicated by a bar-line with dots to its right (examples: hymns 430 and 436).
SOLFEGE Solfege(French pronunciation: [sl.f]), also called sol-fa, or solfa, is the art of singing the musical intervals, following their heights (frequency or scale degrees) and rhythms recorded in a score. The Italian or French models are used to count the beats, obeying the metric structure. The student will be learning the Italian model in this material.
We will begin the study of solfege by using the treble clef and time signature simple 4/4, which is also represented by the letter C, in which each bar has four beats and a quarter is worth one beat.
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Scales of semibreves It is recommended to perform constant motion and not to stop at each bar.
Scales of minims Set proportion to lesson 1. The movement of the hand should be at the same speed so that the minim has half of the value of the semibreve.
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3rd Module
INTERVAL Interval is the distance between two notes. Intervals are always counted from the lower note to the higher one, with the lower note being counted as one. Pretend like you were placing the same note on two instruments; the interval between them would be one, or in unison playing the same note. By using a keyboard starting on the DO note, we can examine the basic interval from 2nd to 8th (octave) by using just the white keys (This is the DO scale and has no sharps or flats, the black keys). The interval can be of second, third, fourth, fifth, sixth, seventh or octave, and so on. An interval can be Simple or Compound. Simple Interval is an interval spanning at most one octave. In other words, it is not bigger than an octave.
Compound Interval is an interval spanning more than one octave.
Intervals can be: Melodic (horizontal or linear) occurs when two notes are played in sequence, one after the other. Ascending Descending
Harmonic (or vertical) - when two notes are played at the same time.
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Exercises Draw the second note in each bar according to the interval description shown above the stave. Intervals of second Intervals of third
Intervals of fourth
Intervals of fifth
Intervals of sixth
Intervals of seventh
Intervals of octave
FERMATA A fermata (also known as a hold, pause, colloquially a birds bird eye, or as a grand pause when placed on a note or a rest) is an element of musical notation indicating that the note should be sustained for longer than its note value would indicate. Exactly how much longer it is held is up to the discretion of the performer or conductor, but twice as long is not unusual. It is usually printed above ( ), but occasionally sionally below (upside down) ( ), the note that is to be held longer. Occasionally holds are also printed above rests or bar-lines, bar lines, indicating a pause of indefinite duration. Fermatas can occur at the end of a piece (or movement), or in the middle of a piece, ce, and be followed by either a brief rest or more notes. notes Examples of hymns with fermatas: 215, 273, 407, 410, 420, 424, 438, 440, 446, 448 and many others.
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Keep the same pace as of lesson 2; watch out for different intervals.
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Intervals of seventh
Intervals of octave
Summary of the intervals
Intervals of ninth
Intervals of tenth
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Mixed intervals
Scale of crotchets Set proportion to lesson with semibreves and minims. The movement of the hand should be at the same speed so that the crotchets have half of the value of the minims.
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Solfege hymn 11
1 It is recommended no to sing to prevent the student to do the solfege by ear. 2 At first, do only the solfege of the treble clef (soprano and contralto separately). 3 Explain how to do the solfege separating soprano from contralto.
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11. O eternal Father
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4th Module Scale of quavers Keep the speed of the lessons learned earlier. Remember now that two quavers make a crotchet.
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Scale with different figures Keep the same speed from beginning to end. Be careful not to accelerate on the semibreves and slow down on the quavers.
Short pieces and examples with rests merged with the notes.
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Solfege hymn 416
416. Hear, O children, Gods invitation
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5th Module
METRIC ACCENT The beats within a bar (or measure) obey various accentuations, that is to say, some strong (stressed) and some weak (unstressed). These accentuations make the metric accent; through them we can recognize whether the time signature is duple, triple or quadruple. Comment: On the parts of the beats or subdivisions of the beats, the metric accent keeps the same characteristics. Duple Time (two beats per bar)- 1st beat=Strongand 2nd beat=Weak
Triple Time (three beats) - 1st beat=Strong, 2nd beat=Weak and 3rd beat=Weak
Quadruple Time (four beats) - 1st beat=Strong, 2nd beat=Weak, 3rd beat=Medium and 4th beat=Weak
Questions and exercises 1 What is Metric Accent?
2 How do you accent the beats in a Simple Duple?
3 How do you accent the beats in a Simple Triple?
4 How do you accent the beats in a Simple Quadruple?
5 Howdo you accent the parts or subdivisions of a beat?

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6 Write the metric accents for the beats, and parts of beats that follow: Hymn 11
Hymn 416
BACKBEAT/OFF-BEAT A backbeat is a syncopated accentuation on the off beat, that is to say, for example, in a 4/4 time signature the off beats are the second and fourth beats. Off-beat is a musical term applied that emphasises the weak beats of a bar. Offbeat takes place where the down beat is replaced by a rest. Follow the example below:
Questions and exercises
1 What is backbeat?
2 Are there any hymns with backbeat/off-beat? If so, which are they?
3 Circle the backbeats/off-beats bellow:
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Lesson with backbeat
Take a close look at the hymns: 47, 371 and 406
INITIAL RHYTHMS As for the beginnings of a phrase, the rhythms may be called: thetic, anacrustic or acephalous. Thetic: begins on the strong beat of the bar. The bar has all its beats. Hymn 97
Anacrustic: begins on the weak beat of the bar. Bar does not have all its beats. Hymn 429
Comment: Normally hymns beginning with incomplete bars will have their last bars with the remaining beats. Nevertheless, this does not always happen (check hymn 443). Acephalous (headless): bars beginning with a rest, that is to say, an off-beat. The bar lacks some of its beats. Hymn 273
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Observe the following lessons and identify their initial rhythms!
Attention: The quavers may be written with their flags connected or not.
Exercises 1 Explain the 3 kinds of initial rhythms and give examples from the hymnbook. 2 Is there any example of acephalous rhythm on the hymnbook? 3 Search for 5 hymns with simple quadruple time signature that contain crotchet rest and 2 hymns containing quaver rest.
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LIGATURES Ligature is a curved line drawn above or bellow the notes. There are 3 sorts of ligatures. Tie A curved line connecting two notes of the same pitch. It is drawn above or below the notes. Hymn 426
Slur A curved line connecting notes of different pitches. Hymn 323
Phrase Mark A curved line appearing on various bars in a musical passage.
The way ligatures are implemented varies depending on the instruments. In wind instruments (as well as when we sing) ligatures should be carried out with a single breathing. Bowed string instruments should play in one bow movement. Keyboard or piano players should not raise their hands before playing all the notes contained in the ligatures. Ligatures are not used on rests!
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Hymn 370 has two examples of ligatures

Slur different pitches
Tie same pitches
Observe hymn 426
Questions 1 What is ligature?
2 Define the functions of the 3 ligatures.
3 Which types of ligatures are found in the hymnbook? Provide examples.
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6th Module
DOTTED NOTES A dot placed on the right side of the head of a note increases the note half of its own value. Rest can also be dotted. So, a dotted minim is worth tree crotchets. A dotted crotchet is worth tree quavers, and so on. We can add up to 3 dots to a note: thereby, the 2nd dot adds half of the value of the 1st dot and the 3rd dot adds half of the value of the 2nd dot. Execution Execution Execution
POINT OF DECREASE A dot placed on or under the head of a note transforms part of its value into rest. There are 3 different points of decrease: Staccato subtracts half of the value of the note (half is sound and the other is rest). Execution
Soft Staccato subtracts of the value of the note ( of the value is rest). Execution
Staccato accented subtracts of the value of the note ( of the value is sound and is rest). Execution
Comment: rests cannot be written with points of decrease.
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1 Define dotted note.
2 Can a rest be dotted?
3 Define point of decrease.
4 Define: staccato, soft staccato and staccato accented.
5 Give an example of a hymn with a note preceded by two dots.
6 Turn dotted notes into ties and ties into dotted notes.
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7 Draw the form of execution for the figures bellow:
Dotted notes one dot
Solfege hymns: 77, 117
Solfege hymns: 15, 27, 409, 435

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Solfege hymns: 417, 437, 447, 448, 450 Dotted notes two dots
Important to know! There are no dotted notes with three dots in the hymnbook, and only one with double dots. Solfege hymn 208
Mixed example
Compare the last bar of this lesson with the last bar of the lesson 56.
Rests can also be double dotted: Hymn 284
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Examples of dotted notes and ligatures Observe that, in some cases, the ligatures can be replaced by dotted notes.
Solfege hymns: 401, 418, 426, 446
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7th Module SYNCOPATION Syncopation is a figure that starts to be stressed in a part where it would not normally be stressed and carries on through a stressed part of the next beat. Syncopation can be presented in different forms, as followed: Hymn 406
syncopation
weak beat
medium beat syncopation syncopation
Hymn 428
syncopation
weak strong partpart
Hymn 316
syncopation
weak part
strong part
Hymn 405syncopation
syncopation
weak part
strong part
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There are two kinds of Syncopation: Regular or Irregular: Regular (same duration figures) Hymn 99
syncopation
crotchet + crotchet
Irregular (different duration figures) Hymn 190

syncopation
dotted crotchet + crotchet
Questions and exercises 1. What is Syncopation? 2. Name Hymns where Syncopation occurs. Are they regular or irregular? 3. Circle the Syncopations below:
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Syncopation exercises *Do not stress the syllables that represent notes covered with a slur, even if they are in a stressed part of the beat or in the stressed part in between the bar lines.
Mixed exercises
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Solfege hymns: 408, 428, 429 * Sing as if we were stressing the non-stressed part of the words, according to the Syncopation. * On the lesson 64: What is the difference at the end of the last bars?
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8th Module
TONE AND SEMITONE Semitone is the smallest interval commonly used in Western Music. In other words, it is the shortest distance between two sounds. There are two kinds of semitones: chromatic and diatonic (1 semitone = tone). Chromatic semitone it is formed by notes of the same staff position but with different sounds, in other words, that retaining the same letter name.
Diatonic semitone it is formed by notes with different letter names and different sounds.
Tone is an interval formed by two semitones. On the piano, the shortest distance between two notes is called a semitone.
ACCIDENTALS The keys on the piano are arranged in a pattern of black and white notes. Black notes take their names from the white notes. A black note to the right of a white note is higher in pitch and is identified by the white letter name plus the word sharp. Similarly, a black note to the left of a white note is lower in pitch and is identified by the white letter name plus the word flat. To cancel the sharp or flat a natural sign is used (). Sharp, flats and naturals are called accidentals and the effect of an accidental applies only to the note before which it is written, whenever it appears at that pitch in that bar.
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Lets first learn the accidentals functions individually: Sharp:
raises the pitch of a note a semitone.
Flat: lowers the pitch of a note a semitone. Double-sharp: Double-flat: Natural: - raises the pitch of a note two semitones. - lowers the pitch of a note two semitones.
- a sign to cancel the effect of all accidentals mentioned above.
flat natural
double-flat
sharp
natural
double-sharp
Key signature We could write all our music by using an accidental in front of every note we wanted to alter, but this would make our music very difficult to read. So, we collect our sharps or flats together and write them only at the beginning of every staff. We call this key signature. Key signature tells the musician that the accidentals are in effect throughout the piece. Order of sharps Order of flats
FA-DO-SOL-RE-LA-MI-SI
SI-MI-LA-RE-SOL-DO-FA
If it is necessary to alter the pitch of a particular note in the body of a song, a sharp or a flat or a natural is added to it. This added sharp, flat or natural does not continue on, but ends with the end of the bar in which it appears. Remember, as mentioned earlier, that a sharp or a flat or a natural in the body of a piece of music is called an accidental. Hymn 436
key signature
accidental
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Attention: a note that has been altered with an accidental at the end of bar and tied with the same note in the following bar will affect all the notes in that bar as well.
Courtesy accidental Although a bar line is understood to cancel the effect of an accidental (except for a tied note), often we will use acourtesy accidental (also called reminder accidental) as a reminder of the correct pitch if the same note occurs in the following bar. This usage varies, although a few situations are construed to require a courtesy accidental, such as: when the first note of a bar had an accidental applied to it in the previous bar. after a tie carries an accidental across a bar line, when the same note appears again in the subsequent bar. Hymn 58
sometimes it appears within parenthesis
Questions and exercises 1 What is an accidental?
2 Which are they? Define them.
3 Define key signature?
4 What is courtesy accidental?
5 What is semitone?
6 What is tone?
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7 Draw the accidentals: Flat Double-flat Sharp Double-flat Natural
8 Define Chromatic and Diatonic semitones.
9 Draw the accidentals correctly as the example bellow (use only chromatic notes).
Example: raise 1 semitone lower 1 st raise 1 st lower 1 st lower 1 st
raise 1 st
lower 1 st
raise 1 st
lower 1 st
lower 1 st
raise 1 st
lower 1 st
raise 1 st
raise 1 st
raise 1 st
lower 1 st
raise 1 st
lower 2 st
raise 2 st
lower 1 st
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10 Indicate the chromatic and diatonic semitones.
11 Draw the chromatic and diatonic semitones with the first notes already altered.
Example: chromatic diatonic
12 Determine the functions of each accidental.

Example: lowed 1 st
13 Try to find in the hymnbook examples of key signature, accidentals and courtesy accidentals.
Scales of semiquavers
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*Keep a consistent speed, and observe subdivision to keep the bars equal without varying in speed.
Solfege hymn:93
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*Do not slow down on the semiquavers!
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Summary of all intervals
Mixed intervals
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Scales of demisemiquavers
*Do not rush on the minims, crotchets, quavers and rests; do not slow down on the demisemiquavers.
From here, the student should: continue to do the exercises and to answer the questions; return to the beginning and learn the lessons in F/bass clef; simultaneously, continue to learn the lessons in G/treble clef; do the solfege in F/bass clef of all suggested hymns (tenor and bass).
Exercises 1 Name the notes bellow:
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2 Draw the notes in accordance with their names (any pitch):
DO
SOL
RE
MI
SI
LA
FA
SOL
SI
RE
MI
SOL
SI
FA
DO
MI
LA
RE
DO
MI
SOL
FA
SI
LA
3 Observing the direction of the arrow, draw the note immediately above or below each note, and name it.
50
9th Module
TEMPO In music, tempo is the speed or pace of a given piece. Tempo is a key element of any musical composition. The tempo of a piece will typically be written on the stave, at the start of a piece of music and indicates that a certain number of beats must be played per minute (bpm). The greater the tempo, the larger the number of beats that must be played in a minute is, and, therefore, the faster a piece of music must be played. The tempo is usually indicated by Italian words.
Andante
Allegro
Words that are more often used:
Largo very slow (40-60) Slow tempos 40-76 bpm Larghetto rather broadly (60-66) Adagio less and stately at ease (66-76)
Andante at a walking pace (76-108) Moderate tempos 76-120 bpm Moderato moderate speed (108-120)
Allegro fast (120-168) Faster tempos 120-208 bpm Presto very fast (168-200) Prestissimo the fastest of all (200-208)
Note: in the hymnbook, the word Moderato, that is located at the beginning of some hymns, is an indication to execute the hymn obeying a moderate tempo, not too fast.
51
It is also common to see tempos being indicated by names of traditional dances: Tempo di Mazurka Tempo di Marcia Tempo di Valzer Tempo di Polaca (or alla Polaca) Mazurka tempo March tempo Waltz tempo Moderately
Some momentary changes, partial, are indicated with the following terms: accelerando-afrettando-stringendo-stretto rallentando-ritenendo-allargando-rilasciando Ad lib. (Ad libitum) A piac. (A piacere) = = = speed up slow down at ease
The expression in tempo = return to the initial tempo
Dynamics Dynamics mark the relative changes in intensity, that is to say, control the volume of a song, and may be signified by words, symbols or both. These are the most common words and their abbreviations:
52
Besides the words with their abbreviations, the following signs are frequently used to increase or decrease the intensity of sound:
Increasing
Decreasing
It is also common to use both signs consecutively.
ADVANCED SOLFEGE
Attention: from this lesson, all concepts studied earlier will be effectuated. Therefore, the student must be sure of the exact division and subdivision of the beats, and fast and efficient reading of the notes.
Largo
53
TUPLET In music, a tuplet is any consecutive group of note whose note values involve a fraction. This is indicated by a number (or sometimes two), indicating the fraction involved. Whereas normally two crotchets are the same duration as a minim, three triplet crotchets total the same duration, so the duration of a triplet crotchet is 2/3 duration of a standard crotchet. Similarly, three triplet quavers are equal in duration to one crotchet. Tuplets can be made up of different note values, duration, notes and rests (in between the tuplet). The established division can be altered with less notes or more notes within the tuplet. Example:
If the notes are beamed together, the bracket or slur maybe omitted and the number is written over the beam. Triple is a group of three notes that are performed in the space normally allotted for two of the same kind of note. Example:
Hymn 156
Other possible examples: Hymn 148
simple
with the first note connected
54
Sextuplets it is a group of six notes that are performed in the space normally allotted for four of the same kind (not examples of sextuples in the hymnbook).
Other possible examples:
Other example of tuplets: two notes in the place of three.
Attention: as you do the solfege or play a triplet, never accent the last note of the three.
1 What is a tuplet?
2 What is found over a group of tuplet?
3 Are the tuplets only made up of the same types of notes? Give examples from this book and hymnbook of tuplets made up of different note values.
4 What are triplets?
5 What are sextuples?
6 Find in the hymnbook examples of triplets.
55
7 Draw the following groups of tuplets: a) If one crotchet is worth 1 beat, make 3 notes fit into 1 beat.
b) If one minim is worth 1 beat, make 6 notes fit into 1 beat.
c) If one crotchet is worth 1 beat, make 6 notes fit into 1 beat.
d) If one crotchet is worth 1 beat, make 3 notes fit into beat.
*When doing the solfege, be careful to not accentuate the last note. See again module 5.It is important to compare since the three examples bellow are different:
*The first note of the triplets should receive a slight accent, as the word music.
56
10th Module
SIMPLE TIME SIGNATURE Lines drawn across the stave divide the music into bars. These divide the music into equal parts, each bar having the same number of beats as all the others in the music. To make plain how many beats a composer wants in each bar, and what each bar is worth, two figures are written, one above the other, at the beginning of the music. The upper figure states how many beats in each bar. The lower figure tells us what each beat is worth. These figures are called the time signature. Time signatures are divided into two classes: Simple and Compound (in this module we will learn Simple time signature). Simple time signature is a time signature in which each beat is divided into 2 equal parts, that is to say, each beat (or division) has two subdivisions. Example: 2/4 2 upper number (number of beats in a bar) 4 lower number (number of representation of the figure that is worth 1 beat)
Upper number 2 simpleduple 3 simple triple 4 5 7
simple quadruple simple quintuple simple septuple
Lower number
16
32
64
57
As for its forms, simple time signature may be: Duple (two beats)
Triple (three beats)
Quadruple (four beats)
Note: No details about simple quintuple and septuplewill be learned in this book since they will not be found in the hymnbook. In the subdivision of simple time signature (duple subdivision), the metric accent of the parts of a beat are: 1st part, strong, and 2nd part, weak.
58
1 What is a bar (or measure)?
2 In music, do the musical figures (notes) have a determined value or an undetermined value? Explain.
3 What is a beat?
4 How many classes are time signatures divided in?
5 What is time signature?
6 What is a simple time signature?
7 What does the upper number in the time signature stand for?
8 What does the lower number in the time signature stand for?
9 What is time signature?
10Which numbers are used as beats in simple time signature?
11 Which numbers are used as lower numbers in simple time signature?
12 Each figure (note) has a corresponding number. Which numbers are they?
59
13 Determine the division (beats), subdivision (parts of beat), the note that is worth one beat, and the note (only one) that is worth the whole bar. Example:
Note that is worth the whole bar
Division
Note that is worth one beat
Subdivision
60
14 Determine, by drawing, the figures of the notes in accordance with the time signature. Example:
1 beat 1 beat 1 beat
4 4
2 beats beat beat 1 beat beat
3 4
3 8
2 beats 3 beats beat 1 beat beat
1 beat
1 beat
1 beat
2 4
2 2
3 2
3 beats beat 2 beat beat beat
61
15 Determine: a) the note that is worth 1 beat in a 3/2.
b) the note that is worth 2 beats in a 4/8.
c) the note that is worth beat in a C.
d) the note that is worth 3 beats in a 4/16.
e) the note that is worth 1 beat and a half in a 2/4.
f)
the note that is worth 1 beat and a half in a 3/8.
16 Number the beats and add bar lines when necessary according to the time signature. Example:
62
17 Complete the bars drawing notes or rests: Example:
18 Which are the simple time signatures for the bars bellow? Example:
63
19 Find the value of the note first and answer in which simple time signatures a...
64
20 Searching through the hymnbook, copy the first two bars (only soprano), number the beats, and tell which hymn you have chosen.
21 In hymn 208, what is the value of a double dotted crotchet?
22 In hymn 394, what is the value of a quaver?
23 In hymn 190, what is the value of a dotted crotchet and a crotchet connected with a tie?
24 In hymn 316, provide the values for the notes bellow:
65
Andantino
Larghetto
66
Crotchet worthing 1 beat in simple triple time signature Larghetto
Larghetto Mosso
Solfege hymns: 80, 87, 90, 135, 156, 365, 373, 423
67
Remember: minim is worth 1 beat in 2/2.
Andante
Allegro Moderato
68
Solfege hymns: 240, 263, 266, 395, 441 Allegro Moderato Assai
Solfege hymn: 244 Andante Mosso
Solfege hymn: 394

69
11th Module
COMPOUND TIME SIGNATURE The top figure of a compound time signature states how many subdivisions of the beat in each bar; it is three times that in simple time signature. The bottom figure states the value of each subdivision. For example, 3/4 becomes 9/8 or three dotted crotchets. The nine states that there are nine subdivisions of the dotted crotchet (three to each of the three crotchets). The eight states that the value of each subdivision is a quaver. Example: 9/8 9 number of subdivisions (9 subdivisions in each bar) 8 figure that represents the value of each subdivision
Upper number 6
compound duple
9
compound triple
12
15
21
compound quadruple compound quintuple compound septuple
Lower number
16
32
64
So, to find the number of beats in a bar of compound time, divide the top figure by three. To find the value of each beat divide the bottom figure by two and dot the answer.Conversely, to find the compound equivalent time signature of a simple time signature, multiply the top figure of the simple time signature by three and the bottom figure of the simple time signature by two. See the main differences between Simple and Compound Time Signature:
Simple The beat or division is a simple value Lower number represents the note that is worth one beat Top number tells how many beats in each bar Top number are always 2 - 3 - 4 - 5 - 7 Compound The beat or division is a dotted value Lower number represents the note that is worth 1/3 of a beat or 1 subdivision Top number tells how many subdivisions in each bar Top number are always 6 - 9 - 12 - 15 - 21
70
The metric accent in both simple and compound time signatures has the same characteristics regarding to their beats (or divisions). However, while in simple time signature the metric accent follows a binary subdivision (when each of its beats is divided in two), in compound time signature the metric accent follows a ternary subdivision (when each of its beats is divided in three).
Division S w S w w S w M w
Parts of beat S (subdivisions)
ww
S ww S wwSww
Sww SwwSwwSww
Observe in the hymnbook, hymns containing syncopation in compound time signature: syncopation with ties: 142, 229, 282, 342, 355, etc. syncopation without ties: 99, 230, etc.
1 What is compound time signature?
2 What does the upper number represent in compound time signature?
3 Which are the upper numbers in compound time signature?
4 - What does the lower number represent in compound time signature?
5Which are the lower numbers in compound time signature?
6 What do you have to do to find the note that is worth one beat in a compound time signature?
71
7 - Determine the division (beats), subdivision (parts of beat), the note that is worth one beat, and the note (only one) that is worth the whole bar. Example:
Division Note that is worth one beat Note that is worth the whole bar
Subdivision
72
8 Using the following time signatures, determine which note is worth one beat and how many beats in a bar. Example: 9 = 3 beats in a bar 8 = a dotted crotchet is worth one
6= 8=
12 = 8=
6= 4=
9= 4=
12 = 16 =
9= 8=
73
9 Identify whether the time signature is either simple or compound:
10 Write the metric accent following the example bellow (subdivision): Example:
12
456
23
45
11 In hymn 282, which note is worth one beat? How many beats is a crotchet worth?
12 In hymn 254, how many beats is a quaver worth?
74
13 Find examples of hymns with compound time signature, subdivide the beats and tell the hymns number.
14 Draw only the first staff of the hymns bellow and write their divisions (beats): Hymn 41
Hymn 276
15 How many beats is the dotted crotchet worth in lesson 85?
16 How many beats is the dotted minim worth in lesson 85?
17 - How many beats is a crotchet worth in lesson 86?
18 How many beats does each bar have in lesson 86?
75
19 Draw the figures of notes that according to the time signature:
1 beat
1 beat
6 8
2 beats
9 4
2 beats
of a beat of a beat
of a beat of a beat
3 beats
1 beat
1 beat
6 4
2 beats
2 beats
of a beat of a beat
of a beat of a beat
3 beats
1 beat
1 beat
12 8
2 beats 3 beats 4 beats
12 4
2 beats 3 beats 4 beats
of a beat of a beat
of a beat of a beat
76
Exercises in compound time signature Beat unit = a dotted crotchet
Adagio
Solfege hymns: 433, 442, 443, 444, 449
77
12th Module
CORRESPONDING TIME SIGNATURE Every simple time signature has a correspondent compound and vice-versa; correspondent bars are those that simple and compound time signature have the same number of beats as well as the same note that is worth one beat (the beat unit); in a simple bar the beat unit is a simple figure (without a dot) and in a compound bar the beat unit is the figure with a dot. To convert a simple time signature into a compound one, you need to multiply the upper number of the time signature by 3 and the below number by 2, as it is shown below:
FORMATION AND CORRESPONDENCE OF SIMPLE AND COMPOUND TIME SIGNATURE
Simple
Compound
78
Metric accent in simple bars and their correspondent compound
Pay attention to the difference of accentuation between: 1st Simple Triple (binary subdivision)
3 beats S w w Hymn 59
S w Parts of beat
S w S w
w S w
w S w
S w
S w
2nd Compound Duple (ternary subdivision)

2 beats S w Hymn 329
Sw w S w w
4 5 6 S w w
123 4 S S
5 6 w w
123 4 5 6 123 4 5 6 123 S S w w S S w w S
79
Signals of tempo and repetition
Questions and exercises 1 What does rallentando mean?
2 What does pocorallentando mean?
3 What does D.C.stand for? for
4 What should be done in a hymn containing Moderato?
5 What is the use for ritornello?
6 What What do you have to do when you see the sign D.S followed by ?
80
Exercise - Find the corresponding bar for each time signature given below: 2 1 4 4 3 8 2 2 3 4 12 8 9 8 9 16 9 4 6 8 3 2 4 8 2 4 C 6 2
Allegretto
Solfege hymns: 91, 410, 438

81
13th Module
DIATONIC SCALES IN MAJOR MODE Diatonic scale is a seven note, octave-repeating musical scale comprising five tones and two semitones for each octave, in which the two semitones are separated from each other by either two or three tones. Each figure in a scale, accordingly to its own function in that scale, you give the name of degree; the 8th degree (VIII) is a repetition of the 1st degree (I). The degrees in a scale and their function are: DEGREE I II II IV NAME Tonic Supertonic Mediant Subdominant FUNCTION ON THE SCALE It gives the origin of the scale It is one tone above the tonic Medium degree between I and V One tone below the dominant. It gives origin for the flat scales V Dominant Second most important tone after the Tonic. It gives origin for the sharp scales VI VII VIII Submediant Subtonic Repetition the Tonic One tone above the dominant
Attractive note which is half tone below the tonic

It ends the scale or gives origin to a new 8thof of the scale
The diatonic scale is made up of 5 tones and 2 semitones as it is shown below:

T T ST T T T ST
II
III
IV
VI
VII
VIII
In all major scales the semitones are found from the III to IV degree and from the VII to VIII. Therefore, we will always find the sequence:tone-tonesemitone-tone-tone-tone-semitone The C major scale is the model for all the major scales The scale is divided into 2 groups of 4 sounds (each group is called tetrachord). In the major scales, each tetrachord has 2 tones and 1 semitone.
82
In the structure of the sharp scales, the VII degree will always suffer an ascending alteration, so the same number of tones and semitones are kept as in the model ((DO) C major scale) In the model scale, if we take the V degree (dominant), we can find out the next scale, as it is shown below:
P.S: We can find out the name of a sharp scale by looking at the last accident in the key signature and elevating it one note. If the name of the scale is known and one wants to find out how many sharps there are in that specific scale, count one note lower than the name of the scale counting the sharps according to the order of sharps shown in the key signature until the degree is found.
Order of the sharp accidents in the key signature: FA DO SOL RE LA MI - SI
To obtain the name of the sharp scales, we should count 5 by 5 notes upwards. C Major G Major D Major A Major E Major B Major F# Major C# Major Model Scale 1#: FA 2#: FA DO 3#: FA DO SOL 4#: FA DO SOL RE 5#: FA DO SOL RE LA 6#: FA DO SOL RE LA MI 7#: FA DO SOL RE LA MI SI
83
In the structure of the flat scales, the IV degree will always suffer a descending alteration, so the same number of tones and semitones are kept as in the model ((DO) C major). In the model scale, if we take the IV degree (subdominant), we can find out the next scale, as it is shown below:
P.S: We can find out the name of a flat scale by looking at the one last accident in the key signature, or look at the last accident and count 4 downward or 5 upwards. If the name of the scale is known and one wants to find out how many flats there are in that specific scale, count five notes lower than the name of the scale counting the flats according to the order of flats shown in the key signature until the degree is found.
Order of the flat accidents in the key signature: SI MI LA RE SOL DO FA
To obtain the name of the sharp scales, we should count 5 by 5 notes downwards. C Major F Major B Major E Major A Major D Major G Major C Major Model Scale 1: SI 2: SI MI 3: SI MI LA 4: SI MI LA RE 5: SI MI LA RE SOL 6: SI MI LA RE SOL DO 7: SI MI LA RE SOL DO FA
84
Therefore, there are 15 tones that form the major mode: the Model Scale, 7 tones formed with sharps and 7 tones formed with flats. Below, an example of Major Scale (D major) from our hymnbook: Chorus 4
Our
names are writ - ten
in
the Book of
Life
bove.
1 What is diatonic scale? 2 What is degree? 3 What are the names of the degrees in a scale? 4 Which is the most important degree in a scale? 5 How many tones and semitones are found in the diatonic scale? 6 Where are the semitones found in the diatonic scale? 7 What is tetrachord? 8 How each tetrachord is formed? 9 Knowing how many sharp accidents, how can one find out the name of the scale? 10 Knowing the name of the scale, how can we find out how many sharp accidents there are in the scale? 11 How can we find out the name of all sharp scales? 12 Knowing how many flat accidents, how can one find out the name of the scale? 13 Knowing the name of the scale, how can we find out how many flat accidents there are in the scale? 14 How can we find out the name of all flat scales? 15 How many tones are in the major mode?
85
16 Write the key signature of the sharp major scales. Name them.
17 Write the key signature of the flat major scales. Name them.
1 beat = a dotted crotchet note compound triple Moderato Assai
Solfege hymns: 92, 157, 238, 249, 332

86
14th Module
DIATONIC MINOR SCALES Each minor scale is related to a major scale and shares the same key signature. This means that the relative minor of any major scale is three semitones lower than the major scale. For instance, the scale of D minor (as the relative minor) shares the same key signature as F major. Similarly, E minor is the relative minor scale of G major and shares its key signature (one sharp). Table of the major scales and their relative minors
The natural minor scale has the same tones as the major scale, but uses the 6th tone of the major scale as its tonic. Thus, the semitones are between the 2nd and 3rd tones and the 5th and 6th tones.
87
The harmonic minor scale is the same as the natural minor scale, except that the 7th tone is raised by a semitone both ascending and descending.
Ascending alteration
ST
ST
ST
ST
The melodic minor scale is the same as the natural minor with the exception that the 6th and 7th tones are raised by a semitone when the scale is ascending. When the scale is descending, the melodic minor is the same as the natural minor.
Ascending alteration
ST
ST
ST
ST
Therefore, there are 15 tones that form the minor mode: the Model Scale (A minor), 7 tones formed with sharps and 7 tones formed with flats. The Model Scale (A minor) has no accidents in the key signature. Minor scales with sharps in the key signature
88
Minor scales with flats in the key signature
Allegretto Moderato
Solfege hymns: 41 and 45
89
15th Module
HOMONYM SCALES We call homonyms two scales that have the same tonic but belong to different modes. Example: C Major C Minor F# Major F# Minor
Enharmonic notes are those that read different, but have the same sound.
ENHARMONIC SCALES Enharmonic scales are those that read different but have the same sound. C# Major DMajor
CHROMATIC SCALES These are formed exclusively by semi-tones (diatonic and chromatic ones); this scale does not base itself in anybut in fact, in a diatonic correspondent scale.
Chromatic Scale (C major)
90
Ascending the chromatic scale: raise 1 semitone
Descending the chromatic scale: lower 1 semitone
In the structure of the scale (ascending and descending), we must start and end with the tonic (never over-pass it). We should not modify the natural semi-tones of the scale (III to IV and VII to VIII degrees).
Example of some hymns with chromatic sequence: 258, 264, 370, 405 etc. Example: hymn 370
1 Which is the model scale in minor mode?
2 Which are the forms of the minor scale?
3 What modifications were added to the minor scale? Why?
4 How is the harmonic minor scale?
5 How is the melodic minor scale?
6 How many tones are in the minor mode?
7 What are the relative scales?
8 What are the homonym scales?
91
9 What are the chromatic scales?
10 Does the chromatic scale have tonality?
11 What are the rules for the chromatic scales?
12 Make this C major scale chromatic.
13 Make this F major scale chromatic.
14 Make this D major scale chromatic.
92
1 beat = a dotted crotchet note compound quadruple Sostenuto
Solfege hymns: 74, 79, 256, 378
93
16th Module
TONALITY Tonality is the system or arrangement of seven tones that form a scale built in relation to a tonic, namely, I degree (mentioned in the 13th module). The I degree, or tonic, determines the origin of the scale. For instance, when the tonic is A, the piece is said to be in key of A, providing also the name of the scale. Therefore, it is possible to know the tones based on the key signatures. There is a little trick to figure out the name of a key signature: When confronted with a key signature that consists of flats, look at the flat second from the far right. Looking at the example bellow, the flat to be considered is flat A. So, the name of the key signature is A major.
To find the name of a key signature with sharps, look at the sharp farthest to the right. The key signature is the note a semitone above that last sharp. Therefore, the name of the key signature bellow is E major.
In relation the the hymnbook: 1 All hymns are written in major scales. 2 When there is neither sharp nor flat in the key signature, the hymn is in C major. 3 There will be hymns whose soprano will not end with the tonic (1st degree note): 79, 114, 148, 216, 255, 277 and 346. 4 To find the key or the scale of a hymn, look at the key signature and also the notes that make the last achord: all notes must be part of the major chord of the 1st degree of the scale. Repetition of some degree may happen as well as the absence of any of them. The tonic may not be on the soprano.
94
SCALES OR KEYS OF THE HYMNS C MAJOR 8 39 41 53 65 72 77 82 94 97 108 117 130 139 152
154 156 166 177 191 192 193 203 205 213 223 225 240 242 251 264 265 268 273 276 -282 290 317 318 346 349 350 368 374 379 386 406 429 435 442 449 chorus 2.
G MAJOR 19 20 23 27 36 43 49 51 56 60 61 62 83 96 111
122 123 126 136 137 140 144 145 151 155 168 170 178 180 188 189 199 208 234 238 250 261 270 272 275 283 285 292 298 304 306 337 343 344 351 358 365 388 389 391 393 395 407 408 409 430 432 433 chorus 3 chorus 5.
D MAJOR 16 18 21 44 52 63 67 78 86 132 138 164 167 194

202 215 217 255 289 301 316 320 326 339 345 354 369 381 387 392 415 436 441 447 chorus 4.
A MAJOR 13 25 98 109 248 284 297 332 366. E MAJOR 46 172 307 400. F MAJOR 7 9 22 24 30 57 66 76 87 88 90 103 116 134 142 147 153 175 185 224 233 235 241 245 249 256 259 262 263 278 279 286 291 300 311 328 333 347 352 359 382 396 399 402 410 411 428. B MAJOR 4 10 37 38 40 42 74 75 79 85 93 99 100 104 105
107 218 314 421 110 113 118 143 149 160 219 232 236 243 244 271 323 329 335 353 357 363 422 427 431 434 444 446 162 169 281 287 364 370 450 chorus 1 179 187 196 200 212 295 296 305 308 309 372 378 412 416 417 chorus 6.
E MAJOR 1 6 12 15 45 48 55 58 59 64 68 69 71 73 80 81
84 95 114 115 120 121 124 128 131 141 150 158 173 176 182 184 190 204 207 211 214 220 222 227 228 230 231 237 252 254 258 266 267 274 277 280 299 312 315 322 324 327 330 334 336 341 348 355 360 367 384 385 390 397 398 405 413 414 418 420 424 425 439 443 445.
A MAJOR 2 3 5 11 14 17 26 28 29 31 32 34 35 47 50 54
70 89 101 102 119 125 127 133 135 146 148 157 159 161 163 165 171 181 183 186 195 197 198 206 209 210 216 226 239 247 257 260 269 288 302 310 319 331 338 340 356 361 362 371 373 376 377 383 394 401 403 404 419 423 426 437 448 chorus 7.
D MAJOR 33 91 92 106 112 129 174 201 221 229 246 253 293
294 303 313 321 325 342 380 438 440.
95
Moderato Assai
Solfege hymns: 228, 251, 276, 326, 353
96

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Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

See the table below:

SOL LA SI DO RE MI FA SOL LA SI DO RE MI FA SOL LA SI DO RE MI FA SOL LA SI DO

Musical Theory Christian Congregation in the UK

Notes on the lines

Notes in the spaces

Musical Theory Christian Congregation in the UK

8 Draw all the clefs, writing the middle DO on them.

13 Write notes according to their names (pitch at your choice).

Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

15 Name the notes in accordance with the clefs bellow:

Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

Semibreve is the figure of longest duration currently used.

The stem of the notes must be written:

1) upwards if the note is below the middle line;

2) upwards or downwards if the note is on the middle line;

3) downwards if the note is above the middle line;

Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

A bar-line followed by a thicker bar-line indicates the end of a piece or movement.

Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

Compound Interval is an interval spanning more than one octave.

Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

Summary of the intervals

Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

11. O eternal Father

Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

Musical Theory Christian Congregation in the UK

Solfege hymn 416

416. Hear, O children, Gods invitation

Musical Theory Christian Congregation in the UK

Questions and exercises 1 What is Metric Accent?

2 How do you accent the beats in a Simple Duple?

3 How do you accent the beats in a Simple Triple?

4 How do you accent the beats in a Simple Quadruple?

5 Howdo you accent the parts or subdivisions of a beat?

Questions and exercises

3 Circle the backbeats/off-beats bellow:

Musical Theory Christian Congregation in the UK

Lesson with backbeat

Take a close look at the hymns: 47, 371 and 406

Musical Theory Christian Congregation in the UK

Observe the following lessons and identify their initial rhythms!

Musical Theory Christian Congregation in the UK

Slur A curved line connecting notes of different pitches. Hymn 323

Phrase Mark A curved line appearing on various bars in a musical passage.

Musical Theory Christian Congregation in the UK

Hymn 370 has two examples of ligatures

Tie same pitches

Observe hymn 426

Questions 1 What is ligature?

2 Define the functions of the 3 ligatures.

3 Which types of ligatures are found in the hymnbook? Provide examples.