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Essentiqls of MUSI( THEORY
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Poges 4l-80 Lessons 26-50
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UNIT 7 E
Lesson 26: Tetrachords and Major Scales. . . . . . 43 F
Lesson 27:The Sharp Scales-G and D Major ".. ".. "44 F
CorureNTs Lesson 28:The FiatScales-Fand BbMajor. ..... "..45 S',
E
Book 2 Lesson 29: KeySignatures-The Sharp Keys. ". "... "46 #
The Flat Keys
Lesson 30: Key Signatures . . . .47
tr
-
EarTrainingforLessons26-30 . ...".48
ff-'
F
ell

Reviewof Lessons26-30 ......49 F

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E
UNIT 8
F
Lesson 31: The Remaining Major Scales with Key Signatures. . . . . . . . 50 tr
Lesson 32: Chromatic5cale ....5i 3
Lesson 33: Intervals "... ......52 k
l-esson 34: CircleotFifths
p
F-i'l

"...53
.
Ear Training for Lessons 31-34 ... "...54 ru
ReviewofLessons3l-34 . "....55 tu
#
UNIT 9
5
Lesson 35: Ferfectand Majorintervais "..". ".56 Et:i

Lesson 36: Minorlntervals .....57 ft

Lesson 37: Augmented and Diminished Intervals . . . " . 58 ru

Lesson 38:SolfdgeandTransposition . " " "....59 $&

EarTrainingfor Lessons35-38 .......60 &

ReviewofLessons35-38 ......61 k
F
UNI T 10
Lesson 39: SixteenthNotes ... "62 ft
Lesson40: Sixteenth Rests .... "63 6
Lesson 41: Dotted Eighth Notes .. ....64 F
Lesson42: CommonTimeand CutTime (Alla Breve) .. ".....55 sFl;
nnjl
EarTraining forLessons 3942 ". "....66 ru
Reviewoflessons 39-42 ".....57 ro
F
UNI T 11
F
Lesson 43:frand$rime Signatures " "..68
Lesson 44: fr and $ fime Signatures at Fast Tempos. " " . 69
sd
Lesson45: Eighth NoteTriplets.... ...70 F
Lesson 46: Incomplete Measures (Pick-up Notes) and Syncopation . . . 71 ffi
EarTrainingforLessons 4346 . "...
".72 ffi
Reviewof Lessons 43-46 .. "...73 s
- s
UNIT 12
Lesson4T: Triads ....,.74 tr
Triads
l-esson 48: Primary and Major .. .75 tr
Lesson 49: Scale Degree Names .......76 H
Lesson 50: The V7 (Dominant 7th) Chord . ... ^77 ffi
EarTrainingforLessons 47-50 .......78 m
ReviewofLessons 47-50 ......79 tr
APPENDIX s
&Symbols .......,80 r
Glossary & Indexof Terms
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 tl,

.ci. Lrssoru 26
*
n Tbtracltords and Major Scales . !.*i.i.:: e

l'[
The word TETRA means four. A TETRACHORD is a series of four notes having a pattern of
whole step, whole step, half step. The four notes of a tetrachord must be in alphabetical order.
)
I ,/h
WWH C Major Scale
WWI-I
t : Keynote Whoie Step
* W
Keynote
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I ,4. Y

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I C tetrachord I
6 tetrachord i

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The MAJOR SCALE consists of eight notes-
two tetrachords joined by a whoie step.
il a

t I Each scaie begins and ends on a note of

the same name. called the KEYNOTE.
il I A scale can begin on any note.
il t
t : The tones of a scale are also called the DEGREES (or steps) of the scale.
! !
il t There are eight degrees
in a major scale:
M t
H !
il t H FI

U , in all major scales, half steps occur between the 3rd and 4th
il t and the 7th and 8th scaie degrees"

il ) The distances between all other scale degrees are whole steps.
fr,
Exercises
F )
Write tetrachords starting on the following notes, then add the note names under the staff. The notes
il a
must be in alphabeticai order. Write where the whole (W) and half (H) steps occur above the staff.
M ,
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il a

ffi
G
il WriteaCma.iorscale.
ffi Add the scaie degrees
il l,
t
under each note and
indicate where the
6 - whole and half steps
# , occur above the staff. Keynote
H I
H Write whether the distance between each note is a whole step (W) or half step (H).
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D )
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 Lessoru 27

The Sharp Scales G and D Major '!i-

Using the same

-
pattern for tetrachords of whole
"

step, whoie step, half step, you can build the sharp
scaleof G major with the G and D tetrachords. G is the 2nd tetrachord of the C major scale.
WWH G Major Scale
Keynote WWH
Keynote
W w t-{
Whole Step W r+
| 6 tetrachord I I D 1g1r66lrerd
-J
The F must be raised to Ft to create a whole step.
An Ffl is used instead of Gbto stav in alphabetical order

Using the same pattern for tetrachords, you can build the sharp scale of D major with the D and A
tetrachords. D is the 2nd tetrachord of the G major scale"
WWH D Major Scale WWH
Keynote Keynote
rW Whole SteO
WH * w l-l

'A
-
i P tetrachord i I A tetrachord I

The C must be raised to Cf to create a whole step.

A C{ is used instead of Db to stav in alphabetical order.
lmportant!
. The 2nd tetrachord of the C major scale is the 1st tetrachord of the G major scale.
. The 2nd tetrachord of the G major scale is the 1st tetrachord of the D major scale.
Starting with the C major scale, the 2nd tetrachord is always the 1st tetrachord of the following
sharp scale. This overlapping pattern continues through all the major sharp scales.

Exercises
Write tetrachords starting on the following notes, then add the note names below the staff.
The notes must be in alphabetical order. Remember to include the necessary accidentals.
Write where the whole and half steps occur above the staff.

WriteaGmajorscale.
Add the scale degrees
and indicate where
the whole and half
steps occur. Keynote

WriteaDmajorscale.
Add the scale degrees
and indicate where
the whole and half
steps occur.
|rl
t:.
f-, Lessoru 28
t-t
I-t The Flat Scales
- F and Bb Major
t^, Using the same pattern fortetrachords, you
canbuild the flat scale of F major with the F and C

il*, tetrachords. C is the 1st tetrachord of the C maior scale.

t.-t WWH F Major Scale Keynote
WWH
I-t Keynote
Whole Step H{
il; |ITHI
W W H

tr; i'lsjol
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I

tetrachord L- c tetrachord I
$? F '

g? The B must be lowered to

A Bb is
Bl, to create a half step.
used insteaci of A$ to stay in alphabetical order.
il
t Llsing the same pattern for tetrachords, you can build the flat scale of
tetrachords" F is the lst tetrachord of the F maior scale.
Bb major with the Bb and F

ffi: H Major
fr: WW Scale
Bb
Keynote Keynote
W WH Whole Step W w Hi
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YF, a i Bb tetrachord J i F tetrachord i

H*, The E must be lowered to El, to create a half step.

ilF-a An Eb is used instead of Dl to stav in alphabetical order.
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ae. a
lmportant!
. The 4th scale degree of the C major scale (F) is the lst scaie degree of the F major scale.
il'sra . The 4th scale degree of the F major scale (Bb) is the 1st scale degree of the Bu major scaie.
t
:Pa Starting with the C major scale, the 4th scale degree is aiways the 1st scale degree (keynote) of
il the following fiat scale. This pattern continues through all the major flat scales.

s;
3{a

il Exercises
'i7. a
q Write tetrachords starting on the following notes, then add the notes names below the staff.
.,u" a
,il The notes rnust be in alphabetical order. Remember to include the necessary accidentals.
ils Write where the whole and half steps occur above the staff.

J"t
#:
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d?
$7
fr7 Write an F major scale.
ffi? Add the scale degrees
and rndicate where
ffi7? the whole and half
xi steps occur,
Keynote
H?
il7
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Write a Bb major scale.
Acid the scaie degrees
t'"a and indicate where
t;a' the whoie and half
{ steps occur.
il2 Keynote
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Lessoru 29 {il
$
Kty Signatu TIte Sharp Ktyt :'1i
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$
ffi
When writing the scales on page 44, you added Inthe G scale, you added a sharp sign before each F; in
sharp signs before the appropriate notes. the D scale, you added sharp signs before each F and C. $
6T
s
F
$
To rnake writing and reading music easie[ you can place all of the sharps used in a
ffi
scale or piece immediately after the clef sign" This is called the KEY SIGNATURE. lt ff.
indicates the notes that will be sharped each time they appear for the entire piece. F
ts

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In this case, any F will always be played sharp
(unless there is a naturai sign before the F).
ft
T- fi'
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E
KeyofG-lsharp: KeyofD-2sharps: p
Sharps written in the key €{
E
signature always appear in a e;i
specific order. Here are the E
sharp key signatures of the ffi
scales vou know:
ru

The order of sharps in the key signature for up to two sharps is F C. $

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#
B
lmportant! g:

To figure out the name of a major key from the key signature, go up a half step from the last sharp. 3
&
As an example: a key signature of F{ would be the key of G major; E
frg
a key signature of Ff and Cfi would be the key of D major. H
ffi
E
e
Exercises
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m
Write the order of E
the first two sharps t
ffi
in a key signature. - $
{ g
tf C$ is the last sharp in the key signature, the major key name would be { r
A
--. t g
d
Name the following
r
!t
major key signatures. n
r
n
n
a
Write the following
major key signatures tr
n
a. D major b. G major c. G rnajor d" D major
n

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 t;
I

t; Lessoru 3O
s:
t; Kty Signatu The FIat Keys d:-ndnd,--,

ll!I When writing the scaies on page 45, you added

flat signs before the appropriate notes"
In the F scale, you added a flat sign before each B; in
the Bb scale, you added flat signs before each ts and E.
T;
fr "lust like sharp signs, you can place all of the flats used in a scale or piece
tr in the KEY SIGNATURE. lt indicates the notes that will be flatted each

tJ time they appear for the entire piece.

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In this case, any Bwill always be played flat
there is a natural sign before the B).
(unless

H:
ili KeyofF-1flat: KeyofBb-2flats:
Uj Flats wnitten in the key
6i signature always appear in a

il; specific order. Here are the

fiat key signatures of the
ilj scales you know:

ilt The order of flats in the key signature for up to two flats
ili is B E.

$; lmportant!
il? To figure out the name of a major key from the key siEnature, remember that one flat is the key of
for two or more flats, the next-to-last fiat is the name of the key" As an exampie, a key signature
F;

tr? of Bi' and Eb wouid be the kev of ts,p maior.

ta
TD
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.LXercxses **^
o

T,A
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il? Write the order of
the first two flats
H:
-
in a key signature"

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F,g lf Bb is the next-to-iast flat in the key signature, the major key name would be
Eg
E

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Name the following
major key signatures.
a a
a

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F"q

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b. d.

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ffi:
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Write the following
majon key signatures.
f,A
HA
il:
a. F rnajor b. Bb major c" Bt, major d. F major
 rft
Enn TnnlrulruG FoR Lessolus 26-30
;g
;$
Irack J6f
Listen to the following succession of two notes each. lndicate whether the distance between
;$
the two notes is a whole step (W) or half step (H). Each example will be played twice. t,$
:$
d._ e. ;d
raci 37
:$s
E l-isten to the four-note tetrachord patterns. Draw the missinq notes in the boxes.
:$
a. '$
t;$
ig
?$
sff
-ffi
Irack l8
Listen to the four-note tetrachord patterns. One note in each tetrachord will be played incorrectly.
:$
Circle the incorrect note. ?n
?g
i$
:ff
?$
?$
?$
-tg
Track J9
Listen to a C rnajor scale. ln
--g
each of the following scales, ?ffi
one note will be played
incorrectly. Circle the
affi
incorrect note. z$
a8
?g
eff
?ffi
z$
3$
et
.s
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afi
em
Track 40
a.
6fl
Listen to the G major
?A
scale. Circle the
rhythm pattern that
you hear for each
fiJJTJ ))) il t)il) )il) il
"1
.3
)jitl
exampie.

*Track 35 refers to the track LJ'IJ il "j

?3
number on Ear Traininq CD 1

"1
zd
 sl
I.: Rrvrrw oF LEssoNs 25-30
l.i
t:
I:
I:
E
lndicate whether the distance between each note is a whole step (W) or half step (H).

t:
I:'
T:
Ij
It a The pattern of a tetrachord is whoie step,

ilt E Write tetrachords below starting on the following notes. Remember to include the accidentals.
It A

ilt
ilt adl
#t
ilt Draw a line to match
each of the followino:
The 2nd tetrachord of: ls the 1st tetrachord of:

ilr D major D major

t)
ilt
G major
C major
G major
A major
--:-
il2 tr The major scale is made up of _ tetrachords joined by
il2 a

ilt tr How many notes are in a malor scale?

tj d In a major scale, half steps occur between the __ & _ and _ & _ scale degrees.
#t
ili tr Write major scales
il. (without key siEnatures) a'
beginning on the
il.? followinE notes using
ils whole notes.
S.
St
il?
Si Fill in the missing notes
ile in the major scales and a.
s?
t;
indicate with an H
above the staff where

#i
il?
the haif steps occur.

il?
il)
gJ
t^ Fill in the missing
ll- notes and note values
in the major scales.
HA
il;
{}
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il) J
ilA
 .E
".f,r
Lessoru 31 ts

ro
The Remaining Major Scales with Kty Signatures ?r{
E
Once you are familiar with how to build tetrachords, it is easy to build any major scaie. Altogether, E
there are 15 major scales: 7 sharp keys, 7 flat keys, and the key of C, which has no sharps or f lats. fr
You are already familiar with the scales and key signatures of five of the '15:
c, G (F$), D (F$, Cf), F (Bb) and Bb (Bb, Eb). Here are the remaining 10.
ti
:
- r,,
A Major (s fis: rfi, cf" c{) Eb Major (3 bs: eu. eb, nb; T

: 3*',
3
3
E Major (a [s: rfi, cf. cf" oft nb rualor Qbs: ab. eb, ab, ob) " v;.t
3
1 {t:
3
5
-- #."
B Major (s fis: r$. c$, cil, o[, afil ob rualor (s bs: eb, eb, ab, ob, ebl
s
- :r

a$I
E
:6f,
r$ uajor (o ils: rfi, c$, cil, o[, a[, e{l eb rua;or (s bs: sb, Yb, ab, vb, ev, 6, E
E

cfl malor (z $s: r$, cil, cg, ofl. e$, efi, ef)
The complete order of sharps in the key signature
FCGDAEB.
A helpful reminder:
Fat Cats Go Down Alleys Eating Bread.
The complete order of flats in the key signature
BEADGCF.
A helpful reminder: BEAD + G C
:#
:$r
?6
is: There are, however, only 'l 2 unique
sounding major scales. The following
are ENHARMONIC SCALES; they sound
the same but are written differently:
is: B major souncjs the same as Cb major
Ffr major sounds the same as Gb maior
F. Cfi rnajor sounds the same as Db major

-'t
Exercises ?l
Name the following
major key signatures. =r
--l
Write the following
key signatures. 'l-.;
--1
--a
a. Ei, major b. E major c. Ab major d. Cli major e. Cb major f. A major
tl
)
l. Lessoru 32
I
t-:
t: Chromatic Scale

t:
il The CHROMATIC SCALE is made up entirely of half steps in
consecutive order. On a keyboard, therefore, it uses every key,
black and white. When the scale goes up, it is called ascending;
H

il
when the scale goes down, it is called descending. I I |"{flIJ
The chromatic scale may begin on any note. c
I-, in a chromatic scale, there are 12 tones.
D E F

il,
g C Chromatic Scale
Ascending--1 Descending
$
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The ascending chromatic scale starting on C uses sharp signs.

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6.2
M:
$-f The descending chromatic scale starting on C uses flat signs.
H:
$:
il:
6-t
Ft An ascending chromatic scale starting on F looks like this:
#j
6-t
il-i
S.
g?
A descending chromatic scale starting on G looks like this:

il,
*:
t4
il.. Exercislg ..,::-

itr: E
What is the distance between each pitch in a chrornatic scale?

Hi
EI? E
Write an ascending and descending chromatic scale starting on A.
TA
FJ
a?
H
,;d
rfr o. Write an ascending and descending chromatic scale starting on B,
J
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Lessoru 33 $
a
J
Interwals rF
j
i $
An INTERVAL in music is the distance h !
in pitch between two notes. The $
a
interval is counted from the lower
note to the higher one, with the F !
$
g
lower note counted as 1. 12 1(2)3
E
Intervals are named by the number of the upper note (2nds, 3rds, etc.) with two exceptions. The interval n
between notes that are identical is called a UNISON (also called a PRIME INTERVAL); the interval of an 8th
- note.
is called an OCTAVE. The intervals below are all written with C as the lower
$
- - $
fi
€>€>e €>' €> E
LunisonJ LznOl L:tO-J l-+1'J I Sth ll Otf, I I Zth || octave I $
(prime) 8th $
Intervals are called MELODIC INTERVALS Melodic Harmonic n
g
when they are sounded separately and
HARMONIC INTERVALS when thev are I
sounded together.
t
E
EVEN NUMBERED INTERVALS
of 2nds, 4ths, 6ths and (
octaves are written x
from line to space or
space to line. n
6ths octaves &
t
ODD NUMBERED INTERVALS $
of unisons, 3rds, 5ths and fi
Tths are written from line !
to line or space to space. n
!
unrS0ns E
t g
Exercises rt g
I
Name the intervals. T
E rl
n
a
fl
!t
J
ra

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t
:
lndicate whether
1
the following are ?
melodic (lV) or s
I
harmonic (H) 1
intervals.
!t.

I
I
1
Write the harmonic
interval indicated
above the
ta'

-
II
following notes.
5th unison 3rd octave 7th
!t

!.r
ls
! a
It
lr Lessoru 34
].;
l; Circle of Fifths
l.l i!,i,"... ;tr .::,r.!gr;r:.

!:
I: The CIRCLE OF FIFTHS is useful in understanding scales
and key signatures. it shows the relationship of one
key to another by the number of sharps or flats in
-l|--
1tir-
-iI-
c
n{
-#-
:F
;: it'-
il: the key signature and the order in which the

t:
ilt
sharps or flats occur"

SHARP KEYS

t:
tt
Start with C and go clockwise in
asce nd i ng tetrachord orcjer.

FLAT KEYS
ilt Start with C ancj go counterclockwise in

tt
Ht
ilt
d escend i ng tetrachord order.

The sharp keys ascend by 5ths (W W H W);*

the flat keys descend by 5ths (H W W W)"
#
iJ-
tt 5I-IARP SCALES
Starting with C, the 2nd tetrachord of the
6t
te
Ht
il!
ascending major scale becomes the lst
tetrachord of the foiiowing ascending scale.
The scale's name is derived from the 'lst
note of that tetrachond. and one sharp
added to the key signature.
is
#
-T-

t.
fl

tt
FLAT SCALES
Starting with C, the Znd tetrachord of
the descending major scale becomes the
1st tetrachord of the following descending
d
ffi #
Ffi
#
iT-.--
#t scale" The scale's name is derived from the T--
Se 1st nrote of that descending tetrachord,
and one fiat is added to the key signature.
Mt
gt OPTIONAL
The order of sharps in the key signature:
FCGDAEB.
Another way to determine the order of the
#e fiat keys is to ascend by 4ths (W W H).
The order of flats in the key signature:
BEADGCF.
St Starting on C: C to F, F to Bb, Bb to Eb, etc-
dp
Ht OVERLAPPING TETRACHORD PATTERNS
H2
s?
ilA
Sharp scales
r--G Major Scaie- r-A Major Scale-t

s?
'il?
il? C Major Scale I D Major Scale I E Major Scale I

U2 Flat scales
H^
i'e. J
F Major Scaie Eb Major Scale
--
HA
.&r .J -t

*A
I
t), C Major $6619 ----J Bb Major Scaie Al, Major Scale i

!t2 iW=Whoie Step. H=Haif Step.

ila
 Enn TnnrrurruG FoR Lessolus 31-34
Track 4 |

will hear a whole step that moves up or down"

For each exarnple yor,r
Draw the second note on the staff using a half note.

Track 42

For each example you will hear a half step that moves up or down.
Draw the second note on the staff using a quarter note. I

Track 4l I

For each example you will hear a whole step or a half step that moves up or down.
Draw the second note on the staff using a quarter note. Each example will be played twice.
I

Track 44 :
Listen to the melody in the key of F major. Draw the missinE notes in the boxes.
The example will be played twice"
D

Irack 45

Listen to the major

scales. One note in
each scale will be
played incorrectly.
Circle the incorrect
note.

^t[1 il) iJ) fi,t)il) fi))

Track 46
!

:"1"'J;'"':;[:iTilffi n
!
pattern.
t
Irack 47

Listento an ascending C chromatic scale. Next, eight ascending notes will be played in the {
following examples. Write whether it is a major (M) or chromatic (C) scale. ra

!
Tnck 48
tr
Listen to a descending C chromatic scale. Next, eight descending notes will be played in the
following examples. Write whether it is a major (M) or chromatic (C) scale.
q
d.- e
Track 49
Listen to the example in the key of D major. Write the missing notes and rhythms in the boxes.
The example will be played twice.
{'

t'

J
 ,,
," Revlew oF LEssoNs 31-34
I
t,,
What is the complete order of sharps in a key signature?
,,, E
I

#E
l.

Ttril--
a"
I

I
Name the following
major key signatures.
T--_
_-7----1--
ffi
T-
Al+

ii
I
€1"
c.---
l'

Write the following key signatures.

.:
F a. A major c. E major d. D major
H
H What is the complete order of flats in a key signature?
ilI : tr
il
F
F
:
Name the following
major key signatures. ffi==
T-
H
lfl .: a._
illiJ :
t
$E tr Write the foilowing key signatures"

il t
H
il
ts i a" Eb major :F c. F major - d. Al, major
F
t
1p i The Cb major scale sounds The Gb major scale sounds The Dl, rnajor scale sounds
U the same as which other the same as which other
a the same as which other
ma1or scale? major scale?
d ? maJor scale?
E
t
bE ? @
fhe chromatic scale is made up entirely of in consecutive order^
il u Name the meiodic intervals.
|t ?
tr
d ?
II a
il a
|t a
il
t 3
EW rite the indicated harmonic intervai above the foilowing notes.
a
[J a
U
a
t a 6th 5th 4th
T a In the circle of fifths, go clockwise and ascend by
t a tr 5ths for the _ keys, and
counterciockwise and descend by 5ths for the
I a __ keys.
I
 Lrssotrt 35
Perfect and Major Interuals ilt !;.i*61Yi:. :1:(:!faF3rH.1!Y,F::::f renr rY

The interval between the keynote of a major scale and the unison, 4th, 5th or octave
of that scale is called a PERFECT INTERVAL.

Perfect Unison Perfect 4th Perfect 5th Perfect Octave

tu

l\'

The interval between the keynote of a major scale and the 2nd, 3rd, 6th or 7th
of that scale is called a MAJOR INTERVAL. />

Major 2nd Major 3rd Major 6th Major 7th

TI-IE DIATONIC INTERVAI-s OF THE MAJOR SCALE

When the keynote and the upper note of an interval are from the same major scale, it is called a
DIATONIC INTERVAL. All diatonic intervals in the major scale are either perfect (P) or major (M).
The perfect intervals are the unison, 4th, 5th and octave; the major intervals are the 2nd, 3rd, 6th
and 7th" This is true for all maior scales. P'l indicates a perfect unison; P8 indicates a perfect octave.

P1 P8
Unison Octave

t
Exercises .t:! .' -'i::€.ff I : :i nr:tift,i:..'.€i-rri.,i'.

Name the harmonic !,

intervals and indicate I.
whether they are
t'
perfect or major. M3
rl
v
ra

Write the note above

the given note to
complete the q

harmonic interval. P5 P8 M3 M7 M6 P4 M2 P1 {
{'

i,
r,
F; Lessoru 35
t)
t; Minor Interuals
il' When the interval between the two notes of a major interval (2nd, 3rd, 6th or 7th) is decreased by a half step'
ti they become MINOR INTERVALS. For example, a major 3rd (M3) becomes a minor 3rd (m3) when decreased
Uy a tratt step. A small letter "m" is used to signify a minor interval. Only major intervals may be made into
ili minor intervals-perfect intervals may not.
t? How major intervals may be changed to minor intervals:
E.i
$.r
g: 2nds

il: e e I m2 L-v2-J lm2

il:
6:
LM2--j tm2 l i-rvl2-J | l

M:
gj
ili l-M3-i i 63-i i y13-J lm3t L-V:J I m3 I

il2
H3
ffi: 6ths
H: €> elm6 lm6
$t L-M6-J l L-Me
-J
| 66J L-M6-J I

il3
il)
il?
N? l--vr7J I 67-J t-M7J I m7-J L-VZJ I m7 |

N)
Ht
s.
qA Exercises

6? Name the intervals"

M? E
.s2
il
q
ilZ
il2 Write the note above

il?
n
the Eiven note to
complete the
harmonic interval. m3 m7
YJ
q
J
l{} J
ril }. Narne the intervals,
til,{ indicating whether
q. they are perfect (P),
major (M) or minor (m).
d),
U2
 GE
Lessoru 37 Gru
a
Augmented and Diminis hed Intersals aru
r|1 ft.r
The word auqmented means "rnade larger." When a perfect or major interval is made iarger F
by a half step, it becomes an AUGMENTED INTERVAL. For example. a perfect 5th (P5) becomes 3r$
an augrnented 5th (aug 5). To raise a sharp note by a half step, use a DOUBLE SHARP x :ru
?5
'h
aug 1 aug 2 aug 3 aug 4 aug 5 aug 5 augT aug 8 ;$ ry
9". :
The word diminished means "made smailer." With the exception of the perfect unison, any perfect or
minor interval that is made smaller by a half step becomes a DIMINISHED INTERVAL. For example, a perfect
;ry
aF
4th (P4) becomes a diminished 4th (dim 4). To lower a flat note by a half step, use a DOUBLE FLAT bb .

tq
k
b
<r&
F;.
re
dim 2 dim 3 dim 4 dim 5 dim 6 dim 7 dim B
-Ei
Since lowering either note of a perfect unison would actually increase its size,
qru
the perfect unison cannot be diminished, only augmenteci. ?ftd
zs
When the keynote and the upper note of an interval are notfrom the same major scale,
it is called a CHROMATIC INTERVAL. Minor, diminished, and augmented intervals are always
?s
chromatic intervals in major keys. 'E
F

:ffi
-e4

Exercises ?g
3g
Name the ;ffi
augmented 3$
i nte rva I s.
a$
i$
e$
Write the note 3$
above the given
note to complete
'ag
the augmented i$
6 3 4 5 8 7 ;E
;r
harmonic interval. aug 1 aug aug aug aug aug aug aug 2

-'f
Name the
:$
diminished intervals.
nr
qt
dimS
3f
Write the note efl
above the given .j
note to complete
the diminished
;H
harmonic interval. dim 4 dim 8 dim 2 dim 7 dim 3 dim 5 dim 6 ?3
:a
r9
T?
i,aa Lessoru 38
I
I'_
P{
Solfige and Transposition :,, .:.:: .iiii.:' ..'i:;s!,,: Ii

t2 SOLFEGE is a system of reading notes by assigning a different syllable to each note.

T? The following syllables are used for all major scales as they relate to the scale degrees:
t?
t?
t2
H) 12345578
Do Re Mi Fa Sol La Ti Do
*,.
t? MOVEABLE DO means that the syllables apply to the same scale degrees, regardless of what key you
are in. For example, in the key of C, the keynote C is called "Do". In the key of F, the keynote F is
#2 also called "Do".
H.,
6j
H^
12345678
ile 12345678
Do Re Mi Fa 5ol La Ti
Do Re Mi Fa Sol La Ti Do
62 Do

$2 When a melody is rewritten with the exact same sequence of notes and intervals into another key, it is
$)
il,
calied TRANSPOSITION. This raises or iowers the notes to make a melody easier to sing or play, or so it
can be played by an instrurnent in another key.

Hj The easiest way to

H? transpose is by interval.
d) For exampie, if a
melody is in the key of
123155554321
il? C and you \ruant to
Do Re Mi Do Sol 5ol 5ol Sol Fa Mi Re Do
s^. transpose it to the key
d, of D, then you would
rewrite all notes a
fr;
il^
major 2nd higher.
123155554321
evd
il- Do Re Mi Do 5ol 5ol 5ol 5ol Fa Mi Re Do

t:
st,
!p4
.": J Write the syllable
t4 names under the
d: notes of the
ffi: following melody.
t:
td.
M
Add solfAEe syllables, then transpose the following melody up a major Znd adding solfdge syllables.
5V Add the new key siEnature"
-TI
tr:
ffi:
::a
H
l*J
t Add solfdge syllables, then transpose the following melody down a rnajor 2nd adding solfAge syllables"

il:
q),{
Add the new key signature.

ilA
fr;
 Enn TnRrrurruc FoR Lessotus 35-38
ln the exercises below, you will hear notes above or below the given notes. For each example, write the
note as a melodic half note in the first measure and a harmonic whole note in the second measure.
No accidentals are required.

Track 50

E Major 2nds:

rack 5

E Major 3rds:

Track 52

E Perfect 4ths:

Track 5l
Perfect 5ths:
tr

Track 54
lVlajor 6ths:

Track 55

Major Tths:
tr

Irack 55

Perfect Unison
or Octaves:

Track 57
Minor 2nds: !'

{
Track 58 i
Minor 3rds:

{.
Track 59
Minor 6ths: {

Track 60
Minor Tths:
l,l
Ii 35-38
s: Revrew oF LEssoNs
s?
ti A perfect interval is the A major interval is the
fl rhe two types of diatonic

t:
t:
distance between the root of
a major scale and the
distance between the root of
a maior scale and the intervais are

f: or_.
and

!t
tl
tt E
Name the intervals below and indicate whether they are major (M), perfect (P) or minor (m).

Ut
il!
ft
6r ^7
lll\J

ilt
$t Write the notes above the given notes to complete the harmonic interval,
Ht tr
#t
$.
F:
6t
#t
g. tr *f:Tff::,fl:i:1',H1J.".," a ff:';i."#""'#:',Xi
Minor; diminished" and
augmented intervals are
Ht intervai is made; perfect intervai is made: ca lled
H) (circle one) larger (circle one) larger smaller interva ls.
#e
Se
g2 ll
Write the solfdge syllabie names uncier the notes of the following melody

Se Ioy to the World George Frideric Handel (1685-1759)

S3
t?
He
f;^
9:1
I
F&4
i:J
I'-"fn TransRosition is when a melody is rewritten in another

ilt
TA
- @

Transpose the following melody up a major 2nd and write the new key signature.
ffiJ Symphony in G, No.94 ("The Surprise"),2nd movement FranzJoseph Haydn (1732-1809)
,il?
tlrd4
t:t'. a
il
H}I1
H}J la a t

{A
./d J
Ut
 il
Lessoru 39
i$
i$
Sixteenth l{otes ifl
\
;$
Add a flag to the stem of a quarter note i and it becomes an 8th note a ?n
\x
Add a flag to the stem of an 8th note riland it becomes a 16th NOTE t\ ;,$
o ?fl
fn4time: Two 16th notes equai,.,the duration
, of one 8th note. ,)-1) I =
h
?fl
Four 16th notes equal the duration
:
of one quarter note. rl i I a
_l
-o
I
tff
'h
!. .,,.

?eh
inT "i andl time; ?rtE
a 16th note .N is equal to one-quarter count. t-$ tr
For four 16th notes" count "1 e & a" or "ti-ri ti-ri." 1e &a2(e &a) 3e&a4 (e&a) -H
5
ti- ri Ta
Ti- ri Ti- ri ti- ri Ta
?dT
16th notes can be cirawn: ---t-
. with flags attached to the stems for one 'l6th note. or T. ?$3
+ F iE
. or with 2 beams for two or more 16th notes. Write four 15th notes. ?$
---- '----------- :-G
--f--t-or-tr
---7f
_______i_L_i._!_
-----J-----J- ?sH
-Ef- :-
Write two 16th notes. Write four '!6th notes" r,g
;$
l6th notes can also be combined with 8th notes: ;# s
:N
!
v, $t
G
1(e)& a 2(e)& a 3(e)& a 4(e)& a 1 e &(a)2 e &(a)3 e &(a)4 e & (a) ;ffis
ti ti- ri ti ti- ri ti ti- ri ti ti- ri ti- ri ti ti- ri ti ti- ri ti ti- ri ti ;m
',ff
6,$
Exercises 1(r1 ,.4i Emi(!. :f :tlrjsr ir:-;

?$
;H
Add stems with
flags or beams to ,fl
make 16th notes as ifl
indicated. a. Flags b. Beams c. Flags d. Beam .fi
(two sets) (one set)
;fi
Fill in the correct number: Write one note eoual to the value of the ;l
?n
\i
a=a
notes preceding it.

a. dl+d'= FIN 3t
)=)
i
I FFFI
rl
--l
b.
b. J* ))))=
\i
.-d r FFFi
-

FFF!
'-l
\
a=
tL. | | | ll
--.-aaaaaaaQ-
FFFI
d.)aaa*
I | | l-

:l:t
-
;l
 lil
t:
t,
I,
Lrssotrt 40

l, SiXteenth RgStS nri!iil.:i .sd!,:r:!;:!,r:,iw,,:-:!i.reis.i$i;:;::ji#,*'-:d; ,.

t,
t, Add anotherflag tothe stem of an 8th rest ? and it becomes a 16th *rtt Y .

t,
t, tn
L
fi time: Two 16th rests equal the duration of one eighth I I =1 rest.

t. t, Four 15th rests equai the duration of one quarter rert. 7 I I I = t

il,
v,
t2/.
'i
t:
t:
tn 7, and
a4
a 16th rest J is equal
tr time:

to one-quarter count. 2e &a

tj
t:
t) A15threstisdrawn|ikethis7.Wrltesix,t6thrests.t
il,
ili
fit
$,
#t
6t I
Write the counts under the following example" Clap the rhythm.

6t
ili
il?
fi^
fi) E
Fill in the correct number:
ffi'^ a. q= b. 1=- q='1 q= T
re l c" d.
$Pd

62 I!

w?
t,
wt Change these 8th notes to
-/
t, 16th notes, then add 16th
ffi: nests between them.

He
t
d'fl ,1 tr Write the counts under the notes below the staff.
FE
YJ
f,

ry'J
He
TA
ffi: Compiete the measures below with the appropriate rests"
t
i.*
J
J
Write the counts under the notes and then clap the rhythm.
H
11 J
tjFt
H-. 2&3&4&
ttA
1
 iG
i$
Lessoru 41 i$
Dotted Eighth Iliotes
i:$
i, $
Remernber: A dot after a note increases its length by one half of its original value. 6ffi
A DOTTED 8TH NOTE is equai r,m
a dot to an 8th note increases
ff-ff: iSJn'"'"?3r1"' itsAddins to three 16 th notes.
valu6 by half-% beat or a 16th note. 'ru
\=F \i1
4,"
F-!
iil
aaa
"&
aao =

- "F
-b
&' as

ln 7,3 4
't, 4 and 4 ti!'ne' a dotted Here are thlree ways of
8th note equals % of a beat. writing the same rhythm: ry
-Kl
E
iii
O. = d-J = 3beats
:H
1e&a2& &a2& s&F
I r\
a. = a-a' = 1% beats 5
"ru
effi
\ \N
d" = a-a =%beat
1e&a 2 &
fru
?#
&
n ). i, usually followed uv ,) i,ffi
?ffi
:ffi
€ffi
Exercises !
K
vi
Write the counts under the following exannple. Clap the rhythm. ffi
E I
$
Theme from Farandole Georges Bizet (1 838-'l 875) f
#
B
v
ffi
t.
$
t g
rt
$
t
Add bar lines to a
lt
the exampies. a' $
I
$
v
$
?
ffi
at
n
tt'
ff
?
*
Complete the t3
measures by adding
tr
f
a note or rest above tr
eacn arrow.
rA

t
r
tr
v
f;
r t
 l(|
I't, Lessorrt 42
t,
I, Common Time and Cut Time (AlIa Brewe)
!, 4
l, (F
t,
t,
The time signature X
^"Oalso
be written as C, called COMMON TIME.
a,

t,
tt When a vertical line passes through C , it is known as CUT TIME 0 (or ALLA BREVE).
?FF
A

t,
t,
The top and bottom numbers of { are cut in half to i. -- a)

H: -S , =
!: -9--f-- 2 *"unrthere are 2 beats per measure.
inthetimesignaturesofwF-orffi[.",n,thehalfnot"jreceives1beat'
t:
HA
ca
t:
$:
In 2 time:

Notes Rests
$i
g.
i
I
ri
ti
O Or T = t)
2beats )or r = lbeat aaorll
X beat

il^ \ii
H.
I I

o.il or.- f = lZbeats aor

I

| = hbeat oor a4
./o beat
F.
tt
il^ Exercises .-.-.& .a1,..:&-1.

$^"
t,
lcE e E
C is known as
E Q is known as EI
I
0 iras beats per

$. time. time measure and the

t$l
or_ note recelves
one beat.
Y,J
il
ffi)
l

5lt
ta Complete the measures below. Use J or d notes and I or - rests. Clap the rhythm.
ila I
#'^
F: - -
Yi ,t
'c 1&2& 1& 2 & 1 &2 & 1&2& 1&2& 1&2 & 1&2& 1& 2 &
I
H
m
In the example below, circle the measures with the incorrect number of beats.
-1
t tr
ffi:
td
tr?
,-v a In the example beiow draw bar lines and a doubie bar. Count and clap the rhythms.
t tr
e)
q)
a
tl
tl
at
- - --
Ea
 t
I
Enn TnnrrurruG FoR Lessolrrs 3942 tl
Track 6 |
a
Listen to the 16th notes in the following example.
E ar

American Patrol Frank W. Meacham (1856-1909) rrt

It

qt

"tr
Track 6?
Listento a rhythm pattern and write it below. There will be a one measure count-off.
Write the rhythm using the note F. The example will be played twice.

Track6S f- -
Listen to the r/. J pattern in the following example. J
E S
Trumpet Tune Jerenniah Clarke (c" 1673-1707)
q

rf,

tl

rl'

{
?.
rl
a
Track 64
Listento a rhythm pattern and write it below. There will be a one measure count-off. ?
Write the rhythm using the note D. The example will be played twice. s
a,
q
rt

Track 65 ;
Listen to the following example in cut tirne.
tr I
r7
Symphony No. 1 in D Major,4th movement Gustav Mahler (1860-191 1)

a
tl

tf,

a
Irack 66

Listento a rhythm pattern and write it below. There will be a one measure count-off. g

Write the rhythm using the note C. The example will be played twice. $

!t

-
!
 l,l
!: 3942
l: Revlrw or LessoNs
t:
!: Fill in the correct n umber:

!: a.-- ,\ = ) ) o
t:
t:
b. ,\= d" )=

t: E
Add bar lines and a double bar to complete the example below. Clap the rhythm.

$: Los elefantes Argentinian Folk Song

t:
t:
lr
E:
$:
$r
lr
$r
il^, Fiii in the correct nurnber:
g. E
= r 'aial
O,4=l c" X
/r =l d.-q =r
A: ^.-1 I

$2 tr
Complete the rneasures by adding one rest above each arrow. Clap the rhythm.
g2
a, - -
F2
dt
g? Add bar lines to complete the example beiow" Clap the rhythm.
l) tr
il2
;r ----
t)
il,
&J
to equal 4 beats per
H. tr Draw the stems and add dots where needed measure.

T:-
I -
t
;'
fi: Z
Add bar lines, write the beats under the notes and clap the rhythm.

fr;
t^
$'{ "r&2e&a3e&a&
IJ',
t*{
x Write one note equal in value to the sum of the notes.
fl
U) r I
t-
))'. d
I
a. j*)ar)rl=
FFI.I
b. ) -- )-). )-) =
tTFt -1
< aadd-aa=
qn - -
 ;G
Lrssoru 43
rm
?ffi
& ond E f;*, Signatures rffi
f,
E *'^", tn t t;me: qs W

a$
rneans there are 3 beats per measure.
means the 8th n"t" ) receives 'l beat.
)o,Y=1beat
$J--l-J I'|) r ,ft tl s$
iffi
td
jorf=2beats eff re
^*t
H
t F;
ffi
t"or-=3beats Ld;
_p
;$
$ *t*", t r:i

means there are 5 beats per measure.

zffi5
means the 8th not" ) receives 1 beat"
adE
ztr
ln I ti*e, ?ffi
,l l, j I and .i. receive the same ?#
number of beats u, in I ti*". <rc
12345
ln addition, l'=: beats, ).r, - = 6 beats
e$
tl gH
?ffi
- 1234s6 123456 123 456 .] NJ
H
?GB
G$
Exercises ?$
+E
In the examples, +ffi
circle the ?ffi
rneasures with
the incorrect *$
number of beats. €$
€ff
3tr
i'ffi
e8
Complete the
measures, using a'
u e*
one note or rest, - - - e$
Write the beats,
then count anci "ffi
clap the rhythm. "s
b"
- "ff
:#
;H
 I (,

I tt

I /, Lessoru 44
I
I 3 o"d 8 Time Signatures at Fast Tbmpos
lr,
I Remernber that Z or C time can be cut in half to Q or 2 time when
I the composer wants the music to be performed at a fast tempo.
I ln fast E ai*",
I t
I $ can also be performed at )orY=%beat
I
il a
t "no
fast tempos: count each E measure
) a,l
,rr]= 1 beat
]
'
in 1 count and each [i m"asure in
I a
2 counts,
I t ;otf =7:bedt., e- | \ \
I t There is a strong beat on t in I time i
t I and on beats 1 and 4 in I time. ' )=lbeat 11
t t Because the tempo is fast, it is only

tT
I

a necessary to count the strong beats. )',-=1beat

g t
g ,
g t
;
@
t In fast I ,ir"'
# 2 ) t, j I and j. receive the sarne
FI
F a
number of beats us in 0 tim".
$
t
if,
ilg
ta

,
lt
In addition, i' = '! Oeat, j. or r = 2 beats
sJ ,l,J ,ht,ili ,hJ
1_ 2 1 2
il

il ^
Ig t
g .t _ 2_ 1_ 212
$ ^
$ , Exercises
# ) Write the strong beats below the notes in a fast tempo
6 - E
il',4 J
g
g -
J
$ J
$
g
il,g J Write the correct time signature and the strong beats below the notes in a fast tempo
$ A
g
H

a
q *
H a
q
 $
*
Lessoru 45 t
*
Eightlt Nate Triplets
v
When three notes are grouped together with a figure "3" above or below the notes, the a
group is called a TRIPLET. The 3 notes are played in the time of 2 notes of the sarne value.
ct dd
It is similar to playing and at fast ternpos. s
fr $ d
a
F
d
Bth NOTE TRIPLETS 3

J-J-l : ,r:
F
d
n
Count:trip- a- let '1 &
or: 1 $
trip- let d
E
&3& ,,
H
-,
March (frorn the "Nutcracker Suite") Feter I lyich Tchaikovsky (1 840-1 893) {C
ffi
F€

,, H
$
,'-
3
1 trip - let 2 & 3 & 4 &
*
Arabesque No. 1 Claude Debussy (1862-1 9X8)
u
t
J
v'
ffi
d
2 trrp- iet 3 trip- iet 4 trip- iet 1 trip- let \t
re
aii
$
a1
Exercises r|''
ffi

For each example, add bar lines, write the beats under the notes and clap the rhythm. e'
It tP
3
rp'

- - - - - #
rt
3 t
b. T
- - - - - - t
tF

il}
Complete the incomplete measures below with eighth note triplets. Count and clap the rhythm.
E rF'

- - -
e
?
!f,
g
b.
:---.-:"-7 a 3
t
U
 I't
t:
lc Lessoru 45
t,:
I;
It
Incomplete M e asures (Pick-up Notes)

t:
):
Some pieces begin with an incomplete measure. This note (or notes) is known as a PICK-UP NOTE.
The following piece has only 1 beat in the first measure. The missing 2 beats are found in the last measure.

t:
t:
Carnival of Venice
Moderato fi" -------_-l
italian Folk Song

It
!r
tr
ilr Syncopation
tr When the accent in a musicai passage falis on the weak beat (&)
rather than the stronE beat (1, 2, etc"), it is called SYNCOPATION.
;t , Ni \i \-
ilt
$'
il, 1&2& 1 &2&3& 1 &2&3 &4&
ilt
ilt Exercises
$t
ilt E
Fill in the last measure of each example with the correct note vaiue for the given note name.
il.
ilt We Wish You A Merry Christmas Traditional Carol

il2
ile
$e
H} Auld Lang Syne
t. Scottish Folk SonE

il,
$t
il,.
il;
il) Add bar lines and write the beats under each measure.
o Count and clap the rhythm.
q
il3
I

ry3
i:$ ,

t:
tt-
i:
'- t
t
U.
i:" J
Hbr
.':
{
U3
l_r
Rrvrrw oF LEssoNs 4346

When the first measure is incomplete, the beginning notes are called notes.
E

llIt E
Star
Complete the last measure with the correct note value for the given note name.

Song Austrian Folk Song

t:
t:
l.
l2
l. When the accent falls on
the weak beat, it is called
Fill in note values to
create syncopation and
It complete the measure"

l)
It
T
1& (2)
4
I

&3 &

tt
tf
I

What type of note receives 1 beat in $ and f ,ir" signatures? (Circle on"l J a
|) I

d )O
tr
t? c
,. nor H ti me, write the total number of beats.
la \
l2 a. o'i) +C=|) b. ) + ) ei+)=
l)
=

E At fast tempos, 3 is counted in

"nd
$ is counted in

!l tr Atfasttempos,thenotethatiscountedin
-.-,
l countinBandS*,rn*is: (circleon"l Jj ) ) -

tr Add bar lines and beats below the notes for the following examples at slow tempos.

Take Me Out to the Ball Game !,^h "'.;

A rknr+ von
Albert Tiizer (1873-1956)

The Flower Puerto Rican Game Sonq

Three notes grouped togethen which are played in the time of two notes of the same value,
E
are called a

Complete the incomplete measures below with 8th note triplets, Add beats below the notes.
E

- - - - - .-
 I
Lessoru 47
I
Triads r. i nrt. !?1e ,qrilF:r il9r.4
I
When three or more notes are sounded together, the I
combination is called a CHORD. When a 3-note chord
consists of a ROOT, a 3rd and a 5th, it is called a TRIAD. +iH, +iH, I
I
The root is the note from which the triad gets its name" D I
To build a triad, measure the 3rd and the 5th upward from the root. b
I
C Major Scaie C Triad T I
I
I
t
123
Root

The root of a C triad is C. When C Triad L inad

a triad is in ROOT POSITION, it
will include every other note
(C-E-G, D-F-A, E-G-B, etc.).
Eilg=
A1lthe notes will be on Iines
or a// the notes will be in soaces.

Triads may be built on

any note of the scale.
In the C major scale,
the root position triads are;

Exercises

Build triads using each

of the following line
notes as the root.
Name the root note.

Euild triads using each

of the following space
notes as the root.
Name the root note.

Add two notes (above or below) to create a triad in root position from the given 3rd or 5th.
Name the root note.

--G3rd
3rd
ii Primary and Major Triads
Lessoru 48

The most important triads of a key are built on the 1st, 4th and 5th scale degrees of the major scale.
They are called the PRIMARY TRIADS or PRIMARY CHORDS of the key and are identified by the
ROMAN NUMERALS l(1), lV (4) and V (5). These three triads contain every tone in the major scale.

= Major Triad

11
t:
l2
Perfect 5th
Major 3rd

triad:

li
There are two other ways of forming a major 1. select the 1st, 3rd and 5th notes of a major scale.
I
add the interval of a minor 3rd (see page 57) on
In the key of C major, the top of a major 3rd.
l triad (or chord) is the C triad (C-E-G).

li
,2
lV triad (or chord) is the F triad (F-A-C).
V triad (or chord) is the G triad (G-B-D).
The primary triacis in the key of C major:
l)
l)
l) t23rvv5 Major
C Ma1or F G Major
C
t23rvv6Major
Major F G Major

Build the primary triads in root position for each scale by adding two notes to the 1st, 4th and 5th
notes of each scale to complete the triad. Name each triad'

Write the primary triads in root position for each key. Name each triad.
E
,b

i- J.

IV
 Lessoru 49
rU I\ lr
Lregfee
DCArc
- -o- -- lY flmes -!F,i3?rry*r*i
Each tone of a scale can be identified by a name as well as by a numbered scale degree
(see page 43). The most important scale degrees are the same as those on which the
primary chords are built: 1,4 and 5. The three most important scale degree names are
the Tonic (l), Subdominant (lV) and Dominant (V).
TONIC (t)
The keynote of a scale is called the TONIC. lt is the lowest and highest tone of the scale. Since the tonic
is the 1st scale degree, it is given the Roman numeral l. In C majol C is the tonic note or chord.

DOIVIINANT (V) and SUBDOMINANT (lV) a

The tone a 5th above the tonic is called the DOMINANT. Since the dominant is the 5th scale degree, it J
is given the Roman numeral v. In c majon G is the dominant note or chord"
J
The tone a 5th below the tonic is called the SUBDOMINANT. Since the subdominant is the 4th scale J
degree, it is given the Roman numeral lV. In C major, F is the subdominant note or chord. The prefix
I
"sub" means under or below
l
I
lmportant!
I
I
The names of scale degrees were derived from an arrangement in which the tonic was the central tone.
The subdominant was given its name because it is the same distance below the tonic as the dominant is )- I
above the tonic. lt is not called subdominant because it is just below the dominant. see bottom staff. l
I
MEDIANT (iii) and SUBMEDIANT (vi)* J
The tone a 3rd degree above the tonic (midway between the tonic and the dorninant) is called the I
MEDIANT (a Latin word meaning "in the middle"). Since the mediant is the 3rd scale degree" it is given
I
the Roman numeral iii. In C major, E is the mediant note or chord.
I
The tone a 3rd degree below the tonic (midway between the tonic and the subdominant) is called
I
the SUBMEDIANT. Since the submediant is the 6th scale degree, it is given the Roman numeral vi.
In C majoq A is the subnnediant note or chord. I
I
SUPERTONIC (ii) and LEADING TONE (vii')
The tone a 2nd degree above the tonic is called the SUPERTONIC. Since the supertonic is the Znd scale I
degree, it is given the Roman numeral ii. ln C major; D is the supertonic note or chord. The prefix I
!
"super" means over or above. I
The tone a Znd degree below the tonic is called the LEADING TONE - sometimes called the SUBTONIC. I
Leading tone is most often used since the note has a strong tendency to "lead" to the tonic, as it does !

in an ascending scale. Since the leading tone is the 7th scale degree, it is given the Roman numeral viio" v
In C majo; B is the leading tone or chord. !

In scale degree order, the name and Roman numeral of each scale tone is: la

IONIC sUPERTONIC MEDIANT SUBDOMINANT DOMINANT SUBMEDIANT LEADING TONE TONIC e

:
U
!
I ii iii lV V vi
vii" U
With the tonic being the central tone, the name and Roman numeral of each scale tone is:
!

SUBDOMINANT SUBMEDIANT LEADING TONE SUPERTONIC MEDIANT

!

lV vi vii" I ii iii V l
*The reason for upper and lower case Roman numerals and the degree sign () is explained in Unit 14, Lesson 58 & 59. _l

,l
tile Lessoru 50

,,: The W @ ominant TIIJ) Chord iiiJ'is'ixiil*,,;;l';:::r:'ir.:;:":

t:
l:
in many pieces, a V7 (dominant 7th) chord is used instead of a V (dominant) triad. To build a V7 ehord,
add a minor 7th above the root of the V triaci (or a minor 3rd above the 5th). The Vz is a chord and
not a triad because it has 4 notes rather than 3.

It Dominant + minor 7th = Dominant 7th Dominant + minor 3rd = Dominant 7th
It minor 7th

It 5th
3rd

It
It
l:lt Often, the 5th of the Vz chord is omitted. The Vz chord then would have the same number of tones as
It the I and lV chords while still retaining the quality of a 7th chord. This also allows the music to be sung
or performed by as few as three singers or instrumentalists.
)t
I)
l,
The three primary chords are now l, iV and Vz"

tt
l!
It
l.
l.
)t t1 o
.L rcerctsgs ".'*-+*;*ni,4.+d,a.;i&3w,rs-gqa&Jfus.!,iu.*ry6:;;@,....:.
It
l2 I
Write the Vz chord for each key. Write the key name and letter name of each chord.
lP Key of: C MaiOr

li -
/'-F 7

Fill in the missing notes in

the following V7 chords.
Which interval did you
add?

Write the following V7

chords with the 5th
omitted-include the
accldentals.
 .i
Enn TnnrrurruG FoR Lrssorus 47-50 'l"'
Track 74 r'lI
Listen to a C rnajor triad" lt will
""'
first be played one note at a
time. and then as a chord (all
F-lI
notes together). ?,1
Write whether each example is b. d.
P-l
played one note at a time (1),
g.
e-l
or as a chord (C).
:l
Track 75
Listen to the two intervals l-
:lI
that make up a major triad:
the rnajor 3rd and perfect Sth.
-
Major 3rd perfect 5th = C major chord
:r
:l
Write whether each example
is a rnajor 3rd (M3) on perfect r. I
5th (P5)" Each example will b.
-l l
be played twice.
?l
F-T

Track 76
Listen to the C major primary
triads in root position.
Write whether each chord is
a l, lV or V chord. Each IV V
example will be played twice.
a. I
c. d. ?l
al
al
?l
Track 77
Listen to the V and the el
Vz chords (with the 5th el
omitted), played one note
at a time and as a chord. al
Write whether each chord
V v7 il
is a V or Vz chord. Each
example will be played twice. b. A "l
.T
,l
'l,"|
,l
tracK /d
Listen to the three intervals
that make up a V7 chord:
the major 3rd, perfect 5th
and minor 7th.
Write whether each example is
Major 3rd + perfect 5th + minor 7th = G7 Chord :l
a major 3rd (M3), perfect 5th
b. d._
(P5) or minor 7th (m7). Each
example will be played twice. tl
 Revrrw or l-essoNs 47-50
l:i
T-
2i E A chord consists of
A lf the 3rd of a triad is B, the
Z In a major key, primarY

i;
l)
a
sounded together"
or more noTes root is the note

Prirnary triads are built on

triads are always
triads.

t9 the {ollowing notes of the Another way to form a

It
It
E
A triad consists of a root,
and a
scale: (circle one)
a. l, ll, V
c. l, lV, V
b. t, tv vl
d. il, rv vl
major triad is by adding
the intervai of a

le
It E if the root of a triad is D,
tr A major 3rd + a on top of the interval of a

)t the 5th is the note = a major triad.

le
Ig
),
l,
),
tr Write the primary triads in the keys of C and G major.

),
tt
le
l2
t2 [t
Write the primary triads in the keys of F and D major.
l2
le

A l chord is also called the ,A ll chord is also called the A Vl chord is aiso ealled the
E chord.
EE
chord. chord.

A V chord is also called the A lll chord is also called the A Vll chord is also called the
tr E chord.
chord, chord.

A lV chord is also cailed the

tr chord.

Write the following Vz chords.

Include the accidentals.
 ,l
H# Glossnny & huoex or Tenus & SyrvleoLs
Includes all the terms and symbols used in Book 2 and the page on which they are first introduced.

ALLA BREVE see CUT TIME. (p. 65). EVEN NUMBERED INTERVALS (2nd,4th,6th and PERFECT INTERVAL The interval between the
rl
octave) Are written from line to space or space keynote of a major scaie and the unison, 4th, 5th
AUGMENTED INTERVAL When a perfect or to line (p 52). or octave of that scale (p. 56). ra

ffi
major interval is made larger by one half step
(p. s8).

CHORD 3 or more notes e e e

il'I"Tlllil,".", a( 4 3
*-- 2nd begin with an
sounded together (p 74) ffi 4th 6th Octave
incomplete measure. This note (or notes)

ffi
is
eJo known as a pick-up note (p. 71),
CHROMATIC INTERVAL HARMONIC INTERVAL
When the keynote and the upper note of an Two notes sounded PRIMARY TRIADlCHORD c.\
interval are not from the same major scale. together (p. 52). Triads built on the 1st, 4th
Minor, diminished anci atrgmenied intervals are or sth notes cf the major t\

always chromatic intervals in major keys (p. 58). INCOMPLETE MEASURE See Pick-uo Notes scale, identified by the
(p.71). Roman numerals l" !V and V (p. 75).
CHROMATIC SCALE
PRIME INTERVAL see UNISON (p. 52). f..
INTERVAL
The distance in pitch ROIVIAN NUMERALS NurnberinE system used to t\'
between two notes (p. 52)" identify the scale degree on which the chord is
buitt (p. 75). D-
A scale made up entirely of half steps in
consecutive order. On the kevboard it uses everv KEYNOTE The note on which a scale beqins
ROOT The note from which the chord qets its db.
key; black or white (p. 51). and ends (p.43).
name (p. 74).
CIRCLE OF FIFTHS Shows the relationship of KEY SIGNATURE lndicates the ROOT POSlTlOil A triad where the order of
one key to another by the number of sharps or notes that will be sharoed or notes from lowest to highest are: root, 3rd, 5th
flats in the key signature and the order in which flatted each time they appear. (p. 74)"
the sharps or flats occur (p. 53). These are placed right after N tF'
the clef sign (pp. 46 & 47).
SIXTEENTH NOTE .r'
COMMON TIME ,C Means the same as the In time signatures with 4 as the bottom number,
time signature of f; (n. 65). it receives % beat (p" 62).
LEADING TONE The 7th scale degree (vii) q
(p. /bl. SIXTEENTH REST Y in time signatures with 4 as
cur rlME 0 t .u* in half to i" lt indicates
the bottom number, it receives % beat of silence
there are two beats per measure and the half (p. 63).
MAJOR INTERVAL The interval between the
note receives 1 beat (p. 65).
keynote of a major scale and the 2nd, 3rd, 6th or
SOLFEGE A system of reading musical notes by
DEGREES The tones or steps of a scale. There 7th of that scale (p. 56).
assigning a different syllable to each note (p. 59)
are eight degrees in a major scale (p- 43). w'
MAJOR SCALE A scale macje up of eight notes- SUBDOMINANT The 4th scale degree (lV) (p. 76).
two tetrachords joined by a whole step (p. 43). {i
SUBMEDIANT The 6th scale degree (vi) (p. 76).

234567 SUPERTONIC The 2nd scale degree (ii) (p. 76)"

9
SYNCOPATION When the accent in a musical
DIATONIC INTERVAL When the keynote and Lc TetrachordJ LG Tetrachordl
passage falls on the weak beat (&) rather than
the upper note of an interval are from the
the strong beat (1'2'etc') (p 71)'
same major scale. All diatonic intervals in the MAJoR TRTAD Triad consisting v
major scale are either perfect or major (p. 56). of a root, major 3rd and pertect ffi"--dfltJd TETRA Four (p' 43)'
5th (p. 75). c') i€>Rodt TETRACHoRD A series of four notes having a \'J
DIMINISHED INTERVAL When a perfect or
pattern of whole dep, whole step, half step
minor interval is made smaller by one half step.
(p. 58). MEDIANT The 3rd scale degree (iii) (p. 76). The four notes of a tetrachord must be in
alphabetical order {p. 43).
./fr
DOMINANT The tone a 5th above the tonic MELODIC INTERVAL f,---
(p. 75). Two notes sounded Tti-f-7-Tl t*'
separarery (p. )z/. ._ e.y'
DOMINANT 7th CHORD A chord built on the W {::
5th scale degree consisting of a root, major 3rd, MINOR INTERVAL When the interval between L, 23 6
perfect 5th (sometimes omitted), minor 7th (V7) the two notes of a major interval (2nd, 3rd, 6th TIME SIGNATURE C or,i, 0 or 2,6 anci Sappears !l:
(p.77)" or 7th) is decreased by a half step (p. 57). at the beginning of a piece of music after the
\ <lef sign. lt contains two numbers. The upper 3
DOTTED EIGHTH NOTE , .
In time signatures
MOVEABLE DO In Solfdge, Moveable Do number tells how many beats are in each j'
with 4 as the bottom number. it receives % of a means the syllables apply to the same scale measure and the lower number indicates what
beat (p. 54). degrees, regardless of the key. For example, type of note receives 1 beat (pp. 65, 68, 69).
DoUBLE FLAT It Lowers a f lat note bv a half step in the key of C, the keynote C is called "do". TONIC The first scale ciegree or keynote of a
(p. s8). In the key of F, the keynote F a
scale (l) (p. 76),
is also called "do" (p. 59).
x TRANSPOSITION When a rnelody is rewritten ra
DOUBLE SHARP Raises a sharp note by a half
step (p. 58). J OCTAVE The interval with the exact same sequence of notes and at
lTl of an 8th (p. 52). intervals inro another key (p. 59).
EIGHTH NOTE TRIPLET ) ) ) rt
When 3 8th notes are grouped together with TRIAD A 3-note chorci consisting
figure "3" above or below the notes (p. 70).
a
-
ODD NUMBERED INTERVALS (unison, 3rd,
5th and Tthi Written from line to line
of a root, 3rd and sth (p. 74).
o
or space to space (p. 52). TRIPLET See 8th note triplet (p. 70).
ENHARMONIC KEYS Keys and scales that sound a,
the same but are written differentiy. The keys of UNISON The interval between 4-----n
cfl, f$ and B sound the same as the keys of Db. Gb two identicat notes (p.52). at
and Cb respectively (pp. 50 & 53). f
t