ESSENTIALS OF MUSIC THEORY PDF

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Basic Music Theory: How to Read, Write, and Understand Written Music Read what folks have to say Essential Skills Manual - Automotive Service Technician . COMPLETE BOOK: Alfred's Essentials of Music Theory is also available in one COMPACT DISCS: One of the difficulties in studying music theory is not being. only the bare essentials of music theory. Music is a very large .. are learning. You may print these exercises as a PDF worksheet5 if you like.


Essentials Of Music Theory Pdf

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[PDF] Alfred's Essentials of Music Theory, Complete (Lessons * Ear Training * Workbook) (CD's Not Included) FOR DOWNLOAD. want to have a better understanding of the language of music. alfred's essentials of music theory, bk 1 pdf - book library - alfred's essentials of music theory is. Essential Music ritipulmama.ga - Free download as PDF File .pdf), Text File .txt) or read online for free.

The lack knowledge of the whys and wherefores of scales, intervals, and chords among instrumentalists and singers is appalling, and is due partly to the neglect of text books and partly to of incompetent teachers. Music Appreciation, as a cultural course of study, is growing in popularity and large enthusiastic classes in this subject are to tion for the study of be found in all our colleges.

Page Preface I. Note Values: Time Signatures: Tempo 3, II.

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Epitomized Acoustics 47 ci V. Sound is I. Irregular impulses, air, propagated through the produce musical tone.

Regular impulses The or duration of tone is is indicated by symbols called notes. Following list of notes n I Double whole note or Breve. Whole note or Semibreve. Half note or Minim. Quarter note or Crotchet. Sixteenth note or Sefniquaver. Thirty-second note or Demisemiquaver.

Occasionally the sixty-fourth note is is used. Following a table of the relative value of notes: The value of not given in this table it is twice the whole note, four times the half, etc. As is seen in the table, the eighth, six; teenth and thirty-second notes are often grouped than one occurs in succession. Following is a list of is ]: Whole Half rest. Quarter rest.

Sixteenth rest. Thirty-second is rest. The rate of vibration called pitch. Rapid vibrations " " shrill tones.

Alfred's Essentials of Music Theory

More complete information on sound, tone and pitch The " Acoustics. A double dot adds one half and one fourth its value, thus a. The contents of the measure deter- mined by the fraction at the beginning. Each measure must contain the number and kind of notes or rests designated by the fraction, or their equivalents.

The most common artificial groups are the its triplet and sextiiplet. A triplet is a group in the value of of three notes played in the time and summed is two of a group of six notes sextuplet in in the time and summed the value of four of its played own kind.

A group of seven played kind. Each of these counts is called a pulse.

Berklee Music Theory Book 1

Pulses should occur regularly unless otherwise marked. Adagio, a trifle faster than Larghetto. Lefito, slow. Andantino, translated literally means slower than Andante, but it is more often used incorrectly meaning faster than Andante. Moderato, moderate Allegretto, cheerful. Allegro, quick. Vivo, quick. Presto, very quick. The incompetency of so many teachers is somewhat responsible for this state of affairs, but the majority of piano In second studies and methods is more largely responsible.

Oral and Written. What What is sound? Write a table of the relative value of notes comnote. Write a table of the relative value of notes comhalf note. Describe the rests. For each double dotted note, show Describe measure equivalent by three tied notes. Describe the manner rhythms. Describe the natural accent. Name What the most common? Name and define twelve different artificial tempo marks. Explain and notate groups. Chapter i, page 4 , the rate of vibraTones vibrating an equal number of times produce an unison which is a perfect concordance and tion is As stated before called pitch.

Be- tween these two tones many tones may be found. Harmonic minor. Melodic minor. The ways: The key-tone that I is the tone from which a diatonic scale is The numerical system is a movable system which means is i. The Major Scale. Following is a diagram of a two octave keyboard: Starting at c and sounding the white keys order to the right as far as the octave produces the ascending major scale of C ; sounding in order to the left produces the de- Notice that no black keys are scending major scale of C.

The student must constantly keep in mind the order of whole and half steps being in their proper places i ; In each scale explained half steps in all scales explained.

The sharp keys Rule I. The fifth of is y and has six sharps F?? The double sharp step. If this done beyond fourteen sharps, it will be necessary to add triple Of course, triple sharps are never used in musical sharps.

All keys having one double sharp or more would be difficult to read, and so instead of using the sharp signatures on such keys, the Rule fiat signatures are used. All twelve keys with their fiat signatures will 2. The The double are. Dbb has continue counting four would take us over the same keys by different names.

Rule of a 3. An Enharmonic Change its Pitch.

Following is a list of the major scales used in practice together with their signatures: Eb 2 flats flats Ab 4 6 flats Db. The enharmonic keys used flats five sharps enharmonical to F six sharps enharmonical to Cb Gb seven flats six C seven sharps 4.

Notice that this the Enharmonic Flat and Sharp Signais true in the above three keys. This process should be applied to all keys having eight to a eleven sharps and eight to eleven flats inclusive. As stated in the first chapter, the pitch of tone is determined by the note's position on the staff. It is in the lower register of the high female voice and in the upper register of the low male voice. The Its clef treble clef is for symbol shows the position of the high voices or instruments.

Its most common position is on the third line of the thus -M not uncommon, how For vocal music ever, to find it is it on the second or fourth line. The bass orFclefis for the use of low voices or instruments. Its symbol shows the position of the F next below middle found on the first 7, thus: Starting at a and sounding the seven white keys in order to the right produces a form of scale with whole steps between and 2, steps between 3 and 4, 4 and 5, 6 and 7, 7 and 8, and half and 3 and between 5 and 6.

This urgent effect can only be obtained by the subtonic being one This may be obtained by simply hair step below the tonic. In demonstraan between called augmented step line will be minor a curved used to connect the ting keys, those figures representing tones one half step apart and a I bracket to connect those figures representing tones an aug- mented step apart. When which it is ill 23 a sharp, double sharp, flat, double flat or cancel, not present in the signature, is placed before a note, If the raised seventh were present called an accidental.

The same rules pages 13 and 15 used in the major for finding the key having the next number of sharps and the tonic key having the next number minor. The it is 25 ; student will notice a contradiction in the above scale stated that c has three flats cancelled. This the example, b is cancel, however, appears as accidental the in and raised seventh and must be a flat in the signature. The melodic minor scale has the sixth as well as the seventh raised by accideiital in ascending, but in descending, both The ascending form has the sixth and seventh are restored.

The descending form has its half steps be- tween 6 and and between 3 and is 2. Notice that the taised descending form as its signature dictates. The subtonic descending scale does not lead progress to the tonic and therefore need not necessarily be situated one half step below the tonic. Any minor key having the is called the relative of the ; same signature therefore, the relative major key minor of C flats. Rule 6. Capital letters are used to designate major keys and small letters to designate minor keys.

The sharps parallel in its 27 flats minor scale has three more or three less In other words, signature than the major scale. The notation in the treble clef of: What What each part called? How many forms of diatonic scales are there and four ways in which the tones Avhat are their names?

Name and define the 5. What is the key-tone 7. State the rule for finding the key having the next the rule for finding the key having the Write on the staff, using the treble flats. What In the the order of the letters in the sharp signasignature? What are the e7iharmonic scales used Give enkarmofiic letter in practice names for each and flat of the twelve keys.

What By is? What is the construction of the harmonic? What is the reason for raising the sixth in melodic minor differ Why does the descending form of melodic minor from the ascending form? What What What from is is an accidental? An are interval is the distance between two tones ordinals. Reckoning from the of the scale produces the following intervals prime.

The The second, third, sixth and seventh are called major ; thus: All 33 intervals is should be reckoned from the lower note, which that If the upper note is considered a major key-note. If ished and augme? By lowering the upper tone of any minor or any perfect interval one half step, or by raising the lower tone of any minor or any perfect interval one half step not altering the letter val is formed, thus: By raising the upper tone of any major or perfect interval one half step, or by lowering the lower tone any major or perfect interval one half step not the letter name in either case an augmented inter" altering val is formed, thus of: Notice that the tones of the augmented seventh are the same pitch, but must be called a seventh as seven letters are comprised.

The name: From the preceding 7. The is distance in semi-tones of: Inversion of Intervals.

Alfred's Essentials of Music Theory: Teacher's Answer Key

Intervals are said to be inverted when the lower note of the original interval is placed an octave higher, thereby becoming the upper note of the interval thus fonned. Ex- ample the inversion of The same is letters are in both intervals, but the is is first interval a third and the inverted interval a sixth.

The above versions: There is good reason for making this it The prime error, tmisoTi. Chord Construction. The fundamental is tone of a chord is the tone on which the chord constructed.

The There are two kinds minor. The triad on the mediant of the If the fifth of a triad is minor key is an augmented triad and the three mentioned triads are diminished.

Music written for four voices necessitates the triad. The factor most frequently doubled the fundamental double octave, or unison. The four voices are soprano high female voice , alto low female voice te7ior high male voice , and bass low male in the octave, , voice.

Chords are figured under the bass by Large numerals designate 7najor triads ; Roman ; nu- small nu- merals designate minor triads ' affixed designate augmented large numerals with the mark triads small numerals with a ; The notation of cipher afiixed designate diminished triads.

Major Mode. This chord is figured by a small Arabic figure over the bass note, the Roman numeral under the bass showing the fundamental. It is figured with the Roman numerals below the bass and a small The notation of the seventh chords Arabic 7 over the bass.

C Major. The subtonic seventh chord in the minor mode is called the dhiiinished sevefith and is formed with the diminished triad and the dimis The seventh chord on the mediant in the formed with the augmented triad and the major seventh.

Inversion of Seventh Chords. The first inversion of the seventh chord is called the chord of the fifth and sixth by the Roman figures The chord is figured chord. Roman numeral below the bass and the Arabic figures I or simply over the bass. What is an interval? How What? Name all the following intervals Accidentals affect only those notes before which they are placed. Name several intervals the teacher to determine the number having different names, but sounding the same.

State the manner in which qualifications Invert the intervals given in exercise 6. Notate and figure all the triads in several different all major and minor keys. Which are dependent and which are independent Describe a dependent triad. Describe open and close position. Notate and figure several sixth chords; several six-four chords. What What is the authentic close? The medium through which sound agated is most commonly prop- at a temperature of 32 Fahrenheit, sound travels at a rate of feet per second.

Through this medium, The sible. A sudden displacement of the molecules medium produces sound which all travels in waves at an in a. Great discrepancies of opinion exist among theorists on this Savart claims the lowest audible sound has eight subject.

He claims the character of tone commences at twenty vibrations, but the musical character of bass tones does not exist until frequencies exceed twenty-four vibrations per second.

On the subject of the audibility of acute sounds, opinions are advanced ranging from 6, The 36, vibrations per second. The author recommends the books, on sound by the following writers: Appum G. August Zahn intervals as chord factors. On the other hand, these sittings should be many each day. If daily, should have a member of the household play the exercises and correct the musical, the stu- no member of the household dent should co-operate with another student.

The at The pitch student should carry upon his person a tuning fork of this and sound it as often as an opportunity permits, and Eventthereby fix this fundamental thoroughly in his mind. Other tones fundamental. The argument A because of its use in orchestral tuning. The cises. Italian syllables should be used in singing the exer- Movable do is advised.

Any instrument may be used by the teacher or co-operator to play the exercises. The teacher, after having played an exercise, should The student should explain the interval or intervals therein.

V, i' i: The may also choose some mel- from accidentals and play it slowly while the student notates. Such practice accomplishes a two-fold result, ability to notate rhythm as well as intervals. Major third: This interval is ordinarily a difficult interval to intonate but coming as it does in exercise 2 ascending scale the present, it is it is easy to intonate because of the on the second half of the measures. For except in some such sequence as exercise not advisable to practice the major seventh All other nor2.

The major 1 sixth 22 J I.. Great familiarity with the normal intervals It is studying altered intervals. The student may experience difficulty with the following group, in which case it is advisable to postpone this group until the ear is more thoroughly trained. The of its the normal intervals is fix to object following firmly the fundamental and mental. Miss Glover changed the spelling of the Italian coincide with the English pronunciation.

She from si to te. It is more difficult to conceive and intonate properly The aicg77iented the augmented fourth when it is constructed upon the tonic. In order to make this interval less difficult, the following exercise contains the intermediate scale steps previous to the skip of an augmented fourth m It y: Singers almost invariably intonate them out When these intervals exist as constituent parts of an arpeggio chord progression, they are comparatively easy.

The following exercise contains the augmented fifth built upon the major tonic i 5. The augme7iled third is found tween the third and the raised 8. This interval in the altered fifth minor triad be- of the triad. Derivation of the augmented third Exercise J. If the singing of the it harmonic minor scale has been postExercises containing the now be practiced.

If the fundamental is panded, the major second to a major ninth, the major third to a major tenth, etc. In practicing the following exercises, the student should name the intervals between consecutive notes and between each note of the chord and the fundamental.

The major triad? The dominant seventh chord? The its 6i resolution. The supertonic seventh chord 8 -o- P: U 1 4 subtonic seventh chord? The diminished seventh chord w A great. Two Voiced Chords. Hiii'rrirrri'11 intervals h: Cherubini The Four Voiced Chord, It becomes necessary student should voice. The name the kind of chord and sing the upper I.

And it is this intellectual activity that underlies its role in the creation of the universe. The First Cause, by thinking of itself, "overflows" and the incorporeal entity of the second intellect "emanates" from it.

Like its predecessor, the second intellect also thinks about itself, and thereby brings its celestial sphere in this case, the sphere of fixed stars into being, but in addition to this it must also contemplate upon the First Cause, and this causes the "emanation" of the next intellect. The cascade of emanation continues until it reaches the tenth intellect, beneath which is the material world.

And as each intellect must contemplate both itself and an increasing number of predecessors, each succeeding level of existence becomes more and more complex. It should be noted that this process is based upon necessity as opposed to will. In other words, God does not have a choice whether or not to create the universe, but by virtue of His own existence, He causes it to be. This view also suggests that the universe is eternal, and both of these points were criticized by al-Ghazzali in his attack on the philosophers [58] [59] In his discussion of the First Cause or God , al-Farabi relies heavily on negative theology.

He says that it cannot be known by intellectual means, such as dialectical division or definition, because the terms used in these processes to define a thing constitute its substance. Therefore if one was to define the First Cause, each of the terms used would actually constitute a part of its substance and therefore behave as a cause for its existence, which is impossible as the First Cause is uncaused; it exists without being caused.

Equally, he says it cannot be known according to genus and differentia, as its substance and existence are different from all others, and therefore it has no category to which it belongs. If this were the case, then it would not be the First Cause, because something would be prior in existence to it, which is also impossible. This would suggest that the more philosophically simple a thing is, the more perfect it is. And based on this observation, Adamson says it is possible to see the entire hierarchy of al-Farabi's cosmology according to classification into genus and species.

Each succeeding level in this structure has as its principal qualities multiplicity and deficiency, and it is this ever-increasing complexity that typifies the material world.

Each level of existence in al-Farabi's cosmology is characterized by its movement towards perfection, which is to become like the First Cause; a perfect intellect. Human perfection or "happiness" , then, is equated with constant intellection and contemplation. The first three are the different states of the human intellect and the fourth is the Tenth Intellect the moon in his emanational cosmology.

The potential intellect represents the capacity to think, which is shared by all human beings, and the actual intellect is an intellect engaged in the act of thinking. By thinking, al-Farabi means abstracting universal intelligibles from the sensory forms of objects which have been apprehended and retained in the individual's imagination.

The human intellect, by its act of intellection, passes from potentiality to actuality, and as it gradually comprehends these intelligibles, it is identified with them as according to Aristotle, by knowing something, the intellect becomes like it. And it is by choosing what is ethical and contemplating about what constitutes the nature of ethics, that the actual intellect can become "like" the active intellect, thereby attaining perfection.

It is only by this process that a human soul may survive death, and live on in the afterlife. Any individual or distinguishing features of the soul are annihilated after the death of the body; only the rational faculty survives and then, only if it has attained perfection , which becomes one with all other rational souls within the agent intellect and enters a realm of pure intelligence. He says it is composed of four faculties: The appetitive the desire for, or aversion to an object of sense , the sensitive the perception by the senses of corporeal substances , the imaginative the faculty which retains images of sensible objects after they have been perceived, and then separates and combines them for a number of ends , and the rational, which is the faculty of intellection.

It is also the only part of the soul to survive the death of the body. Noticeably absent from these scheme are internal senses, such as common sense, which would be discussed by later philosophers such as Avicenna and Averroes.Sixteenth Notes Lesson The seventh chord on the mediant in the formed with the augmented triad and the major seventh.

These intervals are the normal intervals of the major These normal intervals are qualified in two ways. Irregular impulses, air, propagated through the produce musical tone. Starting at a and sounding the seven white keys in order to the right produces a form of scale with whole steps.

For low voices, the exercises should be played two octaves lower than indicated, and for medium voices, one octave lower.