Gra0ee Venrdendeol yboard theory Preparatory Book B 2nd Edition [FREDERICK] [MUSICForeword The Keyboard Theory series was written in response to the needs of music students in private and classroom instruction. It attempts to bridge the difficulties students encounter when relating basic music theory to the practical application of learning an instrument. A visual approach—the relationship between theory and the keyboard—is emphasized throughout the series to simplify the learning of new concepts. All explanations and instructions are kept short, simple, and easy to understand. Reviews at the end of most lessons, covering current and previously learned concepts, help students to retain and test their knowledge. Keyboard Theory is a progressive series of exercise books written to provide the young student with a thorough knowledge of the fundamentals of music theory. To my daughter, Melissa.Table of Contents Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Accidentals . The Grand Staff Major Scales. Intervals Simple Time. Common Terms and Signs....Lesson 1 Accidentals The Sharp Sign Tam called a SHARP. I RAISE the pitch* of a note by a SEMITONE* (or half step). On the keyboard, I usually move UP from the white key to the nearest black key. (The two exceptions—B# and E4—will be examined in Preparatory Book C.) On the staff, I am always written IN FRONT of the note (¢.g., #0). FR OGH At CH DA FA GE Ad Ge Ch ODE FA GH A’ CH De FA Ge When NAMING a note that has been sharpened, I am always written AFTER THE LETTER NAME (e.g., D3). fh * See page 74 for definition.Accidentals EXERCISES 1. Practice drawing SHARPS in a SPACE by tracing over the dotted lines. a i i L u 2. Write eight SHARPS in the second space. 3. Practice drawing SHARPS on a LINE by tracing over the dotted lines. TF 4. ° Write eight SHARPS on the third line. 5. NAME each of the following notes. Remember, the sharp is written AFTER the letter name.Accidentals EXAMPLE The sharp must be written IN FRONT of the note affected. If the note is a space note, the sharp must be written in the same space. At EXERCISES 6. Write a SHARP in front of each of the following space notes. NAME each note. Remember, when naming the note, the sharp is written AFTER the letter name. (a) 7. Adda TREBLE CLEF to the beginning of the staff and write SPACE NOTES for each of the letters below. Remember to write the sharp sign IN FRONT of each note. a Ge At G D4 8. Add a BASS CLEF to the beginning of the staff and write SPACE NOTES for each of the letters below.Accidentals EXAMPLE If the note is a line note, the same line that goes through the middle of the note must go through the middle of the sharp. Gt EXERCISES 9. Write SHARPS in front of each of the following line notes. NAME each note. Remember, when naming the note, the sharp is written AFTER the letter name. @) 10. Add a TREBLE CLEF to the beginning of the staff and write LINE NOTES for each of the letters below. Remember to write the sharp sign IN FRONT of each note. ct Gt Fa D4 ca 11. Add a BASS CLEF to the beginning of the staff and write LINE NOTES for each of the letters below.Accidentals 12. NAME each of the following notes and draw corresponding LINES to the KEYBOARD. (a) Oe (b) Oo © 0 *EUee|Accidentals 13. Write SHARP NOTES in the TREBLE CLEF for the keys marked with an %. NAME these notes. @) EH 8 i c I (b) Hl 8 i c © += ——_ _ =Accidentals The Flat Sign Tam called a FLAT. I LOWER the pitch* of a note by a SEMITONE* (or half step). On the keyboard, I usually move DOWN from a white key to the nearest black key. (The two exceptions—C+ and F>—will be examined in Preparatory Book C.) On the staff, I am always written IN FRONT of the note (e.g., bo). Gb Ab Bh Db Eb G> Ab Bb Db & Gb Ab Bh Dp Eb Gb When NAMING a note that has been flattened, I am always written AFTER THE LETTER NAME (e.g., Dp. * See page 74 for definition.Accidentals EXERCISES 14, Practice drawing FLATS in a SPACE by tracing over the dotted lines. : ‘ : : 1 : : L Cort Soo or a | 15. Write eight FLATS in the third space. 16. Practice drawing FLATS on a LINE by tracing over the dotted lines. 17. Write eight FLATS on the third line. 18. NAME each of the following notes. Remember, the flat is written AFTER the letter name. (a) uAccidentals EXAMPLE If the note is a space note, the flat must be written in the same space. Ab EXERCISES 19. Write a FLAT in front of each of the following space notes. NAME each note. Remember, when naming the note, the flat is written AFTER the letter name. EF 20. Add a TREBLE CLEF to the beginning of the staff and write SPACE NOTES for each of the letters below. Remember to write the flat sign IN FRONT of each note. Db Ab Gb EB Ab 21. Adda BASS CLEF to the beginning of the staff and write SPACE NOTES for each of the letters below. Ab Eb AD G BbAccidentals EXAMPLE If the note is a line note, the same line that goes through the middle of the note must go through the middle of the flat. Bb EXERCISES 22. Write a FLAT in front of each of the following line notes. NAME each note. Remember, when naming the note, the flat is written AFTER the letter name. @ 23. Add a TREBLE CLEF to the beginning of the staff and write LINE NOTES for each of the letters below. Remember to write the flat sign IN FRONT of each note. Db Eb B G D> 24. Add a BASS CLEF to the beginning of the staff and write LINE NOTES for each of the letters below. Ab @ Bb Ab DbAccidentals 25. NAME each of the following notes and draw corresponding LINES to the KEYBOARD. (a) hi Ny 3B | Cc (b) Mf Y B t E \ Cc © = = 14Accidentals 26. Write FLAT NOTES in the BASS CLEF for the keys marked with an %. NAME these notes. (a) Ome (b) OPE © CO Eoo=E|Accidentals The Natural Sign Iam called a NATURAL SIGN. Iam used to CANCEL a sharp or flat. lam always written IN FRONT of the note (ho). L always tell you to play a white key. t When NAMING me, I am always written AFTER THE LETTER NAME (84). + (a) ILOWER a sharp (#) by a SEMITONE (or half step). (b) I RAISE a flat (b) by a SEMITONE (or half step). \ NON Gt | Ay By Dé | Bk 16Accidentals EXERCISES 27. Practice drawing NATURAL SIGNS in a SPACE by tracing over the dotted lines. 28. Write eight NATURAL SIGNS in the second space. 29. Practice drawing NATURAL SIGNS on a LINE by tracing over the dotted lines. 30. Write eight NATURAL SIGNS on the third line. 31. Write a NATURAL SIGN in front of each of the following notes. NAME each note. Remember, the natural sign is written AFTER the letter name. 17Accidentals EXAMPLE Remember: The NATURAL SIGN LOWERS a SHARPENED NOTE by a SEMITONE (or half step). FF EXERCISE 32. LOWER each sharpened note a SEMITONE (or half step). NAME each note. (@)Accidentals EXAMPLE Remember: The NATURAL SIGN RAISES a FLATTENED NOTE by a SEMITONE (or half step). Be By EXERCISES 33. RAISE each flattened note a SEMITONE (or half step). NAME each note. (@)Accidentals 34. NAME each black key as a SHARP. LOWER the sharpened letter names a semitone. Draw ARROWS to show the direction in which the pitches move. EEE BE See ae STITTTTT ITT TTT 35. NAME each of the following notes. Draw ARROWS on the keyboards to show the direction in which the pitches move. (b) ©Accidentals 36. NAME each black key as a FLAT. RAISE the flattened letter names a semitone. Draw ARROWS to show the direction in which the pitches move. rn (aan AEITITLTTITITLTTITT 37. NAME each of the following notes. Draw ARROWS on the keyboards to show the direction in which the pitches move. @ (b) © (d) (C) © 21ad Review No. 1 5 1. NAME each of the following notes. 12 2. Write NOTES in the TREBLE CLEF for each of the letters below. G ct Eb a Db 10 3. NAME each of the following notes and draw corresponding LINES to AT a 0 eoeE 12 4, Write the NUMBER OF BEATS each note receives. eet Herta eect a Heer ee eee eeeReview No. 1 14 5. Write SHARPENED NOTES in the TREBLE CLEF for the keys marked with an %. NAME these notes. OnE 15 6. NAME each black key as a FLAT. RAISE the flattened letter names a semitone. Draw ARROWS to show the direction in which the pitches move. Ea RE ee LI rT LITLTTT TT TTT 16 7. RAISE each of the following notes a SEMITONE (half step). NAME each note. 16 8. LOWER each of the following notes a SEMITONE (half step). NAME each note. aLesson 2 The Grand Staff Tam called the GRAND STAFF. I have TWO STAFES or STAVES joined by a DOUBLE BAR LINE—> BAR LINE and a BRACE. (end bar) BAR LINE Tam used to show music for both hands. Lusually have a TREBLE CLEF on the TOP ——= STAFF for the right hand and a BASS CLEF on the BOTTOM STAFF for the left hand. ‘tLerace The Keyboard and the Grand Staff QO BHU 24The Grand Staff EXERCISES 1. Draw six GRAND STAFFS below. Write a MIDDLE C for each clef. (a)... ) © @ © 3) 25The Grand Staff 2. NAME each of the following notes and draw corresponding LINES to the KEYBOARD. mn CO PEOO-K 263. The Grand Staff Write NOTES on a GRAND STAFF for the keys marked with an #. Write the black keys as SHARPS. NAME these notes. OP 4. Write NOTES on a GRAND STAFF for the keys marked with an #. Write the black keys as FLATS. NAME these notes. otpacicecd 27“100 16 16 2. 28 1 Review No. 2 LOWER each of the following notes a SEMITONE (half step). NAME each note. Write the MUSICAL SIGN for each of the following terms. flat piano staccato crescendo tie sharp natural repeat MATCH the NOTES with the RESTS of equal time value. JJ - + t j J 7 JReview No. 2 RAISE each of the following notes a SEMITONE (half step). NAME each note. NAME each of the following notes and draw corresponding LINES to the KEYBOARD. a ' OE "i 29Review No. 2 30 6, Write NOTES on a GRAND STAFF for the keys marked with an %#. Write the black keys as FLATS. ‘NAME these notes. ea 0 Ux, 30Lesson 3 Major Scales 5 Ay ES ASCENDING DESCENDING ‘Ggo AS (up) (down) 2 e ey i 7 Loos r— 1234567876543 21 1. The major scale has a set order of EIGHT NOTES that can go up (ASCEND), or down (DESCEND). 2. The first note gives the name to the scale. The first note of the scale is called the TONIC NOTE. The ROMAN NUMERAL for Tonic is I. 3. In the major scale, the SEMITONES are always found between the notes 3 and 4, and 7 and 8. The semitones are shown with a slur (e_°). For notes ABOVE the third line of the staff, slurs are drawn ABOVE the notes. For notes BELOW the third line, slurs are drawn BELOW the notes. 4. The sign for major is “+” or “Maj.” 31Major Scales C Major Scale The scale of C MAJOR has NO SHARPS or FLATS. It is played on the white AH ul EXERCISES 1, PLAY the scale of C MAJOR on the keyboard. 2. Mark the SEMITONES with a slur for each of the C MAJOR SCALES below. @ 323. @ Major Scales Write the correct CLEF at the beginning of each of the following to create C MAJOR SCALES. Mark the SEMITONES with a slur. oe @ 4, (a) Copy the following C MAJOR SCALES on the blank staffs below. 33Major Scales (b) Rd 5. Write the scale of C MAJOR, ASCENDING in the BASS CLEF, on each staff. Mark the SEMITONES with a slur. @ 6. Write the scale of C MAJOR, ASCENDING in the TREBLE CLEF, on each staff. Mark the SEMITONES with a slur. @ 34Major Scales G Major Scale The scale of G MAJOR has ONE SHARP: Fi. O MoE EXERCISES 7. PLAY the scale of G MAJOR on the keyboard. 8. Add the correct ACCIDENTAL to complete each of the following G MAJOR SCALES. @ @ 35Major Scales 9. Add the correct ACCIDENTAL to complete each of the following G MAJOR SCALES, Mark the SEMITONES with a slur. (a) 10. Write the correct CLEF at the beginning and add the correct ACCIDENTAL to each of the following to create G MAJOR SCALES. Mark the SEMITONES with a slur. (a) 36Major Scales (d) 11. Copy the following G MAJOR SCALES on the blank staffs below. (@ A 37Major Scales 12. On each staff below, write the scale of G MAJOR, ASCENDING in the ‘TREBLE CLEF, using ACCIDENTALS. Mark the SEMITONES with a slur. (a) 13. On each staff below, write the scale of G MAJOR, ASCENDING in the BASS CLEF, using ACCIDENTALS. Mark the SEMITONES with a slur. (a) 38Major Scales F Major Scale The scale of F MAJOR has ONE FLAT: Bb. EXERCISES 14, PLAY the scale of F MAJOR on the keyboard. 15. Add the correct ACCIDENTAL to complete each of the following F MAJOR SCALES. @ @Major Scales 16. Add the correct ACCIDENTAL to complete each of the following F MAJOR SCALES. Mark the SEMITONES with a slur. (a) @ 17. Write the correct CLEF at the beginning and add the correct ACCIDENTAL to each of the following to create F MAJOR SCALES. Mark the SEMITONES with a slur. (a)Major Scales 18. Copy the following F MAJOR SCALES on the blank staffs below. (a) oo AlMajor Scales 19. On each staff below, write the scale of F MAJOR, ASCENDING in the BASS CLEF, using ACCIDENTALS. Mark the SEMITONES with a slur. (a) (b) 20. On each staff below, write the scale of F MAJOR, ASCENDING in the TREBLE CLEF, using ACCIDENTALS. Mark the SEMITONES with a slur. (a) 42Major Scales 21. Write the correct CLEF at the beginning of each of the following scales. Add the correct ACCIDENTAL for each scale, where necessary. Mark the SEMITONES with a slur. (a) C Major (b) G Major (© F Major (d) G Major (©) F Major 43Major Scales 22. Write the scale of G MAJOR, ASCENDING in the BASS CLEF, using ACCIDENTALS. Mark the SEMITONES with a slur. 23. Write the scale of F MAJOR, ASCENDING in the TREBLE CLEF, using ACCIDENTALS. Mark the SEMITONES with a slur. 24, Write the scale of C MAJOR, ASCENDING in the BASS CLEF. Mark the SEMITONES with a slur. 25. Write the scale of G MAJOR, ASCENDING in the TREBLE CLEF, using ACCIDENTALS. Mark the SEMITONES with a slur. 440 Review No. 3 30 1. Write NOTES on a GRAND STAFF for the keys marked with an %. Write the black keys as SHARPS. NAME these notes. re RO 45Review No. 3 20 3. Write each of the following notes a SEMITONE HIGHER. NAME these notes. Draw ARROWS on the keyboards to show the direction in which the pitches move. (a) (b) © @ 14 4, Write the scale of C MAJOR, ASCENDING in the TREBLE CLEF. Mark the SEMITONES with a slur. 46Review No. 3 14 5. Write the correct CLEF at the beginning of each example to create the following scales. Add the correct ACCIDENTAL for each scale, where necessary. Mark the SEMITONES with a slur. (a) F Major (6) G Major 14 6. MATCH the SIGNS with the MUSICAL TERMS. —== natural ‘Tt piano Sf repeat b crescendo ——_—_——- tie FI forte Pp decrescendo 47Lesson 4 Intervals The distance between any two notes is called an INTERVAL. Distance: 1 2 3 4 5 6 7 8 To find the distance of an interval, COUNT all the lines and spaces between the two notes, including the given note. Distance: 3 4 EXERCISES EXAMPLE 1. Write an INTERVAL of a 2nd ABOVE each of the following notes. PLAY each interval. 48Intervals EXAMPLE 1 2 3 1) x] 3 2. Write an INTERVAL of a 3rd ABOVE each of the following notes. PLAY each interval. EXAMPLE 3. Write an INTERVAL of a 4th ABOVE each of the following notes. PLAY each interval. 49Intervals EXAMPLE 4. Write an INTERVAL of a Sth ABOVE each of the following notes. PLAY each interval. EXAMPLE 1|)x|x| x] x) 6! 5. Write an INTERVAL of a 6th ABOVE each of the following notes. PLAY each interval. 50EXAMPLE Intervals 123456 7 6. Write an INTERVAL of a 7th ABOVE each of the following notes. PLAY each interval. 1|x/|x|x]x|x EXAMPLE 123456 78 1j)x| x) x] xix 7. Write an INTERVAL of an 8th (OCTAVE) ABOVE each of the following notes. PLAY each interval. 51Intervals EXAMPLE An INTERVAL of a PRIME (1st) has no distance. It always REPEATS itself. It is also called a UNISON. 8. Write an INTERVAL of a UNISON BESIDE each of the following notes. PLAY each interval. 9. Write the correct INTERVAL above each of the following notes. @ 82Intervals 10. NAME each of the following intervals. (a) 5QIntervals 54Intervals a Review No. 4 13 1. Write the correct CLEF at the beginning of each of the following scales. Add any necessary ACCIDENTALS. Mark the SEMITONES with a slur. (@)_ F Major (b) C Major 15 2. Write the scale of G MAJOR, ASCENDING in the BASS CLEF, using ACCIDENTALS. Mark the SEMITONES with a slur. 16 3. Write NOTES in the BASS CLEF for each of the letter names below. 5S.10 4, Write NOTES in the TREBLE CLEF for each of the letter names below. LOWER each note by a SEMITONE. FH At Ch Gt 6 5. NAME each of the following intervals. 10 6. Write the given INTERVAL above each of the following notes. 18 7, Write the NUMBER OF BEATS each note or rest receives. Set aaa re d-— o a gessstasttee! Po rstaa 56Review No. 4 12 8, NAME each of the following notes and draw corresponding LINES to the KEYBOARD. ee OEE Ip | 57Intervals Interval Crossword Puzzle iF F F ACROSS 1. starting on C, go up a 4th, down a 6th, up a 4th, down a 7th, and down a 2nd 5. startingonC,goupa ; 7th, down a 2nd, and upa 7th 7. starting on C, go down a 6th, and up a 7th 8. startingonC,goupa | | DOWN Wows starting on C, go down a 3rd, up a 4th, and up a Sth 6th, down a Sth, and up starting on C, go up a 2nd, down a 7th, up an 8th, an 8th and down a 2nd 9. starting on C, godowna \4. starting on C, go down a Sth, up a 7th, down an 7th, up a Sth, and up a 8th, and up a 7th 4th starting on C, go down a 2nd, down a 2nd, and up a 11. starting on C, go up a 4th 3rd, down a 2nd, up a . ‘starting on C, go up a Sth, down a 7th, down a 2nd, 4th, and down a 3rd and up a 6th 10. starting on C, go down a 2nd, and up a 4thLesson 5 Triads Tam called a TRIAD. Talways have THREE NOTES. Tam built from the bottom note up, using two INTERVALS of a 3rd. If my BOTTOM NOTE is on a LINE, then my other two notes are written on the NEXT TWO LINES above. If my BOTTOM NOTE is on a SPACE, then my other two notes are written in the NEXT TWO SPACES above. I can be built using the 1st, 3rd, and Sth notes of a MAJOR SCALE. I am. also called a TONIC TRIAD. My ROMAN NUMERAL is I. we 0 Soo \ C Major scale C Major triad ROMAN NUMERAL: I Like the scale, I am also named after the first or bottom note. 59EXERCISES 1. Write two LINE NOTES above each of the given notes that move at intervals of a 3rd. oe 2. Write two SPACE NOTES above each of the given notes that move at intervals of a 3rd. 3. Write two NOTES above each of the given notes that move at intervals of a 3rd. 4. Write two NOTES above each of the given notes to form TRIADS. 60Triads 5. Write the following MAJOR SCALES, ASCENDING, using | ACCIDENTALS, where necessary. Write the corresponding TRIADS. | NAME each TONIC TRIAD using a ROMAN NUMERAL. (a) @ C Major (© p G Major @ 61Triads 6, CIRCLE the bottom note of each of the following triads. NAME each triad. Also use a ROMAN NUMERAL. 7. Write a MAJOR TRIAD above each of the following given notes. NAME each triad. 8. Write TRIADS as indicated below. F Major C Major G Major F Major 62io Review No. 5 16 1. (a) LOWER each of the following notes a SEMITONE. NAME each note. (b) RAISE each of the following notes a SEMITONE. NAME each note. (a) (b) oC 16 2. Match the following MUSICAL TERMS with their correct MEANINGS. phrase loud repeat becoming louder forte detached decrescendo a musical sentence staccato lowers the note a semitone mezzo piano becoming softer flat play a section over again crescendo moderately soft 15 3. Write the scale of G MAJOR, ASCENDING in the BASS CLEF, using ACCIDENTALS. Mark the SEMITONES with a slur. 63Review No. 5 15 4. Write the scale of F MAJOR, ASCENDING in the TREBLE CLEE, using ACCIDENTALS. Mark the SEMITONES with a slur. 3. 5. NAME each of the following TRIADS. 9 6. Write each of the following TRIADS. C Major G Major F Major 10 7, Write the correct INTERVAL above each of the following notes. 6416 8. Fill in the missing RESTS. peta, eee ie ae ST EEEEEEeeE) ed Review No. 5 et ect deat +h. Jd. 65.Lesson 6 Simple Time Tam called a TIME SIGNATURE. L usually have TWO NUMBERS (e.g. %, 2, 4). My TOP NUMBER shows the NUMBER OF BEATS in a measure. In this example, I get three beats. My BOTTOM NUMBER shows the TYPE OF NOTE that receives the BEAT. In this example, the quarter note (/) receives one beat. J am found at the beginning of a piece of music. bar line double bar line x A MEASURE is the area between. two bar lines. measure measure Here, I receive TWO BEATS per measure. 1 2 1 2 Here, I receive THREE BEATS per measure. 1 2 3 1 2 3 Here, I receive FOUR BEATS per measure. 66EXERCISES 1. CIRCLE the number in each time signature that shows the NUMBER OF BEATS per measure. Write the NUMBER OF BEATS per measure beside each time signature, i 2__ beats per measure 4A 4. beats per measure 3 4 beats per measure 2 4 beats per measure Simple Time 2. CIRCLE the number that shows the NUMBER OF BEATS per measure. WRITE the COUNTS for each blank measure. Piss Qi: i 3. | Write the COUNTS for each of the following measures. Adddd 123 4 123 4 | 3 | 4 | % > la. J ii? laJ 2 Jdd 4) J- Jd. ore aeSimple Time 4, Write the COUNTS below each rhythm. CLAP the rhythms while counting out loud. @) Count: 1 2 Count: Count: @ Count: Count: 68Simple Time 5. Write the COUNTS below each rhythm. Add BAR LINES. (a) Count: 12 3 Count: Count: Count: Count: 69Simple Time REMEMBER: Two of us “J” (eighth notes joined together) receive ONE BEAT: We “.) 7” also receive ONE BEAT together. EXAMPLE See t i203 12 3 1 203 * Notice how the COUNT is always written underneath the FIRST NOTE in. a pair of EIGHTH NOTES. EXERCISES 6. Write the COUNTS below each rhythm. CLAP the rhythms while counting out loud. @ Count: Count: Count: 70Simple Time 7. Write the COUNTS below each rhythm. Add BAR LINES. {a) Count: Count: Count: Count: Count: 71Simple Time 8. Write the COUNTS below each rhythm. Add the TIME SIGNATURE at the beginning of each staff. @ Count: 1 2 Count: Count: Count: Count: 72Simple Time 9, Write the COUNTS below each rhythm. Add BAR LINES. | (a) Count: Count: Count: 10. Write the COUNTS below each rhythm. Add the TIME SIGNATURE at the beginning of each staff. (a) Count: () Count: 73Lesson 7 Common Terms and Signs SIGN > ; abe DC. DS. dim. on rall, rit. 74 WORD accent accidental Da Capo Dal Segno diminuendo double bar line double bar line fermata or pause Fine fortissimo legato pianissimo pitch rallentando ritardando semitone (half step) tenuto ottava ottava bassa MEANING a stressed note a sign written in front of a note that raises or lowers its pitch, e.g., sharp @, flat @), or natural @) repeat from the beginning repeat from the sign (%) becoming softer the end of a section the end of a composition hold the note or rest longer than its normal value the end very loud smooth very soft the sound created by playing a note on an instrument slowing down slowing down gradually the shortest distance between two keys on the keyboard held, sustained play one octave above the ‘written pitch play one octave below the written pitchCommon Terms and Signs Crossword Puzzle ACROSS cancels a sharp or a flat lowers a note by a semitone held, sustained hold the note or rest longer than its normal value a stressed note . becoming softer 13. 14, 15. very soft the end very loud MDW 12. DOWN slowing down gradually (short form is “Tit.") repeat from the sign 8 smooth joins two notes of the same pitch slowing down (short form is “rall.”) repeat from the beginning soft ory100 10 18 1s 1, Review No. 6 Write the following notes on the staff a SEMITONE LOWER. NAME these notes. ‘Use an ARROW to show the direction the pitches are moving. Write the scale of FMAJOR, ASCENDING in the BASS CLEF, using ACCIDENTALS. Mark the SEMITONES with a slur. Write the scale of G MAJOR, ASCENDING in the TREBLE CLEE, using ACCIDENTALS. Mark the SEMITONES with a slur. 76Review No. 6 12 4, Write the following TRIADS. G Major F Major C Major G Major 12 5. Write the COUNTS below the following rhythm. Add BAR LINES. Count: 10 6, Write the COUNTS below the following rhythm. Add the TIME SIGNATURE at the beginning of the staff. Count: 10 7. Write the correct INTERVAL above each of the following notes. 77Review No. 6 16 8. Match each SIGN with its correct MEANING. ig the end DS. smooth rit. repeat from the beginning — tfir accent: a stressed note Fine held, sustained mm repeat from the sign D.C. slowing down gradually r hold the note or rest longer than its normal value 78Common Terms and Signs Find the Hidden Sign Color the G Major triads PURPLE. YELLOW. 6. Color the intervals of a 2nd Color the intervals of a 6th RED. ORANGE. Color the F Major triads GREEN, 7. NAME the sign: Color the intervals of a 5th BLUE. Color the C Major triads80Young Composer’s Notebook: A Student’s Guide to Composing | Frances Balodis Founder and International Director of Music for Young Chiiren “Young Composer's Notebooks made my class successful! The series presents a good curriculum, follows a logical order, is easy to use, and made my role of teacher much easier!” Amy Rose linmerman, Past President, Ohio Music Teachers Association | ‘This series of three workbooks gives young music Set students a practical introduction to the theory of vee SM COMPOSING Technigu composition. Students come to understand composition tele ee TE ee coreg through simple visual concepts. Teachers or parents esund whee weer ee will benefit from the insights of the accompanying notes. ‘These books offer excellent supplementary theory = material for young enthusiasts. eevee ts se eae Volume 1 "| © compositional patterns * motives * repetition, sequence, retrograde Volume 2 * inversion + rhythmic shift © fragmentation Volume 3 J + augmentation, diminution 4) * question and answer * use of cryptics to produce random motiveskey board theory v The Grand Staff 2nd Edition V Major Scales Preparatory Book B eat V Simple Time Grace Vena mdendool Common Terms and Signs “Theory Publications by Grace Vandendool Grace Vandendool’s thorough approach to music theory offers students easy-to-understand lessons and plenty of reinforcement activities. The progressive Preparatory Series and ‘Theory Series include visual aids that strengthen understanding of the connection between theory and practice, laying the groundwork for success in the study of harmony. Keyboard Theory Pear Series, 2nd Edition 2 Tor eemstary ova a Supports any besiner piano inethod 2D Ormanizes concepts ino fv proresie levels epee srs Be nein RCM Binatone Nil il © Cenifiate Program Prepersory Rudiments ekaminaions and mare) ‘Orgaoize concepts it ties progress © Imermedits and Advanced } Prepares students for the. SS Cornel rogram Rudanets ce