Regional Cadet Support Unit (Atlantic)

Music Proficiency Level Package

b & Bb
Eb b Saxophone
Level Three

This MPLP is assigned to: ____________________________________

(cadet’s name)

January 2019
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This comprehensive package outlines the required material to achieve a Music Proficiency
Level. Be sure to READ everything carefully.
All the following topics will be evaluated by a qualified Music Instructor:
TOPIC OBJECTIVE

a. Instrument The cadet will maintain their primary instrument (woodwind, brass, or percussion)
Maintenance based on the skills outlined for each level.

b. Music Theory The cadet will apply music theory to include:

a. Comparing time signatures (compound & simple).
b. Writing Melodic Minor Scales.
c. Qualifying intervals to include:
- Perfect, Major, Minor, Augmented, and Diminished.
d. Recognizing Chords in root position to include:
- Major Chords and Minor Chords.
e. Transposing by an octave.
f. Identifying the tonality (key) of a piece given the key signature (Major and
Minor).
g. Define symbols and terms.

c. Rhythm and The cadet will:

Aural Skills
a. Perform the rhythms found on the Level Three rhythm sheet.
b. Identify intervals by ear to include:
- Unison, Perfect Fourth, Perfect Fifth, and Perfect Octave.
c. Sing or playback a five-note melody. Melody begins on the tonic, uses only
the first five notes of a major scale, and may contain a leap of a third.
Solfege is not required.

d. Scales The cadet will:

a. Play required scales in two octaves (when possible for instrument), and
b. Cadets are NOT required to memorize scales but are encouraged to do so.

e. Sight Reading The cadet will sight-read music at one level below the level in which the cadet is
attempting to achieve. Observe the following:
a. Rhythm,
b. Pitch,
c. A steady tempo and Musical flow.

f. Proficiency The cadet will perform Level Three Music while observing:
Level Music a. Correct Rhythm & Pitches,
b. Dynamics & Articulations,
c. Phrasing,
d. Tone Quality, and
e. A steady and appropriate tempo.
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INSTRUMENT MAINTENANCE

Cadets will demonstrate an understanding of and ability to perform the following maintenance:
1. Maintenance items from Level Basic, Level One, and Level Two.
AND
2. Resetting a popped spring.

MUSIC THEORY
For extra practice, visit musictheory.net

Comparing Time Signatures

This lesson was also discussed in Level Two Theory.

When the top number of a time signature is divisible by 2, it can be referred to as a Duple metre
(ex: 2/4). When the top number is divisible by 3, the time signature can be referred to as a
Triple metre (ex: 3/4). This concept will tell us how many beats/pulses are in each measure.

To determine what the subdivision of each beat is, we must consider the bottom number of the
time signature. If the bottom number is a 4, that means the quarter note will receive a beat, and
the subdivision of each beat would be 2 eighth notes. This is referred to as a Simple metre.
When the bottom number is an 8, it means the eighth note will receive a beat, and the
subdivision of each pulse would be 3 eighth notes. This is referred to as a Compound metre.
This concept will tell us if we have groupings of 2 (simple) or 3 (compound) notes per beat.

Being able to describe time

signatures in this manner will
allow us to read music more
quickly and efficiently.
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Fill in the missing parts of this chart. Which time signatures should there be? Which terms
describe them?

What would the time signature of a Simple Quintuple be? _______________________

Melodic Minor Scales

This lesson was also discussed in Level Two Theory.

The Melodic Minor Scale has a few more alterations when compared to the Harmonic Minor.
To create this scale we must raise the 6th and 7th scale degree each by one semitone while
ascending and then lower them when descending the scale. The descending side of this scale
sounds exactly like a Natural Minor Scale.

Take note that the Melodic Minor Scale borrows parts from the Major Scale and the Natural
Minor Scale.
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Intervals
This lesson was also discussed in Level Two Theory but it is extended upon in this level.
This is a chart of all intervals. The “other option” column sounds the same as the “Interval”
column. Remember enharmonic notes to help you with understanding. (ex: C# = Db, Bb = A#)
Semitones Interval (common) Other Option (uncommon)
0 Perfect Unison (PU) diminished 2nd (d2)

1 minor 2nd (m2) Augmented Unison (AU)

2 (1 tone) Major 2nd (M2) diminished 3rd (d3)

3 minor 3rd (m3) Augmented 2nd (A2)

4 (2 tones) Major 3rd (M3) diminished 4th (d4)

5 Perfect 4th (P4) Augmented 3rd (A3)

6 (3 tones) Augmented 4th (A4) diminished 5th (d5)

7 Perfect 5th (P5) diminished 6th (d6)

8 (4 tones) minor 6th (m6) Augmented 5th (A5)

9 Major 6th (M6) diminished 7th (d7)

10 (5 tones) minor 7th (m7) Augmented 6th (A6)

11 Major 7th (M7) diminished Octave (d8)

12 (6 tones) Perfect Octave (P8) Augmented 7th (A7)

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Intervals have two parts, the Quality (Major, Minor, Perfect, etc.) and the Distance (2nd, 5th,
unison, etc.)

Quality is always defined by the bottom note. The top note must be compared to the bottom
note to discover the specific relationship they share.

Distance is always defined by how far away the top note is from the bottom note. (ex: if the
bottom note is D and the top note is G, the distance is a 4th)(ex2: if the bottom note is B and the
top note is G, the distance is a 6th)

Steps to identify intervals:

1. Count the distance from the bottom note to the top note. Hint: Count the first note’s
name, each note’s name in between, and the top note’s name.
2. Think of the bottom note as the name of a Major Scale. Think about which notes are
available in that scale.
3. Does the top note of the interval fit in the scale?
A. If it does fit in the scale, the quality will be Perfect or Major (pending on the
distance).
B. If it does not fit in the scale, we need to find out if the top note was raised or
lowered from where it should have been to fit in a Major Scale. The chart below
shows how semitone alterations will affect the quality of an interval.
o Top note raised by a semitone = augmented
o Top note lowered by a semitone = minor (2,3,6,7) or diminished (U,4,5,8)
o Top note lowered by 2 semitones = diminished (2,3,6,7)

These are the possibilities for the quality of an interval.

Remember:
Alteration Distances of Distances of Intervals of 2,3,6,7 will
1,4,5,8 2,3,6,7 ALWAYS start as Major (as
A A long as they fit in a Major Key)

(raised by 1 (augmented) (augmented) Intervals of 1,4,5,8 will

semitone) ALWAYS start as Perfect.
Fits in Key P M This hand shape can also assist you in
(no changes made) (perfect) (major) remembering which numbers will start as
d m Perfect and which ones will start as Major.
The Perfect ones stick up!
(lowered by 1 (diminished) (minor)
semitone)
(double diminished
intervals do not d
(lowered by 2 exist) (diminished)
semitones)
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Chords (Root Position)

Chords are similar to intervals, in that they have several notes played simultaneously. Chords
are designed around 3 notes that have specific intervals between them. Every chord is built
upon the lowest note, the root, with a 3rd and 5th above it. Because there are 3 notes in a chord,
we can also refer to chords as Triads.

Every note of the scale can have a chord built upon it. Each note in the example below is from
the C Major scale. Each chord will have a naturally occurring quality.

Every chord of the same quality

will have the same interval
content. Each Major will have a
M3 under a m3, each minor
will have a m3 under a M3.
Both Major and minor will
always have a P5 between the
bottom (root) and top (5th)
notes.

When we build a chord from any note, we can sometimes figure it out without knowing the key
signature, simply by building the appropriate intervals above the root.

Ex: Let’s build a Major and minor chord above an E .

Hint: Remember the
Circle of 5ths / Key
Signature Chart!

Draw it out 10 times if

you’re having a hard
time remembering.

You can also build a chord based upon the key signature of the root name (think of the scale). If
the root is A and the quality is major, the chord will be an A arpeggio (A ,C,E ). Also, all
the notes can only come from the scale of A Major.
The same thing applies for a minor chord. If the root is B, and we already know the quality is
minor (think minor scale), the chord will be B,D,F#.
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Transposition
Transposition is the act of shifting a note or series of notes (a melody) by a certain interval. This
is sometimes necessary for singers or other instrumentalists in cases where a high or low note is
too far, the entire melody can be shifted to fit. Transposing can be done by a certain interval or
by an octave. To shift a note or melody by an octave, it is very important to make sure that it is
written in the correct position in the staff. The key signature or accidentals of a note/melody
will also move by the interval of transposition.

The key will shift down by an octave, keeping the key in D Major (2 Sharps). All notes will
shift down by an octave, placing them each 12 semitones lower.

The result requires us to read a significant amount of ledger lines, enough to consider doing
something about it. Would it appear tidier if we changed the clef from Treble to Bass? The
answer we already have is correctly transposed down an octave, but let’s see if it would look
better with less ledger lines.

This has far fewer ledgers lines and is much easier to read. This answer (in bass clef) would be
the best answer.

Identifying the key of a Melody

It is important to be able to identify the key of a melody or phrase that does not have a key
signature supplied. There are some essential points to observe: Accidentals, first and last
Notes, and the Leading Tone for minor keys.
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For ex:

Musical Terminology
Maestoso Con Moto
A style term meaning majestic or stately. Two terms that when combined are a tempo/style term
meaning with motion. Con is with, Moto is motion.
Animato Meno Mosso
A style term meaning animated or lively. Two terms that when combined are a tempo/style term
meaning less motion. Meno is less, Mosso is motion.
Espressivo Non Troppo
A style term meaning expressive. Two terms that when combined are a tempo/style term
meaning not too much. Non is not, Troppo is too much or
excessive.
Leggiero Molto
A style term meaning lively. A style term meaning many, much, a lot.
Tranquillo
A style term meaning tranquil or calm.
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Level Three Music Theory – Practice Worksheet #1

1) Construct the C Major Scale on the staff below. Also find the relative minor scale then create the
Natural Minor and Harmonic Minor Scales. Use Key Signatures.

2) Construct the F# Major Scale on the staff below. Also find the relative minor scale then create the
Natural Minor and Harmonic Minor Scales. Use Key Signatures.

3) Construct the D# Melodic Minor Scale on the staff below. Be sure to ascend AND descend the scale
correctly. Use accidentals. ALSO draw the Tone-Semitone pattern underneath the scale.
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4) Construct the E Melodic Minor Scale on the staff below. Be sure to ascend AND descend the scale
correctly. Use accidentals. ALSO draw the Tone-Semitone pattern underneath the scale.

5) Identify the following intervals. Be sure to label the Quality and Distance.

6) Create the indicated interval above the note provided. Do not alter the note you were given.
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Level Three Music Theory – Practice Worksheet #2

1) Draw one octave of a piano keyboard in the space below. Label the notes.

2) Draw a diagram of the Circle of 5ths OR the Key Signature Chart. Be sure to show all possible key
signatures.

3) You are given a note that is a root, 3rd or 5th of a chord. Build the assigned chord.

4) Identify the following chords. Label the root name and quality. (ex: F# Maj)
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5) State the Key Signature, Root Name and Quality of the following Melodies.

6) Transpose the following melodies down an octave. Also rewrite them in the given time signature.
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RHYTHM SKILLS
The following rhythms must be clapped, sung, tapped, or performed using your instrument. You will be asked
to perform 10 of the following examples. 6 out of 10 must be correct to be successful in this component.

Tempo
60-180
bpm
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Aural Skills
Recognizing intervals requires practice. You can practice this on musictheory.net or pair up with a friend and
play intervals for each other! You will be expected to recognize the following intervals by ear.

Perfect Perfect Perfect Perfect

Unison Fourth Fifth Octave
You will be expected to sing or play back a 5-note melody. This melody begins on the tonic, will move in step-
wise or scalar motion but may contain a leap of a 3rd, and will not extend beyond the first 5 notes of the scale.
Use the following examples as practice

Hints for Practice:

1. Play the melody through a few times

on your instrument or a piano.
2. Play the first note and try to sing that
same note.
3. Play the second note and try to sing
that same note. Etc…
4. Try to sing the first note without
playing it first.
5. Play the melody and immediately
repeat it using your voice.
6. You may wish to record yourself so
you can listen back and check for
mistakes.

SCALES
Cadets must play scales either all slurred or all tongued. Cadets must also play 2 slurred, 2 tongued.
Don’t forget to practice the Arpeggio!
Tenor Sax Only
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Alto Sax Only

Tenor & Alto Sax

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SIGHT READING

Sight-Reading is a skill that must be practiced. The best way to practice this is to look for music you have not
seen before and try to read through the music. Do not go back to retry things during this process, the point is to
get from the top to the bottom of the page as smoothly as possible ON THE FIRST TRY. Once you have seen
the music, and tried to read through it, it is no longer sight-reading!
Step 1: Google “sheet music” or “music to sight read”, you will find something.
Step 2: Try to play through the notes and rhythms while keeping a consistent tempo (slow is ok)
Step 3: DO NOT go back to practice any sections. Get to the bottom of the page.
Step 4: Go back to step 1 and find another piece of music to sight read!

PROFICIENCY LEVEL MUSIC

Cadets will perform one selection from List A AND one selection from List B.
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