Aah pe ; +t «5 a RD. ge LEARN * 2 'OREAD Music Haxax axa | sc sawn Barun x3 iin| LEARN fe READ Music |AUTHORS’ NOTE ‘The purpone ofthis book & to Wing a undentanding ofthe ‘ubjet of musi theory to stants an ones of se, Wh “hai in mind ano hep you page your proyestheare ‘21 of question a the end of exh ape. fo fest hw ach Yuta understoot of the materia coed win These Should be anwered aa separate msi mame Doo, par ‘of questions being coped eat. CONTENTS 1 Pu 7 Treble Clef Base Cle Other Clef; Questions 2 Whyte b Note Values; Time Sinatres; Rests; Doted Notes Question 3. More About Notation 2 ‘Accidents; interva: The Sele: More Accidental ‘Augmented and Diminished neva avers Techn Name of Noes Questions 4 Sener and Keys a Major Sete: Key Signatures; Hammonic Minor Seale: Meld Minor Seale; Chromate Sete ecopnang Keys: uevions 5 Trine o Formation of ads; Types of Triads; Psion of Triads; Quesions © Mac Atm ” Dipl Compound Time Signatures Grouping Duper: Quatraper Bue Sesto Sec, ‘Snpation: Questions 7 Marmony es Chard of the 7h, Sth and 120; Some Harmonic Fede: Cadenen More Ways of Writing Chords Chrome Chords; The Neopian eh Chord: The ‘Augmonied Gh Chords The Dimshed th Chorether Rorms of Notation; Jazz Noun: Plured ‘Bass; Root Potion Chord; at Iverson Chord 2nd aversion Chord; hard of the Tis Root Poston Chord ofthe 7 Tt inversion Chart of 2h:2nd Inversion Chard of the fh rd Iverion Chord ofthe 7 Nomnghesienat Sipensions; Pasig Noes, The Sequenc: Modulation: Questo the 8 Vocal and Part Wet 109 Vora! Ranges; Overlapping: Casing of Pats; Questions 9 Transposon 6 Transposon beoween Ces: Tronsposing Insinoents; Questions 10 nthe wi Weeds Bs Quesons 1 Pirsig v9 Ouaons 12 Ornanentation 8 The Appogelan; The Acciacca; The Morden ‘The Trl (or Shake): The Turn: The farm Ween vera Not The Turn Placed Bemecn Tins Nes; The Sie Length of Omamns Quetons ter Seales amd Abbreviations Ut Muke | 166 ‘Modes Sgns and ABbreviatons: Mae Too Foreign Name fhe Notes; Questions PITCH Music i concemed with sonnd ~ but only some sounds Some sounds ate very heay end eps othee steht and "ph; Allsounds are cued by someting reign imal to and ro movement, Sometimes he movement 0 fas that we cannot hear #3 very igh sound, fornia, like udog whist. If we her w very Tow hove on an org sometimes, we can actully fet the floor moving. We el the height Srdeth of soundest ite ok athe notes ona ako me wc tha here ae st ih We on tnt» cn fer ‘ach note but ase seven, and eo repeating them fom A GARCDERG, ABCDERG, ABCDERO, To show these sounds on paper we we a eto ive lines wid Your space between Thi called staves. ach ine and each spce represents ana, The name of the ote determined by the pe of lt that apps he ‘Spinning ofthe stave Teele Cl “The treble lets used for high notes sometimes etl the Getet because eu ound the ine tat represents ie oie.+ boing used i fellowes0 From the above examples ou can se that acho has stem Te stem of anote onthe male line wate may be “The stems of notes above the midline normaly 9 down, wht these belo the meine tn o pou Plano muse wes 2 staves bracketed together The muse in the top staves usualy played by the ht hand apd wes oes nthe ele ef, ws! the Bottom stave layed the elt nand since mae for the bs ts writen ee Other Cle ‘There ae oer important ks, The ist clled he tenor kf, soften found in elo, bane sa tenor tre toe an allows the fl range ofthese lstraments Wo te ‘eploied without ng 00min leper Ines " ie "Tho second tithe ato et ands wey the viola, =m Tn bot eases the ine that passes though the two arms mile C1 for this Teton that Sot these dt ave ‘eesonaly refer asthe, ‘questions 1. (@) How many diferent Iter same do we use to Setemnine the notes? (©) Whatare the eter names? (6). Whatdo we do wien we reach the ter G? 2 (9) How many liner dowe we twit notes? (8) Hw many space jo me use? (©) What are the stot tines and spaces cated? ‘What the mame that we give othe gn which ls ws 44 What two names do we ate forthe ign to ae nates inthe reblerangs? 5. Draw the correct sig, ietitod i quetion 4, atthe begining ofa set of five ies and wit i the ames ‘ve tonotes on each ine ad space6 @ o 6 © may 6 1. nw 7. What do we call the lof we ate when writing low uns? 8. Write out, ona tive, the et we ue fr tow sounds, ‘Then rie the notes E and Middle Cia an appropiate poation and A tn two pions ‘What isthe name othe note Blow D? ‘What the name ofthe nate ave F? Where ithe note C sbvaye toe fund the fo keybonre? Wire nate atays toe found om the pan keybod? ‘Why do we cll Mile Cy ths ame? ‘Choosing the corer cle, wit: () thenote Middle Cabove stave {i thenote A above aetave, Whatga gerne? os of notes reg leper nes are needed ‘shat aerate to eger inca there? On astave dea (0) thes ce and the note Mile C {G) the torte! andthe moe Mile C, ‘Which stumecte se thee ces? By what other name are these ef sometimes retered? 2 RHYTHM Wie have tearna that sounds ca be high oF low. We know from Iitening to musi that eam be loud ox sie We so ow tha some sounds ate long anothers short. In mae, nen We speak ofthe length sound, we uly ma fon tmany bens contin. usc ace up tom bets; and ‘eat are made op from notes cierent ngs Tt we stn to. eatefall we hear one cntanius sound without any guar best It we sents ak tape heat Ihe regular boat ofthe dipping water Or, we late fhe ‘ound of the wheels wile om a train jourey. we sal nd {hat whe teveliag a4 steady speed there fn a deat trob, the ctennes of which might well sem wf seep ‘Ween make opal Kinds of counting tthe me of he sate dripping trom the leaky tap oe frm a roo or wind SL We cant make any bets or sya rom the sound of {he watral or rom any sounde which ae continous The ‘Sounds fom the wheel of» moving tra ate conta ut ott thee fa thro aba Sometnes they sry 0 be saying things tous. We hear ial Ila la They ould fe saying "tealy home ‘ow; nearly home: now Sometimes they seem say laden: In, or hack 16 ‘Shoal, bck to tehoo. Note Vales Tus we can recngsite the lengths of eitforent nates by thelr oop, by whet hey hve son es als tty wheter they ate just ets or ae ie i an ane back. ach note (which shows sound) ha ts omufaent sgh called s et (ich shows sn) te copeere st ofall the noes we use msc, We tart with ® io, ad lines called sem fi inthe head ‘ef the ote sen eral ti fone at em te only few of these mote snd work up wing the ‘thes, fradully. Be creo olan te ess well he notes The most camino singl-beat mote ot text We wes alled « crochet. The following table shows the value of ‘ich note and es aa mile o faction of ectche. Nowe Name Value Ret (Sound) (Silence) BL Breve ® © Semibreve 4 ibang trom ine din dn doef Minin 2 saci Jorf conte = Smif Df omer . = org Seniguaver a = Jef reninmiquner 5 i epee Ayah 6 ‘When wing these nots emt remember tht the tem 's written upward ite note below the mile ite, nd major scale? (0) Flowmany ft does bmajorhave? (3) What the oer of intervals he amon () Wat terval must stays separate the leading pote rom the ae? Inthe sal of A minor which aos the leading note? Foo ao we mute the tonic harmonic minor of (2) What in tonic minor? (©) Which major Key igure doos «nor sae When osing te Key signatore to write a har monic mimo sale which note els needs a Whats relative minor and how sit found? What are the velative minor kejs of the {allowing Emajor” — Ebmajor CG ajor Cimajor— Dajor (2) Write out the pattern used in the ascending ineloie minors (6) Which sale pater do we wet descend? In what ways do we remember the formation of the‘What must we do to the svt and seventh degees of the melodic minor scale senting and descends? (9) What do we call the two forms &f chromatic ie? (0) Why do we give ea ts parca nine? ‘What is important 1 remember aboot the writing of thetamonk ormofachomatc sea? On ™M® What is peculiar wo the moodle form ofa huomatic realy (©) In writing the melodie chromatic eae, which degrescf the scale ate wed oly once? (©) iether realy a devcending form of melee hromatic eal? It aot, how do we dhcond acidentals to mike the following coinectly ‘writen chromate saes plose of msc. Why might we wish tochange key? 2A, Inwhatkeys are he following °, Beedoven Op. 40 Not ‘Scales and Keys 25. What the method we bse to reognise the Key of piece of mass? 27, When would a Tene de lente be wen music?5 TRIADS Formation of Tid ‘Attad the bass ofall emo. A tia can be formed on any degree ofthe major cr minor sale They cont of the ‘tnt, an the hid ad ith notes abo the bas ote ach id called by th degre ofthe acl ith which it ‘sauce. Therefore the tad onthe tone Fe ote) it {he tonic trade triad on the down i the dant {ad All tads or chor cum aso he rfesed to by Roman mumeral tonic tad = superonictrad ML methane rind BV =subsominant tad V= dominant triad Vi=aubmedian tnd, ‘VIF leaig mote ea cater Typeof Dias ‘quality. Fo make a major tad the interval between the root {ind the Sed man be a majo Se ar seston) nd the Imerva between the Sef the tind an the Shy be the 2d ofthe rai Nttened by one semitone, then ‘he ad becomes minor. Ths he minor ad conse of ‘minor interval between the root and the Sn ane major Inert nt ween te edad th th “To.make a dninished win, two migor intervals mast be used, thus mabiag the Sth ofthe tad one somone ~ ean An augmented wiadeequre two major 3d atrvas hus ‘making one semitone lggr than am odioy major tad and igmeated ads to docondant or dso 0 ‘hey need 2 reoltion chord to follow thom Yo ensre epee souad made Position of Trias Soar ll the chords have been tn ra position. ‘This meanshate not from which he chor is derived isa he bettom ‘ieee nthe Sa th ane ban paca However posi to nvr tad) cng fy Hote oer than a oot atthe boom We ehond | ‘Av etample (tho rot hin the bi heir the wad ‘A example (I), the 3rd of he ad is inthe bas, thus ratings fat imeem tad 'Av example Gi, the Sth of he radi in'the bis, soa secondinarion fad cene ; Ser] When Roman numeris are wed to dese the tid, smal lee afe added afer the number Io denote the Boston ofthe triad. Root poston ™ my Tat version = by End inversion =e. In pracice, bowen, he eter "af iss omited fom a rot postion chord jas the Roman ‘numeral sed Toth exampes below the key Qa tnd the ehowds have Been Wentiied wing the Roman, ‘numerals td ener, SS sS5=5 “The most important tid are thse whose rot ae the ‘Tone, Darina and Subdovninan These win are called the primary mas, Here are the pinay tri of Cnajor and then © minor and thei verse Tide Root Fist Seca Peniion Iverson tavern major ‘Tone Canajor Subdominane major Dominant minor Ina minor key, when sing» key signature, remeniber sways to ensre at the ading not han cen red 8 Semone, Here HY -wonld hve born needed ney rate had cen wedthat the noe rom whi the coris drive it the botom ‘tthe tn he dan i ave boen placed above Howewe it pose to invert ads by pling any note other thon saat he bottom a the cow "At enemy the oot ne as, teretore the tid isin root poston ‘At example (i, the Sr ofthe ead isin the bass, has creating fame ad “At example (i he Sh of the seoundinvesion ad ieate. When Roman minerals are wed to desc the tad, small ites ne ded fer the number to denote the potion ofthe tia, Root poston = a, T6tiverion = Spa inversion =. In practice, howe. the lett tlimoy amie from roo posiion chord ust the Roman humeral usd, To the examples below the key iG major lin the chorde have beam Intied sing their Remon mera ad eters The most important tau are those whose foot ate she ‘tote, Dominant sd SubJonnant These ads ae elle their ras ‘fare ar the yimary tind of C major and then C minor sander ivertonn Triads Root Fist_——_Secon Pelton Inversion Inversion major ‘major Doman minor ‘Tone Ina mina bey, whe using Rey signature, remember aiyaya fo saute iat th Tening note as been rased 2 femitone Here BR would have boon needed if'a Key Squat had been wed‘questions, 1 (2) What isa tia? (©) Wate the tome tiads of C, G and F mejor i tot postion (0) What does postion mean? (0) What ina minor ia? (6) Wate the toni end of Gand ou. ow are diiished is formed? (@) Howareaugmentet trad formed? ow do we vert atid? What are the intervals inf inveslon ia? Wat are the intervals hed inversion Waite the fst wersion triads of C, G and F te the second inversion tid oC, and F deny the following tnd a major, minor, !hgmented or dined {8} Wee ie pay adn te ey FC, 6 wd (9 How do. we describe the primary triads in a major ey, and why? ‘Write the primary tas of G major ad minor, with ‘ey signe and thee invenions,andiabel hem wing ‘oon nameral na eter to dese “iisde 69 “The following triads are ithe key of G major. Identity ‘ooh tind with a Reman numeral desebing which Segree of the sale the tad te based on, ed the ‘pproprisc tert dsr the potion ot theta gt qaMORE ADVANCED RHYTHMS ite Certs often went dereat best and dive it into eel Ge way of Slag thi cs plete en (Boop of ce note plein he ine ot to the ame = 2a vic tit has wo Det inthe arb each eat as pet Compound Tne Signaures [inet pnp the ile es “The teat has now been made more complicated. So, the compotst wants fo tse ths thy throughout spices mk is ete to ane tme signature which gives hin, ‘eatsican ave by tree Such bea a dotted one wld bocome More Advancod Rhythms n ‘We call sich dotted ben compound eat, nthe ime ignore ong dotted beste Walled compound tame nature ‘Compound time, then, isthe use oF doted heats and simple tie sth se of undated beats, (Of couse, this neds a change time signature ‘Tho top figute of a compound Une sgratte sates how ‘nan subsiisions of de beat In each at eis the ies that simple ive signature. Te Dotto igure states the “ale ofeach subson. For example, becomes for Three dated erotcer "fe nine aster tat there are nie subvsions of the ded cohet (hee to each ofthe the etches). The ‘dgtstates that he value of ach subavson fa aver, "o,tofind the numberof heats ina Darof compound time, vide he tp ine by tee Tn fad the vale teach en “vide the baton ft hy two aed ot the answer ‘Conterscy.o ind the compound! equlalent te sign tute af asinpi time signature. mul the top tigre ofthe Sipe time sinatore by three and the bottom igure of he Simple tine igatre by eo, has pr Peb8p pe: egg eee ete creep ame err pg pp Bm gpde: a fly ceed te Cio G rrp p doom ee “Two dete crotehetin each ta. shows the es fave realy soemflly hidden’ the Bea, nd ten Four dated erNotice in example (how the ba is completed. The frst beat completed bythe to quaver rest wrote rest, Mo be wrong. However, welca sew crotchet rest atthe egg of tesco bet Texample (g) otc the ts 1 produce the parse shyt The iain fact to gasp about thr compound or simple time is thatthe simple or compound tent mt be des TE {e'beat can pany be tential well no ewe Your values mks bess aeconding fo your ine naar. ‘er tne signatures have been bcd Holst hagas fi bie Plnote Sole, Opus 32 Barok hs wed f # and fall iti ive ars Darcarol’ of th i Fle’ Suite ‘Constant Lambert has used fla Ro Grande,» choral tron with sola pmo in dace Sle, Any numberof nts eased in each bars longa the beat sce. ike eeapet notes ean be groupe in may oter ways. Bach group has 2 tame by sec may be hntied: below ae the an ple (oy fonda compound ine) Agro of wo notes aking up te time f tree ofthe same aS ‘Quadruple (only fondo compose ine) Rrgroupof our ster ether gaver or emiquavers, aking ‘pice ofthe mala doted bes ‘More Advanced Rhythms inl PF vine group eater king up he ie of Tr aetSand Tf noe os oar (An ‘expat ine oo emote eng py ene oF ectariesone ones inoxamp Somtte [group of sx notes taking up the ime of fur ofthe se fit of note ===) Intdimpl ime » group of seven notes taking up the ie of {Srl te sane Endo mcr abin fe). tncempouna tine froup of seven notes tang up the tne of sof te ame Frstod note, im exampte (0Syncopation ‘le know that bar ies show the stength of the bea by ‘cing positioned immediately before easton heat he te he ar oral the song et We can aher his atera order of rytan6y wing tong eke ‘thetoa medam or weak bet would ova or by the use of cet in place ofthe strong, Bat, thereby Maks weak eat abr he nx ‘or by the use of es, robbing the strong best of accent More Advanesd Rhythms hich is placed elewhere. S43 We call the daturbing of the normal pater of sroag and wake beats symcoputn Hira method often od ja ‘Our ovwledg a trong beats can be wed wo help ws put ‘tines nto annbared section of rie, Ths example ime ignature off 9 the two cotchots an the mim ‘Sbviouly fil the fia bar The most bat tbls the four quvers ae minim. Bar three has the semiquaers and the Nec roche the semibove file ae four “There can be ovate postone forthe bar nes because the scrmbreve ‘ost fil one bar and ths ne he Dr ies. SSS “The mini athe end mst, bviouly, be athe beianing oC at Gt pa 8B ma kar wee he Ss SsSWhen we have am incomplete bar atthe begining of piece of mus me ea an nacre Is Yale added 10 at of the lt taro complete fll ba ‘Atiecan beach tl Its often writen seoss x tvough the bat hin. I can oly Jom noes othe sme papas Teeeee le o a Neier tine gate en, wm nie he grouping ofthe notes. Tey wl be groped in rte, ‘Ed cachet, nino oeed wins, or, nothing lee ould lone fo that note ceraniy ot Mowe cotchet which snes the notation Also, the tes ‘troughour ave grouped ax cftehee. ‘The time sigature therefore, can be none other than 4 The bare, then ome bein the four an ith note and thenceforth afer teva of thre erotchet eat ‘A: (&) we obvi have a compound time The owing oct quae shows the bet tobe a dote crotch "The bit quaver alone and forlora, obviously belong othe at frotcet, the ed one atthe ci. Simple arthet, hen, Sows the time signature to be Ethe bar Hes ang Move Advancod Rhythms 0 alter the frat quaver an then beteon he sth an seventh at thal thenetont after the clue et two does cotchet QUESTIONS (3) Wat do we mean by ampoule sete (o) Whats compound beat? What isthe ference between simple and compound (0) What does the top figure of » compound time entare state? (0) What dose bom gue of compound (@) How do we find the number of beats in com pound tine? (6) How da we find he value each bea? (3 Mirte Command time. signatures which have tn thre ad four eats neh bat. {@) How do we find the compound equatent time ‘Snare tom asm ume signature? ty Wine the compound te tures sate i ‘to these simple time signatures? faded ad Rewrite the following, coreting cach show the beatMore Advanced Rhythms What ss, ales, bp abiollly lear, no mater what ime inate bing used? Putin tine signatures 8. Correo the towing: ® What i dupes, and in what kind of te Signatures dest cea? ‘at des the word quilt men in spe What does the word quinolet mean ia om pound ime? ‘nat e'guadrupet and in what kind of time signature does tocar?What ies sentole? ‘What doce the Word sepclet mean in simple What does the word sepolet mean in com What would evidence of date eat mean a eps What does the wordsyneopaton mean? (2) Whatisa ier (@) Cant te joi notes of torent pth? ‘When there i no time signature, how can we decide shore fo pt the br ines ves i HARMONY Harmony Js the main characteristic in music that i {ingulahes Wester msc from other ype of se fom all ter the work, Harmony the combination of sounds ear rhode nd it looks a he elationship between the notes {ha muke up the chore swell the order wih they ‘Shold occu, Such sounds, as inal use, mst Be Formed {De both yuma and loca Chords ofthe 7h, thand 1h, Site to he poral iad hat can be wed in harmonic ‘ting itis pore toe oer ote wo de ba i ‘Ghee te mon important chords that ofthe added th $Re Soeiwaully ded tothe dominant wid im the ppeopite key. ane key of © maja, the chord of G is the doouinant cond The! dominant Tn choed (V2) is formed by the hon of the minor eh nots to the dominant chord “This chord then becomes » dissonant chord, and must Therefore be nlved The solution chord normally he tonic chordNotise How in eath case the bass note ret the foie tot, the 3 ofthe schon ies by tp to the ome ote ‘the ftlowing chord and the th ote sways descend by Sep to the Sal ofthe following chor, The reohtion af he “wots ofthe chord is parla importont nd shou sways be applied. Ic sao ponuble fond another edt the dominant Tih chord in whch ci the resulting chord ‘comes the dominant (V9), Yemen) 3 aoter were oak the dominate (0) ‘ou be ores lay sone ie weah ee Sin: Sh Tae moe of ey he ‘tena ie tute sc ep, Sad yoke downwards by step like the 7th notes. al Hormony emery! VV Viner vt VP Vt vt ne Harmon Rae ‘Tavsound completes» chord dived fom a wid it best ren four pote sr arts, With afoursoes chord, one he voles moa be doubled (oped wie de sae howd) Sirsa only cons ee noes. Thee are some fundamental rls that ee Yo be arnt before starting wrtechodsin four prs 1, not pion chords advisabl to double the root ‘the od ote th but nt normally the Se. 2 tn te iverson cord (the 3d ig atthe otto ofthe ‘hon doe the oot othe th, bat nt theHermony 37 3. Ind invesion chords (he Sh athe Bottom) always ‘dob the Sth bt neve the rd, 2. Plagl Cadence uses chords 1V- feed of hymns atte 4. No emo parts shuld procce in Sts or octaves. These nee et Bre called conecetives nnd do ot sound harmony ore However, where the ime octave i peat igerte adences ‘A'cadcace is the completion of @ phase, sentence, of musical idea. Cadenees ae the sic! ‘equivalent of There re four main Wypes of cadence: erect, Pagal, mperec und Taterrpted, 3 Impeteet Cadence (nlf ose) ses cords 1-V or IVY. 4. tnerrupted Cedence uses chord V-VIL 1 sounds Inala ie Pera Cadence i going Yo be played wih the eof the dominant chord Bt then the mine hmpleely. changes ‘Gecion withthe use of the } ‘sesame chord (VD, | 1. Perfect Cadence (fl clos) uses chords VL. or V- ‘nds the most complete sounding o alte edocs.There it one ether cadence that can be wed tis led the Physio Cadence and ont found in he minor bey tas the horde 'Vb-V, andrea au lingerie Cade the minor key ‘The penultimate chord in any cadena progreion son a sneak eat of the bar, wi the ial chord beng pa rong Ear Te oy Sngion otha ewhena ome ong ‘hatin ial chordends on te weak beat ofthe Hor ‘More Way of Writing Chords {swell a all the nots sounding together atthe same Ue Here ae some examples. An epoggated version of a cord f'vhen the noer of iad ate ase in an agcending OF Hormony Broken chord can aeurin a mamber of was One typeof broken cord weting became very poplar in epoca of the Tah Century. Indeed, Is named tier he ‘isan compaser who. tnvened i, Domenica [Abert The tye eed an Alber uss. On the iano ‘secor in the Jefthand, and wees moles the Wiad In ‘pele format Chromatic Chords ‘hema ttn be made po noni oy ‘ading ane or more accidentals but without changing. he ey Thus n C major, chord lean be made into a chromatic hoe by making the ior chord into a major one wth the Inmocuction ofthe P9When, a5 in the example above, the sion of a ‘homatlente makes the chord major, ten becomes the lominant chord in 3 Vel progression. When thi ocr, INS ht Gta dominant re wn Secondary tminame, They” so por necesaly create {eelinf moduacon; he sinply nl ous fo the choral fprowtesions They cha oxear om chords I, HE, rand ao i I the Int nverson of « major chord om the fatened sapetoni (1D) Math can ie wc abot major and minor hey it yore common for fo Be we im minor nes. often Found los rlated to dental propsessions, for exanpe itbcic-V-linc major 1 4tto-V-tia C minor. Hormony bie evo 1 pimy The Augmented Chord ‘These tee versions ofthe aupmented th chord. They ‘nowy ecu onthe minor th dpseeof hese Since Sr aupmented chord, Hust resolve. Normally the (¥o tte forming the augmented th interval resolve outwards Teal th coasts of major St and augmented 6th French consists of major Sey apgmeated 40 and “rupert th ave the bane FRENCHGTH Fr ae VV?German 6th consis of: shor 34 he German 6th chor i ts pees ays theft hie of thee, ‘approach chord tom Perfo! Inerupied fis The Diminished 7h Chord The diminsed Ah chord im i but ako ro diminished ths ade up oF tse mor ed on The chord is disonant and must thereto be respved, since ‘contains not ony the interval of tinned i sth ‘habe the bas Harmony 2 aan st 1 is normal forthe diminished 7th Interwa to resoWe inwards farm a perfect th. and for the dina ee {etrvas 80 to resolve invants 0 form major ate Orer Forme of Noman ‘The Roman sumer sym thit have heen ted so ar are sever used To performance. Ine there meta wegs ot ‘otting sure in shorthand. One dees fos See ah ‘Popular’ mse, the other dries trom a pero ase own asthe Baroque (7th sentry" onde of te ae ‘san an ced gured Bas Though Bas The im of oth these pot af notation eve the performer infocmation regarding the choos tha nid ‘ed whit allowing ree ipromsaton or deste ioe melody Ine inthe cords J Notation The chord tein Jaze musica ually ty simple. More ‘complex chord sructares sre olined by impact oe wha lea given in the muse Te letter name of the chord i shown aa exp eter ‘The chord then asumed tobe mejor tnleoes al paced ster de eter nome, making the honda "oF “ug wed ater the feter tame, hen th peed ‘tuumented, and ano" odin ruse then the chen Aims, SS S—=Sometimes note are sed ination to the basi ond dest by a composer These aditons we show by ‘umber next the etter ame, C's Themen ha cd fot C mayor should be page (CG) ps the sith note ie ‘When the fire 7 used ia conjunction wath tte”, itreers tothe minor Th tom the fete nae (G, BDF) {the major Tih inera fom the leer pane was ed vould be writen Ga} (6. D, 9). Sometimes a componer will want to specify which bass ote to ate Tis achieved by writing the cond description {8 normaly then pacing the leer name ofthe specie tass tote ater an abies sre), Cv aC mir chord equ with Gn bas). eae Figured Bass Inthe Baroque era it was most common for a continuo to Play i al mus, exerpt that of solo music. A couious Mou!” sormaly const of keyboard instrument (ip “ioe en) a ig a armen (st), ath Hlsyers would be pvc single eof munca the a he. {Tne eyboad player would i egured to veal the Bass Hormony 96 line by playing the ven pari the left hand and by ding chord above, whist the sting player woul fst py the ‘aie The keyboard player could determine which chords the composer sessed fom the bassin because wderneath att aot figures were writen. These (ures represented {de interval the additonal notes had to Be sb the Bass Root Psion Chord m=] ‘his mean that the cord abowe the ass nde consists of @ Cute Sd (@) and the Sth (G), Sie thie she of wen foam of shortand root poston chords also recognised tithes by the gars or by avg no igres underneath the tote concerned Te extra notes fun be played in mamiber twas Ist tnvrson Chord(G) an the th (©), 1 import wo ememgr thatthe {nthe bax mut aot be dowd ence tthe 3 of he ke ‘ord of Cin rot porn, The C should be doubled and th ‘ord formed may ok ike thee The chords often notated ws 860 ts own unlerneath the syprepite toate 2nd Inversion Chord SEE] + This means that dhe cor ahove the bas note cbf the the 6th (E). Tho bss mote mst be doubled, sing passages of asi this chotd should be set sparingly, and uly generally found at cadence pont Harmony ” Cord of he Mie ‘These chords have their own figures sine they use an AMitionl ote (te 7h wo the bade chords ust sessed tnd the note must be notated nthe figuring tha Occurs ‘low the bas noe. Root Postion Chord ofthe 7 This means tha the 3rd (B), the t(D) and the Teh (Fare ‘uyetsbove the base moet forte commen for this chord {oe igure simply ae Iw tmesion Chord ofte mete} Tis means dat the Se (D), the Sth (F) ad the 6h (0) ove de base noe wll be played chord snowy sonated a8‘his means thatthe (Fhe (and the (8) wi he played ave the bane noe. This chord ie ovmally Ind version Choro eT Harmony cy 2 (), the Sth (8) ane 6th (D) wil ‘he’ tune ote, That chord orally eal tat Nong Accdenae Tove sn an ecidenal sing Ggute, the appropriate ecient fs normally wie tothe fit of the te st ences, but ican ao come afer the igre. tan ellen i wetendveayundcr the bat note fers 0 the dnote above he bass nate In st inversion chords whate the normal using chromate arene noted by wrt the ="Astioke though the gute () means thatthe Hote should beta onesie eS) pl A diminished 7th chord i writen 3610 avoid contusion ‘th the root poston Tih cord ‘Asa general rule, t find hero of fly Hired tad, find the lowest even number nthe igure intone Suspensions ‘Avtepenain occurs when one note ofa chord ie delayed {fom owing wit te ater tes change 10% new chord Anreateatisonance due tothe fed me low are two progressions each ute sie chord However, in the scond progression the Ged over the text chord, pended before iresives down othe Ff Thee are thee notes involved creating suspensions 1 the preparation note which must always be att ofthe ord 2, theagpension whichis he same note id over 3 the resolu mote which fe abwnys part of the new ‘The resolution aote Ih always reached by a sep cither ‘ownwards (a tie siapenson) or upwatus (ach hs 8 feturdation). The examples below show how the chords «ould be noated wang gues; Remember tht the Higures {how th iterator tbe bass notePassing Noes ‘We ve looked at chore and the motes tha ake up the ‘houte Howere, in mose, melo les ae aso Formed by ‘ing ote that are nt am essen art ofthe harmony of the chords underneath, nd therefore add a ite donee {ithe musies Move noter are known as psig notes. They ‘cn coturin the melody line x wellas the base. “ie ampiet type of pang. note one tha Hinks 80 ttmony notes tht ae thed apart More than one passing note can occur between 140 chotdo, aint Hs gute Bowble to ntrodus, chromate ‘ang notes aswel assignees tsar Harmony 03 The Sequence ‘Rcquence the immediate repsiion of pattern of notes ier at higher ower oral, Tt ean eecur inthe ‘neotenic soquenc) ria the chon (harmonic ‘Ravetee, and ean aoe eombined a both, ‘Vir doviee was parealy common in the Beroqu era wet composers wed ito bs em moda Change Fe)) The most poplar ype of sequence when a oot pxition chord in ud aa then flowed by a cord sth her oF Sth tower ‘The brackets (=~) show the secondary brian tos th yp prensa (01), nt thon can be we eonjancon wi changing ke. Moduttion ‘Xmoslaton refers to change of key inthe msi. For ‘Rotation Co occur wocesary tne the shareHermony 105 ne leaing note (th note) ofthe new key, bd 1 complete thom perfect cadence iN Rew ey ‘a Pes below te is chord te ‘pivot shor Ths ter te aplid tothe chord that exe slated {o'both Ley the okey andthe sew boy he fats 8 [vot betwee the two eye ' ‘Key = Cimajor, modules a minor nee ey = Cmajor, modulaesto A minor time va | {Key =C majo, motes oF major i texmnot yi Key = Cmalor, modules G major i f ey = Ciao, moduntsto.D minor cmp 1106 Harmony 107 Before medulatng i neces to decile om the new key, Every key as two closely related key the Sominant and the subdomiaane ‘Thee Keys, comised wih thet “elaive minor ke, makeup the five ated ey, 46. When sa feminine ending ase? 11. Name two ways of writing chords which vay from the rma adi fons. hs, in C major, the elated keys ate 1, How re secondary dominant formed? What does bb stand for Emjoi) G mor (damian Diminor (relative to F major) 2 > Bete (oat SG make} sei rc maim) 10, ‘Tereare thre augmented 6th chord. Name them and ‘fae the ferences tween them 1. Wie imervts are used to form the dished 7h Sit, fom C no: Finot (subdominant) Gino (dominant) Ab major (oative major of minor) Bb imglor (elatve mayor of G minor) Sod Bb major (ecatve major of C moor) 12, On the save below wrt the correct symbols tha ‘would deny hes chor fora Jaz musica fe | 13, Figure the following chonds coretly wing figured 2 Which notes do we usually double, in each case, en bs. ting root postion, fit invert and second ner i sonchord? ‘questions 1, Wte out the dominant 7h, 9h, 11h and 1h cows Inthe keyso0D major and 1 misor 3. Which two epes of intervals shoul you avi ui comecatvey m * 4. Which cords or the fotlowing? (pert eadance (2) Enpertct etence {iy pga eatonce ) tnterrpted cadence, 5. What ia phrygiancatence? i108 “V4. Write inthe chords that correspomul ty these Figures 8 VOCAL AND PART WRITING Vocut Ranges “The human voice canbe divided into four main categorie: 16, What he mane given to» sapenion th sees pwc? ne * ‘These, td two adil ranges, ake approximately the following 11, Whatiea passing aot? 18, Complete she chords of this sequence and wit inthe hord sya SS = comintio 2 In choir or any enombl of voices orinstroments) each iccaled spar In veal wing the baw ad soprano ar the fue a the tran sone thei pets pmotannens enone tetera etlow are our bats of fourpart vocal writing in close, or pano, score. Node the eared bracket { Joanie both sve ager Impling the play on & [shud nrumen bath taven should Be played, dud Ly Below shows how the maxi: would appear in open. oc veal, sore. The tenor part ey the tebe cet but Sith an eight underneath This because the tenor Put i writen am octave higher than Ws sung Notice hut only the aight racket wed sac al Tour pals resunghy iterent voices ‘hen wring muse fr four parts but using the else piano, sore the stems af the soprano and tenor Pots should Feared un bu turned dow, Unaon (parts sounding te same no) my eel two fens but the note a Semreve write O90 ots ove tr ech pat. ‘When writing four part open oF vocal sore, the tems ald be tures ap nding the cof te nes shuld be tre apo down postion onthe stave, Bstow the nl tne stem upward {ive the mil ne stem dowarwards, On the mi ne ihr up or town asorngt the per on ithe se. |sting quartet Iv this cs Tenor cls forstlonello sk lt tor oa thewesond an is li. i Overlapping Th oot wn part horizontal goes below shove the ae mea ike, for inane i ; z ¢ r ‘Her, the Soprano (Treble startm the dominant and hen Feaincy Hl stow the toe, which wa heard tom he {Contra (Ao) part he previous chor. Grossing of Paes Th oct hen part bier dhan the vole it woud orm be beneath, Hower than the voike K woul rommally be above ik, fr nstance: cong a cn eve pr creme ae ts i a mam ays en ty mgr Sr ca Brecon ares1 ‘ursTions 1. Name the four ranges of the aman ice, and {Give tho apeoximate ranges othe ftlowing vies Soprano "Tenor ‘Contra Battone —-MewoSoprano ass, 3. @) What name do we give to the notes o be payed y's paticlar member of an ensemble (chow ‘arth te)? () Invhatvertealordr ate the note foreach ype of woke printed when wien fo a four pat ‘hoe? Stat with the lowest sounding woke 4. Inwhatype of core ithe following write? n 5. (@) Write the previous example on open, oF vost (©) Wich let do the ako and tenor singers se ‘ody? ns 5 (0) Using a piano score, how should the roterin the soprano and wnor pate wen? (@) Using piano sere, how should the sem of roterin the ato and bas pats be writen? (©) How shoud zon mates be son Ina ano Vocal end Part Wating ns (©) How st sos be writen om wae in oe () Wat the difercnce between the words ‘ison and octave? String quartets are alway writen in open score. Which ‘sett wed for each sntrument~ Vstonelo, Vio, Fit and Socond Vilas? (2) What meant by overapping? (8) Gike mn example of everapping with explan- (6). Whatiemeant by cosing of pars? {8 Ghe an example of rowing of parts with cemplanation Wat detimeata effect can be brought about by ‘Sowing pareto overlap?‘Transposition wr to A's bho mide ‘ne A blow mae C mt a shown at (4) which only TRANSPOSITION secon coic deny This maybe explined a the sewing of compton, oF So remember tobe caret in fsing the pitch of cach note tof compton, a ch teen ro epi va re youwite: Conider how fer above or below middleCtbe oe ee ote being tamssbea "Take ino comeration the alterae sae f ton made by use ofthe new clef. Read ost carefully what t you ate asked to'do. Be ciefl notte rewrite an octave Uigher en you are setae to remo a the ich of ‘oneoctave ower. "ie may war to write dhe folowing pasage i tho tebe deftonoud an ccave higher, pepbpiesPhethets, ere iv an exercze which would be easier to rad if it were ‘ton inthe ebiecet because ofl he lege its. Fas, We write the ble ce, then fe the pte he es te, ‘hich here happens to Be middle C, "The rest sony a matter Urbeing cash to transcribe each not eat on 1s Fl place on he ele tive “The fist note 4 C. One octave higher is mide C.The | pasmge then rise up the major sale by tone, tone, Fomine: tne (OG, which ole wepeated,Theweatnorels | Ss Se tone highes, Asa iby fone fone fF Itthen rice ‘Taj dock to And fallback iG. The wea passage omits of tone orn, 2 minor rd dow atone upy a Invjor ed down, atone rip, tose down, tone wpramior nour examples me hud no acisemats bu se ed Sa'sown.tsemitone on cause ot no tuble fe are caret tony the note Ths anspor i oneerned an think about spits, Mheeommodest ezrin {fanspoing ron one af to aboter fin ranseeg to the omer pith, For example, (a) the F above mle C, not tha Fbslow mle Cas shown st () soda (6) the Ais thatSint, (0) weten an octave lower beomes(). Fat, oder trapspone, one must determine the Key tthe orginal, see page 56 “The Tllowtig sample en G major. We cn se this by anche signtures tore ona sharp~ Fd he lat ote Bede Wteen now decide the Bey of the transposon We mend, ae Let tanspoe up a semitone: this peas our ne Bey tobe Ap nor (inte eno bey of GP mon). Looking at Rebate a the fist nove he meant of G major, thereat note ale ping our nee Rey signature of Rota mus als be te meinnt whch the Rey of Abvithonate ‘Having determined our int mote, we a {oteval foreach new note. The second ote in mor inter ffowthe fistnote For our sexo oe i he oensonn hana nabrhe soe “Transposition 9 transposition, we mus ao descend one tone, which, i Our now key, 6 ‘When we ae fined, we shold cheek our work by going ‘over canh note awe ithe fat Onna fs median, nave ‘te tuenspwcd fy ning te median ofthe new key” Second Mote i sopertoncy have we transposed by using the ow ‘petone? Thad ote fs Yon have Weed fone of new ey? Avo on, ‘ocidentat have been used, the effec ofthe aesidenta inthe original st be repeouce the ranspostion seine “The above example fi the hey of D minor, We wit teanspaedw aseione, which mea oue nes ey wll tech minor nthe orginal the fit ote as 0 minor 3 above the tone, 29 i care hpi in by ‘Momoiare he ag tte must alo bat minor Su above the {ae which iy CE minors the note E- We con then provers Toeomplete te et othe ranapostin by ineral foreach few mgt in the ongia the second note fs 2 minor rd ‘ew te stmt the toe fn Sothe second pote of fur transposition most abo be the fon, which in Cf minor ‘The svanspostion cam continue by interval but it is cv to ake very sxe ofthe transposon of exe Inst ehecking thatthe intern mowed has ben corey teanstbed an la tha they are de sare leva from the ew tonic ay the note he the orgie! version from the ‘higna tone "Sur! acidemtal here iB nthe thi bar Tin he‘origina vera, i tone sbave the pfevious gate 0 inthe Ionspesed versions tome up rom Gf mua be wed — A IAs ature check, notice tht the of thd original ifr ih ton te toi te pain fo AY ‘ome itis major Sth above our new toi | Tikewise, withthe Ci: it one semitoe below the previous note and the leading aote of the id Key. Our {Einspositon mu be one semitone below Cf am be the Teading note: Bt correct. ually. the EB" Ao sme above he revue ne tn fi tered Supertonic ofthe old key. inthe transpinion,thetore,the forret ote must be x dminihe Se ehovelthe press ote ad be the fattened supertonie fc ne ey Bs 'A double sharp or double lt aed ese no donstematon butimay be tranposed in exsty the way tnght here, fist, by interval rom the previows nates hen eke by is Inert rom the toni, transposed down atone The double Mts one senione below the pron note, ‘ako fiatened dominant, 0 the anapostoh mast be te ements h hey ger ed ce tal wl occur inthe tangpved version onl) where one sppearrinth cgi. ‘Transposition mm ‘oanpoxing instruments Sefoe ening tr are instuments for which the min ort sy orectve other than tata which hey sods These ae called transposing struments and ince. many instruments to pied in Cac 4s sarnts hn Db. Ey Sid A horn in Fs romps in al Dy polo (shih Sours an otave higher ta the writen notton), ase 9s “fuble tas (hich sounds a acinve tower than the watton The need for transposing istaments originated in caly susical umes when only natural tes were welabe Players certain wind instruments. Today these stamens fave vals and key which ensure beter fami a provi 2 reatr ange than he eater modes The ba primes ih ie Cactuy anibe ncn te "eeripion ofthe stent A trump ta Bb playing 8 frien sums tog awe inn i Ae in, plying’ ® writen C, sounds F(a 3th lower than writen, Muse forthe dou bass witenan octave Her than Wt sounds avoid wing many Teper tines the atom nat the double hase scum Se Chainer in 8p sound one toe ower th writen, nav Sunde stor ed “ nEb Srund minor Se higher " Trappetin Bb Soundometonc lower TD. sounds one tonehigice = Hom inf ssindeperet Shlomo the wrt Proto Sours Ome octave higher han write Double Ras soundsone octave owe than wes i { | |QUESTIONS, 1. Whats ranposiion? 22 etore we eam transpose a pece of musi to another pic, what fact must we how? what key ae the following 4 After having determined the st note of trans positon how ould we proce? 5. How canwe ceck the acuracy of or transpositions? 6 Mast the joteval from tonie 40 a oot with at cient bet same ia ansposed version” 1. (a) Rewato the flowing melody an octave lower, Sia Transposition 1 (8) Rewrite the following melody an octave higher, sng the web ce: z : 8) Rete tis an ote ger, i ing the (0) Ree hs am otve csi sing th as 9. Rewrite the following ts pitch one semitone higher. Use ey sare ae each oesthe now key be ti] wore trans sort? (@) How ‘do we check the transposition of ach ‘Sentai? () ‘Are-any scidenaisnecenay in twanspencd ‘erin ofthe etamle sn question Ha), when the ey snare sea ow dome wasps adn ou at? wi sigue, when wil an ciel pcr mpinetvccn tae (© at meat by the dessin lasspering (8) Nine tes ons atrunent {9 ewinmoac ford bart ass yt {0 Ui ease arte he ec te vm the Sublease ie ke eitwomlbewiten tft wok sound Garin t @ ed by 10 “Tn the sea caught a es, Whats fem pace or iio be We must fst sad the word a natura rhythm Tound. Cera secented tha others Oe “nthe sea teaup ea What anny pee fori be We know that a tong beat (or accent) says follows bar lines we can pun te bar hear, ‘ovhar one we bave four words mich re eu ~ pesba four crtchets would fi ths, ‘Then bat te mn ace txotchets and mini. Batch fr fast ond two ioe sounds four quaver and worotchets wil ithe bar Bot four is two erachews tnd a minim The tie ones obvionly tron spoer re Ir ¢ What a nny pine fer twHere, nearly every word has one note funy’, Hower, ‘hod two becauoe there are wo wounds or stb in ‘word, We must be cael fo give one mote to every ylble Of every woud “Tis example has woud with several slabs. “Tike walking, i makes me vey i? ‘he word ‘walking’ has two sylales, so has “er Its ot {ho leh oa word bat the separate sounds we make when \wesay the word which are the sabes, ‘Say the sentence ahve Several mes and the accents may falta here oe aaa {Notice the syncopaion i ar two ae the way me rite the ‘rds separnting the sybls with yphien ‘Word sting eas cra ules re lowed. Follow there (0) Read the wont many tines anal 2 panctar Fhythmic way ong em fad yout min (&) Mark tbe scented wots or apis (2) Putaberine befor cach stn act {We sabi ne sent and sat wing pew and corey wou (© Gaver and ahorter ales should be separated whicneac note lat dierent wordoryhati 2 fi : ythme with Words war ‘questions, 1, Patthese words to the tunes below, Write ach yale tatly der the note to mhih refer o Roby shatoe’s pone wosea" o "Oh dear, what can the matter be? Johnny’ so long at the oy @ ‘Al tho bids of dhe air wore a sighing aad 2 sobbing, ‘when they hei of the deat of pr Cock Robin2. Write note values othe aowing words. Re cata to put the word, of syliable, evacly mer the motes tc yu intend tows to long (Mary nad le Tam, he thought was goat) It ended up a muitonchope and) 8 Sheepskin cou (i) “Ant and Rabbit, Lamb and Mowe, Horse and amg: Chimie ape sa — at 3. (2) How sould quavers and shiver note vies be ten when making dhe thm of words? (©) Which oP these note patter (oF 1) bes ie th words blow? Say, i PHRASING ‘As wit ll he Ars, sucessful musi const of is varius features hslancel and contrasted to form & wha: Ths balance ext both within the compete plese an ao ch compost put, and it neeuary het to sud) the fate cated wih melodie, for thexe make pth msn race of any muse we exami a wellknown tune, such 3 the opening of te Andante of Haye’ Surpriae’ Symphony, we can oe the balance between the two Bales of the ma fc, wh tre deseibod a Asal fete pole ie the ound of ls, sme people aot » _ BSS There i vey similar syn in both halves, sere is a9 encal pening to each hall and't ony nthe second fifth any alteration ade Te wah oad a balonced and stable contontion to mology, practice unlly called “adding a anamering pease” we! must observe the following procedure Fit, Enaimence our continuation by using the opening of he ighon mein. Forexample =i the given ely190 Sea errant oi The next stage to node a mevlation, uly 1 the Alina (th cou G mathe tne ey ar By {neorporting, some yt fates of the orginal ot enh asthe piven potion. Phrasing 131 We can see, therefore, that any music me acd must ind sa a The meloy given may, of couse, moat t a related cy (often tothe donot or relative majoring). Ii flocs ts we maybe ake ome a sate ending to the fren melody” thie ease te mun ak mie which wil ‘tum uso the oa! key. The flleing tune In A miaor, modulates to C majoe at se eighth ba.Baaee Tincambeienedintoe mye: | Frit ae the we A igor ‘Sununnt (0) wukthave Dan serene vars hatne mete Bi eet he Seeger nar ics omega hd ot Simei melody moder Cor meta inne pres alec te nen TST wt G oeshod lowe ya Ehaorehors t Uwe are tovaiteastable ending to this oping me mus su snather eight bor, modulating back (0A minor Remember tots in ards to meaiitefront ome ey fotcr, we mst use 4 ate foreign to the| Gis key Dat ting tot now ey. tn he example bh noe wi feaS sharp. he lendingnoteo A minor SSS es Aleta In this ending we have alded music which balances the ‘pening inti and Tength but le ie sing ‘Medes quavetsmiqueve pater. ‘Wermay bese toad an ending Loa mel which does sot etaly modal the ven prt. Ie have sulent ; i : i Porasing 139 length eight bars oF move, we should ty to iotodice, ot least the Mea ofa differest hey even ite not netually ‘modalat tot before concluding the mek. ee we have nt ae Hare we have med ectng reference o D minor (ing 2 CB w produces more itertsing ending . ‘At bars (3 and i there i a dei known a melodic sequence, The moldy of br Is sopented nar Las one iter Seauenpn can be ash Sneha os og a ‘Smpiete phage seen he een pit sig the tepuaofLesld pate a erent puch Fee meiogy ior guit the same fo oun, tut te rythm ena, set The tenn ymin |10 We aso ws the term sequenc to refer toa progresion of ‘horde, repeated A diferent pit Tht felled a tmonicsequence. ‘questions, 1. (@) What oo features are essential in any succes: 4) ‘What makes up the main stractare of muse? cotta Phrasing 136 (2) What (erm do we ase to. describe the addition ‘tra laneed and salable coninuaton tat incl? () what way can we use the given opening to haus with our comtintion” (0) How can we induce some inerest into our ontiation? (a) What mus we remember when we continue a melo? Tn what way cam we Be more musial than merely (0 ‘py out the opening ofthe melo? (0) tthe pen portion moduntes 10 a related key tnd" ae fsa am-ening, fal mt ‘mela doteforeeonetading” (0) moras tenons cen what must we do? (4) Ad onswering presto these pening:w SS Sess SS Ss ee aS mil 1 o SS12 ORNAMENTATION Ommametason in musics wed to decorte masa iss tn arly muse ie was the acxpted worm for te sot Gnstrmentl ox Yea) oa extra aoten certain pnts the performance of compositin.‘Thiswas pute the fue won aston of mie wa epee toe to ae he cond eg mote decorate a th deen fo the fist tine. Such iprompen ornamentation was depo ‘ent upon the imaginative power and sblenss of excetion ‘(the performer and. would vary fom performance 10 Desformance. Earl composers were to ome Exes sats fod (0 leave this decorating of their mac to competent Performers, but gradual saws were evolved to eprscn in rng at neur a pose every Kind at scepableembst ister ‘Some modern composers write out in full exscty what they intent 6 be played Other, homever, ae the sandr \sedsigns discussed blow. ‘This omen weiten 8. tiny note, 2. of he valu itis to sound Unlce tbe sir toking ‘exact ee ‘ppouit) itis par ofthe melody. Tanking of the tote before which the appoglaure i plaeed atthe principal tte, the appoagatra takes hal the vale o's Principal ‘ote which wel y on, ka Omnamentston 139 i the principal notes dotted, the apporsiaura takes t90 sieeve Should the principal uote be Hd, the apponsatra takes ‘he ale ofthe tnger ofthe ed woes a jon Bey When th epponsstra ie writen with chord, takes the ce ofthe nee to which tioned by ar The Acciccatura ‘This an ornament writen asa tiny mote tke the ‘ppoegitare but with stroke trough Wes Be The ikl intention "may" ndersoad by ‘now tat feciaceatra comes fet the Word ariccae to ch ‘evformance one ‘crushes ia the orpoment at uch 3 PBossble-un the but. Thereby however, bound to bes ‘Stain uation and thi not undesb tis minute ‘the est saci secenting of the principal aoe Ifyou mst show the seeacesturs in il fr csainaton usps, for ecample, if cantomacy 0 show io ‘Sedactig thm the pencipal mote by one demnemiguave,‘The Morden (Upper mortent )(Lower mordgat + ) ‘Throe motes plaedin the tne othe pci je © terns note ae 0) the ote tbve (or an wper men) pr the note © iow (oretowermonahe” "=" P (iy topple vt Upper imondent i Lower mordent = | (Ghotnownasan 3 i Inverted monde) E | In tig the orden fl he fon bee ‘oremenber Temp slower than Allegro (seepage 178: ad dot the prinjpal note. Give ie remaining velvet he iat sous of te omen ) Tempo ailego or quicker: hae the pial rote valve and ave the remaining valu the tt es of the ‘manent 1). if (Ayes Atego SESS 5 Gees Omnamentation 141 (0) Pra gee = 4 — A double mordent sie oF afr — merely repeat he frst mordene The note vals mealy alow Toe le have the pial note and gie the remiaing vale the fist four tater of the ooament SSS 1 SS The epper or lower note (in an wpe ot lower mordent respectively) atway tome to the key andr deternned Sythe ey senate To alter the oper of lower note (4 ncesy) we le ‘appropiate acetal ove or below) The sgn for the The Tailor Shake An omament of {90 notes, principal note and the note shove These ne played quik, one tr the these ae India by the st 0 Fetter of th wo wt ove he Princip ne “The amoont of teratoma mo atl depen upon the value ofthe princpal note ahd the tempo ofthe mse, Fortempo les than allegro use demiseniguavers For aller or Faster, we semaqsvee ‘A tal should lays enon the principal aot unless followed by n notes thd higher Atego * In chit ease, omit the ast epetition of the rina nts, In the muse of Mora’ ine the note above the pinial note $223 o See ee “Tama ssc renderings te Wil! alls om the ist, secondland dara th nt ive tes. ve begun on the Ato i i i ‘Omamentaton waa Of course, ifthe principal notes immmeiely precede by ‘note of the tame pitch it would note mailto begin a {alo tht note baton the note aor, nears nes the ails mmetiately preceded an aciacestra ha ‘ote must be conared 10 Be theft nota hel ihe principal nee prolonged, ether by nd orate, tne ti sould cotina forte oa va i camper wants til toed th 14) he wl write the pineal not elder with sal vale Sd nce the ten by two tiny motes which mayb ay ‘ale, but usualy a semiqeaver or demsemiguver: oF he ‘eilshow teas two note ss normal sed note and tact "eile fom the rial ate Ww tur i ed tthe end of «tl, the oles ate of the same valve and are grouped inthe stne Wa) tn the Pate Unless a tn is indicated la either way above, no umn Noel el ith oF without atm ale heen, | |me Info Not ha nthe eam nove the il aon the ‘upper note (the aormal rat) and; becouse of he sped ‘ies temiquivers ed sony eur nen” sowing ke 8 forte me below) ha tne fn ae ie ‘Shipoer 0 moda tom D nora € aoe, The tum The nolo a tum depen much onthe tempo the sic ‘mcs determine thir a. hore ae many variations tthe turn mot onl in hw played, th when ‘aye. The Basen Forte tr em Hower ean lo belied, meus i Ince sien tk 'A tum can also be pce sicelly avet's nole or Tetwoon two notes, Hee dre the vraions te hase tr slgnean ave OOO 1a. of OL oF be OF 8 WR | lo the sh, a and aaa sh | j Ormamentaion 146 Freo= Fret Wa tun iit over note is both writen and played "sa groupaf four notes in the lowing et (©) the note above the prinspa note; i) the pail ots {i Referees {6} te pring nee, ‘Any acentl written above the sgn ars the higher noe the tar. Any acuentl wen teow te igus the fomer note. Other, omy notes ofthe dae see sewed Tite Mozart Sonata Kl 27, «tr occurs over a 1 the value ofthe pinipal note i 8 quer of es, the turn is wren our equ notes, the sum total of ugh cua the vale othe petal note, Ths not atecied BY tetempo of he mas lt cipal mot cote rage, he vale of ‘the notes ofthe tr depends wpon the tempo of the se ‘Ate sow tempo (estan Allegretto) the area pet of fus emsemiquevers joined toa onger note 2 make ep the ‘eve of the pimapal note. Ata fast tempo CAllgretio or Timer) the tn fur semigavers plas any necesary ne ‘Suck make upd worth the pn note tnt re primal note dotted doubly dated note he turn sail wnten according to the general pidance eles Mita above Theva of te dats simply ded as 3 Ued ee ix one exception 10 what we have learned 0 a. rag whe ie pip ot owe by a et = hen Fegnlow of tempo, asripet use ‘he derned ty shown por 2, wien according £0 thelr we hae eared rte woes ae (i) tomer not: {0 pineal motes Ai) tpper mote i) penal note. There is exception to dhe tm over a note being four soe tues the pial note bas bec precede by 8 note ‘Se note higher or omer, the compet Tarn wil Be 8 696 te ne, starting 0 the pineal me eee { Omementaton ur ee ‘Ata slow tempo, when the principal note fa quiver or tech mae the ve nota the turn ach uate the ale ‘tthe principal mote. To make these five notes eal the faluc of the prepa aot Ke neseamary to make the fist Tinee notes tier three nots inthe de of two. When the pana eater aertenet or Tonge, the urn is He Seinfuavers (theft thre of which are ween acs pet) {helt boing te, irpeceser. toa note or notes makeup the vlue ofthe prnspal ote ‘AtAllegetoor ase ith a principal note of» quuver or tem write uinflet of whatever vale ttl he principal fot value, When the prvepal noe ie eotchet or longer ste guiealetofsemiqunver, Hf necessary. Joied 193 Tenger nate to makeup the va ofthe pane not The Tur placed berween wo notes Ae alo sped = fest then Allereto: when the principal ‘ote (hat immediately before the tr sign s undated and Teetsotcet or tess the fat nto ofthe torn sould be all the salve ofthe prcgal note, andthe value ofeach of he tite should be a igh ofthe principal| Ain AU ft seed ~ Alert on ore: when sete noted andthe aac oy a {tease tsi ne st our ne Ka) athnte square he pole sie Inga Longe pincnal note: with a ended pip note abet ler tha a otc, de haw sui eee ar ne ih be mae we semgune lp ist damiomagnve i Se an ove fe ‘emunig ve tote ste y nr ase atabmnntaemt treba pe acti Ornamentation 149 Tatu: ig “nen Dotted principal nous: whe the principal note i dete rot, ve mst ake nto consration whether fl tpt ‘easare cmtined in the omament TT the principal noes ust oe ful beat pve the ist note the value of the dated potion, the other four motes {aking hese othe da Int the principal note tm thee or more fal beats, write as Forone fl beaut ete adiona value before te ar.‘When the principal note contsng part oF eat vide the bea lato thee path sa a ote each ake a rd OF ‘he value oft beat and the mide secon writen a8 SS Aninverted sun ter note shold be writen (te principal notes ) the erates (3) the pimple; 0) theupper nate (8) the pineal note "The note values obey the various ules alteay explained, 2S its came implica, tha crmament consis of » sie ‘pwards or downwards Detween wo anes, say ad oF {Garth apart. Is shown by ny notes betwen noma! aed totes. The noe vals ier tothe orate te for the | i Omamentation 181 sat (ne acasonly mets «double appoggiatura (oo small notes watten as for a normal sppopmatrs) a8 in he following example. ‘The’ double apporpatury’ should be treed exaty a the mond == a=: = When either the slide or the double appopgiatura are joined tthe il they should be incorporated wh the same ote value the tl Length of Omamente Some omaments vary according to he temp indication, ‘When there fhe such Iniation, the manne of peter nc lt wil depen th se comets QUESTIONS: 1. (2) Why iormamentation use a music? 8) How sida age ted tr (o) Arete omaments ever writen out i fall by 2, (8) In what value notation should dhe appogsatrs tevritent62 | 2a appoint writen (0 ee (@) White he towing nfo o, o 3 (@) What vue dose the appoggitun fake when ten medtly beforea died noe? (Wate the folowing ntl ®, «, 4. (@) What value does the appoggitar fake when immediately tetonea edo (@) Waite th following fee fer Ormamentation 13 5. (@) How isan appoggitura writen when i ined: coy emcee th ie out the following. 38 they should be yes 0 « 8 (2) Whatisan acisceturn? Writ one ©) Whatistheorgnof neincatus™ (0) How i the acetucetura performed ~ on, before eater hs bea (0) What etloet does the sccasatura fave on the Princpal ote? What vale do we give, normally, 19 the siaceatura wen iin fall (©) Write te fotiowing nulGat te sas mptrn Btmen Meselaceatura andthe appoggitra? (0) the ay des te pee ars ier 9. (0) What isthe sign snd what ape the notes of a Spper mordent? (6) What ithe sgn an what te the nots of» 10, (4) Wit tempo shower than alegre, how do we wt he mode in al (0) How do we write the morn i fl wih tempo tegroorquiker? (Wate th towing ta he —— (@) Abbreviate the following and suggst sible tengo indian: o «, f Ormamentaton 185 Mh. () Whatisa donbte mordent? Wate signe to anow an wpper double mondent Ida tower double orden Co) Wie the flowing fa ‘ee E 4 —_ 1 (2) Ham does Key tn fet the oes of (0) How snd why would the upper ot lower aot of an upper or lower mordent be ctcmaticly ees? 13.) Whatis he other name fors tril” 1) Stwhardaraeontt ©) How rn tril performed? (2) How a en indented? 14. (@) On what does the umber of alterations in. ai ‘Sepend (>) Whit'value notes shou one ne for «tempo of Lingo? (6. Whit vale notes should one ase for «tempo of Vine? 15. (2) Onwhat note doce il normaly end? (©) Whendooss una endom ths note? Ao) Wire te following al Alege SS166 © tet 6 the tril comme inthe > pe of eat et asonemperaetd } co) ber Bt noes in 17. @) Onwihich noe doosa il normaly eoipnence? {8} what tne pea doc Hs roe (0) Where the tripe writen (9) Weteoutthefalowinginta; | @, eae 1 (@)_ Ifthe principal note i precded bya noe ofthe sae gion wich oe shoul es son (Wate ot the towing ta: tee a Shine press Ommamentation 187 19. (a) How do we teat am scien when it pre= (6) Wie the ftlowingin ul Arey, 29. (a) Ifthe principal note i protonged in ay way, for tw tommy by Write oat he olin na co Yoog g 21, (@)_ Give two ways in which componer wil indicate that he wants end with stor, (6) Wate out te folowing aaw © © rn) © @ © 25. co) © How ae ey prope wen Soul eterno um ot inated by nls added ‘What mast we remember when writing nn st {he ea oft on the leading note ot noe key? ‘Wit the following ia full: tery, ey: G minor Sas With oF without sta, how do we know which tote shoal alterate wit the paca note to formourtsit?| How can a composer alter the entity of the upper note of etl? Ws does the word malate wean? ‘Wate the folowing nal ‘When a il sand ket? ite may vations of he tas you can faunas a sharp above, how dos hi ast 1's Tumn has 9 Oa below, How docs this alse fhe notation? 1 turn writen over a note, ow many Hote should the eamncontia? . Omamantation 189 (©) Which notes would be played iF the turn weve (0 Wate he fotowingin ul: 27. (a) With» principal note of a croichet, upon what ‘besthe ale ofthe ses ott depend? (0 How athe turn ot mien ude Up a8 show tempo? | (0) How isthe tum ons mini, made-up at fst I tempo (8) We the otowing in a | 28, Write the following in fl: | 29, Wate he flowing flyey oe ' =) 31, Write the ftlowing int 32. (0) Hom many notes are conned ina jum writen icrthe placa mote? () In'Sich 8 tum, upon what do the fote values ‘epend? i (Whe the fotwingin a oil, a x 7 38. (0) 16 principal oot longer than a ertchet an lundtted, andthe tempo tas what ne "lcs should be given othe tan (©) Tha principal notes onger than «crtchet sod bs mdi, and the tempo te slow, what ate ‘ales shoot be given othe ura? (@)_ Wate de olowing na oo “ape (Andie vine 3H. (a) Whit must me take ito onsieration when the Princpl note often date () Robrenatet tioning ©