SPECIAL PUBLICATION

September 1980

Basic Music
NAVEDTRA 10244

DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited.

 ACKNOWLEDGEMENT

The contents of this Special

Publication were furnished by the courtesy of
the United States Army.

DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited.

 PREFACE

Special Publications (SPs) are manuals or catalogs that provide information of general benefit and career
development. SPs have no associated assignments or tests.

Basic Music provides a basic reference for music theory. This SP is available ONLY in electronic
Portable Document Format from the following web site: http://www.advancement.cnet.navy.mil

Refer questions about this SP to:

COMMANDING OFFICER
SCHOOL OF MUSIC
ATTN TRAINING OFFICER
1420 GATOR BLVD
NORFOLK VA 23521-2617

DSN: 253-7509
COMM: (757) 462-7509
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PROFESSIONAL DEVELOPMENT
AND TECHNOLOGY CENTER

1
 Sailor’s Creed

“I am a United States Sailor.

I will support and defend the

Constitution of the United States of
America and I will obey the orders
of those appointed over me.

I represent the fighting spirit of the

Navy and those who have gone
before me to defend freedom and
democracy around the world.

I proudly serve my country’s Navy

combat team with honor, courage
and commitment.

I am committed to excellence and

the fair treatment of all.”

2
 BASIC MUSIC

CONTENTS
Page

CHAPTER 1-Nature of Sound ......................................................... 1-1

Characteristics of a Musical Sound.

CHAPTER 2- Fundamental Notation ............................. ................. 2-1

Notation of Pitch, Notation of Duration.

CHAPTER 3-Meter ........................... .............................................. 3-1

The Beat, Meter or Time Signature, Composite Meter, Metrical
Stress Exceptions.

CHAPTER 4-Rhythm ............... .......... ................. .................... 4-1

Regular Rhythm, Irregular Rhythm, Rhythmic Phrase Initiation
and Completion, Related Meters, Equivalent Meters.

CHAPTER 5-Scales and Tetrachords . .. .. .. . .. . . .. .. . .. .. .. .. .. .. . .. .. .. .. .. . . .. . 5-1

Scales, Tetrachords, Scale Construction Using Tetrachords.

CHAPTER 6-Major Scales ............................................... ............... 6-1

Sharp Scales, Flat Scales, Keys and Major Key Signatures, Circle of
Major Keys, Enharmonic Keys, Names of Scale Degrees, Scale
Degree Activity in Major.

i
CHAPTER 7-Minor Scales . .. . .. ... . .. .. .. .. .. .. .. .. .. .. .. . .. .. .. .. .. . . .. .. . .. .. .. .. .. .. 7-1
Natural Minor Scale, Harmonic Minor Scales and Keys, Melodic
Minor Scales and Keys, Circle of Minor Keys, Relative and Parallel
Keys.

CHAPTER 8-Modal Scales .............................................................. 8-1

Lydian, Ionian, Mixolydian, Dorian, Aeolian, Phrygian, Locrian,
Comparison of Modal Scale Degrees to Major Scale Degrees

CHAPTER 9- Chromatic, Whole Tone, and Pentatonic Scales ........ 9-1

Chromatic Scale, Whole Tone Scale, Pentatonic Scales.

CHAPTER 10 - Intervals . . .. .. .. .. .. .. .. .. .. .. .. .. .. . .. .. .. .. .. .. .. .. .. .. .. .. .. . . .. .. .. . 10-1

Qualities of Intervals, Interval Quality Relationships, Enharmonic
Intervals, Inversion of Simple Intervals, Compounding and
Reducing Intervals, Consonant and Dissonant Intervals, Diatonic
and Chromatic Intervals.

CHAPTER 11 - Triadic Chords ....................................................... 11-1

Major Triad, Minor Triad, Augmented Triad, Diminished Triad,
Consonant and Dissonant Triads, Inversion of Triads, Diatonic
Triads in Major and Minor Keys.

CHAPTER 12 - Overtone Series . . .. ... . .. .. .. .. .. .. . .. .. ... . ... . .. .. .. .. .. . . .. .. .. . . 12-1

Characteristics of a Vibrating String, The Overtone Series, The
Overtone Series and Timbre.

CHAPTER 13 - Transposition . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ... .. . .. .. .. .. .. . ... .. .. . 13-1

Transposition by Scale Degree, Transposition by Interval,
Transposition by Change of Key Signature.

CHAPTER 14 - Instruments . .. .. .. .. .. .. .. .. .. .. .. .. .. .. . ... . ... .. .. .. .. .. .. .. . ... .. .. 14-1

Woodwinds, Transverse Woodwinds, Double Reed Instruments,
Single Reed Instruments (Clarinets, Saxophones), Brasswinds
(Treble Clef Brass, Bass Clef Brass), Percussion (Indefinite Pitch
Percussion, Definite Pitch Percussion), Keyboard, Rhythm Section
Strings.

CHAPTER 15 - Chord Symbols .. .. .. .. .. .. ... . .. .. .. .. . .. .. .. ... .. .. .. .. .. .. .. .. .. .. 15-1

Chord Symbol Interpretation, Chord Structures.

ii
CHAPTER 16 - Chord Scales ............................. ............. ............. ... 16-1
Major Sixth and Major Seventh Chord Scales, Minor Sixth and
Minor/Major Seventh Chord Scales, Dominant Seventh Chord
Scales, Minor Seventh Chord Scales, Minor Seventh (Flat Five)
Chord Scales, Augmented Seventh Chord Scales, Diminished
Seventh Chord Scales, The Blues Scale, Pentatonic Scales.

CHAPTER 17 - Swing Rhythm . .. .. .. . .. .. . . .. .. .. . .. . . .. .. . .. .. .. .. .. . .. .. .. . . .. .. .. 17-1

Anticipation, Divided Beat in Swing Time, Short Percussive Note,
Long Percussive Note.

CHAPTER 18 -Melody Construction .......... ........... ........... ............. 18-1

Chord Tones, Approach Tones.

CHAPTER 19 - Extended and Altered Chords ...... ......................... 19-1

The Ninth, The Eleventh, The Thirteenth, Specified Bass Note.

APPENDIX A - Manuscript Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . A-1

Clef Signs, Key Signatures, Time Signatures, Leger Lines,
Noteheads, Stems, Flats, Beams, Dots, Spacing, Ties, Slurs, Rests,
Numerals, Repeat Signs, Accidentals, Directions for Performance,
Rehearsal Signs, Proofreading.

APPENDIX B - Directions for Performance . .. . . .. .. .. . . .. . . ... . . B-1

Musical Abbreviations, Melodic Ornaments, Articulations and
Accents, Jazz Expressive Devices, Tempo Indications, Dynamic
Indications, Italian Terms (Three Lists).

APPENDIX C - Italian Terms . . . .. . . .. . . .. . . . .. . . .. .. .. .. . . .. . . .. . . C-1

Explanation of Suffixes, Listing.

iii
 BASIC MUSIC
PURPOSE AND SCOPE

This training circular is the principal basic music theory

reference for all Army Bandsmen. It may be used, in
conjunction with academic materials, as a text for courses of
instruction at the US Army Element, School of Music. It
encompasses the basic aspects of sound, pitch, rhythm and
musical notation.

INTRODUCTION

Users of this publication are encouraged to recommend

changes and submit comments for its improvement. Comments
should be keyed to the specific page, paragraph and line of the
text in which the change is recommended. Reasons will be
provided for each comment to insure understanding and
complete evaluation. Comments should be prepared using DA
Form 2028 (Recommended Changes to Publications) and
forwarded directly to the Commandant, US Army Element,
School of Music, ATTN: ATTNG-SM-DTD, US Naval Amphibi-
ous Base (Little Creek). Norfolk, Virginia 23521.

iv
 CHAPTER 1
NATURE OF SOUND
Sound is produced by vibration; there is no sound without a sound source in
the physical state of vibration. The vibrating sound source transfers vibrational
energy to the medium of transmission (gas, liquid, or solid) forcing it to vibrate.
The medium, in turn, transfers vibrational energy to the ear, forcing the ear
drum to vibrate. The human body’s nervous system processes the vibration from
the ear to the brain where the vibration is interpreted as sound.

Figure 1.1: Nature of Sound.

CHARACTERISTICS OF A MUSICAL SOUND

Pitch

The number of sound waves per second produced by a sounding body is

called frequency. Frequency is often expressed as the number of cycles per
second (CPS) referred to as hertz (Hz). High frequencies are expressed in
kilocycles or kilohertz (1 kHz = 1000 Hz).

When frequency of vibration is regular, it is called pitch. The pitch is higher

when frequency is greater. When frequency of vibration is irregular, it is a sound
source but is not pitched.

1-1
 A regular vibration at 440 Hz (440 CPS)
produces the pitch A.

Doubling the frequency (880 Hz) produces A

an octave higher.

Halving the frequency (220 Hz) produces A an

octave lower.

The approximate range of human hearing capacity is from 20 Hz to 16 kHz.

Intensity

The magnitude of force or energy of regular or irregular vibration is known

as intensity. Intensity, musically referred to as volume, is determined by the
amplitude of the vibration of the sound source. The sound is louder when
amplitude is greater.

Frequency and amplitude (pitch and volume) may be graphically

represented by a simple wave form.

Figure 1.2: Single Cycle Wave Form.

Frequency, the number of complete cycles within a given period of time, is

represented horizontally. Amplitude is the displacement from center of the wave
form and is represented vertically. Greater frequency indicates higher pitch;
greater amplitude indicates greater volume.

1-2
Figure 1.3: Wave Form Representation of Frequency and
Amplitude.

1-3
 Duration

The length of time of vibration is called duration. Duration is the length of

sound.

Timbre ('tam-bar or 'tim-bm)

The distinctive tone or quality of a singing voice or a musical instrument is

known as timbre. Sounds identical in pitch, intensity, and duration produced by
different types of instruments are dissimilar and reveal a difference in timbre or
tone quality.

Timbre is affected by:

method of sound production (bowed, blown, plucked, or struck)

physical nature of instrument (relative strength of overtones)

condition of instrument

individual performance characteristics

SUMMARY

Pitch highness or lowness of the sound.

Intensity volume of the sound.

Duration length of the sound.

Timbre quality of the sound.

1-4
 CHAPTER 2
FUNDAMENTAL NOTATION
NOTATION OF PITCH

Pitch Nomenclature

Each line and space of the great staff (Figure 2.1) has a letter-name. In
ascending order, the lines and spaces are named from A through G. After G, the
seven-letter series repeats. A note placed on the staff takes the name of the line or
space on which it is placed.

The great staff is a theoretical construction consisting of eleven lines and

ten spaces with middle C as the middle or sixth line.

Figure 2.1: Great Staff.

The great staff is not used for the notation of music. Instead, a five-line staff
is used. A symbol (clef sign) must be used to indicate which five lines of the great
staff are to be used for the notation of pitch.

2-1
 G, C, and F Clefs

The lower loop of the G clef sign encircles G above middle C.

Converging arms of the C clef sign designate middle C.

The two dots of the F clef sign designate the line passing between
them as F below middle C.

Figure 2.2: G, C, and F Clefs.

Figure 2.3: G, C, and F Clefs on the Great Staff.

Grand Staff/Treble and Bass Clefs

G clef is most commonly used to place G on the second line of a five-line

staff. This clef is known as treble clef.

Figure 2.4: Treble Clef.

2-2
 F clef is most commonly used to place F on the fourth line of a five-line staff.
This clef is known as bass clef.

Figure 2.5: Bass Clef.

The treble and bass clefs, joined together, form the grand staff which is
commonly used in keyboard music and scoring.

Figure 2.6: The Relationship between the Great Staff and Grand
Staff.

Leger Lines

It is frequently necessary to write pitches above or below a five-line or grand

staff. These temporary extensions above or below the staff are leger lines.

Figure 2.7: Leger Lines.

Keyboard

The keyboard may be used as a visual demonstrator for pitch relationships.

Keyboard pitch nomenclature is similar to staff pitch nomenclature (Figure 2.8).

2-3
Note that the black keys are found in groups of two and three. Immediately to the
left of each group of two black keys is found the pitch C. When ascending on the
keyboard, the pitch names A through G are used, beginning again with the letter
name A at the completion of the series.

Figure 2.8: Keyboard.

Chromatic Signs

Pitches occurring ‘between’ letter names cannot be represented by letter

names alone. Additional symbols are required for proper identification. These
symbols, known as chromatic signs, are five in number.

Sharp Raises the pitch of the letter name a

#
half step

Flat ~ Lowers the pitch of the letter name a

half step.

Double sharp x Raises the pitch of the letter name

two half steps.

Double Flat bb Lowers the pitch of the letter name

two half steps.

Natural Cancels a previously used chromatic

h
sign (including x and bb).

Figure 2.9: Chromatic Signs.

2-4
 Any two adjacent keys on the keyboard sound a half step or semitone apart.
When expressing the pitches occurring ‘between’ the letter names as sharps or
flats, the pitches are expressed as chromatic alterations of the letter names.

Sharp Alterations

Flat Alterations

Figure 2.10: Chromatic Pitch Names.

Enharmonic Pitches

A single pitch may have more than one name. Pitches that have different
names but sound the same are enharmonic pitches.

Figure 2.11: Enharmonic Pitches.

2-5
 Adding double sharps and double flats increases the number of enharmonic
pitches.

Figure 2.12: Enharmonic Pitches with Double Sharps and Double

Flats.

Pitch Nomenclature in the Great Staff

Octave designators must be used to distinguish between identical pitch

names in different octaves. This is one way a pitch maybe represented precisely
without staff notation or reference to the keyboard. Middle C is the center line
of the great staff and the imaginary line between treble and bass clefs in the
grand staff. Middle C or c1 is the C closest to the center of the standard piano
keyboard.

Figure 2.13: cl in Great and Grand Staves.

2-6
 From Cbb immediately below c1 to above c1, all pitches spelled within
the octave are designated first octave and are identified by lower case letters and
the number 1.

Figure 2.14: First Octave.

The octave immediately above the first octave is designated second octave
and is identified by lower case letters and the number 2.

Figure 2.15: Second Octave.

The octaves are numbered consecutively in higher octaves including a third

octave and fourth octave. The highest pitch on the piano keyboard is

The octave immediately below the first octave is designated small octave
and is identified by lower case letters.

Figure 2.16: Small Octave.

2-7
 The octave immediately below the small octave is designated Great Octave
and is identified by capital letters. Below the Great Octave is the Contra Octave
where pitches are identified by two capital letters
Subcontra Octave where pitches are identified by three capital letters
The lowest note on the piano keyboard is Subcontra A (AAA).

Figure 2.17: Grand Staff and Keyboard Pitch Nomenclature.

Single-Staff Clefs

Treble and bass clefs are used more frequently than any other five-line clefs,
but other clefs are used. Their ranges have developed from the need to bring a
specific range within the compass of the staff.

2-8
 Figure 2.18: Single-Staff Clefs.

NOTATION OF DURATION

Note and Rest Values

Duration of sound is the building block for the creation of rhythm. Rhythm
is composed of two elements: sound and silence. Notational symbols for sounds
are called notes. Notational symbols for silences are called rests. Each note
value and symbol has a corresponding rest value and symbol. These values are
expressed arithmetically as fractions. The symbols have characteristics in
common and are generally a single notational alteration from an adjacent
value.

2-9
 Figure 2.19: Note and Rest Values and Symbols.

Notes and rests indicate the creation of sound and silence to form rhythm.
When specific pitches are desired, they are placed in a given clef to indicate the
pitch.

2-10
 Note and rest symbols do not indicate actual duration of time until tempo
and metric grouping are indicated. They do indicate relative duration as
expressed by fractional names. A given note or rest value is equal in duration to
two notes or rests of the next smaller value.

Figure 2.20: Note and Rest Equivalents.

Tied Notes

Since only multiples of two are possible with basic note and rest symbols,
devices are used to extend duration. One symbol used to extend the duration of a
note is the tie. A tie is a curved line joining two or more successive notes of

2-11
 identical pitch. Tied notes sound as one note. Ties are not used with rests because
rest values are cumulative.

Figure 2.21: Tied Notes.

Dotted Notes and Rests

Another symbol used to extend the duration of a note or rest is the dot. A dot
placed after a note or rest increases duration by one half the original value. A
dotted note or rest has a value equal to three of the next smaller value.

Figure 2.22: Dotted Notes and Rests.

2-12
 Note and rest duration may be further increased by additional dots placed
after the original dot. Each additional dot increases the duration of the note or
rest by one half the value of the previous dot.

Figure 2.23: Multiple Dotted Notes.

2-13
 CHAPTER 3

METER

Music exists in time. Sounds, interspersed with silence, occur with specific
duration and are replaced by more sound or silence of the same or different
duration. These durations of sound and silence must be measured before it is
possible to notate them.

THE BEAT

The standard of measurement in most musical time is the beat. Regularly

recurring pulsations in music are known as beats. Beats in music are not of fixed
duration; they are of longer or shorter duration as determined by the character of
the music. The slower the music, the longer the duration of the beat; the faster
the music, the shorter the duration of the beat.

Tempo refers to the rate of progression of beats and beat combinations. Slow tempi
are comprised of beats of long duration; fast tempi are comprised of beats of short
duration.

Beat Groupings

In most music, certain beats tend to assume more relative importance than
others. These stronger, more accented beats may recur with regularity,
establishing groups of two, three, or four beats. This recurring pattern of
accented and unaccented pulsations is known as meter.

The term metrical stress describes these beat groupings. If the meter
establishes groups of two, the metrical stress is duple; if three, triple; and if four,
quadruple.

3-1
 Figure 3.1: Beat Groupings.

Divided Beats

In addition to grouping of beats, most music has beats regularly divisible by

two or three. Metrical stress also describes the division of the beat. When the beat
is normally divisible by two, the metrical stress is simple. When the beat is
normally divisible by three, the metrical stress is compound.

3-2
 Figure 3.2: Division of Beat.

METER OR TIME SIGNATURE

The meter or time signature is a musical symbol which indicates metrical

stress (meter) and unit of beat (notation). The unit of beat is the value that gets
one beat. The meter or time signature is represented by two arabic numerals
arranged vertically at the beginning of a staff or rhythm line (single line used for
notating rhythm). The upper numeral indicates the metrical stress; the lower
numeral indicates the unit of beat or division of beat.

3-3
 In notation, the stronger, more accented beat in a beat grouping is indicated
by placing a bar line vertically on a staff or through a rhythm line. The bar line
precedes the note that begins the beat group. The space between any two
adjacent bar lines is known as a measure. The word bar is commonly used to
mean measure.

Figure 3.3: Bar Lines and Measures.

Simple Time Signatures

Any note divisible by two may be used as the unit of beat in simple time.
Since unaltered note and rest values are normally divisible by two, any undotted
note, except the sixty-fourth, may be used as the unit of beat (dividing the sixty-
fourth is impractical). The lower numeral in a time signature is always 1, 2, 4, 8,
16 or 32, corresponding to the note value/name, and specifies the unit of beat.
The most commonly used numerals, in order of frequency, are: 4, 2, 8, and 16.
Duple, triple, or quadruple simple metrical stress is indicated by an upper
numeral in a time signature of 2, 3, or 4 respectively.

3-4
 Figure 3.4: simple Time signatures.

Note that figure 3.4 lists two symbols (C and ~) as abbreviations for simple
time signatures. The symbol C, called common time, functions as 4/4. The
symbol @ called cut time or alla breve (according to the breve or half note),
functions as 2/2.

Figure 3.5: Simple Time Example.

In figure 3.5, the 2 indicates that the music is in simple duple time with each
beat divisible by two. The 4 indicates that the quarter note is the unit of beat with
the division of beat represented by eighth notes.

3-5
 Compound Time Signatures

Any note divisible by three maybe used as the unit of beat in compound
time. Since dotted note and rest values are normally divisible by three, any
dotted note, except the dotted sixty-fourth, may be used as the unit of beat
(dividing the dotted sixty-fourth is impractical). In compound time, the lower
numeral of a time signature will always be 2, 4,8, 16,32 or 64, corresponding to
the note valuelname. These numerals usually specify the division of beat. The
unit of beat is derived by finding the dotted note value that is equal to three of the
notes indicated by the lower numeral. The most commonly used numerals, in “
order of frequency, are: 8,4,2, and 16. Duple, triple or quadruple metrical stress is
indicated by an upper numeral in a time signature of 6 (2 x 3 divisions of beat), 9
(3 x 3 divisions of beat), or 12 (4 x 3 divisions of beat) respectively.

Unit of Beat Divided Beat Duple Triple Quadruple

O* clt4ci :;y

d:
I dd J 6
64
9
64
12
64

Figure 3.6: Compound Time Signatures.

3-6
 Figure 3.7: Compound Time Example.

In figure 3.7, the 6 indicates that the music is in compound duple time with
each beat divisible into three parts. The 8 indicates that the eighth note is the
division of beat with the unit of beat represented by the dotted quarter.

Some contemporary composers indicate compound time signatures with the

actual number of beats as the upper numeral and a note value below.

Figure 3.8: Contemporary Compound Examples.

COMPOSITE METER

When music is composed of beats of unequal beat lengths, the metrical

stress is composite or complex. The beats in composite meters will be divisible by
two or three with the divided beats having the same duration.

3-7
 Figure 3.9: Composite Division of Beat.

3-8
 Composite Time Signatures

Notes divisible by two and three are required for the representation of the
beat in composite time. The unit of beat will be represented by undotted and
dotted notes of the same value. Composite time signatures may be notated in
three ways:

the lower numeral as the divided beat and the upper numeral as the
sum of divided beats in the measure, or

the lower numeral as the unit of beat and the upper numeral as a
mixed numeral, or

the lower numeral as the divided beat and the upper numerals as the
beat composites.

Figure 3.10: Composite Time Signatures.

3-9
 Figure 3.11: Composite Time Example.

In figure 3.11, the 5 indicates that the music is in composite duple time with
one beat divisible into two parts and the other divisible into three parts (2+3 in
bar 3 and 3+2 in bars 1 & 2). The 8 indicates the eighth note is the division of beat
with unit of beat represented by the quarter and dotted quarter.

METRICAL STRESS EXCEPTIONS

If tempo is fast, a time signature with an upper numeral of 3 may call for a
count of one beat per measure, which may require compound interpretation.
This metrical stress is referred to as compound single.

If tempo is slow, a time signature with an upper numeral of 6, 9, or 12 may

call for a count of 6, 9, or 12 beats per measure, and may require simple
interpretation.

If tempo is slow, a time signature with an upper numeral of 2, 3, or 4 may call

for a count of 4, 6, or 8 beats per measure.

A time signature with an upper numeral of 7, 10, 14, 15, 21, etc. may require
simple or compound interpretation.

A time signature with an upper numeral of 2, 3, 4, 6, 8, 9, or 12 may require

composite interpretation.

3-10
 CHAPTER 4

RHYTHM

Rhythm is the occurrence of varying lengths of sound and silence. Meter is

the pattern of beat groupings and the nature of the divided beat. Rhythm does
not always coincide with meter. The two must not be confused.

The sum of note and rest values in each measure equals the number of beats
indicated by the time signature, Relationships between rhythm and meter can
be shown in two categories: regular rhythm and irregular rhythm.

REGULAR RHYTHM

Regular rhythm occurs:

when long notes coincide with strong beats and shorter notes (when
present) occur as non-syncopated divisions of weak beats; or

when repeating non-syncopated divisions occur on all beats.

4-1
 Figure 4.1: Regular Rhythm.

Uniform rhythm is regular rhythm that occurs:

when the measure is filled by one note; or

when the measure is filled by two equal notes in quadruple meter; or

4-2
when the measure is divided equally into units of beats; or

when the measure is divided into equal divisions of the unit of beat.

Figure 4.2: Uniform Rhythm.

4-3
 All uniform rhythms are regular but not all regular rhythms are uniform.

IRREGULAR RHYTHM

Irregular rhythm occurs:

when long notes coincide with weak beats or weak parts of beats; or

when the rhythm has been syncopated.

Figure 4.3: Irregular Rhythm.

4-4
 Syncopated rhythm occurs when notes alter the normal or expected pattern
of rhythm, accent, or meter by appearing on weak beats or weak parts of beats.
Syncopation may be created:

when a weak beat or weak part of a beat is accented; or

when a weak beat or weak part of a beat is tied to the strong beat
which follows it; or

when a rest occurs on a beat after a note on a weak beat or when a

rest occurs on any beat after a weak part of a beat.

Figure 4.4: Syncopated Rhythm.

4-5
 All syncopated rhythms are irregular, but not all irregular rhythms are
syncopated.

RHYTHMIC PHRASE INITIATION AND COMPLETION

The first beat in a measure is called the thesis. A phrase (a short musical
thought, normally two to four measures long) that begins on the first beat has a
thetic beginning; the phrase is said to begin thetically. The thesis is also called
the down-beat. Down-beat derives its name from the downward stroke of a
conductor indicating the principally accented note of the measure.

An unaccented beat in a measure is called an arsis. An anacrusis, also called

upbeat or pick-up, consists of one or more notes that precede the first down-beat
of a musical phrase. Normally, when a composition begins with an anacrusis,
the last measure contains only the rhythmic values that will complete the first
measure. However, some composers and arrangers end their compositions with
a complete measure regardless of the material contained in the first (incomplete)
measure.

When the last attack of a phrase coincides with the thesis, the ending is
called a masculine ending. If the last attack does not coincide with the thesis, the
ending is called a feminine ending.

4-6
 Figure 4.5: Rhythmic Phrase Initiation and Completion.

RELATED METERS

Related meters have the same metrical stress but a different unit of beat. In
related meters, the upper time signature numeral is the same but the lower time
signature numeral is different. Therefore, it is possible to notate the same
rhythm in more than one time signature; the notation, which differs, reflects a
choice of the unit of beat.

4-7
 Figure 4.6: Related Meters (rhythmic transcription).

EQUIVALENT METERS

Equivalent meters are two different meters, one simple and one compound,
that have the same beat grouping and the same note to represent the divided
beat. The unit of beat in simple time is an undotted note and in compound time is
a dotted note.

4-8
 Figure 4.7: Equivalent Meters.

By making use of equivalent meters, it is possible to use the compound

division of beat in simple time and the simple division of beat in compound time.
These borrowed divisions of the beat are notated as the triplet in simple meter
and the duplet in compound meter.

Figure 4.8: Equivalent Meters (metric conversion):

duplets and triplets.

4-9
 CHAPTER 5
SCALES AND TETRACHORDS

SCALES

A scale (from the Latin scala - ladder or staircase) is a graduated series of

musical tones ascending or descending in order of pitch according to a specified
interval scheme. An interval is the difference in pitch between tones. Music
depends on the succession of pitches and certain measurable patterns of
intervals used with regularity. These patterns may be extracted from musical
examples, arranged in order, and expressed as scales.

The basic intervals used for scale analysis are the half step (semitone) and
whole step (whole tone). Any two adjacent keys on the keyboard sound a half
step. The interval of two half steps sounds a whole step. A whole step (two half
steps) occurs between C and D, D and E, F and G, G and A, and A and B. Observe
that there are no keys between E and F, and B and C; these intervals are half
steps.

Figure 5.1: Keyboard Half Steps and Whole Steps.

5-1
 # , not F. The note a whole step above B is
The note a whole step above E is F
are both whole steps below F and C respectively.

Figure 5.2: Whole Steps.

TETRACHORDS

The tetrachord is a device used in the construction and analysis of scales. A

tetrachord is a series of four tones on successive degrees of the staff with an
interval of five half steps between the first and last tones. Tetrachords used are
the major (M), minor (m), natural (N), and harmonic (H). Any tetrachord may be
constructed on any pitch and will retain the interval relationship of the
tetrachord.

Major Tetrachord (M)

The major tetrachord is composed of two half steps, two half steps, and one
half step ascending on four successive staff degrees.

Figure 5.3: Major Tetrachords.

5-2
 Minor Tetrachords (m)

The minor tetrachord is composed of two half steps, one half step, and two
half steps ascending on four successive staff degrees.

(m - 212)

Figure 5.4: Minor Tetrachords.

Natural Tetrachord (N)

The natural tetrachord is composed of one half step, two half steps, and two
half steps ascending on four successive staff degrees.

(N - 122)

Figure 5.5: Natural Tetrachords.

5-3
 Harmonic Tetrachord (H)

The harmonic tetrachord is composed of one half step, three half steps, and
one half step ascending on four successive staff degrees.

(H - 131)

Figure 5.6: Harmonic Tetrachords.

SCALE CONSTRUCTION USING TETRACHORDS

Scales constructed with tetrachords combine two tetrachords and a link

(abbreviated L). The link is always composed of two half steps (a whole step) on
adjacent staff degrees. The link may be placed at the bottom, in the middle, or at
the top of the scale. The combination of two tetrachords and a link form a scale
that encompasses an octave. An octave is an interval containing twelve half
steps. It is the distance from any pitch of a given letter name to the next higher or
lower pitch with the same letter name.

5-4
Figure 5.7: Tetrachords
and Link in Scale Construction.

5-5
 CHAPTER 6
MAJOR SCALES
The formula for the major scale is MLM.

The scale’s half step/whole step interval relationship corresponds, on a

keyboard, to a white key scale from C to C.

Scale Formula: MLM

Figure 6.1: C Major Scale.

SHARP SCALES

To construct a scale other than C major, chromatic signs must be used to

maintain the scale formula. The addition of chromatic signs in major scales
follows specific, recognizable patterns, When a major scale is constructed on the
fifth scale degree ascending in the C major scale, the scale formed is a G major
scale and has one sharp:

Scale Formula: MLM

Figure 6.2: G Major Scale.

6-1
 When a major scale is constructed on the fifth scale degree in the G major
scale, the scale formed is a D major scale and has two sharps:

Scale Formula: MLM

Figure 6.3: D Major Scale.

When a major scale is constructed on the fifth scale degree in the D major
scale, the scale formed is an A major scale and has three sharps:
G#.

Scale Formula: MLM

Figure 6.4: A Major Scale.

The pattern continues through the

6-2
 C# major scale with all seven pitch names sharped:
F#, C#, G#, D#, A#, E$, and B#.

Scale Formula: MLM

Figure 6.5: C# Major Scale.

Although a G# major scale (fifth degree ascending in C8 major) is possible,

the, scale requires a double sharp and is considered a theoretical scale. Therefore,
major (seven sharps) is the last practical sharp scale to be considered,
making a total of seven major scales with sharps.

FLAT SCALES

When a major scale is constructed on the fifth scale degree descending (the
fourth degree ascending is the same note) of the C major scale, the scale formed
is an F major scale and has one flat: Bb.

Scale Formula: MLM

Figure 6.6: F Major Scale.

When a major scale is constructed on the fifth degree descending (fourth

degree ascending) of the F major scale, the scale formed is a ~b major scale and
has two flats: Bb and ~b.

Scale Formula: MLM

Figure 6.7: Bb Major Scale.

6-3
 The pattern continues through the

Scale Formula: MLM

Figure 6.8: Major Scale.

Although an major scale (fifth degree descending in major) is

possible, the, scale requires a double flat and is considered a theoretical scale.
Therefore, major (seven flats) is the last practical flat scale, making a total of
seven major scales with flats.

KEYS AND MAJOR KEY SIGNATURES

In most music, one pitch becomes more important than any of the other
pitches in motion around it. This primary pitch to which the other pitches relate
is known as the tonic. Key is the term which refers to interval relationships
within a piece of music which establish one pitch as the tonic. A key involves a
network of relationships, while a scale is an arranged list of the pitches of a key.

In most music, rather than notating the chromatic signs for each pitch, the
chromatic signs are extracted from the scale and placed after a clef sign to
indicate the key. This arrangement of chromatic signs is a key signature.

6-4
 The scale of E major contains four sharps: F# , C#, G#, and D# in order of
their addition to sharp scales. Arranged as a key signature it is notated:

Figure 6.9: Key Signature.

Achromatic sign in a key signature affects all notes of that letter name in all
octaves throughout the duration of the key signature unless cancelled within a
measure by a different chromatic sign. The key signature is always in effect
after a bar line except for a note tied from an altered note in the previous
measure.

Figure 6.10: Sharp Major Key Signatures.

6-5
 Figure 6.11: Flat Major Key Signatures.

CIRCLE OF MAJOR KEYS

Major keys arranged in a circle starting with C and progressing through the
sharp keys clockwise and the flat keys counterclockwise, form the circle of major
keys or the circle of fifths.

6-6
 Figure 6.12: Circle of Major Keys.

ENHARMONIC KEYS

Keys that have different names but sound the same are enharmonic keys.
The enharmonic major keys are

It is possible to start on C major and travel around the circle of fifths in

either direction and return to C major by using one of the enharmonic keys to
continue around the circle.

6-7
NAMES OF SCALE DEGREES

Traditional names are used for identification when reference is made to

specific scale degrees. The tonic is the first scale degree. The pitch a fifth above
the tonic is called the dominant and is the fifth scale degree. The pitch a fifth
below the tonic is called the subdominant (meaning the dominant below the
tonic) and is the fourth scale degree. The pitch midway between the tonic and the
dominant is called the mediant (occurring in the middle) and is the third scale
degree. The pitch midway between the tonic and the subdominant is called the
submediant and is the sixth scale degree. The pitch immediately above the tonic
is called the supersonic and is the second scale degree. The seventh scale degree
is called a leading tone or subtonic depending on whether it is one half step or
two half steps (a whole step) below the tonic.

Figure 6.13: Names of Scale Degrees.

6-8
 SCALE DEGREE ACTIVITY IN MAJOR

Some scale degrees serve as points of stability or rest; others are more active,
ranging from a restless sound to a tendency to move to a specific pitch.

Stable Tones show a tendency towards being at rest.

Active Tones want to move.

Tendency Tones are active tones that exhibit a strong pull toward a
specific pitch.

STABLE ACTIVE

Tonic Supersonic
Mediant Subdominant
Dominant Submediant
Leading Tone

Tendency

Subdominant (pulls to Mediant)

Leading Tone (pulls to Tonic)

Figure 6.14: Scale Degree Activity in Major.

Normally, in major keys, the active tones will move to one of the two
adjacent notes in the scale. That is, the supersonic will move to the tonic or
mediant; the submediant will move to the dominant or leading tone. This does
not mean active tones always move in this manner but tend to do so regularly.

Tendency tones tend to move a half step to an adjacent scale degree. The
leading tone will most often move to the tonic unless it is part of scalewise
motion in the opposite direction. Similarly, the subdominant will most often
move to the mediant unless it is part of scalewise motion in the opposite
direction. Note that tendency tones pull to stable scale degrees.

6-9
 CHAPTER 7
MINOR SCALES
Three commonly used forms of minor scales are: natural (also called pure),
harmonic, and melodic minor scales. The harmonic and melodic minor scales
derive from the natural minor scale.

NATURAL MINOR SCALE

The formula for the natural minor scale is mLN. The scale’s half step/whole
step interval relationship corresponds, on a keyboard, to a white key scale from
A to A.

Scale Formula: mLN

Figure 7.1: The a Natural Minor Scale.

Natural Minor Sharp Scales and Keys

When a natural minor scale is constructed on the fifth scale degree

ascending in the a natural minor scale, the scale formed is an enatural minor
scale and has one sharp: F#.

Scale Formula: mLN

Figure 7.2: e Natural Minor Scale.

7-1
 When a natural minor scale is constructed on the fifth scale degree
ascending in the e natural minor scale, the scale formed is a b natural minor
scale and has two sharps: F~ and C#.

Scale Formula: mLN

Figure 7.3: b Natural Minor Scale.

This pattern continues through the

If the pattern is continued, double sharps will result. Therefore, a# natural

minor (seven sharps) is the last practical sharp scale, making a total of seven
natural minor scales with sharps. Although the tonics in natural minor differ
from major, the order of sharps remains the same.

7-2
 Figure 7.4: Sharp Natural Minor Key Signatures.

Natural Minor Flat Scales and Keys

When a natural minor scale is constructed on the fifth scale degree

descending (fourth degree ascending) of the a natural minor scale, the scale
formed is a d natural minor scale and has one flat: Bb.

Scale Formula: mLN

Figure 7.5: d Natural Minor Scale.

7-3
 When a natural minor scale is constructed on the fifth degree descending
(fourth degree ascending) of the d natural minor scale, the scale formed is a g
natural minor scale and has two flats: Bb and Eb .

Scale Formula: mLN

Figure 7.6: g Natural Minor Scale.

This pattern continues through the

If the pattern is continued, double flats will result. Therefore, ab natural

minor (seven flats) is the last practical flat scale, making a total of seven natural
minor scales with flats. Again, although the tonics in natural minor differ from
major, the order of flats remains the same.

7-4
 Figure 7.7: Flat Natural Minor Key Signatures.

Scale Degree Activity in Natural Minor

The natural minor scale has a lowered mediant, lowered submediant, and a
subtonic when compared to the major scale constructed on the same tonic.

Figure 7.8: Comparison of Major and Natural Minor.

7-5
 Since the scale degree relationships in natural minor are different from
major, the activity of scale degrees is also different.

STABLE ACTIVE

Tonic Supersonic
Mediant Subdominant
Dominant Submediant
Subtonic

TENDENCY

Submediant (pulls to Dominant)

Figure 7.9: Scale Degree Activity in Natural Minor.

HARMONIC MINOR SCALES AND KEYS

The formula for the harmonic minor scale is mLH. The scale’s half
step/whole step interval relationship does not correspond to any white key
scale.

Scale Formula: mLH

Figure 7.10: The a Harmonic Minor Scale.

7-6
 Harmonic minor scales derive from natural minor scales. When constructed
on the same tonic, the natural minor scale has a subtonic while the harmonic
minor scale has a leading tone.

Figure 7.11: Comparison of Natural and Harmonic Minor.

Harmonic minor scales share the key signatures of natural minor scales.
They are formed by a chromatic alteration of the subtonic upward to a leading
tone. Chromatic signs used outside the key signature are called accidentals.

Figure 7.12: Harmonic Minor Scales with Key Signature.

7-7
 Scale Degree Activity in Harmonic Minor

The harmonic minor scale evolved because of the relative lack of tendency
tones in the natural minor. Using the harmonic form of the scale develops a
better balance of tendency tones in minor keys.

STABLE ACTIVE

Tonic Supersonic
Mediant Subdominant
Dominant Submediant
Leading Tone

TENDENCY

Submediant (pulls to dominant)

Leading Tone (pulls to Tonic)

Figure 7.13: Scale Degree Activity in Harmonic Minor.

Although the harmonic form of the scale has desirable harmonic features,
the three-half-step interval on two successive staff degrees (augmented second)
has been found to be melodically objectionable. Therefore, a third form of the
scale has been developed to avoid the effect of this interval.

MELODIC MINOR SCALES AND KEYS

The melodic minor scale has two formulas, one ascending and one
descending. The formula for the ascending melodic minor scale is mLM. The
formula for the descending melodic minor scale is NLm, which is the same as
the natural minor scale.

Figure 7.14: The aMelodic Minor Scale.

7-8
 Melodic minor scales derive from natural minor scales. The ascending
melodic minor scale has a raised submediant and leading tone (which
eliminates the objectionable melodic interval) that return to a subtonic and
lowered submediant when descending to achieve a more minor sound.

Figure 7.15: Comparison of Natural and Melodic Minor.

Melodic minor scales share the key signatures of natural minor scales. They
are formed by chromatic alterations of the submediant upwards a half step and
the subtonic upward to a leading tone.

Figure 7.16: Melodic Minor Scales with Key Signatures.

7-9
 Scale Degree Activity in Melodic Minor
STABLE ACTIVE

Tonic Supersonic
Mediant Subdominant
Dominant Raised Submediant (passes to Leading Tone)
Subtonic (passes downward to lowered Submediant)

TENDENCY

Lowered Submediant (pulls to Dominant)

Leading Tone (pulls to Tonic)

Figure 7.17: Scale Degree Activity in Melodic Minor.

CIRCLE OF MINOR KEYS

Since the natural, harmonic, and melodic minor scales share the same group
of key signatures, it is possible to construct one circle of fifths for all three forms
of the scale.

Figure 7.18: Circle of Minor Keys.

7-10
 The enharmonic minor keys are

It is possible to start on a minor and travel around the circle of fifths in either
direction and return to a minor by using one of the enharmonic keys to continue
around the circle.

RELATIVE AND PARALLEL KEYS

Relative Keys

Keys having the same key signature are called relative. Relative keys will
not have the same tonic. The keys of a minor and C major have no sharps or
flats. Therefore, the relative major of a minor is C major, and the relative minor
of C major is a minor.

To find the relative minor of any major key, descend three half stepson three
successive staff degrees, or determine the sixth degree (submediant) of the major
scale.

Figure 7.19: Relative Minor From Major.

7-11
 To find the relative major from any minor key, ascend three half steps on
three successive staff degrees, or determine the third degree (mediant) of the
minor scale.

Figure 7.20: Relative Major From Minor.

PARALLEL KEYS

Keys having the same tonic are parallel. Parallel keys do not have the same
key signature. The keys of C major and c minor have the same tonic: C.
Therefore, the parallel major of c minor is C major, and the parallel minor (or
tonic minor) of C major is c minor. Note that their key signatures differ (no #s or
bs and 3 ~s).

Figure 7.21: Parallel Keys.

7-12
 CHAPTER 8
MODAL SCALES
Scales of eight tones containing half steps and whole steps in specified
positions are called modes or modal scales. Historically, the modes have been
used in many periods and styles of music. They are also called church modes,
ecclesiastical modes, and medieval modes. Although the techniques for their use
have changed, they retain their interval patterns and their traditional Greek
names.

Most modes can be classified generally as major or minor. The modes with a
predominantly major sound are

lydian

ionian

mixolydian

The modes with a predominantly minor sound are

dorian

aeolian

phrygian

The locrian mode sounds neither major nor minor; it tends toward minor and
will be discussed with minor modes.

8-1
 MAJOR MODES

LYDIAN

The formula for the lydian mode (scale) is LMM. The scale’s half step/whole
step interval relationship corresponds, on a keyboard, to a white key scale from
F to F. The link (L) occurs at the beginning of this scale.

Figure 8.1: F Lydian Scale.

The remaining lydian scales are constructed on fifth scale degrees

ascending and lowered fifth scale degrees descending from F lydian through
seven sharps and flats. This creates fifteen lydian keys that can be represented
in a circle of lydian keys (circle of fifths). Although lydian tonics differ from
major and minor, the order of sharps and flats remains the same.

Figure 8.2: Circle of Lydian Keys.

8-2
 C major and Flydian are relative keys. Likewise, C lydian and G major; ~b
lydian and F major; A lydian and E major; and Db lydian and Ab major are
examples of relative keys. The relative lydian tonic is the fourth scale degree
(subdominant) of the major scale.

Scale Degree Activity in Lydian

The lydian scale has a raised subdominant when compared to its

parallel (same tonic) major scale.

Figure 8.3: Parallel Major and Lydian.

STABLE ACTIVE

Tonic Supersonic
Mediant Subdominant
Dominant Submediant
Leading Tone

TENDENCY

Subdominant (pulls to Dominant)

Leading Tone (pulls to Tonic)

Figure 8.4: Scale Degree Activity in Lydian.

IONIAN

The formula for the ionian mode is MLM, making the ionian mode identical
to major scales.

8-3
 MIXOLYDIAN

The formulas for the mixolydian mode are MML or MLm. The scale’s half
step/whole step interval relationship corresponds, on a keyboard, to a white key
scale from G to G.

Figure 8.5: G Mixolydian Scale.

The remaining mixolydian scales are constructed on fifth scale degrees

ascending and descending from G mixolydian through seven sharps and flats.
This creates fifteen mixolydian keys that can be represented in a circle of
mixolydian keys (circle of fifths). The order of sharps and flats remains the same
as in previous key signatures.

8-4
 Figure 8.6: Circle of Mixolydian Keys.

C major and G mixolydian are relative keys. The relative mixolydian tonic
is the fifth degree (dominant) of the major scale.

Scale Degree Activity in Mixolydian

The mixolydian scale has a subtonic (b7) when compared to its parallel
major scale.

Figure 8.7: Parallel Major and Mixolydian.

8-5
 STABLE ACTIVE

Tonic Supersonic
Mediant Subdominant
Dominant Submediant
Subtonic

TENDENCY

Subdominant (pulls to Mediant)

Mediant (can pull to Subdominant)
Subtonic (pulls to Submediant

Figure 8.8: Scale Degree Activity in Mixolydian.

MINOR MODES

DORIAN

The formula for the dorian mode is mLm. The scale’s half step/whole step
interval relationship corresponds, on a keyboard, to a white key scale from D to
D.

Figure 8.9: d Dorian Scale.

The remaining dorian scales are constructed on fifth scale degrees

ascending and descending from d dorian through seven sharps and flats. This
creates fifteen dorian keys that can be represented in a circle of dorian keys
(circle of fifths). The order of sharps and flats remains the same as in previous
key signatures.

8-6
 Figure 8.10: Circle of Dorian Keys.

C major and d dorian are relative keys. The relative dorian tonic is the
second scale degree (supersonic) of the major scale.

Scale Degree Activity in Dorian

The dorian scale has a lowered mediant (~3) and a subtonic (~7) when
compared to its parallel major scale. When compared to its parallel natural
minor scale, the dorian scale has a raised submediant

8-7
 Figure 8.11: Parallel Major and Dorian.

Figure 8.12: Parallel Minor and Dorian.

STABLE ACTIVE

Tonic Supersonic
Mediant Subdominant
Dominant Submediant
Subtonic

TENDENCY

Submediant (pulls to Subtonic)

Figure 8.13: Scale Degree Activity in Dorian.

8-8
AEOLIAN

The formula for the aeolian mode is mLN, making the aeolian mode
identical to natural minor scales.

PHRYGIAN

The formula for the phrygian mode is NLN. The scale’s half step/whole
step interval relationship corresponds, on a keyboard, to a white key scale from
E to E.

Figure 8.14: e Phrygian Scale.

The remaining phrygian scales are constructed on fifth scale degrees

ascending and descending from e phrygian through seven sharps and flats.
This creates fifteen phrygian keys that can be represented in a circle of phrygian
keys (circle of fifths). The order of sharps and flats remains the same as in
previous key signatures.

8-9
 Figure 8.15: Circle of Phrygian Keys.

C major and e phrygian are relative keys. The relative phrygian tonic is the
third scale degree (mediant) of the major scale.

Scale Degree Activity in Phrygian

The phrygian scale has a lowered supersonic (b2), lowered mediant (~3),
lowered submediant (~6), and subtonic (~7) when compared to its parallel major.
When compared to its parallel natural minor scale, the phrygian scale has a
lowered supersonic (bz).

8-10
 Figure 8.16: Parallel Major and Phrygian.

Figure 8.17: Parallel Minor and Phrygian.

STABLE ACTIVE

Tonic Supersonic
Mediant Subdominant
Dominant Submediant
Subtonic

TENDENCY

Supersonic
Submediant

Figure 8.18: Scale degree Activity in Phrygian.

8-11
 LOCRIAN

The formula for the locrian mode is NNL. The scale’s half step/whole step
interval relationship corresponds on a keyboard, to a white key scale, from B to
B. The link (L) occurs at the end of this scale.

Figure 8.19: b Locrian Scale.

The remaining locrian scales are constructed on raised fifth scale degrees
ascending and fifth scale degrees descending from b locrian through seven
sharps and flats. This creates fifteen locrian keys that can be represented in
circle of locrian keys (circle of fifths). The order of sharps and flats remain the
same as in previous key signatures.

Figure 8.20: Circle of Locrian Keys.

8-12
 C major and b locrian are relative keys. The relative locrian tonic is the
leading tone of the major scale.

Parallel Analysis of Major and I.ocrian

The locrian has a lowered supersonic (b~), lowered mediant (b;]), lowered
dominant (bh), lowered submediant (b(j), and subtonic (~7) when compared to its
parallel major scale. Only the subdominant remains unaltered when compared
to the parallel major scale.

Figure 8.21: Parallel Major and Locrian.

As a scale, the locrian mode is unstable. It exhibits strong tendencies for

movement. Scale degree activity in locrian mode is not easily analyzed. The
mode is used primarily as a performance tool.

8-13
 COMPARISON OF MODAL SCALE DEGREES
TO MAJOR SCALE DEGREES

Charting the seven modes through their alterations as they relate to the
same tonic (parallel) shows their scale degree relationships to the major scale.

Figure 8.22: Comparison of Modal Scale Degrees to Major Scale Degrees.

8-14
 CHAPTER 9
CHROMATIC, WHOLE TONE,
AND PENTATONIC SCALES
Chromatic, whole tone, and pentatonic scales cannot be analyzed using
tetrachords. These scales do not form regular keys; therefore, none have regular
key signatures. Chromatic and whole tone scales require accidentals when they
are used with key signatures.

CHROMATIC SCALE

The chromatic scale consists entirely of half steps. There are twelve half
steps (thirteen pitches) in an octave. If all thirteen pitches (twelve half steps)
within an octave are represented in an ascending or descending order, the result
is a chromatic scale. The name of the chromatic scale is the first note of the scale
regardless of the key signature.

When notating chromatic scales, any pitch requiring an accidental is

written as a chromatic alteration of the previous pitch.

Figure 9.1: Chromatic Scale.

9-1
 Double sharps and double flats should be avoided when notating chromatic
scales. Therefore, natural signs on adjacent staff degrees are used to avoid
double sharps and double flats.

Figure 9.2: and A Chromatic Scales.

The same chromatic scale can be notated several ways. The key signature
determines the notation of the chromatic scale.

Figure 9.3: E Chromatic Scales.

9-2
WHOLE TONE SCALE

The whole tone scale, as its name implies, is a scale arranged to sound in
whole steps. The whole tone scale is notated using accidentals to create whole
steps.

The same whole tone scale can be notated several ways. The key signature
often determines the notation of the whole tone scale.

Since the whole tone scale consists of seven pitches instead of eight
(including the octave), one of the staff degrees within the scale will not contain a
note. The whole step that is indicated by non-adjacent staff degrees may occur
anywhere in the scale.

Figure 9.4: C and 13b Whole Tone Scales.

9-3
 PENTATONIC SCALES

A pentatonic scale consists of five tones (six pitches including the octave).
Two common pentatonic scales are the pentatonic major and the pentatonic
minor. No half steps occur in either of these scales.

Pentatonic Major

When constructed on the first degree of a major scale, apentatonic major

scale contains the tonic, supersonic, mediant, dominant, and submediant of that
scale. The pentatonic major scale corresponds, on a keyboard, to a black key
scale from Gb to Gb.

Figure 9.5: Pentatonic Major States.

The tones omitted are the tendency tones in major: the subdominant and
leading tone.

Pentatonic Minor

When constructed on the first degree of a natural minor scale, a pentatonic

minor scale contains the tonic, mediant, subdominant, dominant, and subtonic
of that minor scale. This corresponds to the first, lowered third, fourth, fifth, and
lowered seventh scale degrees of the parallel major scale. The
pentatonic minor scale corresponds, on a keyboard, to a black key scale from
Eb to Eb.

9-4
 Figure 9.6: Pentatonic Minor Scales.

The tones omitted are the active tone and the tendency tone which form half
steps in natural minor: the supersonic and submediant.

9-5
 CHAPTER 10
INTERVALS
An interval is the difference in pitch between two tones. Intervals are named
according to the number of letter names, or the number of successive staff
degrees, encompassed by the interval.

Figure 10.1: Names of Intervals.

When interval tones sound simultaneously, the interval is a harmonic

interval. When interval tones sound in succession, the interval is a melodic
interval.

10-1
 Figure 10.2: Harmonic and Melodic Intervals.

When interval tones encompass an octave or less, the interval is a simple

interval. When interval tones encompass a ninth or more, the interval is a
compound interval.

Figure 10.3: Simple and Compound Intervals.

10-2
QUALITIES OF INTERVALS

To identify a specific interval both its name and quality must be stated. The
quality of an interval may be described by one of five terms: perfect, major,
minor, augmented, or diminished.

Perfect Intervals

A perfect prime (PI) consists of two notes of the same pitch on the same staff
degree. A perfect fourth (P4), a perfect fifth (P5), and a perfect octave (P8) consist
of the intervals formed between the tonic and the subdominant, dominant, and
octave of a major or minor scale.

The perfect prime contains no half steps; the perfect fourth contains five
half steps; the perfect fifth contains seven half steps; and the perfect octave
contains twelve half steps.

FigurePerfect
10.4: Intervals.

10-3
 Major Intervals

A major second (Maj 2), major third (Maj 3), major sixth (Maj 6), and major
seventh (Maj 7) consist of the intervals formed between the tonic and
supersonic, mediant, submediant, and leading tone of a major scale.

The major second contains two half steps; the major third contains four half
steps; the major sixth contains nine half steps; and the major seventh contains
eleven half steps.

Figure 10.5: Major Intervals.

10-4
 Minor Intervals

A major interval made smaller by a half step becomes minor. A minor 2nd
(min 2), minor 3rd (min 3), minor 6th (min 6), and minor 7th (min 7) consist of the
intervals formed between the tonic and lowered supersonic (b2), mediant
and submediant (b6) of a major scale, and between the tonic and subtonic

The minor second contains one half step; the minor third contains three half
steps; the minor sixth contains eight half steps; and the minor seventh contains
ten half steps.

Figure 10.6: Minor Intervals.

10-5
 Augmenting Perfect Intervals

A perfect interval made greater by a half step becomes augmented. The

augmented prime (Aug 1) contains one half step; the augmented fourth (Aug 4)
contains six half steps; the augmented fifth (Aug 5) contains eight half steps;
and the augmented octave (Aug 8) contains thirteen half steps.

Figure 10.7: Augmented Intervals from Perfect Intervals.

10-6
 Diminishing Perfect Intervals

A perfect interval made smaller by a half step becomes diminished. The

diminished fourth (dim 4) contains four half steps; the diminished fifth (dim 5)
contains six half steps; and the diminished octave (dim 8) contains eleven half
steps. There is no diminished prime because it is impossible to make a prime
smaller.

Figure 10.8: Diminished Intervals from Perfect Intervals.

Augmenting Major Intervals

A major interval made greater by a half step becomes augmented. The

augmented second (Aug 2) contains three half steps; the augmented third (Aug
3) contains five half steps; the augmented sixth (Aug 6) contains ten half steps;
and the augmented seventh (Aug 7) contains twelve half steps.

10-7
 Minor intervals made greater by a half step become major; major intervals
made greater by a half step become augmented; therefore, a minor interval made
greater by a whole step becomes augmented.

Figure 10.9: Augmented Intervals from Major Intervals.

Diminishing Minor Intervals

A minor interval made smaller by a half step becomes diminished. The

diminished second (dim 2) contains no half steps because the two pitches sound
the same; the diminished third (dim 3) contains two half steps; the
diminished sixth (dim 6) contains seven half steps; and the diminished seventh
(dim 7) contains nine half steps.

10-8
 Major intervals made smaller by a half step become minor; minor intervals
made smaller by a half step become diminished; therefore, a major interval
made smaller by a whole step becomes diminished.

Figure 10.10: Diminished Intervals from Minor Intervals.

10-9
 INTERVAL QUALITY RELATIONSHIPS

The following diagram illustrates the relationships of various intervals

when moved by half steps.

Figure 10.11: Interval Quality Relationships.

ENHARMONIC INTERVALS

Intervals that have different names but sound the same are enharmonic
intervals. Enharmonic intervals will always have the same number of half steps
but different notation. For example, the Aug 5 and min 6 shown in Fig. 10.12 are
enharmonic intervals. Both intervals contain eight half steps.

10-10
 Figure 10.12: Enharmonic Intervals.

INVERSION OF SIMPLE INTERVALS

Inversion is a change in the relative position of the notes in a simple

interval. When the upper note in a simple interval becomes the lower note, or the
lower note becomes the upper note, the interval has been inverted. Inversion is
accomplished by moving the lower note up an octave or the upper note down an
octave.

Figure 10.13: Inversion of Simple Interval (P5).

Three simple intervals do not invert: the perfect prime, perfect octave, and
augmented octave.

The perfect prime will not invert because there is no upper or lower note.

The perfect octave will not invert because this would create a perfect prime,
which has no upper or lower note.

10-11
 The augmented octave will not invert because the upper note would remain
the upper note and the lower note would remain the lower note.

The names of inverted simple intervals are predictable. The sum of a simple
interval and it’s inversion is always NINE:

1 becomes 8 (when invertable)

2 becomes 7

3 becomes 6

4 becomes 5

5 becomes 4

6 becomes 3

7 becomes 2

8 becomes 1 (when invertable)

The qualities of inverted simple intervals are also predictable:

perfect remains perfect (when invertable)

major becomes minor

minor becomes major

augmented becomes diminished

diminished becomes augmented

10-12
 Figure 10.14: Simple Interval Inversions.

COMPOUNDING AND REDUCING INTERVALS

Compounding and reducing intervals are other methods of changing the

relative position of the notes in an interval. Compounding a simple interval is
accomplished by moving the upper note up an octave or the lower note down an
octave. Moving the upper note down an octave or the lower note up an octave
reduces a compound interval. Compounding intervals may continue indefinite-
ly, but reduction can continue only until the interval becomes simple, then
inversion rules control further movement. When compounding or reducing
intervals, the name of the interval changes while the quality remains the same.

10-13
 Compounding Intervals

When compounding a simple or compound interval, the number SEVEN is

added to the name of the interval for each octave displacement. The quality of
the interval remains the same.

Figure 10.15: Compounding Intervals.

The perfect prime, which is not inverted, maybe compounded. The perfect
prime compounds to a perfect octave (P1+7 equals P8).

10-14
 Reducing Intervals

When reducing a compound interval, the number SEVEN is subtracted

from the name of the interval for each octave displacement. The quality of the
interval remains the same.

Figure 10.16: Reducing Intervals.

10-15
 Two simple intervals may be reduced. The augmented octave reduces to an
augmented prime (Aug 8-7 equals Aug 1) and the perfect octave reduces to a
perfect prime (P8 -7 equals P1).

CONSONANT AND DISSONANT INTERVALS

The basic sound of intervals may be generally described as consonant or

dissonant. Consonant intervals tend to remain stable. Dissonant intervals tend
to be unstable, requiring movement to a consonance. Perfect primes, thirds,
perfect fifths, sixths, and perfect octaves are generally consonant intervals.
Seconds, perfect fourths, sevenths, augmented, and diminished intervals are
generally dissonant intervals.

Consonant Intervals Dissonant Intervals

P1, P5, P8, P4,

Maj 3, Maj 6 Maj 2, Maj 7
min 3, min 6 min 2, min 7
All augmented intervals
All diminished intervals

Figure 10.17: Consonant and Dissonant Intervals.

Although the minor third (3 half steps) and the augmented second (3 half
steps) are enharmonic, one is classified as a consonance, the other as a
dissonance. This is true of several enharmonic intervals (Maj 3 and dim 4, dim 2
and P1, dim 6 and P5, Aug 5 and min 6, etc.). The musical context determines
consonance and dissonance when the intervals are enharmonic.

The diminished fifth (dim 5) and augmented fourth (Aug 4) contain six half
steps, are dissonant, and are enharmonic. Since both these intervals contain
three whole steps, both are commonly referred to as the tritone (abbreviated TT).

DIATONIC AND CHROMATIC INTERVALS

Pitches that belong to a scale or key are called diatonic. Pitches foreign to a
scale or key are called chromatic. The pitch C is diatonic to the keys of C major
(tonic), eb melodic minor ascending (raised submediant), and ~b minor
(supersonic). However, the pitch C is chromatic (not diatonic) to the keys of D
major (subtonic), G lydian (lowered subdominant), and minor (raised
mediant).

10-16
 Intervals are diatonic when both the upper and lower notes of the interval
are found in the key. Intervals are chromatic when one or both notes of the
interval are foreign to the key. The simple interval formed by the pitches G up to
~b is a diatonic interval in ~b Major, mixolydian, and c natural minor, but it
is a chromatic interval in Gb major, e minor, and D lydian.

Figure 10.18: Diatonic and Chromatic Intervals.

10-17
 CHAPTER 11
TRIADIC CHORDS
A chord is a combination of three or more different tones sounded simultaneous-
ly or in succession (broken chord). Chords in music are often spelled in thirds.

Figure 11.1: Chord.

A triad is a chord of three tones spelled in thirds. It maybe constructed of

any combination of two superimposed major and minor thirds. The lowest of
these tones is called the root of the triad. The middle tone is called the third of the
triad because it is a third above the root of the triad. The highest of the three
tones is called the fifth of the triad because it is a fifth above the root of the triad.

The written triad uses alternate staff degrees in its notation, That is, the
triad is notated on adjacent lines or spaces, depending on whether the root is on a
line or a space.

Four combinations of major and minor thirds are possible in the

construction of triads:

a major third as the lower interval with a minor third as the upper
interval,

a minor third as the lower interval with a major third as the upper
interval,

major thirds as both upper and lower intervals,

minor thirds as both upper and lower intervals.

11-1
 Triads have the following qualities:

Major (Maj)

minor (min)

Augmented (Aug)

diminished (dim)

Figure 11.2: Triad qualities.

MAJOR TRIAD

The major triad has three tones on alternate staff degrees with a major third
(4 half steps) as the lower interval and a minor third (3 half steps) as the upper
interval. The interval between the root and fifth is a perfect fifth (7 half steps).
When constructed on the first degree of a major scale, a major triad contains the
tonic, mediant, and dominant of that scale. This corresponds to the first, third,
and fifth (1, 3, and 5) scale degrees of that major scale.

11-2
 Figure 11.3: Major triads.

MINOR TRIAD

The minor triad has three tones on alternate staff degrees with a minor third
(3 half steps) as the lower interval and a major third (4 half steps) as the upper
interval. The interval between the root and fifth is a perfect fifth (7 half steps).
When constructed on the first degree of a minor scale, a minor triad contains the
tonic, mediant, and dominant of that minor scale. This corresponds to the first,
lowered third, and fifth (1, b 3, and 5) scale degrees of the parallel major scale.

Figure 11.4: Minor triads.

11-3
 AUGMENTED TRIAD

The augmented triad has three tones on alternate staff degrees with two
major thirds (4 half steps) for the upper and lower intervals. The interval
between the root and fifth is an augmented fifth (8 half steps). When constructed
on the first degree of a whole tone scale whose fifth is raised, the augmented triad
contains the tonic, mediant, and dominant of that whole tone scale. This
corresponds to the first, third, and raised fifth (1, 3, and ~ 5) scale degrees of the
parallel major scale.

Figure 11.5: Augmented triads.

DIMINISHED TRIAD

The diminished triad has three tones on alternate staff degrees with two
minor thirds (3 half steps) for the upper and lower interval. The interval between
the root and fifth is a diminished fifth (6 half steps). When constructed on the
first degree of a locrian scale, the diminished triad contains the tonic mediant,
and dominant of that locrian scale. This corresponds to the first, lowered third,
and lowered fifth (1, ~ 3, and b 5) scale degrees of the parallel major scale.

11-4
 Figure 11.6: Diminished
triads.

CONSONANT AND DISSONANT TRIADS

“The basic sound of triads may be generally described as consonant or

dissonant. Consonant triads tend to remain stable. Dissonant triads tend to be
unstable requiring movement to a consonant triad. Major and minor triads are
generally consonant triads. Augmented and diminished triads are generally
dissonant triads.

Consonant Triads Dissonant Triads

Maj Aug
min dim

Figure 11.7: Consonant and Dissonant Triads.

The quality of the fifth affects consonance and dissonance more than the
quality of the third. When the fifth is augmented or diminished, dissonance
usually occurs.

11-5
INVERSION OF TRIADS

When the root of a triad is its lowest note, the chord is in root position.
Inversion is a change in the relative position of the notes from root position.
When the third of a triad is the lowest note, the triad is in first inversion
regardless of the placement of the root and fifth above it. When the fifth of a triad
is the lowest note, the triad is in second inversion regardless of the placement of
the root and third above it. The root of the triad remains the root regardless of its
position. The same is true of the third and fifth.

Figure 11.8: Inversions of C Major Triad.

Figure 11.9: Inversion of the Four Types of Triads.

11-6
DIATONIC TRIADS IN MAJOR AND MINOR KEYS

Writing the diatonic third and fifth above each scale degree of a given scale
will construct the triads diatonic to a particular scale or key.

Diatonic Triads in Major

Constructing diatonic triads on major scale degrees produces:

major triads on the tonic, subdominant, and dominant

minor triads on the supersonic, mediant, and submediant

a diminished triad on the leading tone

Figure 11.10: Diatonic Triads in Major.

11-7
 Diatonic Triads in Natural Minor

Constructing diatonic triads on natural minor scale degrees produces:

minor triads on the tonic, subdominant, and dominant

major triads on the mediant, submediant, and subtonic

a diminished triad on the supersonic

Figure 11.11: Diatonic Triads in Natural Minor.

11-8
 Diatonic Triads in Harmonic Minor

Constructing diatonic triads on harmonic minor scale degrees produces:

minor triads on the tonic and subdominant

major triads on the dominant and submediant

diminished triads on the supersonic and leading tone

an augmented triad on the mediant

The harmonic use of the major quality dominant chord gives the harmonic
minor scale its name. Altering the third of the dominant chord creates this scale.
The third of the dominant chord is the leading tone of the minor key.

Figure 11.12: Diatonic Triads in Harmonic Minor.

11-9
 Diatonic Triads in Melodic Minor

Constructing diatonic triads on ascending melodic minor scale degrees

produces:

minor triads on the tonic and supersonic

major triads on the subdominant and dominant

diminished triads on the submediant and leading tone

an augmented triad on the mediant

Constructing diatonic triads on descending melodic minor scale degrees

produces triads identical to those of the natural minor scale. Eliminating the
augmented second in the ascending form of the scales creates a major
subdominant triad. Using the descending form of the scale creates a minor
subdominant triad, resulting in a more minor sound.

11-10
Figure 11.13: Diatonic Triads in Melodic Minor.

11-11
 CHAPTER 12
OVERTONE SERIES
A sound source vibrates as a whole unit, in halves, thirds, fourths, fifths,
sixths, etc., continuing on indefinitely by fractions. The sounds these fractional
vibrations produce are called overtones and are generally present in varying
strengths.

The vibration of the whole unit produces the generating tone (because it
generates overtones) and its pitch is called the fundamental. All the pitches
produced are called partials. The fundamental is the first partial. It has the
lowest frequency (pitch) and, commonly, the greatest amplitude (intensity). The
partials above the fundamental are of greater frequency and vary in amplitude
depending on the physical nature of the sound source.

CHARACTERISTICS OF A VIBRATING STRING

The characteristics of a vibrating string illustrate partials and their

relationships. When a string tuned to Great C is set into motion it vibrates as a
whole unit, producing the pitch Great C (fundamental - first partial). The string
also vibrates in halves (second partial) producing small c; in thirds (third
partial) producing small g; in fourths (fourth partial) producing c1 ; in fifths
(fifth partial) producing el ; in sixths (sixth partial) producing gl ; and in smaller
sections producing higher pitches. Lower partials have more amplitude, which
decreases with the higher partials.

12-1
 Figure 12.1.
12-2
THE OVERTONE SERIES

Although the overtone series continues with complex vibration indefinitely,

it is necessary to put an upper limit on the series for practical purposes. The first
sixteen partials are the ones most commonly used in music.

The relationship between partials and scale degrees is illustrated in figures

12.2 and 12.3. Understanding their relationship allows the formation of partial
groupings, individual
from which partials can be extracted for musical
performance.

Figure 12.2: C Overtone Series.

12-3
 Figure 12.3: Scale Degrees of Partials.

Tonic Partials

The first, second, fourth, eighth, and sixteenth partials are the tonic degrees
in successive octaves. The tonic degrees are derived by doubling partial numbers
starting with the first partial.

Dominant Partials

The third, sixth, and twelfth partials are the dominant degrees found in the
second octave (3rd partial), third octave (6th partial), and fourth octave (12th
partial) of a given series. The dominant degrees are derived by doubling the
partial numbers starting with the third partial.

Mediant (Major) Partials

The fifth and tenth partials are the mediant (major) degrees found in the
third octave (5th partial) and fourth octave (10th partial) of a given series. The
upper partial is derived by doubling the lower partial.

12-4
 Subtonic Partials

The seventh and fourteenth partials are the out-of-tune subtonic degrees
found in the third octave (7th partial) and fourth octave (14th partial) of a given
series. The upper partial is derived by doubling the lower. It may help to think of
the seventh partial as a simple interval to remember its scale degree although it
is actually a minor 21st from the fundamental.

The Fourth Octave Partials

If the ninth through fourteenth partials are thought of as intervals and then
reduced to simple intervals, the scale degree numbers are produced. That is, the
ninth partial (9 -7 equals 2) is the supersonic; the tenth partial (10 -7 equals 3) is
the mediant; the eleventh partial (11 - 7 equals 4) is the out-of-tune raised
subdominant (the only time the subdominant occurs it is raised and out of tune);
the twelfth partial (12 -7 equals 5) is the dominant; the thirteenth partial (13 -7
equals 6) is the submediant (major); and the fourteenth partial (14 -7 equals 7) is
the out-of-tune subtonic. The fifteenth partial is not carried through the interval
reduction process; it is considered the leading tone to the sixteenth partial
(tonic).

12-5
 Figure 12.4: Partial Relationships.

Converting Partials to Overtones and Overtones to Partials

Overtones do not include the fundamental as a numbered part of the series.

Therefore, to convert from partials to overtones, subtract one to get the overtone
number; from overtones to partials, add one to get the partial number. When
comparing overtones and partials in an overtone series, the overtone number
will always be one less than the partial number.

12-6
 Harmonics

The term harmonic is often interpreted as being the same as partial. That is,
the first partial is the first harmonic. However, string instrumentalists often use
the term harmonic as being the same as overtone. That is, the first overtone is
the first harmonic. Since the term harmonic may mean partial or overtone, its
intended meaning must be specified.

THE OVERTONE SERIES AND TIMBRE

Because the physical nature of a musical instrument affects timbre, the

relative prominence of overtones varies with different instruments and is a
major factor in producing the timbre of a particular instrument. Usually,
overtones are not heard as individual pitches but as variations in the tone
quality of the most prominent pitch, the fundamental.

For example, the most prominent overtones on the saxophone are the first
(2nd partial), third (4th partial), fifth (6th partial), etc. The most prominent
overtones on the clarinet are the second (3rd partial), fourth (5th partial), sixth
(7th partial), etc. These overtones decrease in intensity as they are further
removed from the fundamental and alternate indefinitely.

Figure 12.5: Overtone Prominence of Saxophone and Clarinet.

12-7
 CHAPTER 13
TRANSPOSITION
Transposition is the process of moving a note or group of notes to a specific
higher or lower pitch level. To transpose is to write or perform in a different key
or at a different pitch level. Pitch relationships must remain intact during
transposition.

TRANSPOSITION BY SCALE DEGREE

The most direct means of organizing pitch relationships for transposition is

to identify the pattern of scale degrees in the original key, then to perform or
write the pattern in a different key. Using numbers will help identify the scale
degrees.

Figure 13.1: Scale Degree Transposition (diatonic major).

13-1
Transposition in minor keys that have accidentals may require chromatic signs
that differ from the accidentals in the original music. The purpose is to keep the
pitch relationships intact.

Figure 13.2: Scale Degree Transposition (harmonic minor).

Transposing diatonic melodies maybe easier than transposing melodies with

many accidentals because chromatic signs maybe different after transposition.
The pitch relationships must be kept intact.

13-2
 Figure 13.3: Scale Degree Transposition (chromatic).

TRANSPOSITION BY INTERVAL

Transposing by individual intervals may increase accuracy in music that

has many accidentals, creates a complex key relationship, or has complex scale
degree relationships. Interval transposition may also make a half step or whole
step transposition easier. A transposition written or played the same exact
interval above or below the original will keep the pitch relationships intact.

13-3
 Figure 13.4: Interval Transposition (harmonic).

Melodic intervals in the transposed music will correspond to the same

melodic intervals in the original key.

Figure 13.5: Interval Transposition (melodic).

TRANSPOSITION BY CHANGE OF KEY SIGNATURE

When a transposition desired is a half step higher or lower and the notes
remain on the same staff degrees, transposition by key signature maybe used.

13-4
This is accomplished by imagining the different key signature, reading the same
staff degrees, and correcting accidentals to keep the pitch relationships intact.
The same accidentals will not be used in the transposed key, so the effect of the
accidental (raising or lowering) must be created by means of a different
chromatic sign.

Figure 13.6: Key signature Transposition.

13-5
 CHAPTER 14
INSTRUMENTS
Copying instrumental parts requires that a copyist know the following:

clefs

keys and transpositions of instruments

written ranges

sounding ranges

While most instruments use a single clef, there are instruments that use
more than one clef. For some instruments, music is written with pitches differing
from actual sound; therefore, their parts must be transposed. Wind instrument
ranges are determined as much by the instrumentalist’s ability as by the
instrument itself. Extreme ranges (particularly in upper registers) cannot be
stated definitely; only minimum ranges for the qualified instrumentalist are
presented. The sounding ranges for transposing instruments should be clearly
visualized when copying from concert pitches.

Although a complete list of instrumental classification would be far longer,

the most likely instruments to be encountered are:

woodwinds
keyboard
brasswinds
rhythm section strings
percussion

WOOD WINDS

Woodwinds may be divided into transverse, double reed, and single reed
woodwinds. Single reed woodwinds may be further divided into clarinets and
saxophones. When a woodwind player plays written C on the instrument, the
name of the instrument sounds: for example, B ~ instruments sound B b , and
E b instruments sound E b . The interval between the written and sounded

14-1
pitches determines its transposition. Transposed woodwind parts allow the
instrumentalist to use the same fingerings for more than one instrument. The
following list gives:

Name of the instrument- Clef(s) normally used

Transposition relationship

(Remarks about individual instrument)

Written and sounding range

TRANSVERSE WOODWINDS

C Piccolo - Treble Clef.

Sounds an 8ve higher than written.

Written an 8ve lower than it sounds.

Flute (C) - Treble Clef.

Sounds as written.

(Some flutes have a low B extension).

DOUBLE REED INSTRUMENTS

Oboe (C) - Treble Clef.

Sounds as written.

(Some oboes do not have low ~&) key).

14-2
 F English Horn - Treble Clef.

Sounds a P5th lower than written.

Written a P5th higher than it sounds.

Bassoon (C) - Bass or Tenor Clef.

Sounds as written.

SINGLE REED INSTRUMENTS

CLARINETS

Eb Clarinet - Treble Clef.

Sounds a min 3rd higher than written.

Written a min 3rd lower than it sounds.

Bb Clarinet - Treble Clef.

Sounds a Maj 2nd lower than written.

Written a Maj 2nd higher than it sounds.

14-3
 E b Alto Clarinet - Treble Clef.

Sounds a Maj 6th lower than written.

Written a Maj 6th higher than it sounds.

(Most alto clarinets have a low ~b key).

Bb Bass Clarinet

Sounds a Maj 9th lower than written.

Written a Maj 9th higher than it sounds.

(Most bass clarinets have a low ~b key).

SAXOPHONES

~b Soprano Saxophone - Treble Clef.

Sounds a Maj 2nd lower than written.

Written Maj 2nd higher than it sounds.

Eb Alto Saxophone - Treble Clef.

Sounds a Maj 6th lower than written.

Written a Maj 6th higher than it sounds.

14-4
 Bb Tenor Saxophone -Treble Clef.

Sounds a Maj 9th lower than written.

Written a Maj 9th higher than it sounds.

Eb Baritone Saxophone - Treble Clef.

Sounds a Maj 13th lower than written.

Written a Maj 13th higher than it sounds.

(Some baritone saxophones do not have

a low A key).

14-5
 Figure 14.1: Woodwind Comparative Range Chart.

14-6
 BRASSWINDS

Most brasswinds use three or more valves in combination to produce more

than one overtone series, allowing chromatic pitches. Trombones use slides for
the same purpose.

Brasswinds maybe grouped into treble clef brass and bass clef brass. When
a treble clef brasswind player plays written C on the instrument, the pitch
name of the instrument sounds. The interval between the written and sounded
pitches of an instrument determines its transposition. Bass clef brasswinds
sound as written. The pitch name of a bass clef brasswind is its open or first
position sounding overtone series.

Brasswinds are constructed with various ratios of cylindrical and conical

bores. Cylindrical bore brasswinds are more cylindrical than conical; conical
bore brasswinds are more conical than cylindrical. The ratio of cylindrical to
conical tubing affects the timbre of the instrument. The following list gives:

Name of the instrument (open/first position sounding series)

Transposition relationships

(Remarks about individual instrument)

Written and sounding range

TREBLE CLEF BRASS

Bb Trumpet, Cornet, and Flugelhorn.

Sounds a Maj 2nd lower than written.

Written a Maj 2nd higher than it sounds.

Trumpet - Cylindrical Bore (3 valves).

Cornet - Conical Bore (3 valves).
Flugelhorn - Conical Bore (3 valves).

14-7
 Horn l?/Bb (called Double Horn).

Sounds a P5th lower than written.

Written a P5th higher than it sounds.

Conical Bore (3 valves).

Baritone Horn. d
*

Sounds a Maj 9th lower than written.

Written a Maj 9th higher than it sounds.

Conical Bore (3 valves).

BASS CLEF BRASS

Bb Baritone Horn. 9:

Sounds as written (non-transposing).

Conical Bore (3 valves).

B~ Euphonium.

Sounds as written (non-transposing).

Conical Bore (4 valves).

14-8
 13b Tenor Trombone.

Sound as written (non-transposing).

(Makes use of tenor and alto clefs).

Cylindrical Bore (Slide).

13b Tenor Trombone

with F Attachment.

Sounds as written (non-transposing).

(Makes use of tenor and alto clefs).

Cylindrical Bore (Slide).

Bb /F/D Bass Trombone.

Sounds as written (non-transposing).

(Makes use of tenor and alto clefs).

(high extreme of instrument
infrequently used).

Cylindrical Bore (slide).

C Tuba.

Sounds as written (non-transposing).

Conical Bore (4 valves).

B~b Sousaphone.

Sounds as written (non-transposing).

Conical Bore (3 valves).

BBb Tuba.

Sounds as written (non-transposing).

Conical Bore (4 valves).

14-9
 Figure 14.2: Brasswind
Comparative Range Chart.

PERCUSSION

The percussion instruments may be divided into indefinite pitch and definite
pitch percussion. Due to the large number of instruments in the indefinite pitch
grouping, placement in notation is very irregular and will vary greatly. Definite
pitch drums (timpani) are notated in bass clef. Mallet percussion (keyboard
percussion) instruments are normally notated in treble clef.

14-10
INDEFINITE PITCH PERCUSSION

The following list of indefinite pitch percussion gives:

symbol
Name of the instrument

Placement in notation

Tools used for performance

(Remarks about individual instrument)

Snare Drum.

3rd space bass clef,

Rhythm Line.

Sticks, mallets, brushes.

Bass Drum.

1st space bass clef,

Rhythm Line.

Sticks, mallets

(May be played vertically or horizontally).

Cymbal(s).

Below, 1st space, 4th space, or

above bass clef
Rhythm Line.

Hands (in pairs), sticks, brushes,

mallets, etc.

(Sometimes notated with diamond

or x head notes).

14-11
 Triangle.

3rd space, 4th space, or above

bass clef,
Rhythm Line.

Triangle beater, stick.

Tambourine.

3rd space, 4th space, or above

bass clef
Rhythm Line.

Hands, sticks, mallets, thumb.

Tam-tam (Gong).

Below or 1st space bass clef,

Rhythm Line.

Gong beater

DEFINITE PITCH PERCUSSION

The following list of definite pitch percussion gives:

Name of the instrument (symbol) - clef

Transposition

Tools used for performance

(Remarks about individual instrument).

14-12
 Written range
(Ranges of instruments may vary depending on the manufacturer.)

Timpani - Bass Clef.

Sounds as written.

Mallets (felt, wool, wood).

23 inch Timpano (I)

26 inch Timpano (II)

29 inch Timpano (III)

30 inch Timpano (IV)

Timpani are fully chromatic and have a minimum range of a P5th; the upper range of a
timpano depends on its condition.

Sounds a P15th higher than written.

Brass or hard mallets.

14-13
Sounds a P15th higher than written.

Hard plastic mallets.

Sounds as written.

Chime hammer of wood or rawhide.

(Some instruments do not extend beyond

Sounds a P8ve higher than written.

Wood, rubber, or plastic mallets.

Sounds as written.

Rubber, wood, plastic, yam, or cord mallets.

Sounds as written.

Yarn or cord mallets.

14-14
KEYBOARD

With the exception of the standard piano, keyboard ranges vary widely
depending on the manufacturer. Keyboard instruments make use of notation in
treble and bass clefs. The following list of keyboard instruments gives:

Name of the instrument

Transposition

Method of sound production

(Remarks about individual instrument)

Written range

Piano (Pianoforte).

Sounds as written.

Struck strings.

Electric Piano.

Sounds as written.
Range Varies Widely

(Method of sound production varies

depending on the manufacturer)

14-15
 Celeste.

Sounds a P8ve higher than written.

Struck metal bars.

Range Varies Widely

Organ.

Sounds as written

Compressed air through pipes or

electronically generated.

The organ uses an extra staff for

the pedal register as needed.

Synthesizer.
Range and Layout
Unlimited transposition. Depend on
Manufacturer
Electronically generated.

RHYTHM SECTION STRINGS

Rhythm section strings include guitar, bass guitar, and string bass.
Normally, they are used in a rhythm section with piano and drums. All three
instruments sound a perfect octave lower than written. The following list of
rhythm section string instruments gives:

14-16
 Name of the instrument - Clef normally used

Transposition

Remarks about individual instrument

Open strings written range

Guitar - Treble Clef.

Sounds a P8ve lower than written

Base Guitar - Bass Clef.

Sounds a P8ve lower than written

String Bass - Bass Clef.

Sounds a P8ve lower than written.

Tuned in P4ths.

The instument may be bowed (arco)

or plucked (pizzacato)

14-17
 CHAPTER 15
CHORD SYMBOLS

Vertical combinations of tones that create the harmonic framework of a

piece may be indicated by chord symbols. Chord symbols are a shorthand
expression for those combinations. Although a chord symbol indicates which
tones are included in the combination, it does not indicate how the tones in the
combination are used.

CHORD SYMBOL INTERPRETATION

The Root

The letter name of a chord symbol is the root of the chord.

Figure 15.1: Determining the

Root of a Chord from a Chord Symbol.

The Third

The chord includes the pitch a major third above the root of the chord unless
the third is qualified by the chord symbol. Qualifiers that affect the third always
lower it a half step (minor third). Minor, diminished and half diminished are the
qualifiers that lower the third. The preferred abbreviations are min and dim but
may be expressed in other ways.

Indicators for Minor min, -, m, mi, minor

Indicators for Diminished dim, 0

Indicator for Half Diminished @

Figure 15.2: Indicators for Qualified Thirds.

15-1
 Third not qualified:

Third qualified (lowered):

Figure 15.3: Determining the Third

of a Chord from a Chord Symbol.

The Fifth

The chord includes the pitch a perfect fifth above the root of the chord unless
the fifth is qualified by the chord symbol. Qualifiers that affect the fifth raise the
fifth a half step (augmented fifth) or lower the fifth a half step (diminished fifth).
Augmented is the qualifier that raises the fifth. Diminished, half diminished
and flat five are qualifiers that lower the fifth. The preferred abbreviations are
(Aug, dim and b 5) but maybe expressed in other ways.

Indicator for Raised Fifth Aug, +, (+5), (#5)

Indicator for Lowered Fifth

Figure 15.4: Indicators for Qualified Fifths.

15-2
 Fifth not qualified:

Fifth raised:

Fifth lowered:

Figure 15.5: Determining the Fifth of a Chord from a Chord Symbol.

The Sixth

The chord includes the pitch a major sixth above the root of the chord when
the numeral 6 is part of the chord symbol.

Figure 15.6: Determining the sixth of a Chord from a Chord Symbol.

15-3
 The Seventh

The chord includes the pitch a minor seventh above the root of the chord
(subtonic) unless the seventh is qualified by the chord symbol. Qualifiers that
affect the seventh raise the seventh a half step (major seventh) or lower the
seventh a half step (diminished seventh or major sixth). Major seven is the
qualifier that raises the seventh. Diminished seven is the qualifier that lowers
the seventh and the tone may be spelled enharmonically as the sixth. Pitches of
a diminished seventh chord may be spelled enharmonically. The preferred
abbreviations are Maj7 and dim7 but may be expressed in other ways.

Indicators for Raised Seventh Maj7, M7, Ma 7, (+7), (#7)

Indicators for Lowered Seventh dim7, °7

Figure 15.7: Indicators for Qualified Sevenths.

Seventh not qualified:

Seventh raised:

15-4
 Seventh lowered:

Figure 15.8: Determining the Seventh of a Chord from a Chord Symbol.

The Delta Sign

The Delta Sign (A) was originally used to indicate the use of a triad. Its
meaning has come to include chords of the sixth and major seventh.

CHORD STRUCTURES

In addition to major, minor, augmented and diminished triads, there are

nine commonly used chord structures:

major sixth

major seventh

minor sixth

minor/major seventh

dominant seventh

minor seventh

minor seventh (flat five)

augmented seventh

diminished seventh

15-5
 Major Sixth. Chord

The chord formula for the major sixth chord is 1,3,5,6 of a major scale. It is
indicated by a root name and 6.

Figure 15.9: Major Sixth Chords.

Major Seventh Chords

The chord formula for the major seventh chord is 1,3,5,7 of a major scale. It
is indicated by a root name and Maj 7.

Figure 15.10: Major Seventh Chords,

Minor Sixth Chord

The chord formula for the minor sixth chord is 1, b3, 5, 6 of a major scale. It
is indicated by a root name, rein, and 6.

Figure 15.11: Minor Sixth Chords.

15-6
 Minor/Major Seventh Chord

The chord formula for the minor/major seventh chord is

major scale. It is indicated by a root name, min, and Maj 7.

Figure 15.12: Minor/Major Seventh Chords.

Dominant Seventh Chord

The chord formula for the dominant seventh chord is of a major

scale. It is indicated by a root name and 7.

Figure 15.13: Dominant Seventh Chords.

Minor Seventh Chord

The chord formula for the minor seventh chord is of a major

scale. It is indicated by a root name, min, and 7.

Figure 15.14: Minor Seventh Chords.

15-7
 Minor Seventh (Flat Five) Chord

The chord formula for the minor seventh (flat five) chord is
a major scale. It is indicated by aroot name, min, 7, and This type of chord
is also called a half diminished seventh chord (47).

Figure 15.15: Minor Seventh (flat five) Chords.

Augmented Seventh Chord

The chord formula for the augmented seventh chord is 1, 3, $5, bT of a

major scale. It is indicated by a root name, Aug, and 7.

Figure 15.16: Augmented Seventh Chords.

Diminished Seventh Chord

The chord formula for the diminished seventh chord is

major scale. It is indicated by a root name, dim, and 7. Notes of diminished
seventh chords are often spelled enharmonically for ease of identification

Figure 15.17: Diminished Seventh Chords.

15-8
 CHAPTER 16
CHORD SCALES

Chord symbols indicate the vertical or harmonic framework of a piece;

however, their use may be expanded by using chord scales for horizontal or
melodic application. A given chord symbol normally implies use of a particular
scale.

MAJOR SIXTH AND MAJOR SEVENTH CHORD SCALES

The major or ionian scale (MLM) is used for tonic major sixth or major
seventh chords. The lydian scale (LMM) is used for all other major sixth or major
seventh chords.

Figure 16.1: Major Sixth and Seventh Chord Scales.

MINOR SIXTH AND MINOR/MAJOR SEVENTH CHORD SCALES

The ascending melodic minor scale (mLM) is used both ascending and
descending on minor sixth and minor/major seventh chords.

Figure 16.2: Minor Sixth and

Minor/Major Seventh Chord Scales.

16-1
 DOMINANT SEVENTH CHORD SCALES

The mixolydian scale (MML or MLm) is used for dominant seventh chords
which move from dominant to tonic. The lydian seventh scale (LMm) is used for
all other dominant seventh chords.

Figure 16.3: Dominant Seventh Chord Scales.

MINOR SEVENTH CHORD SCALES

The dorian scale (mLm) is used for minor seventh chords. Although some
minor seventh chords should take other scales, the dorian scale will fit all minor
seventh chords.

Figure 16.4: Minor Seventh Chord Scales.

16-2
MINOR SEVENTH (FLAT FIVE) CHORD SCALES

The locrian scale (NNL) is used for minor seventh (flat five) chords.

Figure 16.5: Minor Seventh (flat five) Chord Scales.

AUGMENTED SEVENTH CHORD SCALES

The whole tone scale (222222) is used for augmented seventh chords.

Figure 16.6: Augmented Seventh Chord Scales.

DIMINISHED SEVENTH CHORD SCALES

The diminished scale (21212121) is used for diminished seventh chords. A

diminished scale may be thought of as two superimposed diminished seventh
chords a whole step apart.

Figure 16.7: Diminished Seventh Chord Scales.

16-3
 THE BLUES SCALE

The blues scale is a scale used primarily as a device while playing blues. It
cannot be analyzed with tetrachords. The scale contains the tonic (1),
subdominant (4), and dominant (5) plus the “blue notes” which are the lowered
third ( b 3), lowered fifth ( b 5), and lowered seventh ( b 7). Enharmonic spellings
are frequently used.

Figure 16.8: The Blues Scale.

PENTATONIC SCALES

The pentatonic major scale may be used with major sixth, major seventh,
and dominant seventh chords.

The pentatonic minor scale may be used with minor seventh chords or as a
substitute for the blues scale.

16-4
 Figure 16.9: Pentatonic Scales.

Figure 16.10: Common Chord Scale Usage.

16-5
 CHAPTER 17
SWING RHYTHM

ANTICIPATION

Anticipation occurs when a note normally on the beat is attacked a half beat
early. The result is melodic, harmonic, and rhythmic syncopation (usually
sometimes

Figure 17.1: Anticipation.

17-1
 An off-beat eighth note followed by a rest is a method of notating
anticipation.

Figure 17.2: Anticipation Created by Rests.

DIVIDED BEAT IN SWING TIME

The divided beat in swing time is often interpreted differently from the way
it is notated. The dotted eighth/sixteenth or eighth note pattern in notation:

Tempo determines the interpretation of the divided beat in swing time.

In extremely slow tempi, the notation:

is often performed as:

17-2
In double time, the same notation is often performed
as:

In medium tempi, the second portion of the beat sounds

earlier and requires compound interpretation. The
notation is often performed as:

In extremely fast tempi, the second portion of the beat

sounds earlier and requires simple interpretation. The
notation is often performed as:

The following graph illustrates how the second portion of the divided beat
moves.

Figure 17.3: Divided Beat in Swing Time.

Normally, in rhythmic passages containing repeated regular divisions of

the beat, there is a breath accent or push on off-beats.

17-3
 SHORT PERCUSSIVE NOTE

Normally, in swing time, the quarter note or its tied equivalent (eighth tied
to eighth) is a short percussive note. The duration of a short percussive note is
determined by style and tempo.

A quarter note on the beat is a short percussive note unless marked long
(usually with a legato mark–). It is performed with the duration of the first
portion of the beat. A cap accent is often used to indicate a short percussive
note.

Figure 17.4: Short Percussive Notes on the Beat.

A quarter note (quarter note equivalent) off the beat is a short percussive
note unless marked long. It is performed with the duration of the first portion of
the beat.

Figure 17.5: Short percussive Notes off the Beat.

17-4
 An anticipation that is an off-beat eighth note followed by a rest is usually a
short percussive note. It is performed with the duration of the first portion of the
beat.

Figure 17.6: Short Percussive Notes as Anticipations.

LONG PERCUSSIVE NOTE

An anticipation that is not a short percussive note is normally along

percussive note in swing time. A long percussive note is often, but not always,
An anticipated long percussive note of two
or more beats maybe performed with its full value or it may be shortened by the
duration of the second portion of the divided beat. The anticipation occurs on the
second portion of the divided beat.

17-5
 is performed:

is performed:

Figure 17.7: Long Percussive Notes as Anticipations.

A note that occurs beginning on the beat is often a long percussive note. A
long percussive note that begins on the beat, and is of more than a beat’s
duration, may be performed with its full value or it may be shortened by the
duration of the second portion of the divided beat.

17-6
Figure 17.8: Long Percussive Notes on the Beat.

17-7
 A quarter note (or equivalent) that is marked long is usually a long
percussive note. It is performed with the duration of the full beat. An off the beat
long percussive quarter note occurs on the second portion of the divided beat.

Figure 17.9: Quarter Notes as Long Percussive Notes.

17-8
 CHAPTER 18
MELODY CONSTRUCTION

Pitches used to construct melodies may be chord tones or approach tones.

CHORD TONES

Many melodies are constructed primarily of chord tones. For example, La

Curcaracha is composed of chord tones in all but the third and seventh bars.

Figure 18.1: Chord Tones in La Cucaracha

18-1
 Chord tones of a given chord maybe played in any order, in any octave and
with any rhythm pattern against that chord. When the melody is anticipated,
the harmony is also anticipated.

Figure 18.2: Chord Tone Melodies.

18-2
APPROACH TONES

Approach tones are tones that lead into chord tones by step. Approach tones
are usually of half beat duration (usually ~ , sometimes J) . Two types of
approach tones are scale approach tones and chromatic approach tones.

Scale Approach Tones

Scale approach tones are non-chord tones within a given chord scale that
approach the chord tones of that chord by step.

Figure 18.3: Scale Approach Tones in La Cucaracha.

Notation of the chord scale for a given chord will make the identification of
scale approach tones easier.

18-3
 Figure 18.4: Scale Approach and Chord Tone Melodies.

18-4
 Chromatic Approach Tones

Chromatic approach tones are non-chord tones that approach chord tones
or scale approach tones by half steps.

Figure 18.5: Chromatic Approach Tones in La Cucaracha.

A scale approach tone may move to a chromatic approach tone by half step
if the chromatic approach tone goes immediately to a chord tone in the same
direction.

Figure 18.6: Scale Approach Tone to Chromatic Approach Tone.

Notation of the chromatic approach tones, with the chord scale of a given
chord, will make their identification easier. The result will be a chromatic scale.

18-5
 Figure 18.7: Chromatic Approach,
Scale Approach, and Chord Tone Melodies.

18-6
Figure 18.7: (continued).

18-7
 Figure 18.7: (continued).

18-8
 CHAPTER 19
EXTENDED AND ALTERED CHORDS

A chord symbol often indicates pitches other than the first, third, fifth, sixth,
and seventh. When additional pitches are required, the basic chord is extended
in ascending thirds. These pitches are expressed as compound intervals from the
root of the chord. The extensions are the ninth, eleventh, and thirteenth above
a root.

Extended chords are created when the ninth, eleventh or thirteenth are present
in the chord.

Figure 19.1: Extended Chord.

Altered chords are created when the fifth, ninth, eleventh, or thirteenth are
chromatically altered.

19-1
 THE NINTH

Natural Ninth

The chord includes the pitch a major ninth (major second) above the root of
the chord when the numeral 9 is part of the chord symbol.

Figure 19.2: Natural Ninth Chords.

Lowered Ninth

The chord includes the pitch a minor ninth (minor second) above the root of
is part of the chord symbol. The symbol
preferred indicator, but (-9) is also used. This alteration occurs on dominant
seventh type chords.

19-2
 Figure 19.3: Flat Nine Chords.

Raised Ninth

The chord includes the pitch an augmented ninth (augmented second,

usually spelled enharmonically as a minor third) above the root of the chord
is part of the chord symbol. The symbol
indicator, but (+9) is also used. This alteration occurs on dominant seventh type
chords.

Figure 19.4: Sharp Nine Chords.

THE ELEVENTH

Natural Eleventh

The chord includes the pitch a perfect eleventh (perfect fourth) above the
root of the chord when the numeral 11 is part of the chord symbol. This

19-3
extension usually occurs on minor ninth, minor ninth and diminished
ninth chords.

Figure 19.5: Natural Eleven Chords.

Suspended Fourth (Sus 4)

The chord includes the pitch a perfect fourth above the root of the chord
when sus 4 is part of the chord symbol. The perfect fourth replaces the major
third as a chord tone. This extension occurs on dominant seventh and ninth,
major sixth and major six/nine, and major seventh and ninth chords.

Figure 19.6: sus 4 Chords.

If the symbol sus is present in a chord symbol, it is usually interpreted as a

Sus 4.

Raised Eleventh

The chord includes the pitch an augmented eleventh (augmented fourth)

above the root of the chord when is part of the chord symbol. The symbol

19-4
 is the preferred indicator, but (+11) is also used. This alteration usually
occurs on dominant ninth, augmented ninth, major six/nine, and major ninth
chords. The altered ninth and raised eleventh may be used on the dominant
seventh type chord. Both the altered ninth and are indicated in the chord
symbol.

Figure 19.7: Sharp Eleven Chords.

THE THIRTEENTH

Natural Thirteenth.

The chord includes the pitch a major thirteenth (major sixth) above the root
of the chord when the numeral 13 is part of the chord symbol. This extension
usually occurs on dominant ninth
-should be indicated in the chord symbol. The lowered ninth may be
included on the dominant thirteenth
in the chord symbol.

Figure 19.8: Natural Thirteen Chords.

19-5
 Lowered Thirteenth

The chord includes the pitch a minor thirteenth (minor sixth) above the root
is part of the chord symbol. The symbol
preferred indicator, but (-13) is also used. This alteration usually occurs on
dominant seventh type chords with altered ninth and raised eleventh. It also
and diminished eleventh chords. The altered 9,
on dominant seventh type chords should be indicated in the
chord symbol.

Figure 19.9: Flat Thirteenth Chords.

SPECIFIED BASS NOTE

A bass note which is not the root of the chord is often required in music. One
way to notate this is to indicate the chord structure over the bass note.

19-6
Figure 19.10: Specified Bass Note.

19-7
 APPENDIX A
MANUSCRIPT TECHNIQUES

The importance of producing good manuscript cannot be overestimated. A

fine, well-prepared score or part immediately receives more attention from the
performer. No matter how objective a reader may try to be, a fine score or part is
bound to make a better impression simply by being more attractive and easier to
read. Composers and arrangers, professionals or students, who expect their
manuscript to be performed should consider it mandatory, an act of professional
courtesy, to supply the best manuscripts possible.

Every writer should strive for the greatest clarity and attractiveness
compatible with a reasonable rate of copying speed. Like ordinary penmanship,
manuscript can show personal characteristics of the writer while being
technically correct and conveying the thought of the musical content.

For the student, pencils are recommended. Practice manuscript by drawing

(freehand) straight vertical lines, straight horizontal lines, circles, ovals, clefs,
accidentals, slurs, and other musical symbols.

CLEF SIGNS

Clef Signs have a definite purpose and are not inserted merely for decorative
effect. Strive for consistent design and avoid over-embellished designs that
confuse the reader. Clef signs should appear at the beginning of every line.

Figure A.1: Clef Signs.

A-1
KEY SIGNATURES

Key Signatures are placed after the clef sign. Sharps and flats are always
written in an unchanging order.

Sharps: F CGDAEB

Flats: B E A D G C F

Key signatures are written at the beginning of every line.

Figure A2: Key signatures.

TIME SIGNATURES

Time Signatures are placed within the limits of the outer staff lines
following the key signature. A bar line is not placed between the time signature
and the first note of the first measure. In addition to the beginning, time
signatures are written when the meter changes.

Figure A.3: Time Signatures.

A-2
LEGER LINES

The distance between leger lines must be the same as the distance between
printed staff lines. A series of leger-lined notes inaccurately placed is difficult to
read.

Figure A.4: Leger Lines.

NOTEHEADS

Noteheads are oval, slightly slanted, and clearly centered on the line or
within the space. The size of the notehead is determined by the size of the staff.
Noteheads should never be so large that they confuse the reader regarding their
precise location, nor should they be so small that they look like cues rather than
notes to be played. Strive for noteheads of uniform size. No “daylight” should be
allowed in any notehead that should be solid.

Figure A.5: Noteheads.

STEMS

Stems are always vertical, never slanting left or right. Stems are approximately one
octave in length, and normally extend at least to the center line of the staff. For notes
above the center line, stems go down and to the left of the notehead. For notes below the

A-3
center line, stems go up and to the right of the notehead. For notes on the center line,
stems may go up or down depending on musical context. When stemming notes in a
group to be beamed, stem direction is determined by the position of the majority
. . in the
group and distance from the center line.

Figure A.6: Stems.

FLAGS

Flags always go to the right of the stem regardless of stem direction. Avoid
embellished designs which can easily be confused with rests or other symbols.
Flags are connected to the stem. Flags begin at the end of the stem with the end
of the flag curving inward toward the notehead. The stem may be lengthened
slightly to accommodate additional flags.

Figure A.7: Flags.

A-4
BEAMS

Beams link notes that normally use flags. Although many factors determine
the “proper” beaming of a specific note group, beams that look good and are
least confusing to the reader are best. Beams should be approximately one-half
the width of the space between staff lines. Some general guidelines are shown in
figure A.8.

Figure A.8: Beams.

A-5
DOTS

Dots are placed to the right of the notehead affected and in the same space
as the note. If the note is on a line, the dot is placed in the space immediately
above and to the right. Double dots are placed in the same relative position as the
single dot.

Figure A.9: Dots

SPACING

Spacing of notes is generally in proportion to their time values. Notes and

rests must be placed in each measure on the beat to which they belong. This is
accomplished by visually dividing each measure into equal imaginary segments
(quadruple meter into four parts, triple meter into three parts, and duple meter
into two parts). This division is made from beat 1 to beat 1 of the following
measure, not from bar-line to bar-line. The first beat in each measure is
positioned at least one notehead distance from the bar-line. Whole notes
performed on beat 1 are written on beat one, and not in the center of a measure.

Figure A.10: Spacing.

On individual parts, measure length is determined by the amount of music to be

written within it. Thus, a measure containing just a whole note should not be as long as
another measure containing running sixteenth notes. A good average line will contain
four measures. Avoid crowding. The wise copyist plots the length of each measure on a
line, using as a basis the measure with the most notes. A certain amount of give-and-
take has to be allowed, so that the last measure on each line ends at the end of the line,
and that all measures are more-or-less proportionate in length. It is always better to
allow too much room than not to allow enough.

A-6
TIES

Ties are usually placed on the notehead side of the notes affected. If there is a
question as to position, the tie is inserted above the notehead. Ties extend from
notehead to notehead.

Figure A.11: Ties.

SLURS

Slurs are placed on the notehead side when all notes within the group to be
slurred are stemmed in the same direction. If stemming is in both directions,
slurs are placed above, regardless of the division of stem direction. It is not
acceptable to stem a note incorrectly to justify slurring below the staff. Draw
slurs from a specific note to a specific note so that each slur has a definite
beginning and ending.

Figure A.12: Slurs.

RESTS

Rests have specific time values and must be given space within each
measure proportionate to their value. Normally, whole rests hang from the
fourth line of a staff, and half rests sit on the third or middle line.

Rests are not tied. A whole rest is positioned in the middle of a measure to
indicate one whole measure of rest regardless of time signature. This is the only
single symbol which is placed in the middle of a measure.

A-7
 Normally, multiple rests within a measure are added together. In quadruple
meter, rests are not combined from the second to the third beat of a measure.

Figure A.13: Rests.

When it is necessary to indicate more than one whole measure of rest, the
number of whole measures are combined as in figure A.14. All the measures
combined must be of the same metric value.

Figure A.14: Combined Measure Rests.

NUMERALS

Numerals that indicate artificial divisions (e. g. duplets, triplets,

quadruplets) are enclosed in brackets on either side of the notes affected. Their
location depends upon space limitations and readability. Groups normally
beamed together need not be grouped together again with a bracket, except when
slurred. Curved lines are sometimes substituted for brackets. The curved line
may indicate articulation as well as artificial division.

A-8
 Figure A.15: Numerals.

REPEAT SIGNS

Repeated measures should be numbered, with the notated measure being

measure 1. If the measure is to be repeated on the subsequent line, the notated
measure must be written at the beginning of the new line.

Figure A.16: Single Measure Repeats.

If the repetition of a two measure repeat occurs more than once, the repeats
should be numbered.

Figure A.17: Two Measure Repeats.

Signs indicating repetition of a complete section are made with a double bar
line with dots placed in the second and third spaces of the staff. Normally, when

A-9
 the repeat is to be made from the beginning of a composition, the first repeat sign
is not needed. If the repeated section is to be repeated more than once (played
more than twice), the number of times the section is to be played, rather than the
number of times it is to be repeated, must be indicated.

Figure A.18: Section Repeats.

Abbreviations of Da Capo (D.C.) and Dal Segno are placed below the staff at
the end of the measure in which they take effect. The signs for Dal Segno ( # ) and
Coda ( $ ) are placed above the staff at the beginning of the measure in which
they take effect.

Figure A.19: Da Capo, Dal Segno and Coda.

ACCIDENTALS

Accidentals appear before the note on the same line or space as the note
which they alter, The open portion of an accidental should either be bisected by
line or be entirely within the space. To avoid confusion it is sometimes advisable
to remind the performer of an accidental’s cancellation in the following measure
parenthetically.

Figure A.20: Accidentals.

A-10
DIRECTIONS FOR PERFORMANCE

Directions for performance are placed above, below, or within a staff

system, depending on the intent of the direction:

Tempo Indications such as Allegro, Bouncy 4, Grave, etc., are located

above the staff on score and parts.

Metronome Marks used to supplement tempo indications immediately

follow such directions above the staff.

Ornament Signs such as those for a mordent or turn go above the staff. It
has become customary to write out ornament figures to avoid confusion as to
interpretation.

Articulations are inserted on the notehead side of a note directly over or

under the note they affect. Heavy accent directions such as sforzando (s~),
sforzato @#+ and forte piano VP) are placed below the staff on instrumental parts
or between the staves of keyboard music.

Fermatas are placed above the staff regardless of stem direction.

Dynamic Marks are placed below the staff on instrumental parts and
between the staves of keyboard music. The signs should be carefully placed
below the first note of the passage affected. If crescendo and diminuendo
directions, whether written out verbally or by the sign, - >, do not show an
exact terminal volume level, one level change is understood.

Figure A.21: Dynamic Marks.

A-11
REHEARSAL SIGNS

Rehearsal signs (letters or numbers) may be placed every eight measures.

These signs are written in boxes or circles above the staff and directly over the
bar-line affected. The numbering of every measure for rehearsal purposes is
sometimes necessary. Often, it is better to place rehearsal signs according to
musical phrases rather than arbitrarily at eight-measure intervals. It is
advisable to place rehearsal signs at points within the arrangement that might
require special attention in rehearsal.

PROOFREADING

Proofreading is an absolute necessity. All manuscript work of any kind

must be carefully checked before it is submitted for performance. Often a copyist
will proofread a part and overlook certain errors simply because the musical
mind reads what should be there rather than what is actually seen by the eye.

Proofread for omitted or incorrect

Accidentals Rest measures

Key signatures Beams, flags, stems or dots

Time signatures Articulations

Rehearsal signs Chord symbols

Repeat signs Directions for performance

Dynamics

Also check for

Transposition errors

Measures omitted

Beats within measures omitted

A-12
 APPENDIX B
DIRECTIONS FOR PERFORMANCE

MUSICAL ABBREVIATIONS

Divided Notes. A stroke through the stem of a note is used to divide that note
into equal lesser values on the pitch or pitches given.

written

performed

written

performed

Figure B.1: Divided Notes.

Repeated Beats. Cross-strokes indicate repeated beats within a measure.

written

performed

Figure B.2: Repeated Beats.

B-1
 Repeated Measures. Single-and double-measure repeat signs indicate
repeated measures.

Figure B.3: Repeated Measures.

Repeated Sections

Da Capo al Fine (D.C. al Fine) means to repeat from the beginning (from the
head) and play to the end (fine), usually indicated by a double bar with one heavy
line.

Figure B.4: Da Capo - Performed.

Dal Segno (D. S.) means to repeat from the sign.

Figure B.5: Dal Segno - Performed.

B-2
 The coda sign ( +$ ) is used in conjunction with the directions, D.C. and D.S.,
to indicate a skip to a different ending. One is put at the point where the skip is to
be made to the coda (tail), and another is put at the coda.

Figure B.6: Coda - Performed.

Repeat signs are used to indicate repeated phrases and strains. Unless
otherwise indicated, the repeated sections are played twice (repeated once).

Figure B.7: Repeat Signs - Performed.

Octave Signs. Octave signs are used to indicate that a part is to be played
an octave higher, an octave lower, or with the upper or lower octave.

B-3
 Figure B.8: Octave Designations - Performed.

MELODIC ORNAMENTS

Acciaccatura or Grace Note. This is an eighth note in small type with a

slash through it. Its time value is not counted in the rhythm of the measure, but
must be subtracted from one of the adjacent notes. It is usually performed before
the beat, taking its time value from the preceding note and is very short (Figure
B.9a). As used in music of the Baroque and Classic periods (Haydn, Mozart,
Handel, etc.), this grace note usually occurs on the beat, taking its time value
from the succeeding note and is very short (Figure B.9b).

Figure B.9: Acciaccatura - Performed.

B-4
 Appoggiatura. A note in small type whose time value is not counted in the
rhythm of the measure. It always occurs on the beat and takes its time value
from the succeeding note as follows:

If the appoggiatura precedes a note whose time value is divisible by

two, it receives one-half of the time value (Figure B.10a).

If the appoggiatura precedes a note whose time value is divisible by

three, it receives two-thirds of the time value (Figure B.10b).

Figure B.10: Appoggiatura - Performed.

Double Grace Note (Disjunct). Two notes (usually one above and one
below the principal note) which may be performed either on the beat or before the
beat, depending on the character of the music. The usual practice is to perform
them before the beat.

Figure B.11: Double Grace Note - Performed.

Multiple Grace Note (Conjunct). A scalewise series of two or more small

notes usually performed before the beat; although, they are sometimes
performed on the beat, depending on the character of the music.

Figure B.12: Multiple Grace Note - Performed.

B-5
 Mordent. A single or double alternation of the principal note with its lower
neighbor, or with its upper neighbor when inverted. When an accidental applies,
it is written above or below the sign.

SINGLE MORDENT

DOUBLE MORDENT

INVERTED MORDENT (Schneller)

Figure B.13: Mordent - performed.

Turn or Gruppetto. An alternation of the principal note with its upper and
lower neighbor, consisting of four notes. When accidentals apply, they are
written above and/or below the sign.

If the sign is placed over the principal note, the turn begins on the
upper neighbor and takes its time value from the first part of the
principal note (Figure B.14a).

If the sign is placed between two notes of different pitch, the turn is
performed on the last part of the first (principal) note (Figure B.14b).

If the sign is placed between two notes of the same pitch, the first
three notes of the turn are performed on the last part of the principal
note; the second same pitch becomes the fourth note of the turn
(Figure B.14c).

If the sign is placed after a dotted note, it is performed the same as if

it were between two notes of the same pitch since the dot is simply
another way of writing a second similar note (Figure B.14d).

B-6
 If the turn is inverted, the upper and lower neighbors change places
(Figure B.14e). With this exception, the inverted turn is performed
the same as the regular turn.

Figure B.14: Gruppetto/Turn - Performed.

Trill. A rapid, even alternation of the principal note with its upper neighbor
which lasts for the entire duration of the principal note or continues to the end of
the waved line, if used. When an accidental applies, it is written above the trill
sign.

Often a trill is followed by one or more short notes or grace notes

leading to the next long tone as a completion to the trill. If these
notes are not present, a single alternation with the lower neighbor
should still be played, in most cases, as an after-turn to complete the
trill. All trills must close with the principal tone; therefore, trills

B-7
 beginning on the principal tone will require a return to the principal
tone by means of a triplet prior to, or a quintuplet in conjunction
with the after-turn (Figure B.15a).

Figure B.15a: Trill - Performed.

An incomplete trill has no after-turn. It is simply an alternation

with the upper neighbor. The incomplete trill may be used when
followed by an unaccented note, or in rapid passages or chains of
trills (Figure. 15b).

Figure B.15b: Trill - Performed.

The trilled note may be tied to a second note of the same pitch. If a
waved line continues over the second note, it is performed as part of
the trill; if not, the trill stops at the second note (Figure B.15c).

Figure B.15c: Trill - Performed.

B-8
The number of notes in a trill varies with the tempo of the music and
the length of the note being trilled (Figure B.15d).

Figure B.15d: Trill - Performed.

Sometimes, in solos, a trill begins slowly and accelerates. Its

performance is a matter of interpretation and there is no special
notation for such a trill (Figure B.15e).

Figure B.15e: Trill - Performed.

An inverted trill begins with the upper neighbor instead of the

principal tone and completes itself without triplet before the after-
turn (Figure B.15f). This was the trill interpretation most generally
used in music prior to Beethoven (1770). It may be used in certain
strictly classic readings of Haydn, Mozart, Handel, etc., and music
written prior to their time. In more recent music, however, the
inverted trill should only be used when the upper neighbor is
written as a grace note preceding the trill note.

Figure B.15f: Inverted Trill - Performed.

B-9
ARTICULATIONS AND ACCENTS

When the composer or arranger intends that specific emphasis be applied to

the performance of his music, he uses a group of special signs. There is much
controversy over the particular interpretation of many of these signs, due in
large part to the indiscriminate use of them by some composers/arrangers and
to contrasting views among performers.

In any case, the style and character of the music must be regarded as the
essential determinants of performance, and any symbols or interpretation
markings simply as reminders or suggestions for performance.

In music for wind instruments in general and for the military band in
particular, certain standards and practices have been adopted and show a
rather universal acceptance.

Several common articulation markings and accents follow along with

suggestions as to their performance. Sometimes articulation symbols are used in
combination with accents to give a more precise indication.

Legato - Slurred. Maximum duration. To be performed without interrup-

tion between notes. Only the first note is attacked.

Figure B.16a: Articulation - Performed.

Tenuto - Non Legato - Leggiero. Held full value. To be performed with

only a very slight break between notes to allow for the attack.

Figure B.16b: Articulation - Performed.

Portato (Mezzo - Staccato). Duration slightly more than half. To be

performed with a slight break between the notes.

Figure B.16c: Articulation - Performed.

B-10
 Staccato. Duration about half. Performance varies from short to very short
with the character and tempo of the music.

Figure B.16d: Articulation - Performed.

Staccatissimo. Usually performed as short as possible, with a slight

emphasis.

Figure B.16e Articulation - Performed.

Horizontal Accent. Attacked with force, usually followed by a slight

decrescendo. Performed louder than surrounding dynamic level. Has no effect
on duration.

Figure B.17a: Accents - Performed.

Vertical Accent. Attacked with force, usually followed by a retention of

dynamic level. Performed louder than surrounding dynamic level. Occasionally
performed with a slight lessening of duration.

Figure B.17b: Accents - Performed.

B-11
JAZZ EXPRESSIVE DEVICES

Scoop. A short glissando from below to a note of any value. Its time value is
taken from the previous note or rest. The symbol or is normally
used.

Saxophone: Lip up or finger lower grace note.

Trumpet: Lip up, finger lower grace note or half valve.

Trombone: Lip or short slide movement.

Rip or Flare. A glissando that usually starts a fourth or fifth below a note of
any value. Its time value is taken from the previous note or rest, The symbol

Saxophone: Lip up with chromatic or diatonic scale.

Trumpet: Half valve or overtone series lip slur.

Trombone: Longer slide movement or overtone series lip slur.

Sometimes or is used at the beginning of a rip or flare to indicate

where the effect begins. Although it is notated at a particular place on the staff, it
does not indicate a definite pitch.

Plop. A glissando which usually starts a fourth or fifth above a note of any
value. Its time value is taken from the previous note or rest. The symbol
or is normally used.

Saxophone: Lip down with chromatic or diatonic.

Trumpet: Half valve or overtone series lip slur.

Trombone: Slide movement or overtone series lip slur.

B-12
 Sometimes is used at the beginning of a plop to indicate where the
effect begins. No definite pitch is intended.

A glissando is often required between two notes. Its time value is taken from
the first of the two connected notes. The symbol is normally used.

Saxophone: Chromatic or diatonic scale.

Trumpet: Chromatic or diatonic scale or half value.

Trombone: Slide or scale.

Drop or Fall. A descending glissando that begins on the second half of a

note of any value. The symbol is normally used.

Saxophone: Chromatic or diatonic scale.

Trumpet: Half valve or overtone series slur.

Trombone: Slide movement or overtone series

is used at the end of a drop to indicate where the effect

ends. No definite pitch is intended.

Doit, Doik, or Doink. An ascending glissando that begins on the second

half of a note of any value. The symbol is normally used.

Saxophone: Chromatic or diatonic scale.

Trumpet: Half valve or overtone series lip slur.

Trombone: Slide movement or overtone series lip slur.

B-13
 Flip or Turn. A variation of the classical turn or gruppetto. The effect
occurs between a note and a lower note that follows it. The symbol
is usually used when the effect is notated.

Saxophone: Perform the principal note, slur to the note above the principle
note, and glissando to the second written note.

Trumpet and Trombone: Perform the principal note, slur to the first
available overtone above the principal note, and lip slur the overtone
series to the second written note.

Bend. An effect produced by attacking the note in the normal manner,

lowering the pitch by relaxing the embouchure, and bringing the note backup to
pitch by tightening the embouchure. The symbol is normally used.

Smear. An effect produced by attacking the note below normal pitch by

using a relaxed embouchure and bringing the note up to pitch by tightening the
embouchure. Its time value is not taken from the previous note or rest. The
symbol is normally used.

Shake. A lip trill from the note marked up to an overtone above. It is

primarily a brass effect. The shake is normally measured. The width and speed of
the shake is normally determined by the section leader or bandleader.
Saxophone instrumentalists simulate the shake with a keyed trill instead of the
lip trill. The symbol is normally used.

B-14
 Subtone. A saxophone effect that consists of a soft, airy sound produced by
relaxing the embouchure. It is usually marked subtone.

Muting. Brasswind sound is altered by the following mute effects:

Straight Hat

Cup In stand

Harmon Bucket

Plunger H. O. B. (hand over bell)

When using harmon, plunger, hat, or H. O. B., the instrumentalist maybe

required to alternate between closed (+) and open (0) sound produced by the hand.

False Fingerings. Used to change the timbre of a note. The alternate

fingering or slide position is marked above the note or the symbol

B-15
 Swallowed Notes. Used to change the timbre of a note. They are
performed at a lower dynamic level than surrounding notes, They are produced
by fingering the note and decreasing the air stream. Parentheses around the
notes are usually used to indicate the effect.

Straight Eighths. In swing time, the straight eighth effect often replaces
swing eighth notes. They are indicated with the traditional tenuto sign or
marked straight eighths.

B-16
TEMPO INDICATIONS

Slower Tempi

Largo Slow, Broad

Lento Slow, Dragging

Adagio Slow

Medium Tempi

Andante Going, Walking

Moderato Moderate

Faster Tempi

Allegro Cheerful, Quick

Vivace Lively

Presto Fast

Momentary Changes in Tempo

Tenuto (Ten.) held - sustained

Rubato robbed, stolen - deliberate unsteadiness of

tempo, a slackening and quickening of tempo
for the sake of expression

stay, stop - unmeasured pause or hold

General Pause (G.P.) a rest for the entire band, sometimes called
Grand Pause

B-17
Lunga Pausa long pause - a long pause

Cut Off (/() an abrupt, short pause

Increasing Tempo

Accelerando accelerating

Incalzando hastening, pressing forward

Stringendo suddenly accelerating

Piu Mosso more moved

Decreasing Tempo

Allargando becoming broader, slower

Calando slowing and decreasing in loudness

Rallentando (rall.) gradually slower

Ritardando (rit.) gradually slower

Ritenuto suddenly slower

Meno Mosso less moved

Morendo slowing and decreasing in loudness

Smorzando slowing and decreasing in loudness

Returning to Previous Tempi

A Tempo in (original) tempo

Primo Tempo first tempo

Tempo I first tempo

B-18
 No Change in Tempo

L’istesso Tempo same tempo

Lo Stesso Tempo same tempo

Stesso Tempo same tempo

Metronome Markings. Tempo may be indicated in terms of beat units per

minute (metronome markings). For example:

indicates 120 half notes per minute

indicates 90 quarter notes per minute

indicates 60 dotted quarter notes per minute

Special Tempo Markings. When the meter changes but the tempo
remains constant, the indication is made with special signs (Figure B.18). The
first note represents the beat unit in the first meter and the second note, the beat
unit in the second meter.

Figure B.18: Special Tempo Markings.

The examples at Figure B.18a might be encountered when the beat value
changes (2/4 to 6/8, 6/8 to 3/4, etc.). For example, assume that a change is made
from 4/4 to 6/8:

if, in the first meter,

then, in the second meter,

B-19
 The examples at Figure B.18b would be used when the beat value remains
the same (4/4 to 3/4, 6/8 to 9/8, etc.). For example, assume that a change is made
from 4/4 to 3/4:

if, in the first meter, = 90, and is indicated,

then, in the second meter,

DYNAMIC INDICATIONS

Those terms and signs which deal with intensity or loudness are called
dynamic indications. The most common of these follows.

Term Symbol Translation

soft

Pianissimo very soft

Piano soft

Mezzo Piano medium soft

Loud

Mezzo Forte medium strong (loud)

Forte strong (loud)

Fortissimo very strong (loud)

B-20
 Term Abbreviation Translation

Increasing the Dynamic Level

Crescendo cresc. gradually increasing loudness

Forzando, Forzato fz forced, strongly accented

Sforzando, Sforzato sfz forced, strongly accented

Rinforzando rfz, rinf. sudden stress or emphasis

Decreasing the Dynamic Level

Calando cal. decreasing loudness, slowing

Decrescendo decresc., dec. gradually decreasing loudness

Diminuendo dim. gradually decreasing loudness

Morendo mor. decreasing loudness, slowing

Smorzando smorz. decreasing loudness, slowing

Dynamics Signs

The dynamic level may also be changed by the use of signs as follows:

increase loudness for the length of the

sign.

decrease loudness for the length of the

sign.

B-21
ITALIAN TERMS, PART 1

Moto. Motion.
a. To, at, for, by, in, etc. Non. Not.
Alla. According to. Piu. More.
Assai. Very. Poco. Little.
Ben. Well. Primo. First.
Con. With. Quasi. Like, as.
Da, di. Of, from. Secco. Dry.
Doppio. Double. Sempre. Always.
e. And. Senza. Without.
Il. The. Sotto. Under.
Ma. But. Stesso. Same.
Meno. Less. Tanto. As much, so much.
Mezzo. Half. Troppo. Too (much)
Molto. Much. un, uno, una. A, an, one.
Mosso. Moved. Vote. Voice.

ITALIAN TERMS, PART 2

Attacca Subito. Attack suddenly. Solo. Alone, performed by a single

Div a 2(3). Divide in two (three) performer.
Colla Parte. With the part. Soli. Plural of solo, more than one
Segue. Follows.
player plays the solo parts.
Sordino (i). Mute (s). Tutti. All together.
Volta subito (V. S.) Turn (page) Ensemble (Ens). Full band.
immediately.

B-22
ITALIAN TERMS, PART 3

Giusto. Just, strict, precise.

Agitato. Agitated.
Grave. Heavy.
Animato. Spirited.
Lacrimoso. Tearful.
Bravura. Bravery.
Maestoso. Majestic.
Brilliante. Brillant.
Marcato. Marked.
Brio. Brilliance.
Marcia. March.
Cantabile. Singing.
Marziale. Martial.
Cantando. As if sung.
Passionate, Appassionato.
Deciso. Decisive.
Impassioned.
Dolce. Sweet.
Pesante. Heavy.
Dolcemente. Sweetly.
Piacere, a piacere. At pleasure.
Dolore. Grief.
Pomposo. Pompous.
Doloroso. Pained.
Ponderoso. Ponderous.
Dolente. Grieving.
Religioso. Religious.
Energico. Energetic.
Scherzando. Playful, joking.
Espressivo (Expressivo).
Sostenuto. Sustained.
Expressive.
Strepitoso. Loud, noisy.
Forza. Force.
Vigoroso. Vigorously.
Fuoco. Fire.

B-23
 APPENDIX C
ITALIAN TERMS

A large portion of the music for band is inherited from the orchestral
literature of the 18th and 19th centuries. Most of this music is of European origin
and reflects the traditional practice of expressing directions for performance in
Italian. In order to understand these words or phrases, the performer must be
able to translate them into English.

An Italian word may have different endings which change the form of the
word, but do not change the basic indication or level of intensity. The following
list shows some of the more common suffixes and their normal or usual English
equivalents.

-abile .. . .. .. . .. .. .. . . . .. . .. . . . . . . .. .. . .. . .. . .. . . . .. . . . .. . . . .. .. . .. .. . . -able

-ando . .. .. . .. .. . .. .. . . .. . . . . .. .. . .. . . . . .. . .. . . . .. .. . . . .. . .. .. . .. -ing, -ful

-endo . .. ... . . . .. . .. .. . .. . .. . .. . .. .. . . . . .. . .. . .. . . .. . . . . .. . . . .. .. -ing, -ful

-ato .. . .. . . .. . .. . . . .. .. . . .. . .. . .. .. . . . . .. .. .. . . .. . .. . . . .. .. . .. .. . . . . .. .. . .. .-ed
-Uto . .. .. . .. . . . .. .. . . . . . . . .. . . . .. . .. . . . .. . . . . .. .. . . . . .. .. .. . . . . .. . . . .. .. . .. . -ed

-amente ... . . .. .. . .. . .. . . . . . . .. . . . .. . .. . .. .. . . . . .. .. . . . .. . .. . . . .. .. . -y, -ly

-mente ... . .. . . .. .. .. . .. .. . . . . .. . .. .. . . . . .. .. . . . . .. . .. . . .. . . . .. . .. .. . -y, -ly

-atamente .. .. . .. .. . .. . . . .. .. . .. . . . . . . . .. . . . .. . .. .. . .. . . . .. .. . .. . . . -edly
-utamente .. .. . . .. .. . . . .. .. . .. . .. . .. .. . . . . .. .. . . . . .. . . .. . .. . .. . . . .. -edly

-enza . .... . .. . . .. .. .. . . .. . .. . .. . .. .. . . . . . . . .. .. . .. . .. .. . .. . . . .. .. . .. .. -ence

-evole . .. .. . . .. . .. .. . .. .. .. .. . . . . . . . .. .. . . .. .. . .. . . . . . . .. .. . .. .. . -ing, -ful

-ezza . . .. .. . .. .. . .. . ... . . . .. . . . .. . .. . .. . . . .. . . .. .. .. . .. .. . . . .. . -ity, -ness

-mento .. .. . . .. .. .. . .. .. . .. . .. .. . .. . . . . .. . .. . . . .-ment, -tion, -ness

-oso . .. . .. .. . .. .. . . . .. .. . . .. .. .. .. . . .. with -ful, -ate, -y

C-1
 Examples:

Some suffixes do change the level of intensity of the basic indication:

-issimo. Superlative suffix. Increases the intensity of

the basic indication.

-ino, -etto. Diminutive suffixes. Lessen the intensity of

the basic indication.

Examples:

piano means soft; therefore means

very soft, or extremely soft.

largo means large, broad, slow; therefore, largh-

etto means less slow.

In the section which follows, the words found most often in the band
repertoire have been selected and their translations given.

a. to, at, for, by, in, etc. adagissimo. extremely slow.

a-2. two on the part. addolorato. grieved, melancholy.
accarezzevole. caressing. (form of dolore).
accentato. accented. adirato. angered, irritated.
acciacato. crushed, jammed to- affannoso. anxious, distressed, rest-
gether, performed violently. less.
adagietto. less slow. affetto. affection.

C-2
 animato. animated, spirited, lively.
affettuoso. affectionate.
appassionato. impassioned.
affettuosamente. affectionately.
appenato. distressed.
afflizione. affliction, sorrow.
ardente. ardent.
afflitto. afflicted, sorrowful.
arioso. in a singing manner.
affrettando. hurrying.
articolazione. articulation.
affrettato. hurried.
asprezza. harshness.
agevole. easy, light.
assai. very.
agevolmente. easily, lightly.
assoluto. absolute.
aggiustatamente. strictly (in time).
attacca subito. begin the next sec-
agiatamente. easily.
tion immediately.
agilita. agility.
audace. audacious, bold.
agitamento. agitation, excitement.
ballabile. dancingly.
agitatamente. agitatedly, hurriedly,
ballo. dance.
excitedly.
battuta. beat.
agitato. agitated, hurried, excited.
battatura, a. with the beat, in strict
agitazione. agitation.
time.
alla. according to.
bellezza. beauty.
allegretto. less cheerful, quick.
ben. well.
allegrezza. liveliness.
bimmolle. the flat sign.
allegria. liveliness.
biquadro. the natural sign.
allegrissimamente. very lively,
fast. bis. again, a second time.

allegrissimo. very lively, fast. biscanto. a duet.

allentamento. slowness. bissare. to repeat, play a second time.

allentando. retarding, slowing. bravura. bravery, boldness.

allentato. retarded. brillante. brilliant.

altra, altro. another. brio. brilliance.

altra volta. another time (encore). brioso. with brilliance, spirit.

amabile. sweet, tender. calcando. pressing, hastening.

amabilita. sweetness, tenderness. cantabile. singable, songlike.

amarevole. bitter. cantando. as if sung.

capriccioso. capricious, free.
amarezza. bitterness, grief.
col. parte, colla parte. with the
amaro. bitter, grieved.
amorevole. loving. part, indicates to accompaniment
parts to yield to and not overshadow
amoroso. amorous, loving.
the soloist.
ancora. again, yet, still (encore).
comodo. accommodating, comfor-
andantino. less walking, faster than
table.
andante.
compiacevole. pleasing.
andare diritto. go straight on.
con. with.
angoscia. anguish.
consolante. consoling.
anima. animation.
corrente. running.

C-3
 forzando, forzato. forced, empha-
cupo. dark, obscure, reserved.
sized.
da. of, from.
franchezza. freedom, boldness.
dal. of the, from the.
fretta. haste.
deciso. decisive.
fuoco. fire.
delicatezza. delicacy.
fuocoso. firey.
delicato. delicate.
gaio. gay.
delirio. delirium, frenzy, excitement.
giocoso. playful, merry.
desto. brisk, sprightly.
gioioso. joyous.
devozione. devotion.
giustamente. strictly, with preci-
di. of, from.
sion.
diluendo. fading away.
giusto. just, strict, precise.
disaccentato. unaccented.
grave. heavy, somber, solemn.
disinvolto. easily.
grazia. grace.
distinto. distinct.
grazioso. graceful.
divisi. divided, two parts on the same
il. the.
staff are to be played by separate
indeciso. undecided.
instruments.
inquieto. restless, uneasy.
divozione. devotion.
intrepidezza. intrepidity, boldness.
dolce. sweet, soft.
lacrimoso. tearful.
dolcemente. sweetly, softly.
largamente. broadly, slowly.
dolente. grieving.
larghetto. less broad.
dolore. grief.
larghezza. largeness, broadness.
doloroso. painful, pathetic.
largissimo. extremely broad.
doppio. double.
dopo. after. leggiero. light.

due. two. lentando. increasing slowness,

e. and. slowed.

energico. energetic. l’istesso. the same.

enfasi. emphasis. lo stesso. the same.

entrata. introduction. lusingando. coaxing, seductive.

entusiasmo. enthusiasm. ma. but.

esecuzione. execution. maestoso. majestic.

espirando. expiring, dying away. mancando. dying away.

espressivo. expressive. marcato. marked.

estinto. hushed, all but silent. marcia funebre. funeral march.

facilmente. easily, with facility. martellato. hammered.

fantastico. fantastic, whimsical. marziale. martial.

fastoso. proud, stately. medesimo. same.

feroce. fierce. melodioso. melodious.
fine. end. meno. less.
finito. finished, concluded. mezzo. half.
forza. force. militarmente. militarily.

C-4
misterioso. mysterious,
rabbia. rage, fury,
misurato. measured, in strict time.
rapidamente. rapidly.
mobile. movable.
religiosamente. religiously.
modo. mode, manner.
religioso. religious.
mollemente. softly, gently.
replicate. repeated.
molto. much, very.
rigoroso. rigorous, exact time.
morendo. gradually slower, dying
rilasciando. relaxing (the time).
away.
ripieno. fill-in or supplementary
mormorando. murmuring.
part.
mosso. moved.
risoluto. resolute.
moto. motion.
risonante. resonant, resounding,
muta. change (instruments, etc.).
ringing.
nobile. noble.
romanza. romance.
non. not.
rotondo. round or full (tone).
ordinario. ordinary, common.
rustico. rustic, rural.
partitura. full score.
scemando. diminishing in volume.
pastorale. pastoral, rural.
scherzando. playful, joking.
pauentoso. fearful, timid.
schietto. simple, plain, neat.
per. for.
scordato. out of tune.
perdendosi. disappearing.
secco. dry, plain, without ornament.
perpetuo. perpetual.
segue. follows.
pesante. heavy, heavily marked.
semplice. simple.
piacere, a. at pleasure.
sempre. always.
piacevole. pleasing, smooth.
senza. without.
piena. full.
sereno. serene, tranquil.
piu. more.
sforzato, sforzando. forced, empha-
placido. placid.
sized.
pochettino. very little.
silenzio. silence, a rest.
pochetto. very little.
soave. suave, soft.
pochissimo. very little.
solito, al. as usual.
poco. little.
soli. plural of solo, more than one
pomposo. pompous.
performer plays the solo parts.
ponderoso. ponderous, vigorously
solo. alone, performed by a single
impressive.
performer.
precise. precise, exact.
sonabile. sounding, resonant.
prestamente. rapidly.
sonare. to sound, play upon.
prestissimo. as fast as possible.
sono. sound, play.
prima, primo. first.
sorda. muffle, veil.
prima volta. first time.
sordino. mute.
puntato. pointed, detached.
sostenuto. sustained.
quasi. like, as.

C-5
sotto. under.
tempestosamente. tempestuously,
spianato. smooth, level, even, with-
stormily, passionately.
out passion.
teneramente. tenderly.
spiccato. separated, detached (stac-
tenuto. held full value.
cato).
tremolo. trembling, reiteration with
stabile. stable, firm, steady.
great speed.
staccato. separated, detached.
troppo. too (much).
stentato. forced, emphasized.
tutti. all, together, full band or
stesso. same.
section, usually follows when solo or
strepitoso. very loud, noisy.
soli ends.
stretto. drawn together, hurried.
uguale. equal.
strisciando. gliding, smooth. The
un, una, uno. a, an, one.
correct term for what is commonly
variamente. variedly, freely.
called a smooth glissando.
vigoroso. vigorous.
suave. soft, sweet.
sul. on. vivacissimo. extremely fast.

svegliato. animated. voce. voice.

tace, taci, tacit. be silent. volti subito. turn (page) immedi-

tanto. as much, so much. ately.

C-6
 INDEX

-A- Major 6-6

Minor 7-10
Accidentals 7-7 Mixolydian 8-4
Active Tones Phrygian 8-9
Major 6-9 Clef 2-2
Minor 7-10 Alto 2-9
Modal 8-3 Baritone 2-9
Aeolian Mode 8-9 Bass 2-9
Amplitude 1-2 Contra Bass 2-9
Anacrusis 4-6 Mezzo Soprano 2-9
Anticipation Soprano 2-9
Swing 17-1 Super Treble 2-9
Melody/Harmony 18-2 Tenor 2-9
Approach Tones 18-3 Treble 2-9
Arsis 4-6 Composite Meter 3-7
Compound Meter 3-3
-B- CPS (Cycles Per Second, Hz) 1-1

Bar/Bar Line 3-4 -D-

Beat 3-1
Division 3-3, 3-5, 3-6, 3-8 Delta Sign 15-5
Division (Swing) 17-2 Dorian Mode 8-6
Blues Scale 16-4 Duple Meter 3-1
Brasswinds 14-7 Duple 4-9
Duration 1-4
-C-
-E-

Chord Scales 16-1

Enharmonic Pitches 2-5
Chord Structures 15-5
Equivalent Meter 4-8
Chord Symbols 15-1
Altered/Extended 19-1 -F-
Specified Bass 19-6
Chromatic Signs 2-4 Feminine Ending 4-6
Circle of Keys Frequency 1-1
Aeolian (see minor) Fundamental 12-1
Dorian 8-6
-G-
Ionian (see major)
Locrian 8-12
Generating Tone 12-1
Lydian 8-7

INDEX-1
 -H- -L-

Half Step (Semitone) 2-5, 5-1 Leger Lines 2-3

Harmonics 12-7 Link 5-4
Hz (Hertz, CPS) 1-1 Locrian Mode 8-12
Lydian Mode 8-2
-I-
-M-
Intensity 1-2
Interval 5-1, 10-1 Masculine Ending 4-6
Augmented 10-6, 10-7 Measure 3-4
Compound 10-2 Meter 3-1
Compounding 10-13, 10-14 Composite 3-7
Consonant & Dissonant 10-16 Compound 3-6
Diatonic & Chromatic 10-16 Duple 3-1
Diminished 10-7, 10-9 Equivalent 4-8
Enharmonic 10-10 Quadruple 3-1
Harmonic 10-1 Related 3-7
Inversion 10-11 Simple 3-4
Major 10-4 Triple 3-1
Melodic 10-1 Metrical Stress 3-1
Minor 10-5 Exceptions 3-10
Perfect 10-3 Mixolydian Mode 8-4
Reducing 10-13, 10-15 Modes 8-1
Simple 10-2 Aeolian 8-9
Ionion Mode 8-3 Dorian 8-6
Italian Terms B-22, C-2 Ionian 8-3
Locrian 8-12
Lydian 8-2
-J-
Mixolydian 8-4
Phrygian 8-9
Jazz Devices (Symbols) B-12
Muting B-15

-K- -O-

Keyboard 2-3, 5-1 Octave 5-4

Ranges & Transposition 14-15 Designation 2-6, 2-8
Keys (see circle of keys)
Parallel 7-12 Order of Flats 6-6, 7-5
Relative 7-11 Order of Sharps 6-5, 7-3

INDEX-2
Overtones 12-1 Scale Degree Activity
Overtone Series 12-3 Major 6-9
Minor 7-5, 7-8, 7-10
-P-
Modal 8-3, 8-5, 8-7, 8-10
Scale Degree Names 6-8
Partials 12-1, 12-3
Simple Meter 3-4
Pentatonic Scale 16-4
Sound 1-1
Percussion 14-10
Stable Tones
Phrygian Mode 8-9
Major 6-9
Pitch 1-1, 2-1, 2-6
Minor 7-6, 7-8, 7-10

-Q- Modal 8-3, 8-6, 8-8, 8-11

Staff 2-1
Quadruple Meter 3-1 Grand 2-2
Great 2-1
-R- Strings 14-6
Suffixes C-1
Ranges
Brasswinds 14-7 -T-
Keyboard 14-15
Percussion 14-10 Tempo 3-1
Strings 14-16 Tendency Tones
Woodwinds 14-1 Major 6-9
Related Meter 4-7 Minor 7-6, 7-8, 7-10
Rhythm 4-1 Modal 8-3, 8-6, 8-8, 8-11
Irregular 4-4 Tetrachords 5-2
Regular 4-1 Harmonic 5-4
Syncopated 4-5 Major 5-2
Uniform 4-2 Minor 5-3
Rhythm line 3-4 Natural 5-3
Root 15-1 Thesis 4-6
Timbre 1-4, 12-7
-S- Transposition 13-1
Brasswinds 14-7
Scale 5-1 Keyboard 14-15
Chromatic 9-1 Percussion 14-10
Major 6-1 Strings 14-16
Minor (Harmonic) 7-6 Woodwinds 14-1
Minor (Melodic) 7-8 Triads 11-1
Minor (Natural) 7-1 Augmented 11-4
Pentatonic 9-4 Consonant & Dissonant 11-5
Whole Tone 9-3 Diatonic 11-7

INDEX-3
 Diminished 11-4
Inversion 11-6
Major 11-2
Minor 11-3
Triple Meter 3-1
Triplet 4-9

-V-

Values (Note & Rest) 2-9

Dotted 2-12
Tied 2-11
Vibration 1-1, 12-1

-W-

Woodwinds 14-1

INDEX-4
 TC 12-41

29 SEPTEMBER 1978

By Order of the Secretary of the Army:

BERNARD W. ROGERS
General, United States Army
Chief of Staff

Official:

J. C. PENNINGTON
Brigadier General, United States Army
The Adjutant General