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Practice these pages each day for the entire term. Over and over again. Mastering these skills will help you to complete theory
assignments quicker and at a higher level, and will increase your abilities to function successfully as a professional musician.
1. Reading Clefs
Name each note. Remember that accidentals carry through measures.
Various ways to begin to memorize:
Memorize spaces and count from there: from low to high within each clef: treble FACE, bass AllCowsEatGrass, alto
EGBD, tenor GBDF.
Alto and tenor clefs encircle the middle C line.
Get good at skipping through intervals: E.g. consecutive spaces are a third apart, so skip by thirds (A C E G B D F
A). Or from a line to the line two lines above is a fifth, so skip by fifths: Father Charles Goes Down And Ends Battle.
For each key signature: 1) name the major key, 2) the minor key and the accidentals that create the harmonic and ascending
melodic scales. E.g. Three flats is Eb major, 2) C minor, whose harmonic scale has B natural (TI) and whose ascending melodic
scale has A natural and B natural (LA and TI).
Adding the same accidental to every note in the trad does not change the triad type.
E.g. FAC is major; so is F#A#C#. is major.
Identify triads using this method.
.
Triad types can be determined by 1) adjusting from situations above (e.g. FAC is major so FAbC is minor or 2) by
For each 7th chord indicate root, type/quality and figured bass.
1. We count scale degrees, solfege and Roman Numerals from the tonic of the key. For example, in D major, A is scale degree 5
(1-2-3-4-5, D-E-F#-G-A, or SO (DO-RE-MI-FA-SO, D-E-F#-G-A). In D major, if A is the root of a chord, then that chord
receives the Roman Numeral label of V (five), because A is scale degree 5.
2. We count chord members from the root of the chord. For example, the notes D#-F#-A-B have the root B because B is the
bottom note when these notes are stacked in thirds: B-D#-F#-A. D#, F# and A are called the chordal 3rd, 5th and 7th,
respectively, because of their interval above the root.
3. Figured bass measures intervals above the bass of the chord. For example, if a chord has G-A-C#-E, with G in the bass, then
the figured bass is 6/4/2 denoting the intervals that E, C#, and A form above G. The intervals are written in descending order
like this no matter how the A, C# and E are distributed in soprano, alto and tenor voices. By centuries-old convention 6/4/2 is
usually written in shorthand form, 4/2.
1. Determine key. Label scale 1. For each chord, stack in thirds 1. Indicate full figured bass (e. g. 6/4/2).
degrees and solfege syllables. and label chordal root, 2. Indicate figured bass shorthand (e.g. 4/2).