Music Fundamentals

Sumy Takesue is an Instructor at Santa Monica College, teaching theory and class and individual piano. She has taught at the University of Hawai’i (Hilo) and the University of Southern California.

• A Visual Tour of Music Fundamentals: A Balanced ApproachPreface MODULE 1 BASICS OF PITCH The Musical AlphabetThe KeyboardWhite KeysThe StaffClefsThe G Clef (Treble Clef)The OctaveLedger LinesNote Reading in the G ClefRelating the Treble Clef to the KeyboardIntroduction to Singing—Why Sing?Singing in the Treble ClefThe F Clef (Bass Clef)Note Reading in the F ClefRelating the Bass Clef to the KeyboardSinging in the Bass ClefThe Grand StaffFurther Study of Ledger LinesOctave Higher (8va) or Octave Lower (8vb)WorkbookMODULE 2 BASICS OF RHYTHM Pulse: Feeling the BeatTypes of Rhythmic ValuesStems and FlagsRhythmic Patterns with BeamsTime Signature, Bar Line, Double Bar LineMeterSimple MeterComparing a Melody in Different MetersConducting PatternsWorkbookMODULE 3 BASICS OF RHYTHM: EXTENDING DURATION, ANACRUSIS, RESTS Tied Notes: Extending DurationSlursDotted Notes: Extending DurationFermataAnacrusisRestsWorkbookMODULE 4 ACCIDENTALS Sharp, Flat, NaturalDrawing Accidentals on the StaffRelating Accidentals on the Staff to the KeyboardEnharmonic SpellingsDiatonic and Chromatic Half StepsChromatic ScalesWhole StepsDouble Sharp, Double FlatWorkbookMODULE 5 RHYTHM: SIMPLE METER EXPANDED Subdividing the Quarter NoteCounting Sixteenth Note PatternsSyncopationChanging the Pulse Note in Simple Meter: The Half NoteChanging the Pulse Note in Simple Meter: The Eighth NoteComposing RhythmsWorkbookMODULE 6 MAJOR SCALE What Is a Major Scale?Writing Major Scales: Using TetrachordsWriting Major Scales: Using Whole and Half StepsScale Degree Names—Major KeysChanging the Tonic—SingingTranspositionEnharmonic Scales—Major KeysWorkbookMODULE 7 MAJOR SCALE KEY SIGNATURES Major Scale Key SignaturesMajor Scales with SharpsFinding the Tonic Note in a Major Scale with SharpsMajor Scales with FlatsFinding the Tonic Note in a Major Scale with FlatsCircle of Fifths—Major Keys“Courtesy” AccidentalsTransposition: Using a Key SignatureWorkbookMODULE 8 RHYTHM: COMPOUND METER Melodies in Compound MeterFirst Method of Counting Compound MeterSecond Method of Counting Compound MeterRestsBeamsDividing the Dotted QuarterComparing 6/8 and 3/4Two-part Rhythm ExercisesFurther Exercises in Compound Meter: Dotted Eighth Note RhythmsRhythm Review—1-, 2-, 3-part ExercisesWorkbookMODULE 9 MINOR SCALE Minor Key SignaturesRelative Major and Minor Key SignaturesFinding the Tonic Note in a Minor Key with SharpsFinding the Tonic Note in a Minor Key with FlatsParallel Major and Minor Key SignaturesCircle of Fifths—Minor KeysThree Forms of Minor ScalesMusical Examples in the Three Forms of Minor ScalesComparing Pieces in Major and Minor KeysScale Degree Names in MinorWorkbookMODULE 10 INTERVALS Identifying IntervalsConsonance and DissonanceDefining QualityIntervals of the Major Scale: Perfect and MajorInterval ShortcutsChanging Major Intervals: MinorChanging Major and Minor Intervals: Augmented, DiminishedChanging Perfect Intervals: Augmented, DiminishedThe TritoneSimple and Compound IntervalsDescending Intervals (Interval Inversion)WorkbookMODULE 11 TRIADS Defining and Drawing TriadsQualities of Diatonic TriadsMajor TriadConstructing Major TriadsHarmonizing Music Using Major TriadsMinor TriadConstructing Minor TriadsDiminished TriadConstructing Diminished TriadsAugmented TriadConstructing Augmented TriadsAugmented and Diminished Triads Using Double Sharps and Double FlatsWorkbookMODULE 12 RHYTHM: COMPOUND METER EXPANDEDChanging the Pulse Note in Compound Meter: The Dotted Half Note and Dotted EighthNoteThe TripletThe DupletWorkbookMODULE 13 TRIADS: ROMAN NUMERALS Triads of the Major Scale: Use of Roman NumeralsPrimary and Secondary Triads of the Major ScaleHarmonizing Music in a Major Key Using Roman NumeralsTriads of the Harmonic Minor Scale: Use of Roman NumeralsPrimary and Secondary Triads of the Harmonic Minor ScaleHarmonizing Music in a Minor Key Using Roman NumeralsWorkbookMODULE 14 INVERSIONS OF TRIADSDefining Inversions: Root Position, First Inversion, and Second InversionHarmonizing Music Using InversionsTriads in Open and Close PositionFigured Bass SymbolsConstructing and Identifying Triads Using Figured Bass SymbolsHarmonizing Music Using Roman Numerals and Figured Bass SymbolsDrawing Chord Progressions in Close PositionWorkbookMODULE 15 SEVENTH CHORDS Qualities of Seventh ChordsDominant Seventh ChordsTwo Methods of Writing Dominant Seventh ChordsHarmonizing Music in Major Keys Using Triads or Dominant Seventh Chords in RootPositionInversions of Dominant Seventh ChordsFigured Bass Symbols for Seventh ChordsHarmonizing Music in Major Keys Using Inverted Dominant Seventh ChordsChord Progressions Using Dominant Seventh Chords in Major KeysDominant Seventh Chords in Minor KeysWorkbookMODULE 16 FORM IN MUSICPhrase Structure: Antecedent, ConsequentCadences: Authentic, Half, Plagal, DeceptiveAuthentic CadenceHalf CadencePlagal CadenceDeceptive CadenceFormsBinary Form: Two-part FormTernary Form: Three-part Form32-Bar Form (AABA)12-Bar BluesRepeat SignsFirst Ending, Second EndingDa Capo al FineDal Segno al FineCodaWorkbookAPPENDICESAPPENDIX 1 Musical TermsAPPENDIX 2 AcousticsAPPENDIX 3 C Clefs (Alto and Tenor)APPENDIX 4 ModesAPPENDIX 5 Other Seventh Chords (Major, Minor, Half Diminished, Diminished)APPENDIX 6 Basic Guitar ChordsThe following appendices can be found on the companion website:APPENDIX 7 Keyboard Exercises (Scales, Triads, and Chord Progressions)APPENDIX 8 Analysis of Minuet, BWV Anh. 115 (J.S. Bach)APPENDIX 9 Analysis of Minuet, K.2 (W.A. Mozart)APPENDIX 10 Analysis of Serious Moments, Op. 130, No. 23 (C. Gurlitt)APPENDIX 11 Analysis of Time in a Bottle (J. Croce)APPENDIX 12 Sansa Kroma, Akan Mmoguo Song (African playground song)Credits Track Listing Index