Basic Solfeggio Patterns 4 4 & Do Re Mi Fa Sol La Ti Do Do Ti La Sol Fa Mi Re Do & Do Mi Sol Mi Do Fa Mi Ti Do & Do 1 Re Mi Fa Sol Fa Mi Re Do 2 & Do Ti La Sol La Ti Do & Do 3 Mi Sol Mi Do 4 & Do Sol Mi Sol Do & Fa 5 La Do La Fa 6 & Sol Ti Re Ti Sol & 1 7 2 3 4 5 4 3 2 1 8 & 8 7 6 5 4 5 6 7 8 & 1 9 23 45 65 43 21 10 & 876 54 34 56 71 & 1 11 23 45 67 65 43 21 12 & 876 54 32 34 56 78 & 1 13 23 45 67 87 65 43 21 14 & 876 54 32 12 34 56 78 f f f f f f f w f f f f f f f w f f f f f f f f w f f f f f f f f f f f f f f f f f f f f F f f f f F f f f f F . f f f f F . f f f f f f f f F f f f f f f f f F f f f f f f f f f f F f f f f f f f f f f F f f f f f f f f f f f f F f f f f f f f f f f f f F f f f f f f f f f f f f f f F f f f f f f f f f f f f f f F 1
Transcript
Basic Solfeggio Patterns
44
&Do Re Mi Fa Sol La Ti Do Do Ti La Sol Fa Mi Re Do
&Do Mi Sol Mi Do Fa Mi Ti Do
&Do
1
Re Mi Fa Sol Fa Mi Re Do
2 &Do Ti La Sol La Ti Do
&Do
3
Mi Sol Mi Do
4 &Do Sol Mi Sol Do
&Fa
5
La Do La Fa
6 &Sol Ti Re Ti Sol
&1
7
2 3 4 5 4 3 2 1
8 &8 7 6 5 4 5 6 7 8
&1
9
2 3 4 5 6 5 4 3 2 1
10 &8 7 6 5 4 3 4 5 6 7 1
&1
11
2 3 4 5 6 7 6 5 4 3 2 1
12 &8 7 6 5 4 3 2 3 4 5 6 7 8
&1
13
2 3 4 5 6 7 8 7 6 5 4 3 2 1
14 &8 7 6 5 4 3 2 1 2 3 4 5 6 7 8
f f f f f f f w f f f f f f f w
f f f f f f f f w
f f f f f f f f f f f f f f f f
f f f f F f f f f Ff f f f F. f f f f F.f f f f f f f f F f f f f f f f f F
f f f f f f f f f f F f f f f f f f f f f F
f f f f f f f f f f f f F f f f f f f f f f f f f F
f fffffffffffff F fffffff f ffffffF1
Chromatic and minor Solfeggio
When ascending, we alter the solfeggio syllable by ending with an "i" (ee sound).Because of the naturally occuring half steps between Mi and Fa or Ti and Do,
Mi and Ti are not raised.
When descending, we alter the solfeggio syllable by ending with an "e" (ay sound).
Because of the naturally occuring half steps between Do and Ti or Fa and Mi,Do and Fa are not lowered. In addition, since Re already uses and "e,"
it is lowered with an "a" (ah sound).
The altered syllables will be used when singing in minor keys.
&Do
Ascending Syllables
Di Re Ri Mi Fa Fi Sol Si La Li Ti Do
&Do
Descending Syllables
Ti Te La Le Sol Se Fa Mi Me Re Ra Do
&bbbDo
C Natural minor
Re Me Fa Sol Le Te Do
&bbbDo
C Harmonic minor
Re Me Fa Sol Le Ti Do
&bbbDo
C Melodic minor
Re Me Fa Sol La Ti Do Do Te Le Sol Fa Me Re Do
f f# f f# f f f# f f# f f# f w
f f fb f fb f fb f f fb f fb w
f f f f f f f w
f f f f f f fn w
f f f f f fn fn w f f f f f f f w
2
Solfeggio Systems
&Do
Fixed "Do"
Re Mi Fa Sol La Ti Do Do Ti La Sol Fa Mi Re Do
&#Sol La Ti Do Re Mi Fi Sol Sol Fi Mi Re Do Ti La Sol
&##Re Mi Fi Sol La Ti Di Re Re Di Ti La Sol Fi Mi Re
&bbbMe Fa Sol Le Te Do Re Me Me Re Do Te Le Sol Fa Me
&Do
Moveable "Do"
Re Mi Fa Sol La Ti Do Do Ti La Sol Fa Mi Re Do
&#Do Re Mi Fa Sol La Ti Do Do Ti La Sol Fa Mi Re Do
&##Do Re Mi Fa Sol La Ti Do Do Ti La Sol Fa Mi Re Do
&bbbDo Re Mi Fa Sol La Ti Do Do Ti La Sol Fa Mi Re Do
f f f f f f f w f f f f f f f w
f f f f f f f# w f f# f f f f f w
f f f# f f f f# w f f# f f f f# f w
fb f f fb fb f f wb fb f f fb fb f f wb
f f f f f f f w f f f f f f f w
f f f f f f f# w f f# f f f f f w
f f f# f f f f# w f f# f f f f# f w
fb f f fb fb f f wb fb f f fb fb f f wb
3
Musical CellsThe Phaonmneal Pweor of the Hmuan Mnid
Aoccdrnig to rscheearch at Cmabrigde Uinervtisy, it deosn't mttaer in waht oredr the ltteers in a wrod are, the olny iprmoatnt tihng is taht the frist and lsat ltteer be in the rghit pclae. The rset can be a taotl mses and you can sitll raed it wouthit a porbelm.
Tihs is bcuseae the huamn mnid deos not raed ervey lteter by istlef, but the wrod as a wlohe.
In the same way that we can read the above passage, we train ourselvesto read music by seeing groups of notes and rhythms as opposed to a
long string of individual notes.
44
44
44
44
44
44
&1
Raw PatternMelodic Cells
&2
Grouped Pattern
&3
Grouped Pattern with highlighted tonic chord tones
&1
Raw PatternRhythmic Cells
&2
Beamed Pattern
&3
Grouped Pattern
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f ‚ f ‚ f O f O f O f ‚ f ‚ f ‚ f O f O f f f f f f f f ‚ f
fJ fJ f fJ f fJ fJ fJ fJ fJ fJ fJ f fJ f fJ fJ f fJ fJ fJ fJ f fJ fJ fJf f f fJ f fJ f f f f f f f fJ f fJ fJ f fJ f f f f f f f ff f f fJ f fJ f f f f f f f fJ f fJ fJ f fJ f f f f f f f f
4
Solfeggio
In music, solfeggio ( also called solmization) is a pedagogical technique for the teaching of sight-singing in which each note of the score is sung to a special syllable, called a "solfege syllable" (or "sol-fa syllable"). The seven syllables normally used for this practice in English-speaking countries are: Do, Re, Mi, Fa, So, La, and Ti.
The word "Solfege" derives from the French solfège or the Italian solfeggio, both ultimately derived from the names of two of the syllables used: Sol and Fa.
The invention of solfege is ascribed to Guido of Arezzo. He used a series of six syllables to refer to the six degrees of the hexachord. These six syllables were drawn from the hymn to Saint John "Ut queant laxis", because each of the six phrases of that hymn began on each of the six degrees of the hexachord:
This hymn gave the six acrophonic syllables: Ut, Re, Mi, Fa, Sol, La. In the course of time, "Ut" was changed to "Do" on the grounds that it was easier to sing, and the syllable "Si" was added to indicate the leading tone of the modern scale. (The name "Si" may perhaps derive from the first letters of "sancte ioannes", although this is conjecture.)
In Romance countries, these seven syllables have come to be used to name the notes of the scale, instead of the letters C, D, E, F, G, A and B. (For example, they would say, "Beethoven's ninth symphony is in Re minor".) In Germanic countries, the letters are used for this purpose, and the solfege syllables are encountered only for their use in sight-singing and ear training. (We would say, "Beethoven's ninth symphony is in D minor".)
In Anglo-Saxon countries, "Sol" is often changed to "So," and "Si" was changed to "Ti" by Sarah Glover in the nineteenth century so that every syllable might begin with a different letter. "So" and "Ti" are used in Tonic sol-fa and in the song "Do-Re-Mi."
There are two main types of solfege:
Fixed Do, in which each syllable corresponds to a note-name. This is analogous to the Romance system naming pitches after the solfege syllables, and is used in Romance and Slavic countries, among others.
Movable Do, in which each syllable corresponds to a scale degree. This is analogous to the Guidonian practice of giving each degree of the hexachord a solfege name, and is mostly used in Anglo-Saxon and Germanic countries.
Guido D'Arezzo (991/992–after 1033) was a music theorist of the Medieval era. He is regarded as the inventor of modern musical notation (staff notation) that replaced neumatic notation; his text, the Micrologus, was the second-most-widely distributed treatise on music in the middle ages (after the writings of Boethius).
Guido was a monk of the Benedictine order from the Italian city-state of Arezzo. Recent research has dated his Micrologus to 1025 or 1026; since Guido stated in a letter that he was thirty-four when he wrote it, his birthdate is presumed to be around 991 or 992. His early career was spent at the monastery of Pomposa, on the Adriatic coast near Ferrara. While there, he noted the difficulty that singers had in remembering Gregorian chants. He came up with a method for teaching the singers to learn chants in a short time, and quickly became famous throughout north Italy. However, he attracted the hostility of the other monks at the abbey, prompting him to move to Arezzo, a town which had no abbey, but which did have a large group of singers needing training.
While at Arezzo, he developed new technologies for teaching, such as staff notation and solfeggio (the progenitor of the "do-re-mi" scale, whose syllables are taken from the initial syllables of each of the first six musical phrases of the first stanza of the hymn, Ut queant laxis). This may have been based on his earlier work at Pomposa, but the antiphoner that he wrote there is lost. Guido is also credited (inaccurately) with the invention of the Guidonian hand, a widely used mnemonic system where note names are mapped to parts of the human hand. The Micrologus, written at the cathedral at Arezzo, contains Guido's teaching method as it had developed by that time. Soon it had attracted the attention of Pope John XIX, who invited Guido to Rome. Most likely he went there in 1028, but he soon returned to Arezzo, due to his poor health. Nothing is known of him after this time, except that his lost antiphoner was probably completed in 1030.
The idea of the Guidonian hand is that each portion of the hand represents a specific note within the hexachord system, which spans nearly three octaves from "Γ ut" to "E la" (in other words, from the G at the bottom of the modern bass clef to the E at the top of the treble clef). In teaching, an instructor would indicate a series of notes by pointing to them on their hand, and the students would sing them. This is similar to the system of hand signals sometimes used in conjunction with solfege.
f f f f f f F f f f f f f F f f f f f f Ff f f f f f F f f f f f f F f f f f f f F
9
C
68
34
&When the Saints Go Marchin' In
Do1
Mi3
Fa4
Sol5
Do1
Mi3
Fa4
Sol5
Do1
Mi3
Fa4
Sol5
Mi3
Do1
Mi3
Re2
&Mi3
Mi3
Re2
Do1
Do1
Mi3
Sol5
Sol5
Sol5
Fa4
Mi3
Fa4
Sol5
Mi3
Do1
Re2
Do1
&Mi3
Three Blind Mice
Re2
Do1
Mi3
Re2
Do1
Sol5
Fa4
Fa4
Mi3
&Sol5
Fa4
Fa4
Mi3
Sol5
Do1
Do1
Ti7
La6
Ti7
Do1
Sol5
Sol5
Sol5
Do1
Do1
Do1
Ti7
La6
Ti7
&Do1
Sol5
Sol5
Sol5
Do1
Do1
Ti7
La6
Ti7
Do1
Sol5
Sol5
Sol5
Fa4
Mi3
Re2
Do1
&##Sol5
Happy Birthday
Sol5
La6
Sol5
Do1
Ti7
Sol5
Sol5
La6
Sol5
Re2
Do1
Sol5
Sol5
&##Sol5
Mi3
Do1
Ti7
La6
Fa4
Fa4
Mi3
Do1
Re2
Do1
Πf f f w Πf f f w Πf f f F F F F w
Œ f f f F. f F f f f F. Ó f f F F F F w
f. f. F. f. f. F. f. f fj F.
f. f fj f. f fj f fJ f f f f fj f fj f f f f f f
f fj f fj f fJ f f f f f f f fj f. f. F.
f. f f f f F f. f f f f F f. ff f f f F F f. f f f f F.
2
10
Solfeggio Melodies
44
44
44
&1
Do
Ascending Scale Exercise
Do1
Re2
Do1
Do1
Re2
Mi3
Re2
Do1
Do1
Re2
Mi3
Fa4
Mi3
Re2
Do1
Do1
Re2
Mi3
Fa4
Sol5
Fa4
Mi3
Re2
Do1
Do1
Re2
&Mi3
Fa4
Sol5
La6
Sol5
Fa4
Mi3
Re2
Do1
Do1
Re2
Mi3
Fa4
Sol5
La6
Ti7
La6
Sol5
Fa4
Mi3
Re2
Do1
Do1
Re2
Mi3
Fa4
Sol5
La6
Ti7
Do1
&Ti7
La6
Sol5
Fa4
Mi3
Re2
Do1
&1
Do
Descending Scale Exercise
Do1
Ti7
Do1
Do1
Ti7
La6
Ti7
Do1
Do1
Ti7
La6
Sol5
La6
Ti7
Do1
Do1
Ti7
La6
Sol5
Fa4
Sol5
La6
Ti7
Do1
Do1
Ti7
&La6
Sol5
Fa4
Mi3
Fa4
Sol5
La6
Ti7
Do1
Do1
Ti7
La6
Sol5
Fa4
Mi3
Re2
Mi3
Fa4
Sol5
La6
Ti7
Do1
Do1
Ti7
La6
Sol5
Fa4
Mi3
Re2
Do1
&Re2
Mi3
Fa4
Sol5
La6
Ti7
Do1
&1
Do
Thirds Exercise
Mi3
Re2
Fa4
Mi3
Sol5
Fa4
La6
Sol5
Ti7
La6
Do1
Ti7
Re2
Do1
Do1
La6
Ti7
Sol5
La6
Fa4
Sol5
Mi3
Fa4
Re2
Mi3
Do1
Re2
Ti7
Do1
&3
Mi1
Do4Fa
2Re
5Sol
3Mi
6La
4Fa
7Ti
5Sol
8Do
6La
2Re
7Ti
1Do
1Do
3Mi
7Ti
2Re
6La
1Do
5Sol
7Ti
4Fa
6La
3Mi
5Sol
2Re
4Fa
1Do
f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f ff f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
11
44
44
34
&1
Do
Interval/Scale Exercise 1
Do1
Do1
Ti7
Do1
Ti7
La6
Do1
La6
Sol5
Do1
Sol5
Fa4
Do1
Fa4
Mi3
Do1
Mi3
Re2
Do1
Re2
Do1
&Do1
Do1
Do1
Re2
Do1
Re2
Mi3
Do1
Mi3
Fa4
Do1
Fa4
Sol5
Do1
Sol5
La6
Do1
La6
Ti7
Do1
Ti7
Do1
Do1
&1
Do
Interval/Scale Exercise 2
Do1
Do1
Re2
Do1
Re2
Mi3
Do1
Mi3
Fa4
Do1
Fa4
Sol5
Do1
Sol5
La6
Do1
La6
Ti7
Do1
Ti7
Do1
&Do1
Do1
Do1
Ti7
Do1
Ti7
La6
Do1
La6
Sol5
Do1
Sol5
Fa4
Do1
Fa4
Mi3
Do1
Mi3
Re2
Do1
Re2
Do1
Do1
&###Do1
Diatonic Chord ExerciseI
Mi3
Sol5
Mi3
Do1
Re2
ii
Fa4
La6
Fa4
Re2
Mi3
iii
Sol5
Ti7
Sol5
Mi3
Fa4
IV
La6
Do1
La6
Fa4
Sol5
V
Ti7
Re2
Ti7
Sol5
La6
vi
Do1
Mi3
Do1
La6
&###Ti7
viiº
Re2
Fa4
Re2
Ti7
Do1
I
Mi3
Sol5
Mi3
Do1
Sol5
I
Mi3
Do1
Mi3
Sol5
Fa4
viiº
Re2
Ti7
Re2
Fa4
Mi3
vi
Do1
La6
Do1
Mi3
&###Re2
V
Ti7
Sol5
Ti7
Re2
Do1
IV
La6
Fa4
La6
Do1
Ti7
iii
Sol5
Mi3
Sol5
Ti7
La6
ii
Fa4
Re2
Fa4
La6
Sol5
I
Mi3
Do1
Mi3
Do1
f f f f f f f f f f f f f f f f f f f f f F
f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f F
f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f
2
12
44
44
44
&1
Do
I-IV-V-I Chord ExerciseI
Mi3
Sol5
Mi3
Do1
Fa4
IV
La6
Do1
La6
Fa4
Sol5
V
Ti7
Re2
Ti7
Sol5
Do1
I
Sol5
Mi3
Sol5
Do1
&Do1
I
Sol5
Mi3
Sol5
Do1
Do1
IV
La6
Fa4
La6
Do1
Re2
V
Ti7
Sol5
Ti7
Re2
Do1
I
Sol5
Mi3
Sol5
Do1
&###Do1
I-IV-V7-I Chord ExerciseI
Mi3
Sol5
Do1
Sol5
Mi3
Do1
Fa4
IV
La6
Do1
Fa4
Do1
La6
Fa4
Sol5
V7
Ti7
Re2
Fa4
Re2
Ti7
Sol5
Do1
I
Mi3
Do1
Sol5
Mi3
Sol5
Do1
&###Do1
I
Sol5
Mi3
Sol5
Do1
Mi3
Sol5
Fa4
IV
Do1
La6
Do1
Fa4
Do1
La6
Ti7
V7
Re2
Fa4
Re2
Ti7
Sol5
Ti7
Do1
I
Sol5
Mi3
Do1
Mi3
Sol5
Do1
&Do1
Chord ExerciseI
Sol5
Mi3
Do1
Sol5
Mi3
Do1
Do1
Mi3
Sol5
Do1
Mi3
Sol5
Do1
Fa4
IV
Do1
La6
Fa4
Do1
Fa4
La6
Fa4
La6
Do1
Fa4
La6
Do1
Fa4
&Sol5
V7
Re2
Ti7
Fa4
Re2
Sol5
Fa4
Fa4
Ti7
Re2
Sol5
Ti7
Re2
Sol5
Do1
I
Mi3
Sol5
Do1
Mi3
Sol5
Do1
Do1
Sol5
Mi3
Do1
Sol5
Sol5
Do1
f f f f F f f f f F f f f f F f f f f Ff f f f F f f f f F f f f f F f f f f F
f f f f f f f f f f f f f f f f f f f f f f f f f f f ff f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f f f f f f f f f f f f f f
3
13
44
34
44
&1
Do
Scale Thirds Exercise 1
Re2
Mi3
Do1
Re2
Mi3
Fa4
Re2
Mi3
Fa4
Sol5
Mi3
Fa4
Sol5
La6
Fa4
Sol5
La6
Ti7
Sol5
La6
Ti7
Do1
La6
Ti7
Do1
Re2
Ti7
Do1
&Do1
Ti7
La6
Do1
Ti7
La6
Sol5
Ti7
La6
Sol5
Fa4
La6
Sol5
Fa4
Mi3
Sol5
Fa4
Mi3
Re2
Fa4
Mi3
Re2
Do1
Mi3
Re2
Do1
Ti7
Re2
Do1
&1
Do
Scale Fourths Exercise 1
Re2
Mi3
Fa4
Do1
Re2
Mi3
Fa4
Sol5
Re2
Mi3
Fa4
Sol5
La6
Mi3
Fa4
Sol5
La6
Ti7
Fa4
Sol5
La6
Ti7
Do1
Sol5
&La6
Ti7
Do1
Re2
La6
Ti7
Do1
Re2
Mi3
Ti7
Do1
Do1
Ti7
La6
Sol5
Do1
Ti7
La6
Sol5
Fa4
Ti7
La6
Sol5
Fa4
Mi3
La6
&Sol5
Fa4
Mi3
Re2
Sol5
Fa4
Mi3
Re2
Do1
Fa4
Mi3
Re2
Do1
Ti7
Mi3
Re2
Do1
Ti7
La6
Re2
Do1
&1
Do
Scale Fifths Exercise 1
Re2
Mi3
Fa4
Sol5
Do1
Re2
Mi3
Fa4
Sol5
La6
Re2
Mi3
Fa4
Sol5
La6
Ti7
Mi3
Fa4
Sol5
La6
Ti7
Do1
Fa4
&Sol5
La6
Ti7
Do1
Re2
Sol5
La6
Ti7
Do1
Re2
Mi3
La6
Ti7
Do1
Re2
Mi3
Fa4
Ti7
Do1
&Do1
Ti7
La6
Sol5
Fa4
Do1
Ti7
La6
Sol5
Fa4
Mi3
Ti7
La6
Sol5
Fa4
Mi3
Re2
La6
Sol5
Fa4
Mi3
Re2
Do1
Sol5
&Fa4
Mi3
Re2
Do1
Ti7
Fa4
Mi3
Re2
Do1
Ti7
La6
Mi3
Re2
Do1
Ti7
La6
Sol5
Re2
Do1
f f f f f f f f f f f f f f f f f f f f f f f f f f f f Ff f f f f f f f f f f f f f f f f f f f f f f f f f f f F
f f f f f f f f f f f f f f f f f f f f f f f f ff f f f f f f f f f F. f f f f f f f f f f f f f f ff f f f f f f f f f f f f f f f f f f f F.
f f f f f f f f f f f f f f f f f f f f f f f ff f f f f f f f f f f f f f f f f f w
f f f f f f f f f f f f f f f f f f f f f f f ff f f f f f f f f f f f f f f f f f w
4
14
Rhythmic Cells 1: 2/4
There are 8 basic rhythms in 2/4 Meter without rests.
24
24
24
24
24
24
24
24
&1
Basic Rhythm
&Rest Variation 1
&Rest Variation 2
&2 & &
&3 & &
&4 & &
&5 & &
&6 & &
&7 & &
&8 & &
F f Œ Ó
f f fJ ‰ fJ ‰ Œ ff f f f ‰ fJ ‰ fJ ‰ fJ f ff f f fJ ‰ f f Œ f ff f f f f fJ ‰ ‰ fJ ff. fJ f ‰ fJ Œ. fJfJ f. f f Œ ‰ f.fJ f fJ f f ‰ fJ ‰ f fJ
15
Rhythmic Excercises 1A: 2/4
24
24
24
24
24
24
24
24
24
/1
/2
/3
/4
/5
/6
/7
/8
/9
F f f f f f f f f f f f f f. fJ fJ f. fJ f fJf Œ fJ ‰ fJ ‰ ‰ fJ ‰ fJ fJ ‰ f f f f fJ ‰ f ‰ fJ f f Œ f f ‰ fJÓ Œ f ‰ fJ f f Œ f f ‰ fJ f Œ. fJ ‰ f. ‰ f fJF f Œ Ó f f fJ ‰ fJ ‰ Œ f f f f f ‰ fJ ‰ fJ‰ fJ f f f f f fJ ‰ f f Œ f f f f f f f fJ ‰ ‰ fJ f f. fJf ‰ fJ Œ. fJ fJ f. f f Œ ‰ f. fJ f fJ f f ‰ fJ ‰ f fJfJ f fJ f f Œ f f f fJ ‰ f f Œ f ‰ fJ ‰ fJ f f f Ff Œ fJ ‰ fJ ‰ ‰ f. fJ f. ‰ fJ f f ‰ fJ f Ó f f f f‰ f fJ f f ‰ fJ Œ f f Œ. fJ f ‰ fJ f. fJ f f fJ ‰ f f
16
Rhythmic Excercises 1B: 4/4
44
44
44
44
44
44
44
44
44
/1
/2
/3
/4
/5
/6
/7
/8
/9
f f f f f f f f f fJ f fJ F f. fJ f f f fJ f.f f Œ fJ ‰ f f fJ ‰ fJ ‰ ‰ fJ ‰ fJ f f ‰ fJ f ‰ fJ f Œ f f fJ ‰‰ fJ f f Œ f Ó ‰ fJ f Œ f f ‰ f. ‰ f fJ Œ ‰ fJ‰ f fJ f f f f f fJ ‰ f Œ fJ f. Œ ‰ fJ f f f f Œ ffJ ‰ f f ‰ fJ f f f f Œ f f f F f f ‰ fJ Œ f f f. fJ‰ f. f ‰ fJ fJ ‰ fJ ‰ ‰ fJ f Ó f f fJ f fJ ‰ fJ ‰ fJf f f f fJ ‰ f. fJ f ‰ fJ Œ. fJ Œ f f f f ‰ fJ ‰ f fJf f f f Ó ‰ fJ f ‰ fJ f f fJ f. ‰ f. fJ ‰ fJ ‰ f Œ
F f f f ‰ fJ ‰ fJ Œ f fJ ‰ f f f f f f f Œ fJ f fJ17
Rhythmic Cells 2: 3/4
There are 31 basic rhythms in 3/4 Meter without rests.
F. F f f Ff f f F f f f f Ff f f f f f f f f f f f f f f ff f f f f f f f f f f f ff f f f f f f. fJ f f fJ f.f. fJ f f. fJ f f f. f fJfJ f. f fJ f. f f fJ f. f ffJ f fJ f fJ f fJ f f fJ f f fJf f. fJ f fJ f. f fJ f fJF f f fJ f fJ f f f fJ f fJf. fJ f f. f. f f f f
18
Rhythmic Excercises 2: 3/4
34343434343434343434
/1
/2
/3
/4
/5
/6
/7
/8
/9
/10
f f f f f f f f f f f f f f f f f f. fJ f fJ f. ffJ f fJ f f f. fJ F f f f. fJ f F f F f ff f f f f f f f f f f f f. fJ f. fJ f f fJ f. f f fJ f fJ f ff fJ f. fJ f fJ f f F f f F f f f f f f f f ff f fJ f. f. f fJ fJ f. f f fJ f f fJ f fJ f fJ f f fJ f fJf f f f fJ f. f f f. fJ f f f f f fJ f fJ f f F ff f f f F f f f. fJ f fJ f. f f f fJ f. f fJ f.f. f fJ f f f f f fJ f fJ f fJ f. f f fJ f fJ f f f f f ff F fJ f f fJ f f f f f. fJ f f f. fJ f f fJ f fJf fJ f fJ f f f f f f F f f f. fJ f f f f f f f f f F
19
Rhythmic Cells 3: 1/16 Notes
The 8 basic rhythms can be directly applied to 16th notes within a beat.
&1
Basic Rhythm
&Rest Variation 1 Rest Variation 2
&
&2 & &
&3 & &
&4 & &
&5 & &
&6 & &
&7 & &
&8 & &
f fR ! ‰ Œ
f f ! f ! f ! ‰ fR !
f f f f ! f ! f ! f f ff f f f ! f f ‰ f ff f f f f f ! ! f f !
f. f f ! f ‰. fRf f. f f ‰ ! f.Jf f f f f ! f ! f f
20
Rhythmic Cells 4: 3/8
There are 31 basic rhythms in 3/8 Meter without rests.
f. f fJ fJ ff f f f f f f f ff f f f f f f f f f f f f f f ff f f f f f f f f f f f ff f f f f f f. f f f f f.f. f f f. f f f f. f ff f. f f f. f f f f. f ff f f f f f f f f f f f ff f. f f f f. f f f ff f f f f f. f f f f ff. f f f. f. f f f f
21
Rhythmic Cells 5: Rhythmic Augmentation
When augmenting rhythms, the counting relationship remains the same.
24 22 21
24 22 21
24 22 21
24 22 21
24 22 21
24 22 21
24 22 21
24 22 21
&1
Basic Rhythm
&Augmentation 1
&Augmentation 2
&2 & &
&3 & &
&4 & &
&5 & &
&6 & &
&7 & &
&8 & &
F w W
f f F F w w
f f f f f f f f F F F Ff f f F f f w F Ff f f f f F F F w
f. fJ F. f w. FfJ f. f F. F w.
fJ f fJ f F f F w F22
Rhythmic Cells 6: Rhythmic Diminution
When diminishing rhythms, the counting relationship remains the same.
24 28 216
24 28 216
24 28 216
24 28 216
24 28 216
24 28 216
24 28 216
24 28 216
&1
Basic Rhythm
&Diminution 1
&Diminution 2
&2 & &
&3 & &
&4 & &
&5 & &
&6 & &
&7 & &
&8 & &
F f fJf f f f f ff f f f f f f f f f f ff f f f f f f f ff f f f f f f f ff. fJ f. f f. ffJ f. f f. f f.fJ f fJ f f f f f f
f f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f F
f f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f F
25
Interval Exercises 3: Ascending minor Intervals
?bbb1
?bbb2
?bbb3
?bbb4
?bbb5
?bbb6
?bbb7
?bbb8
f f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f F
26
Interval Exercises 4: Descending minor Intervals
&bbb1
&bbb2
&bbb3
&bbb4
&bbb5
&bbb6
&bbb7
&bbb8
f f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f F
27
Interval Exercises 5: Ascending Diatonic Intervals to "Do"
&1
&2
&3
&4
&5
&6
&7
&8
f f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f Ff f f f f f f f f f f f f f F
28
Interval Exercises 6: Descending Diatonic Intervals to "Do"
?1
?2
?3
?4
?5
?6
?7
?8
f f f f f f f f f f f f f f F
f f f f f f f f f f f f f f F
f f f f f f f f f f f f f f F
f f f f f f f f f f f f f f F
f f f f f f f f f f f f f f F
f f f f f f f f f f f f f f F
f f f f f f f f f f f f f f F
f f f f f f f f f f f f f f F
29
Interval Exercises 7: Advanced Diatonic Intervals
&1
&2
?3
?4
&5
&6
?7
?8
f f f f f f f f f f f f f f f ff f fb f f fb f f fb fb f f f fb fb ff f f f f f f f f f f f f f f f
f f fb f f fb f f f fb f fb f fb f f
f f f f f f f f f f f f f f f ff fb fb f f fb fb f fb f f f fb fb f ff f f f f f f f f f f f f f f ff f fb f fb fb f f fb f f f f fb fb f
"I Left MY Heart in San Francisco"'To Dream dre ImPossible Dream"
Brahmk LulIabY
"Have Yourself a Merry Little Ctaistrnas"
"Oh Susarina""Oh When dre Saints Come Marching In"'I{ere Comes the Bride"
"Amazing Grace''We Wish You a Merry Christmas"
"Marn' (komVest Sinz StnY)
Dum-durn --. ftass line)
YOU MUST remember this "'BYE-BYE blackbird "'FRE-RE Jacques -.'
IIap-PY BIRTTI-daY to You "'I LEFT mY heart in San Francisco "'
TO DREAM the imPossibledream -..LULI-A-BY and goodnight '-'
IIA\{E YOTIR-self a merry littleCbrismns ---WELL I come from Alabama "OII WIIEN the saints "'HERE COMES the bride "'L-M,!tZ'ing grace "'WE IVISH You a merrYChristrnas -..MA-RI-a ---GOLD-FIN-ger "'RAIN-DROPS on roses "'
TWINKLET'Wtr{KLE litde star "'
YO-EE-oh.-.
IS TTIIS the litde girl " '
N-B-C (first two not€s)
DASH-ING through the snow '-';m cAi\ff uPott the midnightdear . . .TfIEREIS A Ptace for us " -
Doo-doooo -.' (fust two notes)
(first two notes of the-melodY)
32
Intervak tound in Popular l{elodier {continued}Intersd Song-Specific Pbrase
DESCENDm/GMinor second
Major second
Minor third
Major third
Perfect fourth
TiitonePerfect fifil
Joy to the World" (Chrismras carol)
'O Litde Town of Bethlehem"
"Spinning Wheel" @lood, Sweat and Tears)"Three Blind Mice""Mary FIad a Litde Lamb"'Yesterday' (f he Beades)
JJesus l,oves Me""The Sar-Spangled Banner""Hey Jude" ffhe Beades)- .'Swing Low, Sweet Chariot''Good Night Ladies" (from Tbe Music Man)'Surnnertime" (from Porg and Best)
"Born Free"'I've Beer Working on the Railroad"
'My Girl" (lhe Temptatioas)European police sirenTheme ft om Tb e F lintsques
'Feelings"
Theme &om Loue Story'Over There" It{obody Knows the Tiouble I've Sien''Watermelon Ma-n "'Have Yourself a Merry Little Christ-"J
JOY TO the worl4 the Lord iscom€ -.-OLITTLETOWNofBethlehem...RIDE A painted pony ...TIIREE BLIND mice ..-MA-RY had a little lamb .-.YES-TERDAI all my troublesseemed so far zway ...JE;SUS loves me this I know...OH-OH say can you see ...HEYJUDE...SL44ING LOW svreet chariot ...GOOO tnclff hdies ...SIIM-MER-time, and the livin' iseasy. . .
\.BORNFREE.. .ITE.BEEN working on therailroad ...IVIY GIRL, talkin' 'bout my girl ...
ILINLSTONES, meet ttreFlintstones ...FEEI-INGS, whoa, whoa, whoa,feelings..-T9HERE DO I begin ...
' O-VER there ...NO-BOD-y krows ...Water-MEl-on MANSo IIA\ZE YOUR-self a merrylitde Christmas aow -..Salt PEA-NUTS, salt peanuts ...
Minor sixtiMajor sixth
Minor seventhMajor seventh
Ocave 'Salt Peanuts" (Dizzy Gillapie)
33
Minor Scales Exercises
&bNatural Minor
&b
&bHarmonic Minor
&b
&bMelodic Minor
&b
f f f f f f f f f f f f f f f f w
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f f f# f f f f# f f f f f w
f f f f f f f f f f# f f f f f f f f# f f f f f f f f f f f# f
f f f f f fn f# f f f fn fb f f f f w
f f f f f f f fn f f# fn f f f f f fb fn f f f f f f f f f f f# f
34
Chromatic Scales Exercises
&Do1
Chromatic Melody 1
Di#1
Re2
Ri#2
Mi3
Do1
Mi3
Fa4
Fi#4
Sol5
Mi3
Sol5
Si#5
La6
Li#6
Ti7
Do8
Do8
Sol5
Mi3
Sol5
Do1
&Do8
Ti7
Teb7
La6
Leb6
Sol5
Do8
Sol5
Seb5
Fa4
Mi3
Sol5
Mi3
Meb3
Re2
Rab2
Do1
Teb7
Ti7
Do1
&Do1
Chromatic Melody 2
Di#1
Re2
Ri#2
Mi3
Fa4
Fi#4
Sol5
Si#5
La6
Li#6
Ti7
Do8
Do8
Ti7
Teb7
La6
&Leb6
Sol5
Seb5
Fa4
Mi3
Meb3
Re2
Rab2
Do1
Mi3
Do1
Sol5
Do8
Mi3
Sol5 1
Do
&Do1
Chromatic Scale
Di#1
Re2
Ri#2
Mi3
Fa4
Fi#4
Sol5
Si#5
La6
Li#6
Ti7
Do8
&Do8
Ti7
Teb7
La6
Leb6
Sol5
Seb5
Fa4
Mi3
Meb3
Re2
Rab2
Do1
f f# f f# f fn f f f# f f f f# f f# f f f f f f F
f f fb f fb f f f fb f f f f fb f fb f fb fn F
f f# f f# f f f# f f# f f# f F f f fb f
fb f fb f f fb f fb f f f f f f f f
f f# f f# f f f# f f# f f# f F
f f fb f fb f fb f f fb f fb F
35
Chromatic Embellishment Exercises
&Do1
Chromatic Embellishment Melody 1
Fi#4
Sol5
Meb3
Mi3
Rab2
Do1
Do1
Leb6
Sol5
Ti7
Do8
Fa4
Mi3
&Sol5
Teb7
La6
Fi#4
Sol5
Meb3
Re2
Meb3
Re2
Do1
Fi#4
Sol5
Ti7
Do8
&bbbDo1
Chromatic Embellishment Melody 2
Meb3
Re2
Rab2
Do1
Meb3
Re2
Rab2
Do1
La6
Teb7
Ti7
Do1
La6
Teb7
Ti7
Do1
Leb6
Fi#4
Sol5
Do1
Leb6
Fi#4
Sol5
&bbbDo8
La6
Teb7
Ti7
Do8
La6
Teb7
Ti7
Do8
La6
Leb6
Sol5
Do8
La6
Leb6
Sol5
Do1
&Do1
Chromatic Embellishment Melody 3
Meb3
Mi3
Do1
Meb3
Mi3
Sol5
Do1
Meb3
Mi3
Sol5
La6
Teb7
La6
Sol5
Fi#4
Sol5
Mi3
Fa4
Fi#4
Sol5
Mi3
Fa4
Fi#4
&Sol5
Mi3
Fa4
Fi#4
Sol5
La6
Teb7
Ti7
Do8
Teb7
Ti7
Rab9
Do8
Teb7
Ti7
Rab9
Do8
Meb3
Mi3
Sol5
Do1
f f# f fb fn fb f f fb f f f f f
f fb f f# f fb f fb f f f# f f f
f f f fb f f fn fb f fn f fn f f fb fn f f f# f f f f# f
f fn f fn f f fb fn f fn fb f f fn fb f w
f fb fn f fb fn f f fb fn f f fb f f f# f f f f# f f fn f#
f f f f# f f fb fn f fb fn fb f fb fn f f fb fn f F
A Pentatonic scale is a 5 note scale.The pentatonic scale that is most common is a major scale that omits the 4th and 7th note.
Pentatonic Scales
By omitting the 4th and 7th note, we remove all of the dissonant half steps.
&Whole Whole minor 3rd Whole minor 3rd
&minor 3rd Whole minor 3rd Whole Whole
&C Major Pentatonic
&# G Major Pentatonic
&##D Major Pentatonic
&bF Major Pentatonic
&bbBb Major Pentatonic
f f f f f w
f f f f f w
f f f f f w f f f f f w
f f f f f w f f f f f w
f f f# f f w f f f f# f w
f f f f f w f f f f f w
f f f f f w f f f f f w
38
A minor pentatonic scale is also a 5 note scale.Just as every Major scale has a relative minor scale,
every Major pentatonic scale has a relative minor pentatonicthat begins on the note a minor 3rd below.
Minor Pentatonic Scales
The dissonant half steps are still removed.
Whole Whole minor 3rd Whole minor 3rd
minor 3rd Whole Whole minor 3rd Whole
a minor Pentatonic
e minor Pentatonic
b minor Pentatonic
d minor Pentatonic
g minor Pentatonic
39
The blues scale is essentially a minor pentatonic scalewith a chromatic embellishment.
Blues Scale
The dissonant half steps are still removed.
a minor Pentatonic
minor 3rd Whole Whole minor 3rd Whole
a Blues Scale
minor 3rd Whole Half
( )Half minor 3rd Whole
a minor Blues
e minor Blues
b minor Blues
d minor Blues
g minor Blues
40
Modal Scales Exercises
&Do1
Ionian Mode
Re2
Mi3
Fa4
Sol5
La6
Ti7
Do8
Re9
Do8
Ti7
La6
Sol5
Fa4
Mi3
Re2
Do1
&Do1
Lydian Mode
Re2
Mi3
Fi#4
Sol5
La6
Ti7
Do8
Re9
Do8
Ti7
La6
Sol5
Fi#4
Mi3
Re2
Do1
&Do1
Mixolydian Mode
Re2
Mi3
Fa4
Sol5
La6
Teb7
Do8
Re9
Do8
Teb7
La6
Sol5
Fa4
Mi3
Re2
Do1
&bbbDo1
Aeolian Mode
Re2
Meb3
Fa4
Sol5
Leb6
Teb7
Do8
Re9
Do8
Teb7
Leb6
Sol5
Fa4
Meb3
Re2
Do1
&bbbDo1
Dorian Mode
Re2
Meb3
Fa4
Sol5
La6
Teb7
Do8
Re9
Do8
Teb7
La6
Sol5
Fa4
Meb3
Re2
Do1
&bbbDo1
Phrygian Mode
Rab2
Meb3
Fa4
Sol5
Leb6
Teb7
Do8
Rab9
Do8
Teb7
Leb6
Sol5
Fa4
Meb3
Rab2
Do1
&bbbDo1
(Ti
Locrian Mode
Rab2Do
Meb3Re
Fa4
Mi
Seb5Fa
Leb6
Sol
Teb7La
Do8Ti
Rab9Do
Do8Ti
Teb7La
Leb6
Sol
Seb5Fa
Fa4
Mi
Meb3Re
Rab2Do
Do1
Ti)
f f f f f f f f f f f f f f f f w
f f f f# f f f f f f f f f f# f f w
f f f f f f fb f f f fb f f f f f w
f f f f f f f f f f f f f f f f w
f f f f f fn f f f f f fn f f f f w
f fb f f f f f f fb f f f f f f fb w
f fb f f fb f f f fb f f f fb f f fb w
41
A whole tone scale is made up entirely of whole steps.Because it is a symetrical scale, there are only 2 versions.
Whole Tone Scales
There should always be one interval that is a dim. 3rdregardless of any enharmonic changes.
&Whole Tone 1
Whole Whole Whole Whole Whole dim. 3rd
&Whole Tone 2
Whole dim. 3rd Whole Whole Whole Whole
&C Whole Tone (respelled)
&Db Whole Tone (same as C# whole tone)
&D Whole Tone
&F Whole Tone
&Bb Major Pentatonic
f f f f# f# f# w
f# f# f f f f w#
f f f fb fb fb w f fb fb fb f f w
fb fb f f f f wb fb f f f f fb wb
f f f# f# f# f w f f f# f# f# f w
f f f f f# f# w f f# f# f f f w
fb f f f f# f# wb fb f# f# f f f wb
42
Diminished scales follow a pattern of alternating whole steps and half steps.They can also be thought of as 2 fully diminished chords a half step apart.
There are 8 tones in the scale so it is sometimes referred to as an octotonic scale.Because they are symetrical scales, there are only 3 versions.
Diminished Scales
Diminished scales can also be arranged in alternating half steps and whole steps,but this pattern matches the above scales, just starting on the second note.
Diminished Scale 1 (Whole-half)
W h W h W h W h
Diminished Scale 2 (Whole-half)
W h W h W h W h
Diminished Scale 3 (Whole-half)
W h W h W h W h
Diminished Scale 1 (half-Whole)
h W h W h W h W
Diminished Scale 2 (half-Whole)
h W h W h W h W
Diminished Scale 3 (half-Whole)
h W h W h W h W
43
It can be easier to think of the diminished (Whole-half) scale purely as a diminished chord with half step embellishing tones.
Diminished Scales (Simplified)
It can be easier to think of the diminished (half-Whole) scale as a Dominant chord with altered embellishing tones (b9, #9, #11, 13).
Diminished Scale 1 (Whole-half)
W h W h W h W h
Diminished Scale 2 (Whole-half)
W h W h W h W h
Diminished Scale 3 (Whole-half)
W h W h W h W h
Diminished Scale 1 (half-Whole)
h W h W h W h W
Diminished Scale 2 (half-Whole)
h W h W h W h W
Diminished Scale 3 (half-Whole)
h W h W h W h W
44
45
Intervals / Chords WorksheetName:
&Dictate and define the following melodic intervals:
