The document provides information on various musical concepts including harmony, keys, scales, intervals, chords, dynamics, tempo, and reading sheet music. It defines harmony as two or more tones played together, and describes the different types of harmony. It also explains key signatures, the circle of fifths, relative minors, and parallel minors. Common musical terms are defined, such as dynamics, tempo markings, and codas.

1. HARMONY

2. TONES
 Harmony is two or more Tones being played in
unison. Melody is s series of one notes.
Harmony is vertical, Melody is Horizonal.
 If the Melody that an istrument plays is the same
as the melody that the Singer sings we call this
monophony.
 If there is two melodies, we call this polyphony.
 If there is a chord being played inwich the note
being sung is part of the scale of the chord this is
Homonphony.

3. KEYS
 “Keys” have a surname as well as a fist name. d: =
Dminor, D: = Dmajor. Move the major 3rd to a minor
third to switch between the two.
 Major or minor They are not the same.
Do Mi So, Do Me So
 “Keys” have relatives. i.e. the relative minor or the
Paralele Minor.
 The Paralel has the same Root, and the same
Signature.
 The Relative has the same Scale, and is 3 half steps
lower. It is the most harmonic.
SI
♯=
D
O

4. KEY SIGNATURES AND RELATIVE MINORS

5. KEY SIGNATURES AND PARALELL MINORS

6. MUSICAL NOTES IN SINGING
Two types of solfedge, stationary or movable
do, we will use movable do.
DO RE MI FA SOL LA TI DO
If we are in the Key of C DO is C
C D E F G A B
a: uses the same scale but A is DO
and B is raise a half step to B#
If we are in G DO is G
G A B C D E F#
e: uses the same scale but E is DO and
D is raise a half step to D#

7. PIANO KEYBOARD

8. SCALES
 A Scale has two tetra chords. Tonic and Dominant.
 The first on is Whole Step, Whole Step, Half Step
 The Second is W, W, W H.
Only the Notes of the scale in that Key are Chord Tones.
Others are called Non-Chord Tones.
You just fallow the series to find the Chord Tones in any Key.
Like this
Root 2nd
3rd
4th
5th
6th
7th
8th
Tonic, Mediant Dominant Leading Tone
Super Tonic Sub Dominant Sub Mediant Octave

9. MUSICAL NOTES
Chromatic Solfedge

11. INTERVALS
 Movement Intervals of a 5th
are remembered by the acrostic “Father
Charles Goes Down And Ends Battle.” And its reverse.
 Intervals are the distance between two notes.
 The “Tonic” note is always the bottom note of a triad in root position.
 Major intervals. Youtube.com/jcmorse563 “eartraining”
 M2 – (Ascend)Happy Birthday, (Desc)Three Blind mice (Super Tonic ii, ii0
) V Major, v
minor
 M3 – Walls of Montezuma, Beetoveen’s 5th
(Mediant iii, III)
 P4 – Amazing Grace, Born Free((Sub Dominant, IV, iv)
 Tritone -- YYZ
 P5 – Space 2001, Superman Theme(Dominant, V)
 M6 – NBC Theme, Over there (Sub Mediant, vi, VI)
 M7 – Theme Fantasy Island, Willow weep for me (Leading Tone, vii0)
 M8 (octave) – Somewhere Over the Rainbow
 Minor intervals
 m2 – Jaws, Jurasic Park m3 -Greensleves, Say can you see
 m6 – Tonight we are young, Theme to Love Story
 M7– Star trek, Watermelon man
http://www.earmaster.com/products/free-tools/interval-song-chart-generator.html
https://www.youtube.com/watch?v=xTWMUPtQ4mk

13. CIRCLE OF FIFTHS

14. KEY SIGNATURE

15. KEY SIGNATURES
 A key signature is a series of sharp or flat symbols placed on the staff,
that are to be consistently played one semitone higher or lower than the
equivalent natural notes unless otherwise altered with an accidental.
 Key signatures are generally written immediately after the clef at the
beginning of a line of musical notation, although they can appear in other
parts of a score, notably after a double barline.
 A key signature will have either sharps or flats, but there will not be any
key signatures with both.
 To determine the key based on the key signature:
 If the key signature has sharps, look at the position of the last sharp and raise it by
a half-step to get the key. For example, if the last sharp is C, raise it a half step which
is D, the key is D major.
 When the key signature has flats, simply look at the second to the last flat and you
get the key. So for example A flat is the second to the last flat sign in the key signature,
this means the music is in A flat major.
 The exception to this rule is F major because it only has one flat and C
major because it has no flats or sharps.
1. 2. 3. 4 . 5. 6. 7.

16. The Basic Chord Type is Called the Triad, and is made by
starting at the tonic, then Go Up a Major Third (2 steps, 4 half
steps) and then a minor Third (1.5 steps, or 3 half steps) the
1rst,3rd
and 5th
.
To make a Dominant Chord a Dominant
Seventh add the note that is 1.5 steps or a
minor third above the 5th

17. V V6 V 42
The Triad Positions, if it were a seventh chord there would be
one more available. And written like the followings
Root V7
2nd inv V 65 3rd inv V43 4th inv V2

19. DYNAMICS
 Dynamics refers to the volume of a note/piece/sound
 The two basic dynamic indications in music are:
 p or piano, meaning "soft"
 f or forte, meaning "loud"
 More subtle degrees of loudness or softness are indicated by:
 mp, standing for mezzo-piano, meaning "moderately soft"
 mf, standing for mezzo-forte, meaning "moderately loud“
 pp “pianissimo” meaning “very soft”
 ff “fortissimo” meaning “very loud”
 Two Italian words are used to show gradual changes in volume. Crescendo,
abbreviated cresc., translates as "gradually becoming louder", and diminuendo,
abbreviated dim., means "gradually becoming softer". The
alternate decrescendo, abbreviated to decresc., also means "gradually becoming
softer“.

20. TEMPO
 Tempo (Italian for time) is the speed/pace of a given piece.
 The tempo of a piece will typically be written at the start of a piece of
music, and is usually indicated in beats per minute (BPM). This means
that a particular note value (for example, a quarter note or crotchet) is
specified as the beat, and the marking indicates that a certain number of
these beats must be played per minute. The greater the tempo, the larger
the number of beats that must be played in a minute is, and, therefore,
the faster a piece must be played.
 Basic Tempo Markings:
 Largo – broadly (40–50 BPM)
 Adagio – slow/stately (literally, "at ease") (51–60 BPM)
 Adagietto – rather slow (61–80 BPM)
 Andante – at a walking pace (61–80 BPM)
 Moderato – moderately (81–90 BPM)
 Allegro – fast, quickly and bright (105–132 BPM)
 Presto – very fast (168–177 BPM)

21. CHANGES IN TEMPO & ARTICULATION
 Accelerando – speeding up (abbreviation: accel.)
 Rallentando – gradual slowing down (abbreviation: rall.) or broadening of
tempo
 Ritardando – slowing down gradually; (abbreviations: rit., ritard.)
 Rubato – free adjustment of tempo for expressive purposes
 a tempo – in time; return to the main tempo of the piece (often after an
accelerando or ritardando, etc.)
 Staccato (Italian for detached) signifies a note of shortened duration,
separated from the note that may follow by silence.
 Legato (Italian for "tied together") indicates that musical notes are played
or sung smoothly and connected
 Slur - a curved line used to indicate that notes should be interpretted as
a phrase and often in one breath.

22. CODAS
 Coda (Italian for "tail") designates a passage that brings a
piece/movement to an end. It may be as simple as a few measures, or as
complex as an entire section.
 Da Capo meaning from the beginning. It is often abbreviated D.C.
 Dal Segno meaning from the sign. It is often abbreviated D.S
Segno Coda

23. CODAS
 Da Capo al Fine (D.C. al Fine): repeat from beginning to the end (or up
to the word fine, should that appear at the end of the passage – the word
fine itself signifying “end”).
Dal Segno al Fine (D.S. al Fine): repeat from beginning to the end (or up
to the word fine should that appear at the end of the passage – the word
fine itself signifying “end”).

24. CODAS
 Da Capo al Coda (D.C. al Coda): repeat from beginning to an indicated
place and then play the tail part (the coda).
 Dal Segno al Coda (D.S. al Coda): instructs the musician to repeat back
to the sign, and when Al coda or To coda is reached jump to the coda
symbol

25. READING AN
OCTAVO
 TitleTitle
 Page NumberPage Number
 Repeat BeginningRepeat Beginning
 Repeat EndingRepeat Ending
 DynamicsDynamics
 Measure NumberMeasure Number
 ChordChord
 Time SignatureTime Signature
 Key SignatureKey Signature
 StaccatoStaccato
 ““Slide”Slide”
 Treble ClefTreble Clef
 Bass ClefBass Clef
 TempoTempo

26. READING AN
OCTAVO
 TitleTitle
 Page NumberPage Number
 Repeat BeginningRepeat Beginning
 Repeat EndingRepeat Ending
 DynamicsDynamics
 Measure NumberMeasure Number
 ChordChord
 Time SignatureTime Signature
 Key SignatureKey Signature
 StaccatoStaccato
 ““Slide”Slide”
 Treble ClefTreble Clef
 Bass ClefBass Clef
 TempoTempo