This document provides musical definitions and concepts from various sources, including Elementary Training for Musicians by Hindemith, 114 Songs by Charles Ives, Mikrokosmos Books I and II by Bartok, and Winter Words by Benjamin Britten. It defines a major third as a whole step plus a whole step, describes the whole-tone scale as made of all whole steps, and a minor third as a whole step plus a half step. It also covers octatonic scales, enharmonic notes, diatonic scale patterns, modal music having notes other than C as the tonic, and maintaining scale patterns with key signatures.

1. Solfège Bootcamp
Music since 1900

2. A whole step plus a whole step equals a major third.
From Elementary Training for Musicians (Hindemith)

3. A scale made entirely of whole steps
is known as the whole-tone scale.
An Olbash original!

4. In music without a key signature, sharps and flats
often apply only to the note immediately following the accidental.
Melody only from "The Cage" from 114 Songs (Charles Ives, 1906)

5. From Elementary Training for Musicians (Hindemith)
From Mikrokosmos, Book I (Bartok)

6. A whole step plus a half step equals a minor third
From Elementary Training for Musicians (Hindemith)

7. The octatonic scale is composed of alternating
whole steps and half steps.

8. Pitches that sound the same but are spelled
differently (e.g. G# and Ab) are called "enharmonic."
"At day-close in November" from Winter Words (Benjamin Britten, 1954)

9. In diatonic music, the arrangement of whole steps and half steps
always follows the same pattern: ...wwhwwwhwwhwwwh...
From Mikrokosmos, Book II (Bartok)

10. In modal music, the tonic or "home base" may be a note other than Do.
From Mikrokosmos, Book I (Bartok)

11. To preserve to order of whole steps and half steps in keys other than C major,
we must add sharps or flats in the appropriate places.

12. Linear melodies must always be read vertically
as well, i.e. in the proper harmonic context.