Copyright Information
Copyright © 1994 Wadsworth Group.
Schirmer is an imprint of the Wadsworth Group, a division of Thomson Learning, Inc.
Thomson Learning™ is a trademark used herein under license.
ALL RIGHTS RESERVED.
Contents
Preface
To the Student
To the Instructor
CHAPTER ONE: PROPERTIES OF SOUND-BASIC NOTATION
PART A: MUSIC AND MUSIC THEORY
Basic Properties of Sound
Musical Dynamics
Development of Music Notation
PART B: MODERN STANDARD NOTATION
Modern Staff
Clefs
Musical Alphabet-Pitch Reading
Leger Lines and Spaces
CHAPTER TWO: RHYTHM
Terminology: Beat, Pulse, Tempo, Rhythm
Simple and Compound Time
Beat Divisions
Regular Divisions
Borrowed Divisions: Duplets and Triplets
Irregular Divisions and Subdivisions
Metronome Tempo Indications
Commonly Used Tempo Markings
Summary of Regular, Irregular, and Borrowed Divisions
CHAPTER THREE: METER AND METER SIGNATURES
Meter
Simple Meter Signatures
Compound Meter Signatures
Meter Classifications
Meter Notation: Beat Units
Beaming of Rests
Syncopation
CHAPTER FOUR: SCALES I: SCALE STRUCTURES
Scale
Basic Diatonic Scales
Major Scales and Tetrachords
Minor Scales and Tetrachords
Harmonic Form of Minor
Melodic Form of Minor
Chromatic Scale
Whole-Tone Scales
CHAPTER FIVE: SCALES II: MAJOR, MINOR, AND PENTATONIC SCALES
Relative Major and Minor Scale Structures
Parallel Major and Minor Scale Structures
Scale-Degree Names
Pentatonic Scales
CHAPTER SIX: INTERVALS
Numerical Classification
Quality Classification
Perfect Intervals
Major and Minor Intervals
The Tritone
Interval Chart
Compound Intervals
Inversion of Intervals
Guidelines for Inversion of Intervals
CHAPTER SEVEN: SCALES III: (REVISITED)
Major Scale
Minor Scale
Natural Minor Scale
Harmonic Minor Scale
Melodic Minor Scale
CHAPTER EIGHT: KEY SIGNATURES
Placement and Spacing of Flats
Placement and Spacing of Sharps
CHAPTER NINE: TRIADS
Triad Structure
Root Position
Basic Triads
Triad Qualities
Seven Basic Triads
CHAPTER TEN: DIATONIC TRIADS
Diatonic Triads in Major
Roman Numeral Identification
Diatonic Triads in Minor
CHAPTER ELEVEN: CADENCE STRUCTURES
Final Cadence Types
Authentic and Plagal Cadences
Perfect and Imperfect Cadences
Nonfinal Cadence Types
CHAPTER TWELVE: HARMONIZATION
Harmonizing a Melody
Step 1: Determine the Key
Step 2: Determine the Cadence Points
Step 3: Determine the Harmonic Rhythm
Step 4: Sketch in Primary Triads
CHAPTER THIRTEEN: FORM IN MUSIC
Motive Structures
Repetition
Transposition
Sequence
Retrograde
Inversion
Fragmentation
Musical Form
Phrase Structure
APPENDIX A: Ear-Training Exercises
APPENDIX B: KEYBOARD EXERCISES AND DRILLS
APPENDIX C: HARMONIC OVERTONE SERIES
APPENDIX D: REFERENCE CHARTS
APPENDIX E: MODAL SCALE STRUCTURES
APPENDIX F: MELODIC LITERATURE FROM AROUND THE WORLD
Preface
Basics of Music: Opus 1 is designed for beginning students of music.
The text provides a comprehensive approach to music theory, minimizing memorization and emphasizing conceptual understanding.
It covers fundamental concepts, from basic notation to harmonization and cadence structures.
The book includes numerous exercises, drills, and appendices with additional resources.
Chapter One: Properties of Sound - Basic Notation
Part A: Music and Music Theory
Music is an abstract art form, requiring durational memory.
Music theory studies elements like melody, harmony, counterpoint, orchestration, and form.
Basic Properties of Sound
Frequency: Determines how high or low a sound is perceived (measured in Hz).
Amplitude: Refers to the loudness or softness of a sound, measured in decibels (dB).
Average dB levels: Quiet room (24-28 dB), Normal conversation (65 dB), Orchestra (100 dB)
Timbre: The quality of sound that distinguishes different instruments.
Duration: Relates to how longtones are sustained.
Development of Music Notation
Early music notation lacked clear representation of pitch and duration.
The modern staff notation system evolved to meet the needs of Western music.
Chapter Two: Rhythm
Key terms: Beat, Pulse, Tempo, Rhythm
Time can be Simple (2 parts) or Compound (3 parts).
Beat divisions can be Regular, Irregular, or Borrowed (Duplets and Triplets).
Summary of divisions and tempo markings are included.
Chapter Three: Meter and Meter Signatures
Meter refers to grouping beats into measures: Duple (2), Triple (3), Quadruple (4), etc.
Simple meter signatures indicate the number of beats and note value; compound signatures employ dotted notes.
Examples illustrate beaming of rests and rhythmic patterns.
Chapter Four: Scale Structures
Types of Scales
Diatonic, Chromatic, Whole-Tone scales discussed with construction methods.
Major, minor, pentatonic scales elaborated with steps and interval shapes.
Chapter Five: Major, Minor, and Pentatonic Scales
Explanation of Relative Major/Minor structures and Parallel Major/Minor relationships; classifications of scale degrees.
Defined terms like tonic, supertonic, mediant, dominant, and leading tone.
Chapter Six: Intervals
Definitions and distinctions between Melodic and Harmonic intervals.
Specific interval classification (Numerical and Quality), Inversion guidelines, and Augmented/Diminished classification.
Chapter Seven: Scales III (Revisited)
Revisits major/minor scales using interval structures; includes specific examples.
Chapter Eight: Key Signatures
Placement and ordering of flats and sharps; identification and relationship of major/minor keys to their signatures.
Chapter Nine: Triads
Triad Structures
Major, Minor, Augmented, Diminished triad definitions with visual representations.
Chapter Ten: Diatonic Triads
Diatonic triad relationships with exercises for identifying and forming triads in various keys.
Roman numeral analysis for triads.
Chapter Eleven: Cadence Structures
Final vs. Nonfinal cadences and their functions in music; various authentic and deceptive cadences illustrated.
Chapter Twelve: Harmonization
Harmonizing a Melody
Determine the key, analyze cadence points, and decide harmonic rhythm.
Use primary triads first while harmonizing, with plans for secondary triads later.
Chapter Thirteen: Form in Music
Explains the balance between contrast/unity; examines micro and macro concepts of music form.
Motive Structures
Manipulation techniques: repetition, transposition, sequence, retrograde, and inversion, among others.
APPENDICES
Appendix A: Ear-Training Exercises
Exercises to become familiar with musical intervals and pitches.
Appendix B: Keyboard Exercises
Keyboard practice for assisting in identifying notes, intervals, and chords.
Appendix C: Harmonic Overtone Series
Discusses the harmonic relationships within musical overtones and their frequencies.
Appendix D: Reference Charts
Detailed charts for scales, key signatures, and triad qualities.
Appendix E: Modal Scale Structures
Overview of modes related to diatonic scales and their implications.
Appendix F: Melodic Literature
Collection of melodies for practice and analysis focusing on harmonization and motivic structures.
Exercises
Chapter Exercises
Various exercises provided at the end of each chapter for reinforcement of topics presented throughout the textbook.
Emphasis on practicing skills learned related to ear training, keyboard notes, and harmonization in contexts relevant to each chapter’s content.