Table of Notes With an Explanation of Clefs and Staves Bass Notes Treble Notes gmayvewritene |} 1) ft) yt) Py | | feefel}-[e}-Jetelefelell= {S/S |ElE/E]EIE may bewrittene, |C|D/E|F/G/A & may be written o' ef.) ||] ~~] |~ Violip-slef 5 (also called 6. cer ‘or treble ciet) Bass clef (also called Foter) "These bass notes are of just the same piteh as the noies ¢ Dove them inthe treble clef, | Contra-Octave Great Octave Small Octave | One-lined Octave | Two-lined Octave |Threetined Octave |Fourlined Octave ‘The round, black dots are called notes, They may be written either on the lines or in the spaces between the lines. ‘As shown above, each clef is set on a group of five lines. These five lines are called the staff Examine the clefs carefully, and notice what effect they have on the signification of the notesThe Rudiments of Music ‘The signs used to show the position (pitch, either high or low) of the tones are called hofes. They are written on what is called the sfa/y, which consists of five parallel fines and the spares between the lines. ‘The lowest line (or space) is called the firsé fine (or space); the next line (or space) above, the second: eto: that is, both lines and spaces are counted from below upwards, Notes that are either too high or too low to be written on the staff must be set on or between short added lines above or below. These lines are called /eger-lines. arett etc. For naming the notes, the first seven letters of the alphabet are used. In the key of C major the letters come in the following order: C, D, E, F, G, A, B,ending on C. These eight notes form what is called the seale of © major. Every scale is composed of five whole-steps and two half-steps, which occur in the following order: Scale of C major ‘Whole-step Whole-step Half-step Whole.step Wholesstep Whole-step Half-step 2 = s = a = Tt — ¢ D E F G A B ¢ 1 2 3 4 5 6 7 8 Tonic Suportonic Mediant Subdominant Dominant Superdominant Leading-tone Tonic A sharp (}) written before a note raises it a half-steps a flat (b) written before a note lowers it a hhalf-step. A natural (h) restores a note to the original pitc wo arp -B flat Restored by the natural Chromatic Seale, ascending Ee iT = + There are two modes, the major and the minor mode. The principal scales in the minor mode are the melodie and the harmonic. Chromatic Seal descending : ied ‘Melodic Minor Scale, ascending and descending Harmonic Minor Scale,ascending and descending - 2 dette, Gates, One important difference between major and minor scales is that in the major there are four half-steps between tonic and mediant, but in the minor there are only three. Minor modeThere are twelve major keys, the tonios or keynotes of which | are determined by the signature. The following are the fonic Time-value of Notes ‘There are twelve minor keys the tonics or keynotes of which are determined by the signature. The following are the ¢onic chords of all these keys. chords of all these keys. Cmajor — F sharp major Aminor D sharp minor Pp é 9 Ga bn 1 G major Fmajor | is equal to 2 halfnotes, FE minor D minor jf f Oe ony v or 4 quarter-notes, * ‘ D major flat major | B minor G mit i iG fo fe == a | GE F5 4 A lat maj t f f f | Fshar vi ee eo fk it mi tor tL f q p ‘sharp minor r— $F | or 10 sixteenth-notes, tt pa fatmajr | CEES CLES ES ES ES Pf | Estappmior “r minor & q oS or Gu “oar “pontomir | Sxecepeeemmerreetsepensreggg | Sexpmine opt nioe ete. 5 $ t In writing signatures, sharps are added by skipping upwards a fifth’ then downwards a fourth*and so on. Se = He = F sharp C sharp Gsharp Dsharp A sharp E sharp B sharp eee VL 1 the meaning of these interval In writing signatures, flats are added by skipping upwards a fourth, then downwards a fifth, and so on, =a Cflat F flat i be = SS_ == Bflat Eflat Aflat D flat G flat If a note already sharp is to be raised another half-step, this sign (x),called a double-sharp, is used; if a note with a flat is to be lowered another half-step, the (bb) double.flat is used. » * f= Stor, be ¥ flat Edouble-flat E flat sserally discontinued, bb bh; F sharp F double-sharp F sha: ‘The use of the § {0 this connection is eiog Keys having similar signatures stand in closest relation to each other, and are called relative keys. The clef: chiefly used are the following: ‘Treble or G-clef Base or F-clef Soprano or C-clef Alto Clef. Tenor ClefDat Segno {means “from the sign?” Fermata (Hold) Da Capo corresponding to the nm Signs of repetition (means “from the beginning”) one above the D.S.) — De. DS. Time-value of Rests hole- Half- Quarter- Eighth- Sixteenth rest rest rest rest rest ‘When a rest occupies the time of more than one measure, the number of measures rested may be indicate, by an equal number of whole rests run together, usually with a number over it, or by a heavy single o double stroke with a number over it, thus: Qanen 3 6 10 A dot sot after a note or rest adds'one-| a second dot further adds half as half to the time-value of the note or rest:/ much as the first one. Notes === Ee pap ; Rests| = = = Fete. ; rors Seven Seven Seren. Seven Time-vatue: ENS tarts guarrs gle aiMathe icy seconde ‘The following abbreviations are used in notation: written played A siur indicates that notes are to be played in a smooth and connected manner, Sf} KS | A fie, connecting two notes on the same degree, indicates that they are to be played as one nofe having the combined value of both, — if Hf, in a regular rhythm FREE , one or more notes are played before the beats on which -_ they are expected, thus: ; they are called syncopated notes.Detached Notes Staccato Mezzo-staccato Martellato (Detached of separated notes) (Half-detached notes) (Very short, detached notes) SS Grace-notes A long appoggiatura is played A short appoggiatura is Torn like an ordinary note. played very rapidly. written played Trill Passing Trill,or Inverted Mordent tr » ~ | written Sa played played The Different Species of Time There are two species of time: common time and triple time, These are subdivided into simple and compound. Simple common time has only two beats or divisions in a measure (7, §, £ ); simple triple time contains three parts in a measure ($, 3, 3, efc.). When two or more simple common measures are drawn into one, it is called compound common time. Compound triple time is that in which two or more simple triple measures are drawn into one. Four quarter-notes in a measure ( { ) are indicated by C, other divisions by 3, 2, ete. Intervals The distance in pitch between two tones is termed an interval. There are seven principal intervals. Tonic or Prime Second Third = Fourth «Fifth Sixth Seventh Octave SSS U oe = = The following Italian words are used to point out the degree of slowness or quickness, or the ex- pression of a movement: Adagio, slow; Andante, not quite so slow; Adlegro, rapid; Adlegretio, less rapids Presto, very rapid; p (piano), soft; BP (pianissimo), very soft; f (forte), loud; Lf (fortissimo), very loud and strong; diminuendo, gradually diminishing the tone; crescendo, gradually inoreasing the tone; decrescendo, decreasing the tone; ritardando, becoming slower, ete.Whole, Half-and Quarter-notes. CARL CZERNY, 0p.823, Book I. he ey 4 2Allegretto. = Teo t,t 4 3 oc msEighth- notes, Triplets and Sixteenth- notes in Common and Triple Time. Ss sae 3 PE gaa gage pao!10Allegretto. — A Ae Boos = 5 = ¥ 7 o : i $ Allegro. ee‘2 2 oN (= ort an 2 dns os Allegro.Allegretto. & geti, ate rato, —-. AF Mode’ a | Sat bsSaty 4 Pevererem 4 1 2 4Allegro yivaes ‘5Staay ams 1 22 fasise te 2 2 ie t erese,Allogro vivace, i Alles . gretto. 5. Bok 2 of *)_pdotee ! o a . 5 fies a5 8 coomes 5 4 4 tek 4tN t & 1 2T ¢ 1 5 a 4 Allegro vivaee. . . — eisktoe Allegretto vivace. , ae ea leoi o EG ee ca s a = 3 =| 2 A oa & alslll| ( < 33.1"20Allegretto. Execises with # b and +. “445 293 2999 B3e321 5 tight theeatdz 1 28 tee It ie f: as! iat p dolee22Allegretto. g ae they —_ neaaia —— ‘& 7 2 2BModerato. The Bass Notes. guse Allegro moderato. oo oe i ; 54 3a 42, 24Moderato. : =a an a), ~~ F od 5The Twelve Major and Twelve Minor Scales ba 6 @ minor. 26A major. A minor, E najor 4 E minor. Bainor, aFF minor, Ab minor. \ C# minor.Eb major. Bb major. oe gatExercises in Different Keys. CARL CZERNY, Op.823.Book ll, 30Allegro moderato. 4S 45,803 a2te$ 46 (fs piileesaigera ose esf ae ei ateg1 Allegro 3 iH 50; P,Allegretto. “ga afez, 3.2 j ) : p toler crese. 34383637Allegretto vivace, ah! ks ‘ 56. oresel39som Gites ™~ eehiss sa, 22 : s38Allegro vivaee.Continuation of the Exercises in Different Keys. B flat major has ab on B and E. erexe. 4 2E flat major has a b on B,E and A. 43The Trill. Allegretto. =< te 18 8 Base eam fee!Allegretto. Tempo di Valse. 882 fea 8 gat 4 eet 4. rete iia #28 £tet £ Trio, ——— =orese. 48.Allegretto moderato. Tempo di Polacea. eee 4 8 fas coy 49E major has a # on F, C,G and Allegro-Tempo di Valse. 51 _; » 7 at aes 50Allegretto. Exercise in Thirds. Baga 83 & 3 8 gard ee ee ee r ) siAndantino. ———!} 23 Las - 5 2Allegretto. Tempo di Valse. 1 5 . 4 . so = 8 4 i Ste 54Rondino. Allegretto moderato, cE Nea. pdotee 38Crossing the Hands. Allegretto vivace. 5 3-4 5 F + 58