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The Musician’s Guide to Theory and Analysis

Chapter 1 Reading Guide
The purpose of this document is to provide a study guide for Chapter 1 of The Musician’s
Guide to Theory and Analysis. In future chapters, you can use this template while you learn
new course concepts and as a review tool later in the course. You will want to make sure to
fill in the key chapter information (key terms, key concepts, and key questions) so that you
can use it for quick reference and review.  

Remember that our ebook offers more than just reading! To get the most out of your textbook
experience:
• Listen to audio examples.
• Explore hyperlinked text.
• Try the embedded “Try It!” exercises, and use the answer key for instant feedback.
• Use the interactive tutorials in the “Know It!” tool to view videos and practice skills.

Key Terms:
As you read, notice hyperlinked definitions within the chapter, and “Terms You Should Know”
at the end of each chapter. Use the table below to focus on key terms from the chapter.
Choose at least 10 terms.  Add the definition for the term in the middle column and an
example of the  term in the final column. An example may be a typed example, a musical
symbol, a snapshot of a score, or a link to a listening example.

Key Term Definition Example

Accidental

Flat

Sharp

Natural

Double flat

Double sharp

Clef

Treble clef

Bass clef

C clef

Alto clef

Tenor clef
Choral tenor clef

Counting in thirds

Dynamic marking

Enharmonic
equivalence
Enharmonic
spelling
Grand staff

Interval

Half step
(semitone)
Whole step (whole
tone)
Ledger line

Middle C

Musical alphabet

Note head

Octave

Octave equivalence

Ottava sign

Pitch

Pitch class

Score

Staff

Stem

Key Concepts:
Notice “Key Concepts” highlighted throughout the chapter, and the blue “Summary” boxes.
This week, the key concepts from the textbook are quoted below. Add short notes about each
key concept (in your own words) in the second column. It may be helpful to use short phrases
rather than complete sentences. 
Key Concept Notes
“Imagine the seven letters of the musical
alphabet ascending like stairs or arranged
around a circle like a clock. “Count” up or
down by reciting the letters forward
(clockwise) or backward
(counterclockwise). To count beyond G,
start over with A; to count below A, start
over with G.”
“Octave-related notes belong to the same
pitch class and have the same letter name.
The pitch-class D, for example, represents
every D in every octave. A pitch, on the
other hand, is one that sounds in one
particular octave.”
“No black key appears between white keys
E and F or between B and C.”
“A half step (or semitone) is the interval
between any pitch and the next closest
pitch on the keyboard. The combination of
two half steps forms a whole step (or whole
tone); a whole step always has one pitch in
between its two pitches.”
“When you write pitches on the staff, place
the accidental before (to the left of) the
note head, the main (oval) part of the note.
When you say or write the letter names, the
accidental goes after the letter name; for
example, C♯ (C-sharp).”

Key Questions for Review:

Notice “Questions for Review” at the end of the chapter. Add a brief response for each key
question in the second column. It may be helpful to use short phrases rather than complete
sentences. 

Key Question Response

How do a staff and clef
work together to identify
pitches?
How do pitches and pitch
classes differ?
What is the function of (a)
C clefs, (b) accidentals, (c)
ledger lines?
 How do the piano’s white
and black keys help you
determine whole and half
steps?
Which white-key pairs of
notes form half steps,
without the addition of
accidentals?
Give two guidelines each
for notating ledger lines,
note heads, and stems.
How are octave numbers
assigned? What is the
octave number for middle
C?

Applying your Learning:

As you build skills in the “Try it” exercises, indicate your level of success. Take note of tips or
reminders.

# Level of Notes
Success
Try it
#1 ☺ ! ☹
Try it
#2 ☺ ! ☹
Try it
#3 ☺ ! ☹
Try it
#4 ☺ ! ☹
Try it
#5 ☺ ! ☹
Try it
#6 ☺ ! ☹
Try it
#7 ☺ ! ☹
Try it
#8 ☺ ! ☹