GA MACHYAN

Jinghpaw Wunpawng Hkalup Hpung Ginjaw (KBC) a Music Magam Dap a

sasana bungle gaw grai dam lada ai hku re. Karai Kasang gaw Shi hpe shakawn
kungdawn na ra sharawng ai Karai Kasang rai nga ai. Anhte gaw Shi a magma bungli
majaw Shi hpe shakawn na gingdan nga ai.
Ya KBC Music Magam Dap kaw na music the seng ai Theory Level (1) hpe
shapraw dat lu ai gaw kaba dik ai magam bungli langai rai sai. Ndai music the seng ai
hpaji ni hpe hkaja let Karai Kasang hpe shakawn ai lam hta grau tsaw jat wa ai hku sak
hkrung ga. Karai Kasang gaw Shi chyu sha Karai Kasang rai nga ai hte maren shakawn
ging ai Karai Kasang mung rai nga ai law.

Hkristu a magam hta,

Rev. Dr. Hkalam Samson

Amu Madu, KBC
(2010 – 2018)

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 GA NHPAW

Music Hpaji Sharin Laika Buk (Level -1) hpe bai gram lajang let dip shapraw dat
lu ai gaw Karai a chyeju rai sai law. Ndai (Level -1) gaw Sarama Lazing Lu Awng KBC
Music Hpa-awn rai nga ai ten, 2000 ning September 17-24 ya laman, Mandalay Buga
kaw galaw ai (8) lang na KBC Music Ningbaw Ningla sharin hpawng hta Sarama Lahtaw
Ja Nan (KTC) tang madun ai Music hte seng ai laika ngau hte Sara Kaba Lahpai Zau Lat
shawng numshawn shaw ka shalat da ai “Music Npawt Nhpang Hti Sharin Laika” kaw
nna nkau mi hpe galaw jahtuk kapyawn nhtawm shalat shapraw da ai hpe, 2017 ning,
June 28 – July 1 laman Myitkyina Ginwang, Tanghpre Buga, N-jut Lung hta galaw ai
Music Theory (Level -1 & 2) gram lajang workshop hta bai jahkum shatsup dat ai laika
rai nga ai.
Ndai laika buk hta theory hte seng nna bai sang lang, jahkum jat da ga ai. Shaman
shakyang na lam ni hpe mung bai jat bang da ai. Chapter nkau hpe gaw lesson n re ai
Appendix hku nna bai bang tawn ai. Grai hkum tsup sai ngu n tsun mayu ai raitim, Music
hti sharin ai lam hta madi shadaw karum ya lu na re hpe myit mada ai. Ndai laika buk hpe
hkaja sa wa ai lam hta, ten galu sharin la lu ai ni gaw kalang lata ngut hkra sharin hkaja la
lu yang grau kaja nga ai. Raitim, Buga ginra a sharin aten masa hta hkan nna, sharin sara
ni kaw nna ninggam masat let mung sharin mai nga ai. Ngut kre hkra sharin hkam la sa
wa na matu mung n-gun jaw mayu ai law.
Ndai Music Hpaji Hti Sharin Laika buk hpe Nu/Wa, Ramma, Shayi /Shadang sha
ni yawng jawm sharin hkam la sa wa let Karai Kasang hpe matut shakawn kungdawn nga
ga law.

KBC Music Magam Dap

(2014-2018)

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 MALAWM NI (CONTENT)

GA MACHYAN……………………………………………………………………….i
GA NHPAW…………………………………………………………………………ii ii
MALAWM NI…………………………………………………………………………. iii
DAW KABA LANGAI: MUSIC NPAWT NHPANG ……………………………1
1
I. Nsen…………………………………………………………………………
(a) Pitch
(b) Duration
(c) Intensity
(d) Timbre 3
II. Staff………………………………………………………………………. 4
III. Musical Alhpabets…………………………………………………………..4
IV. Clef………………………………………………………………………….
(a) Treble Clef (sh) G Clef
(b) Bass Clef (sh) F Clef
(c) C Clef
(d) Alto Clef
(e) Tenor Clef
(f) Neutral Clef 7
V. Great staff or Grand Staff…………………………………………………… 8
VI. Ledger Lines and paces……………………………………………………... 8
VII. Octave and Octave Identification……………………………………………
11
DAW KABA LAHKAWNG: NSI NOTE KA AI HTA RA AI LAM NI…………. 11
I. 13
Nsi Note Hte Hkring Kumla Ni (Notes & Rests………………………….
II. Nsi Note Hte Shanhte a Matut Mahkai Lam ………………………………. 13
13
III. Hkring Kumla Hte Shanhte a Matut Mahkai Lam ………………………..
IV. Tie, Slur and Phrase Marking………………………..……………………..
(a) Tie
(b) Slur
(c) Phrase Mark 14
V. Dots………………………………………………………….…………….. 15
VI. Note Divisions…………………………………………………………….
16
DAW KABA MASUM: ATEN KUMLA NI (METER)…………………………… 16
I. Bar line, Double Barline, and Measure…………………………………….
(a) Bar Line………………………………………………………………..
(b) Measure…………………………………………………………………
(c) Double Bar Line………………………………………………………..
(d) Final Bar Line………………………………………………………….
(e) Repeat Bar Line……………………………………………………….. 17
II. Aten Kumla Ni …………………………………………………………….
(a) Simple Meters …………………………………………………………
(b) Compound Meter……………………………………………………… 21
III. Meter Garan Ginhka Ai Lam ……………………………………………… 21

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 IV. Asymmetrical Meter……………………………………………………….
V. Irregular Meter…………………………………………………………i….. 22
VI. 23
Strong Beat and Weak Beat………………………………………………..
VII. Tuplet……………………………………………………………………… 24

CHAPTER MALI: ACCIDENTALS……………………………………………… 26

I. Nsen Hpring Hte Nsen Chyen……………………………………………. 26
II. Accidentals………………………………………………………………… 27
27
III. Accidentals Hte Seng Nna Chye Da Ra Ai Lam Ni……………………….
IV. Enharmonic Equivalents…………………………………… …………….. 29
V. Half Step Motion …………………………………………………………. 29

CHAPTER MANGA: KEY SIGNATURES……………………………………….. 30

I. Key Signatures…………………………………………………………… 30
II. Circle of Fifths…………………………………………………….…… 34
35
III. Placement and Spacing of Sharps and Flats………………………………..

CHAPTER KRU: RHYTHM……………………………………………………….. 37

I. 37
Rhythm Grouping………………………………………………………….
39
II. Rhythm Composing………………………………………………………..

APPENDIX…………………………………………………………………………… 40
Lata galang lai masa Ni……………………………………………………. 41
Musical Terms and Symbols………………………………………………. 42
Chyeju Dum Ga……………………………………………………………. 44
45
Dumnau (Second Edition) Na Matu Chyeju Dum Ai Lam…………………

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