Music Basic Trainee Guide

UNCLASSIFIED
TRAINEE GUIDE
(U) MUSIC BASIC
TRAINEE GUIDE
PREPARED FOR
CENTER FOR SERVICE SUPPORT

1183 CUSHING RD. NEWPORT, RI 02841
PREPARED BY
CSS LEARNING NAVY SCHOOL OF MUSIC

1410 GATOR BLVD VIRGINIA BEACH, VA 23459-2617
June 2017
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LIST OF EFFECTIVE ELEMENTS
Element No. Change In Effect Element No. Change In Effect
Title Page Original Job Sheet 3-2-2-2 Original
Trainee Name Page Original Outline Sheet 3-2-3-1 Original
List of Effective Original Job Sheet 3-2-3-2 Original

Elements
Outline Sheet 3-2-4-1 Original
Table of Contents Original
Job Sheet 3-2-4-2 Original
Safety/Hazard Original
Awareness Notice Outline Sheet 3-2-5-1 Original
Security Awareness Original Job Sheet 3-2-5-2 Original

Notice
How to Use Your Original
Trainee Guide Job Sheet 3-3-1-2 Original
Terminal Objectives Original Outline Sheet 3-3-2-1 Original
Outline Sheet 3-1-1-1 Original Job Sheet 3-3-2-2 Original
Job Sheet 3-1-1-2 Original Outline Sheet 3-3-3-1 Original
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LIST OF EFFECTIVE ELEMENTS - Continued
Outline Sheet 3-4-4-1 Original Outline Sheet 3-6-5-1 Original
Job Sheet 3-4-4-2 Original Job Sheet 3-6-5-2 Original
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TABLE OF CONTENTS
Contents Page
Title Page ................................................................................................................................................. i
List of Effective Elements ...................................................................................................................... ii
Table of Contents ................................................................................................................................... vi
Safety/Hazard Awareness Notice......................................................................................................... viii
Security Awareness Notice .................................................................................................................... ix
How To Use Your Trainee Guide ........................................................................................................... x
Terminal Objectives............................................................................................................................... xi
3-1-1-1 Identify Notation ................................................................................................................. 1

3-1-2-1 Identify Meter ..................................................................................................................... 8
3-1-3-1 Identify Metrical Stress ......................................................................................................... 12
3-2-1-1 Identify Time Signature .................................................................................................... 15
3-2-2-1 Recognize Simple Time Signatures .................................................................................. 17
3-2-3-1 Recognize Compound Time Signatures............................................................................ 21
3-2-4-1 Recognize Related and Equivalent Meters ....................................................................... 25
3-2-5-1 Recognize Composite Time Signatures ............................................................................ 27
3-3-1-1 Identify Scales and Interval Schemes ................................................................................... 32
3-3-2-1 Identify Interval Scheme for a Major Scale ...................................................................... 34
3-3-3-1 Construct a Major Scale in All Keys .................................................................................... 36
3-4-1-1 Construct All Major Key Signatures ................................................................................. 38
3-4-2-1 Recall Order of Sharps and Flats .......................................................................................... 41
3-4-3-1 Identify Key Signature ...................................................................................................... 43
3-4-4-1 Construct Circle of Major Keys (Circle of Fifths) ............................................................ 46
3-4-5-1 Identify Enharmonic Keys ................................................................................................ 49
3-5-1-1 Identify Scale Degree Names ............................................................................................ 51
3-5-2-1 Identify Scale Degree Activity in a Major Scale............................................................... 54
3-6-1-1 Construct Minor Key Signatures....................................................................................... 56
3-6-2-1 Construct Circle of Minor Keys ............................................................................................ 60
3-6-3-1 Identify Minor Scale Interval Schemes ............................................................................. 62
3-6-4-1 Construct Minor Scale in All Keys ....................................................................................... 64
3-6-5-1 Recall Minor Scale Degree Names ................................................................................... 69
3-6-6-1 Identify Scale Degree Activity in a Minor Scale .............................................................. 72
3-7-1-1 Recognize Relative Keys....................................................................................................... 76
3-7-2-1 Recognize Parallel Keys ........................................................................................................ 78
3-8-1-1 Identify Modal Scales ....................................................................................................... 81
3-8-2-1 Identify Interval Scheme for all Modes ............................................................................ 85
3-8-3-1 Identify Modes and Major Scale Degrees ............................................................................ 87
3-8-4-1 Construct Modal Scales in All Keys..................................................................................... 90
3-8-5-1 Recognize Modal Scales ................................................................................................... 94
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TABLE OF CONTENTS – Continued
3-9-1-1 Identify Chromatic, Diminished, and Whole Tone Scales ................................................ 96

3-9-2-1 Identify Pentatonic Scales ................................................................................................. 99
3-9-3-1 Construct Chromatic, Whole Tone, Diminished, and Pentatonic Scales........................... 101
3-10-1-1 Identify Harmonic and Melodic Intervals ........................................................................ 105
3-10-2-1 Recognize Interval Names................................................................................................. 107
3-10-3-1 Recall Intervals by Quality ........................................................................................... 109
3-11-1-1 Identify Enharmonic Intervals ...................................................................................... 114
3-12-1-1 Identify Simple and Compound Intervals ......................................................................... 116
3-12-2-1 Construct Simple and Compound Intervals ...................................................................... 119
3-12-3-1 Invert Simple Intervals ...................................................................................................... 121
3-12-4-1 Reduce Compound Intervals ............................................................................................. 124
3-13-1-1 Identify Diatonic and Chromatic Intervals ....................................................................... 126
3-13-2-1 Identify Consonant and Dissonant Intervals..................................................................... 128
3-14-1-1 Identify Interval Quality ............................................................................................... 131
3-14-2-1 Identify Interval Quality Relationships ......................................................................... 135
3-14-3-1 Identify Compound Interval Quality Relationships ...................................................... 138
3-15-1-1 Identify Chords and Triads ........................................................................................... 141
3-15-2-1 Construct Root Position Triads ..................................................................................... 144
3-15-3-1 Identify Consonant and Dissonant Triads ..................................................................... 146
3-15-4-1 Construct First and Second Inversion Triads ................................................................ 148
3-15-5-1 Construct Diatonic Triads ................................................................................................. 150
3-16-1-1 Identify Chord Symbols ................................................................................................ 154
3-16-2-1 Identify the Root from a Chord Symbol ....................................................................... 158
3-16-3-1 Identify Chord Qualifiers .............................................................................................. 160
3-16-4-1 Identify Pitches for a Given Chord Symbol .................................................................. 163
3-16-5-1 Label Chord Formula for a Given Chord Symbol ........................................................... 166
3-17-2-1 Identify Seventh Chords ............................................................................................... 168
3-17-2-2 Construct Seventh Chords ............................................................................................ 171
3-18-1-1 Identify Extended and Altered Chords .......................................................................... 175
3-18-2-1 Identify Chord Formula for Extended and Altered Chords ........................................... 178
3-19-1-1 Identify Scales or Modes for Melodic Analysis............................................................ 182
3-19-2-1 Construct Chord Scales ................................................................................................. 185
3-19-3-1 Identify Melodic Approach Tones ................................................................................ 188
3-19-4-1 Identify Melodic Anticipations ..................................................................................... 191
3-20-1-1 Perform Transposition ....................................................................................................... 193
3-21-1-1 Identify Concepts Associated with Harmony ............................................................... 196
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SAFETY/HAZARD AWARENESS NOTICE
There are no high risk elements or safety concerns in this course or the associated assignments.
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SECURITY AWARENESS NOTICE
This course does not contain any classified material.
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HOW TO USE YOUR TRAINEE GUIDE
TRAINEE GUIDE
This publication is now in your custody and is for your use while learning about Musician.
Upon completion of this course of instruction, return this Trainee Guide to your instructor.
This Trainee Guide was prepared to guide your training on Musician and prepare you to use the
equipment/subsystem/system ODs/OPs in maintaining the Musician skillset.
Several other pertinent publications will be referred to frequently during the course.
The effectiveness of this Trainee Guide depends upon the conscientious accomplishment of the reading
and study assignments in the reference publications.
PRESENTATION OF COURSE MATERIAL
The course material on Musician is divided into lessons and sections, presented in a logical sequence.
The knowledge and skills to be acquired are stated for each section so that you can check your
progress.
Assignments in ODs/OPs and other publications are given for study.
KNOWLEDGE AND PERFORMANCE TESTS
Testing for Musician consists of computer-based knowledge exams and practical performance tests
that will be administered by the instructor. Knowledge tests will be administered in the Electronic
Presentation System and performance tests will be administered in the labs.
SAFETY PRECAUTIONS
When performing procedures on equipment, you must adhere to all safety precautions, including
Notes, Warnings, and Cautions contained in the procedural documentation. Practice safety while
learning and while maintaining equipment. Take time to be safe.
SECURITY
In the event that classified information is added to the Trainee Guide as a result of trainee notes, the
Trainee Guide shall be marked and handled in accordance with the regulations of the latest edition of
the Department of the Navy (DoN) Information Security Program (ISP) Regulation (SECNAVINST
5510.36 (series)).
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TERMINAL OBJECTIVES
1 (U) GIVEN APPLICABLE TECHNICAL DOCUMENTATION AND EQUIPMENT, THE

LEARNER WILL BE ABLE TO PERFORM AS AN INSTRUMENTALIST WITH 100%
ACCURACY IN ACCORDANCE WITH OCCUPATIONAL STANDARDS FOR MUSICIANS.

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF NOTATION AND METER TO
INSTRUMENTAL PERFORMANCE WITH 100% ACCURACY IN ACCORDANCE WITH
OCCUPATIONAL STANDARDS FOR MUSICIANS.

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF TIME SIGNATURES TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF SCALES AND INTERVALS TO
INSTRUMENTAL PERFORMANCE WITH 100% ACURACY IN ACCORDANCE WITH

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF KEY SIGNATURES TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF SCALE DEGREES TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF MINOR SCALES TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF RELATIVE AND PARALLEL
KEYS TO INSTRUMENTAL PERFORMANCE WITH 100% ACCURACY IN ACCORDANCE
WITH OCCUPATIONAL STANDARDS FOR MUSICIANS.

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF MODAL SCALES TO
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TERMINAL OBJECTIVES - Continued

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF SYMMETRICAL SCALES TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF HARMONIC AND MELODIC
INTERVALS TO INSTRUMENTAL PERFORMANCE WITH 100% ACCURACY IN
ACCORDANCE WITH OCCUPATIONAL STANDARDS FOR MUSICIANS.

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF ENHARMONIC INTERVALS TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF SIMPLE AND COMPOUND

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF DIATONIC AND CHROMATIC

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF INTERVAL QUALITY TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF DIATONIC TRIADS TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF CHORD SYMBOLS TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF 7TH CHORDS TO
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TERMINAL OBJECTIVES - Continued


LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF EXTENDED AND ALTERED
CHORDS TO INSTRUMENTAL PERFORMANCE WITH 100% ACCURACY IN

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF CHORD SCALES TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF TRANSPOSITION TO

LEARNER WILL BE ABLE TO APPLY KNOWLEDGE OF CONCEPTS ASSOCIATED
WITH HARMONY TO INSTRUMENTAL PERFORMANCE WITH 100% ACCURACY IN
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Sheet 1 of 7
OUTLINE SHEET 3-1-1-1
(U) IDENTIFY NOTATION
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with notation.
B. OBJECTIVES
(U) GIVEN APPLICABLE TECHNICAL DOCUMENTATION AND EQUIPMENT, THE

LEARNER WILL BE ABLE TO IDENTIFY NOTATION WITH 80% ACCURACY IN
C. SECTION OUTLINE
1. Topic Introduction
a. GIVEN applicable technical documentation and equipment, the learner will be able to
IDENTIFY notation with 80% accuracy in accordance with Occupational Standards for
Musicians.
2. Safety Information
a. There are no high risk elements or safety concerns in this section or the associated
assignments.
3. Security Information
a. The content of this section and the associated assignments are unclassified.
4. Key Statement
a. This section covers the identification of notation within music. The main topics included are
notation of pitch, staves, clefs, chromatic signs, pitch nomenclature, notation of duration and
dynamic expressions.
5. Notation of Pitch
a. Notation
(1) Notation is a method of writing down music using symbols.
b. Pitch
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Outline Sheet 3-1-1-1 Sheet 2 of 7
(1) Pitch refers to specific notes in the chromatic scale.
(a) The natural tones of the chromatic scale are named with the first 7 letters of the
alphabet A, B, C, D, E, F and G.
(b) The natural tones (or the white keys on the keyboard) have two natural half
steps between E and F and B and C.
(2) Chromatic Scale
(a) The chromatic scale is the scale that includes all of the 12 pitches (13 when
including the octave tone), and thus all of the 12 half steps contained in an
octave.
(b) Chromatic Signs
[1] Chromatic signs are used to illustrate the notes that fall within the
chromatic scale.
[2] Chromatic signs modify the notes by half steps or whole steps.
[a] The sharp (♯) is used to raise the specific note up by one half
step.
[b] The double sharp is used to raise the specific note up by two
half steps.
[c] The flat (♭) is used to lower the specific note down by one half
step.
[d] The double flat (♭♭) is used to lower the specific note down by
two half steps.
[3] A Natural sign (♮) cancels the chromatic sign within that measure.
(c) In the chromatic scale, sharps are used when ascending to the next octave and
flats are used when descending. Although the pitches are notated differently,
the notes possess the same tone, making them enharmonic equivalents.
(3) Enharmonic Notes
(a) Enharmonic notes are tones that possess the same pitch but are spelled using
the opposite chromatic sign (for example, G♭ = F♯).
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(4) Octave
(a) An octave is defined as the beginning and the end point of any chromatic scale
with 13 half steps.
(b) Octave names must be used to distinguish between identical pitch names in
different octaves.
(c) Octave names are one way a pitch may be represented precisely without staff
notation or reference to the keyboard. The octave names are:
[1] A0 and B0 (also known as Subcontra)
[2] C1 to B1 (also known as Contra)
[3] C2 to B2 (also known as Great)
[4] C3 to B3 (also known as Small)
[5] C4 to B4 (also known as First)
[6] C5 to B5 (also known as Second)
[7] C6 to B6 (also known as Third)
[8] C7 to B7 (also known as Fourth)
c. Staff
(1) Staff refers to the lines and spaces upon which notes are drawn. Notes placed on a staff
will indicate pitch.
(2) Each line or space on the staff represents a different musical pitch.
(3) The lower the note is placed on the staff, the lower the pitch will be. Conversely, the
higher a note is placed on a staff, the higher the pitch will be.
(4) Great Staff
(a) The Great Staff is a theoretical construct that is not used in the actual notation
of music. Instead, the Great Staff serves as a tool to display the location of each
pitch on the staff in relation to middle C. Notes placed on a Great Staff will
indicate pitch over a wider range than a single staff.
(b) When notating music, only five lines of the Great Staff are used. These five
lines are preceded by a Clef symbol.
(5) Clef
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(a) A clef symbol designates the range of pitches that the lines and spaces
represent.
(b) There are three clef types used in common practice. These three types include:
[1] G Clef (Treble Clef)
[2] F Clef (Bass Clef)
[3] C Clef (Alto Clef)
[a] Alto Clef
[b] Tenor Clef
(6) Grand Staff
(a) The Grand Staff is a combination of two staves joined together by a brace.
(b) These staves work together to display a greater range of notes than one
instrument might be able to perform.
[1] The top staff uses a treble clef, and the bottom staff uses a bass clef.
(c) Middle C (the center key on the keyboard) appears centered between the two
staves, written on the first ledger line for each clef.
6. Staff Anatomy
a. The grand staff is made of several key parts that dictate notation.
(1) Staff: Five lines that pitches are placed on or between within a specific clef
(2) Clef: Designates the range of pitches that the lines and spaces represent
(3) Brace: Holds one or more staves together
(4) Bar line: Separates measures within the staff
(5) Measure: The space between two bar lines that contains notation
(6) Double Bar Line: Indicates the end of a section or composition.
7. Note Anatomy
a. Notes are made up of several different parts:
(1) Note head
(2) Stem
(3) Flag (or beam if connected to another note)
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(4) Ledger line (if notated outside the five lines of the staff)
b. Ledger Lines
(1) Ledger lines are used to indicate the pitch when music is notated outside of the five
lines of a given staff.
(2) Ledger lines are written as short, horizontal lines that are parallel to the staff, and are
spaced at the same distance as the lines within the staff.
8. Notation of Duration
a. Notation of duration refers to the time aspect of note duration and silence duration as
represented on the staff. Rhythm is the element in music that creates the beat and leads the
performer from one note to the next.
(1) Notational symbols for sounds are called notes.
(2) Notational symbols for silences are called rests.
(3) Notational symbols for note duration are annotated by types of notes and types of rests.
b. Types of Notes and Rests
(1) Each type of note shares a duration with a certain type of rest.
(2) The standard of measurement for note duration in most musical time is the beat.
Regularly recurring pulsations in music are known as beats (or pulses).
(3) A note head indicates the length of a given duration by a specified amount. The notes
are named in ways that indicate what length they represent in common time.
(a) A whole note and a whole rest both have a duration of 4 beats.
(b) A half note and a half rest both have a duration of 2 beats.
(c) A quarter note and a quarter rest both have a duration of 1 beat.
(d) An eighth note and an eighth rest both have a duration of ½ beat.
(e) A sixteenth note and a sixteenth rest both have a duration of ¼ beat.
c. Tied and Dotted Notes
(1) Tie Symbol
(a) A tie symbol is used to extend the duration of a note by adding the duration of
each note within the tie. Ties are not used with rests.
(b) A tie is a curved line joining two or more successive notes of identical pitch.
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(c) Tied notes sound as one note.
(2) Dotted Notes and Rests
(a) A dot symbol placed after a note or rest increases duration by one half the
original duration (0.5 more than the note alone).
(b) A dotted note or rest has a value equal to three of the next smaller value.
(c) Note and rest duration may be further increased by additional dots placed after
the original dot. Each additional dot increases the duration of the note or rest by
one half the value of the previous dot.
9. Glossary
• Bar Line: Separates measures within the staff.
• Beat: A regularly recurring pulsation that is the standard for time measurement in music.
• Brace: Holds one or more staves together.
• Chromatic Scale: The scale that includes all of the 12 pitches (13 when including the octave
tone), and therefore, all of the 12 half steps contained in an octave.
• Clef: Designates the range of pitches that the lines and spaces represent.
• Dot: Increases the duration of a note by one half the original duration.
• Double Bar Line: Indicates the end of a section or composition.
• Grand Staff: A grand staff is a combination of two staves joined together by a brace. A treble
clef is used for the top staff, and a bass clef is used for the bottom staff.
• Great Staff: A theoretical construct that is not used in the actual notation of music. Instead, the
Great Staff serves as a tool to display the location of each pitch on the staff in relation to
middle C. Notes placed on a Great Staff will indicate pitch over a wider range than a single
staff.
• Ledger Line: Used to indicate the pitch when music is notated outside of the five lines of a
given staff.
• Measure: The space between two bar lines that contains notation.
• Notation: A method of writing down music using symbols.
• Octave: The beginning and the end point of any chromatic scale with 12 half steps.
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• Pitch: Refers to specific notes within the chromatic scale.
• Rhythm: Refers to the time aspect of sound duration and silence duration.
• Staff: The lines upon which notes are drawn. Notes placed on a staff will indicate pitch.
• Tie: Used to extend the duration of a note by adding the duration of each note within the tie.
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Sheet 1 of 4
(U) IDENTIFY METER
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with meter.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY METER WITH 80% ACCURACY IN
C. SECTION OUTLINE
IDENTIFY meter with 80% accuracy in accordance with Occupational Standards for
Musicians.
assignments.
4. Key Statement
a. This section covers the identification of meter within music. The main topics included are
beat, meter, and tempo.
5. Beat
a. A beat is a regularly recurring pulsation that is the standard for time measurement in music.
(1) Beats in music are not of a fixed duration. The slower the music, the longer the
duration of the beat; the faster the music, the shorter the duration of the beat.
(2) Each note contains a value of beats depending on the way the note is drawn. Note
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heads and stems indicate the number of beats the note is played.
6. Meter
a. Meter is the grouping of consistent patterns of beats within a composition.
(1) Beats are most commonly grouped together in groups of two, three, or four beats.
These beat groupings are separated and contained within the staff by the use of
measures.
(a) Measures are notated by a vertical line though the staff. These lines are known
as bar lines.
b. Meter Classification
(1) Meter is categorized as either simple or compound, based on the division of beats.
(a) Simple Meter occurs when the beat is divisible by two.
(b) Compound Meter occurs when the beat is divisible by three.
(2) Meter is also classified by the number of beats per measure.
(a) Duple Meter contains two beats in a measure.
(b) Triple Meter contains three beats in a measure.
(c) Quadruple Meter contains four beats in a measure.
7. Tempo
a. Tempo refers to the speed or pace at which the beat progresses. Slow tempos consist of beats
with longer durations, and faster tempos consist of beats with shorter durations.
b. Beats Per Minute (BPM)
(1) BPMs are a precise measurement of tempo. The BPM is comprised of a number
(usually between 60 and 240) that represents the beats per minute. Some common
examples of BPM are:
(a) Quarter Note = 90
[1] This tempo marking signifies that the quarter note equals 90 beats per
minute (BPM).
(b) Dotted Quarter Note = 140
[1] This tempo marking signifies that the dotted quarter notes receive 140
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beats per minute (BPM).
(c) Half Note = 60
[1] This tempo marking signifies that the half notes receive 60 beats per
minute (BPM).
c. Tempo Terms
(1) Tempo terms are written words that describe the rate of the beat. In orchestral and wind
band writing, these terms are typically written in a language such as Italian. In
commercial writing, the descriptions are written in English. Some commonly used
terms are:
(a) Grave (extremely slow)
[1] The range for Grave tempo is 40 beats per minute and below.
(b) Largo (very slow)
[1] The range for Largo tempo is 40 to 60 beats per minute.
(c) Adagio (slow)
[1] The range for Adagio tempo is 60 to 80 beats per minute.
(d) Andante (walking pace)
[1] The range for Andante tempo is 80 to 100 beats per minute.
(e) Moderato (moderate speed)
[1] The range for Moderato tempo is 100 to 120 beats per minute.
(f) Allegro (quick & lively)
[1] The range for Allegro tempo is 120 to 160 beats per minute.
(g) Presto (very, very fast)
(h) The range for Presto tempo is 160 to 200 beats per minute.
d. Tempo Expressions
(1) Tempo Expressions are terms that indicate an interruption in tempo in a composition.
Some common terms are:
(a) Ritardando (rit) or Rallentando (rall): gradually slowing down
(b) Accelerando (accel) or Stringendo: gradually accelerating
(c) A Tempo: Returning to the original tempo after a period of deviation
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8. Glossary
• A Tempo: Return to the original tempo after a period of deviation.
• Accelerando or Stringendo: Gradual increase in tempo.
• Adagio: Moderately slow.
• Allegro: Fast and lively.
• Andante: Walking pace.
• Beat: A regularly recurring pulsation that is the standard for time measurement in music.
• Beats Per Minute: A precise measurement of tempo.
• Grave: Extremely slow.
• Largo: Very slow.
• Meter: The grouping of beats in music.
• Moderato: Moderate speed.
• Presto: Very, very fast.
• Ritardando or Rallentando: Gradual decrease in tempo.
• Tempo: Refers to the speed or pace at which the beat progresses.
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Sheet 1 of 3
(U) IDENTIFY METRICAL STRESS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with metrical stress.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY METRICAL STRESS WITH 80% ACCURACY IN
C. SECTION OUTLINE
IDENTIFY metrical stress with 80% accuracy in accordance with Occupational Standards for
Musicians.
assignments.
4. Key Statement
a. This section covers the identification of metric stress within music. The main topics included
are metrical stress, duple meter, triple meter, and quadruple meter.
5. Metrical Stress
a. Metrical stress, sometimes referred to as metric accent, is a distinction of strong and weak beat
patterns in a meter.
(1) The first beat in the meter is always the strongest.
(2) Beats that occur later in the meter will have less stress than the first beat, and will,
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therefore, be weaker.
b. The two main categories of metrical stress are simple meter and compound meter.
(1) In instances of simple metrical stress, the beat is divided by two (1 +).
(2) In instances of compound metrical stress, the beat is divided by three (1 + a).
6. Duple, Triple, and Quadruple Meters

a. Duple Meter
(1) Duple Meter follows a metric stress pattern of strong-weak, meaning that music with
this meter contains a strong downbeat and a weaker second beat.
(2) A well-known piece that has simple duple meter metrical stress is “Ode to Joy.” The
metrical stress pattern for this music is strong on beat 1, and weak on beat 2.
(3) Examples of simple and compound time signatures that have duple meter are:
(a) 2/4 (Simple Duple)
(b) 6/8 (Compound Duple)
b. Triple Meter
(1) Triple Meter follows a metric stress pattern of strong-weak-weak, meaning that music
with this meter contains a recurring pattern of one strong beat followed by two weaker
beats.
(2) A well-known piece has a triple meter metrical stress is Brahm’s “Waltz in A Major.”
The metrical stress pattern for this music is strong on beat 1, weak on beat 2, and weak
on beat 3.
(3) Examples of simple and compound time signatures that have triple meter are:
(a) 3/4 (Simple Triple)
(b) 9/8 (Compound Triple)
c. Quadruple Meter
(1) Quadruple Meter follows a metric stress pattern of strong-weak-less-strong-weak,
meaning that music with this meter contains a recurring pattern of one strong beat
followed by three weaker beats, but the third beat in the group is stronger than the
second and fourth beats.
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(2) A well-known piece that has a quadruple meter metrical stress is “America the
Beautiful.” The metrical stress pattern is strong on beat 1, weak on beat 2, strong on beat
3 (but less than on beat 1), and weak on beat 4.
(3) Examples of simple and compound time signatures that are written in quadruple meter
are:
(a) 4/4 (Simple Quadruple)
(b) 12/8 (Compound Quadruple)
7. Glossary
• Duple Meter: A rhythmic pattern with two beats per measure.
• Metrical Stress: Describes the beat groupings established in the meter.
• Quadruple Meter: A rhythmic pattern with four beats per measure.
• Triple Meter: A rhythmic pattern with three beats per measure.
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Sheet 1 of 2
(U) IDENTIFY TIME SIGNATURE
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with time signatures.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY TIME SIGNATURE WITH 80% ACCURACY IN
C. SECTION OUTLINE
IDENTIFY time signatures with 80% accuracy in accordance with Occupational Standards
for Musicians.
a. There are no high risk elements or safety concerns in this section or in the associated
assignments.
4. Key Statement
a. This section covers the identification of time signatures within music. The main topics
included are a definition of time signatures, an overview of their structure, common time, and
cut time.
5. Time Signatures
a. Time signatures indicate how many beats will occur in each measure, the unit of the beat, and
whether the beat is simple or compound.
(1) The time signature is represented by two Arabic numbers, one on top of the other, at the
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beginning of the staff. Time signatures are placed within the limits of the outer staff
lines following the key signature. In addition to being placed at the beginning of a
composition, time signatures are also written whenever the meter changes
(a) The top number in a time signature defines how many beats are in a measure. The
bottom number in a time signature defines which note value equals one beat.
(b) For example, in 3/8 time, there are three beats in a measure, and an eighth note gets
a beat. A time signature of 3/8 does not mean that each measure is only made up of
eighth notes. Measures may contain any value of notes or rests but cannot exceed
the total number of beats per measure indicated.
6. Common Time
a. Common time is a meter in which there are four beats in a measure, and the quarter note gets
the beat.
b. Common time is the most prevalent meter in music. It can be represented by a 4/4 time
signature or by the letter C.
c. Any note or rest value may be used, as long as the combination of notes and/or rests within a
measure is equal to four quarter notes.
7. Cut Time
a. Cut time is a meter in which there are two beats in a measure, and the half note gets the beat.
b. Cut time is represented by a 2/2 time signature or by a C with a vertical line that bisects it.
c. Any note or rest value may be used, as long as the combination of notes within a measure is
equal to two half notes.
8. Glossary
• Common Time: A meter in which there are four beats in a measure, and the quarter note gets
the beat.
• Cut Time: A meter in which there are two beats in a measure and the half note gets the beat.
• Time Signature: Indicates how many beats will occur in each measure, the unit of beat, and
whether the beat is simple or compound.
• Unit of Beat: The value that gets one beat.
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Sheet 1 of 4
(U) RECOGNIZE SIMPLE TIME SIGNATURES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with simple time signatures.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECOGNIZE SIMPLE TIME SIGNATURES WITH 80%
C. SECTION OUTLINE
RECOGNIZE simple time signatures with 80% accuracy in accordance with Occupational
Standards for Musicians.
a. There are no high risk elements or safety concerns in this section or in the associated
assignments.
4. Key Statement
a. This section covers the concept of simple time signatures. The main topics included are a
definition of simple time signatures, an overview of their structure, metrical stress, and
common examples of simple time signatures.
5. Simple Time Signatures

a. A simple time signature is a time signature that contains a unit of beat divisible by two.
b. Since unaltered note and rest values are normally divisible by two, any undotted note may be
used as the unit of beat.
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c. The bottom number in a simple time signature specifies the unit of beat. The most commonly
used bottom numbers in a simple time signature are 2, 4, and 8.
d. The top number in a simple time signature specifies the number of beats per measure. The most
commonly used top numbers in simple time signatures are 2, 3, and 4.
e. Duple, triple, or quadruple metrical stress is indicated by the top number in a time signature of
2, 3, or 4, respectively.
f. A simple time signature divides the beat into two parts:
(1) If the unit of beat is a whole note, then the divided notes are two half notes.
(2) If the unit of beat is a half note, then the divided notes are two quarter notes.
(3) If the unit of beat is a quarter note, then the divided notes are two eighth notes.
(4) If the unit of beat is an eighth note, then the divided notes are two sixteenth notes.
6. Simple Time Signature Examples

a. Simple Duple
(1) 2/4 Time:
(a) In 2/4 time, there are two beats per measure. The quarter note is the unit of beat.
(b) 2/4 time is classified as a duple meter because there are two beats in a measure. It is
classified as a simple meter because the unit of beat can be divided into two equal parts.
(c) The division of the unit of beat (quarter note) is two eighth notes.
(2) 2/2 Time (Cut Time):
(a) In 2/2 time, there are two beats per measure. The half note is the unit of beat.
(b) 2/2 time is classified as a duple meter because there are two beats in a measure. It is
classified as a simple meter because the unit of beat can be divided into two equal
parts.
(c) The division of the unit of beat (half note) is two quarter notes.
b. Simple Triple
(1) 3/4 Time:
(a) In 3/4 time, there are three beats per measure. The quarter note is the unit of beat.
3/4 time is classified as a triple meter because there are three beats in a measure. It is
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classified as a simple meter because the unit of beat can be divided into two equal parts.
(b) The division of the unit of beat (quarter note) is two eighth notes.
(2) 3/2 Time
(a) In 3/2 time, there are three beats per measure. The half note is the unit of beat.
(b) 3/2 time is classified as a triple meter because there are three beats in a measure. It is
classified as a simple meter, because the unit of beat can be divided into two equal
parts.
c. Simple Quadruple
(1) 4/4 Time (Common Time):
(a) In 4/4 time, there are four beats per measure. The quarter note is the unit of beat.
(b) 4/4 time is classified as a quadruple meter because there are four beats in a measure. It
is classified as a simple meter because the unit of beat can be divided into two equal
parts.
(c) The division of the unit of beat (quarter note) is two eighth notes.
(2) 4/2 Time
(a) In 4/2 time, there are four beats per measure. The half note is the unit of beat.
(b) 4/2 time is classified as a quadruple meter because there are four beats in a measure. It
is classified as a simple meter because the unit of beat can be divided into two equal
parts.
7. Glossary
• Simple Time Signature: A time signature that contains a unit of beat divisible by two.
• Simple Duple: A simple time signature with two beats per measure, indicated by a top number
of two in the time signature.
• Simple Triple: A simple time signature with three beats per measure, indicated by a top
number of three in the time signature.
• Simple Quadruple: A simple time signature with four beats per measure, indicated by a top
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number of four in the time signature.
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Sheet 1 of 4
(U) RECOGNIZE COMPOUND TIME SIGNATURES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with compound time signatures.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECOGNIZE COMPOUND TIME SIGNATURES WITH
80% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL STANDARDS FOR
MUSICIANS.
C. SECTION OUTLINE
RECOGNIZE compound time signatures with 80% accuracy in accordance with
Occupational Standards for Musicians.
assignments.
4. Key Statement
a. This section covers the recognition of compound time signatures. The main topics
included are compound time signatures, division of the beat, and examples of duple,
triple, and quadruple compound time signatures.
5. Compound Time Signatures

a. A compound time signature is a time signature that has a unit of beat that is divisible by
three.
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b. Compound time signatures indicate the number of divisions of beats in each measure,
rather than the number of beats.
c. In a compound time signature, the bottom number will always be 2, 4, 8, 16, 32, or 64.
These bottom numbers indicate the division of beat.
d. In a compound time signature, the top number will always be 6, 9, 12, 15, 18, 24 etc.
These top numbers indicate the duration of the division of beat. Since the beat is always
divisible by three in a compound time signature, the top number will always be a number
divisible by three.
(1) Example: A top number of 6 is equal to two beats with three divisions. A top
number of 9 is equal to three beats with three divisions.
e. Duple, triple, or quadruple metrical stress is indicated by a top number of 6, 9, or 12,
respectively.
f. Since dotted note and rest values are typically divisible by three, any dotted note may be
used as the unit of beat.
(1) The unit of beat can be derived by determining the dotted note value equal to
three of the notes specified by the bottom number of the time signature.
(a) If the unit of beat is a dotted whole note, the divided notes are three half
notes.
(b) If the unit of beat is a dotted half note, the divided notes are three quarter
notes.
(c) If the unit of beat is a dotted quarter note, the divided notes are three
eighth notes.
6. Compound Time Signature Examples

a. Compound Duple
(1) 6/8 Time
(a) In 6/8 time, there are two beats per measure. The unit of beat is a dotted
quarter note.
(b) 6/8 time is classified as a duple meter.
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(c) 6/8 time is classified as a compound meter because the unit of beat can be
divided into three notes.
(d) The division of the unit of beat (dotted quarter note) is three eighth notes.
(2) 6/4 Time
(a) In 6/4 time, there are two beats per measure. The unit of beat is a dotted
half note.
(b) 6/4 time is classified as a duple meter because there are two beats in a
measure.
(c) It is classified as a compound meter because the unit of beat can be
(d) The division of the unit of beat (dotted half note) is three quarter notes.
b. Compound Triple
(1) 9/8 Time
(a) In 9/8 time, there are three beats per measure. The unit of beat is a dotted
quarter note.
(b) 9/8 time is classified as a triple meter because there are three beats in a
measure.
(c) 9/8 time is classified as a compound meter because the unit of beat can be
(2) 9/16 Time (Compound Triple)
(a) In 9/16 time, there are three beats per measure. The unit of beat is a dotted
eighth note.
(b) 9/16 time is classified as a triple meter because there are three beats in a
measure.
(c) 9/16 time is classified as a compound meter because the unit of beat can
be divided into three notes.
(d) The division of the unit of beat (dotted eighth note) is three sixteenth
notes.
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c. Compound Quadruple
(1) 12/8 Time
(a) In 12/8 time, there are four beats per measure. The unit of beat is a dotted
quarter note.
(b) 12/8 time is classified as a quadruple meter because there are four beats in
a measure.
(c) 12/18 time is classified as a Compound Meter because the unit of beat can
(2) 12/4 Time
(a) In 12/4 time, there are four beats per measure. The unit of beat is a dotted
half note.
(b) 12/4 time is classified as quadruple meter because there are four beats in a
measure.
(c) 12/4 time is classified as a compound meter because the unit of beat can
(d) The division of the unit of beat (dotted half note) is three quarter notes.
7. Glossary
• Compound Time Signatures: A time signature that has a unit of beat that is divisible
by three.
• Compound Duple: A meter with two beats per measure that can be divided into three
notes.
• Compound Triple: A meter with three beats per measure than can be divided into three
notes.
• Compound Quadruple: A meter with four beats per measure that can be divided into
three notes.
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Sheet 1 of 2
(U) RECOGNIZE RELATED AND EQUIVALENT METERS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with related and equivalent meters.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECOGNIZE RELATED AND EQUIVALENT METERS
WITH 80% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL STANDARDS
FOR MUSICIANS
C. SECTION OUTLINE
RECOGNIZE related and equivalent meters with 80% accuracy in accordance with
Occupational Standards for Musicians
assignments.
4. Key Statement
a. This section covers how to recognize related and equivalent meters. The main topics included
are related meters and equivalent meters.
5. Related Meters
a. Related meters have the same metrical stress, but a different unit of beat.
b. In related meters, the top number in the time signatures are the same, but the bottom numbers
are different. Therefore, it is possible to notate the same rhythm in more than one time
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c. signature. The notation, which differs, reflects a choice of the unit of beat.
(1) Example: 2/2 and 2/4 are related meters
(a) They are both simple meters, and have two beats per measure (both top
numbers are the same), but different units of beat.
(b) The unit of beat for 2/2 is a half note, while 2/4 is a quarter note.
(2) Example: 6/8 and 6/4 are related meters
(a) They are both compound meters, and have two beats per measure (both top
numbers are the same), but different units of beat.
(b) The unit of beat for 6/8 is a dotted quarter note, while 6/4 is a dotted half note.
6. Equivalent Meters
a. Equivalent meters are two different meters, one simple and one compound, which have the
same division of beat and a different unit of beat.
(1) The unit of beat in simple time is an undotted note.
(2) The unit of beat in compound time is a dotted note.
b. By making use of equivalent meters, it is possible to use the compound division of beat in
simple time, and the simple division of beat in compound time.
c. These borrowed divisions of beat are notated as the triplet in simple meter and the duplet in
compound meter.
(1) 2/4 and 6/8 are equivalent meters. The 2/4 simple meter borrows the triplet division
found in the 6/8 compound meter. The 6/8 compound meter borrows the duplet division
found in the 2/4 time signature.
(2) 4/4 and 12/8 are equivalent meters. The 4/4 simple meter borrows the triplet division
found in the 12/8 compound meter. The 12/8 compound meter borrows the duplet
division found in the 4/4 simple meter.
7. Glossary
• Equivalent Meters: Two different meters, one simple and one compound, that have the same
division of beat and different unit of beat.
• Related Meters: Meters that have the same metrical stress, but a different unit of beat.
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Sheet 1 of 5
(U) RECOGNIZE COMPOSITE TIME SIGNATURES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with composite time signatures.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECOGNIZE COMPOSITE TIME SIGNATURES WITH
MUSICIANS.
C. SECTION OUTLINE
RECOGNIZE composite time signatures with 80% accuracy in accordance with Occupational
assignments.
4. Key Statement
a. This section covers the recognition of composite time signatures. The main topics included are
composite meter and composite time signatures, including duple, triple, and quadruple
examples
5. Composite Meter
a. When music is composed of recurring beats with irregular beat groupings, the metrical stress
is Composite (or Complex).
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(1) Composite time signatures provide the composer with the ability to use meters that are
asymmetrical, which do not appear in simple and compound time signatures.
(2) Composite time signatures allow a degree of irregularity within the rhythm, as well as
freedom from regular beats.
b. Notes divisible by two and three are required for the representation of beat in composite time.
The unit of beat will be represented by undotted and dotted notes of the same value.
(1) In composite time signatures with a 5 for the top number, the division of the unit of
beat are split up into groupings with the first beat group having either three or two
divisions of the beat and the second beat grouping having the remainder of the division
of the beats to equal five divisions of the beat.
(2) In composite time signatures with a 7 for the top number, the divisions of the unit of
the beat are split up into three beat groupings. Each beat group may have either two or
three divisions of the beat per grouping. The more common beat groupings are three
divisions of the beat on the first or last beat group. Since one beat group will have
three divisions of the beat, the other two beat groups will have two divisions of each
beat.
(3) In composite time signatures with a 9 for the top number, the divisions of the unit of
beat are divided up into four beat groupings. Each beat group may have either two or
three divisions of the beat per grouping. The more common beat groupings are three
divisions of the beat on the first or last beat group. Since one beat group will have
three divisions of the beat, the other three beat groups will have two divisions of each
beat.
c. Composite time signatures may be notated in three different ways:
(1) The bottom number as the divided beat and the top number as the sum of divided beats
in the measure.
(2) The bottom number as the unit of beat and the top number as a mixed numeral.
(3) The bottom number as the divided beat and the top numbers as the beat composites.
d. Division of Beat Groupings
(1) In a composite time signature, there are recurring irregular beat groupings.
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(a) Time signatures with 5 divisions of the beat per measure have a varying beat
pattern of 3+2 or 2+3. This is composite duple metrical stress.
(b) Time signatures with 7 divisions of the beat per measure have a varying beat
pattern of 3+2+2, 2+3+2, or 2+2+3. This is composite triple metrical stress..
(c) Time signatures with 9 divisions of the beat per measure have a varying beat
pattern of 2+2+2+3, 2+2+3+2, 2+3+2+2, or 3+2+2+2. This is composite
quadruple metrical stress.
6. Composite Time Signatures

a. Composite Duple
(1) 5/4 Time
(a) 5/4 time can be divided into smaller groupings of 2 and 3 beats.
(b) There are two beat groupings for 5/4 time:
[1] The first beat grouping can be viewed as a measure of 2/4 time,
followed by a measure of 3/4 time. In this beat grouping, the beat can
be counted as 1-2-1-2-3. The total number of beats in a measure is still
equal to 5.
[2] The second beat grouping can be viewed as a measure of 3/4 time,
followed by a measure of 2/4 time. In this beat grouping, the beat can
be counted as 1-2-3-1-2. The total number of beats in a measure is still
equal to 5.
b. Composite Triple
(1) 7/8 Time
(a) 7/8 time can be divided into smaller groupings of 2 and 3 beats.
(b) There are three beat groupings for 7/8 time:
[1] The first beat grouping can be viewed as two measures of 2/8 time,
followed by a measure of 3/8 time. In this beat grouping, the division of
the unit of beat can be counted as 1-2-1-2-1-2-3. The total number of
divisions of the beat in a measure is still equal to 7.
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[2] The second beat grouping can be viewed as one measure of 2/8 time,
followed by a measure of 3/8 time, followed by a measure of 2/8 time.
In this beat grouping, the division of the unit of beat can be counted as
1-2-1-2-3-1-2. The total number of divisions of the beat in a measure is
still equal to 7.
[3] The third beat grouping can be viewed as one measure of 3/8 time,
followed by two measures of 2/8 time. In this beat grouping, the
division of the unit of beat can be counted as 1-2-3-1-2-1-2. The total
number of divisions of the beat in a measure is still equal to 7.
c. Composite Quadruple
(1) 9/8 Time
(a) 9/8 time can be identified as either Compound or Composite time, based on the
grouping of beats.
[1] For 9/8 time to be classified as compound (unit of beat is divisible by
3), the beat will be divided into 3 groups of 3 eighth notes.
[2] For 9/8 time to be classified as composite, the beat will be divided into
four groups of 2 and 3 eighth notes.
(b) There are four beat groupings for 9/8 composite time:
[1] The first beat grouping can be viewed as three measures of 2/8 time,
followed by a measure of 3/8 time. In this beat grouping, the division of
the unit of the beat can be counted as 1-2-1-2-1-2-1-2-3. The total
number of divisions of the beat in a measure is still equal to 9.
[2] The second beat grouping can be viewed as two measures of 2/8 time,
followed by a measure of 3/8 time, followed by a measure of 2/8 time.
In this beat grouping, the divisions of the unit of the beat can be
counted as 1-2-1-2-1-2-3-1-2. The total number of divisions of the beat
in a measure is still equal to 9.
[3] The third beat grouping can be viewed as one measure of 2/8 time,
followed by one measures of 3/8 time, followed by two measures of 2/8
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time. In this beat grouping, the division of the unit of beat can be
counted as 1-2-1-2-3-1-2-1-2. The total number of divisions of the beat
in a measure is still equal to 9.
[4] The fourth beat grouping can be viewed as one measure of 3/8 time,
followed by three measures of 2/8 time. In this beat grouping, the
division of the unit of beat can be counted as 1-2-3-1-2-1-2-1-2. The
total number of divisions of the beat in a measure is still equal to 9.
7. Glossary
• Composite Meter: A meter that included recurring beats with irregular beat groupings.
• Composite Duple: A meter with two beats per measure, with varying divided beat patterns.
• Composite Triple: A meter with three beats per measure, with varying divided beat patterns.
• Composite Quadruple: A meter with four beats per measure, with varying divided beat
patterns.
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Sheet 1 of 2
(U) IDENTIFY SCALES AND INTERVAL SCHEMES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with scales and intervals.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY SCALES AND INTERVALS SCHEMES WITH 80%
C. SECTION OUTLINE
IDENTIFY scales and intervals with 80% accuracy in accordance with Occupational
assignments.
4. Key Statement
a. This section covers the identification of scales and intervals within music. The main topics
included are relation of scales and intervals, an overview of basic intervals used in a scale,
chromatic intervals, scale examples, and interval schemes.
5. Intervals
a. An interval is the distance in pitch between tones.
b. Basic intervals can be represented by an H (half step) or a W (whole step).
c. A half step is the distance between any two adjacent notes, regardless of key color.
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(1) Example: A half step occurs between E and F, B and C, and D and E♭.
d. A whole step is equal to two half steps. On the piano, this would equate to every other piano
key.
(1) Example: A whole step (two half steps) occurs between C and D, D and E, and E and
F♯.
e. The interval of a repeated note can be represented by a U (unison).
6. Interval Schemes
a. Interval schemes are the formula for the construction of scales. They are comprised of an
arrangement of whole steps and half steps.
7. Scales
a. A scale is a graduated series of tones ascending or descending in order of pitch according to a
specified interval scheme.
b. Scales in western music are usually comprised of seven notes and repeat at the octave.
c. The basic intervals used for scale analysis are the half step and the whole step.
8. Chromatic Scale
9. Glossary
• Half Step: The distance between any two adjacent notes, regardless of key color.
• Interval: The distance in pitch between tones.
• Interval Scheme: The formula for the construction of scales. Comprised of an arrangement of
whole steps and half steps.
• Scale: A graduated series of tones ascending or descending in order of pitch according to a
specified interval scheme.
• Whole Step: Equal to two half steps.
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Sheet 1 of 2
(U) IDENTIFY INTERVAL SCHEME FOR A MAJOR SCALE
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the interval scheme for a Major scale.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY INTERVAL SCHEME FOR A MAJOR SCALE
FOR MUSICIANS.
C. SECTION OUTLINE
IDENTIFY interval scheme for a Major scale with 80% accuracy in accordance with
Occupational Standards for Musicians
assignments.
4. Key Statement
a. This section covers the identification of the interval scheme for a Major scale. The main topics
include a definition of scales, the interval scheme for Major scale, and Major scale
characteristics.
5. Interval Scheme for Major Scales

a. The interval scheme for a Major scale is expressed in the following way: W, W, H, W, W, W,
H. This is true for all Major scales.
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6. Interval Scheme Application for a Major Scale

a. The interval scheme for the C Major scale starts at any C on the piano. It uses only the white
keys as is moves up one octave to the next C.
b. C Major is made up of the following notes: C, D, E, F, G, A, B, C
c. Example: C Major Scale and F♯ Major Scale
7. Glossary
• Interval Scheme for Major Scale: W, W, H, W, W, W, H.
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Sheet 1 of 2
(U) CONSTRUCT A MAJOR SCALE IN ALL KEYS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the construction of a Major scale in
all keys.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT A MAJOR SCALE IN ALL KEYS WITH
MUSICIANS.
C. SECTION OUTLINE
CONSTRUCT a Major Scale in all keys with 80% accuracy in accordance with Occupational
Standards for Musicians
assignments.
4. Key Statement
a. This section covers the construction of Major scales in all keys.
5. Major Scales
a. The interval scheme for the Major scale is W, W, H, W, W, W, H. This is true for all major
scales.
b. The first note of a scale designates the key of that particular scale.
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(1) Example: A Major scale starting on C is in the key of C.
c. To construct a scale other than C Major, chromatic signs must be used to maintain the scale
formula.
6. Construct Major Scales

a. In order to construct a Major scale, pick a note to start on and follow the interval scheme
ascending (left to right) or descending (right to left)
(1) C Major
(2) G Major
(3) D Major
(4) A Major
(5) E Major
(6) B Major
(7) C♯ Major
(8) F♯ Major
(9) F Major
(10) B♭ Major
(11) E♭Major
(12) A♭Major
(13) D♭Major
(14) G♭Major
(15) C♭Major
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Sheet 1 of 3
(U) CONSTRUCT ALL MAJOR KEY SIGNATURES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the construction of all Major key
signatures.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT ALL MAJOR KEY SIGNATURES WITH
MUSICIANS
C. SECTION OUTLINE
CONSTRUCT all major key signatures with 80% accuracy in accordance with Occupational
assignments.
4. Key Statement
a. This section teaches the concept of all major key signatures. This section will define key
signatures and outline their purpose as well as teach the order of sharps and flats.
5. Major Key Signatures

a. Key signatures are a pattern of sharps or flats corresponding to a key that appears at the
beginning of a staff and indicates that certain notes are to be consistently raised or lowered.
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b. Purpose:
(1) Key signatures are utilized establish a tonal center and to minimize the use of
chromatic signs to notate the music.
(2) When key signatures are used, a chromatic sign does not need to be written on the staff
each time a note appears.
(a) A chromatic sign in a key signature affects all notes of that letter name in all
octaves.
c. Key of C has zero chromatic signs in the key signature. To construct a key signature other
than C Major chromatic signs must be used.
6. Order of Sharps
a. Sharps in Major Key Signatures
(1) There are seven key signatures that use sharps. The sharps within a key signature are
placed on a designated line/space and in a specific order.
(a) The key of G Major has one sharp in its key signature: F♯.
(b) The key of D Major has two sharps in its key signature: F♯ and C♯.
(c) The key of A Major has three sharps in its key signature: F♯, C♯, and G♯.
(d) The key of E Major has four sharps in its key signature: F♯, C♯, G♯, and D♯.
(e) The key of B Major has five sharps in its key signature: F♯, C♯, G♯, D♯, and
A♯.
(f) The key of F♯ Major has six sharps in its key signature: F♯, C♯, G♯, D♯, A♯,
and E♯.
(g) The key of C♯ Major has seven sharps in its key signature: F♯, C♯, G♯, D♯, A♯,
E♯, and B♯.
7. Order of Flats
a. Flats in Major Key Signatures
(1) There are seven major key signatures that use flats. The flats within a key signature
are placed on a designated line/space and in a specific order.
(a) The key of F Major has one flat: B♭.
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(b) The key of B♭ Major has two flats: B♭ and E♭.
(c) The key of E♭ Major has three flats: B♭, E♭, and A♭.
(d) The key of A♭ Major has four flats: B♭, E♭, A♭, and D♭.
(e) The key of D♭ Major has five flats: B♭, E♭, A♭,D♭, and G♭.
(f) The key of G♭ Major has six flats: B♭, E♭, A♭, D♭, G♭, and C♭.
(g) The key of C♭ Major has seven flats: B♭, E♭, A♭, D♭, G♭, C♭, and
F♭.
8. Glossary
• Key Signature: A pattern of sharps or flats corresponding to a key that appears at the
• Order of Sharps: F♯, C♯, G♯, D♯, A♯, E♯, B♯
• Order of Flats: B♭, E♭, A♭, D♭, G♭, C♭, F♭
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Sheet 1 of 2
(U) RECALL ORDER OF SHARPS AND FLATS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the order of sharps and flats.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECALL ORDER OF SHARPS AND FLATS WITH 80%
ACCURACY IN ACCORDANCE WITH OCCUPATIONAL STANDARDS FOR
MUSICIANS.
C. SECTION OUTLINE
RECALL order of sharps and flats with 80% accuracy in accordance with Occupational
assignments.
4. Key Statement
a. This section teaches trainees how to recall the order to sharps and flats.
5. Order of Sharps and Flats

a. The sharps and flats in any key signature are placed in a particular order.
(1) Each sharp and flat have one placement on the staff.
(a) The order of sharps is F♯, C♯, G♯, D♯, A♯, E♯, B♯.
(b) The order of flats is B♭, E♭, A♭, D♭, G♭, C♭, F♭.
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6. Recall Order of Sharps

a. G Major
b. E Major
c. C♯ Major
d. A Major
e. F♯ Major
f. B Major
g. D Major
7. Recall Order of Flats

a. B♭ Major
b. D♭ Major
c. A♭ Major
d. F Major
e. C♭Major
f. G♭ Major
g. E♭Major
8. Glossary
• Order of Sharps: The order of sharps in a key signature is F♯, C♯, G♯, D♯, A♯, E♯, B♯
• Order of Flats: The order of flats in a key signature is B♭, E♭, A♭, D♭, G♭, C♭, F♭
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Sheet 1 of 3
(U) IDENTIFY KEY SIGNATURE
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with trainee with key signatures.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY KEY SIGNATURE WITH 80% ACCURACY
IN ACCORDANCE WITH OCCUPATIONAL STANDARDS FOR MUSICIANS.
C. SECTION OUTLINE
IDENTIFY key signatures with 80% accuracy in accordance with Occupational Standards for
Musicians.
assignments.
4. Key Statement
a. This section teaches trainees how to identify the key signature. The major topic is identifying
key signatures with sharps and flats.
5. Identifying Major Key Signatures

a. Major Key With No Signs
(1) The key signature for C Major has no sharps or flats.
(a) The key signature of the melody contains no sharps or flats. The tonic is C.
b. Major Keys With Sharps
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(1) A key signature with one sharp indicates the key of G Major.
(a) The key signature of the melody has one sharp. The tonic is G.
(2) A key signature with two sharps indicates the key of D Major.
(a) The key signature of the melody has two sharps. The tonic is D.
(3) A key signature with three sharps indicates the key of A Major.
(a) The key signature of the melody has three sharps. The tonic is A.
(4) A key signature with four sharps indicates the key of E Major.
(a) The key signature of the melody has four sharps. The tonic is E.
(5) A key signature with five sharps indicates the key of B Major.
(a) The key signature of the melody has five sharps. The tonic is B.
(6) A key signature with six sharps indicates the key of F♯ Major.
(a) The key signature of the melody has six sharps. The tonic is F♯.
(7) A key signature with seven sharps indicates the key of C♯ Major.
(a) The key signature of the melody has seven sharps. The tonic is C♯.
c. Major Keys with Flats:
(1) A key signature with one flat indicates the key of F major.
(a) The key signature of the melody has one flat. The tonic is F.
(2) A key signature with two flats indicates the key of B♭ Major.
(a) The key signature of the melody has two flats. The tonic is B♭.
(3) A key signature with three flats indicates the key of E♭ Major.
(a) The key signature of the melody has three flats. The tonic is E♭.
(4) A key signature with four flats indicates the key of A♭ Major.
(a) The key signature of the melody with four flats. The tonic is A♭.
(5) A key signature with five flats indicates the key of D♭ Major.
(a) The key signature of the melody has five flats. The tonic is D♭.
(6) A key signature with six flats indicates the key of G♭ Major.
(a) A key signature of the melody has six flats. The tonic is G♭.
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Outline Sheet 3-4-3-1 Sheet 3of 3
(7) A key signature that has seven flats indicates the key of C♭ Major.
(a) A key signature of the melody has seven flats. The tonic is C♭.
6. Glossary
• Key Signature: A pattern of sharps or flats corresponding to a key that appears at the
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Sheet 1 of 3
(U) CONSTRUCT CIRCLE OF MAJOR KEYS (CIRCLE OF FIFTHS)
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the circle of Major keys (Circle of
Fifths).
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT CIRCLE OF MAJOR KEYS (CIRCLE OF
FIFTHS) WITH 100% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL
STANDARDS FOR MUSICIANS.
C. SECTION OUTLINE
CONSTRUCT circle of major keys (circle of fifths) with 100% accuracy in accordance with
occupational standards for musicians.
assignments.
4. Key Statement
a. This section teaches how to construct the circle of fifths. The main topics include a definition
of the circle of fifths and the way in which it is constructed.
5. Circle of Major Keys (Circle of Fifths)

a. The circle of major keys (circle of fifths) is a visual representation, similar to a clock, of the
relationships of key signatures and the number of sharps and flats in each key. It provides an
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important insight into the inherent relationship between enharmonic keys, as well as providing
some navigational assistance when determining the number of sharps and flats in a key
signature.
(1) The circle contains 12 positions that represent 15 Major keys including three
enharmonic keys.
(2) The key of C Major, which has no sharps or flats, assumes the top position. The key of
G Major containing one sharp is placed immediately to the right of the C Major
position.
(a) Note that the relationship from one key to the next in a clockwise motion is the
interval of an ascending perfect fifth.
(b) Once all sharp keys have been accounted for, note that the relationship from
one key to the next is the interval of a perfect fifth.
(3) The key of C Major, which has no sharps or flats, assumes the top position. The key of
F contains one flat, therefore it is placed immediately to the left of the C position, and
so on.
(a) Once all flat keys have been accounted for, note that the relationship from one
key to the next is a descending fifth.
6. Constructing the Circle of Fifths: Top Position (Key of C)

a. Since the key of C Major possesses no sharps or flats within its key signature, it is placed at
the 12 o’clock position on the circle of fifths.
7. Constructing the Circle of Fifths: Ascending fifths from C Maj (Keys containing sharps)
a. There is one sharp (F♯) in the key signature of G Major. Note that G is a perfect fifth above
the previous key of C.
b. There are two sharps (F♯ and C♯) in the key signature of D Major. Note that D is a perfect
fifth above the previous key of G.
c. There are three sharps (F♯, C♯, and G♯) in the key signature of A Major. Note that A is a
perfect fifth above the previous key of D.
d. There are four sharps (F♯, C♯, G♯, and D♯) in the key signature of E Major. Note that E is a
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perfect fifth above the previous key of A.
e. There are five sharps (F♯, C♯, G♯, D♯, and A♯) in the key signature of B Major. Note that B is
a perfect fifth above the previous key of E.
f. There are six sharps (F♯, C♯, G♯, D♯, A♯, and E♯) in the key signature of F♯ Major. Note that
F♯ is a perfect fifth above the previous key of B.
g. There are seven sharps (F♯, C♯, G♯, D♯, A♯, E♯, and B♯) in the key signature of C♯ Major.
Note that C♯ is a perfect fifth above the previous key of F♯.
8. Constructing the Circle of Fifths: Descending fifths from C Maj (Keys containing flats)
a. There is one flat (B♭) in the key signature of F Major. Note that F is a perfect fifth below the
previous key of C.
b. There are two flats (B♭ and E♭) in the key signature of B♭ Major. Note that B♭ is a
perfect fifth below the previous key of F.
c. There are three flats (B♭, E♭ and A♭) in the key signature of E♭ Major. Note that E♭ is a
perfect fifth below the previous key of B♭.
d. There are four flats (B♭, E♭, A♭ and D♭) in the key signature of A♭ Major. Note that A♭
is a perfect fifth below the previous key of E♭.
e. There are five flats (B♭, E♭, A♭, D♭ and G♭) in the key signature of D♭ Major. Note that
D♭is a perfect fifth below the previous key of A♭.
f. There are six flats (B♭, E♭, A♭, D♭, G♭ and F♭) in the key signature of G♭ Major. Note
that G♭ is a perfect fifth below the previous key of D♭.
g. There are seven flats (B♭, E♭ A♭, D♭, G♭, F♭ and C♭) in the key signature of C♭ Major.
Note that C♭ is a perfect fifth below the previous key of G♭.
9. Glossary
• Circle of Major Keys (Circle of Fifths): A visual representation of the relationships of key
signatures and the number of sharps and flats in each key.
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Sheet 1 of 2
(U) IDENTIFY ENHARMONIC KEYS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with enharmonic keys.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY ENHARMONIC KEYS WITH 80%
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY enharmonic keys with 80% accuracy in accordance with occupational standards
for musicians.
assignments.
4. Key Statement
a. This section will cover enharmonic key signatures. The main topics will include a definition of
enharmonic key signatures and examples.
5. Enharmonic Key Signatures

a. Enharmonic key signatures contain pitches that sound the same but are notated differently
(1) The key of B Major has five sharps, and the key of C♭ Major has seven flats. When
each of these scales are played on the piano, the same pitches are played, but they are
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notated differently.
(2) The key of F♯ Major has six sharps, and the key of G♭ Major has six flats. When
each of these scales are played on the piano, the same pitches are played, but they are
(3) The key of C♯ Major has seven sharps and the key of D♭ Major has five flats. When
each of these scales is played on the piano, the same pitches are played, but they are
6. Glossary
• Enharmonic Key Signatures: Contain pitches that sound the same but are notated differently.
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Sheet 1 of 3
(U) IDENTIFY SCALE DEGREE NAMES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with scale degree names.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY SCALE DEGREE NAMES WITH 80%
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY scale degree names with 80% accuracy in accordance with Occupational
assignments.
4. Key Statement
a. This section will cover the identification of scale degree names.
5. Scale Degree Names

a. Each note in a scale has a traditional name, known as a scale degree, within a one-octave span.
These names are not specific to the notes themselves, but rather to the relative position of the
notes in the scale in comparison to the first note.
(1) Tonic
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(a) The tonic is the first note in a scale.
(2) Supertonic
(a) The supertonic is the second note in the scale.
(3) Mediant
(a) The mediant is the third note in the scale.
(4) Subdominant
(a) The subdominant is the fourth note in the scale.
(5) Dominant
(a) The dominant is the fifth note in the scale.
(6) Submediant
(a) The submediant is the sixth note in the scale.
(7) Leading Tone
(a) The leading tone is a half step below the upper tonic.
6. Scale Degree Numbers

a. Scale degrees can also be represented by a number with a caret (^) over the top.
(1) The first note in a scale (tonic) is equal to 1̂ .
(2) The second note in a scale (supertonic) is equal to 2̂ .
(3) The third note in a scale (mediant) is equal to 3̂ .
(4) The fourth note in a scale (subdominant) is equal to 4̂ .
(5) The fifth note in a scale (dominant) is equal to 5̂ .
(6) The sixth note in a scale (submediant) is equal to 6̂ .
(7) The seventh note in a scale (leading tone) is equal to 7̂ .
(8) The eighth note in a scale (tonic) is equal to the same number as the first note, 1̂ .
7. Glossary
• Scale Degree: A name given to a note in a scale to identify its position relative to the tonic.
• Tonic: The first note in a scale.
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• Supertonic: The second note in a scale.
• Mediant: The third note in a scale.
• Subdominant: The fourth note in a scale.
• Dominant: The fifth note in a scale.
• Submediant: The sixth note in a scale.
• Leading Tone: The seventh note in a scale.
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Sheet 1 of 2
(U) IDENTIFY SCALE DEGREE ACTIVITY IN A MAJOR SCALE
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with scale degree activity.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY SCALE DEGREE ACTIVITY IN A MAJOR
SCALE WITH 80% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL
C. SECTION OUTLINE
IDENTIFY scale degree activity in a major scale with 80% accuracy in accordance with
assignments.
4. Key Statement
a. This section will cover the identification of scale degree activity in a Major scale. The topics
included will be stable tones, active tones, and tendency tones.
5. Stable Tones
a. Stable tones want to be at rest.
b. The stable tones are the tonic, mediant, and dominant. These are the three notes that define the
scale key signature.
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(1) Tonic
(2) Mediant
(3) Dominant
c. Stable Tones in a Melody
6. Active Tones and Tendency Tones

a. Active tones are scale degree notes that want to move. When an active tone acts as a point of
repose in a melody, the listener can sense that the active tone wants a more stable pitch.
(1) The active tones are supertonic, subdominant, submediant, and leading tone.
b. In major keys, active tones will normally move to one of the two adjacent notes in the scale,
which are stable tones.
c. Tendency tones are active tones that have a strong pull towards a specific pitch, such as the
leading tone being pulled toward the tonic. The tendency tones are the subdominant and
leading tone.
(1) The subdominant is a tendency tone, which has a strong pull towards the mediant.
(2) The leading tone is a tendency tone that leads to the tonic.
d. Active Tones in a Melody
e. Tendency Tones in a Melody
7. Glossary
• Stable Tone: A scale degree note that wants to be at rest.
• Active Tone: A scale degree note that wants to move.
• Tendency Tone: A scale degree note that exhibits a strong pull toward a specific pitch.
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Sheet 1 of 4
(U) CONSTRUCT MINOR KEY SIGNATURES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with minor key signatures.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT MINOR KEY SIGNATURES WITH 100%
MUSICIANS.
C. SECTION OUTLINE
CONSTRUCT all minor key signatures with 80% accuracy in accordance with Occupational
assignments.
4. Key Statement
a. This section will cover the construction of minor key signatures. The topics included are
minor key signatures, relative minor, and parallel minor.
5. Minor Key Signatures

a. Minor key signatures indicate the chromatic signs that are naturally occurring in minor scales.
b. Purpose:
(1) Key signatures are used so that a chromatic sign does not need to be written on the
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staff each time a note appears. Similarly to major key signatures, the use of minor key
signatures helps keep the music from being too cluttered with redundant chromatic
signs.
(2) A chromatic sign in a minor key signature affects all notes of that letter name in all
octaves throughout the duration of the key signature
6. Relative Minor
a. All key signatures that represent a major key can also represent a minor key. A relative minor
key will share the same key signature as its major counterpart but will possess a different tonic
note. The relationship of a major key signature to its corresponding minor key signature is
referred to as relative minor.
b. The relative minor key will begin on the 6th degree (submediant) of a major scale.
(1) For example, A minor would be the relative minor to C Major, as A minor begins on
the 6th scale degree of C Major, and both possess no chromatic signs in the key
signature.
c. In contrast, the relative major of a minor key begins on the 3rd scale degree of the minor
scale.
(1) For example, F Major is the relative major key to D Minor.
d. To construct a minor key signature:
(1) Find the 6th degree (submediant) of a major scale. This is where the relative minor
key begins.
7. Parallel Minor
a. Parallel minor keys share the same tonic note of its corresponding major key, yet they possess
different scale degree qualities and require different key signatures. In this example, C major
has no sharps or flats and C minor has three flats.
8. Zero Sharps or Flats:

a. The key of A minor has zero chromatic signs. To construct a key other than A minor,
chromatic signs must be used. The relative major for A minor is C Major.
9. Minor Key signatures: Sharps

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a. The key of E Minor has one sharp in its key signature: F♯. The relative major for E minor is
G Major.
b. The key of B minor has two sharps in its key signature: F♯ and C♯. The relative major for B
minor is D Major.
c. The key of F♯ minor has three sharps in its key signature: F♯, C♯ and G♯. The relative major
for F♯ minor is A Major.
d. The key of C♯ minor has four sharps in its key signature: F♯, C♯, G♯ and D♯. The relative
major for C♯ minor is E Major.
e. The key of G♯ minor has five sharps in its key signature: F♯, C♯, G♯, D♯ and A♯. The
relative major for G♯ minor is B Major.
f. The key of D♯ minor has six sharps in its key signature: F♯, C♯, G♯, D♯, A♯ and E♯. The
relative major for D♯ minor is F♯ Major.
g. The key of A♯ minor has seven sharps in its key signature: F♯, C♯, G♯, D♯, A♯, E♯, and B♯.
The relative major for A♯ minor is C♯ Major.
10. Minor Key Signatures: Flats

a. The key of D minor has one flat in its key signature: B♭. The relative major for D minor is F
Major.
b. The key of G minor has two flats in its key signature: B♭ and E♭. The relative major for G
minor is B♭ Major.
c. The key of C minor has three flats in its key signature: B♭, E♭, and A♭. The relative major
for C minor is E♭ Major.
d. The key of F minor contains four flats in its key signature: B♭, E♭, A♭, and D♭. The
relative major for F minor is A♭ Major.
e. The key of B♭ minor contains five flats in its key signature: B♭, E♭, A♭, D♭ and G♭. The
relative major for B♭ minor is D♭ Major.
f. The key of E♭ minor contains six flats in its key signature: B♭, E♭, A♭, D♭, G♭, and C♭.
The relative major for E♭ minor is G♭ Major.
g. The key of A♭ minor contains seven flats in its key signature: B♭, E♭, A♭, D♭, G♭, C♭,
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and F♭. The relative major for A♭ minor is C♭ Major.
11. Glossary
• Minor key signatures: Indicate the chromatic signs that naturally occur in minor scales.
• Relative key: The relationship of a major key signature to its minor key signature.
• Parallel minor keys: Share the same tonic note with its corresponding major key, yet possess
different scale degree qualities and require different key signatures.
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Sheet 1 of 2
(U) CONSTRUCT CIRCLE OF MINOR KEYS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the construction of the circle of minor
keys.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT CIRCLE OF MINOR KEYS WITH 100%
MUSICIANS.
C. SECTION OUTLINE
CONSTRUCT the circle of fifths for minor keys with 100% accuracy in accordance with
assignments.
4. Key Statement
a. This section will cover the construction of the circle of minor keys.
5. Circle of Fifths: Minor Keys

a. Minor keys, like major keys, can be organized around the circle of fifths by perfect fifths in
order to display the order of chromatic signs in each key.
b. The circle of fifths functions in the same way for minor keys as it does for major keys. The
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keys progress with sharps as they ascend by perfect fifths from the A minor position.
c. Conversely, the keys progress with flats as they descend by perfect fifths from the A minor
position.
6. No Sharps or Flats: A Minor

a. Like its relative major key of C, the key of A minor uses no sharps or flats to create the
qualities needed for a natural minor scale.
7. Ascending Fifths from A minor: Keys Containing Sharps

a. There is one sharp (F♯) in the key signature of E minor.
b. There are two sharps (F♯ and C♯) in the key signature of B minor.
c. There are three sharps (F♯, C♯, and G♯) in the key signature of F♯ minor.
d. There are four sharps (F♯, C♯, G♯, and D♯) in the key signature of C♯ minor.
e. There are five sharps (F♯, C♯, G♯, D♯, and A♯) in the key signature of G♯ minor.
f. There are six sharps (F♯, C♯, G♯, D♯, A♯, and E♯) in the key signature of D♯ minor. Note that
D♯ is a perfect fifth above the previous minor key of G♯.
g. There are seven sharps (F♯, C♯, G♯, D♯, A♯, E♯, and B♯) in the key signature of A♯ minor.
8. Descending Fifths from A minor: Keys Containing Flats:

a. There is one flat (B♭) in the key signature of D minor.
b. There are two flats (B♭and E♭) in the key signature of G minor.
c. There are three flats (B♭, E♭, and A♭) in the key signature of C minor.
d. There are four flats (B♭, E♭, A♭, and D♭) in the key signature of F minor.
e. There are five flats (B♭, E♭, A♭, D♭, and G♭) in the key signature of B♭minor.
f. There are six flats (B♭, E♭, A♭, D♭, G♭ and F♭) in the key signature of E♭minor.
g. There are seven flats (B♭, E♭, A♭, D♭, G♭, F♭, and C♭) in the key signature of A♭minor.
9. Glossary
• Circle of Minor Keys (Circle of Fifths): Visual representation of the relationships of minor
key signatures and the number of sharps and flats in each key.
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Sheet 1 of 2
(U) IDENTIFY MINOR SCALE INTERVAL SCHEMES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with minor scale interval schemes.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY MINOR SCALE INTERVAL SCHEMES WITH
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY minor scale interval schemes with 80% accuracy in accordance with Occupational
assignments.
4. Key Statement
a. This section will cover the identification of minor scale interval schemes. The main topic will
include the interval schemes of natural minor, harmonic minor, and melodic minor.
5. Types of Minor Scales

a. There are three common types of minor scales: the natural minor scale, the harmonic minor
scale, and the melodic minor scale. Each scale possesses a lowered mediant (minor 3rd),
however, the three scales differ in regards to the intervals of the sixth and seventh scale
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degrees.
6. Natural Minor
a. The natural minor scale interval scheme is W-H-W-W-H-W-W.
b. Examples
(1) F Natural minor
(2) D Natural minor
7. Harmonic Minor
a. The harmonic minor scale interval scheme is W-H-W-W-H-W+-H.
b. Examples
(1) E Harmonic minor
(2) G Harmonic minor
8. Melodic Minor
a. The melodic minor scale has two interval schemes that change depending on the direction of
the scale (ascending or descending).
(1) When the scale is ascending, the interval scheme is W-H-W-W-W-W-H.
(2) When the scale is descending, the interval scheme of the melodic minor is identical to
the natural minor scale, W-H-W-W-H-W-W.
b. Examples:
(1) B Melodic minor
(2) A Melodic minor
9. Glossary
• Natural Minor: The natural minor scale interval scheme is W-H-W-W-H-W-W.
• Harmonic Minor: The harmonic minor scale interval scheme is W-H-W-W-H-W+-H.
• Melodic Minor Ascending: When the scale is ascending, the interval scheme is W-H-W-W-
W-W-H.
• Melodic Minor Descending: When the scale is descending, the interval scheme of the melodic
minor is identical to the natural minor scale, W-H-W-W-H-W-W.
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Sheet 1 of 5
(U) CONSTRUCT MINOR SCALE IN ALL KEYS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the construction of minor scales in all
keys.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT MINOR SCALE IN ALL KEYS WITH
MUSICIANS.
C. SECTION OUTLINE
CONSTUCT minor scales in all keys with 100% accuracy in accordance with Occupational
assignments.
4. Key Statement
a. This section covers the construction of minor scales in all keys. The topics included are
natural minor scales, harmonic minor scales, and melodic minor scales.
5. Constructing a Natural Minor Scale

a. How to Construct a Natural Minor Scale
(1) Determine the tonic.
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(2) Notate the notes following the tonic by using the interval scheme (W-H-W-W-H- W-
W).
(3) Apply this technique to the rest of the keys.
6. Constructing Natural Minor Scales in All Keys

a. A natural minor: Key signature of zero sharps or flats; A, B, C, D, E, F, G.
b. D natural Minor: Key signature of one flat; D, E, F, G, A, B♭, C, D
c. G natural Minor: Key signature of two flats; G, A, B♭, C, D, E♭, F, G.
d. C natural Minor: Key signature of three flats; C, D, E♭, F, G, A♭, B♭, C.
e. F natural Minor: Key signature of four flats; F, G, A♭, B♭, C, D♭, E♭, F
f. B♭ natural Minor: Key signature of five flats; B♭, C, D♭, E♭, F, G, A♭, B♭.
g. E♭natural Minor: Key signature of six flats; E♭, F, G♭, A♭, B♭, C♭, D♭, E♭.
h. A♭natural Minor: Key signature of seven flats; A♭, B♭, C♭, D♭, E♭, F♭, G♭, A♭.
i. E natural minor: Key signature of one sharp; E, F♯, G, A, B, C, D, E.
j. B natural Minor: Key signature of two sharps; B, C♯, D, E, F♯, G, A, B.
k. F♯ natural Minor: Key signature of three sharps; F♯, G♯, A, B, C♯, D, E, F♯.
l. C♯ natural Minor: Key signature of four sharps; C♯, D♯, E, F♯, G♯, A, B, C♯.
m. G♯ natural Minor: Key signature of five sharps; G♯, A♯, B, C♯, D♯, E, F♯, G♯.
n. D♯ natural Minor: Key signature of six sharps; D♯, E♯, F♯, G♯, A♯, B, C♯, D♯.
o. A♯ natural Minor: Key signature of seven sharps; A♯, B♯, C♯, D♯, E♯, F♯, G♯, A♯.
7. Constructing Harmonic Minor Scales

a. How to Construct a Harmonic Minor Scale
(1) Determine the tonic.
(2) Notate the notes following the tonic by using the interval scheme (W-H-W-W-H- W+-
H).
(3) Apply this technique to the rest of the keys.
8. Constructing Harmonic Minor Scales in All Keys

a. A Harmonic minor: Key signature of zero sharps or flats; A, B C, D, E, F, G♯, A.
b. D Harmonic minor: Key signature of one flat; D, E, F, G, A, B♭, C♯, D.
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c. G Harmonic minor: Key signature of two flats; G, A, B♭, C, D, E♭, F♯, G.
d. C Harmonic minor: Key signature of three flats; C, D, E♭, F, G, A♭, B natural, C.
e. F Harmonic minor: Key signature of four flats; F, G, A♭, B♭, C, D♭, E natural, F.
f. B♭ Harmonic minor: Key signature of five flats; B♭, C, D♭, E♭, F, G♭, A natural, B♭.
g. E♭Harmonic minor: Key signature of six flats; E♭, F, G♭, A♭, B♭, C♭, D natural, E♭.
h. A♭Harmonic minor: Key signature of seven flats; A♭, B♭, C♭, D♭, E♭, F♭, G natural, A♭.
i. E Harmonic minor: Key signature of one sharp; E, F♯, G, A, B, C, D♯, E.
j. B Harmonic minor: Key signature of two sharps; B, C♯, D, E, F♯, G, A♯, B
k. F♯ Harmonic minor: Key signature of three sharps; F♯, G♯, A, B, C♯, D, E♯, F♯.
l. C♯ Harmonic minor: Key signature of four sharps; C♯, D♯, E, F♯, G♯, A, B♯, C♯
m. G♯ Harmonic minor: Key signature of five sharps; G♯, A♯, B, C♯, D♯, E, F double sharp, G♯.
n. D♯ Harmonic minor: Key signature of six sharps; D♯, E♯, F♯, G♯, A♯, B, C double sharp, D♯.
o. A♯ Harmonic minor: Key signature of seven sharps; A♯, B♯, C♯, D♯, E♯, F♯, G double sharp,
A♯.
9. Constructing Melodic Minor Scales

a. There are two interval schemes for melodic minor scales. One when ascending the scale and
one for descending the scale.
b. How to Construct a Melodic Minor Scale
c. Determine the tonic.
d. Notate the notes following the tonic by using the interval scheme (for ascending, W-H-W-W-
W-W-H, for descending, W-W-H-W-W-H-W)
e. Apply this technique to the rest of the keys.
10. Constructing Melodic Minor Scales in All Keys

a. A melodic minor: Key signature of zero sharps or flats.
Ascending: A, B C, D, E, F♯, G♯, A.
Descending: A, G, F, E, D, C, B, A
b. D melodic minor: Key signature of one flat.
Ascending: D, E, F, G, A, B natural, C♯, D
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Descending: D, C, B♭, A, G, F, E, D
c. G melodic minor: Key signature of two flats.
Ascending: G, A, B♭, C, D, E natural, F♯, G
Descending: G, F, E♭, D, C, B♭, A, G
d. C melodic minor: Key signature of three flats.
Ascending: C, D, E♭, F, G, A natural, B natural, C
Descending: C, B♭, A♭, G, F, E♭, D, C
e. F melodic minor: Key signature of four flats.
Ascending: F, G, A♭, B♭, C, D natural, E natural, F
Descending: F, E♭, D♭, C, B♭, A♭, G, F
f. B♭melodic minor: Key signature of five flats.
Ascending: B♭, C, D♭, E♭, F, G natural, A natural, B♭
Descending: B♭, A♭, G♭, F, E♭, D♭, C, B♭
g. E♭ melodic minor: Key signature of six flats.
Ascending: E♭, F, G♭, A♭, B♭, C natural, D natural, E♭
Descending: E♭, D♭, C♭, B♭, A♭, G♭, F, E♭
h. A♭melodic minor: Key signature of seven flats.
Ascending: A♭, B♭, C♭, D♭, E♭, F natural, G natural, A♭
Descending: A♭, G♭, F♭, E♭, D♭, C♭, B♭, A♭
i. E melodic minor: Key signature of one sharp.
Ascending: E, F♯, G, A, B, C♯, D♯, E
Descending: E, D, C, B, A, G, F♯, E
j. B melodic minor: Key signature of two sharps.
Ascending: B, C♯, D, E, F♯, G♯, A♯, B
Descending: B, A, G, F♯, E, D, C♯, B
k. F♯ melodic minor: Key signature of three sharps.
Ascending: F♯, G♯, A, B, C♯, D♯, E♯, F♯
Descending: F♯, E, D, C♯, B, A, G♯, F♯
l. C♯ melodic minor: Key signature of four sharps.
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Ascending: C♯, D♯, E, F♯, G♯, A♯, B♯, C♯
Descending: C♯, B, A, G♯, F♯, E, D♯, C♯
m. G♯ melodic minor: Key signature of five sharps.
Ascending: G♯, A♯, B, C♯, D♯, E♯, F double sharp, G♯
Descending: G♯, F♯, E, D♯, C♯, B, A♯, G♯
n. D♯ melodic minor: Key signature of six sharps.
Ascending: D♯, E♯, F♯, G♯, A♯, B♯, C double sharp, D♯
Descending: D♯, C♯, B, A♯, G♯, F♯, E♯, D♯
o. A♯ melodic minor: Key signature of seven sharps.
Ascending: A♯, B♯, C♯, D♯, E♯, F double sharp, G double sharp, A♯
Descending: A♯, G♯, F♯, E♯, D♯, C♯, B♯, A♯
11. Glossary
• Natural Minor Scales: The natural minor scale interval scheme is W-H-W-W-H-W-W.
• Harmonic Minor Scales: The harmonic minor interval scheme is W-H-W-W-H-W+-H.
• Melodic Minor Ascending Scales: When the melodic minor scale is ascending, the interval
scheme is W-H-W-W-W-W-H.
• Melodic Minor Descending Scales: When the melodic minor scale is descending, the interval
scheme is W-W-H-W-W-H-W.
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Sheet 1 of 3
(U) RECALL MINOR SCALE DEGREE NAMES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with minor scale degree names.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECALL MINOR SCALE DEGREE NAMES WITH 80%
MUSICIANS.
C. SECTION OUTLINE
RECALL minor scale degree names with 80% accuracy in accordance with Occupational
assignments.
4. Key Statement
a. This section will instruct trainees how to recall minor scale degree names.
5. Scale Degree Names in Natural Minor

a. There are traditional names for each of the scale steps or degrees in natural minor. These
traditional names are similar to the scale degree names for major scales except the mediant is
lowered and there is no leading tone. The seventh note is called the subtonic because it is a
whole step lower than the tonic.
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(1) Tonic.
(a) The tonic is the primary note of the key signature, and it applies to all octaves.
(2) Supertonic
(a) The supertonic is a whole step above the tonic. The supertonic is the second
note of the scale.
(3) Mediant
(a) The mediant is the third note of the scale.
(4) Subdominant
(a) The subdominant is the fourth note of the scale.
(5) Dominant
(a) The dominant is the fifth note of the scale.
(6) Submediant
(a) The submediant is the sixth note of the scale.
(7) Subtonic
(a) The subtonic is one whole step below the tonic.
6. Scale Degree Names in Harmonic Minor

a. The traditional names for each of the scale degrees in harmonic minor are similar to natural
minor with the exception being that the subtonic is raised a half step and becomes the leading
tone.
(1) Tonic
(2) Supertonic
(3) Mediant
(4) Subdominant
(5) Dominant
(6) Submediant
(7) Leading Tone
(a) This note is a half step below the tonic and functions as the leading tone.
7. Scale Degree Names in Melodic Minor
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a. There are traditional names for each of the scale steps or degrees in melodic minor. When the
scale or melodic progression ascends, the mediant is a minor third above the tonic and the
sixth and seventh scale degrees are the same as a major scale. When the scale or melodic
progression descends, the sixth and seventh scale degrees are lowered a half step copying the
natural minor scale.
b. Ascending Scale Degrees
(1) Tonic
(2) Supertonic
(3) Mediant
(4) Subdominant
(5) Dominant
(6) Submediant
(7) Leading Tone
c. Descending Scale Degrees
(1) Tonic
(2) Supertonic
(3) Mediant
(4) Subdominant
(5) Dominant
(6) Submediant
(7) Subtonic
(a) In the descending scale or melodic sequence, the Subtonic is one whole step
below the tonic, copying the natural minor.
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Sheet 1 of 4
(U) IDENTIFY SCALE DEGREE ACTIVITY IN A MINOR SCALE
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with scale degree activity in a minor scale.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY SCALE DEGREE ACTIVITY IN A MINOR
SCALE WITH 80% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL
C. SECTION OUTLINE
IDENTIFY scale degree activity in a minor scale with 80% accuracy in accordance with
assignments.
4. Key Statement
a. This section will cover scale degree activity in a minor scale. Main topics include scale degree
activity in the natural minor scale, harmonic minor scale, and melodic minor scale.
5. Natural Minor Scales

a. Stable Tones
(1) A stable tone is a scale degree note that wants to be at rest.
(a) The stable tones are the same for all three types of minor scale. The stable
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tones include the following:
[1] Tonic is the note or namesake of the key signature.
[2] Mediant is in the middle of the tonic and dominant.
[3] Dominant is the fifth note of the scale
b. Active Tones
(1) An active tone is a scale degree note that wants to move.
(a) The active tones for the natural minor scale include the following:
[1] Supertonic
[2] Subdominant
[3] Submediant
[4] Subtonic
c. Tendency Tones
(1) A tendency tone is an active tone that has a strong pull toward a specific pitch.
(a) The tendency tones for the natural minor scale include the following:
[1] Submediant
[a] The Submediant is considered to be both an active and a
tendency tone. The Submediant typically pulls down a half step
to the dominant.
6. Harmonic Minor
a. Stable Tones
(1) The stable tones are the same for all three types of minor scale. The stable tones
include the following:
(a) Tonic
(b) Mediant
(c) Dominant
b. Active Tones
(1) The active tones for the harmonic minor scale include the following:
(a) Supertonic
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(b) Subdominant
(c) Submediant
(d) Leading Tone
c. Tendency Tones
(1) The tendency tones for the harmonic minor scale include the following:
(a) Submediant
[1] The Submediant is a tendency tone and typically pulls down a half step
to the dominant.
(b) Leading Tone
[1] The leading tone is also a tendency tone that pulls to the tonic.
7. Melodic Minor
a. Stable Tones
(1) The stable tones are the same for all three types of minor scale. The stable tones
include the following:
(a) Tonic
(b) Mediant
(c) Dominant
b. Active Tones
(1) The active tones for melodic minor descending are the same as the active tones for
natural minor.
(2) The active tones for the harmonic minor scale include the following:
(a) Supertonic
(b) Subdominant
(c) Submediant
(d) Subtonic (Melodic minor descending)
(e) Leading Tone (Melodic minor ascending
c. Tendency Tones
(1) The tendency tone for the melodic minor ascending scale includes the following:
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(a) Leading Tone
[1] The leading tone is also a tendency tone that pulls to the tonic.
8. Glossary
• Active Tone: Scale degree note that wants to move.
• Stable Tone: Scale degree note that wants to be at rest.
• Tendency Tone: Active tones that have a strong pull towards a specific pitch.
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Sheet 1 of 2
(U) RECOGNIZE RELATIVE KEYS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with relative keys.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECOGNIZE RELATIVE KEYS WITH 80% ACCURACY
C. SECTION OUTLINE
RECOGNIZE relative keys with 80% accuracy in accordance with Occupational Standards
for Musicians.
assignments.
4. Key Statement
a. This section covers the concept of relative keys. Trainees will learn to recognize relative keys
using the circle of fifths.
5. Relative Keys
a. Relative keys are major and minor keys that have the same key signature.
b. The relative minor or the relative major of a particular key has a different tonic.
c. The circle of fifths helps to illustrate this concept.
(1) Examples:
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(a) C Major and A minor
(b) G Major and E minor
(c) D Major and B minor
(d) A Major and F♯ minor
(e) E Major and C♯ minor
(f) B Major and G♯ minor
(g) C♭ Major and A♭ minor
(h) F♯ Major and D♯ minor
(i) G♭ Major and E♭ minor
(j) C♯ Major and A♯ minor
(k) D♭ Major and B♭ minor
(l) A♭ Major and F minor
(m) E♭ Major and C minor
(n) B♭ Major and G minor
(o) F Major and D minor
6. Glossary
• Relative keys: Major and minor keys that have the same key signature.
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Sheet 1 of 3
(U) RECOGNIZE PARALLEL KEYS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with parallel keys.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECOGNIZE PARALLEL KEYS WITH 80% ACCURACY
C. SECTION OUTLINE
RECOGNIZE parallel keys with 80% accuracy in accordance with Occupational Standards
for Musicians.
assignments.
4. Key Statement
a. This section covers the concept of parallel keys. Main topics include a definition of parallel
keys, a description of how to find parallel key signatures with flats and with sharps as well as
with the circle of fifths.
5. Parallel Keys
a. Parallel keys are major and minor keys that share the same tonic note.
b. In order to find a major key signature's parallel, identify the tonic of the major key, then
construct the key signature of that tonic in minor.
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c. In order to find a minor key signature's parallel, identify the tonic of the minor key, then
construct the key signature of that tonic in major.
(1) Parallel Key Signatures with Flats
(a) In order to find the minor parallel key signature for major keys containing flats,
add 3 more flats in the proper order for the parallel minor key signature.
(b) The mediant is lowered by a half step.
(c) The submediant is lowered by a half step.
(d) The leading tone gets lowered by a half step and is referred to as the subtonic.
(2) Examples of Parallel Key Signatures with Flats
(a) D Major and D minor
(b) G Major and G minor
(c) C Major and C minor
(d) F Major and F minor
(e) B♭ Major and B♭ minor
(f) E♭ Major and E♭ minor
(g) A♭ Major and A♭ minor
(3) Parallel Key Signatures with Sharps
(a) In order to find the minor parallel key signature for major keys containing
sharps, subtract 3 sharps in the proper order for the parallel minor key
signature.
(b) The mediant is lowered by a half step.
(c) The submediant is lowered by a half step.
(d) The leading tone is lowered by a half step, and the name is changed to
subtonic.
(4) Examples of Parallel Key Signatures with Sharps
(a) A Major and A minor
(b) E Major and E minor
(c) B Major and B minor
(d) F♯ Major and F♯ minor
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Outline Sheet 3-7-2-1 Sheet3 of 3
(e) C♯ Major and C♯ minor
d. In order to use the circle of fifths to find a major key signature's parallel key signature, start at
the major key and move counterclockwise three spaces.
6. Glossary
• Parallel keys: Major and minor keys that share the same tonic note.
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Sheet 1 of 4
(U) IDENTIFY MODAL SCALES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with modal scales.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY MODAL SCALES WITH 80% ACCURACY IN
C. SECTION OUTLINE
IDENTIFY modal scales with 80% accuracy in accordance with occupational standards for
musicians.
assignments.
4. Key Statement
a. This section covers the identification of modal scales. The main topics include modal scales,
modal scale names, and modal scale quality.
5. Modal Scales
a. Modal scales are scales that are built off of each scale degree of a major scale.
b. Modal scales consist of eight tones containing half steps and whole steps in specified positions.
c. Modal scales have been used in many periods and styles of music and are referred to by
traditional Greek names.
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d. The modal scales are also referred to as church modes, ecclesiastical modes, and medieval
modes due to the connection to early sacred music produced during the Renaissance.
e. The seven modes are:
(1) Ionian
(2) Dorian
(3) Phrygian
(4) Lydian
(5) Mixolydian
(6) Aeolian
(7) Locrian
(a) Note: the mnemonic used to remember the seven scales is, “I don’t punch like
Mohammad Ali.”
f. Modal scales are referred to using by tonic and mode name.
(1) Example: D Dorian or F Lydian
6. Modal Scale Relationships

a. Ionian
b. Dorian
(1) Dorian is built off of the second scale degree (supertonic) of the Major scale.
c. Phrygian
(1) The Phrygian mode shares the mediant, submediant, and subtonic with the Aeolian
scale. It also has an altered supertonic.
d. Lydian
(1) The Lydian mode shares the mediant, submediant, and leading tone with the Ionian
mode. It also has an altered subdominant.
e. Mixolydian
(1) The Mixolydian mode shares the mediant and submediant with the Ionian mode. The
leading tone in the mixolydian mode is altered to become the subtonic.
f. Aeolian
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(1) The Aeolian mode is considered minor because it has lowered mediant, submediant
and leading tone when compared to the Ionian mode. The lowered leading tone is
renamed to the subtonic.
g. Locrian
(1) The Locrian mode shares the mediant, submediant, and subtonic with the Aeolian. It
also has an altered supertonic and dominant.
7. Ionian Mode
a. The Ionian mode is identical to the Major scale.
b. This mode is sometimes thought of as the parent scale, from which all other modal scales are
derived.
8. Dorian Mode
9. Phrygian Mode
10. Lydian Mode
11. Mixolydian Mode
12. Aeolian Mode
13. Locrian Mode
14. Modal Scale Quality

a. Most modes can be classified as Major or minor.
(1) The modes with a predominantly major sound are:
(a) Ionian Mode
[1] The Ionian mode is also known as the Major mode. The Ionian scale is
built on the first scale degree in a major scale.
(b) Lydian Mode
(c) Mixolydian Mode
(2) The modes with a predominantly minor sounds are:
(a) Aeolian Mode
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[1] The Aeolian mode is also known as the minor mode.
(b) Dorian Mode
(c) Phrygian Mode
(3) The mode that sounds neither major nor minor is known as the Locrian mode.
15. Glossary
• Modal Scales: Scales that are built off of each scale degree of a major scale.
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Sheet 1 of 2
(U) IDENTIFY INTERVAL SCHEME FOR ALL MODES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the interval scheme for all modes.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY INTERVAL SCHEME FOR ALL MODES
FOR MUSICIANS.
C. SECTION OUTLINE
IDENTIFY interval scheme for all modes with 80% accuracy in accordance with
assignments.
4. Key Statement
a. This section covers the identification of modal scale interval schemes. The main topics include
the interval schemes for each modal scale.
5. Ionian
a. The interval scheme is expressed in the following way: W, W, H, W, W, W, H.
6. Dorian
a. The interval scheme is expressed in the following way: W, H, W, W, W, H, W.
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7. Phrygian
a. The interval scheme is expressed in the following way: H, W, W, W, H, W, W.
8. Lydian
a. The interval scheme is expressed in the following way: W, W, W, H, W, W, H.
9. Mixolydian
a. The interval scheme is expressed in the following way: W, W, H, W, W, H, W.
10. Aeolian
a. The interval scheme is expressed in the following way: W, H, W, W, H, W, W.
11. Locrian
a. The interval scheme is expressed in the following way: H, W, W, H, W, W, W.
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Sheet 1 of 3
(U) IDENTIFY MODES AND MAJOR SCALE DEGREES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the modes and major scale degrees.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY MODES AND MAJOR SCALE DEGREES
FOR MUSICIANS.
C. SECTION OUTLINE
IDENTIFY modes and major scale degrees with 80% accuracy in accordance with
assignments.
4. Key Statement
a. This section will include a review of major scale degrees, and will also cover the relationship
between the modes and their parallel and relative major scale. Modes can be identified in any
key; however, for this period of instruction, the key of C major will be used.
5. Major Scale Degrees

a. Each note in a scale has a relative position within a one octave range.
(1) Tonic – The first note of the scale
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(2) Supertonic – The second note of the scale
(3) Mediant – The third note of the scale
(4) Subdominant – The fourth note
(5) Dominant – The fifth note of the scale
(6) Submediant – The sixth note of the scale
(7) Leading Tone – The seventh note of the scale
6. Identify Modes
a. In order to identify modes and their keys, it is crucial to understand a mode's relative and
parallel major scale, as well as its interval scheme.
b. Ionian Mode
(1) The Ionian mode is identical to the major scale.
(2) The Ionian mode can be considered the basis from which other modes are derived.
(3) The interval scheme for Ionian Mode (Major Scale) is W-W-H-W-W-W-H.
c. Dorian Mode
(1) The Dorian mode starts on the supertonic of its relative major scale.
(2) The interval scheme for the Dorian mode is W-H-W-W-W-H-W.
(3) Compared to its parallel major, the Dorian mode contains a lowered 3rd and 7th scale
degree.
d. Phrygian Mode
(1) The Phrygian mode starts on the mediant of its relative major scale.
(2) The interval scheme for the Phrygian mode is H-W-W-W-H-W-W.
(3) Compared to its parallel major, the Phrygian mode contains a lowered 2nd, 3rd, 6th,
and 7th scale degree.
e. Lydian Mode
(1) The Lydian mode starts on the subdominant of its relative major scale.
(2) The interval scheme for the Lydian mode is W-W-W-H-W-W-H.
(3) Compared to its parallel major, the Lydian mode contains a raised 4th scale degree.
f. Mixolydian Mode
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(1) The Mixolydian mode starts on the dominant of its relative major scale.
(2) The interval scheme for the Mixolydian mode is W-W-H-W-W-H-W.
(3) Compared to its parallel major, the Mixolydian mode contains a lowered 7th scale
degree.
g. Aeolian Mode
(1) The Aeolian mode is identical to the natural minor scale.
(2) The Aeolian mode starts on the submediant of its relative major scale.
(3) The interval scheme for the Aeolian mode is W-H-W-W-H-W-W.
(4) Compared to its relative major, the Aeolian mode contains a lowered 3rd, 6th, and 7th
scale degree.
h. Locrian Mode
(1) The Locrian mode starts on the leading tone of its relative major scale.
(2) The interval scheme for the Locrian mode is H-W-W-H-W-W-W.
(3) Compared to its relative major, the Locrian mode contains a lowered 2nd, 3rd, 5th,
6th, and 7th scale degree.
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Sheet 1 of 4
(U) CONSTRUCT MODAL SCALES IN ALL KEYS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the process for construction modal
scales in all keys.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT MODAL SCALES IN ALL KEYS WITH
MUSICIANS.
C. SECTION OUTLINE
CONSTRUCT modal scales in all keys with 100% accuracy in accordance with Occupational
assignments.
4. Key Statement
a. In this section, we will construct modal scales. We will specifically focus on their key
signatures and the relationships between the modes.
5. Modal Scale Construction

a. All seven of the modal scales can be constructed in any of the twelve major keys using their
specific interval schemes.
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6. Ionian Modal Scale Construction

a. To construct an Ionian scale:
(1) Choose the tonic of the scale.
(2) Utilize the interval scheme: W, W, H, W, W, W, H.
(3) Build the scale.
b. Examples
(1) G Ionian
(2) D Ionian
(3) A Ionian
(4) F Ionian
(5) B Flat Ionian
(6) E Flat Ionian
7. Dorian Modal Scale Construction

a. To construct a Dorian scale:
(2) Utilize the interval scheme: W, H, W, W, W, H, W.
b. Examples
(1) G Dorian
(2) D Dorian
(3) A Dorian
(4) F Dorian
(5) B Flat Dorian
(6) E Flat Dorian
8. Phrygian Modal Scale Construction

a. To construct a Phrygian scale:
(2) Utilize the interval scheme: H, W, W, W, H, W, W.
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b. Examples
(1) G Phrygian
(2) D Phrygian
(3) A Phrygian
(4) F Phrygian
(5) B Flat Phrygian
(6) E Flat Phrygian
9. Lydian Modal Scale Construction

a. To construct a Lydian scale:
(2) Utilize the interval scheme: W, W, W, H, W, W, H.
b. Examples
(1) G Lydian
(2) D Lydian
(3) A Lydian
(4) F Lydian
(5) B Flat Lydian
(6) E Flat Lydian
10. Mixolydian Modal Scale Construction

a. To construct a Mixolydian scale:
(2) Utilize the interval scheme: W, W, H, W, W, H, W.
b. Examples
(1) G Mixolydian
(2) D Mixolydian
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(3) A Mixolydian
(4) F Mixolydian
(5) B Flat Mixolydian
(6) E Flat Mixolydian
11. Aeolian Modal Scale Construction

a. To construct an Aeolian scale:
(2) Utilize the interval scheme: W, H, W, W, H, W, W.
b. Examples
(1) G Aeolian
(2) D Aeolian
(3) A Aeolian
(4) F Aeolian
(5) B Flat Aeolian
(6) E Flat Aeolian
12. Locrian Modal Scale Construction

a. To construct a Locrian scale:
(2) Utilize the interval scheme: H, W, W, H, W, W, W.
b. Examples
(1) G Locrian
(2) D Locrian
(3) A Locrian
(4) F Locrian
(5) B Flat Locrian
(6) E Flat Locrian
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Sheet 1 of 2
(U) RECOGNIZE MODAL SCALES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with recognizing modal scales.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECOGNIZE MODAL SCALES WITH 80% ACCURACY
C. SECTION OUTLINE
RECOGNIZE modal scales with 100% accuracy in accordance with Occupational Standards
for Musicians.
assignments.
4. Key Statement
a. This section will cover recognizing modal scales by focusing on the elements that make each
scale distinctive. This section will provide multiple examples of each modal scale.
5. Modal Scales
a. Ionian Modal Scale
b. Dorian Modal Scale
c. Phrygian Modal Scale
d. Lydian Modal Scale
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e. Mixolydian Modal Scale
f. Aeolian Modal Scale
g. Locrian Modal Scale
6. Recognize the Modal Scales

a. Identify which Major key signature allows the scale to be written diatonically. (e.g. No sharps
or flats within the scale is the key of C Major)
b. Determine what scale degree, in Major, the tonic of the modal scale is built upon. (e.g. If we
are in the key of C Major and the tonic of the scale is D, it is built upon the second scale
degree)
c. Identify which mode corresponds to that scale degree.
d. Utilize the interval scheme to confirm (e.g. Dorian W, H, W, W, W, H, W)
e. Name the scale by its tonic and mode (e.g. D Dorian)
7. Examples
a. 3 Flats
b. 2 Flats
c. 1 Flat
d. 1 Sharp
e. 2 Sharps
f. 3 Sharps
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Sheet 1 of 3
(U) IDENTIFY CHROMATIC, DIMINISHED, AND WHOLE TONE SCALES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with chromatic, diminished, and whole
tone scales.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY CHROMATIC, DIMINISHED, AND WHOLE
TONE SCALES WITH 80% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL
C. SECTION OUTLINE
IDENTIFY chromatic, diminished, and whole tone scales with 80% accuracy in accordance
with occupational standards for musicians
assignments.
4. Key Statement
a. This section covers the identification of chromatic, diminished, and whole tone scales within
music.
5. Chromatic Scales
a. Chromatic scales contain all 12 notes within an octave that are a half step apart. The scale
may start on any note and adhere to an intervallic formula of a half step between each note.
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(1) The interval scheme is expressed as H, H, H, H, H, H, H, H, H, H, H, H
(2) Key signatures with chromatic scales:
(a) Spelling the scales is important.
[1] In key signatures with flats, the accidental chromatic signs will be
naturals.
[2] Sharps should be avoided.
[3] In key signatures with sharps, the accidental chromatic signs will be
naturals. Flats should be avoided.
6. Diminished Scales
a. Diminished scales are also called Octatonic, because the interval scheme gives this scale eight
notes.
b. There is no apparent completion or resolution to this scale like there is for the modal scales.
c. The interval scheme is a repeated series of whole step, half step or half step, whole step
successions.
d. The interval scheme is written in either of the following ways:
(1) W, H, W, H, W, H, W, H
(2) H, W, H, W, H, W, H, W
e. Examples of the diminished scale
(1) Diminished Scale in the key of C
(2) Diminished Scale in the key of G
(3) Diminished Scale in the key of D
(4) Diminished Scale in the key of F
(5) Diminished Scale in the key of B♭
7. Whole Tone Scales

a. Whole tone scales are comprised of six notes with a whole step between each adjacent note.
b. The interval scheme is expressed as W, W, W, W, W, W.
c. Examples of Whole Tone Scales
(1) C Whole Tone Scale
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(2) D♭Whole Tone Scale
(3) A♭ Whole Tone Scale
(4) E♭Whole Tone Scale
(5) B♭ Whole Tone Scale
(6) F Whole Tone Scale
(7) C Whole Tone Scale
(8) G Whole Tone Scale
(9) D Whole Tone Scale
(10) A Whole Tone Scale
(11) E Whole Tone Scale
(12) B Whole Tone Scale
8. Glossary
• Chromatic Scale: A scale containing 12 notes within an octave that are a half step apart.
• Diminished Scale: A scale with eight notes and an interval formula that is a repeated series of
whole step, half step or half step, whole step successions.
• Whole Tone Scale: A scale made up of six notes with a whole step between each adjacent
note.
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Sheet 1 of 2
(U) IDENTIFY PENTATONIC SCALES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with pentatonic scales.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY PENTATONIC SCALES WITH 80%
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY pentatonic scales with 80% accuracy in accordance with occupational standards
for musicians.
assignments.
4. Key Statement
a. This section covers the identification of pentatonic scales within music. The main topics
included are major pentatonic scales and minor pentatonic scales.
5. Pentatonic Scales
a. Pentatonic comes from the Greek words pente, meaning five, and tonic, meaning tone. The
pentatonic scale is made up of five notes.
b. There are two types of pentatonic scales: Major and minor.
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6. Major Pentatonic Scales

a. Major pentatonic scales are made up of five notes.
(1) The interval scheme for the Major Pentatonic scale is: W, W, (W+H), W, (W+H).
(2) The major pentatonic scale is the same as a major scale with the subdominant (4) and
leading tone (7) omitted.
(3) Major pentatonic scales examples:
(a) B♭ Major Pentatonic Scale
(b) F Major Pentatonic Scale
(c) C Major Pentatonic Scale
(d) G Major Pentatonic Scale
(e) D Major Pentatonic Scale
7. Minor Pentatonic Scales

a. Pentatonic minor scales are made up of five notes.
(1) The interval scheme for the minor pentatonic scale is: (W+H) W, W, (W+H), W.
(2) The minor pentatonic scale is the same as a minor scale with the supertonic (2) and
submediant (6) omitted.
(3) Minor pentatonic scale examples:
(a) G Minor Pentatonic Scale
(b) D Minor Pentatonic Scale
(c) A Minor Pentatonic Scale
(d) E Minor Pentatonic Scale
(e) B Minor Pentatonic Scale
8. Glossary
• Major Pentatonic Scale: Five note scale that is identical to a Major scale, except that it has
the subdominant (4) and the leading tone (7) omitted.
• Minor Pentatonic Scale: Five note scale that is identical to the natural minor scale, except that
it has the supertonic (2) and the submediant (6) omitted.
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Sheet 1 of 4
(U) CONSTRUCT CHROMATIC, WHOLE TONE, DIMINISHED, AND PENTATONIC SCALES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the construction of chromatic, whole
tone, diminished, and pentatonic scales.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT CHROMATIC, WHOLE TONE,
DIMINISHED, AND PENTATONIC SCALES WITH 100% ACCURACY IN
C. SECTION OUTLINE
CONSTRUCT chromatic, whole tone, diminished, and pentatonic scales with 80% accuracy
in accordance with occupational standards for musicians
assignments.
4. Key Statement
a. This section focuses on the construction of symmetrical scales, including chromatic scales,
diminished scales, whole tone scales, and pentatonic scales.
5. Chromatic Scales
a. To construct a chromatic scale:
(1) Select a starting note.
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(2) Follow the interval scheme of twelve half steps.
(3) The key signature determines the notation of the chromatic scale.
(4) Any pitch requiring an accidental is written as a chromatic alteration of the previous
pitch.
b. Examples:
(1) D♭4 chromatic scale
(2) E4 chromatic scale
6. Whole Tone Scale

a. To construct a whole tone scale:
(1) Select a starting note.
(2) Follow the interval scheme of six whole steps.
(3) The whole tone scale consists of seven pitches rather than eight, so one of the staff
degrees within the scale will not contain a note.
(4) NOTE: There is more than one correct way to notate a whole tone scale.
b. Examples:
(1) E♭whole tone scale
(2) D whole tone scale
7. Diminished Scales
a. There are two variations of the diminished scale based on the interval scheme: diminished and
inverted diminished.
b. To construct a diminished scale:
(1) Select a starting note
(2) Follow the interval scheme of the appropriate alternating whole and half steps.
Diminished: W, H, W, H, W, H, W, H
Inverted Diminished: H, W, H, W, H, W, H, W
(3) The diminished scale consists of nine pitches rather than eight, so one of the staff
degrees within the scale will contain two notes.
c. Examples:
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(1) G diminished scale
(2) G inverted diminished scale
(3) F diminished scale
(4) F inverted diminished scale
8. Pentatonic Scales
a. Pentatonic scales are made up of five notes. There is both a major pentatonic scale and a
minor pentatonic scale.
(1) Major Pentatonic Scales
(a) Major pentatonic scale: W, W, (W+H), W, W, (W+H)
(b) When constructed on the first degree of a Major scale, a major pentatonic scale
contains the tonic, supertonic, mediant, dominant, and submediant of that scale.
(c) To construct a Major pentatonic scale:
[1] Select a starting note.
[2] Notate the Major scale, omitting the 4th and 7th scale degrees.
[3] The Major pentatonic scale consists of five pitches rather than eight, so
two of the staff degrees within the scale will contain no notes.
(d) Examples:
[1] E♭ Major pentatonic scale
[2] A Major pentatonic scale
(2) Minor Pentatonic Scales
(a) Minor pentatonic scale: (W+H), W, W, (W+H), W
(b) To construct a minor pentatonic scale:
[1] Select a starting note.
[2] Notate the natural minor scale, omitting the 2nd and 6th scale degrees.
[3] The minor pentatonic scale consists of five pitches rather than eight, so
two of the staff degrees within the scale will contain no notes.
(c) Examples:
[1] G minor pentatonic scale
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[2] B minor pentatonic scale
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Sheet 1 of 2
(U) IDENTIFY HARMONIC AND MELODIC INTERVALS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with harmonic and melodic intervals.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY HARMONIC AND MELODIC INTERVALS
FOR MUSICIANS.
C. SECTION OUTLINE
IDENTIFY harmonic and melodic intervals with 80% accuracy in accordance with
assignments.
4. Key Statement
a. In this section, identify harmonic and melodic intervals. The main topics include a definition
of harmonic and melodic intervals
5. Harmonic and Melodic Intervals

a. Harmonic Intervals
(1) A harmonic interval is the distance between two pitches that are played at the same
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time.
(a) Harmonic intervals are named according to the distance between each note.
They are also referred to by their quality.
(b) Harmonic intervals are the basis upon which triads and chords are built.
b. Melodic Intervals
(1) A melodic interval is the distance between two pitches played consecutively.
(a) Melodic intervals are named as melodic and according to the distance between
each note. They are also referred to by their quality.
(b) Melodic intervals are the basis upon which melodies are built.
6. Glossary
• Harmonic interval: Distance between two pitches that are played at the same time.
• Melodic interval: Distance between two pitches that are played consecutively.
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Sheet 1 of 2
(U) RECOGNIZE INTERVAL NAMES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with interval names.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECOGNIZE INTERVAL NAMES WITH 80%
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY harmonic and melodic intervals with 80% accuracy in accordance with
assignments.
4. Key Statement
a. This section covers recognizing interval names. The main topics for this section will include
interval names and recognizing intervals in harmonic and melodic form.
5. Intervals
a. An interval is the measurement of distance in pitch between two notes.
b. Interval distance is measured by the number of lines and spaces from the first note given to
the second.
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c. Even-numbered intervals are written line to space, or space to line.
d. Odd-numbered intervals are written line to line, or space to space.
6. Harmonic and Melodic Interval Names

a. Intervals are named according to the number of successive staff degrees encompassed by the
interval.
b. For a one octave range on the grand staff, the measurement and names used for interval
distances are the numbers 2 – 7, unison, and octave.
c. Examples:
(1) Unisons
(a) Unisons are intervals that have two pitches on the same line or space.
(2) Interval of a second
(3) Interval of a third
(4) Interval of a fourth
(5) Interval of a fifth
(6) Interval of a sixth
(7) Interval of a seventh
(8) Octave
(a) An octave is measured by eight lines or spaces starting at the first note and
moving to the second.
7. Glossary
• Interval: A measurement of the difference in pitch between two tones.
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Sheet 1 of 5
(U) RECALL INTERVALS BY QUALITY
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with interval quality.
B. OBJECTIVES

LEARNER WILL BE ABLE TO RECALL INTERVALS BY QUALITY WITH 80%
MUSICIANS.
C. SECTION OUTLINE
RECALL intervals by quality with 80% accuracy in accordance with occupational standards
for musicians.
assignments.
4. Key Statement
a. This section covers interval qualities.
5. Types of Interval Qualities

a. Intervals can be identified by five different qualities.
(1) Perfect Interval
(2) Major Interval
(3) Minor Interval
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(4) Augmented Interval
(5) Diminished Interval
b. When naming intervals with their qualities, use standard measurement and omit the terms
harmonic and melodic.
(1) Example: a harmonic interval of a sixth with a Major quality is named Major 6th.
6. Perfect Intervals
a. Perfect (P) is used only with unison, fourths, fifths, and octaves.
(1) Unison
(a) A perfect unison is an interval that has two identical pitches.
(b) A perfect unison is also known as perfect prime (P1).
(c) A P1 has zero half steps between the two given pitches.
(2) Perfect fourth (P4)
(a) A P4 consists of two notes in melodic or harmonic form with an interval
measurement of a fourth.
(b) P4 has five half steps between the two given pitches.
(c) In a Major scale, the fourth scale degree is a P4. There are also P4 intervals
between the second and fifth and the third and sixth scale degrees.
(3) Perfect fifth (P5)
(a) A P5 consists of two notes in melodic or harmonic form with an interval
measurement of a fifth.
(b) P5 has 7 half steps between the two given pitches.
(c) In the Major scale, the fifth scale degree is a P5. There are also P5 intervals
between the second and sixth and the third and seventh scale degrees.
(4) Octaves
(a) An octave consists of two notes in melodic or harmonic form with an interval
measurement of an octave.
(b) An octave is also known as P8.
(c) An octave has 12 half steps between the two given pitches.
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7. Major Intervals
a. Major (M) intervals are used for seconds, thirds, sixths, and sevenths.
(1) Major second (M2)
(a) A M2 consists of two notes in harmonic or melodic form with an interval
measurement of a second.
(b) A M2 has two half steps between the two given pitches.
(c) In the Major scale, the second scale degree is a M2. There is also a M2 interval
between the second and third, fourth and fifth, fifth and sixth, and sixth and
seventh scale degrees.
(2) Major third (M3)
measurement of a third.
(b) A M3 has four half steps between the two given pitches.
(c) In a Major scale, the third scale degree is a M3. There is also a M3 interval
between the fourth and sixth and the fifth and seventh scale degrees.
(3) Major sixth (M6)
measurement of a sixth.
(b) A M6 has nine half steps between the two given pitches.
(c) In a Major scale, the sixth scale degree is a M6. There is also a M6 interval
between the second and seventh scale degrees.
(4) Major seventh (M7)
measurement of a seventh.
(b) A M7 has 11 half steps between the two given pitches.
(c) In a Major scale, the seventh scale degree is a M7 and is called the leading
tone.
8. Minor Intervals
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a. Minor (m) intervals are used for seconds, thirds, sixths, and sevenths, but are a half step lower
than their major equivalent.
(1) Minor second (m2)
(a) A m2 consists of two notes in harmonic or melodic form with an interval
measurement of a lowered second.
(b) A m2 has one half step between the two given pitches.
(c) In the Major scale, there is a m2 between the third and fourth and the seventh
and eighth scale degrees.
(2) Minor third (m3)
measurement of a lowered third.
(b) A m3 has three half steps between the two given pitches.
(c) In the Major scale, there is a m3 between the second and fourth, third and fifth,
and the sixth and eighth scale degrees.
(3) Minor sixth (m6)
measurement of a lowered sixth.
(b) A m6 has eight half steps between the two given pitches.
(c) In the Major scale, there is a m6 between the third and eighth scale degrees.
(4) Minor seventh (m7)
(b) A m7 has 10 half steps between the two given pitches.
(c) In the Major scale, there is a m7 between the second and eighth scale degrees.
9. Augmented Intervals
a. An augmented interval (Aug) is created by increasing the distance of a perfect or Major
interval by a half step. This can be accomplished by raising the top note or lowering the
bottom note by a half step.
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10. Diminished Interval

a. A diminished interval (dim) is created by decreasing the distance of a perfect or minor interval
by a half step. This can be accomplished by lowering the top note or raising the bottom note
by a half step.
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Sheet 1 of 2
(U) IDENTIFY ENHARMONIC INTERVALS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with enharmonic intervals.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY ENHARMONIC INTERVALS WITH 80%
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY enharmonic intervals with 80% accuracy in accordance with occupational
standards to musicians.
assignments.
4. Key Statement
a. This section will identify enharmonic intervals
5. Enharmonic Intervals
a. Enharmonic intervals are intervals that sound the same but are spelled differently.
b. Example
(1) One common enharmonic interval example is the augmented fourth and the diminished
fifth.
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(a) An augmented fourth above C is F♯. A diminished fifth above C is G♭. Since
F♯ and G♭are enharmonic to each other, the intervals of an augmented fourth
and diminished fifth are enharmonic.
(b) An augmented fourth interval is also commonly referred to as a tritone.
c. Any interval can be spelled enharmonically.
d. Enharmonic intervals can be spelled within different key signatures.
6. Glossary
• Enharmonic Intervals: Intervals that sound the same but are spelled differently.
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Sheet 1 of 3
(U) IDENTIFY SIMPLE AND COMPOUND INTERVALS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the identification of simple and
compound intervals.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY SIMPLE AND COMPOUND INTERVALS
FOR MUSICIANS.
C. SECTION OUTLINE
IDENTIFY simple and compound intervals with 80% accuracy in accordance with
assignments.
4. Key Statement
a. Simple and compound intervals are the building blocks of chords and melodies. Identifying
these intervals is the first step of understanding how they are used and how they fit into the
structure of harmony of melody.
5. Simple Intervals:
a. Simple intervals are intervals that are an octave or smaller.
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(1) The number value for an interval is a measurement of how many spaces and lines there
are between the notes.
(2) The quality components for an interval are:
(a) Perfect (P)
(b) Minor (m)
(c) Major (M)
(d) Diminished (dim)
(e) Augmented (aug)
b. Simple Interval Examples
(1) Perfect unison (P1): An interval with two identical pitches.
(2) Minor second (m2): An interval with a half step between the notes.
(3) Major second (M2): An interval with two half steps between the notes.
(4) Minor third (m3): An interval with three half steps between the notes.
(5) Major third/diminished fourth (M3/dim4): Intervals with four half steps between the
notes.
(6) Perfect fourth (P4): An interval with five half steps between the notes.
(7) Augmented fourth/diminished fifth (aug4/dim5): Intervals with six half steps between
the notes.
(8) Perfect fifth (P5): An interval with seven half steps between the notes.
(9) Augmented fifth/minor sixth (aug5/m6): Intervals with 8 half steps between the notes.
(10) Major sixth (M6): An interval with nine half steps between the notes.
(11) Minor seventh (m7): An interval with 10 half steps between the notes.
(12) Major seventh (M7): An interval with 11 half steps between the notes.
(13) Perfect octave (P8): An interval with 12 half steps between the notes.
(14) Augmented octave (aug8): An interval with 13 half steps between the notes.
6. Compound Intervals
a. Compound intervals are intervals that are greater than an octave.
(1) Minor ninth (m9): An interval with 13 half steps between the notes.
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(2) Major ninth (M9): An interval with 14 half steps between the notes.
(3) Minor tenth (m10): An interval with 15 half steps between the notes.
(4) Major tenth/diminished eleventh (M10/dim11): Intervals with 16 half steps between
the notes.
(5) Perfect eleventh (P11): An interval with 17 half steps between the notes.
(6) augmented eleventh/diminished twelfth (aug11/dim12): Intervals with 18 half steps
between the notes.
(7) Perfect twelfth (P12): An interval with 19 half steps between the notes.
(8) Augmented twelfth/minor thirteenth (aug12/m13): Intervals with 20 half steps between
the notes.
(9) Major thirteenth (M13): An interval with 21 half steps between the notes.
(10) Minor fourteenth (m14): An interval with 22 half steps between the notes.
(11) Major fourteenth (M14): An interval with 23 half steps between the notes.
(12) Perfect fifteenth (P15): An interval with 24 half steps between the notes.
7. Glossary
• Simple Intervals: Intervals between notes that are less than an octave.
• Compound Intervals: Compound Intervals are intervals that are greater than an octave.
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Sheet 1 of 2
(U) CONSTRUCT SIMPLE AND COMPOUND INTERVALS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the construction of simple and
compound intervals.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT SIMPLE AND COMPOUND INTERVALS
FOR MUSICIANS.
C. SECTION OUTLINE
CONSTRUCT simple and compound intervals with 80% accuracy in accordance with
assignments.
4. Key Statement
a. Simple and compound intervals are the building blocks of chords and melodies. Constructing
them is the first step in understanding how chords and harmonies are composed.
5. Construct Simple Intervals

a. To construct a simple interval, given the pitch, desired interval, and desired quality:
(1) From the given pitch, count the lines and spaces to get to the desired interval
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(2) Adjust the new pitch, using chromatics as necessary, to get the desired quality
b. Examples:
(1) Perfect unison
(2) Second Intervals
(3) Third Intervals
(4) Fourth Intervals
(5) Fifth Intervals
(6) Sixth Intervals
(7) Seventh Intervals
(8) Perfect Octave
6. Construct Compound Intervals

a. To construct a compound interval, given the pitch, desired interval, and desired quality:
(1) From the given pitch, count the lines and spaces to get to the desired interval
(2) Adjust the new pitch, using chromatics as necessary, to get the desired quality
b. Examples:
(1) Ninth Intervals
(2) Tenth Intervals
(3) Eleventh Intervals
(4) Twelfth Intervals
(5) Thirteenth Intervals
(6) Fourteenth Intervals
(7) Fifteenth Intervals
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Sheet 1 of 3
(U) INVERT SIMPLE INTERVALS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the inversion of simple intervals.
B. OBJECTIVES

LEARNER WILL BE ABLE TO INVERT SIMPLE INTERVALS WITH 100% ACCURACY
C. SECTION OUTLINE
INVERT simple intervals with 100% accuracy in accordance with occupational standards for
musicians.
assignments.
4. Key Statement
a. This section will cover the inversion of simple intervals, including the process for completing
inversion and how to name inverted intervals.
5. Simple Interval Inversions

a. Simple intervals become inverted when the lower note becomes the upper note, or the upper
note becomes the lower note. This is accomplished by moving either pitch an octave.
(1) The following interval qualities will invert to each other:
(a) Major and Minor
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(b) Perfect and Perfect
(c) Diminished and Augmented
(2) The following intervals will invert to each other:
(a) Second and Seventh
(b) Third and Sixth
(c) Fourth and Fifth
b. There are three simple intervals that cannot be inverted.
(1) Perfect Unison (P1) will not invert because there is no upper or lower note.
(2) Perfect Octave (P8) will not invert because this would create a Perfect Unison (P1),
which has no upper or lower note.
(3) Augmented Octave (aug8) will not invert because the upper note would remain the
upper note, and the lower note would remain the lower note.
6. Simple Interval Inversion Process

a. To invert a simple interval and find the name of the new interval, use the following steps:
(1) Move the lower note up an octave, or the upper note down an octave.
(2) Subtract the original interval number from 9.
(3) Invert the quality of the interval.
7. Simple Interval Inversion Examples

a. Minor to Major
(1) Minor Second (m2) to Major Seventh (M7)
(2) Minor Third (m3) to Major Sixth (M6)
(3) Minor Sixth (m6) to Major Third (M3)
(4) Minor Seventh (m7) to Major Second (M2)
b. Major to Minor
(1) Major Second (M2) to Minor Seventh (m7)
(2) Major Third (M3) to Minor Sixth (m6)
(3) Major Sixth (M6) to Minor Third (m3)
(4) Major Seventh (M7) to Minor Second (m2)
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c. Perfect to Perfect
(1) Perfect Fourth (P4) to Perfect Fifth (P5)
(2) Perfect Fifth (P5) to Perfect Fourth (P4)
d. Diminished to Augmented
(1) Diminished Fourth (dim4) to Augmented Fifth (aug5)
(2) Diminished Fifth (dim5) to Augmented Fourth (aug4)
e. Augmented to Diminished
(1) Augmented Fourth (aug4) to Diminished Fifth (dim5)
(2) Augmented Fifth (aug5) to Diminished Fourth (dim4)
8. Glossary
• Inverted Simple Intervals: Simple intervals become inverted when the lower note is moved
up an octave, or the upper note is moved down an octave.
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Sheet 1 of 2
(U) REDUCE COMPOUND INTERVALS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the process for reducing compound
intervals.
B. OBJECTIVES

LEARNER WILL BE ABLE TO REDUCE COMPOUND INTERVALS WITH 100%
MUSICIANS.
C. SECTION OUTLINE
INVERT simple intervals with 100% accuracy in accordance with occupational standards for
musicians.
assignments.
4. Key Statement
a. This section will cover how to reduce compound intervals.
5. Compound Interval Reductions

a. Reducing an interval is a method of changing the relative position of the notes in an interval.
b. Compound intervals become reduced when the upper note is moved down an octave or the
lower note is moved up an octave.
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c. When compound intervals are reduced, the quality remains the same.
6. Compound Interval Reduction Process

a. To reduce a compound interval:
(1) Subtract the number 7 from the interval name.
(2) Maintain the same quality.
b. To reduce a compound interval:
(1) Subtract another 7 for each additional octave
(2) Maintain the same quality.
7. Glossary
• Inverted Compound Intervals: Compound intervals become reduced when the upper note is
moved down an octave or the lower note is moved up an octave.
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Sheet 1 of 2
(U) IDENTIFY DIATONIC AND CHROMATIC INTERVALS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the identification of diatonic and
chromatic intervals.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY DIATONIC AND CHROMATIC INTERVALS
FOR MUSICIANS.
C. SECTION OUTLINE
IDENTIFY diatonic and chromatic intervals with 80% accuracy in accordance with
assignments.
4. Key Statement
a. This section will cover the identification of diatonic and chromatic intervals.
5. Diatonic Intervals
a. Intervals are diatonic when both the upper and lower notes of the interval are found in the
same key.
(1) Example
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(a) Diatonic intervals in a C Major scale
6. Chromatic Intervals
a. Intervals are chromatic when one or both notes of the interval are foreign to the key.
(1) Example
(a) Chromatic intervals in a C Major scale
7. Diatonic and Chromatic Intervals Comparison

a. Example
(a) Diatonic and chromatic intervals in a C Major scale
8. Glossary
• Diatonic Interval: Intervals are diatonic when both the upper and lower notes of the interval
are found in the same key.
• Chromatic Interval: Intervals are chromatic when one or both notes of the interval are foreign
to the key.
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Sheet 1 of 3
(U) IDENTIFY CONSONANT AND DISSONANT INTERVALS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the identification consonant and
dissonant intervals
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY CONSONANT AND DISSONANT INTERVALS
WITH 80% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL STANDARDS FOR
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY consonant and dissonant intervals with 80% accuracy in accordance with
assignments.
4. Key Statement
a. This section covers the identification of consonant and dissonant intervals. The concept of
resolution will also be included in the section.
5. Consonant and Dissonant Intervals

a. In addition to the technical naming of an interval (quality and scale degree), intervals can also
be classified as either consonant or dissonant.
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b. Consonant Intervals
(1) Consonant intervals sound stable.
(a) The following intervals are consonant:
[1] Perfect Unison (P1)
[2] Minor third (m3)
[3] Major third (M3)
[4] Perfect fifth (P5)
[5] Minor sixth (m6)
[6] Major sixth (M6)
[7] Perfect octave (P8)
c. Dissonant Intervals
(1) Dissonant intervals sound unstable.
[1] The following intervals are dissonant: Minor second (m2)
[2] Major second (M2)
[3] Perfect fourth (P4)
[a] The P4 interval is only dissonant when it occurs above the bass
(lowest voice).
[4] Minor seventh (m7)
[5] Major seventh (M7)
[6] All augmented intervals
[7] All diminished intervals
d. These two classifications identify intervals by whether they provide a stable sound
(consonant) or create tension (dissonant).
6. Resolutions
a. The movement of an interval from dissonance to consonance is known as a resolution.
b. Resolutions provide a sense of relief from the tension created by dissonant intervals.
7. Glossary
• Consonant Interval: An interval that sounds stable.
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• Dissonant Interval: An interval that sounds unstable.
• Resolution: The movement of an interval from dissonance to consonance.
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Sheet 1 of 4
(U) IDENTIFY INTERVAL QUALITY
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the identification of interval quality.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY INTERVAL QUALITY WITH 80%
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY interval quality with 80% accuracy in accordance with occupational standards for
musicians.
assignments.
4. Key Statement
a. This section will cover the concept of interval quality, including how to identify perfect,
Major, minor, diminished, and augmented intervals.
5. Interval Quality
a. In order to identify a specific interval, both the interval’s name and quality must be stated.
The quality of an interval may be described by one of the following five terms:
(1) Perfect
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(2) Major
(3) Minor
(4) Augmented
(5) Diminished
b. Determine interval qualities based off of the Major scale of the bass note.
(1) Each note within the bass note’s Major scale will be a Major or a perfect interval,
regardless of what the bass note is.
6. Perfect Intervals
a. Perfect unison (P1)
(1) The P1 interval consists of two notes of the same pitch in melodic or harmonic form.
(2) It is also known as perfect prime (P1).
(3) It is recognized as having zero half steps between the two given pitches.
b. Perfect fourth (P4)
(1) The P4 interval consists of two notes in melodic or harmonic form with an interval
measurement of a fourth.
(2) In terms of scale degrees, the P4 interval is between the tonic and subdominant.
(3) P4 has five half steps between the two given pitches.
c. Perfect fifths (P5)
measurement of a fifth.
(2) In terms of scale degrees, the P5 interval is between the tonic and dominant.
(3) P5 has seven half steps between the two given pitches.
d. Octaves (P8)
measurement of an octave.
(2) In terms of scale degrees, the P8 interval is between the tonic and octave in a Major or
minor scale.
(3) P8 has 12 half steps between the two given pitches.
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7. Major Intervals
a. Major second (M2)
(1) The M2 interval consists of two notes in harmonic or melodic form with an interval
(2) In terms of scale degrees, the M2 interval is between the tonic and supertonic.
(3) M2 has two half steps between the two given pitches.
b. Major third (M3)
(1) The M3 interval consists of two notes in harmonic or melodic form with and interval
(2) In terms of scale degrees, the M3 interval is between the tonic and mediant.
(3) M3 has four half steps between the two given pitches.
c. Major sixth (M6)
(2) In terms of scale degrees, the M6 interval is between the tonic and submediant.
(3) M6 has nine half steps between the two given pitches.
d. Major seventh (M7)
(2) In terms of scale degrees, the M7 interval is between the tonic and leading tone.
(3) M7 has 11 half steps between the two given pitches.
8. Minor Intervals
a. A minor interval is one step smaller than a Major interval.
b. Minor second (m2)
(1) The m2 interval consists of two notes in harmonic or melodic form with an interval
(2) In terms of scale degrees, the m2 interval is between the tonic and lowered supertonic.
(3) The m2 interval has one half step between the two given pitches.
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c. Minor third (m3)
(2) In terms of scale degrees, the m3 interval is between the tonic and lowered mediant.
(3) The m3 interval has three half steps between the two given pitches.
d. Minor sixth (m6)
(2) In terms of scale degrees, the m6 interval is between the tonic and lowered
submediant.
(3) The m6 interval has eight half steps between the two given pitches.
e. Minor seventh (m7)
(2) In terms of scale degrees, the m7 interval is between the tonic and lowered leading
tone.
(3) The m7 interval has 10 half steps between the two given pitches.
9. Augmented Intervals
a. An augmented interval is one half step larger than a Perfect or Major interval.
b. The abbreviations for augmented intervals are aug or +.
10. Diminished Intervals

a. A diminished interval is one half step smaller than a Perfect or minor interval.
o.
b. The abbreviations for diminished intervals are dim or
c. There are no diminished unisons, because a perfect unison cannot be reduced, as there is no
interval smaller than zero half steps.
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Sheet 1 of 3
(U) IDENTIFY INTERVAL QUALITY RELATIONSHIPS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with interval quality relationships.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY INTERVAL QUALITY RELATIONSHIPS
FOR MUSICIANS.
C. SECTION OUTLINE
IDENTIFY interval quality relationships with 80% accuracy in accordance with occupational
standards for musicians.
assignments.
4. Key Statement
a. This section will cover the identification of interval quality relationships. The qualities
discussed will be perfect, Major, minor, augmented, and diminished
5. Interval Qualities
a. The quality of an interval is described using the following five terms:
(1) Perfect (P)
(2) Major (M)
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(3) Minor (m)
(4) Augmented (aug)
(5) Diminished (dim)
6. Interval Quality Relationships

a. Intervals can be made larger or smaller by half steps in order to alter the quality. To make an
interval larger by a half step, raise the top note or lower the bass note. To make an interval
smaller by a half step, lower the top note or raise the bass note.
(1) Perfect Intervals
(a) When perfect intervals are made larger by a half step, the quality becomes
augmented.
(b) When perfect intervals are made smaller by a half step, the quality becomes
diminished.
(2) Major Intervals
(a) When Major intervals are made larger by a half step, the quality becomes
augmented.
(b) When Major intervals are made smaller by a half step, the quality becomes
minor.
(3) Minor Intervals
(a) When minor intervals are made larger by a half step, the quality becomes
Major.
(b) When minor intervals are made smaller by a half step, the quality becomes
diminished.
(4) Augmented Intervals
(a) When augmented intervals are made smaller by a half step, the quality becomes
either Major or perfect.
(5) Diminished Intervals
(a) When diminished intervals are made larger by a half step, the quality becomes
either minor or perfect.
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7. Glossary
• Interval Quality: The quality of an interval is described using the following five terms:
perfect, Major, minor, augmented, or diminished.
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Sheet 1 of 3
(U) IDENTIFY COMPOUND INTERVAL QUALITY RELATIONSHIPS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with compound intervals quality
relationships.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY COMPOUND INTERVAL QUALITY
RELATIONSHIPS WITH 80% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL
C. SECTION OUTLINE
IDENTIFY compound interval quality relationships with 80% accuracy in accordance with
assignments.
4. Key Statement
a. This section will cover the identification of compound interval quality relationships. The
qualities discussed will be perfect, major, minor, augmented, and diminished.
5. Compound Interval Qualities

a. Compound intervals have a distance greater than an octave.
b. The quality of a compound interval is described using the following five terms:
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(1) Perfect (P)
(2) Major (M)
(3) Minor (m)
(4) Augmented (aug)
(5) Diminished (dim)
6. Compound Interval Quality Relationships

a. Compound intervals can be made smaller or larger by half steps in order to alter the quality.
(1) Perfect Intervals
(a) When perfect intervals are made larger by a half step, the quality becomes
augmented.
(b) When perfect intervals are made smaller by a half step, the quality becomes
diminished.
(2) Major Intervals
(a) When major intervals are made larger by a half step, the quality becomes
augmented.
(b) When major intervals are made smaller by a half step, the quality becomes
minor.
(3) Minor Intervals
(a) When minor intervals are made larger by a half step, the quality becomes major.
(b) When minor intervals are made smaller by a half step, the quality becomes
diminished.
(4) Augmented Intervals
(a) When augmented intervals are made smaller by a half step, the quality becomes
either major or perfect.
(5) Diminished Intervals
(a) When diminished intervals are made larger by a half step, the quality becomes
either minor or perfect.
7. Glossary
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• Interval Quality: The quality of an interval is described using the following five terms:
perfect, major, minor, augmented, or diminished.
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Sheet 1 of 3
(U) )IDENTIFY CHORDS AND TRIADS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with chords and triads.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY CHORDS AND TRIADS WITH 80%
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY chords and triads with 80% accuracy in accordance with occupational standards
for musicians.
assignments.
4. Key Statement
a. This section will identify and define chords and triads. It will also identify the four possible
combinations triads come in.
5. Chords
a. A chord is a combination of three or more different notes sounded simultaneously or in
succession.
b. A chord sounded in succession is known as a broken chord.
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c. Chords are typically stacked in intervals of a third above a specific note called the root.
6. Triads
a. A triad is a three-note chord that is spelled with stacked Major and minor thirds.
b. When stacked in thirds, the bottom of the three notes is called the root of the triad.
c. The middle note of the triad is called the 3rd, because it is an interval measurement of a third
above the root.
d. The top note of the triad is called the 5th, because it is an interval measurement of a fifth
above the root.
7. Major and Minor Third Combinations.

a. There are four possible combinations of Major and minor thirds within a triad.
(1) Major/minor Quality
(a) In a Major/minor combination the middle note of the triad is an interval of a
Major third above the root and the top note of the triad is a minor third above
the middle note.
(b) This combination creates a Major triad.
(2) minor/Major Quality
(a) In a minor/Major combination the middle note of the triad is an interval of a
minor third above the root and the top note of the triad is an interval of a Major
third above the middle note.
(b) This combination creates a minor triad.
(3) Major/Major Quality
(a) In a Major/Major combination the middle note of the triad is an interval of a
Major third above the root and the top note of the triad is an interval of a Major
third above the middle note.
(b) This combination creates an augmented triad.
(4) minor/minor Quality
(a) In a minor/minor combination, the middle note is a minor third above the root
and the top note is an interval of a minor third above the middle note.
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(b) This combination creates a diminished triad.
8. Glossary
• Chord: A combination of three or more different notes sounded simultaneously or in
succession.
• Triad: A three-note chord that is spelled with stacked Major and minor thirds.
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Sheet 1 of 2
(U) CONSTRUCT ROOT POSITION TRIADS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the construction of root position
triads.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT ROOT POSITION TRIADS WITH 100%
MUSICIANS.
C. SECTION OUTLINE
a. GIVEN the applicable technical documentation and equipment, the learner will be able to
CONSTRUCT root position triads with 100% accuracy in accordance with the occupational
assignments.
4. Key Statement
a. This section will cover constructing root position triads.
5. Root Position Triads

a. When the root of a triad is its lowest note, the chord is in root position.
6. Major Triad – Root Position

a. Root position Major triads are constructed by using the tonic (1st), mediant (3rd), and
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dominant (5th) scale degrees of a major scale.
b. When constructed, the interval between the root and the 3rd will be a M3 interval. The
interval between the root and the 5th will be a P5.
c. This creates a M3 interval under a m3 interval (M3/m3 combination).
7. Minor Triad – Root Position

a. Root position minor triads are constructed by using the tonic (1st), lowered mediant (b3) and
the dominant (5th) scale degrees of a major scale.
b. When constructed, the interval between the root and the 3rd will be a m3. The interval
between the root and the 5th will be a P5.
c. This creates a m3 under a M3 (m3/M3 combination).
8. Augmented Triad – Root Position

a. Root position augmented triads are constructed by using the tonic (1st), mediant (3rd), raised
dominant (#5) scale degrees of a major scale.
b. When constructed, the interval between the root and the 3rd will be a M3. The interval
between the root and the 5th will be an aug5.
c. This creates a M3 interval under a M3 (M3/M3 combination).
9. Diminished Triad – Root Position

a. Root position diminished triads are constructed by using the tonic (1st), lowered mediant (b3)
and lowered dominant (b5) scale degrees of a major scale.
b. When constructed, the interval between the root and the 3rd will be a m3 interval. The
interval between the root and the 5th will be a dim 5 interval.
c. This creates a minor 3rd interval under a minor 3rd interval (m3/m3 combination).
10. Glossary
• Root position triad: When the root of a triad is its lowest note, the chord is in root position.
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Sheet 1 of 2
(U) IDENTIFY CONSONANT AND DISSONANT TRIADS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with consonant and dissonant triads.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY CONSONANT AND DISSONANT TRIADS
FOR MUSICIANS.
C. SECTION OUTLINE
a. GIVEN the applicable technical documentation and equipment, the learner will be able to
IDENTIFY consonant and dissonant triads with 80% accuracy in accordance with
occupational standard for musicians.
assignments.
4. Key Statement
a. This section will cover identifying consonant and dissonant triads. This section will also
address the qualifying characteristic between consonant and dissonant triads.
5. Consonant and Dissonant Triads

a. The basic sound of triads may be generally described as consonant or dissonant.
b. Consonant triads sound stable.
c. Dissonant triads sound unstable.
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d. The interval quality between the root and the 5th determines whether the triad is consonant.
(1) Consonant triads have a perfect 5th (P5) between the root and the 5th.
(2) Dissonant triads have an augmented or diminished 5th between the root and the 5th.
6. Consonant Triads
a. Major and minor triads are generally consonant triads.
7. Dissonant Triads
a. Augmented and diminished triads are generally dissonant triads.
8. Glossary
• Consonant Triad: A triad that sounds stable.
• Dissonant Triad: A triad that sounds unstable.
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Sheet 1 of 2
(U) CONSTRUCT FIRST AND SECOND INVERSION TRIADS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the construction of first and second
inversion triads.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT FIRST AND SECOND INVERSION
TRIADS WITH 100% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL
C. SECTION OUTLINE
CONSTRUCT first and second inversion triads with 100% accuracy in accordance with
assignments.
4. Key Statement
a. This section will cover constructing first and second inversion triads.
5. Inversion of triads
a. Root position means that the root note is the lowest note of the chord; however, any part of a
chord may appear as the lowest note in order to create what are known as inversions.
b. An inversion is a change in relative position of the notes from root position. This will place a
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pitch, other than the root, as the lowest tone of the triad.
c. A triad can be in root position, first inversion, or second inversion.
6. First Inversion Triads

a. When the 3rd of a triad is the lowest note, the triad is in first inversion, regardless of the
placement of the root and 5th above it.
b. To construct first inversion triads:
(1) Rearrange the order of notes from bottom to top so that the 3rd is the lowest note.
7. Second Inversion Triads

a. When the 5th of a triad is the lowest note, the triad is in the second inversion, regardless of the
placement of the root and 3rd above it.
b. To construct second inversion triads:
(1) Rearrange the order of note from bottom to top so that the 5th is the lowest note.
8. Triad Position Comparison
9. Glossary
• Inversion: A transfer of the lowest note to any higher octave.
• First inversion triad: A triad that is constructed by placing the 3rd as the lowest tone.
• Second inversion triad: A triad that is constructed by placing the 5th as the lowest tone.
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Sheet 1 of 4
(U) CONSTRUCT DIATONIC TRIADS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the construction of diatonic triads.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT DIATONIC TRIADS WITH 100%
MUSICIANS.
C. SECTION OUTLINE
CONSTRUCT diatonic triads with 100% accuracy in accordance with occupational standards
for musicians.
assignments.
4. Key Statement
a. This section will identify, define and outline the construction of diatonic triads. It will also
cover the different chord qualities that are produced when triads are constructed diatonically
from both Major and minor scales.
5. Diatonic Triads
a. Diatonic triads are formed using only the notes of a specific scale.
b. Writing the diatonic third and fifth above each scale degree of a given scale will construct the
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diatonic triads of that particular scale of key.
c. The quality of each diatonic triad within a scale or key will be Major, minor, augmented, or
diminished, depending on which scale degree it is constructed on.
6. Chord Qualities of Diatonic Triads

a. Major Scale
(1) The quality of each diatonic triad in a Major is determined by the intervals within that
specific scale degree’s diatonic triad.
7. Diatonic Triad Qualities of the Major Scale

a. Tonic: When a triad is constructed on the tonic scale degree of a Major scale the quality of the
triad is Major.
b. Supertonic: When a triad is constructed on the supertonic scale degree of a Major scale the
quality of the triad is minor.
c. Mediant: When a triad is constructed on the mediant scale degree of a Major scale the quality
of the triad is minor.
d. Subdominant: When a triad is constructed on the subdominant scale degree of a Major scale
the quality of the triad is Major.
e. Dominant: When a triad is constructed on the dominant scale degree of a Major scale the
quality of the triad is Major.
f. Submediant: When a triad is constructed on the submediant scale degree of a Major scale the
g. Leading Tone: When a triad is constructed on the Leading Tone scale degree of a Major scale
the quality of the triad is diminished.
8. Natural Minor Scale

a. The quality of each diatonic triad in a natural minor is determined by the intervals within that
specific scale degree’s diatonic triad.
9. Diatonic Triad Qualities of the Natural Minor Scale

a. Tonic: When a triad is constructed on the tonic scale degree of a natural minor scale the
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b. Supertonic: When a triad is constructed on the supertonic scale degree of a natural minor scale
the quality of the triad is diminished.
c. Mediant: When a triad is constructed on the mediant scale degree of a natural minor scale the
d. Subdominant: When a triad is constructed on the subdominant scale degree of a natural minor
scale the quality of the triad is minor.
e. Dominant: When a triad is constructed on the dominant scale degree of a natural minor scale
the quality of the triad is minor.
f. Submediant: When a triad is constructed on the submediant scale degree of a natural minor
scale the quality of the triad is Major.
g. Subtonic: When a triad is constructed on the subtonic scale degree of a natural minor scale the
10. Harmonic Minor Scale

a. The quality of each diatonic triad in harmonic minor is determined by the intervals within
each specific scale degree’s diatonic triad.
b. The seventh note in the scale alters the quality of triads built off the mediant, dominant and
leading tone scale degrees when compared to natural minor.
11. Diatonic Triad Qualities of the Harmonic Minor Scale

a. Tonic: When a triad is constructed on the tonic scale degree of a harmonic minor scale the
b. Supertonic: When a triad is constructed on the supertonic scale degree of a harmonic minor
scale the quality of the triad is diminished.
c. Mediant: When a triad is constructed on the mediant scale degree of a harmonic minor scale
the quality of the triad is augmented.
d. Subdominant: When a triad is constructed on the subdominant scale degree of a harmonic
minor scale the quality of the triad is minor.
e. Dominant: When a triad is constructed on the dominant scale degree of a harmonic minor
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f. Submediant: When a triad is constructed on the submediant scale degree of a harmonic minor
g. Leading Tone: When a triad is constructed on the Leading Tone scale degree of a harmonic
minor scale the quality of the triad is diminished.
12. Melodic Minor Scale (Ascending)

a. The quality of each diatonic triad in ascending melodic minor is determined by the intervals
within that specific scale degree’s diatonic triad.
b. The raised submediant and leading tone of the melodic minor scale alters the quality of the
chords built off of those scale degrees when compared to the natural minor scale.
13. Diatonic Triad Qualities of the Ascending Melodic Minor Scale

a. Tonic: When a triad is constructed on the tonic scale degree of a harmonic minor scale the
b. Supertonic: When a triad is constructed on the supertonic scale degree of a harmonic minor
scale the quality of the triad is minor.
c. Mediant: When a triad is constructed on the mediant scale degree of a harmonic minor scale
the quality of the triad is augmented.
d. Subdominant: When a triad is constructed on the subdominant scale degree of a harmonic
minor scale the quality of the triad is Major.
e. Dominant: When a triad is constructed on the dominant scale degree of a harmonic minor
f. Submediant: When a triad is constructed on the submediant scale degree of a harmonic minor
scale the quality of the triad is diminished.
g. Leading Tone: When a triad is constructed on the Leading Tone scale degree of a harmonic
minor scale the quality of the triad is diminished.
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Sheet 1 of 4
(U) IDENTIFY CHORD SYMBOLS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with chord symbols.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY CHORD SYMBOLS WITH 80% ACCURACY
C. SECTION OUTLINE
IDENTIFY chord symbols with 80% accuracy in accordance with occupational standards for
musicians.
assignments.
4. Key Statement
a. This section will cover the identification of chord symbols and common abbreviations used
within those symbols.
5. Chord Symbols
a. Chord symbols are a shorthand expressions that represent written chords.
b. Chord symbols include three components:
(1) Root
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(2) Quality
(3) Extension
c. There are several types of abbreviations that are used within chord symbols:
(1) Major (M, Maj, or ∆)
(2) Minor (m, min, or -)
(3) Augmented (aug or +)
(4) Diminished (dim or º)
(5) Half-Diminished (ø)
(6) Dominant (dom or 7)
6. Identification of Chord Symbols

a. The Root
(1) The letter name of a chord symbol is the root of the chord.
(2) Examples:
(a) G7 (Root = G)
(b) C Maj7 (Root = C)
b. The Third
(1) The chord includes the pitch a Major third above the root of the chord, unless the third
is qualified by the chord symbol.
(2) Qualifiers that affect the third always lower it by a half step (minor third).
(a) Minor, diminished, and half-diminished are the qualifiers that lower the third.
(3) Examples:
(a) C7 (Third = E)
(b) Cmin7 (Third = E♭)
(c) Cmin/Maj7 (Third = E♭)
(d) Cdim7 (Third = E♭)
(e) C ø (Third = E♭)

c. The Fifth
(1) The chord includes the pitch a perfect fifth above the root of the chord, unless the fifth
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is qualified by the chord symbol.
(2) Qualifiers that affect the fifth raise the fifth a half step (augmented fifth) or lower the
fifth a half step (diminished fifth)
(a) Augmented is the qualifier that raises the fifth.
(b) Diminished, half-diminished, and flat five are qualifiers that lower the fifth.
(3) Examples:
(a) C7 (Fifth = G)
(b) Cdim7 (Fifth = G♭)
(c) Caug7 (Fifth = G♯)
(d) Cmin7(♭5) (Fifth = G♭)
(e) C ø (Fifth = B♭)

d. The Sixth
(1) The chord includes the pitch a Major sixth above the root of the chord when the
numeral 6 is part of the chord symbol.
(2) Examples:
(a) CMaj6 (Sixth = A)
(b) Cmin6 (Sixth = A)
e. The Seventh
(1) The chord includes the pitch a minor seventh above the root of the chord (subtonic),
unless the seventh is qualified by the chord symbol.
(2) Qualifiers that affect the seventh raise the seventh a half step (Major seventh) or lower
the seventh a half step (diminished seventh).
(a) Major is the qualifier that raises the seventh.
(b) Diminished is the qualifier that lowers the seventh.
(3) Examples:
(a) C7 (Seventh = B♭)
(b) Cmin7 (Seventh = B♭)
(c) Caug7 (Seventh = B♭)
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(d) CMaj7 (Seventh = B)
(e) Cdim7 (Seventh = B♭♭)
7. Glossary
• Chord Symbols: Shorthand expressions that represent written chords.
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Sheet 1 of 2
(U) IDENTIFY THE ROOT FROM A CHORD SYMBOL
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with identifying the root from a chord
symbol.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY THE ROOT FROM A CHORD SYMBOL
FOR MUSICIANS.
C. SECTION OUTLINE
IDENTIFY the root from a chord symbol with 80% accuracy in accordance with occupational
assignments.
4. Key Statement
a. This section will cover the identification of the root note of the chord from a chord symbol.
5. Chord Symbols
a. Chord symbols are shorthand expressions that represent written chords.
b. The first component of the chord symbol is the root.
6. The Root
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a. The first part of the chord symbol, the letter, indicates the root of the chord.
b. The root acts as a "key of the moment." This means that the chord symbol qualifiers and
extensions refer to intervals of a third, fifth, sixth or seventh, etc. above the root, regardless of
the key signature.
c. Chord Symbol Examples:
(1) GMaj7 (Root is G)
(2) Gmin7 (Root is G)
(3) Bmin7(♭5) (Root is B)
(4) Aaug7 (Root is A)
(5) E♭dim7 (Root is E♭)
(6) Emin7 (Root is E)
7. Identifying the Root of Inverted Chord Symbols

a. Chords that are inverted are notated using a forward slash within the chord symbol. The slash
separates root and quality of the chord from the scale degree acting as the bass note
8. Inverted Chord Symbol Examples

a. BMaj7/D♯
b. Dmin7/A
c. G7/F
d. Caug7/E
9. Glossary
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Sheet 1 of 3
(U) IDENTIFY CHORD QUALIFIERS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with chord qualifiers.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY CHORD QUALIFIERS WITH 80%
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY chord qualifiers with 80% accuracy in accordance with occupational standards for
musicians.
assignments.
4. Key Statement
a. This section will cover the identification of chord qualifiers from a chord symbol.
5. Chord Qualifiers
a. Chord qualifiers indicate the quality of the pitches that make up a chord.
6. The Third
a. The chord includes the pitch a Major third above the root of the chord unless the third is
qualified by the chord symbol.
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b. Qualifiers that affect the third always lower it a half step (minor third). Minor, diminished,
and half-diminished are the qualifiers that lower the third.
c. The preferred abbreviations are min and dim, but the qualifiers may be expressed in other
ways.
(1) Minor
(a) min, -, m, minor
(2) Diminished
(a) dim, o
(3) Half-diminished
(a) ø
7. The Fifth
a. The chord includes the pitch a perfect fifth above the root of the chord unless the fifth is
b. Qualifiers that affect the fifth raise the fifth a half step (augmented fifth) or lower the fifth a
half step (diminished fifth). Augmented is the qualifier that raises the fifth. Diminished, half-
diminished, and flat five are qualifiers that lower the fifth.
(1) Raised fifth
(a) Aug, + (+5), (♯5)
(2) Lowered fifth
(a) dim, o, ø, (♭5), (-5)
8. The Seventh
a. The chord includes the pitch a minor seventh above the root of the chord unless the seventh is
b. Qualifiers that affect the seventh raise the seventh a half step (Major seventh) or lower the
seventh a half step (diminished seventh). Major is the qualifier that raises the seventh.
Diminished is the qualifier that lowers the seventh.
(1) Raised seventh
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(a) Maj, M, ∆
(2) Lowered seventh
(a) dim, o
9. Glossary
• Chord Qualifiers: The chord qualifier indicates the quality of the chord. It is the middle part
of the chord symbol.
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Sheet 1 of 3
(U) IDENTIFY PITCHES FOR A GIVEN CHORD SYMBOL
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with identifying pitches for a given chord
symbol.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY PITCHES FOR A GIVEN CHORD SYMBOL
WITH 80% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL STANDARDS FOR
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY pitches for a given chord symbol with 80% accuracy in accordance with
assignments.
4. Key Statement
a. This section will discuss how to convert a chord symbol into the pitches it represents.
5. Chord Symbols
a. The root expresses the note on which the chord is built.
b. The qualifier determines which notes of the chord are affected.
c. The extension represents the scale degree to which the chord extends. Common extensions
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include 7 or 6.
6. Root
a. The letter name of the chord symbol indicates the root. It is unaffected by the key signature,
the qualifiers, or the extensions within the chord symbol.
b. The root becomes the "key of the moment" when determining how the pitches above the root
are affected by the qualifier within the chord symbol.
7. The Third of the Chord.

a. The third is always a Major third above the root of a chord unless affected by a qualifier
within the chord symbol.
(1) Min
(a) This affects the third by lowering it, so that it is a minor third above the root.
(2) dim
(3) Half-diminished
8. The Fifth of the Chord

a. The fifth is always a Perfect fifth above the root of a chord unless affected by a qualifier
within the chord symbol.
(1) aug
(a) This affects the fifth by raising it, so that it is an augmented fifth above the
root.
(2) dim
(a) This affects the fifth by lowering it, so that it is a diminished fifth above the
root.
(3) Half-diminished
root.
(4) (4) Flat 5 (♭5)
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root.
9. The Extension of the Chord

a. The number 7 represents a pitch a seventh above the root. The seventh is always lowered
unless affected by a qualifier within the chord symbol.
(1) Maj
(a) This affects the seventh by raising it from its default interval of minor seventh,
so that it is a Major seventh above the root.
(2) dim
(a) The number 6 represents a pitch a sixth above the root. The sixth is always a
Major sixth above the root.
10. Glossary
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Sheet 1 of 2
(U) LABEL CHORD FORMULA FOR A GIVEN CHORD SYMBOL
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with labeling the chord formula for a given
chord symbol.
B. OBJECTIVES

LEARNER WILL BE ABLE TO LABEL CHORD FORMULA FOR A GIVEN CHORD
SYMBOL WITH 80% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL
C. SECTION OUTLINE
a. GIVEN applicable technical documentation and equipment, the learner will be able to LABEL
chord formula for a given chord symbol with 80% accuracy in accordance with occupational
assignments.
4. Key Statement
a. This section will cover chord formulas and how to label chord formulas for a given chord
symbol.
5. Chord Formulas
a. Chord formulas show each scale degree used to create a chord, and any alterations as
determined by the qualifiers within the chord symbol.
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b. The root is always represented by the number 1.
6. Chord Formula Scale Degrees

a. The most common chords are tertian, meaning they are built off of intervals of thirds.
7. The One
a. The number one always represents the root note of the chord. The quality of all other notes
within the chord will be dependent on the relation to the Major scale of the root. The root is
the “key of the moment.”
8. The Three
a. The number three represents the third scale degree of the root's Major scale.
9. The Five
a. The number five represents the fifth scale degree of the root's Major scale.
10. The Six

a. The number six represents the sixth scale degree of the roots Major scale.
11. The Seven

a. The number seven represents the seventh scale degree of the root's Major scale.
12. Common Chord Formulas ♭

a. Maj7: 1, 3, 5, 7
b. Dom7: 1, 3, 5, ♭7
c. Min7: 1, ♭3, 5, ♭7
d. Aug7: 1, 3, ♯5, ♭7
e. Dim7: 1, ♭3, ♭5, ♭♭7
f. Half dim7 (min7♭5): 1, ♭3, ♭5, ♭7
g. min/Maj7: 1, ♭3, 5, 7
h. 6: 1, 3, 5, 6
i. min6: 1, ♭3, 5, 6
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Sheet 1 of 3
(U) IDENTIFY SEVENTH CHORDS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the identification of seventh chords.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY 7TH CHORDS WITH 80% ACCURACY IN
C. SECTION OUTLINE
IDENTIFY seventh chords with 80% accuracy in accordance with occupational standards for
musicians.
assignments.
4. Key Statement
a. This section will cover the identification of seventh chords. The types of seventh chords that
will be discussed are Major, dominant, minor, minor-major, half-diminished, fully
diminished, and augmented.
5. Seventh Chords
a. Seventh chords are created by the addition of the seventh degree of a scale to a triad.
b. Seventh chords in a root position consist of four pitches, where each note is spaced a third
apart.
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c. Chords that consist of notes that are built entirely of third intervals are known as tertian.
6. Major Seventh Chords

a. The chord formula for a Major seventh chord is the 1, 3, 5, 7 of a Major scale.
b. A Major seventh chord includes the addition of a 7th scale degree to the triad.
c. Major seventh chords are made up of a minor third in between two Major thirds.
d. Major Seventh Chord Symbols
(1) The most common method for indicating a Major seventh chord is by adding Maj7
after the root name.
7. Dominant Seventh Chords

a. The chord formula for a dominant seventh chord is 1, 3, 5, ♭7 of a Major scale.
b. In a dominant seventh chord, the seventh is lowered by a half step.
c. Dominant Seventh Chord Symbols
(1) The most common method for indicating a dominant seventh chord is by adding a 7
8. Minor Seventh Chords

a. The chord formula for a minor seventh chord is 1, ♭3, 5, ♭7 of a Major scale.
b. In a minor seventh chord, the third and the seventh are lowered by one half step.
c. Minor Seventh Chord Symbols
(1) The most common method for indicating a minor seventh chord is by adding min7
9. Minor-Major Seventh Chords

a. The chord formula for a minor-major seventh chord is 1, ♭3, 5, 7 of a Major scale.
b. In a minor-Major seventh chord, the third is lowered by one half step.
c. Minor-Major Seventh Chord Symbols
(1) The most common method for indicating a minor-Major seventh chord is by adding
min/Maj7 after the root name.
10. Half-Diminished Seventh Chords

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a. The chord formula for a half-diminished seventh chord is 1, ♭3, ♭5, ♭7 of a Major scale.
b. In a half-diminished seventh chord, the third, fifth, and seventh are lowered by a half step.
c. Half-Diminished Seventh Chord Symbols
(1) The most common method for indicating a half-diminished seventh chord is by adding
min7(♭5) or ø after the root name.
11. Fully Diminished Seventh Chords

a. The chord formula for a fully diminished seventh chord is 1, ♭3, ♭5, ♭♭7.
b. In a fully diminished seventh chord, the third and fifth are lowered by a half step. The seventh
is lowered by a whole step.
c. Fully Diminished Seventh Chord Symbols
(1) The most common method for indicating a fully diminished seventh chord is by adding
dim7 or º after the root name.
12. Augmented Seventh Chords

a. The chord formula for an augmented seventh chord is 1, 3, ♯5, ♭7.
b. In an augmented seventh chord, the fifth is raised by a half step, and the seventh is lowered by
a half step.
c. Augmented Seventh Chord Symbols
(1) The most common method for indicating an augmented seventh chord is by adding
aug7 after the root name.
13. Glossary
• Seventh Chord: A chord that is created by the addition of the seventh degree of a scale to a
triad.
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Sheet 1 of 4
(U) CONSTRUCT SEVENTH CHORDS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the construction of seventh chords
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT 7TH CHORDS WITH 100% ACCURACY
C. SECTION OUTLINE
CONSTRUCT seventh chords with 100% accuracy in accordance with occupational standards
for musicians.
assignments.
4. Key Statement
a. This section will cover the construction of seventh chords. The seventh chords that will be
included are Major, dominant, minor, minor-Major, half-diminished, fully diminished, and
augmented.
5. Constructing Seventh Chords

a. There are two methods that can be used to construct seventh chords.
(1) To construct a seventh chord using triads and seventh intervals, use the following
steps:
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(a) Select the scale or key.
(b) Isolate the triad within the scale.
(c) Add a seventh interval to the triad.
(2) To construct a seventh chord using chord formulas, use the following steps:
(a) Select the scale or key.
(b) Determine the chord formula.
(c) Assemble the seventh chord using the formula.
6. Constructing Seventh Chords Examples

a. Major Seventh Chords
(1) A Major seventh chord is constructed by adding a Major seventh interval to a Major
triad. The chord formula is 1, 3, 5, 7.
(2) Examples:
(a) GMaj7
(b) F♯Maj7
(c) A♭Maj7
b. Dominant Seventh Chords
(1) A dominant seventh chord is constructed by adding a minor seventh interval to a Major
triad. The chord formula is 1, 3, 5, ♭7.
(2) Examples:
(a) A7
(b) C♯7
(c) B♭7
c. Minor Seventh Chords
(1) A minor seventh chord is constructed by adding a minor seventh interval to a minor
triad. The chord formula is 1, ♭3, 5, ♭7.
(2) Examples:
(a) Dmin7
(b) F♯min7
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(c) E♭min7
d. Minor-Major Seventh Chords
(1) A minor-Major seventh chord is constructed by adding a Major seventh interval to a
minor triad. The chord formula is 1, ♭3, 5, 7
(2) Examples:
(a) Cmin(Maj7)
(b) Bmin(Maj7)
(c) D♭min(Maj7)
e. Half-Diminished Seventh Chords
(1) A half-diminished seventh chord is constructed by adding a minor seventh interval to a
diminished triad. The chord formula is 1, ♭3, ♭5, ♭7.
(2) Examples:
(a) E♭min7(♭5)
(b) Dmin7(♭5)
(c) A♯min7(♭5)
f. Fully Diminished Seventh Chords
(1) A fully diminished seventh chord is constructed by adding a diminished seventh
interval to a diminished triad. The chord formula is 1, ♭3, ♭5, ♭♭7.
(2) Examples:
(a) Bdim7
(b) D♭dim7
(c) F♯dim7
g. Augmented Seventh Chords
(1) An augmented seventh chord is constructed by adding a minor seventh interval to an
augmented triad. The chord formula is 1, 3, ♯5, ♭7.
(2) Examples:
(a) Faug7
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(b) G♯aug7
(c) B♭aug7
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Sheet 1 of 3
(U) IDENTIFY EXTENDED AND ALTERED CHORDS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the identification of extended and
altered chords.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY EXTENDED AND ALTERED CHORDS WITH
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY extended and altered chords with 80% accuracy in accordance with Occupational
Standards for musicians.
assignments.
4. Key Statement
a. This section will cover the identification of extended and altered chords from a chord symbol.
5. Extended Chords
a. A chord symbol often indicates pitches other than the first, third, fifth, sixth and seventh.
When additional pitches are required, the basic chord is extended in ascending thirds.
b. These pitches are expressed as compound intervals from the root of the chord.
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c. The extensions are the ninth, eleventh, and thirteenth above the root
d. Extended chords are upper structure extensions of seventh chords.
e. Extended chords are created when the ninth, eleventh, or thirteenth are present in the chord.
6. The Ninth
a. The ninth is a compound interval that is an octave above the second scale degree.
b. The ninth is equal to a Major second plus an octave above the root.
(1) Because the ninth is a whole step plus an octave away from the third, the third is often
omitted because those notes played together are dissonant.
c. Variations
(1) The ninth chord can be Major, minor, diminished, or augmented.
(2) The extension of a ninth can be Major or minor in quality.
7. The Eleventh
a. The eleventh is a compound interval that is an octave above the fourth scale degree.
b. The eleventh is equal to a Perfect fourth plus an octave above the root.
c. The unaltered eleventh (perfect fourth plus the octave) is a half step above the third and a
whole step below the fifth, so the third and fifth are often omitted due to the fact that when the
third, fourth, and fifth are played together, they sound dissonant.
d. Variations
(1) The eleventh chord can be Major, minor, diminished, or augmented.
(2) The extension of an eleventh can be Perfect, diminished, or augmented.
8. The Thirteenth
a. The thirteenth is a compound interval that is an octave above the sixth scale degree.
b. The thirteenth is equal to a major sixth plus an octave above the root.
c. Because the thirteenth (Major sixth plus the octave) is in between the fifth and seventh scale
degrees, the fifth, ninth and eleventh are typically omitted to avoid dissonance. The seventh,
although dissonant, is included, because of the particular combination of the Major seventh
between these two notes.
d. Variations
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(1) The thirteenth chord can be Major, minor, diminished, or augmented.
(2) The extension of a thirteenth can be Perfect, minor or augmented.
9. Altered Chords
a. Chords are considered altered when the fifth, ninth, eleventh, or thirteenth are chromatically
altered from the diatonic spelling
b. Altered chords provide a way to further customize chords. It is important to know how to
properly label these unique chords.
c. These alterations are used as part of the chord symbol:
(1) Chord symbol with a lowered ninth
(2) Chord symbol with a raised extension
(3) Diminished chord with a lowered thirteenth
(4) Extended chord with a raised ninth and a raised eleventh
(5) Extended chord with a lowered ninth and raised eleventh
(6) Extended chord with a lowered ninth, raised eleventh, and lowered thirteenth
10. Glossary
• Extended Chords: A chord that includes pitches other than the first, third, fifth, sixth, and
seventh.
• Altered Chords: Chords are considered altered when the fifth, ninth, eleventh, or thirteenth
are chromatically altered from the diatonic spelling.
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Sheet 1 of 4
(U) IDENTIFY CHORD FORMULA FOR EXTENDED AND ALTERED CHORDS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the identification of chord formula for
extended and altered chords
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY CHORD FORMULA FOR EXTENDED AND
ALTERED CHORD SYMBOLS WITH 80% ACCURACY IN ACCORDANCE WITH
C. SECTION OUTLINE
IDENTIFY chord formula for extended and altered chord symbols with 80% accuracy in
accordance with occupational standards for musicians.
assignments.
4. Key Statement
a. This section will cover the identification of chord formulas for extended and altered chord
symbols. The chord formula is contained within the chord symbol.
5. Extended Chord Foundation

a. The chord formula can be derived from the chord symbol
b. Extension
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(1) The extension is the note or notes added to the 7th chord. These include the ninth,
eleventh, and thirteenth.
6. The Ninth
a. Natural Ninth
(1) The formula for an extended chord with a natural ninth
(a) Example: The formula for F9 is 1, 3, 5, ♭7, 9.
(2) The natural ninth is diatonically a major ninth (second plus an octave) above the root.
b. Lowered Ninth
(1) The formula for an extended chord with a lowered ninth has a flat symbol before the
ninth:♭9.
(a) Example: The formula for F7(♭9) is 1, 3, 5, ♭7, ♭9.
(2) The lowered ninth is a minor ninth above the root. This alteration occurs most often on
dominant seventh type chords.
c. Raised Ninth
(1) The formula for an extended chord with a raised ninth has a sharp symbol before the
ninth: ♯9.
(a) Example: The formula for F7(♯9) is 1, 3, 5, ♭7, ♯9.
(2) The raised ninth includes the pitch an augmented ninth (augmented second) above the
root of the chord. This alteration occurs most often on dominant seventh type chords.
7. The Eleventh
a. Natural Eleventh
(1) The formula for an extended chord with the natural eleventh
(a) Example: The formula for F-11 is 1, ♭3, 5, ♭7, 9, 11.
(2) The natural eleventh includes the pitch a perfect eleventh above the root of the chord
when the numeral 11 is part of the chord symbol. This alteration usually occurs on a
chord with a minor third.
b. Raised Eleventh
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(1) The formula for an extended chord with a raised eleventh has a sharp symbol before
the eleventh: ♯11.
(a) Example: The formula for F9(♯11) is 1, 3, 5, ♭7, 9, ♯11.
(2) The chord includes the pitch an augmented eleventh above the root of the chord.
(3) The altered ninth and raised eleventh may be used on the dominant seventh type chord.
Both the altered ninth and eleventh are indicated in the chord symbol.
8. The Thirteenth
a. Natural Thirteenth
(1) The formula for an extended chord with a natural thirteenth
(a) Example: The formula for F13 is 1, 3, 5, ♭7, 9, 11, 13
(2) The chord includes the pitch a Major thirteenth above the root of the chord. This
extension usually occurs on dominant ninth and Major ninth chords.
b. Lowered Thirteenth
(1) The formula for an extended chord with a lowered thirteenth has a flat symbol before
the thirteenth: ♭13.
(a) (a) Example: The formula for F7 (♭9, ♯11, ♭13) is 1, 3, 5, ♭7, ♭9, ♯11,
♭13.
(2) The chord includes the pitch a minor thirteenth above the root. This alteration usually
occurs on dominant seventh type chords with altered ninth and raised eleventh.
9. Altered Chord, Specified Bass Note

a. A specified bass note chord is an alteration to a chord that has a different bass than the root of
the chord.
b. This chord symbol is used when a certain note is specified as the bass.
10. Glossary
• Extended Chord: A chord that includes pitches other than the first, third, fifth, sixth, and
seventh
• Altered Chord: Chords are considered altered when the fifth, ninth, eleventh, or thirteenth
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are chromatically altered from the diatonic spelling.
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Sheet 1 of 3
(U) IDENTIFY SCALES OR MODES FOR MELODIC ANALYSIS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the identification of scales or modes
for melodic analysis.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY SCALES OR MODES FOR MELODIC
ANALYSIS WITH 80% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL
C. SECTION OUTLINE
IDENTIFY scales or modes for melodic analysis with 80% accuracy in accordance with
assignments.
4. Key Statement
a. This section will associate certain scales or modes with various chord types. This knowledge
will serve as a fundamental skill set for further melodic analysis.
5. Chord Scales in Melodic Analysis

a. Chords indicate the vertical or harmonic framework of a piece.
b. Chord scales are used for horizontal or melodic application
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c. A chord symbol implies the use of a particular chord scale or mode.
d. Chord scales are used in jazz harmony and improvisation.
6. Chord and Scale/Mode Associations

a. Major Sixth and Major Seventh Chords
(1) The Major or Ionian scale is used for all tonic Major sixth or Major seventh.
(2) The Lydian scale is used for all other Major sixth or Major seventh chords.
b. Minor Sixth and minor/Major Seventh Chords
(1) The ascending melodic minor scale is used.
c. Dominant Seventh Chords
(1) The Mixolydian scale is used for all dominant seventh chords that are dominant to the
key and move harmonically to the tonic.
(2) The Lydian seventh scale is used for all other dominant seventh chords.
d. Minor Seventh Chords
(1) The dorian scale is used.
e. Minor Seventh (Flat Five) Chords
(1) The locrian scale is used.
f. Augmented Seventh Chords
(1) The whole tone scale is used.
g. Diminished Seventh Chords
(1) The diminished scale is used
7. Blues and Pentatonic Scales

a. Blues Scale
(1) The blues scale is primarily used while playing the blues style of music.
(2) This scale contains a tonic, lowered mediant, subdominant, lowered dominant,
dominant, and lowered leading tone.
(3) Blue Notes
(a) Lowered mediant, lowered dominant, and lowered leading tone
(4) Enharmonic spellings are commonly used.
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b. Pentatonic Scales
(1) Pentatonic Major Scale
(a) This scale is used with all Major sixth, Major seventh, and dominant seventh
chords.
(2) Pentatonic Minor Scale
(a) Used with all minor seventh chords
(b) Used as a substitute for a blues scale
8. Scale/Chord Chart
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Sheet 1 of 3
(U) CONSTRUCT CHORD SCALES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with constructing chord scales.
B. OBJECTIVES

LEARNER WILL BE ABLE TO CONSTRUCT CHORD SCALES WITH 100%
MUSICIANS.
C. SECTION OUTLINE
CONSTRUCT chord scales with 100% accuracy in accordance with occupational standards
for musicians.
assignments.
4. Key Statement
a. This section will cover chord scale construction and the relationship between chord types and
the scales.
5. Constructing Chord Scales

a. To construct a chord scale:
(1) Determine which scale should be used based on the given chord symbol and its
relationship to the key signature.
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(2) Write the notes indicated by the chord symbol horizontally on the staff.
(3) Use the scale’s interval scheme to add in the filler notes required to complete the
particular scale.
6. Major Sixth and Major Seventh Chords

a. When constructing a chord scale from a Major seventh or Major sixth chord, use either the
Major (Ionian), Lydian, or Pentatonic scale. Each of these scales has the notes of a Major
seventh or Major sixth.
(1) Major (Ionian) Scale
(a) The Major (Ionian) scale is used for tonic Major sixth or Major seventh chords.
(2) Lydian Scale
(a) The Lydian scale is used for all other Major sixth or Major seventh chords.
(3) Pentatonic Major Scale
(a) The pentatonic Major scale may be used with all Major sixth and Major seventh
chords.
7. Minor Sixth or Minor/Major Seventh Chords

a. When constructing a chord scale from a minor/Major seventh chord or minor sixth chord, use
the ascending melodic minor scale.
(1) Ascending Melodic Minor Scale
(a) The ascending melodic minor scale is used for both ascending and descending
on minor sixth and minor/Major seventh chords.
8. Dominant Seventh
a. When constructing a chord scale from a Dominant Seventh chord, use either the mixolydian,
lydian seventh, or pentatonic Major scale.
(1) Mixolydian Scale
(a) The mixolydian scale is used for dominant seventh chords that move from
dominant to tonic.
(2) Lydian Seventh Scale
(a) The lydian seventh scale is used for all other dominant seventh chords.
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9. Minor Seventh
a. When constructing a chord scale from a Minor Seventh chord, use the dorian scale.
(1) Dorian Scale
(a) Although some minor seventh chords should take other scales, the dorian scale
will fit all minor seventh chords.
(2) Pentatonic minor Scale
10. Minor Seventh (♭5) Chord

a. When constructing a chord scale from a minor seventh (♭5) chord, use the locrian scale.
(1) Locrian Scale
11. Augmented Seventh Chords

a. When constructing a chord scale from an augmented seventh chord, use the whole tone scale.
(1) Whole Tone Scale
12. Diminished Seventh Chords

a. When constructing a chord scale from a diminished seventh chord, start with the chord root
note and use the diminished scale.
(1) Diminished Scale
13. When constructing a blues scale, use the following:

a. Tonic
b. Lowered third
c. Subdominant
d. Lowered dominant
e. Dominant
f. Lowered seventh
g. The pentatonic minor is an available substitute for a blues scale.
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Sheet 1 of 3
(U) IDENTIFY MELODIC APPROACH TONES
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with melodic approach tones.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY MELODIC APPROACH TONES WITH 80%
MUSICIANS.
C. SECTION OUTLINE
a. GIVEN applicable documentation and equipment, the learner will be able to IDENTIFY
melodic approach tones with 100% accuracy in accordance with occupational standards for
musicians.
assignments.
4. Key Statement
a. This section will cover identifying different types of tones in a melody, specifically melodic
approach tones.
5. Chord Tones vs. Melodic Approach Tones

a. Melodic lines are created by using combinations of chord tones and melodic approach tones.
b. Chord tones are tones within a melodic line that are also part of a chord.
c. Melodic approach tones are tones within a melodic line not part of a given chord.
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(1) Melodic approach tones approach chord tones either diatonically or chromatically.
(2) Melodic approach tones are typically equal to or less than one beat in duration.
(3) Melodic approach tones are commonly referred to as non-chord tones or non-harmonic
tones.
6. Approach Tones
a. Scale Approach Tone (S)
(1) Scale approach tones are non-chord tones within a given chord scale that approach a
chord tone by a by whole step.
b. Chromatic Approach Tone (C)
(1) Chromatic approach tones are non-chord tones that approach chord tones by half steps
and are not part of the chord scale.
c. Scale/Chromatic Approach Tone (S/C)
(1) Scale/chromatic approach tones are non-chord tones with a given chord scale that
approach tones by a half step.
d. A scale approach tone may move to a chromatic approach tone if the chromatic approach
immediately advances to a chord tone in the same direction.
7. Identify Melodic Tones

a. Identify chord tones
b. Determine chord scale
c. Determine if non-chord tones are approach tones
d. Identify the type of approach tones
8. Glossary
• Chord Tone: A tone within a melodic line that is also part of a chord.
• Melodic Approach Tone: A tone within a melodic line that is not part of a given chord.
• Scale Approach Tone: A non-chord tone within a given chord scale that approaches a
chord tone by a whole step.
• Chromatic Approach Tone: A non-chord tone that approaches a chord tone by a half step
and is not part of the chord scale.
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• Scale/Chromatic Approach Tone: A non-chord within a given chord scale that approaches
a chord tone by a half step.
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Sheet 1 of 2
(U) IDENTIFY MELODIC ANTICIPATIONS
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the identification of melodic
anticipations.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY MELODIC ANTICIPATIONS WITH 80%
MUSICIANS.
C. SECTION OUTLINE
IDENTIFY melodic anticipations with 80% accuracy in accordance with occupational
assignments.
4. Key Statement
a. This section will cover how to identify melodic anticipations in music.
5. Melodic Anticipations
a. Melodic anticipations are notes within the melody that occur when a chord tone rhythmically
precedes a chord change.
(1) Anticipations lead into a chord change prematurely and are less than one beat in
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duration.
b. Common characteristics
(1) Melodic anticipations are a chord tone of a new chord.
(2) Melodic anticipations are typically less than one beat in duration.
(3) Melodic anticipations may be rhythmically tied to a chord tone of the new chord.
(4) Melodic anticipations may be followed immediately by a rest.
c. Example:
(1) In this example, the chord is in G Major. In the first measure, the A chord change is a
non- chord tone, which anticipates the A chord change in the following measure. In
order to be an anticipation, the A must be a chord tone of the new chord.
d. Example:
(1) In this example, the chord is in G Major. The A precedes the next chord (D, F, A). The
A is the fifth of the new chord; therefore, it is a chord tone of the new chord, making it
an anticipation.
6. Glossary
• Melodic Anticipation: Notes within the melody that occur when a chord tone rhythmically
precedes a chord change.
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Sheet 1 of 3
(U) PERFORM TRANSPOSITION
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with performing transposition.
B. OBJECTIVES

LEARNER WILL BE ABLE TO PERFORM TRANSPOSITION WITH 100% ACCURACY
C. SECTION OUTLINE
PERFORM transposition with 100% accuracy in accordance with occupation standards for
musicians.
assignments.
4. Key Statement
a. This section will cover transposition methods.
5. Transposition
a. Transposition is the practice of moving a note or a group of notes higher or lower in pitch
while maintaining their relative harmonic relationship and rhythmic notation.
b. Rhythmic figures of melodic lines will remain the same.
c. Melodic intervals in the transposed key will correspond to the melodic intervals in the original
key.
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d. Some notes, once transcribed, may require different accidentals in order to maintain their
intervallic relationship.
e. Transposition methods work the same in minor keys as they do in Major keys.
6. Transposition Methods
a. Transposition by Scale Degree
(1) Transposition by scale degree is a process in which each note is transposed using
corresponding scale degrees.
(2) To transpose by scale degree:
(a) Identify each note as scale degree numbers within its original key.
(b) Transfer the numbers and transpose the notes to the scale degree within the
new key.
b. Transposition by Interval
(1) Transposition by interval is a process in which each note is transposed based on the
interval relationships between the original and new key.
(2) This method can increase accuracy when a composition has several chromatic
alterations, complex scale degrees, or complicated key relationships.
(3) To transpose by interval:
(a) Identify the interval difference between the original and new key.
(b) Transpose notes based on the interval difference between the original and new
key.
(c) Identify the interval difference of the keys and establish the first note. Then,
transpose the line based on the melodic intervals between the notes.
c. Transposition by Change of Key Signature
(1) Transposition by change of key signature is a process in which the key signature is
changed, but the notes are not moved from their original line or space.
(2) This transposition method is used when the transposed key is a half step above or
below the original key.
(3) To transpose by change of key signature:
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(a) Change the key signature by moving the key a half step above or below the
original key.
(b) Maintain the placement of the notes.
(c) Determine if any chromatic alterations need to be added, removed, or changed
in order to keep the interval relationships intact.
7. Glossary
• Transposition: the practice of moving a note or a group of notes higher or lower in pitch
while maintaining their relative harmonic relationship and rhythmic notation.
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Sheet 1 of 7
(U) IDENTIFY CONCEPTS ASSOCIATED WITH HARMONY
A. INTRODUCTION
The following lesson is designed to familiarize the trainee with the identification of concepts
associated with harmony.
B. OBJECTIVES

LEARNER WILL BE ABLE TO IDENTIFY CONCEPTS ASSOCIATED WITH
HARMONY WITH 100% ACCURACY IN ACCORDANCE WITH OCCUPATIONAL
C. SECTION OUTLINE
IDENTIFY concepts associated with harmony with 100% accuracy in accordance with
assignments.
4. Key Statement
a. This section will identify concepts associated with harmony. Topics in the section will
include fundamental concepts surrounding the traditional four part harmony.
5. Principles of Harmony
a. Harmony - Examines the structure and relationship between vertical combinations of musical
tones and their succession.
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b. Harmonic Progressions – The selection of triads and/or seventh chords connected in such a
way that establishes and maintains tonality.
6. Traditional Four Part Voices and Range.

a. When the voices are displayed on the grand staff this is also known as a chorale-style format.
(1) Assigns each chord tone to a specific voice.
(2) The acronym commonly used for this format is SATB (Soprano, Alto, Tenor, and
Bass).
b. Soprano Voice
(1) Range: C4 – A5
(2) Written on the grand staff with stems up.
c. Alto Voice
(1) Range: G3 – D5
(2) Written on the grand staff with stems down.
d. Tenor Voice
(1) Range: C3 – A4
(2) Written on the grand staff with stems up.
e. Bass Voice
(1) Range: F2 – D4
(2) Written on the grand staff with stems down.
7. Primary and Secondary Triads

a. Form the basic foundation for harmonic progressions.
b. Primary Triads – Three note chords found with the diatonic scale of a key that helps create the
tonal center.
(1) Constructed by creating intervals of a major or minor third from the tonic, subdominant
and dominant of a key.
(2) Primary Triads in Major
(a) Tonic – Represented by the Roman numeral I.
(b) Subdominant – Represented by the Roman numeral IV.
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(c) Dominant – Represented by the Roman numeral V.
(3) Primary Triads in Minor
(a) Tonic - Represented by the lower case Roman numeral i.
(b) Subdominant - Represented by the lower case Roman numeral iv for natural and
harmonic minor; IV for melodic minor.
(c) Dominant - Represented by the lower case Roman numeral v for natural minor;
V for harmonic and melodic minor. The minor dominant triad is rarely used.
(d) The minor dominant (v) is rarely used.
c. Secondary Triads - Three note chords found with the diatonic scale of a key that helps
establish the mode.
(1) Constructed by creating intervals of a major or minor third from the supertonic,
mediant, submediant and leading tone of a key.
(2) Secondary Triads in Major
(a) Supertonic – Represented by the lower case Roman numeral ii.
(b) Mediant – Represented by the lower case Roman numeral iii.
(c) Submediant – Represented by the lower case Roman numeral vi.
(d) Leading Tone – Represented by the lower case Roman numeral, with
diminished symbol, vii°.
(3) Secondary Triads in Minor
(a) Supertonic – Represented by the lower case Roman numeral, with diminished
symbol, ii°.
(b) Mediant – Represented by the Roman numeral III for natural minor; III+ for
harmonic and melodic minor.
(c) Submediant – Represented by the Roman numeral VI for natural and harmonic
minor; vi for melodic minor.
(d) Leading tone – Represented by VII for natural minor; vii° for harmonic and
melodic minor.
d. Common Chord Progressions.
(1) I–V–I
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(2) I – ii –V –I
(3) I – iii – vi – ii – V - I
(4) I –vi – ii – V – I
(5) I – IV –I
(6) I – IV – V – I
8. Root Position Chords and Inversions

a. Root Position – Root of the chord is the lowest (bass) note of the chord.
b. First Inversion – The third of the chord is the lowest (bass) note.
c. Second Inversion – The fifth of the chord is the lowest (bass) note.
d. Third Inversion – The seventh of the chord is the lowest (bass) note.
9. Traditional Analysis - Figured Bass

a. Figured bass is a type of notation used to indicate the intervals above the bass note in a chord.
b. Full figured bass uses Arabic numerals to notate all intervals above the bass note.
c. Roman numerals of the primary and secondary triads are used alongside the figured bass
Arabic numerals.
d. Essential figured bass – An abbreviated version of figured bass that shows only the intervals
above the bass that are not assumed.
(1) No Arabic numerals used with identifying root position chords.
(2) First inversion triads - omit the number 3, it is assumed that the third is present. (I6)
(3) Second inversion triads – include all intervals above the bass. (I6/4)
(4) Root position seventh chords – Omit the numbers 5 and 3, it is assumed that the third
and fifth are present. (I7)

(5) First inversion seventh chords – Omit the number 3 – it is assumed that the fifth is
present. (I6/5)
(6) Second inversion seventh chords – Omit the number 6 – it is assumed that the third is
present. (I4/3)
(7) Third inversion seventh chords – Omit the number 6, it is assumed that the fifth
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present. (I4/2)
10. Cadences
a. Cadences – A series of chords in a progression that indicate closure of a musical statement or
phrase.
b. Types of Cadences
(1) Perfect Authentic Cadence (PAC)
(a) Found at the end of a musical statement.
(b) Considered the most final sounding of all cadences.
(c) Must meet the following requirements:
[1] The V (or V7) must be used.
[2] The V-I progression must be in root position.
[3] The tonic of the I must be in the soprano (melody) line.
(2) Imperfect Authentic Cadence (IAC)
(a) Gives the sound of finality but not as much as a PAC.
(b) Must meet the following requirement:
[1] Progression is used V-I.
(c) Must meet one of the following requirements:
[1] Vii° –I progression is used as a substitute for a V-I progression
[2] One of the chords is inverted.
[3] The tonic of the I chord is not found in the soprano (melody) line.
(3) Half Cadence (HC)
(a) Unstable and progressive cadence.
(b) Creates a sense the music should continue.
(c) Must meet the following requirements:
[1] Cadence that ends with the V chord.
[2] Can be preceded by any other chord.
[3] Located at the end of a phrase.
(4) Deceptive Cadence (DC)
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(a) Progression moves with a strong approach to the V, giving a sense of a PAC,
but moves to another chord (commonly the vi).
(b) Unstable and progressive cadence.
(c) Used to deceive listener that a musical statement is ending.
(d) Used to extend a musical thought rather than end it.
(5) Plagal Cadence (PC)
(a) Commonly identified as a IV-I cadence.
(b) Offers finality, but not as much as a PAC.
(c) Referred to as the “Amen” cadence.
(d) Commonly found at the end of a composition preceded by a PAC.
11. Voicing
a. Voice Motion
(1) Relative Motion – The direction that two or more voices move within a progression.
(a) Contrary Motion – Two voices moving in opposite directions.
(b) Parallel Motion – Two voices moving in the same direction by the same
interval, without regard for quality.
(c) Similar Motion - Two voices moving in the same direction but by different
intervals.
(d) Oblique Motion – One voice moving up or down while the other remains the
same.
b. Voicing Triads and Doubling
(1) Process of determining how the three note chord tones of a triad are assigned to the four
traditional voices.
(2) Double the root - Common practice for root position triads.
(3) Omitting chord tones – Common practice to omit the 5th since the 3rd established the
quality.
c. Open and Closed Voicing
(1) Open voicing – When the distance between the soprano and tenor voices is greater than
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an octave.
(2) Closed voicing – When the distance between the soprano and tenor voices is an octave
or less.
d. Voice Leading
(1) The arranging of chord tones in a progression in order to create smooth transitions from
one chord to the next.
(2) General Rules of voice leading.
(a) Look for common/shared chord tones in the harmonic movement.
(b) When there are no common/shared chord tones, it is customary to move the
upper voicings in contrary motion to the bass.
(c) Avoid parallel fifths and octaves
[1] Occurs when two voices move in the same direction, at the same
interval of a fifth or octave.
(d) Resolve tendency tones in the most direct manner.
(e) Avoid melodic leaps.
[1] Keep upper 3 voices from any leaps greater than an interval of a third.
[2] Avoid augmented intervals, sevenths and leaps greater than an octave.
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