Music Theory

Midterm Study Guide

Chapter 1: Notation of Rhythm

Chapter 2: Notation of Pitch

Chapter 3: The Keyboard

Chapter 4: Simple Meters

Chapter 5: Compound Meters

NAME

SUPPLEMENTARY STUDIES

Drill Exercises

1. In earlier exercises, you completed a given measur by adding one or morenotes or rests to those notated. In this exercise, fill any incomplete measures byadding one note or rest (as directed) to those given. Compute the total beats inany incomplete measure, then choose one note or rest to complete it. Remem-ber that some measurds are complete as given.

a. Add one note if necessary.

5

b. Add one rest if necessary.

5

c. Add one note if necessary.

0

2. Provide the values of the notes and rests shown below.

a. J=1beat

q1

2

3

4

5

6

b. = 1 beat

'V ______

1

2

3

4

5

6

C.

=1beat

1

2

I

3

T

4 5 6

25

5

26

Chapter 1

Fundamental Skills in Practice

3. A TRANSCRIPTION is a re-notation of music without changing the results ofpër-

formance. As we have discussed, we might notate the same passage with

quarter-, half-, or eighth-note beat. The notation wouldbe different, but the

music sounds the same.The following lines are rhythmic reductions of compositions by well-

known composers. In the space provided, transcribe each passage by halving or

doubling the original va)ues as specified.

a.Henry Purcell, Dido and Aeneas

5

I

Giuseppe Verdi, Don Car/os

II

Values Doubled

John Lennon/ Paul McCartney, "P.S. I Love You"

b.

C.

5

0-0--O

Values Halved

4

© 1962, 1963 (Renewed 1990, 1991) MPL Communications Ltd., Julian Lennon, Sean Ono Lennon. and

Yoko Ono Lennon. All Rights for the U.S. Controlled and Administered l Beechwood Music Corp., Julian

Lennon, Sean Ono Lennon and Yoko Ono Lennon. All Rights for Canada Controlled and Administered &y

Beechwood Music Corp. All Rights Reserved. International Copyright Secured. Used by Permission.

a.

C.

NAME

SUPPLEMENTARY STUDIES

DriH Exercises

1. Identify the specified pitches in the following compositions.

Johann Strauss, Artist's Life

r

r rHr H3

4 5 6 7

Alan Lerner/ Frederick Loewe, Brigadoon

2

3

4

5

6

7

8

9

10

11

12

13

14

© 1947 (Renewed) 1 Alan Jay Lerner and Frederick Loewe. World Rights Assigned to Chappell & Co., Inc.World Rights Assigned to EM! U Catalog Inc. All Rights Reserved. Used I Permission Warner Bros. Publica-tions U.S. Inc., Miami, FL. 33014.

Robert Schumann, Dichter!iebe

-.

-•"

H

fT H

H

'

p

2 3 4 5 6

7 8 9 10

2. Write thirty-second notes an octave above those given. Do not use the octavesign; extend the staff as necessary with ledger lines. Identify each given pitch.

K

I

ILdJ1

2 3 4

a.

32

49:

50

Chapter 2

3. Again without using the octave sign, write quarter notes that are an octave

below those given. As before, identify the given pitches.

4. The composition that follows is a Gregorian chant dating from before 800 CE.

and representing some of the earliest Western music. On the staff provided,

rewrite the chant in more traditional notation using eighth notes. Beam the

notes as suggested by the brackets on the upper staff. (If two notes are in brack-

ets, beam those two together in your revision, and so on.) Notice that the treble

clef indicates pitches sounding an octave lower than written. Write your revised

version in 'the bass clef and notate pitches as they will actually sound.

3NAME

SUPPLEMENTARY STUDIES

Drill Exercises

1. Writ the 'pitch name that forms the designated interval with note name given.Considering enharmonic equivalents, two or more answers will be correct ineach case.

Half Step Above

a. F

B.

C .

G

E

b. 'D$t

C2

G ___

F

A

Half Step Below

c. C

Gt

F

Dt

B1

G

A

C.

B1

2

3

4

5

6

Whole Step Above

e. CL

G_ F

D_

1

2

3

4

1

2

3

4

f.EL

A

GL

F_ C

Whole Step Below

g.G$

A_ H

D

EL

C2

4

h.F

CL

__ E __ B. D$1

2

3

4

5

5At

B6

6

G

- B_5

6

80

Chapter 3

2. Many of the following pitches include ledger lines or employ the octave sign.Identify each with letter name and octave designation.

a.

0'

0

p

8bap

0p

4

5

6

7

8

9

10

8va 1

p8va

1

2

-a

1

2

3

4

5

6

7

8

9

10

Fundamental Skills in Practice3. Determining the kinds of intervals present in a melody can tell you a great deal

about the music itself. The following melodies include whole steps, half steps,and other intervals that will be discussed later. Locate pitches that lie a half stepor a whole step apart and mark appropriately. Leave other intervals unmarked,then total intervals in the three categories: "whole step," "half step," and "other."

Frédéric Chopin, Prelude, Op. 28

Whole:______Half: ______

Other: _______

Anton Bruckner, Symphony No. 7

ri

rU-i

-

1- 1-

t-

-

I

•i

I

'...i...iI

..iI

I

1

I

.

H fl

'

'

riiWhole: ______

Half: ______

Other: ____

Nigerian Folk Song, "I Will Feed My Baby"

•

dIr'

kJnlWhole:_____Half: ______

Other: _______

..

0

NAME

j

UNIT REVIEW

1. Study the passage below by English composer Thomas Arne (1710-1778).Begin by identifying pitch name and octave designation where blanks appear.

Transcribe the melody above so that all rhythmic values are doubled.

b.

Return to the melody as notated in the first example (with quarter-note beat).Maintain the original rhythmic values, but rewrite the melody to sound an oc-tave lower in the bass clef. Your first pitch is given.

C.

Begin with the bass-clef melody in the last question (c) and write each pitch awhole step lower.

-

Return to the bass-clef melody (item c) and write each pitch,a wholestep higher.

e. W)hole Step Higher

81

3

82

Chapter 3

2. Rewrite the next passage as it will sound.Jules Massenet, Elegy

loco - 8va------

5

3. Transcribe "Massenet's Elegy" in the last example with an eighth-note beat. Use

the original pitches.

4. The phrase below is given as the English composer William Byrd (1543-1623)

notated it. On the second line, renotate the passage using enharmonic equiva-

lents for each pitch. The first pitch is given below as Bi (but just as well could

have been G). Several solutions to the problem are possible depending upon

your choice of enharmonic equivalents.

Original Notation William Byrd, Galliard

j

If°

_____

NAME

SUPPLEMENTARY STUDIES

DriU Exercises

1. The beaming and stem direction in the passages below thay not be correct in allmeasures. Use the given staff to rewrite each line in its entirety, correcting allerrors.

Norman Dello Job, Piano Sonata

5 0b.

© 1948 by Carl Fischer Inc. Copyright renewed. All rights reserved. Used by permission of Carl Fischer, Inc.

2. For the notes and rests given, provide the value in beats.

a.

____ ___ ___ ____•1•___

1

2

3

4

5

4_______2 0 ____________

2

3

4

5

d.1

2

e.

q

1

2

3

:7'

5

3 5

Chapter 4

Fundamental Skills in Practice

3. The following composition is notated in meter. Transcribe the time signature

to in the first line and in the second line. Revise the notation as necessaryThe first measures have been completed as an example.

a. George Frideric Handel, Suite in D

Transcribe to

II

I

I

II

I

II1•

l•'••

I

I

I

I

II

I

I

I

II

I

IIia).

..I.

H

NAME

SUPPLEMENTARY STUDIES

Drill Exercises

1. Classify the following meters. For each meter, indicate, first, the accent patternand, second, whether it is simple or compound.

d.

gJ

b. h. g

f.

2. Write the note that receives one beat in the following compound meters.

3. For the following simple and compound meters, write the note that receivesone beat; write the notes that constitute the beat division, beat subdivision, bor-rowed division; and finally, provide the metric classification.

Beat Division

Subdivision

Borrowed Division

Classfication

Fundamentals Skills in Practice

4. Some of the beaming in this passage is incorrect. Study the meter, then use thelower staff to renotate the music with correct beaming.

J. S. Bach, Fugue No. 15 in G Major

145

pter 5

5

rr L.!r;r

j1

5. Use a rhythmic reduction of the preceding passage as one part of a percussion

duet. On a separate sheet, construct a two-line system, then recopy the rhythms

of Bach's ftigue as you renotated them in exercise 4. Next, create a slower-moving

second part to complement the first. Where the given part moves basically in

eighth and sixteenth notes, use dotted quarter and eighth notes in your second

part. One of many possible approaches is given here as an example of score

setup.

NAME

UMT REVIEW

1. Follow the model and write the note or notes that represent the beat, beat divi-sion, beat subdivision, and borrowed division from the given information.

Time Signature

Beat

Model

Beat Diision

Beat Subdivision

Borrowed Division

3

3

42

A. 2

98

3

4

1

2

3

4

1

2

3.

4

2. In the following lines, note the given information: the accent pattern and onnote value. From this information, deduce the time signature and write that iithe first blank. Next, fill in the note or notes as you did in the previous question

Time

Borrowed

Accent Pattern

Signature

Beat

Division

Subdivision

Division

1. Triple

2. Quadruple

3. Quadruple

4. Triple

5. Duple

3

4

2

4

5

1

2

3

4

3

1

2 3

Chapter 5

3. One note value is given in each of the following lines. Compute the value inbeats or fractions of a beat given each different time signature.

a.r.g

C.c

d..

e.r.

3

4

5

I-3

4

5

5

2

16

521%

2

4. Determine an appropriate time signature for each line below, then add barlinesas appropriate. Write the time signature in its traditional place after the clef.Notice how beat groups are beamed to help n differentiating between simpleand compound meters. In addition, one measure in each example has begin-ning and ending barlines provided to further aid your work.

a.

Gabriel Fauré, Requiem

TimeSignature

W. A. Mozart, II Re Pastore, K. 208

n

I

.

--

- .

I

T

J TTime

Signature

Hugo Wolf, Trau' Nicht der Liebe

n

-I-----

-- -- -

--

I

k

I

Fl

-

II

H I

HHHLrII

(k J'J

D

VI

IITime

Signature

J. S. Bach, Jesu, Meine Freude

TimeSignature

Jacques Offenbach, Orpheus In Hades

F'

P.I

I

LI

I

III

Ik.I

I

II