Melody

Question 1

Melody

Answer 1

A single note line (that can be sung)

Question 2

Stave

Answer 2

The 5 lines on which we write music notes

Question 3

Scale

Answer 3

A series of notes

Scales are patterns of notes that are used to create specific sounds in melodies, and make them fit the key.

Question 4

Interval

Answer 4

The distance between two notes
Most intervals can be described as either major, minor, or perfect intervals.
Major intervals (Major 2nd, major 3rd, major 6th, major 7th) are happy sounding intervals.
Minor intervals (minor 2nd, minor 3rd, minor 6th, minor 7th) are sad sounding intervals.
Perfect intervals (Perfect unison, perfect 4th, perfect 5th) are neutral but consonant sounding intervals.
Perfect intervals can be sharpened to make augmented intervals, or flattened to become diminished intervals

Question 5

Treble Clef

Answer 5

A symbol meaning we play at a high pitch

The treble clef is a symbol at the beginning of the score that tells us to play in a high range of pitch.

Question 6

Bass Clef

Answer 6

A symbol meaning we play at a low pitch

The bass clef is a symbol at the beginning of the score that tells us to play in a low range of pitch

Question 7

Sharp

Answer 7

A note raised by a semitone

A sharp symbol indicates that we should play the black note to the right of the given note (or one note up). #

Question 8

Flat

Answer 8

Lowered by a semitone

A flat symbol indicates that we should play the black note to the left of the original note (or on note down). ♭

Question 9

Natural

Answer 9

The original white note

Natural symbols tell us to play the white note, in spite of the key signature or any accidentals affecting this note. ♮

Question 10

Key Signature

Answer 10

The Sharps or flats at the start of the score
Key Signatures are the collection of sharps or flats shown at the beginning of the score.
These are played as sharps or flats every time unless indicated otherwise.

Question 11

Accidental

Answer 11

A note that is not in the key signature
Accidentals are symbols that tell us to play black notes on the keyboard instead of white ones (or vice versa), where this is note indicated by the key signature.

Question 12

Spaces - Treble Clef

Answer 12

F A C E

Question 13

Lines - Treble Clef

Answer 13

E G B D F

Question 14

Spaces - Bass Clef

Answer 14

A C E G

moved down 1 from F A C E + G - F

Question 15

Lines - Bass Clef

Answer 15

G B D F A

Moved down 1 from E G B D F + A - E

Question 16

Leger Lines

Answer 16

When notes are outside the range of the clefs we are using, we can simply draw more lines on to reach them.

Question 17

Tones and Semitones

Answer 17

Most scales are composed of specific patterns of intervals called tones and semitones.
A semitone is the interval between a note and the very next note.
A tone is the interval between two notes with one note in between (i.e. two semitones)

Question 18

Major Scale

Answer 18

A major scale is a happy-sounding scale.
It is the most basic scale in music.
In C Major, it is played by playing all of the white keys between C and the next C.
We write it by writing a note on every line and space between C and the next C.

Question 19

Major Scale Pattern

Answer 19

See the pattern of tones and semitones in the major scale.
This pattern remains the same whichever key we are in, we just have to change the starting note to the tonic of that key.

Question 20

Names for the Degrees of Scales

Answer 20

These degrees all have names, but the ones that we need to know are:
The tonic is the first note of the scale.
The dominant is the 5th note of the scale.

Question 21

Solfege

Answer 21

In the Kodaly method of music, the degrees of the major scale are given different syllables, so that they can be easily sung.
C D E G A C
1 2 3 5 6 1

Question 22

Natural Minor Scale

Answer 22

The natural minor scale is a mode of the major scale, starting on the 6th degree.
It is also known as the aeolian mode.
This means it is played by simply playing all of the white notes, from A to the next A.
We therefore end up with this pattern of tones and semitones
A B C D E F G A

Question 23

Minor Pentatonic Scale

Answer 23

The Minor Pentatonic scale uses the same notes as its related Major Pentatonic scale, but starts on the 6th degree.
It is also often used in improvised music due to its lack of clashing notes.
A C D E G A

Question 24

Harmonic Minor Scale

Answer 24

The Harmonic Minor scale uses the same notes as the natural minor scale, with a sharpened 7th degree.
This is expressed as an accidental (not in the key signature).
The sharpened 7th gives the scale a stronger pull towards its minor tonic.
The interval created between the b6 and the #7 is an augmented 2nd, which makes the scale sound exotic.
A B C D E F G# A

Question 25

Chromatic Scale

Answer 25

The chromatic scale is simply every single note (black and white notes) played one after the other.
It is notated with sharps when ascending and flats when descending.
C C# D D# E F F# G G# A A# B C
C B B♭ A A♭ G G♭ F E E♭ D D♭ C

Question 26

Modes

Answer 26

Modes are where we play a scale, but we start on a note other than the tonic.
These each have their own distinct colour.
They each have Greek names, due to their Pythagorean roots.
The only ones we need to know are:
Ionion aka Major Scale
Aeolian aka Natural Minor Scale

Question 27

Reading/Writing Intervals

Answer 27

Intervals are named using ordinal numbers (2nd, 3rd)
We count how many steps up, with the first note being 1 (unison)
Each line or space is a new number
As a shortcut, if both notes are on lines, or both on spaces, then we know the interval is an odd number (Unison, 3rd, 5th, 7th)
If they are opposites (line to space) then the interval is an even number (2nd, 4th, 6th, octave)
The intervals are then given qualities as outlined on the previous page

Question 28

Diatonic Intervals

Answer 28

The only intervals we need to know are diatonic intervals (those found in a major scale)
These are always major or perfect intervals
These are where they belong:
C major -
Perfect unison, Major 2nd, Major 3rd, Perfect 4th, Perfect 5th, Major 6th, Major 7th, Perfect octave

Question 29

Relating Intervals to Examples

Answer 29

Perfect Unison: What Makes You Beautiful
Major 2nd: Silent Night, Happy Birthday
Major 3rd: Oh When The Saints, Doorbell
Perfect 4th: Here Comes the Bride, Eine Kleine Nachtmusik
Perfect 5th: The Last Post, Twinkle Twinkle Little Star
Major 6th: Mockingbird, All Blues
Major 7th: Take On Me, Superman, Careless Whispers
Octave: Somewhere Over The Rainbow, My Sharona

Question 30

Circle of 5ths

Answer 30

The circle of 5ths is a system that helps us decipher key signatures.
C Major/A Minor is have no sharps or flats.
Each time we go up by a 5th we go to the right and add a sharp (♯).
Each time we go down by a 5th we go to the left and add a flat (♭).
C D E F G
F G A Bb C
The relative minor is two notes down from the major key

Question 31

Relative Major/Minor Keys

Answer 31

Relative Major and Minor keys are keys that share a key signature, but have different tonics.
The relative minor of any major key is based on the 6th note of the scale, e.g. C D E F G A
This can also be found by going down by a minor 3rd, or two notes from the major tonic.
We can reverse this to find the relative major of a minor key, going up by a minor 3rd or finding the 3rd note of the scale, e.g. A B C

Question 32

Modulation

Answer 32

Modulation is when we change keys during a piece.
There are three types of modulation we need to know about:
To the Relative Minor
To the Relative Major
To the Dominant

Question 33

Modulation

Answer 33

To the relative minor:
This is usually indicated by using the V(7) chord of the new minor key.
Melodically, the giveaway is the raised 7th from the harmonic minor scale (G# in A Minor when transitioning from C Major)
To the relative minor:
Again, by reversing this approach and using the V7 chord of the major key (G7 in C Major from A Minor)

Question 34

Modulation

Answer 34

To the Dominant:
Indicated by using the V chord of the new key (the one to the right on the circle of 5ths) and the new #7th associated with it (F# in D7 moving from C to G)
In all of these cases we are seeing the new V (dominant) chord of the key being used to clearly draw the music towards the new tonic.

Question 35

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Answer 35

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