BASIC MUSIC THEORY

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BASIC MUSICIANSHIP 1
References
Kostka, S., Payne, D., and Almen, B., Tonal Harmony, 7th ed., Mc Graw Hill: NYC, 2004
Mayfield, C. E., Theory Essentials, Schirmer: Boston, 2003
Ottman, R. W. and Rogers, N., Music for Singing, 9th ed., Pearson: Upper Saddle River, 2014

Africa Institute of Music

 Content.

-Lesson 1 Fundamentals I…………..………………….….………Pg. 3.

-Lesson 2 Fundamentals II………….…………………….....……Pg. 6.

-Lesson 3 Fundamentals III……………………………………… pg.10.

-Lesson 4 Major Scales…………………………………………… pg.12.

-Lesson 5 Key Signatures…......................................................Pg. 14.

-Lesson 6 Meters………………………………………………… pg. 18.

-Lesson 7 Time Signatures ……………………….….……………Pg. 27.

-Lesson 8 Intervals ……………………………………………… Pg. 30.

-Lesson 9 Primary Triads……………………………………….…Pg. 32.

-Lesson 10 Musical Structure: Cadence, Phrase, and Period……Pg. 38.

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Lesson 1. Fundamentals I

1. Pitch: the highness or lowness of a sound

2. The designation of pitches: two common ways

1) Musical alphabets= Letter names
2) Solmization: Singing with conventional syllables=Do Re Mi Fa Sol La Ti Do
* Octave: the distance between any pitch to the next same pitch

3. Notation on the staff

1) Staff: a system of musical notation, consisting of 5 lines (+ledger lines)- Line and space for
notating pitches
** Ledger lines: Extra lines above or below the regular staff

2) Clef: a sign to indicate which pitches are to be associated with which lines and spaces.

Treble Clef *Grand Staff: a combination of two staves

Or G Clef G (joined by a brace)

Bass Clef F
Or F clef

Middle C
Alto Clef
C clef: Middle C

Tenor Clef

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Exercise 1-1. Draw clef signs and write the letter names of pitches.

Alto (C) Clef

Alto (C) Clef

Tenor (C) Clef

Tenor (C) Clef

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Exercise 1-2. Sing with solfège. (The first note of each exercise is ‘Do’.)

1.

2.

3.

4.

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6.

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Lesson 2. Fundamentals II

1) Rhythm: A general term used to refer to the time aspect of music: the organization of music
in time using long and short note values.
* Beat: the basic, steady pulse of a musical passage

2) Durational symbols
1) Notes and rest signs

                                            
=                                                                       = + 
=                                                                   =                                        


2) French Rhythm Syllables/Counts

  
Ta Ta – a Ta – a – a – a
(One) (One two) (One two three four)

Exercise 2-1.
1) Draw 4 quarter notes and 4 quarter rest signs.

2) Draw 4 half notes and 4 half rest signs.

3) Draw 4 whole notes and 4 whole rest signs.

Exercise: 2-2. Listen to the melody played by the teacher and repeat it back.

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Exercise: 2-3. Say the French rhythm syllables of the rhythm while clapping.

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2.

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Exercise: 2-4. Sing with solfège.

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Lesson 3. Fundamentals III

1) Harmony: sounding with more than two different pitches heard simultaneously (chords)

* Consonance: Pleasing sounding with multiple pitches heard simultaneously

* Dissonance: Unpleasing sounding with multiple pitches heard simultaneously

2) Constructing triads.

Exercise: 3-1. Add two notes to make triads on the roots given.

Exercise: 3-2. Sing do (Play major triads on different roots).

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Exercise: 3-3. Sing the melodies at first sight.

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Lesson 4. Major Scales.
1. Scale: a series of pitches arranged in order.
The major scale is a specific pattern of small steps (half steps) and larger ones (whole steps)
encompassing an octave:
Whole step-Whole step-Half step-Whole step-Whole step-Whole step-Half step
(2 tetra chords combined: W-W-H and (W) W-W-H)

1) Major Scale on C

On piano

C D E F G A B C D E F G A B C D E F G A B C
Do Re Mi Fa Sol La Ti Do Re Mi Fa Sol La Ti Do Re Mi Fa Sol La Ti Do

Half Step Half Step Half Step Half Step Half Step Half Step

On staff

C D E F G A B C

Whole whole half whole whole whole half

Step step step step step step step

2) Accidentals: symbols that raise or lower pitches by a half step or two half steps

A sharp raises a note by a half step

A flat lowers a note by a half step.

A natural cancels the effect of another accidental.

X A double sharp sign raises a pitch by two half steps.

A double flat sign lowers a pitch by two half steps.

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 3) Major Scale on G

On piano

G A B C D E F G A B C D E F G A B C D E F G
Do Re Mi Fa Sol La Ti Do Re Mi Fa Sol La Ti Do Re Mi Fa Sol La Ti Do

Half Step Half Step Half Step Half Step Half Step Half Step

On staff

G A B C D E F G

Whole whole half whole whole whole half

Step step step step step step step

4) Major Scale on F

On piano

F G AB C D E F G A B C D E F G A B CD E F
Do Re Mi Fa Sol La Ti Do Re Mi Fa Sol La Ti Do Re Mi Fa Sol La Ti Do

On staff

F G A B C D E F

Whole whole half whole whole whole half

Step step step step step step step

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Lesson 5. Key Signatures

1) Key/Tonality: the main pitch or tonal center (tonic) to which all of the song’s pitches are
related: The key of C means that the pitch C is the main pitch or tonal center (tonic) in the
song/music.

2) Key Signature: a group of accidentals called sharps or flats appearing only at the
beginning of a staff to establish the key.

i) Sharp sign (raising a half step): the first sharp is on F = F#

ii) Flat sign (lowering a half step): the first flat is on B = Bb

3) G major Scale

On piano

G A B C D E F G A B C D E F G A B C D E F G
Do Re Mi Fa Sol La Ti Do Re Mi Fa Sol La Ti Do Re Mi Fa Sol La Ti Do

Half Step Half Step Half Step Half Step Half Step Half Step

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 On staff

G A B C D E F G

Whole
B whole halfB whole whole
B whole half
Step step step step step step step

Key Signature

do re mi fa sol la ti do

4) F major Scale

On piano

F G A C D E F G A C D E F G A C D E F
Do Re Mi Fa Sol La Ti Do Re Mi Fa Sol La Ti Do Re Mi Fa Sol La Ti Do

On staff

F G A B C D E F

whole whole half whole whole whole half

Step step step step step step step

Key Signature

Do re mi fa sol la ti do

Exercise 5-1.
i) Sing a whole step above or below the tone played.

ii) Sing a half step above or below the tone played.

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 Exercise 5-2.

Draw the first sharp (on F) 5 times each on the treble clef and the bass clef.

D E F# G A B C# D
W W H W W W H

Draw the first flat (on B) 5 times.

Exercise 5-3. Sing with solfège.

1.

2.

3.

4.

5.

6.

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9.

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4. More Key signatures.

i) All Major Keys with #s

Exercise 5-4. Find the ‘do’/tonic of the key.

F# G

ti do
G Major

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 ii) All Major Keys with bs

Exercise 5-5. Find the ‘do’/tonic of the key.

Bb F

Fa do

Lesson 6. Meter

1) Meter: a recurring pattern of strong and weak beats, commonly grouped by two (duple),
three (triple), and four beats (quadruple).

Group of two beats: Duple meter

1 2 1 2 1 2 1 2

Group of three beats: Triple meter

1 2 3 1 2 3 1 2 3 1 2 3

Group of four beats: Quadruple meter

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

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2) Dynamics: Indication of how loudly or softly to sing/ play.
(Italian) (English)

Decresc. Decrescendo Gradually softer

Cresc. Crescendo Gradually louder

*Fermata or hold=the note/ rest to prolonged approximately twice.

b) Tempo: the speed at which the beats occur.

Tempo Marks.
(Italian) (English)
Andante Walking speed
Moderato Moderately
Allegro Fast.

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Exercise: 6-1 Sing at first Sight.

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2.

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7.

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12.

13.

3) More rhythmic values

i) An eighth note and an eighth rest get a half beat each.

= = =

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 ii) The rhythm syllables of eighth notes:
The first half of the beat with ta and the second half with te

Ta - te Ta - te

4) Tie: A curved line on two successive notes of the same pitch connects the values of two
notes into a single musical sound (equal to their combined durations).

Ta - a Ta - a - a - a
(One two) (One two three four)

                                                                       
Ta – a – a – a – a – a – a – a
(One two three four five six seven eight)

5) Dotted rhythms
A dot beside a note adds half of the original number of beats to any note placed beside.

Dotted Whole Note/Rest

      =        .= +

Dotted Half Note/Rest

= . =

Dotted Quarter Note/Rest

= . = +

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 6) French Rhythm Names/Syllables

Ta (T)a (T)a Ta (T)a (T)a

Ta Ta (T)a Ta

Ta - te Ta - te Ta - te Ta - te

Ta - te (T)a - te (T)a - te Ta - te

Ta (Ta) - te Ta (Ta)- te

Exercise: 6-2. Say the French rhythm syllables while clapping.

i.

ii.

iii.

iv.

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v. v.

vi.

7) 1st and 2nd ending signs

Exercise: 6-3. Write the number of beats that each note or rest receives in .

1._____ 2.______ 3.______ 4.______ 5.______ 6.______ 7.______

. ..

8.______ 9.______ 10._______ 11._______ 12.______ 13._______ 14._____

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Exercise: 6-4. Sing at first sight.

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Lesson 7 Time Signatures

1) Time signature: a symbol that tells how many beats will occur in each measure and
what note value will represent the beat. The top number indicates the number of
beats in each measure and the bottom indicates which type of note receives one beat.

- The upper number indicates the number of beats/counts in each measure.

- The lower number indicates what kind of a note gets one beat/count.

Duple Meter Triple Meter Quadruple Meter

= 2 beat in a measure = 3 beat in a measure = 4 beat in a measure

=  receives 1 beat. =  receives 1 beat. =  receives 1 beat.

2) Measure: A group of beats or pulses (units of musical time) marked off in musical
notation by bar lines/ the areas between the bar lines.

* A double bar line: two vertical lines, signifying the end of a section or piece.

* A repeat sign: singing/playing the section again.

Exercise: 7-1. Say the rhythm syllables.

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Exercise: 7-2. Say the rhythm syllable of the upper part while clapping the rhythm of the
lower part.

1.

2.

Exercise: 7-3. Add bar lines for the time signatures.

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Exercise: 7-4. Sing the melodies while conducting.

1.

2.

Exercise: 7-5. Compose melodies with instructions.

i) Draw the time signature and fill with different values of notes and rests accordingly.
(Use pitches of F, G, A, Bb, and C only.)

ii) Draw the time signature and fill with different values of notes and rests accordingly.
(Use pitches of G, A, B, C, and D only.)

iii) Draw the time signature and fill with different values of notes and rests accordingly.
(Use pitches of F, G, A, Bb, and C only.)

Exercise: 7-6. Listen to hymns played and identify the meters

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Lesson 8 Intervals.

1. Interval: the measurement of the distance in pitch between two notes

i) Melodic interval: the distance of two notes played one at a time to form a melody
ii) Harmonic interval: the distance of two notes played simultaneously to form harmony

Exercise: 8-1. Draw arrows (up or down) and write the names of the melodic intervals and
the letter names.

Up a second _________ _________ ________ ________ _________

F - G

Exercise 8-2. Write the names of the harmonic intervals and the letter names.

Second _________ _________ ________ ________ _________

A
G

Exercise: 8-3. Draw notes up or down from the given notes to form the indicated melodic
intervals.

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2. Interval Qualities.

1) Three interval qualities are specified according to the number of semitones between
the two pitches. Interval modifiers of perfect (P) or major (M) are used in major scales.

2) The intervals from the tonic of a major scale to the other notes are either perfect or major.
Perfect intervals: unison, 4th, 5th, and octave
Major intervals: 2nd, 3rd, 6th, and 7th

P1: unison P4: 5 half steps P5: 7 half steps P8/octave: 12 half steps
M2: 2 half steps M3: 4 half steps M6: 9 half steps M7: 11 half steps

Exercise: 8-4. Identify the intervals.

Exercise: 8-5. Listen and identify the intervals.

Unison/ Octave/ P5th / M3rd/ M2nd / m2nd

Exercise: 8-6. Sing the intervals on the pitch given.

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 Exercise: 8-7. Sing with solfège.

i.

ii.

iii.

iv.

v.

vi.

vii.

viii.

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Lesson 9. Primary Triads

1. Scale degree names in C Major

Tonic Supertonic Mediant Subdominant Dominant Submediant Leading-tone Tonic

2. Triads: a three-note chord that is built in third (tertiary/tertian harmony)

Constructing triads
5th

3rd
Root
Root

3. Triads in major scale (Triads constructed on the tonic, subdominant, and dominant)

Primary Triads

4. Types of triad in major keys

1) Major triad: A root and 2) Minor triad: A root and 3) Dim. triad: A root and
M3 + P5 built on the root m3 + P5 built on the root m3 + dim.5 on the root

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* Triad Names in the Roman Numerals

I ii iii IV V vi vii°
Major Minor Minor Major Major Minor Diminished
Triad Triad Triad Triad Triad Triad Triad

Exercise: 9-1. Add two notes to make triads on the roots given.

Exercise: 9-2. Sing do (the root) after listening to the tonic triad of different keys.

Exercise: 9-3. Identify the type of the chord played.

Exercise: 9-4. Listen and sing the bass line of the chord progression played.

Exercise: 9-5.

i) Draw a bass clef, the key signature of G major, and construct tonic, subdominant, and
dominant triads of G major.

Tonic triad Subdominant triad Dominant triad

ii) Draw an alto clef, the key signature of F major, and construct tonic, subdominant, and
dominant triads of F major.

Tonic triad Subdominant triad Dominant triad

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Exercise: 9-6. Sing with solfege.

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Exercise: 9-7. Sing the melodies in parts.

1.

2.

3.

4.

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6.

7.

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8.

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Lesson 10: Musical Structure. Cadence, Phrase, and Period.

Cadence: It is a harmonic goal. Closing strains of a melody or harmonized movement.

The close or end of a phrase, section or movement. Types of cadences include;-

Authentic cadence (AC)- from chord V/vii to 1, Half cadence (HC)- from any chord to

V, Plagal/Amen cadence (PC)- from IV to I, Deceptive/ Interrupted cadence (DC)-

from V to vi.

Phrase: Half of an eight measure period. It is also a short passage, unbroken in

continuity and thus complete in itself.

*A phrase mark/ curved line connects the notes of a phrase.

Period: A Complete musical thought of eight, twelve, or sixteen measures, ending

with an authentic cadence.

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