Music Theory for Guitarists Level 2 : simplebooklet.com

Guitar'Academy'Music'Theory'for'Guitarists4Level'2'!Level!2!is!for!those!who!have!completed!Level!1!of!Music!Theory!for!Guitarists.!!Those!who!have!completed!Level!1!of!Music!Theory!for!Guitarists!should!now!have!a!fundamental!understanding!of!intervals!and!scales!and!how!these!elements!work!on!the!guitar.!In!Level!2!the!focus!will!broaden!into!larger!concepts!of!how!those!elements!are!used!in!music!as!they!relate!to!the!character!and!particular!sound!of!scales.!!We!will!begin!with!the!“Greek!Modes”!and!actually!compose!our!own!simple!melodies!so!that!we!can!get!inside!the!qualities!of!each!mode.!We’ll!then!work!more!with!intervals!and!new!ways!to!understand!them!by!turning!them!inside!out.!!!We!will!explore!the!chromatic!scale!and!get!a!more!hands!on!use!of!sharps!and!flats,!which!prepares!us!for!the!different!“keys”!that!use!sharps!or!flats.!!!Once!we!understand!and!know!how!a!key!is!constructed,!we!will!learn!how!keys!relate!to!each!other!on!a!broader!level!and!how!to!build!keys!off!of!any!note.!!Finally!we!will!explore!the!MajorJminor!relationships!of!each!key!and!the!unique!variety!that!minor!keys!offer!by!exploring!the!actual!music!presented!in!Part!II!of!Guitar!Academy!as!well!as!some!popular!classical!tunes.!!Once!Level!2!is!completed!the!student(s)!should!be!ready!for!the!exploration!of!harmony!in!Level!3.!!!!!!!!!

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&œœœœ1.œœœœœœœœ2.œœœœ&œœœœ3.œœœœœœœœ4.œœœœ&œœœœ5.œœœœœœœœ6.œœœœ&œœœœ7.œœœœModesIn addition to A minor and C Major there are ﬁve other scales that fall naturally on the staff without the use of sharps and ﬂats. These scales were inspired by the ancient Greeks and are therefore referred to as the "Greek Modes". Aeolian: Locrian: Ionian: Dorian: Phrygian: Lydian: Mixolydian: 1. Identify each of the modes below writing the name of the Greek Mode above each example and indicate where half steps occur with an "H" between the two notes that form the half step. 2. Play each example both ascending and descending.1.A B C D E F G (A)B C D E F G A (B) C D E F G A B (C)D E F G A B C (D)E F G A B C D (E)F G A B C D E (F)G A B C D E F (G)

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&&&Compose a simple eight bar melody based on each mode. Using the music sheets in the back of the book or your own music paper.Use the example below to write your ﬁrst melody.1. Begin by writing out the scale on one line. We are using Ionian ﬁrst.2. Map out eight measures by placing three equally spaced bar lines within two staves (as below). 3. Play through the scale slowly listening to it's unique character. Make note of the positioning of the half and whole steps. The location of the half steps are what gives each mode it's sound.4. Begin and end on the ﬁrst note of the scale. So in Ionian make the ﬁrst note "C" and end the melody also on "C". This will become critical when writing in the more exotic modes like Locrian and Phrygian. Try also to return to the ﬁrst note of the scale a few times within the eight measure melody.5. Don't worry about writing a "masterpiece". The goal of this assignment is to get to know the modes and try a little experimenting with writing music.6. Keep it simple. Use either all quarter notes or very simple ryhthms with a few half notes and maybe some eighths.7. For some inspiration maybe listen to some Gregorian chant or Medieval music. Class ProjectPlay 2 or 3 of your compositions for your teacher and class.2.Compose your own Ionian mode melody below.Write out Ionian mode scale below.Additional assignment:Example

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&˙˙ ˙˙M2m7˙˙˙˙M2m7&˙˙1.˙˙2.˙˙3.˙˙4.˙˙5.&˙˙6.˙˙7.˙˙8.˙˙9.˙˙10.Every interval has an inversion, a related interval that is comprised of the same two notes but re-arranged at a different octave. In example 1. the notes A and B form a Major second. If youmove the B down an octave you have the same two notes but now the interval is a minor seventh.Likewise if you move the A up an octave you also have a minor seventh. Interval Inversion TableMajor Second < > minor Seventhminor second < > Major SeventhMajor Third < > minor Sixthminor Third < > Major SixthPerfect Fourth < > Perfect FifthAugmented Fourth < > diminished Fifthunisons < > octavesIn the following exercises:1. Identify and label the interval of the two notes given as in the examples above.2. Redraw the lower note of the interval to the right of the ﬁrst interval.3. Redraw the higher note of the ﬁrst interval one octave lower below as in example 1. above.4. Identify the interval of the two redrawn notes. 3.Example 1.Example 2.Continued on next page.____________________________________________________________________________Use the abbreviations: m2, M2, m3, M3, P4, A4, P5, d5, m6, M6, m7, M7Interval Inversions

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&˙˙11.˙˙12.˙˙13.˙˙14.˙˙15.&˙˙16.˙˙17.˙˙18.˙˙19.˙˙20.& ˙˙1.˙˙2.˙˙3.˙˙4.˙˙5.˙˙6.˙˙7.& ˙˙8.˙˙9.˙˙10.˙˙11.˙˙12.˙˙13.˙˙14.&˙˙1.˙˙2.˙˙3.˙˙4.˙˙5.˙˙6.˙˙7.&˙˙8.˙˙9.˙˙10.˙˙11.˙˙12.˙˙13.˙˙14.&˙15.˙˙16.˙˙17.˙˙18.˙˙19.˙˙20.˙˙21.˙In the following exercises:1. Identify and label the interval of the two notes given as in the examples on pg. 3.2. Redraw the higher note of the interval to the right of the ﬁrst interval.3. Redraw the lower note of the ﬁrst interval one octave higher as in example 2. on page 3.4. Identify the interval of the two redrawn notes.In the following exercises:1. Identify and label the interval of the two notes given as in the examples on pg. 3.2. Redraw the lower note of the interval to the right of the ﬁrst interval. (In ex. 15-21 redraw either note)3. Redraw the higher note of the ﬁrst interval one octave lower below as in example 1. on page 3.4. Identify the interval of the two redrawn notes.4.

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&˙ ˙#A A sharp1.˙ ˙bA A Flat2.˙# ˙nA NaturalA sharp3.˙b ˙nA ﬂatA natural4.& ˙1.˙2.˙3.˙4.˙5.˙6.˙7.˙8.&˙1.˙2.˙3.˙4.˙5.˙6.˙7.˙8.˙9.&˙˙b1.˙˙b2.˙˙#3.˙˙#4.˙˙!5.Double ﬂat˙˙‹6.Double sharp˙˙!7.˙˙‹8.&˙#1.˙#2.˙‹3.˙!4.˙‹5.˙!6.˙!7.5.All notes can be raised or lowered by the use of sharps, ﬂats or natural symbols. Sharps raise a noteby one half step. Flats lower a note by one half step. Naturals return a sharped or ﬂatted note to it's original "natural" state. Remember that on the guitar a ﬂat lowers a note by one fret and a sharp raises the note by one fret.Play each of the following examples on the third string.As above, in each of the following exercises rewrite the note with a sharp, and then play each note.In each of the following exercises rewrite the note adding a ﬂat, and then play each note.Enharmonic notes are 2 notes that are spelled differently but sound the same. They occur between 2 notes that are naturally a half step apart when one note is raised or lowered, or with double sharps and ﬂats on notes that are a whole step apart. Notice on the guitar how the two notes are the same in each example.Write in the enharmonic equivalent to each note below.Sharps, Flats and Naturals

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&œ œ#œ œ#œœ œ#œ œ#œ œ#œ&œœ œbœ œbœ œbœœ œbœ œbw&˙˙1.M2˙˙2.M3˙˙3.M3˙˙4.M2&˙#˙5.M2˙˙6.P5˙˙7.P4˙#˙8.8ve& ˙#˙9.M2˙˙10.d5˙#˙11.8ve˙˙12.A4&˙˙13.P5˙˙14.m2˙˙15.M7˙˙16.m7Although there are only seven letters used in virtually all music there are twelve tones available byadding ﬂats and sharps. The Chromatic scale contains all the twelve notes used in most music.6.In the following exercises add a ﬂat to one of the notes to make it correspond to the interval quality written above.In the following exercises add a sharp to one of the notes to make it correspond to the interval quality written above.In the following exercises add a ﬂat or sharp to one of the notes to make it correspond to the interval indicated.The Chromatic Scale

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& œœœœG MajorœœœœœœœœD Majorœœœœ&œœœœA MajorœœœœœœœœE Majorœœœœ&œœœœB Majorœœœœœ#œœœF# Majorœœœœ#&œœœœœœœœœbœœœœœœœb&œbœœœœœœœbœbœœœœœœœbKeys are groups of notes that relate to a tonal center such as C Major. In C Major, C is the most prominent note, the note the ear hears ﬁrst, most often and which wants to return to at the end of a melody or section of music. Keys are also determined by the location of whole and half steps. By using sharps or ﬂats we can create keys on any note. The sharps or ﬂats raise or lower notes to create the same pattern of whole and half steps found on the C Major and A minor scales. Sharp Keys7.KeysFlat keys use ﬂats to lower notes in a scale to create the right order of whole and half steps.The following scales require one or more ﬂats to make each one Major. Find which notes mustbe lowered by adding ﬂats to make half steps occur between scale degrees 3-4 & 7-1. Flat KeysIn the following exercises create keys by adding sharps to make each scale Major in quality. Play each scale after adding the necessary sharp(s). In order to make a scale Major in quality remember that there must be a half step between scale degrees 3 & 4 and 7 & 1.

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8. The Circle of Fifths The Circle of Fifths is a wheel chart that lays out the progression of keys according to the number of sharps or flats. The Major keys are highlighted in uppercase letters starting at the top with “C” for C Major. As you look to the right on the wheel you will see the next key in order of its number of sharps until you reach “F#” (F# Major) at the bottom of the wheel which has six sharps. Each sharp key is a perfect fifth higher than the last and has one more additional sharp in its key signature. To see the progression of flat keys it is best to start at the top with C Major and go to the left. In this case you will be counting down a fifth to see the progression as each key adds another flat to its signature. For each Major key its relative minor key is set toward the middle of the wheel. For “C Major” the relative minor is “A” (three notes lower than C). So each relative minor shares the same notes as its Major but begins a third lower.

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&# #####wC MajorE MajorD flat MajorP 5thwG MajorP 5thB MajorwD MajorF# MajorP 5thwP 5thA MajorC# Major&######################wP 5thwP 5thwP 5thw&b bbbbbbbbbwF MajorP 4thwB flat MajorP 4thwE flat MajorC flat MajorP 4thwA flat MajorP 4th&bbbbbbbbbbbbbbbbbbwP 4thwG flat MajorP 4thwBuilding Key SignaturesEach key signature has a certain number and order of placement for the sharps or ﬂats. C Major has no sharps or ﬂats, G Major-one, D Major-two, A Major-three and E Major-ﬁve. Each time an additional sharp is added a new key is formed with a keynote a perfect ﬁfth higher. See the Circle of Fifths pg.8.Flat keys also have an order. F Major-one ﬂat, B ﬂat Major-two, E ﬂat Major-three, A ﬂat Major-ﬁve.Each time a ﬂat is added the given keynote is a fourth higher.9.

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&1. G Major2. D Major3. A Major 4. E Major5. B Major&1. F Major2. Bb Major 3. Eb Major4. Ab MajorWriting Key SignaturesAlthough writing key signatures involves simply memorizing each keys ﬂats or sharps and the proper arrangement on the staff, there are some rules that govern the order of placement. For sharp keys the placement begins at the top in order to keep the arrangement centered on the staff as more sharps are added for the full range of keys. G Major always has an F# placed on the top line of the staff. The next key on the circle of ﬁfths is D Major with an added C# which is placed on the third space of the staff. In A Major the G# is placed on the space above the staff. In E Major the D# is added on the fourth line. In B Major an A# is added on the second space. This keeps thesharps as close as possible and on the staff without ledger lines.There is also a formula for knowing which sharps are in each key. Remembering that G Major has just one, F# we can build the following keys on the circle of ﬁfths by adding an additional sharp a perfect ﬁfth higher. Therefore we know the next key, D Major adds a C# by counting up from F# (F#-G-A-B-C#). The next key, A Major adds the sharp a perfect ﬁfth higher than C#, the last added sharp of the previous key.Flat keys also have an order. F Major-one ﬂat, B ﬂat Major-two, E ﬂat Major-three, A ﬂat Major-four.Moving counter clockwise on the circle of ﬁfths each new key has an additional ﬂat. Remembering that F Major has a B ﬂat, we can build the following keys on the circle by adding a ﬂat each time that is a perfect fourth higher than the last ﬂat of the previous key.10.In the following exercises use the formula above to write each sharp-key signature.Before beginning, cover the previous page with a sheet of paper to avoid simply copying the key signatures.In the following exercises use the formula above to write each ﬂat-key signature.Before beginning, cover the previous page with a sheet of paper to avoid simply copying the key signatures.

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&##############1. _______________ 2. _______________3. _______________4. _______________&# ######5. _______________6. _______________7. _______________&b bbbbbbb8. _______________ 9. _______________10. _______________&bbbbbbbbbbbbb11. _______________12. _______________13. ________________Identify each of the following sharp keys. First write in the Major key and then it's relative minor key above each measure. For example: A Major / F# minor Identify each of the following ﬂat keys. First write in the Major key and then the minor key.11.As mentioned in Level 1 of this program each key has a relative. Each Major key has a relative minor and each minor key has a relative Major. You can ﬁnd both the Major keys and their relative minors in the circle of 5ths on page 8. The Major keys are on the outer part of the circle and their relative minor keys on the inner part. Each relative minor key is a minor third lower than it's relative Major and shares the same notes including any sharps or ﬂats. Therefore to ﬁnd the relative minor of any key you simply count down a third from the Major keys keynote. The relative minor of C Major is A minor. We can determine that by counting down three notes from C (C-B-A). To ﬁnd the relative Major of any minor key we do the opposite, count up three notes from the minor keys keynote. The relative Major of E minor is G Major. We know that by counting up three notes (E-F#-G).Relative Keys________________________

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& 44œ œœœœœœœ œœœœœœœœœœœœœœ œ&œ œœœœœœœ œœœœœœ œœ œœœ œ ˙&#43œœ3œœœ3œœœ œœœœœœœœœœœœœœœœœœœœœœœœœœœ&#œœœœœœ œœœ œœœœœœœœœœœœœœœœœœœœœœœœœœœ.˙&#....˙ œ˙ œ3.œJœœ2.˙&#˙ œ˙ œ.œJœœ˙œ&#....˙ œ˙ œ3.œJœœ2.˙Identifying KeysIn the following examples from books I-IV of "Guitar Academy" identify the key above the ﬁrst measure. Keep the following things in mind as you work toward determining the key.1. ____________________2. ____________________3. ____________________Play each example before determining the key.Simple GiftsJesu' Joy of Man's Desiring J.S. BachWanderingStephen Miller12.1. What is the ﬁrst and last note of the melody; in many cases this is the keynote of the key?2. What does the key signature tell you? What Major key does it represent?3. Is the key Major or it's relative minor?

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& 44œœœœœœœœœœœœCD TRACK 38, 39, 40œœ˙œœœœJœ œ œœœœœœœœœœœœœ˙ ˙Jœ œ œJœ œ œ&œœœœœœœœœœœœiœœ˙œœœœJœ œ œœœœœœœœœœœœœi˙ ˙Jœ œ œJœ œ œ&##43 œœœœ˙œœœœ.˙&##œ œœœœ˙œ œœ œœ.˙&###œœœœœœœ œœœœœœœœ œœœœœœœœœœœœœœœœ˙&##44œœœœœœpimi m iœœœœœœœ#œœœœœ213œ#œœœœœœœœœœœ23œbœœœœœ&##œœœœœœ13œœœœœœ1œ œœœ œœœœœœœœœœœœœœœœ œœœœw4. _________________5. ___________________6. ___________________7. ___________________DuoStephen MillerSalterelloAnon.MinuetJ.S. BachRainStephen Miller13.

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&####43œœ œœœœœ œœœœ&####˙ œœ œœœœœœœœ.˙&b44œœœœœœ˙œœœœ˙˙&bœœœœœœ˙œœœœw&bbœœœœœœ˙œœ˙œœ˙œœœœœœ˙ œœœœw&bbbœ œœœ œœœœœ œœœ.œjœ ˙&bbb96œ œœœ œœœœœ œœœ.œjœ ˙8. ___________________9. ___________________10. ___________________11. ___________________Flow Gently, Sweet Afton Jonathan Edwards SpilmanAura LeeGeorge PoultonOde to JoyLudwig Van BeethovenBattle of JerichoSpiritual14.

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& 43Œ Œœœ#41. _______________œœ#œœœnœ.œ jœœœ‰Jœœ324.œjœœ#œ‰Jœ˙231˙œœ#‰JœJœ.œ123&œœ#œœœnœ.œ jœœœ‰Jœœ.œjœœœ‰Jœ˙.˙‰JœJœ ‰Œ& 42œœœœ2. _______________œœœ œbœœœœbœœœœœœœœœœœœœœŒ& 42œ œbœ œbœœœnœ#3. _______________œ œbœ œbœ œ#œn œ#œ œbœ œbœœœnœ#œ œbœ œbœ œ#œn œ#&œ œbœœ#œœ œnœœ œ#œ œ#œœœœœ œbœœ#œœ œnœœ œ#œ œ#œœ#œ œ#˙AccidentalsAccidentals are added sharps, ﬂats and natural symbols that fall outside the key. They are used for a variety of reasons to raise or lower certain notes. They are called accidentals because they are not "incidental" to a particular key. Note: Example 3. is often referred to as chromaticism because of its extensive use of accidentals.Fur EliseLudwig Van BethovenIn the Hall of the Mountain KingEdvard GriegFlight of the Bumble BeeRimsky-KorsakovPlay the following examples. Identify the key of each.15.

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& 44œœœœœœœœœœœœœœ˙&œœœœœœœ#œœ#œœœœœ˙&œœœœœœ#œ#œœnœnœœœœ˙Harmonic and Melodic Minor ScalesSo far we have worked with what is called the natural minor scale. We ﬁnd it's basis in the A minorscale, which has no sharps or ﬂats. (see and play example 1.) However there are two other types of minor scales, harmonic minor and melodic minor. The purpose of these two scales is to provide variety, but more speciﬁcally to also add the possibility of using Major key functionality to the upper half of the minor scale. Harmonic minor keys raise the seventh degree of the natural minor scale by a half step, or minor second. Therefore in the A harmonic minor scale the "G" is raised to a "G#". This makes the minor scale similar to a Major scale in that it will have a half step between scale degrees seven and one. (see and play example 2.)Melodic minor keys raise both the sixth and the seventh degrees of the natural minor scale. This allows a minor key to act even more like a Major. When we play the melodic minor, we lower the sixth and seventh degrees descending. (see and play example 3.)Note: by adding these "accidentals" to the minor scale a composer has the ability also to use chords that function in the same way as a Major key. This aspect will be covered in Level 3 of "Music Theory for Guitarists" . 1. A-Natural minor2. A-Harmonic minor3. A-Melodic minor16.

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&œœœœœ#œœœimimœœœœœœœœimimœœœœœœœœœœœœ˙&œœœœœ#œœœœœœœœœœœœœœœœœœœœœ˙&#44œœœœœœ#œœœœ#œ#œœnœnœœœœœœœœœœœœœ&#œœœœ#œœœœ#œ#œœnœnœœœœœœ.˙&&&&Play each example then determine which uses the melodic minor scale and which oneuses harmonic minor. Write in the key and its scale type in the blanks.1. ___________________2. ___________________Project: Compose two melodies, one in A - melodic minor and one in A - harmonic minor. First spend some time playing each scale from the previous page. Play your melodies for the class.Trio No. 1BourréStephen MillerJ.S. Bach17.

Music Theory for Guitarists Level 2

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