for

BEGINNEIQ
Barbara
Wharram
"ci 26
On the keyboard sharp keys are one semitone to the right (since they are raised) and flat keys are one semitone tc
the left (since they are lowered.)

The black keys do not have names of their own and they have to borrow from one of the white keys nearest
them. If the black key between C and D borrows from Cit is C raised and is called C sharp; but if it borrows f:rom
D it is D lowered and is called D flat. So each black key may be called by two different names.

Most of the time a sharp key is a black one - for example F# and C# . But remember that a sharp can raise A!t'ii"Y
note without changing its letter-name, so when you raise E a semitone it will be E sharp, and when you raise B a
semitone it will be B sharp - and both of these notes are WHITE. These are the only two white sharp keys.

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

Similarly, a flat key is usually a black one, such as Bb or Eb, but when C and F are lowered a semitone you rmd
that C~ and H are WHITE.

D~ m G~ AP B~

C D E F G A B C

You can see from the diagrams that B, C, E and F can each have two names.

EXERCISES

I. On the keyboard write the SHARP letter-name of each black key. There are also two white keys that can have a
sharp name. Write these also.

2. On the keyboard write the FLAT letter-name of each black key. There are also two white keys that can have a
flat name. Write these also.
.! . :G::-.-£> a:J:.athe:r rum1e for each of these notes..

G#- F; _ _ _ B _ _ E~---
c.!lv·--- m; ___ D# ___ Gi:, _ __ c __
B# _

A CHRO~L-\TIC SEMITONE is made up of two notes or keys with the SAME letter-name .

.=-.T-c::-:;;hs: Ci is a chromatic semitone ABOVE C

u

E~ is a chromatic semitone,ABOVE m

G is a chromatic semitone BELOW G

Aq is a chromatic semitone BELOW A~

EXERCISES

:-\\"rite a chromatic semitone ABOVE each of these notes.

0 -0 I
'
tJ ~
(J
()

I~
0

' II
0
0
tJ 0

.::!. Write a chromatic semi tone BELOW each of these notes.

~: I) ~0
1.0
0
lfo I#u I. 0
II

;>:
0 ,,
~()
0
Ifo n I
2E
3. Write a chromatic semitone ABOVE each of these notes.

~0
;~: ~~n
e fe e
I I e
il
II
0
0
()

4. Write a chromatic semitone BELOW each of these notes.

le
f
n ll ,I
11
l#n e

i ~() 0
e
e
~~ 0 I#,, :I

A DIATONIC SEMITONE is made up of two notes or keys with DIFFERENT letter-names.

lHJ
Examples:

D~ is a diatonic semitone ABOVE C

' "~a
E is a diatonic semitone ABOVE D#
~[llJ
Fj is a diatonic semitone BELOW G
i a #n
A is a diatonic semitone BELOW B~ ~Po ., I [IDJ
REMEMBER: Both Diatonic and Different start with aD!
'r---_...,
'

~
,__ ~XEROSES

-
! .I
.II
:, W:::~ a diatonic semitone ABOVE each of these notes.

e
~
~1: '~9 e e
,_...
~
..II ~l I n
~~o 1...
!
I-'
'Jl
·.-

--
,..I
Jl
,: Q
~~~J ~~n
lfe ~~n I I
I

n
--
I JI
J1
e

~
,_,_. :::_ W"rite a diatonic semitone BELOW each of these notes.

'~""'
~

1-..
- e l&u I#" 1~.. ~~e l
'
0
,.J/1 n
,....
:I
u
~

'"'
1-
n
I~
~ 0
ltJo n
e
'
I

''
1-
~ 11
) u 0
I"

~
~ 3. Write a diatonic semitone ABOVE each of these notes.
•
I

",r
f

I~"' 1...
po 1... n I
*
0
Q
',. 0
I

',.

~ -e-
1... 0 l#n ~~o l#u 0
---
II
4. Write a diatonic semitone BELOW each of these notes.

;~: lp .. n
1~ .. I e I
0
0
#n l#u
-e-
tJ: () I~" 1... lpe n
~~o I II
.. 3J
WHOLE TON""ES.

A WHOLE TO~E is made up of two semitones that are next to each otheL There will always be one key (either
:- E.S;: ::::-white} between the notes of a whole tone.

::......JCJ.: E:.t the above keyboard and you will see that a whole tone can be

:. from a white key to the next white key if there is a black key between.
:;_ from a black key to the next black key if there is one white key between.
3. from a white key to the next black key if there is a white key between.
~- from a black key to a white key if there is a white key between.

ll:ore Examples:

G is a whole tone ABOVE F

() 0

C~ is a whole tone ABOVE B

~
10 ~~
G&. is a whole tone BELOW A~

E(, is a whole tone BELOW F

I!UJ!! I
EXERCISES

~. Dr~w arrows to mark all the whole tones on this keyboard. If you mark them all you will have found eleven.
'"" 2. a. Name the whole tones lJP from C to Gi .

c
b. Name the whole tones UP from D~ to A.

D~

c. Name the whole tones DOWN from E to A~.

E
- ------
d. Name the whole tones DOWN from C# to F.

C#

3. Write a whole tone ABOVE each of these notes.

i 0 #o ,,: Iff" 0
lp 0 u 0
0

0
0
II
4. Write a whole tone BELOW each of these notes.

1~0
~ I~(] I&u 1'0 l#u
0 n n
n

~ lpo n
ftn e 0
llo e
II
5. Write a whole tone BELOW each of these notes.

-e-
~: llo 1~0 ~~e
0 () ll'u 0
I n

0
,~Q
;1= n
l#u
e
lfo e II
.. 33
~- ~\-:::::: o=. whole tone ABOVE each of these notes.

0
()
Q
0

~~: l&n a
,~0
i!
~~a 0
e
II
'n
-. :£:=E:;;;h of the following a whole tone (w.t.), a chromatic semitone (c.s.), or a diatonic semitone (d.s.)?

<1 a
w.t.

~- B~7 adding accidentals make each of these pairs of notes a whole tone apart.

i@ lpa ,~ (I
~~o a ~~n e
u 0 (I
'•0 II II
II

9. B:~r adding accidentals make each of these pairs of notes a semitone apart.

,: a a l:l a
a 1:1
lin a l&o a
(I e II
W. Fill in the blanks by writing either 'whole tone' or 'semitone'.

a) B to C# is a f) E to F is a

b) D~ to Dis a g) G to F# is a

c) F toG is a h) D toE is a

d)G# to A# is a i) F~ toE is a

e) A~ tom is a j) B~ to B is a
 1llfE VAlliE&.

Sounds in music have different LENGTHS or DURATIONS as well as different pitches.

In writing music different kinds of notes.are used to show how long the sound is to last.

A WHOLE NOTE is used for the longest sound. This is a white note which has no stem. o

If you want a sound to last only half as long as a whole note you use a HALF NOTE. This is a white note with a
stem. j j
If you want a sound to last only half as long as the half note you use a QUARTER NOTE. This is a black note with
a ste!Jl. J j
If you want a short sound lasting only half as long as a quarter note you use an EIGHTH NOTE. This is a black
note with a stem and a flag. Notice that the flag always curves to the right whether the stem is up or down. ~ )>
Sometimes eighth notes are written in groups, with their stems joined by a line which is called a BEAM.

nrrrJJJJ
The shortest note that you will probably use at the present time is only half as long as the eighth note. It is called
a SIXTEENTH NOTE. It is a black note with a stem and two flags. ), ~ Sixteenth notes also come in
groups with their stems joined by two beams. rrri n ~

EXERCISES

1. Write a whole note on each line and space.

0 n

2. Write 10 half notes on line 5.

3. Write 10 half notes on line 2.

 35
~-'i-de W quarter notes in space 4.

:-. W:::ti' 10 quarter notes in space 1.

:;:_ u·nte W separate eighth notes on line 4.

~-\¥rite 10 separate eighth notes on line 1.

S_ Write 6 pairs of eighth notes on line 3. (Join each pair with a beam.)

fr r
9. Write 6 pairs of eighth notes in space l.

10. Write 10 separate sixteenth notes on line 5.

36
II. Write I 0 separate sixteenth notes in space l.

I2. Write 4 groups of 4 sixteenth notes on line 2.

~ JJJJ
13. Write 4 groups of 4 sixteenth notes in space 4.

RESTS are signs which show periods of silence. There is a rest that has the same value as each kind of note.

whole note 0 .._.. whole rest

half note J half rest

quarter note ~ quarter rest

eighth note ) i eighth rest

sixteenth note ) sixteenth rest

Be sure that you know where the whole rest and the half rest go. They are
both in space 3 but the whole rest HANGS DOWN from line 4 and the half
rest SITS ON line 3.

whole rest half rest

 317
l:.:e q~er rest can be easily drawn if you follow these 4 steps:

\ }

T..::e eighth rest can be drawn in these 3 steps:

•
7
J. .::.e sixteenth rest just has another flag added to the eighth rest.

•
7

Always start to draw these rests in space three.

EXERCISES

L Draw 10 quarter rests.

2. Draw 10 eighth rests.

3. Draw 10 whole rests.

4. Draw 10 half rests.

5. Draw 10 sixteenth rests.

~, 38

6. Write and name the kind of rest that has the same value as each of these notes.

i eighth rest

0 -
) -

j -
)i -
J -

7. Write and name the kind of note that has the same value as each of these rests .

! - .J quarter note

~
i -

~
,.. -
•
! -
..-.. -
 6 0 0
r = ri i ·r
0
I = i i i i I .!
I I i i ·q =
0 0
I =I i i i i I ·a
7
I =ololii]
0
I =i i i i I I -~
0
I = I i i ·p
~--=1 i i I i i I .J
0
I =I I ·q
I I I i i £ = -~
~;}S;}ql JO qJR;} JO S3~0N dlVH UJ wns ;}l{l SJ l~llA\ ·s
0 0 0 0
= I I i i I _,
0
=r i i i i i r ·c
0 0 0
= I i i -:£
0 0
4
0 5
=I I i i i i I F ~ 0 0
=I I I i i I F -~
0 0
I I i i i -~ =
0
= rr1 ° r r 1 ° -~
0
3 0
=1 r rrrr -~
0
rr = r rr ·c:
0 . = i i p -:;
J
~;}S;}ql JO l{JR~ JO S3~0N 310HM UJ wns ;:np. S! i~\1 ·;
,.. 2
i -·-:
= ---
= "'( l --:
---
= [ ---.
l ---
1
::: .E
--- --- .l
4
:::
---c: --
::;
--- ·-
~v
 43
A ;;.~~:r note can be divided into two EIGHTH notes. J= ,J~ )> or n
"; ~::2...-:~:r :est can be divided into two EIGHTH rests. l = "! 7

=XERCISES

·.. .t':.::.:: :::the missing note.

" • + J)+ eigth =J

~ 0 +~ + J>+ -eigth
- -= 0

-- 0 +~ J+ - - - = 0

- .J+__ =J
=
~-
\, h+)+
. , . ,J
=d
::
J
r

+n + J>+ eigth l=o

:. "!i\"'2at is the sum in EIGHTH NOTES of each of these?

] ~
2.. ~ = 2 -}
!!. J=_ _ ) v
~- 0 =_ _ )
~-J .h= )
~- J J= )

:.11 J= 4 )l
g_J .h= )>
n.J d= 8 .h
3. \\!'hat is the sum in EIGHTH NOTES of each of these?
~
c... 0
I n - )
b. J n )= JJ
C. J n n= .h
d. J J= 6 .h
e. J .h .J= .h
]_j J Jl= .h
c
e-.J J n= 8 ;,
h. )= 9 .h
0
44
An eighth note can be divided into two SIXTEENTH notes.

An eighth rest can be divided into two SIXTEENTH rests.

EXERCISES
1. What is the sum in SIXTEENTH NOTES of each of these?

a.)= 2 )

b.J = __)

c. n= )
d. J J J= )

e. J ) == 6 )
f. n n= )
g.~= )

h. j J= 8 )
1.~ n= )
j. j = 8 )

2. What is the sum in SIXTEENTH NOTES of each of these?

a. ~ J J = - - ).
b. d J= )

c. J J J J=_)
8

d. j ) = 10 )
e. nn li= ---:---
;
r.JnJ-__ )
g. ffl= )
h. J ~ ~ =_)
~.J nd= )
j. j n J= 8 )
....
45
3_ Fill h""l t.'le missing note_

Half

eigth

eigth

Ea:::h note and rest in these charts is twice the value of the next one down.

J
/~J

1\ 1\
J J J J

1\1\1\D
nn nn
1\A~AAA~A
JJjJJJJJJJJJJJJJ
46
A DOT after a note or rest adds one half of the note,s value to that note.

---· = .... + .-..

J. = J + J ....... = -+ l
J. = J +) l. = l + '
). = J> + ~ .,. = i + 7

EXERCISES

1. Fill in the blanks.

a. 7' = 3 1
b. l.= 3 '
c. .-.. = 1
d. l. ' = .-..
e. 7" ,. = 6 !{

f. j. 1 !{ = 4 '

g . ..-.. ..-.. = 1
h.! 1 j. = '
i. ' .., ,. = 7 1
j. j. .., 1= 6 '

2. Fill in the blanks.

a. J. ) n = 3 J
b. .JJ J J j j .= J
c.nJ J. )= J
d. j_ J j= J
e. ~ J J. ) = 2 J
f. J J j j, J=- -J
g. J. ) j J J = J
h. J J. J J .J = _ 2 o

i. J n j J J=_o
j. J. }, j j J = -3- 0 0
[.,. A TIE is &~omer way of increasing th~ time \"a.!..1ue of a :no[e. It :is a cc.m-oo line mat joins :: notes cf :ire s:-e :::::;;::...
I:: =ea-.s tbat you do not play the seoondl note but you hold the lfrrst note for the totall ,;a}i:f: ci ~6 ;:;):~

n 1011
~~:i~ tliat a curved line joining two notes that are not the same pitch is not a tie. This is usually a phrase~
:::r-w·il:g mark.

liLt II
T.::ese ("m'Ved lines join the heads of the notes not the stems. So if the stems on the notes are going down, the :!i-:e
'ii-:=1 zurve above the notes. If the stems are going up, the line will curve below the notes.

EXERCISES

:. Put a circle around each note that is tied and not played.

:. Write one note or one dotted note that has the same total value:

v rr
~

- @- ~ ~ IIf
' II
!!!!!!!!!~~

·~
II m
II

~ <Sf D 0 -- II jjjj~ II
~ 'v

REVIEW EXERCISES
II II .._..._........_...

:. Write two notes that tog~ther have the same value as each of these notes.

a. J = e. J=
b. J = f. J=
c. 0 = g. 0•=
d. }. = h. ).=
~
48
2. Fill in the missing note.
I-
a . .J + quarter =J e. J J j+ =J
0. ~ + =o f. j J+ =o

c.J+J+ =J. g. J+ =J
m
d . .,I + )&+ =d h. )+ ).+ sixteenth =J

3. Write one note or one dotted note that has the same total value as:

a_ J + J= half e. J+ n =
~ I
b_ ~ + d = f. n n + =

C. o + j = g. J+ j =
d. J + J + J= dotted half h. j + J=j~J=j = half

4. Write one rest or one dotted rest that has the same total value as:

a. 1 ! -
-
half rest e. l
' '- half

b. --- ! f.
--- --- =

c_ ... = quarter
= g. 1 1
'
"!>
f

. l
d. 1 = dotted eight h.
' ' =

s_ Qt_ange the following into quarter notes.

example: J. = J J J
a. J J= d. .r-nn J=
b.J =· n e. n J = 3 quarter
c.nJJJJ= 2 quarter f. nn JJ:JJ= 3

6. Change the following into half notes.

a.J J nJ= d. JJ :J J.J n n=

b_ n n .J J= e. n J n .J=
c . .J J J J J j = 3 f. 0 J 11- 3
 49
T. Change the following into eighth notes using 'flags'.

a. J J J ::
d. J J .J=
b.J j J = e. .JjjJJJJJ =
c. J j JJj = f. J .J .J JJ J
8_ Change the following into sixteenth notes using beams.

a.n n J= d. .J .J =
j J
b. = n n=
e.n Jl=
J n=
c. f. dI

9. Fill in the blanks.

a. I quarter note = 2 notes.

b. I whole note =2 notes.
c. l eighth rest = 2 rests.
d. 1 whole rest =4 rests.
e. I quarter note= 4 notes.
f. l dotted half note = 3 _ _ _ _ _ notes.
g_ I half rest = 2 rests.
h. l half note = 2 notes.
i. I eighth note = 2 notes.
j. l dotted quarter note= 3 notes.

JO. Fill in the blanks.

a. I ____ rest= 2 eighth rests.

b. I _____ note = 2 quarter notes.

c. I - - - - - note = 2 half notes.

d. 1 _____ rest = 4 eighth rests.
e. l -----rest= 3 sixteenth rests.
:f. 1 _____ note :;: 4 sixteenth notes.

g. I _____ note = 3 quarter notes.

:l. l - - - - - rest = 2 sixteenth rests.

-· 1 _____ note = 3 half notes.

;_ : - - - - - rest= 4 sixteenth rests.

 CHAfTER2

MAJOR SCALES

A SCALE is a series of notes whose names are in alphabetical order.

The notes of a scale are numbered from the bottom up and Roman numerals are used
:nstead of ordinary numbers. That is

I II III IV v VI VII VIII or I

~eadof I 2 3 4 5 6 7 8 or I

All major scales have a special pattern of whole tones and sernitones which occur in
tills order:

I II III~V v VI
....---..
VII VIII
tone tone semitone tone tone tone semitone

fu other words there is a semitone between III and IV, and a semi tone between VII and
\:"lll but there are whole tones between each of the other degrees of the scale.

A major scale can start on any note but must follow the prescribed pattern of tones
end semitones.

Ia any scale or key there are three notes that are more important than any of the
others..
i 1.-rr. order of importance they are:
~ the first note (I) which is called the KEY NOTE or TONIC
~ the fifth note (V) which is called the DOMINANT
the fourth note (IV) which is called the SUBDOMINANT
~
~
~ THE SCALE OF C MAJOR
~
~ To write the scale of C major start on C and write one note on·each line and space until you get to the next C. Then
mark where the semitones should be, (between-III and rv; and VII and VIII.)
~

""
~

~ ~ ~

I
0
II
0

III
~
0

IV
~

v
u

VI
Q

VII
-=--- J>
VIII
II
~
loll

.,""""' Check the distance from I to II, from II to III and so on. You will see that no sharps or flats are needed to make
ihese notes fit the pattern for the major scale .

""'
""
~ &>
II
-.,
n /
n
0 0
~
-e- 0 Oz:::::=::::7
~ I II III IV v VI VII \!III
c tone tone sernitone tone tone tone semitone

""'"
i4f/l
~
r;,
I
52

The TONIC of C major is C because C is the first note. The DOMINM'T of C major is G because G is the fifth
note. The SUBDOMINANT of C major is F because F is the fourth note.
The scale of C major is the only scale made up entirely of white notes. Every other major scale has to have at
least one sharp or flat so that the pattern of tones and semitones will be right.

The following is the usual way to write a scale.

n-====-
*
0 Q ~ 0
-e- 0
o n 0 =- 0
" '\.......__.;0 0
If
'-----"
I IV v I v IV

For eve.ry scale that you write:

I . Put the correct clef at the beginning of the staff.
2. Put a double bar line at the end.
3. Write the scale ascending (going up) and descending (going down.)
4. Do not repeat the top note.
5. Mark the semitones with a slur.
6. Mark the tonic, subdominant and dominant notes.

Be sure that all six of these points are done.

EXERCISES
I. Write the correct Roman numeral under each note. Mark each semitone with a slur.

0 0 0 ()
0 0 0
0 0
" 0 0

2. Write these scales. Mark each semitone with a slur and label each tonic, subdominant and dominant note by
putting I, IV or V under them.

(a) C major ascending only in the treble clef, using whole notes.

(b) C major ascending only in the bass clef, using half notes.

(c) C major descending only in the bass clef, using quarter notes.

(d) C major ascending and descending in the treble clef, using half notes.
 53
'"
MAJOR SCALES THAT HAVE SHARPS,

THE SCALE OF G MAJOR.

T:::: """rite the scale of G major start on G and write a note on every line and space until you get to the next G. ~1crrk
'ii·::.ere the semitones should be (between III and IV, and VII and VIII).

p
~ J) e n ~ ...___...
0 n Q
---==- II
I II III IV v VI VII VIII

Cne~k the distance between each note and its neighbour to see if the order of whole tones and semitones is the
~.ght one for a major scale.
Ali the distances between I, II, III, IV, V and VI are correct. When you come to VI and VII you will find that they
::re only a semitone apart. According to the scale pattern there must be a whole tone between VI and VII so you
'fiill have to raise the F to an F sharp. The distance between VII and VIII is now a semitone, which is correct.

-~/0
~ -- -
0 0
)'
0 n Q
= II
I II III IV v VI VII VIII

The scale pattern is now correct, so the scale of G major and the key of G major always have an F sharp.

Instead of writing a sharp in front of every Fin a piece in G major, the sharp is usually written at the beginning cf
llie staff right after the clef sign, showing that ALL the F's no matter where they are on the staff are to be rniszc
to F~ 's. This is called a KEY SIGNATURE.

This is the key signature of G major. Notice where the F# is in each clef.

llfl: # II
Here is the scale of G major written with its key signature instead of an accidentaL

£#
~)
e
" Q :P
e n Q
-..... -- 9-: ~ n e
"?
co:::::::>
~ ()
0 I
I IV v I v IV I

tJ:I n Q p e n o - ~~
"=> ~---==
~ n ~0
_____.. e () II
e ---==-- e
I IV v I v IV I

The tonic of G major is G. The dominant of G major is D. The subdominant of G major is C.

\
54

EXERCISES

I. Mark where the semitones should occur to make this a major scale. Then add the correct accidental to the cor-
rect note to make it the scale of G major. Label each tonic, subdominant and dominant note.

f JJ rrrrrrrrrr rJ~ 11

2. Write the key signature of G major in each bar.

II~ lltJ: II~

3. Write these scales using the correct accidental instead of a key signature. Mark each ·semitone with a slur and
label the tonic and dominant notes.

(a) G major ascending in the bass clef using half notes.

(b) G major ascending in the treble clef using quarter notes.

(c) G major descending in the treble clef using whole notes.

(d) G major descending in the bass clef using eighth notes.

4. Write these scales using the correct key signature. Mark each semitone with a slur and label each tonic note.

(a) G major descending in the bass clef using quarter notes.

 Father Charles Goes Down And Ends Battle 65
Yo~ >Weill probably not learn the major scales that have more than four sharps until you are ready for more
2::::~~~ worlc, but in case you need them, here they are:

.B major has 5 sharps. ,~, 0 0

o 0 't :?
9
II
-e-
"'U" '--"'

~~'#
u~
F~ major has 6 sharps. u 0 -.......__,--
u 0 't ~
.., II

c; major has 7 sharps.

~~'~ -e- 0
o
~
o 0 n Q
'"'=""
3' II

Here is a complete list of the major scales that have sharps.

G major has 1 sharp: F#

D major has 2 sharps: F ~ C~
.c\ major has 3 sharps: F# C# G#
E major has 4 sharps: F# C# G# D#
B major has 5 sharps: F# C# G# D# A#
F; major has 6 sharps: F# C# G# D# A# E#
c; major has 7 sharps: F# C# G# D# A# E# B#

This little sentence has been used for many years to help students remember the order of the sharps in a key
signature:

Father Charles Goes Down And Ends Battle. F C G D A E B

REVIEW EXERCISES FOR MAJOR SCALES THAT HAVE SHARPS.

l. Add the correct clef and ·accidentals to form these scales.

u e
(a) E major. n e n e n e II
n e
n e
(b) A major.
" 0 n 0
II
()
n e
(c) e
G major.
e n 0
()
II
 MAJOR SCALES THAT HAVE FLATS.

mE SCALE OFF MAJOR.

To write the scale ofF major start on F and write a note on each space and line until you get to the next F. Mark
where the semitones should be.

~
~
n e 'C ;;z
n 0 'C ../
~
II
I II III IV v VI VII VIII

If you check the distance between each note and the next,as you have been doing in the other scales, you will find
that there is a whole tone between A and B. Since you must have a semitone between III and IV you will have to
LOWER the B to B ~. That is the only note that needs to be altered in the scale ofF.

~
a
n 0 'l tP n e '!;;; 2
II
I II Ill IV v VI VII VIII

So the scale ofF major and the key ofF major have one flat: Bb.
Here is the key signature of F major.

II

Here is the scale ofF major written with its key signature.

~~
e ~~ Q ~J e
!:::1 ~ n
0 e <{ 9
.<'
Q
....... )> e 0 II
I IV v I v IV I

9:~ (> e '?0: ~---o

~ e ()
II
0 0
'LY ~J e 0
I IV v I v IV I

The tonic of F major is F. The dominant ofF major is C. The subdominant ofF major is B~.
80 Battle Ends And Down Goes Charles Father
REVIEW EXERCISES FOR ALL :MAJOR SCALES.

L Write the key signature and the subdominant note of:

I I I I I II
G major A major BP major Eb major C major F major

2. Write the key signature and the dominant note of:

I I I I I II
D major. E major Ab major F major G major Ell major

3. Name the major key of each:

II~ llfb II
Bb E D Eb

4. Write these scales ascending and descending in the treble clef using the correct key signature for each.

F major

D major

A flat major

E major
"d
81
~ _Ace ";:ne tonic note to each of these bars_

liN 11¥1 II~ I

'5- Add the dominant note to each of these bars.

gt&
tJ
II~ II II~ II

-_Add the subdominant note to each of these bars.

,~ 11;~=~ 11,:~
~
11ft# jifP I
$_Write these scales ascending and descending in the bass clef using accidentals instead of a key signature.

E flat major

G major

A major

B flat major
 CH..A\PI'ER3

MINOR SCALES

Like the major scale, a minor scale can start on any note and has eight notes in alphabetical order. These notes are
numbered just like the major scale starting at the bottom.
The first note is the tonic, the fourth note is the subdominant and the fifth note is the dominant.

There are two kinds of minor scales - HARMONIC MINOR and MELODIC MINOR.

Play these two scales listening carefully to the differences between them.

The scale of E minor HARMONIC:

-,
~ () 0 0 0
() fo n #o 0 0 0 0 0 II
0 0

The scale of E minor MELODIC:

~- no fo n go qn
0 0 0
() 0 0 n 0 0 0 II
Notice that each of these scales has the same key signature as G major.

G major is called the RELATIVE MAJOR of E minor.

E minor is called the RELATIVE MINOR of G major.

Every minor scale shares the key signature of one of the major scales 1,1nd is then 'related' to it.

In order to know the key signature of a minor scale you must know how to find its relative major.

TO FIND THE RELATIVE MAJOR OF ANY MINOR KEY:

1. Go up from I to III, that is to the third letter name of the minor scale.
2. Use the kind of III that is three semitones up from I.

Example: To find the relative major of C minor:~

1. From I up to III is C to E. So E is the letter name.
2. The kind of E that is three semitones up from C is Eb.
Therefore the relative major is E~ major. C minor and E~ major will use the same key signature of three flats.

TO FIND THE RELATIVE MINOR OF ANY MAJOR KEY:

1. Go down from I to VI, that is to the sixth letter name of the major scale.
2. Use the kind of VI that is three semitones down from I.

Example: To find the relative minor ofF major:~

I. From I down to VI is F to D. So D is the letter name.
2. The kind of D that is three semi tones down from F is D q.
Therefore the relative minor ofF major is D minor. D minor and F major will use the same key signature of one flat.

Perhaps this will help you remember whether to go up or down to find the relative major or minor. There are two
friends. One is a Major in the army and the other is a coal miner. If the major wants to see the miner he has to go
DOWN into the mine, and if the miner wants to see the major he has to go UP out of the mine.
 I"'

~ :S'XERCISES
~ :. :'\ame the relative minor of these major keys.
~
/AI
Dmajor E B~ major
~
~ E::o major C major A
r-
1- Gmajor F major
~
I·· E major C# Ab major F
~
~
1...,
,.... 2. ::\ame the relative major of these minor keys.
.Ill
~
C# minor E
r•
~
Eminor
,.-. Gminor B F minor
~
';Ill
A
F~ minor - - - - - - - B minor D
~
~.., Cminor Eb D minor
~
,.
~
1--
3. Write the key signature of each of these minor keys.

r::
-
I.J/1

~
r•
,_
f G-
II
C#-
II
F-
II
B-
II
E-
II
D-
II
C-
II
,
F !:-
II
r,:
--
Jill 4. Name the major and minor keys that have these key signatures.
~
1.--·
':% II@& II~~ II~ 11• II§# liP&@ llf
D Eb E F G A Ab Bb
major: -- -
minor: B- C- C#- D- E- F#- F- G-

When a major scale and a minor scale share the SAME TONIC they are called the TONIC MAJOR and T0:\1
MINOR. C major is the tonic major of C minor. G minor is the tonic minor of G major and so on.
 H..~IO:\.lC ~OXOR SCALES.

!o:r.:e
II
-
sew..i-
HI

tone
rv
tone semi- l% tones semi-
tone tone or 3 semi- tone
tones

-= ::.::.=:- -.;ords there are sernitones between II and III, V and VI, and VII and VIII, with a tone and a halfbetwee:::.
·,.·1 o-..: \'IL and whole tones between I and II, III and IV, and IV and V.

1: .,.-:::e a :barmonic minor scale using a key signature -

=- W:-::~e a series of notes from tonic up to tonic and down again.

:. F::::i :th~ relative major and its key signature.
: .-\:::i fulli key signature .
.:_?...)USE THE SEVENTH NOTE one semitone by adding the proper accidental.

.::JZ::pie: the scale of G minor harmonic, following the above four steps.
0
0 0 0 n
0 0
0 0 0 0 ()
0 C)
0 l
:_ Y:::.e relative major of G minor is Bb major, so G minor has 2 flats.

&;w
0
n 0 0 n
-. 0 n 0 n 0 0 n 0 0 0 If
~

6&? !' #~ . ~~~ '?

~-
4t:'
0 •cY " t?
= = 2 0
~0 0 II
VII VII

~otice that the notes of the harmonic minor scale are exactly the same ascending and descending.

To write a harmonic minor scale using accidentals instead of a key signature: -

~.Write the series of notes from tonic up to tonic and down again.
2. Find the relative major and its key signature.
3. Using the sharps or flats in this key signature change the notes that would have been affected by this key
signature.
4. RAISE THE SEVENTH NOTE one semitone by adding the proper accidental.
Example: the scale of G min.or harmonic, folloVting the above four steps.
Q
n 0 0

0
() 0
i) 0
" 0 () 0 0 0 II
2. The relative major of G minor is Bb major so G minor has two flats.

~n ~n
0 0
0
po n 0 n Po
*
0
3.
0
() 0 0 II

g:Jp -~~:;;J~ ~i~

~
e
4. 0 .(j§ n = n
~~ )' 0 II
VII VII

MELODIC MINOR SCALES

The MELODIC MINOR scale has this pattern:

Ascending:

I II-...._.....III IV v VI VII ....._.....VIII

tone semi- tone tone tone tone semi-
tone tone

Descending:

VIII VII VI..._.....V IV III II

~

tone tone semi- tone tone semi- tone

tone tone

In the ascending scale the semitones are between II and III, and VII and VIII; in the descending scale the semitones
are between VI and V, and III and II, so the scale does not sound the same coming down as it did going up.

To write a melodic minor scale using a key signature:-

I. Write a series of eight notes from tonic up to tonic and down again.
2. Find the relative major and its key signature.
3. Add this key signature.
4. Ascending: RAISE THE SIXTH AND SEVENTH NOTES one semitone each.
Descending: RETURN THEM TO THEIR ORIGINAL PITCH according to the key signature by lowering them
one semitone each.
 Ex,""-:;:=~= t~ S."'E ,, rnf B mer melcdi~, f~llo\\"i!:g tt.e abc·.-~ fc:rr Step:>•
...

6 ""
~I -& 0 0 0 0
., 0 () 0 ()
0 0 -e- "U"
II

:. The relative of B minor is D major so B minor has two sharps.

3.

,~ ,, 0
() e <'> 0 () II
~,
""{T -a- 0 0 0 0 -e- "U"

4_

ga; 0 0 u fo #•{ ~
;;:;> ~n q~, 0
0 -e-
II
~
-u- -e- ~ -u-
VI VII VII VI

To write a melodic minor scale using accidentals instead of a key signature.

l. Write a series of notes from tonic up to tonic and down again.

:_ f'ind the relative major and its key signature.
3. Using the sharps or flats in this signature change the notes that would have been affected by this key signature.
4. Ascending: RAISE THE SIXTH AND SEVENTH NOTES one semitone each by adding the proper accidentals.
Descending: RETURN THEM TO THEIR ORIGINAL PITCH by adding the proper accidentals to lower them
one semitone each.

Example: the scale of B minor melodic, following the above four steps.

6
~ -u- -e- 0 0
() 0
() 0 ()
0 n 0 0 -a- 'lY
II
:2. The relative major of B minor is D major soB minor has two sharps.

3.

g 0 #o 0
() 0 ()
0
~() 0 0
#-a-
II
u -u- #-a- 0 -u-

4.

'u -u- #&.____...,o 0 #n lo

VI
#<c;?
VII
~u

VII
q'(]j,
VI
0
Q-a- 'U"
II
3. (a) Write the scale ofF major descending in the ba~ clef using acci.dentals instead of a key sigooh:re_

(b) Write its tonic minor (harmonic) ascending in the treble clef using the correct key signature.

(c) ,Write its relative minor (melodic) ascending in the bass clef using the correct key signature.

4. Add the correct clef, key signature and accidentals where necessary to form these scales:

0 0
0 n
(a) A minor harmonic. 0 0
()
II

0 0
() 0
(b) A~ major.
n 0
() 0
II

(c) D major. 0 n 0

0 0 o 0 l'J
II
0 0
n 0 n
(d) G minor melodic. n 0
0 II
(J 0
(e) A major. n 0
n 0
() 0
II
0 0
0 n
(0 B minor harmonic. 0 u
0 i:l
II
 :z~
•«

(§) c; minor melodic. e il

~
0 e () e ll
II
0 0 -e-
(] 0 11
fn) C minor melodic. e
(]
II
0 -9- .0....
ll 0
(l 0
{:i) B:. major. e
II

(j) D minor harmonic. 0

... , 0

0 0 0 0 0
II

5. Add the correct clef, key signature and accidentals where necessary to form these scales:

(a) F# minor melodic. 0 0 0 ,, e () 0 II

0

(b) E minor harmonic. (l 0 11 0 0

0 0
II
-e-
Q 0 (J e
(c) G major. () e 0
0 II

(d) D minor melodic. e u 0 () 0 0

II
-& -u-
e () e
(e) F major. () e II 0 i:) II

(f) C minor harmonic. () 0 0 e (J 0 0

II
 122
"""

•(g) E major. jJ e I! e 0 e 0 -e-

II
e n e
(h) F minor melodic. n e 0
e 0 II
n e
(i) m major. i:J e n e 0
e II
-e- 0
e n e n
(j) C # minor harmonic. e 0
II

6. Fill in the blanks.

(a) The key signature of E major is - - - - - -

(b) The relative minor of C major is _ _ _ _ __

(c) The minor key that has a key signature of 2 flats is - - - - - -

(d) The dominant ofF minor i s - - - - - -

(e) The tonic major of E minor is - - - - - -

(f) The tonic of Ab major is - - - - - -

(g) Eb major is the relative major of - - - - - -

(h) The key signature ofF# minor is - - - - - -

(i) The dominant of G minor is - - - - - -

(j) The tonic of A major is - - - - - -

(k) The subdominant of C minor is - - - - - -

7. Name the major key and the minor key for each of these key signatures:

II~ 11~ II
Eb+

C-