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Basic Music Theory and History for Strings

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Basic Music Theory and History for Strings L66VA Wendy Barden & Terry Shade Basic Music Theory and History for Strings Workbook 2 • Viola Welcome to Basic Music Theory and History for Strings Workbook 2! Music theory is all about the rules for writing music. In pages 2-25, we study some of the basic rules that were agreed to centuries ago including: • Organizing pitches into key signatures, major scales, and minor scales • Recognizing intervals and scale degrees • Organizing rhythms and rests into time signatures • Describing the form of melodies • Connecting written music to playing string instruments In pages 26-48, we visit several cultures around the world to see how these rules were used and more! Our study includes: • Discovering some of the different music styles played on violin, viola, cello or double bass • Discovering other string instruments that are also played with a bow • Describing common characteristics of the musical style or tradition • Evaluating musical performances • Making connections to other people and events • Connecting different music styles to playing your instrument Be curious! Learning about music theory and history can be very interesting, and it also helps you become a stronger musician. Basic Music Theory and History Workbook 2 is supported with audio tracks and country & world maps. The audio tracks provide rhythmic and melodic ear training exercises. Visit www.kjos.comSAMPLE and go to the Kjos Multimedia Library. Look for this workbook and a complete list of audio tracks and maps will appear. Neil A. Kjos Music Company thanks the Musical Instrument Museum, Phoenix, AZ (mim.org.) for the opportunity to photograph and showcase instruments on exhibit in their museum. Kjos also thanks Ringve Music Museum, Trondheim, Norway (ringve.no) and Rowan Lee Hartsuiker for images shown on pages 39 and 44. A special acknowledgement goes to Lebrecht Music & Arts Picture Library (lebrecht.co.ok) for their kind assistance in acquiring the octobass image. ISBN-10: 0-8497-0535-5 • ISBN-13: 978-0-8497-0535-9 ©2017 Kjos Music Press, Neil A. Kjos Music Company, Distributor, 4382 Jutland Drive, San Diego, California, 92117. International copyright secured. All rights reserved. Printed in U.S.A. WARNING! All music, photographs, graphics, and text are protected by copyright law. Anyone who reproduces copyrighted material is subject to substantial penalties and assessments for each infringement. Neil A. Kjos Music Company, Publisher • San Diego, California 28 28 28 28 2 # C C 2 2 B B# # C 2 2 B 2 # C 2 B 28 28 B ## #b ˙. ˙. B ## B b# b ˙. # ˙. B # b # C 2 & B b # œ. C 2 28 B bb B bb œ. œ. 2 B b & b œ. B b 28 ## ˙. 2 #& b CB ## w #2w & œ œ œ œ œ œ œ œ œ œ B ## Bw #w w w 28œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ B # Reference Center B ## w w # 28œ œ œ œ œ œ œ œ œ œ Theory # b History 28 ˙. 2 # & CArpeggio (4)2 Major 3rd (7) & #Aural Tradition (26) 28j Two pitches# thatw are 2 whole steps apart. Learning# b tob play a melody “by ear”—listening to j Thej pattern of notes which is made up ˙B. ## Bw ##w w w & & b œj ofœ scale degrees2 1, 3, 5, and 8. œB. # Bw # # someone else play it instead of reading music. œ C 2 # w & 28j B # w # Bluegrass (27) œ Cut Time (24)2 C 2 Minor 2nd (7) & # A style of fiddling made popular in the United States. CTime signature2 showing two beats per measure and2 the half note receives one Two pitches that &are a half step apart. # # b bCape Breton Fiddling (31) Cbeat. 2 # w w w # b b b ‰ ˙œ‰.. 2 œB. # B w #w w & & & A style of# fiddling made popular in Nova Scotia, ‰ B where fiddlers# sometimes accompany themselves œ œ œ# œ w œw œ œ œ œ œ# # & ‰ 2 MinorB 3rd (7) # with a foot tappingw w pattern. C 2 Two pitches that are& a whole stepb Dotted˙. Half Note (2) & 12 plus a half step apart.# Drone String (40) Receives 3 beats of sound. # b ˙. & # A string that sounds only the pitch it has been tuned to. # w & # b ## b ˙. œB œ œ# œw œ# œw œw œ œw œ & b b B # Bw #b# Endingidiw w (46) & b b A tube fiddle with one string, native to ˙œ. Octave# (8)w & # # b Dotted Quarter Note (10) Bj w ‰ # Uganda (Africa).# Receivesœ œ œ œ 1½ œ beats œ œ of œ sound. œ œ Theœ distance between #scaleb degrees& & w 1 and 8 of a major or bminor# scale.b w w w œ˙.. && Erhu (42) b #A bowed instrument popular in China with two strings. j w w b # j j j j Doubleœ. Beam (21) j œBj w &w bj j & wœ œ œ œœœ œ œ œ œ œ œ 4 B w B w 3 b Fiddlew (26) œ œ œTwoœœ . œ and œ œ four sixteenth notes are œ‰1&œ2&3& œ ‰Bœœw 4&œ w & œ‰1&2&3&œ œ ‰ œ œ œ œ œ 4 Off Beatsw (12) 4 #b Another name for the violin often used in connection connected by a double beam. b# œ œ œœ œ. œ œ œ œ œ œ œ œ œ NotesB w played between& the wstrongw beats. with folk# jmusic.‰ j ‰ ‰ ‰ ‰ &œ œw œ œ j #b#b # Goje (46) w jœœœ. œ œ œ jœ œ œ œ œ 4 œ œ&&œ ‰ œ w # #A bowed stringj instrumentj from Nigeria, used to 2 jEighthœ j Notej (10)j B‰ ‰J1&2&3&4&‰J‰ # w & w & w‰ ‰ ‰ ‰ 42 œj2 œœ œœj œ 4 # w accompanyw singing.œ œ œ œ 42 œReceivesœ4 œ œ œ œ œ ½œ beat œ œ œof œ sound. œ & # j j Scale Degrees (4) # w w Hardanger Fiddle (38) 2 œœ œ œ œ œ œœ œ œ œ œ œ Every note in a scale& can be numberedw 4 j ## w A fiddle from Norway with 4 bowed strings and 5 œ from lowest to highest& pitch. Thew first sympathetic strings. Eighthœ œ œ œ œRest œ œ(12) œ œ œ note of the scale is labeled w“1.”w There are # Receives ½ beat of silence. eightb scale degrees in a major or minor scale. # & w 4 j3 2 2 b #### Imzad (46)w c 4 3 42 3C 22 2 j œ & A wbowedw string instrument from Algeria, Mali, and c 4œœc œ43 œ4 œ42 œ4C œ4 œ2 œC œ œ2 B && ww ww # ‰ 4 j4 4 2 œJSixteenth Notes (21)# Niger (Africa). 44th‰ 3 (8)2 2 # c 4œj4 4 C 2 A group of four sixteenth& ## notesw &w equals w w The distance between scale degrees one quarter note.& Mariachi (33) 1œ and 4 of a major or minor scale. # w w Both a style of music or specific ensemble of ‰ j ## œ & ww ww instruments originating in Mexico. B w œ œ œ œ & &w w 28 B w Bj ww w œ œ œ œ ### wMorin Khuur (44) w‰ Syncopation (13)&& w A bowed winstrument very important in Mongolia that 5thœ (8) Rhythmicj emphasisj givenw tow a wnote playedj onj j j j j B w w 2 œ œ ‰ œ œ‰œ# œ ‰ œ‰œ‰œœhasœ 2 strings.œ‰œ‰ ‰ œ œ ‰The distance between scale degrees4 the weak portion& of the# beat.w w # 1b‰ and 5 of a major or minor scale. & w w Nyanyero (46) 2 j j # & w w A bowed spike lute from the Gambia region of Africa. C 2 ‰bBw # 4 SAMPLEœ œ œ& w 2 B w w j &j w w B w Bww Theme2 (25) Nyckelharpa (40) w A4 musicalœ œidea (melody)œ that is a Flat (16) ## A fiddle from Sweden. Keys along the B b‰ w significant part of a composition. wLowers a note ½ step. && w ww neck press the bowed strings against j # wj j j frets jto changej the pitch. j b 3 œ œ œ œ ‰ œ &‰ # œœw œ œ‰ ‰ œ‰œ‰œ ‰ œœœ œ b 4 Time4 Signature3 2 (2)2 w Octobass (Inside Back Cover) An instrument with IntervalB ## (5) Placedc 4 at 4the 4beginning&C 2 ofw music,w it ˙. The distanceb between two notes. # 3 strings, twice the size of a regular double bass. L66VA bœ œ œ œ indicates the number& of beatsw &wper w L66VAL66VAœ œ œ œ measurec 4 and3 the2 typeC wof note2w receivingj j jOld-Timej Music (29) j Key Signature (4, 6, 8, 14, 16, 17,3 œŒone beat.4 œ4 4 œ‰# 2 œœw œ œ‰œ‰A style ofœ‰ music popularœ. in Northœ America œ also called L66VA 18,b 19) 4 & ww early country music. Placedœ œ œ at œ the beginning of music, it tells & w Transpose (11) us which notes should be played with w w b To movew a line of& music or entirew Strohviols (48) ‰ j œsharpsB œb œ or œ flats. & œ œœœ œ. œ œ œj œ j musical composition& tow a higherw or String instruments modified by replacing the body of 2 œ œ œ lower pitch. w the instrument with a metal horn. 4Majorj 2nd (7) j & w œ œ œ œ j w j Sympathetic Strings (38) j 2Two œpitches œ that are aœ whole step apart.4 w w 42 j j 4 œ. œ‰Variation& (25)œœœœœ œ‰œ‰‰Strings thatœ are‰œ not bowed,‰ butœœ vibrateœ when certain 4œ œœ œ œ œ œ A differentw version& of a melodyw or theme other notes are played.
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