C D m Em F G A m B dim w w & w w w w w w w 1Mwajor 2mwinor 3mwinor 4Mwajor 5Major 6minor 7diminished wI ii iii IV V vi vii

C m D dim Eb F m GGm Ab B dim Bb w ( œ ) bw w ( œ ) & w bw bw bw nw bœ b w nw bœ 1mbwinor 2 diminishedw b3Mwajor 4mwinor 5Major 5minor 6Major 7diminished 7Major wi ii III iv V v VI vii I

N/H/M N/H M N H/M N/H M N H/M N/H M N H/M ( ) ( ) w ( ) ( œ ) w bw ( b œ ) œ w & w bw (N œ ) bw Nœ bw Nœ bœ Nw b w N œ bœ Nw 1mbwinor 2 diminishedw 2mœinor b3Mwajor 3Ab ugmentedœ 4minor 4Major 5minor 5Major 6Major 6 diminished 7 Major 7diminished Thei Staffii &ii ClefsIII III+ iv IV v V VI vi VII vii C m D dim D m Eb Eaug F m F G m G Ab A dim Bb B dim MUSIC STAFF

In standard Western musical notation, the staff, or stave, is a set of five horizontal lines and four spaces that each represent a different musical pitch (or, in the case of a percussion staff, & ∑ different percussion instruments∑ are represented by ∑each line or space). ∑

From the earliest of times, songs were passed from one generation to another by oral tradition but when Christianity began to explode across Europe and Asia Minor in the 4th Century the monks of the Catholic Church desired to teach the chants—the songs of the early church, to each other and to their congregations. They developed a practice of holding up their left hand with fingers spread wide and starting with the little finger representing the lowest pitch and the thumb as the highest pitch, they used the right hand to point to the fingers and the space between fingers, and were able to teach chants and scripture set to music in this way. & ∑ ∑ ∑ ∑ It was Guido d’Arezzo, an Italian Benedictine monk who around 1025 invented modern musical notation by developing a written musical staff. His four-line staff is still used (though without the red and yellow coloring he recommended) in Gregorian chant publications today. Five-line staves appeared in Italy in the 13th century. This arrangement of five lines and four spaces that is known as our modern musical staff is a direct derivation of the 5 finger and 4 space teaching method common to his day. He also gave pitch names to the notes that appeared on each line and space of the staff and which we still use today: Do, Re, Mi, Fa So, La, Ti, Do. Guido named his lines and spaces “the staff” because he proposed that the musical staff was a guide in the same way& the staff of ∑God, the Good Shepherd, is ∑a guide for His people. ∑ ∑

So to review: The Musical Staff is an arrangement of five lines and four spaces upon which musical notation is written. Historically, it is a representation of the human hand that was used to teach the melody of early church chants and songs. Guido d’Arezzo is credited as being the inventor of this modern musical notation around 1025 in Italy, and for drawing and giving purpose to the musical staff.

PITCHES

The different pitches which Guido d’Arezzo named, we refer to by ascending alphabetical names: A B C D E F G and above those notes, at twice their pitch or frequency, this sequence repeats: A B C D E F G A B C D E F G... from low pitch to high.

CLEFS

A clef, which is originally a French word meaning “key”, is a musical symbol used to indicate the pitch of written notes. Centered on one of the lines at the beginning of a staff, it indicates the name and pitch of the note on that line. This line serves as a reference point by which the names of the notes on any other line or space of the stave may be determined. Clefs were developed at the same time in history as the musical staff was which was sometime in the early 10th century. The look of the clefs has changed over the years. But with the inventing of the printing press and the consistency required for printing reproduction then a standard look was achieved.

There are three primary types of clef used in modern music notation: G clef, F clef, and various C clefs. Each type of clef assigns a different reference note to the line on which it is placed. The G CLEF also known as TREBLE CLEF, and the F CLEF also known as BASS CLEF are used in the vast majority of modern music. TREBLE CLEF BASS CLEF Notice that the main circle of the G or Treble Clef Notice that the two dotes of the F or Bass Clef are centers around the G line of the staff. Thus, the reason above and below the F line of the staff. Thus, the reason that it is also called the G Clef. that&& it is balsoœ callednœ #theœ F Clef.

? #Fœ ‹œ & G & The original forms of these clefs evolved from the letter names& being handwritten over the line which corresponded to the note (as shown by the G and F written on the staves above– bnoteœ the∫ similarities).œ As you learn to identify notes? on the staff, you can remember that the Clef always givesB& you a reference pitch. There are various forms of C Clefs, but they each have a central? ‘arrow’ which points to a line designated as a note commonly& called Middle C. (Middle C is a recognizable central pitch on a piano and is an average pitch between male and female vocal ranges.) & ‹œ ∫œ B B ALTO? CLEF or VIOLA CLEF TENOR CLEF Violas? and a few other instruments commonly use this AnotherB 2 variation of a C Clef is sometimes used by clef, but it is also sometimes used by Alto vocalists. Tenor&4 Vocalists.bEœ Eœ EEœ bœ B ÷ b b b B B B& bœ nœ #œ & w PERCUSSION÷ CLEF or NEUTRAL CLEFS w w PercussionistsB& #œ and‹ œnon-pitched instruments use a clef which&? indicateswEG thatw linesBD and spaces doF not correspond to pitches, but rather each line or space is available to contain ÷the rhythm for an separate instrument. w bœ ∫œ w w ÷&& wEGw BDF w ww ÷ &ã wFAw w CEw & wEGw BDF THE& GRAND‹œ STAFF∫œ The Grand Staff is used for instrumentsww capable of producing? a wide# rangeœ ofb œnotes (piano, organ, harp, marimba). This& combinationw of wa Treblewwand Bassw Clef staves is joined by a Brace ({) to the left of the staves,w indicating that the staves& applywEGFA2 tow the samewBD CEinstrument.F The pitch Middle C mentioned? earlier wouldw bew centeredw between the two staves,&4 andwEG it can be writtenBD on an imaginaryF (ledger) line just belowGB the wupper DFstaffw OR just aboveA the lower staff. bEœb Eœb EEœ bœb & wFAw CE w & nœ ?& ww w w & GBFAww DFwCEA ? w ww & wFAw CE ? w w 4wACw w EG œ ? &4wGBœ bœ DFœ A GGb Gb bEœb Eœb EEœ bœb E ? ww (Middle C) A? single verticalw line drawnw wto the leftw of multiple staves creates a System, indicating that the music on all the œ staves iswAC to be playedw wsimultaneously.EG A Bracket is an additional vertical line joining staves, to show groupings œ œ wGBw DFA ? w œ œ œ of instrumentsã w that function as a unit, such as the string section of an orchestra.w Vocalw arrangements for SATB œ œ œ œ choir are also similarly displayed with a Bracket ([), with women’swAC vocal parts& writtenEG on the Trebleœ Staffœ and œ œ men’s vocal parts written on the (MiddleBass Staff. C) œABœ œCDEFGABCDEFGABC ?? #œ bœ w œ œ œ œ (Middle C) ? w w œ œ (Middleœ C) wACw & EG œ œ œ œ œ œ wACEGœ œ œ œ œ œ œ œ œ œABœ CDEFGABC&?DEFGABC œ œ œ œ œ (Middle œC) œ œ nœ (Middle C) ABCDœ œCDEFœ EFGAGABCBCDEDEFGFGABABCDCE & (Middle C) œ œ œ œ œ œ œ œ œ œ (Middle C) ? œ œ œ œ œ œ œ 4 & œ œœ œ œ œ œ œ œ œ &4 œ bœ œ œABœ œCDœ œEFœ GABCDEFGABC œ œ œ GG G œABCDbEœ œ Eœ œCDEFEEœ bœ EFGAE GABCBCDE?DEFGFGABABCDCE œ œ œ b b b b b (Middle C) œ œ œ (Middleœ œC) œ œCDœ œEFGABCDEFGABCDE œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ CDœ œEFœ œGAœ BCDEFGABCDE œCDœ œEFGABCDEFGABCDE &

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B

B

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w w w & wEGw BDF

w w & wFAw CE Identifying Notes LEDGER? LINESw w w GBw DFA In the wexample below you will see the note names for both the Treble and Bass Clefs. You will also see that notes are extended above and below the staff… (continuing the ascending pattern of A-B-C-D-E-F-G or descending pattern of G-F-E-D-C-B-A). This added single-note line is called a LEDGER LINE and it is simply a method of? extending the rangew of thew staff with added lines and spaces. You will also see a note on BOTH staves labeled MIDDLEwAC C. Thisw is EGthe recognizable C located at the center of a piano, and either staff can represent this same pitch, but you can see this means most of the notes on the Bass Staff are lower in pitch than Treble Staff notes.

(Middle C) œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œABœ œCDEFGABCDEFGABC (Middle C) œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œCDœ œEFGABCDEFGABCDE RECOGNIZING& ‘ANCHOR’ PITCHES It’s essential that you learn to recognize every note on either Treble or Bass Clef instantly by sight– and you’ll get faster at this with time and practice, but for now I’m going to give you some tips to help you quickly figure out the pitch? associated with any line or space. Remember that pitches follow a predictable repetitive pattern of the alphabet: A-B-C-D-E-F-G-A-B-C-D-E-F-G when ascending up the staff. It will help you if you’ practice starting anywhere in the middle of this pattern and progress upward(Middle and downward.C) For instance, start on C (instead of A) and recite upward: C-D-E-F-G-A-B-C OR downward: C-B-A-G-F-E-D-C. œ œ œ œ œ œ œ & œ œ œ œ First of all, it’s helpful to recognize there’s a special symmetry betweenœ œ Trebleœ œ and Bass Staves. Normally, the 2 staves of a GrandCD Staff appearEF fartherGA apart,BC butDE to illustrateFG theAB true CDrelationshipEF betweenGA staves,BC you’llDE seeFG that theAB note C 1 ledger line below the Treble Staff OR 1 ledger line above the Bass Staff is the location of the note we refer to as Middle C. But also, the second space from the top of theœ Trebleœ œStaff AND the second space from the bottom of the ? œ œ œ œ œ Bass Staff holds a C. Inœ addition,œ œ œ 2 ledger lines above the Treble(Middle Staff C) AND 2 ledger lines below the Bass Staff also hold C pitches.œ œ œ

C – 2nd Ledger Line Above (Treble Staff) w \ C – 2nd Space from Top (Treble Staff) w \ & Middle C (1 Ledger Line Below Treble or Above Bass) w \ ? C – 2nd Space from Bottom (Bass Staff) w \ C – 2nd Ledger Line Below (Bass Staff) w \  &   ?   &

? &

(Middle C) œ œ œ œ ? œ œ œ œ & œ œ œ œ œ CDEFGABCDEFGABœCDœ EFGABCDEFGABC (Middle C) œ œ Once you know where each ‘C’ is, you can add to your? recognition of pitches by rememberingœ œthatœœ theœœ clefœœ forœ either staff tells you where another of the pitches is found. The Treble Clef (or Gœ Clef)œ œœ centersœœ on G. The Bass & œœ œœ œœ œœ (Middle C) Clef (or FCD Clef) CentersEF GAon F. NoteBC the symmetry–DEFG howAB theœ clef’sœœCDœ pitchœ EF is repeatedGA in theBC spaceDE above FGthe TrebleAB Clef, C and the space below the Bass Clef.

œ œ œ C ? œ œ œ œ œ The space above the Trebleœ œ Staffœ is also G (Middle C) & œ œ œ œ w \ | C The Clef tells you this line is G w \ ? | & Middle C The Clef tells you this line is F w \ (Middle C) w C | œ œ œ œ The space below the Bass Staff isw also F ? œ œ œ & œ œ œ œ \ & œ œ œwœ C CDEFGAwBCDE|FGABCDEFGABCDEFGABC There are 4 traditional mnemonic tools which have helped countless musicians memorize the pitch\ names of œ œ œw lines? and? spaces in Treble and Bass œStavesœ andœ œthoseœ will be covered in the video associated with this lesson. I’ve found it easier to memorizeœ œ œ 1 simple mnemonic phrase(Middle which C) can be applied to either clef, and is useful for œ œ œ œ w  either lines or spaces.w Remember this phrase: Can Every Good Boy Do Fine Always. C LINES A  F For& the Treble Clef Staff, start on Middle C (1 ledger line D w B below the staff) and each line will correspond to the starting G letters of the memory phrase: C-E-G-B-D-F-A-(C) E w C?an Every Good Boy Do Fine Always… C  & A  F For the Bass Clef Staff, start on the C located 2 ledger lines D w below the staff and each line will correspond to the starting B letters of the memory phrase: C-E-G-B-D-F-A-(C) ? G  E w Can Every Good Boy Do Fine Always… wC SPACES  B G E  For spaces, we are going to simply re-arrange our memory C phrase: Do Fine Always, Can Every Good Boy… A For the Treble Clef Staff, start on D (the space just below the F D  staff) and each space will correspond to the starting letters of & B our memory phrase: D-F-A-C-E-G-B-(D) G Do Fine Always, Can Every Good Boy… E C  ? A For the Bass Clef Staff, start on the D located 2 spaces below F the staff and eachspace will correspond to the starting letters D  of our memory phrase: D-F-A-C-E-G-B-(D)  Do Fine Always, Can Every Good Boy… (Middle C) œ œ œ EDCBAGFE œ œ œ œ œ & FGABCDEFœ œ œ œ œ œ œ œ (Middle C) œ œ œ œ œ GFEDCBAG ? œ œ œ ABCDEFGAœ œ œ œ œ œ œ œ   &     In fact, as this example on a Grand Staff will illustrate, the notes on a Treble Clef Staff are an upward continuation of? those notes which are usually written on the Bass Clef Staff, with a possible overlap of notes which may occur around Middle C. Here, you can also see the repetitive cycle of note names– A-B-C-D-E-F-G. These notes, with no modifications,  correspond to the white notes of a piano keyboard. (Middle C) œ œ œ œ œ œ œ œ & œ œ œ œ œ CDEFGABCDEFGABœCDœ EFGABCDEFGABC œ œ ? œ œ œ œ œ œ œ œ (Middle C) œ œ œ œ œ

# # # & # ## # ?## # # ## # (Middle C) B C D E F G A B C D E F G A B C D œ œ EDCBAGFE œ œ œ œ œ bb b b œ & b b b FGABCDEF A ledger line is used in musical notation to notate pitches above or below the lines& and spaces of the regular œ œ musical staff. A line slightly longer than the note head is drawn parallel to the staff, above or below, spaced at the œ œ œ same distance as the lines within the staff. Ledger lines have pitches named just like they are on the staff. œ œ ? b œ Althoughb b bledgerb lines are found occasionally in manuscripts of plainchant and early polyphony,(Middle it was Conly) in the early 16thb b century in keyboard music that their use became at all extensive. Instruments that play extreme œ œ GFEDCBAG register like Piccolo, Flute, or Bass Clarinet, and Tuba often read primarily ledger line notation. Alsoœ for œexample,œ œ the tenor voice reads pitches in the Bass Clef but can sing notes above the staff ?of theœ Bass œClef so Ledger Lines are drawn above the Bass Clef staff to notate the achievable pitches of the tenor voice.AB In the same CDway, the Alto EFGA voice can sing notes below the staff of the Treble Clef. So Ledger Lines help us to extend the range of notes that œ œ œ œ it’s possible to write on a staff. œ œ œ œ Here’s another way of visualizing these notes and G FF E E D the overlap between staves which may occur with  C C BB A G Ledger Lines. You might ask– On a Grand Staff, F F EE D CC where a single instrument plays both Treble Clef B B A G FF and Bass Clef, why do we need Ledger Lines E E D B B MIDDLE C if both staves are capable of notating the exact & A G F F EE same pitch? Consider the piano: usually the Right GG E E FF Hand will play Treble Clef notes and the Left D D MIDDLEMIDDLE CC   A A BB Hand will play Bass Clef notes, but either hand F F GG D D EE can play high or low notes. The use of Ledger B B CC ? G G AA Lines can help a player visually separate the E E FF C C DD hands, organizing groups of notes to be played A A BB F F GG with either hand.  EE (Middle C) œ œ œ œ œ œ œ œ & œ œ œ œ œ CDEFGABCDEFGABœCDœ EFGABCDEFGABC œ œ œ ? œ œ œ œ œ œ œ œ (Middle C) œ œ œ œ

# ## # & # # # ?## # #### b b & b b bbb ? b b b b bbb Accidentals & Enharmonics

You may have noticed that the notes on our staff, in both Treble and Bass Clefs, correspond to the white keys on a keyboard— But what are all those Black Notes? What are their names and how do we notate them? Also, there are black keys between all the white keys EXCEPT B and C, and between E and F. (This is VERY important!)

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

FLATS

In music, the word FLAT means “to lower in pitch”; the flat symbol, which is shaped like this: will lower the specified note by a HALF STEP. More specifically, in musical notation, flat means: lower in pitch fby a SEMITONE. SEMITONE is another word for HALF STEP. The Black Notes between keys on a piano represent HALF STEPS between the notes. The reason there is no Black Note between B and C or E and F is that these notes are already 1& HALFb œSTEPnœ apart#œ from each other in pitch. (Therefore F would be the same pitch as E, C the same as B.) f f Double flats also exist, which look like two flat signs side-by-side with each other, and lower a note by TWO SEMITONES& #œ , or‹ œa WHOLE STEP. ff So for example, the first note here, a B (B flat) would indicate the black note on the keyboard just below (or to the left of)f the pitch B. The second pitch, B (B Double- bœ ∫œ flat) would indicate that we count downward 2 semitones on the keyboardff from B to & B to A. So B sounds the exact same pitch as A. f ff SHARPS ‹œ ∫œ In& music, SHARP means “to raise in pitch”; the sharp symbol, which is shaped like this: will raise the specified note by a HALF STEP. More specifically, in musical notation, sharp means: raise in pitchs by a SEMITONE or HALF2 STEP. Using the Black Notes between keys on a piano we can recognize SHARP semitones just to the right&4 of our normal notes. As with FLATS, there is no Black Note between B and C or E and F, these notes are already 1 bHALFEœb STEPEœb apartEEœ fromb œeachb other in pitch. (So B is the same pitch as C, E the same as F.) s s Double& sharps also exist, and it looks like this: ≈. This symbol will raise a note by TWO SEMITONES, or a WHOLE& bœ STEPnœ. #œ So for example, the first note here, a C (C sharp) would indicate the black note ? on the keyboard just above (or to the rights of) the pitch C. The second pitch, #œ ‹œ C≈ (C Double-sharp) would indicate that we count upward 2 semitones on the & keyboard from C to C to D. So C≈ sounds the exact same pitch as D. s &ã bœ ∫œ ? #œ bœ & ‹œ ∫œ 2 &4 E nœ E EE & bœb œb œ bœb & œ &44 œ bœ œ GGb Gb bEœb Eœb EEœ bœb E ?

ã ? #œ bœ

& nœ œ &44 œ bœ œ GGb Gb bEœb Eœb EEœ bœb E & bœ nœ #œ

& #œ ‹œ

& bœ ∫œ

& ‹œ ∫œ

&42 bEœb Eœb EEœ bœb &

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ã NATURAL & bœ nœ #œ Besides FLATS bandœ SHARPS there is an additional symbol which has the effect of canceling any flats or sharps and? restoring#œ a note to its unmodified state. The NATURAL sign, also completely overturns the effect of double flats and double sharps. All of the white notes on a keyboard mightn be thought of as &being in# œtheir Natural‹œ state. nœ & & bœ nœ #œ & bœ ∫œ ENHARMONIC NOTES 4 œ In modern musical notation an ENHARMONIC EQUIVALENT is# œa note,‹ interval,œ or key ‹signatureœ ∫ œthat is &4 GGœ bœ Gœ E E EE E & & equivalent to someb otherb bnote,œb interval,œb œ or keybœb signature but “spelled” or named differently. In other words, if two notes have the same pitch but are represented by different letter names and accidentals, they are enharmonic. 2 & bœ ∫œ &4 E E EE bœb œb œ bœb

C D F G A C D‹œ ∫œF G& A C Ds Es Gs As Bs D&s Es Gs As Bs Ds f f f f f f f f f f f 2 ? B C D E F G A B C &4 D EE FE G EE A B C D C B F E C B bFœ b E œb œ bœCb B f s f s f s f s f s & It’s easy to see, by labeling the FLATS and SHARPS for each note, that all flat and sharpã notes have their own ENHARMONIC EQUIVALENT.

Here is a written example of F and G – which will both sound? the same pitch: s f ? #œ bœ

ACCIDENTALS& bœ nœ #œ When a FLAT, SHARP or NATURAL occurs in a piece of musicã it is called an ACCIDENTAL. (Accidentals indicate #a œnote whose‹œ pitch is not a member of the scale or mode indicated by the most& recently nappliedœ Key Signature& which we’ll study shortly!) In the measure where it appears, an Accidental temporarily raises or lowers the note which follows it, and any notes of the exact same pitch which followbœ within the same measure. The Accidental only applies to notes on the line or space where it? occurs#œ and does not affect notes of the same name œ in other boctaves.œ ∫ Onceœ a new measure is entered, the effect of an accidental ends, except4 when a note affected by& an Accidental is tied (by a curved line) indicating the same note continues its sound&4 acrossGGœ a barbœ line.Gœ In thisbEœ Eœ EEœ bœ E case, notes at the same staff position in the second bar are not affected by the Accidental in the first b measure.b b b b Examples& ‹ œ(with∫ howœ the notes should be played): & nœ 2 4 œ &4 E E EE &4 œ bœ œ bœb œb œ bœb GGb Gb bEœb Eœb EEœ bœb E &

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& nœ œ &44 œ bœ œ GGb Gb bEœb Eœb EEœ bœb E