DOCSLIB.ORG

The Staff & Clefs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Staff & Clefs 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 & ? B B ÷ 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.
Load more

Recommended publications
  • Level 1 Theory Book (1.65
    Table of Contents Lesson Page Material 1.1 1 Introduction to Music Letter Names The Octave 1.2 7 The Staff The Treble Clef Treble Clef Note Names Treble Clef Ledger Lines 1.3 17 The Bass Clef Bass Clef Note Names Bass Clef Ledger Lines Middle C 1.4 25 Dynamics Tempo Produced by The Salvation Army Music and Gospel Arts Department 3rd Edition Copyright 2018 The Salvation Army Canada and Bermuda Territory 2 Overlea Blvd., Toronto ON M4H 1P4 Original Author: Jeremy Smith Contributors: Leah Antle, Mark Barter, Susan Lee, Mike McCourt, Heather Osmond Lesson 1.1 - Introduction to Music We all hear lots of sounds at any given moment. Listen to the various sounds going on around you right now! How would you describe them? Do they have a pattern? Are they organized? Do you think this is music? Music is organized sound. We can use music to tell other people about Jesus Christ. This can be done through the use of singing, brass, percussion, piano and guitar music —any instrument that will promote God’s glory! Letter Names There are seven letters of the music alphabet: A B C D E F G We use these as note names to classify what a note or pitch sounds like. Notes can ascend (go higher): Notes can descend (go lower): 1 Level 1 Only seven letters? There can’t be just seven sounds in the whole world! The letter names of notes can be repeated when you run out! EXERCISE Fill in the missing note names! E A D B E D G B E D G F B 2 Level 1 The Octave When we have moved from one A to another A, we have played an octave, a term used in music to describe the space between notes of the same letter name.
    [Show full text]
  • Pnrpartnc to Pmy
    PurnNC Youn EmcrruC Bnss TocETHER machine heads (tuning pegs) STIP 1 Open your case right side up. SITP 2 Connect the strap securely to the strap buttons. fingerboard SIEP 3 Adjust the strap so that the body of the bass rests at or above your waist. STEP 4 Plug the audio cable into your bass, and then plug the cable into your amplifier. STEP 5 Turn the amplifier on and adjust the volume. toneAolume controls output jack strap button PnrPARtNc To Pmy STEP 1 Sit or stand up straighg with your shoul- ders relaxed. STEP 2 When standing the strap should sup port the full weight of the bass. When sitting restthe curve of the bass on your right thigh, and the back of the bass against your body. STEP 3 Bend your right elbow and position your forearm and wrist over the front of the bass. Your hand should be positioned toward the ground, with your fingers curved toward the strings. PnnpnRrNC To PLqy STEP 4 Fi.rce yon.:i ieft hand thumb behinci the neck. Your thumb shouid not curlover the top of the neckonto thefingerboard. STEP 5 Bend vour left wrist to position your fingers over the fingerboard. Arch your tingers, keeping your palm clear of the neck. Your thumb and fingers should f'cim a "C" shape. r*t \".'l\ l/- t/,*i-r,.i '!--;i ,--''.I;i\jt*-! ,\ 5ir-riRIC *nsg sTtLl ?i.i<*e r.'i;,..ri" ri3ht hanci midr,vay benveen the bridge anC the end of the fingerboard. TTfig.? ,<esi i,c'-;; r!sht hanri tiiumb on the .iih string {! sti'ing}.
    [Show full text]
  • Musical Staff: the Skeleton Upon Which Musical Notation Is Hung
    DulcimerCrossing.com General Music Theory Lesson 7 Steve Eulberg Musical Staff [email protected] Musical Staff: The skeleton upon which musical notation is hung. The Musical Staff is comprised of a clef (5 lines and 4 spaces) on which notes or rests are placed. At one time the staff was made up of 11 lines and 10 spaces. It proved very difficult to read many notes quickly and modern brain research has demonstrated that human perception actually does much better at quick recall when it can “chunk” information into groups smaller than 7. Many years ago, the people developing musical notation created a helpful modification by removing the line that designated where “Middle C” goes on the staff and ending up with two clefs that straddle middle C. The treble clef includes C and all the notes above it. The Bass clef includes C and all the notes below it. (See Transitional Musical Staff): DulcimerCrossing.com General Music Theory Lesson 7 Steve Eulberg Musical Staff [email protected] Now the current musical staff has separated the top staff and the bottom staff further apart, but they represent the same pattern of notes as above, now with room for lyrics between the staves. (Staves is the plural form of Staff) DulcimerCrossing.com General Music Theory Lesson 7 Steve Eulberg Musical Staff [email protected] The Staves are distinct from each other by their “Clef Sign.” (See above) This example shows the two most commonly used Clef Signs. Compare the Space and Line names in the Historical example and this one. The information is now “chunked” into less than 7 bits of information (which turns out to be the natural limit in the human brain!) on each staff.
    [Show full text]
  • Music Dictionary
    Nitschmann Middle School Music Dictionary Principal Words and Symbols used in Modern Music Daniel Zettlemoyer 2010‐2011 # 8va Play the notes indicated up one octave (eight notes higher). 8vb Play the notes indicated one octave lower (eight notes lower). A Accerlerando Gradually increasing in speed, to slowly get faster Accent Emphasis on certain parts of a measure Adagio Slowly, leisurely Ad libitum (ad lib.) Not in strict time A due (a 2) To be played by both instruments Agitato Restless, with agitation Al or Alla In the style of Alla Marcia In the style of a March Allegretto Slower than allegro, moderately fast, faster than andante Allegro Lively, brisk Allegro assai Very rapidly Amoroso Affectionately Andante In moderate slow time Andantino Strictly slower than andante Anima, con Animato With animation A piacere At pleasure; EQuivalent to ad libitum Appassionato Impassioned Arpeggio A broken chord Assai Very, A tempo In the original tempo Attacca Attack or begin what follows without pausing B Barcarolle A Venetian boatman’s song Bis Twice, repeat the passage Bravura Brilliant; bold, spirited Brio, con With much spirit C Cadenza An elaborate, florid passage introduced as an embellishment Cantabile In a singing style Canzonetta A short song or air Capriccio a At pleasure, ad libitum Cavatina An air, shorter and simpler than the aria, and in one division without Da Capo Chord The harmony of three or more tones of different pitch produced simultaneously Coda A supplement at the end of a composition Col or con With Col legno Playing with the wood (bow‐stick) part of the bow.
    [Show full text]
  • Pitch Notation
    Pitch Notation Collection Editor: Mark A. Lackey Pitch Notation Collection Editor: Mark A. Lackey Authors: Terry B. Ewell Catherine Schmidt-Jones Online: < http://cnx.org/content/col11353/1.3/ > CONNEXIONS Rice University, Houston, Texas This selection and arrangement of content as a collection is copyrighted by Mark A. Lackey. It is licensed under the Creative Commons Attribution 3.0 license (http://creativecommons.org/licenses/by/3.0/). Collection structure revised: August 20, 2011 PDF generated: February 15, 2013 For copyright and attribution information for the modules contained in this collection, see p. 58. Table of Contents 1 The Sta ...........................................................................................1 2 The Notes on the Sta ...........................................................................5 3 Pitch: Sharp, Flat, and Natural Notes .........................................................11 4 Half Steps and Whole Steps ....................................................................15 5 Intervals ...........................................................................................21 6 Octaves and the Major-Minor Tonal System ..................................................37 7 Harmonic Series ..................................................................................45 Index ................................................................................................56 Attributions .........................................................................................58 iv Available
    [Show full text]
  • List of Musical Symbols Lines Staff the Staff Is the Fundamental Latticework of Music Notation, on Which Symbols Are Placed
    List of musical symbols Lines Staff The staff is the fundamental latticework of music notation, on which symbols are placed. There are five staff lines and four intervening spaces Ledger or leger lines These extend the staff to pitches that fall above or below it. Such ledger lines are placed behind the note heads and extend a small distance to each side. Multiple ledger lines can be used when necessary to notate pitches even farther above or below the staff. Bar line These separate measures (see time signatures below for an explanation of measures). Also used for changes in time signature. Bar lines are extended to connect multiple staves in certain types of music, such as keyboard, harp, and conductor scores, but are omitted for other types of music, such as vocal scores. Double bar line These separate two sections of music or are placed before a change in key signature. Bold double bar line These indicate the conclusion of a movement or an entire composition. Bracket Connects two or more lines of music that sound simultaneously, the bracket usually connects the staves of multiple vocal parts in a choir or ensemble Clef Treble clef The centre of the spiral defines the line on which it rests as the pitch G above middle C. Positioned here, it assigns G above middle C to the second line from the bottom of the staff and is referred to as the "treble clef". This is the most commonly encountered clef in modern notation and is used for most modern vocal music. Middle C is the first ledger line below the staff here.
    [Show full text]
  • 1 Sydney Symphony Orchestra Guidelines for Student Composers
    Sydney Symphony Orchestra Guidelines for student composers Congratulations on having your music played by the Sydney Symphony Orchestra. We are delighted to be working with you and we hope that it is an enjoyable and rewarding experience for you. The musicians and the staff of the Orchestra are all completely committed to ensuring that your music receives the best workshop and/or performance possible. Our hope, in working with composers, is that the orchestral repertoire will be enriched through the creation of new works which have a life after this process, and which go on to give pleasure to audiences for years and decades to come. 1. AIMS The first audience for your new piece is not the ticket-buyers in the concert hall: it is the musicians on the stage. They meet your piece not by listening to it but by reading and playing it. The purpose of a score and set of parts is to communicate to them, instantly, what you mean. It’s worth remembering that big symphony orchestras are busy. They get through an enormous amount of repertoire, which changes every week, and which musicians have a limited amount of time to learn. It is wise, then, always to couch one’s musical ideas in the most conventional notational language possible. This is emphatically not a suggestion that your music itself should be dumbed down. But the more effort you put into expressing it with the same notational grammar that the musicians are used to seeing day- in, day-out, the easier it is for the musicians.
    [Show full text]
  • Chapter One − Pitch
    Pitch [prev] [Table of Contents] [next] Chapter One − Pitch Introducing the terminology The tones created by musical instruments are a wonderful example of the workings of the laws of acoustic physics and the sounds can be discussed in scientific terms. However, this book will not discuss music in terms of Hertz and Waveforms, but instead mostly use the terms traditionally used in the discussion of music theory. The one exception will occur here with this extremely brief discussion of the tuning standard used in Western music; A − 440: The term "pitch" is used in music to describe the aspect of music that is high or low (i.e. A singer can sing a high note or a low note) This should not be confused with loud or soft but instead is a description of a high pitch (like a child's voice) or a low pitch (like a man with a deep voice) The scientific measurement of a note's "Pitch" is called its Frequency. Frequency is measured in units called Hertz (Hz). Hertz is a measurement of the number of cycles of the waveform that will occur with the time period of one second. (Cycles per second) = hertz. A−440 hz is the standard tuning note for Western Culture. In other words the tone "A" (vibrating at 440 cycles per second) is the tuning reference from which all the instruments are tuned. As mentioned above, in the field of music, the terminology used amongst musicians is different from the scientific community. Musicians usually refer to the letter name of the pitch and less often to the frequency Music terminology used for describing pitch is the first seven letters of the alphabet.
    [Show full text]
  • Music Theory Note Reading, Time Signatures, Accents
    Music Theory Note Reading, Time Signatures, Accents A staff is made up of five horizontal lines and four spaces. Pitches are named after the first seven letters of the alphabet (A B C D E F G). A clef is a musical symbol placed at the beginning of the staff that determines the letter names of the lines and spaces. The two main clefs are the treble and the bass: The Treble Clef starts on the G line of the Teble portion of the Staff. The Bass Cleff starts on the F of the Bass Portion of the Staff. There is a Tenor or C Cleff whish straddles the Middle C between the Treble and Bass Clefs and looks like the letter K. A grand staff is a combination of both the treble and bass clefs connected by a vertical line on the left side of the staves (plural staffs). This is called a Brace or Bracket. Ledger Lines are an extension of the staff. They are additional lines both above and below which are parallel to the staff. Each ledger line contains one note. We use these in Bagpipe Music for our note High A. Note Values Each note has a specific duration. Most Common Note Lengths Meter/ Time Signature Meter is the regular recurring pattern of strong and weak beats of equal duration; also known as time. The meter or time signature in a musical composition is indicated by a fraction, and located at the beginning of a piece of music. The lower number of the fraction tells what kind of note receives one beat.
    [Show full text]
  • Dorico Features in Depth
    Dorico features in depth Introduction Additional features coming soon Dorico is a brand new application written from the ground up by the most experienced team of scoring software developers in the world. Dorico has many unique and innovative features not found in any other software, and presents a whole new way of working with music notation, but because it is brand new, it does not yet have every feature necessary for every kind of score. Dorico will receive a number of updates in the coming months that will be free to existing users, adding new functionality. Some of the functionality that is planned to be added in these updates includes*: § Chord symbols § Repeat ending (1st, 2nd time or volta) lines § Fingerings § Jazz articulations § Rhythm slashes § More flexible unpitched percussion notation § Improvements to playback and support for third-party virtual instruments You can shape the future development of Dorico by engaging with the development team either through the Making Notes blog or the Dorico user forum. *Please note that the list of features that will be added in free updates to Dorico is subject to change 1 Rev B 2016-10-22 Input and editing Note input tools § Caret for note input, allowing you to freely move the input position between bars and staves with the arrow keys § Rhythmic grid ruler to determine the distance by which the caret moves with the arrow keys § Chord input mode, allowing quick building of chords from the bottom up (shortcut Q) § Grace note input mode, allowing quick input of grace notes (shortcut /)
    [Show full text]
  • Note Busters
    Intervallic & Landmark Teaching Methods Unfamiliar notes can be identified by their distance from nearby landmark notes. As students progress through the exercises, the number of landmark notes they are familiar with will increase and identifying unfamiliar notes will become easier. Beginning landmark notes are shown below; however, any note a student has memorized makes a great landmark. Treble Clef: G 5 notes down from G C Ledger line notes fall outside of the staff Middle G is located on the second staff line from the bottom of the treble staff, which is also known as the “G-Clef” because the Treble Clef’s circular center falls directly on the same line as Middle G. Five notes (two lines) down from Middle G is Middle C – one of the most used notes on the keyboard and a frequent starting point in beginning sheet music. Bass Clef: C 5 notes down from C F G Middle C is located one ledger line above the bass staff and is the same Middle C located one ledger line below the treble staff (shown in the Treble Clef example above). Knowing where the same note lies on both staves will prove helpful while sight-reading. Five notes (two lines) down from Middle C is Bass F, which falls on the line that’s surrounded by the two dots on the Bass Clef. Another name for the Bass Clef is the “F-Clef” for this reason. Low G falls at the bottom of the bass staff and is therefore easy to locate and a great starting point.
    [Show full text]
  • Foundations Music Open College of the Arts Michael Young Arts Centre Redbrook Business Park Wilthorpe Road Barnsley S75 1JN
    Foundations Music Open College of the Arts Michael Young Arts Centre Redbrook Business Park Wilthorpe Road Barnsley S75 1JN 0800 731 2116 [email protected] weareoca.com oca.ac.uk Registered charity number: 327446 OCA is a company limited by guarantee and registered in England under number 2125674. Copyright OCA: 2016 Document Control Number: FDMU210616 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means - electronic, mechanical, photocopy, recording or otherwise - without prior permission of the publisher (Open College of the Arts) Images © The Bridgeman Art Library – London, New York, Paris. Additional musical illustrations by course authors unless otherwise attributed. Every effort has been made to obtain permissions for the images used in this coursebook. Course written by: Andy Glover-Whitley, Chris Lawry and Carla Rees Cover image: Carla Rees, Flute 2 Foundations Music Contents Before you start 5 Course structure 9 Part one Introduction 12 Project 1 A Medieval Timeline 19 Project 2 Recognising features in a score 34 Project 3 Pitch 36 Project 4 Answering Rhythms 39 Assignment 1 Replicating a piano piece using Sibelius 47 Part two Project 5 Intervals 66 Project 6 Rewriting a Melody in Bass Clef 67 Project 7 Identifying Time Signatures 68 Project 8 Claudio Monteverdi 75 Project 9 Your S.S.I proposal 76 Assignment 2 Composing a theme 80 Part three Project 10 Classical Music 87 Project 11 Identifying Form 91 Project 12 Scales 100 Project 13 Harmonic Intervals 105 Project
    [Show full text]