1 0\0iTAl AUOIO

TRACK 1
A) SCALE (DiATONIC) INTERVALS

1. Please listen to exarnples 1a, b and c on the accompanying CD:

Example ia Example 1b Example 1c

o 4t ·(') ·
o-
E
. .:=:::te
-(')·
o

major second major tilird fourth

2. Now see i f you can write down and name the following intervals:

Exercise 1a Exercise 1b Exercise 1c

gp= t

3 . Please listen to examples 2a, b, c and d:

Example 2a Example 2b Example 2c Example 2d

b o E jgg I J

-0· ·O -e-

fifth major sixth major seventh octave

4. See i f you can write down and name the following inte1·vals :

Exercise 2a Exercise 2b Exercise 2c Exercise 2d

1·vw :
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TRACK 2
B) RHYTHM I DRUMS

1 . Please listen to examples 3a, b and c, being played on the drums.

This is how you write for the drums.

ride cymbal
snare drum

J
J
bass drum
hi-hat

Example 3a

Example 3b

' r aPt=t
Example 3c

2. Write down exercises 3a, b and c according to the example above.

Exercise 3a

=8 o - E l
Exercise 3b

li
Exercise 3c

23
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TRACK 3
C) MELODY

1. Tl1e following melodies consist of the three notes F, G andA.

2 . See if you ca n write the notes you l1ear.

Exercise 4a

Exercise 4b

Exercise 4c

Exercise 4d

1- l

Exercise 4e

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TRACK 4
A) DIATONIC INTERVALS I ASCENDING AND DESCENDING

Please listen to each example and then , see if yo u can write clown and name the intervals in the appropri ate exercise .

Example la Example 1b Example lc

o
be Io
C\

jj
().

fourth fifth fifth

Exercise la Exercise 1b Exercise 1c

Example 2a Example 2b Example 2c

e
f+--. 3
(,

Ie e
major sixth major seventh minar third

Exercise 2a Exercise 2b Exercise 2c

J
Example 3a Example 3b Example 3c

-·- - - 0 o
o -l Io ==j
minar second major seventh octave

Exercise 3a Exercise 3b Exercise 3c

Example4a Example 4b Example 4c

o
lo o
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fifth fourth major second

Exercise 4a Exercise 4b Exercise 4c

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TRACK 5
8) RHYTHM I PHRASING

In ot·der to write rllythm it is important to know about two clifferent types of pllrasing. We distinguisll between
tlle ,binary" pllrasing in Rock anel in Latin-American music anel the ,ternary" phrasing in Jazz, doing so
primarily where there is a series of eighth notes to be pl ayecl .

s Binary eighths are played evenly, which means exactly as tlley are written.
s Ternary eightlls are executed in the following manner:
1 . The eighth notes which fali on tlle beat are played as written.
2. Tlle eighth notes which come between the beats are played as the thircl note of an eigllth-note triplet.
This is a general rule only. How eighth notes are phrased depeneis also on the tempo (in fast tempos
eightll notes are phrasecl more even), anel it depeneis on the personal style of a musician as well.

Ternary Phrasing
r- 3 ---, ,--- 3 ---,

=
written lil{e tllis .. . or this ,... but, played like this .. .

In lessoti1 examples 3a, b anel c, were binary phrased . The following examples are phrased in tlle style of a
j azz drummer, playing in a medium tempo.

Example 5a Example 5b

Example 5c Example 5d

J
--r - :fi

Please transcribe tlle following exercises. Observe the time signatures .

Exercise 5a Exercise 5b

Exercise 5c Exercise 5d

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TRACK 6
C) MELODY

1. Tl1ese five melodies consist of tl1e notes A, and

2. See if you can write down wh at you l1ear.

Exercise 6a

Exercise 6b

g -b

Exercise 6c

I - ti

Exercise 6d

Exercise 6e

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-TRACK
- - -7-
A) NON-Dl.ATONIC INTERVALS

Here are some more exarnples of intervals. Keep them in mind, whi le doing the exercises.

Example la Exampíe Example 1c

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·Mf e 11

mino r third minar sixth minar seventh

Exercíse la Exercise lb Exercise lc

- 55[ fi

Example 2a Example 2b Example 2c

h_o
F
A
I
o a
11
v
diminished fifth minar second major secand

Exercise 2a Exercise 2b Exercise 2c

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Example 3a Example 3b Exarnple 3c

#e
R' po 6i
augmented fourth augmented fourth major third

Exercise 3a Exercíse 3b Exercise 3c

Example 4a Example 4b Example 4c

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,..,
-I be
major sixth minar seventh major seventh

Exercise 4a Exercíse 4b Exercise 4c

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One good way to remember intervals is to associate them with the opening notes of a song ora musical
composition. For instance the well hnown ,crutch" fo r an ascend ing diminished fiftl1 , is the song .. Maria"
from .. West Side Story" by Leonard Bernstein.

Find suitable pieces for each of the intervals yourself. Then recognising the intervals will become much
easier for you.

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- TR ACK
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B) RHYTHM I BASS LINES

The following examples are typical bass Iines. Notice especially which style of music these !ines are suitable
for, and wh ich type of phras ing is being used .

Example Sa - Bossa Nova

Example 5b- Rocl\ 'n' Rol l

Example Se - Shuffle

Example Sd - Rock

Please write exercises 5a, b, c and d. You should use the notation shown in the examples.

Exercise 5a

Exercise 5b

Exercise Se

Exercise 5d

=9=

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TRACK 9
C) MELODY

1. The following rnelodies consist of the notes of a major tetracl1ord .* Th e note va lues which occur are tl1e
llalf, the quarter, the dotted quarter, anel the eighth.

o -o-

Exercise 6a

half-note rest

L22 [t
-
-

Exercise 6b

Exercise 6c

Exercise 6d

Exercise 6e

* Tile common seven-step scale is made up of two groups o f four notes (tetracl10rds), eacli group measuring a perfect fourtil frorn end to end . C major for
exarnple consists of two major tetra chords, namely from C to F and rrom G to C.

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TRACK 10
A) INTERVALS

The fallowing intervals are played in a different arder an the CO. See if yau can find out which arder, and
write down their names.

*hu fourth
Fi!
minar third major third
e (.lp-n

augmented fourth
11

Exercise la: major third

Exercise lb: - - -- - - - - -- - - -- -

Exercise 1c: - - -- - -- - - - - -- - -

Exercise ld: - - - - - - - - - - - - · - - -

Here's the same thing again with different intervals.

e (,
o
o li
octave major sevent/1 minar sevent/1 major sixth

Exercise 2a: _ __ _ __ _ _ _ _ _ _ _ __

Exercise 2b: - - - - - - -- - - - -- - -

Exercise 2c: - - - - - - - - - - - -- - -

Exercise 2d: - - - - -- - - -- - - - - -

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TRACK 11
B) RHYTHM I RHYTHMS

The rhythms shown below are played on the CD:

1. as written,
2. in slightly different fasl1ion and in a different order.

the claves t!Je cabaza - afuche

the cowbe/1 the guíro - gourd

J J J J J J J J
c:J
...:.::

Jlsp!-;;P;J f3
!=i$ :rnp1 iE=:

Exercise 3a Exercise 3b

·rr F

Exercise 3c Exercise 3d

AI

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TRACK 12
C) MELODY

The following melodies :

1. are derived from a single minar tetracho1·d,
2. are played in some of the measures so that the notes that should h ave come on the ..three" actually
come on the .. two and." Thus they become ,.anticipated."

G minar tetrachord

Please write down wllat you hear, including the time signature at the beginning of the exercise . How many
measures are tl1ere in each one?

Exercise 4a

til

Exercise 4b

Exercise 4c

Exercise 4d

Exercise 4e

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 TRACK 13
A) INTERVALS

Here again tlle intervals on tlle CD are in a different order from the one given below. Try to find out wt1ich
order they are in and see i f you can name thern .

minar second unisan (unisona)

t::= u
·1
minar second major second

Exercise 1.a: Exercise 1b: Exercise 1c: Exercise 1d:

l
minar third augmented second

t=fl
diminished fourth major third

Exercise 2a: Exercise 2b: Exercise 2c: Exercise 2d:

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TRACK 14
B) RHYTHM I SHIFTING ACCENTS

Shifting accents creates rhythmic tension. Groups of threes and fours are quite handy for doing this .

In the first example 16 eighth notes from two measures of 4/4 time are divided up like this :
3+3 +2+ 3 +3+2 = 16 eighth notes.
Listen carefully to the examples and pick out the shifted accents. These are only a few of the many
possibilities, see if you can find others yourself.

Example 3a Example 3b

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ill ·
r· r23
3 3 2 3 3 2

Example 4a Example 4b

I r· DD r·
3 2 3 3 2 3

Example 5a Example 5b

2 3
r·
3
I F
2
r·
3
il/·

I
3
:11

Example Ga Example Gb

3 3
F
3
ID r·
3 2
:i]

Example 7a Examp!e 7b

ttrttr· :i]
2 2 3 3 3 3

Find out wh ich order the preceeding examples were played in.

Exercise 3a: Exercise 3b: Exercise 3c:

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TRACK 15
C) MELODY I ART ICULATION

Even thougil individual note values may exactly the same on paper, they will be different when played. A
precise method of articulation will be used, regardless of wl1ether tl1e phrasing is binary or t ernary.

These are the signs used to denote articulation,

= long, as in singing the syllable dah;

short, as in singing the syllable dot;

> this note receives its accent by giving it strong emphasis, whi le holding it for its full value.

Examples of articulation:

,Qrníthology" by Charlie Parker - ternary

"Cantafoupe lsfand" by Herbie Hancock- binary

Pay careful atterition to how the following melodies are being articulated. Please put the appropriate
articulation signs above the notes.

F.xercise 4a

J r IJ. 4

F ! :=tf =r
Exercise 4b

r
Exercise 4c

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CJ J .
o f\1 f,
Ü
TRACK 16
A) !NTERVALS

See if you can find out whicll order the intervals on the CD are being played in, and see if you can narne thern.

#n===+d () I) 7l
augmented fifth fifth minar sixth diminished seventh

Exercise 1.a Exercise 1 b Exercise 1c Exercise 1.d

Please write and narne the intervals in tlle following exercises. The fi rst pitch is always given .

Exercise 2a Exercise 2b Exercise 2c Exercíse 2d

I& d

Exercise 3a Exercise 3b Exercíse 3c Exercise 3d .

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TRACK 17
B) RHYTHM D!CTATION

Follow the riJythmic line that you will ilear on the CO. Please write it clown, using the note G anel putting in
the accents, as has alreacly been clone for part of exercise 4a.

Exercise 4a

Exercise 4b

Exercise 4c

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TRACK 18
C) MELODY I PENTATONIC

The melodies which follow are based on a pentatonic scale. Scales of tllis type are composed of five pitches
from within an octave.

o
o
o ()
l
C major pentatoníc

Exercise 5a

Exercise 5b

Exercise 5c

Exercise 5d

Exercise 5e

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TRACK 19
A) CHOROS

A chord sounds when more than two notes are played at the same time . The simplest form is a triad, which
is made up of the first , the third, and tl1e fifth degree of a scale:

'" major triads consist of root, major third, perfect fifth,

Q minar triads consist of root, minar third, perfect fifth,

" augmented triads consist of root, major third, augmented fifth,

diminished triads consist of root, minar third, diminished fifth,

e sus 4 chords have a perfect fourth in place of the third as well as the root and the perfect fifth.

Find out which arder the examples are played in and put their names in the blanks provided.

F major F minar F diminished F augmented

Exercise la Exercise lb Exercise 1c Exercise ld

A
§htfbo o;;!§ li o li o

G major G diminished G augmented Gsus4

Exercise 2a Exercise 2b Exercise 2c Exercise 2d

o (t o o iihl
E minar Esus4 E diminished E major

Exercise 3a Exercise 3b Exercise 3c Exercise 3d

_o. ·O
·O

Asus4 A major A minar A diminished

Exercise 4a Exercise 4b Exercise 4c Exercise 4d

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TRACK 20
B) RHYTHM

Tlle following are examples of sim pie arrangements for a rhythm group. Analyse them very carefully in regard to:

1. style;
2. time signature, tempo, rhythm;
3. phrasing and articulation of tl1e individual instruments.

Sing along with the individual parts, as we ll as you càn.

STRAIGHT ROCK

Guitar
·r-

I- . -
A

r r ,( D

-=1
r

-
A

-
D

;]==::·

Bass
[ '
.§ª =r= I

Hi Hat I

J J J ] ;r-rJ'l .J J J J j' J
-
Drums

I I I - J f--

l u

SHUFFLE
C7
r-3--o

Guitar
!t:Ff==-·
3
,-3--,

Bass

Drums
Jll
3 3 3

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 J,AZZ--ROCI<

C-9 F9
Guitar "
LJ I

Bass

Hi Hat

Drums

Listen to tl1e arrangement WlliCil fol lows and write it down. First the bass, then the guitar, and with the
drums, first the bass drum , then the snare, and tl1en final ly the cymbals .

What tempo is this piece in- with the aid of a metronome determine the number of quarter notes per minute
= metronome ma rk.

Exercise 5

E7
Guitar

•
Bass
-·

+------------
Drums jj=IT _:

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TRACK 21
C) MELODY I SCALES-MODES

These are the scales being played on the CO.

major-tetrachord major-tetrachord major-tetrachord minor-tetrachord

o o .i o
o====G------=;;
o : o ()

C /onian (major) C Mixolydian

a) Now name the following scales; b) which tetrachords do they consist of?

Exercise 6a Exercise 6b Exercise 6c Exercise 6d

This is the G major scale.

() o a=== O

Write down these melodies based on that scale.

Exercise 7

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TRACK 22
A) CHOROS I TRIADS

Whicil of tt1e five types of triads that we have been concerned with up to now, are being played on the CD?

Exercise 1a Exercise lb Exercise lc Exercise 1d

Exercise 2a Exercise 2b Exercise 2c Exercise 2d

Exercise 3a Exercise 3b Exercise 3c Exercise 3d

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TRACK 23
B) RHYTHM I DICTATION

Listen to the rhythm Iines and write them down, using the note G.

Exercise 4a

- -1 27l

-R J

Exercise 4b

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 TRACK 24
C) MELODY I SCALES-MODES

T!1ese are tlle scales you wi ll hear on the CO. Observe careful!y wl1ich tetrachorcis they are made up of.

minar minar Phrygian

C Dorian C Phrygian

minar Phrygian Lydian major

C Aeo/ian C Lydian

Name the scales whicll now follow and t11eir tetrachords.

Exercise 5a Exercise Sb

Exercise Se Exercise 5d

Exercise 5e Exercise 5f

The following melodies are composed on t l1e AI, major scale. Please write tl1em down.
Exercise 6

Rernarlc Wllen a scale corresponds to one of tlle so called medieva l cllurch scales, we can also cal! it a mocle.

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TRACK 25
A) TRIADS

The chords which have been played so far will now be played as arpeggios (the individual notes sounding one
after the other) on various instruments, ascending and descending over a range of two octaves.

Write down the chords and name them. The roots of the chords have been provided.

Exercise la

Exercise l.b

Exercise l.c

Exercise ld

Exercise l.e

Exercise l.f

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TRACK 26
B) RHYTHM

On the CO you will hear a rhythm pattern being played on the cowbell (CB) and the timbales (T) tllat can be
written like this:

CB

Please transcribe the following rhythms, according to the method of notation used in the pt·eceeding
example.

Exercise 2a

CB

T
---j--
li

Exercise 2b

CB

-fj-e
T

Exercise 2c

CB

Exercise 2d

CB

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TRACK 27
C) MELODY

Play the following modes on your instrument and learn til em by heart.

Pay special attention to these items:

M are tlle scales you are listening to major or mino1·,

• which tetrachords do they consist of,
" where are the half-tone steps located?

Example 3a

o e o o
o

F lonian (mqjot)

Example 3b

e e

FDorian

Example 3c

Example 3d

el-
/
-e
ô - - -e

F Lydian

Example 3e

= n
F Mixo/ydian
o
o_o ()
l

Example 3f

t) o ==:::,._
o -e o

F Aeolian (natural or pure minar)

Example 3g

õ--o o
â--=o o

F Locrian

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Please wt·ite the scale tl1at you hear. lnclicate the ilalf-tone steps ( ).

Exercise 3a

Exercise 3b

Exercise 3c

4
Exel'cise 3d

Please tal{e down tile following melody composed on tilis scale:

e OTI
This is tl1e Pllrygian scale in C major, beginning on the 3rd step of the C major scale , E that is, and is usually
called E Phrygian.

Exercise 3e

2J

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TRACK 28
A) CHORD PROG RESS!ONS

lt is possib le to construct a triad consisting only of notes belonging to the scale on each step of the se ale.
The simplest way is by placing one third on top of another.
lf more than one chord is played in sequence, the result is a chord progression .

Example C Major:
The scale degrees are indicated in Roman numerais. The cl1ord symbols have the following meanings:
• a capitalletter by itself stands for tl1e major chord, e.g. F= F major triad,
• a capital letter with the- sign is the minar chord, e.g. C-= C minar triad,
• a capitalletter with tl1e + sign is the augmented chord made up of two major tl1irds one on top of the
other, e.g. C+= C augmented,
o
• a capital letter with the sign is a diminished chord made up of tvvo mino r tl1irds one on top of the other e.g. so= B climinished .
c D- E- F G A- so

§ n § tt=- ti= l
§
li 111 IV v VI VIl

Examples of Chord Progressions.

c G c c F G c

tí -8
v
i -11
i==- B
-e-
IV
C>

H
v
i== l

;;
c F c c F c G c
B
-e- ! =ti----i= e-
-8-
§=---ll
IV IV v

c D- E- D- c c D- E- F

§ g -§ !l § §
li 111 li 111 IV

Exercises:

Wh ich of the above chord progressions do you recognize? Please write the degree and underneath it the chord symbol.

Exercise ia Exercise 1b Exercise 1c

IV I
C F C

Exercise 1d Exercise 1e Exercise 1f

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B) RHYTHM

Example 2a
..1 Want To Be In America " by Leonard Bemstein.

Het·e one measure of 6/8 time is subdivided into 2 x 3 eightlls, the next one into 3 x 2 eigl1ths.

lf a temary pl1rased measure of 4/4 time is subdivided into 2 x 3 eighths and 3 x 2 eightlls, a similar rhythm results.
lf three quarter notes are played instead of 3 x 2 eighths, a quarter-note triplet resu lts .

Please transcribe t11e following rhythms played on the drums.

Exercise 2a

_+ ti

Exercise 2b

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TRACK 30
C) MELODY

In addition to the rninor modes (Dorian, Pl1rygian, Aeo lian, Locri an} two ott1er rninor scales are also often
used, narnely, the melodic minor sca le, wl1ich in jazz and pop music is played the same way ascending and
descending, and the harmon ic minor scale.

o-

O harmonic minar

o
3
()

D me/adie minar

The melodies which fo llow are composed on the O me lodic minor scale .

Ptease take them down.

Exercise 3a

jj

==t
-I

In this exercise transcribe both the melody and the chord symbols.

Exercise 3b

==r j

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