Lessons with Impresario!

What is REALLY cool, is this... White keys have MORE enharmonic spellings than Black keys... D is also Cx (x = double sharp) and and it is Ebb (bb = double flat)

LESSON III: Solfege and Hand symbols in C Major!!

This is just a precursor to the intricacies of choral music that has to do with singing. In the choral world, we like to sightread.. and since most people don't wanna do all the theory that goes along with music, they learn SOLFEGE. What IS it... well, it's a method of realizing the intervals (coming up later). But, for now I will teach you this in C Major.

C = Do. (Do is ALWAYS the Tonic. DO you remember that?) From there it's all simple... they go in order like this:

Do, Re, Mi, Fa, Sol, La, Ti, (repeat) Do....

Look at this:

Relation on the Staff:

Hand Signs relating to each one:

Cool right? So, go practice!!

So... knowing this... I want you to be VERY familiar with this stuff. I am gonna have a Basic Theory Day I (which might be more than one day) Worksheet. It will also cover: Rhythm and Meter, Major Keys, Major Scales. YAY!!

Assignment:

1. a. Go write a C Major scale on Finale and give it to me. Tell me the Intervalic relationship between each note (C-D is 2 half steps. D-E is 2 half steps, E-F is a half step... etc...)

b. Tell me on that scale WHAT the Octave identification numbers for each one is. It may change depending on WHAT clef you use.

2. What are ALL the enharmonic tones for the following:

a. D

b. G

c. A.

d. C (this one's tricky)

e. B (tricky)

f. F (TRICKY!!!)

g. E (also tricky... be CAREFUL and think about these).

BONUS: (required... but I won't kill you if you get it wrong) What might be the Major Scale for D Major? Solfege? Octave Identification?

:)

HAVE FUN LEARNING!!! When you post your assignment, and we discuss, I will put up part II of Day I.

I'm glad it's up, but sadly my mom says I've been on enough and tells me no more computer for the rest of the day ;-;

I'll try and get it done ASAP tommorow.

Take your time. This assignment could be difficult to understand. :)

I'm printing this off so I can do it without the computer :]

I'll give you all the answers and questions and such tommorow, or tonight (probably the first)

QUESTION NOW!

8va means an octave up right?

Does that mean 15ma means an octave and seven notes up?

No! 8va is one octave up... 15ma is TWO octaves up.

Say, Morivou, can I join in? I would like to write some choral stuff but I don't know how....:P

Oy! Heckel. Apply for your own lesson thread with me up there at the top of the page. You don't need basic theory! You just need choral theory.

Oy! Heckel. Apply for your own lesson thread with me up there at the top of the page. You don't need basic theory! You just need choral theory.

Oh whoops! Well, I'll go change that!

Why 15? I thought it would be sixteen... Whatever; thanks for explaining.

Lesson 1:

Thank you so much for explaining Octave Identiffication, it confuses me so much when people say C4 but now I know what it means!

Question on foundation: I play Tenor Sax, but can only play until C3 on the low side, but it's POSSIBLE to go to B3. Which would be the foundation? B3 right?

As for your octave identification sheet, I think you did something wrong: In the fourth bar, where it says C2 to B2, should it not be C1? And than in bar five C2 instead of 3, 3 instead of 4 in the next etc? Same thing with the A's. The way you have it written says it goes down one note.

Also, what's the difference between Basic Identification and Piano Identification on that page? Would the first one be used for my Tenor Sax, and the second for a piano?

Lesson 2:

Hertz are in music? I learned something new today :D

I also learned, from the articles, that C4 is C3's hertz times two, c5 is C4's hartz times two etc. and that by dividing or multipling by 4 from any note, we'll end up with one of every note including accidentals.

Does this also have something to do with chords by any chance? It says "E3 (655/4 = 163.75 Hz) and look at its overtones, we define the notes B, and Ab" Does that mean E, B and Ab go together nicely in a chord?

Wow, the multiphonics on an instrument astounded me! But how do you hum more than one note at a time? Overtones? That was a confusing article, but so cool I really wanted to understand!

Passing accidentals, which I knew most of already, and on to solfede. My understanding is that it's learning do re mi fa so la ti do instead of C D E F G A B C right? Do I have to learn the hand signs for this test?

ASSIGNMENT: will be posted in fifteen minutes time :]

Edit: here you go!

basic theory 1.mus

Why 15? I thought it would be sixteen... Whatever; thanks for explaining.

Lesson 1:

Thank you so much for explaining Octave Identiffication, it confuses me so much when people say C4 but now I know what it means!

Haha. I know. It is the first thing they teach us in Music theory classes after note names... it makes the WHOLE year easier. lolz.

Question on foundation: I play Tenor Sax, but can only play until C3 on the low side, but it's POSSIBLE to go to B3. Which would be the foundation? B3 right?

Actually, the Foundation ISN'T that objective. The Foundation can be applied to many things:

The instruments foundation: B3

Your foundation on said instrument: C3

A C Major Scale's foundation: A C (because it's the lowest note, techinically)

etc.

As for your octave identification sheet, I think you did something wrong: In the fourth bar, where it says C2 to B2, should it not be C1? And than in bar five C2 instead of 3, 3 instead of 4 in the next etc? Same thing with the A's. The way you have it written says it goes down one note.

No. I have A0 and B0. C1-B1 is the first octave. So, A1 and B1 are actually A2 and B2, but we write them as A1 and B1 so they fit in the "C Scale"...

SOOO... it looks like this:

A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3....

Also, what's the difference between Basic Identification and Piano Identification on that page? Would the first one be used for my Tenor Sax, and the second for a piano?

Actually, like I said about the Foundation, it can be used in many things... You just sometimes have to clarify what you mean. You know, there is actually a THIRD method out there that I DON'T want you to learn, but there are people who will try and learn it... it's unnecessary. PICK one, and just clarify to people... "If you were looking at a piano, this would be A4" etc... See? I suggest the Piano one.

Lesson 2:

Hertz are in music? I learned something new today :D

I also learned, from the articles, that C4 is C3's hertz times two, c5 is C4's hartz times two etc. and that by dividing or multipling by 4 from any note, we'll end up with one of every note including accidentals.

Does this also have something to do with chords by any chance? It says "E3 (655/4 = 163.75 Hz) and look at its overtones, we define the notes B, and Ab" Does that mean E, B and Ab go together nicely in a chord?

TA*DAA!!!!!!!!! YAYYY!!!!!!!!!!!!!!!!! I cannot BELIEVE you got that so quickly... but THAT is how we define Dissonance versus Consonance. E B and Ab make: E G# and B, an E Major Chord, yes?

Consonance are those tones that have overtones closer together, and Dissonance are those tones that have overtones FARTHER apart.

Wow, the multiphonics on an instrument astounded me! But how do you hum more than one note at a time? Overtones? That was a confusing article, but so cool I really wanted to understand!

Ah yes... Multiphonics with the voice COMES from Overtones. It is something you will learn in writing Unison Passages for Full Choir. Which is coming Shortly.

Passing accidentals, which I knew most of already, and on to solfede. My understanding is that it's learning do re mi fa so la ti do instead of C D E F G A B C right? Do I have to learn the hand signs for this test?

No, but it's good to KNOW these methods... this is how a beginning choir will learn your work. YOU, personally, can shluff it off. It is just part of the curriculum of my class. See, DO RE MI FA SO LA TI DO can be applied to ANY scale. So, D major=

D, Do. E, Re. F#, Mi... etc.

Ok. I have looked at your Assignment... and you messed up ONLY in the Octave identification part. I think you are misreading SOMETHING. Pay CLOSE attention to the fact that A0 and B0 are the FIRST A and B, and that A1 and B1 are the SECOND A and B.

You don't have to try again. Just ask questions about this worksheet. My comments are in ITALICS!!!

Okay, so for foundation you have to be specific, got it! And I also understand that sheet now. I think I'll use the piano one for the most part, unless someone requests otherwise.

Woohoo! I now know one whole cord :D I'm getting better already! And I know what dissonance is, which I've also wondered about.

And your D major solfege means I got part of the bonus right!

Ok. I have looked at your Assignment... and you messed up ONLY in the Octave identification part. I think you are misreading SOMETHING. Pay CLOSE attention to the fact that A0 and B0 are the FIRST A and B, and that A1 and B1 are the SECOND A and B.

You don't have to try again. Just ask questions about this worksheet. My comments are in ITALICS!!!

Are my notes on the scale in the right place though? Or should they be an octave up?

They should be an octave up, if you are using the Basic Method. But, it's NOT a big deal. You get it now. And, yes, you got part of the Bonus right.

I will post the second part tomorrow. I have a lot of work to do today... so relax for a day. I also have to get Heckel Started.

No problem! I got some inspiration for a tenor solo while playing piano, so I'm going to write about ten bars out (more if it comes to me) and then you can tell me what I did right and wrong! Or I could save it for a lesson after theory if you'd like.

No! Please share ANYTHING you come up. We can talk about melody building today! No prob.

Okay, but first I need this question answered: http://www.youngcomposers.com/forum/finale-help-21288.html#post310799

Also, can I write the tenor solo in Bass Clef, or would they find it easier to be in treble, but an octave lower.

Okay, here's 20 or so bars of my songs.

Stuff I think is good:

- The melody/lyrics

- The funky rythm that will keep you interested

- The hairpins/dynamics in the tenor

- I love the last Trumpet part, I don't know why but it's so awesome!

Stuff I will most likely change

- Piano; I sort of like the background behind the voice but I need to add dynamics so it doesn't take over

- More instruments all the way through (not just two parts at the beggining, it should be a big entry with everyone)

- Harmony for the melody parts

- The voice will not be tenor sax seeing as it will collide with the actual tenor sax (any suggestions, clarinet was okay, piano is in the piece already, oohs and aahs don't announciate well at all)

Do you love me.mus

By the way Morivou, what's the next lesson going to be about?

I am writing it as of current. It will be up tomorrow. Relax. Life is short. Go out and play some basketball or something. Haha. I will post your piece reviewthis evening.

Your song...

I posted my critiques on the page. Nice start, it's harmonically, stylisticly, and melodically at fault. But, that's what theory is for. I will post the next lesson today at some point.

Thanks! It sounds a lot better with more instruments (is that what you meant by better texture?)

I like what you've done, except at bar 7, I think the tenor should end with the alto, so 1 eighth instead of four?

Also, the main melody is alright with cello, but it if I have quarter eighth of the same note, it sounds like a dotted quarter. I think I'm going to do clarinet again. The low timbre sounds good.

And as for the clefs, that my bad, I didn't know so I'll just switch it.

Would you like me to post this song as I add sections on it?

Sure. I'll look at it the whole way through. Any changes I make are subjective though. If you don't like them, take them out.

Hey there! I barely get any time on the computer, so sorry this little bit took so long.

So what I tried to do well was lyric placement. In the future I'll add instruments and make sure the tenor part is better, but I don't think I'm good enough yet, so I'm just working on the voice right now. What do you think?

Also, are we going to put of basic theory for this, or do basic theory and I'll just post updates when I get the time? I'm fine with whatever you want.

Edit: Hey, I'm going to be taking instrumental lessons with Nicola Candanzo if that's alright with you. I sent him an application about five weeks ago, but withdrew it since he was in Italy. He go tback and said it's okay to take lessons with more than one teacher, so if it's alright with you, I'll take choral with you and instrumental with Nicola.

Do you love me.mus

Meow! Well. Let me think. I can put up the next theory lesson today or tomorrow. But in case I don't, you just keep working. I will look at your piece as soon as I get home.