Music Theory 1 - Theory - Nestor Crespo

MUSIC FOR ALL INSTRUMENTS
THEORY
VOLUME 1
20 LESSONS & 5 EXCERCISES
TECHNICAL GLOSSARY
( ( English/Spanish)
FREE VERSION
It does not contain:
The remaining 15 exercises

Solutions of the 20 exercises
Printable Book Without Watermark
by Nestor Crespo
Practical and dynamic studying methodology for self taught
students and classroom teachers.
serie20y20.com.ar
MUSICIAN FRIEND
You’ve just downloaded the Free Version of this Ebook:
Music Theory - Volumen 1

for all the musicians
by Néstor Crespo
If you wish, you can purchase for a very low cost the
complete version, which includes a greater number of
exercises, assignments, backing, tracks, etc. with
the objective of securing the addressed concepts.
As an independent publishing house, we will be so

thankful with your purchase, because in this way you are
helping us to create even more teaching material.
From Buenos Aires, Argentina, we send you the best

wishes for your musical career.
Néstor Crespo
Serie20&20 Director
www.serie20y20.com.ar
Thanks to
My daughter, Lucía.
I humbly expect to be useful
Néstor Crespo
NESTOR CRESPO
(Teacher - Guitarist - Composer - Arranger)
AS A TEACHER
Studied guitar playing under Prof. Armando Alonso and Composing with Prof. Claudio
Schulkin while also studying on his own.
Founding teacher (1986) of Avellaneda's Popular Music School (Escuela de Musica Popular de
Avellaneda - EMPA) as teacher of Jazz Guitar. Meanwhile, collaborates in the writing of four
workbooks for the previously named class.
Professor of Functional Harmony I and II virtual classes in the Music and Sound Arts Department
(Departamento de Artes Musicales y Sonoras - DAmus) of the National University of the Arts
(Universidad Nacional de las Artes - UNA) corresponding to the Musical Arts Degree.
Professor of American Cypher I and II in the National Arts University Music and Sound Arts Department
corresponding to the Musical Arrengament degree.
He has taught numerous master classes on Improvising and Functional Harmony on Popular Musica in prestigious
study halls such as: Hochshule für Music Karlsruhe (Germany), Conservatorio de Palma de Mallorca y las Aulas
(Barcelona, Spain), and as well also he has taught master-classes about Tango Elements in Germany and Switzerland
organized by Germany's Tango Academy (Stuttgart, Germany).
He creates in 2008 the 20&20 Series workbooks, which consists of 20 lessons and 20 exercises about different areas
in the musical science (for more information: www.serie20y20.com.ar)
In 2013 and 2014 respectively, DAMus (National Arts University's Music and Sound Arts Department) publishes
Functional Harmony I and II workbooks in an Ebook format.
PROFESSIONAL WORK
In the 80's, he forms part of different jazz bands, doing shows in the most prestigious clubs and music
halls in Buenos aires and all over Argentina.
In 1989, he lives in Palma de Mallorca (Spain), working along european musicians, distinguished among the Ola
Calamayer (Dexter Gordon's pianist). He then participated in the "Festival Internacional de Jazz de
Mallorca" (Mallorca's International Music Festival), invited by the prestigious trumpeter Woody Shaw and his
Quintet)
At beginning of the 90's, alongside Juan Dargenton, creates "El Tranvia Tango", and records 9 LP's in Argentina
and Europe. During that time, he tours 25 times in Europe, averaging 80 annual concerts and playing in the
most important concert halls, cultural centers, theaters, etc.
He shared stage with the Sexteto Mayor, Daniel Binelli (Astor Piazzolla's bandoneon player), Alfredo
Marcucci (bandoneon player), and the singers José Ángel Trelles, María Graña, etc.
He was given important awards in Argentina and overseas: ACE Awards (Asociación Cronistas del Espectáculo -
Entertainment Chronicler's Association) as "Best Tango Group", "Future Tango" Award given by Germany's Tango
Academy (Stuttgart, Germany). "Ocher Buenos Aires" LP was given the "Best CD" by The Frontier magazine
(Stockholm, Sweden), etc.
He produces and arranges tango as well as world music for different record labels in Germany.
He writes the Vision Siete Internacional music, winner of the 2009 Martin Fierro, broadcast by Canal 7 - Argentina.
In 2006 he creates alongside Tomas Pérez (Puerto Rico) and Joselo González (Chile) the band Sur Tres, recording
the first LP in which he did the arrangements himself.
Likewise, he has worked as an arranger and musical director for tango singer Omar Mollo, and for bandoneon
player Rubén Juárez.
nestor.crespo@usa.net / www.nestorcrespo.com.ar / www.serie20y20.com.ar
CONSIDERATIONS
ADVICE
There are countless portals and web pages where to find the 20&20 Series workbooks
As the act of teaching is dynamic, so are the workbooks, and they could be subjected to
modifications over time, so we encourage you to download them only via
www.serie20y20.com.ar, to be sure they are up to date.
GOALS AND PURPOSE OF THE MUSICAL LANGUAGE EBOOKS
The therm "language" refers to "communication", meaning to speak, read and write and
comprehend the meaning of the words being written or spoken. In music, we write in symbols
and signs that make this possible.
The goal of this workbook, is none other than to be able to comprehend and decipher each and
every symbol and sign in a score.
20&20 SERIES GOAL
The 20&20 Series comprehend various volumes that include 20 lessons and 20 exercises about
different aspects of the musical science.
These workbooks purpose is to bring and expand your musical knowledge in a dynamic way,
without and over abundance of text and with exercises that let us strengthen those concepts.
More than 30 years teaching allow me to assure that in the 20&20 Series, you will find all the
necessary elements to develop your musical knowledge as a way to express yourself.
If you wish you can purchase the "Complete" Ebook

at a low cost in: www.serie20y20.com.ar

PROGRAM- INDEX
LESSON 1
 Music's constituent elements. Sound (tone, height, intensity,
duration). Rhythm. Pentagram
 Ledger lines. Measure (diving line). Beat. Tempo.
LESSON 2
 Figure values and equivalence (whole, half and quarter note).
 Silences (whole, half and quarter note)
 Clefs (G, F and C)
LESSON 3
 Musical note. Note names (latin and anglosaxon denominations)
 System. Central C.
LESSON 4
 Time signature divisions. 2/4 - 3/4 - 4/4 - 2/2
 Figure value and equivalence (eighth, sixteenth, thirty second and sixty-
LESSON 5 fourth notes)
 Rests. (eighth, sixteenth, thirty second and sixty-fourth notes)
 Figure value chart
LESSON 6
(Exercise only in
 Alterations (sharp, flat, double sharp, double flat and natural)
Paid Version)  Proper and Accidental Alterations
 Half-step an whole-step. Diatonic half-step and cromatic half-step
 Enharmony
 Triplets (eights, quarter notes)

LESSON 7
(Exercise only in  Prolongation signs (tie, dot)
Paid Version)
LESSON 8
(Exercise only in
Paid Version)  Simple and compounded time signatures
 Equivalence and relationship between them
 Chromatic Scale (ascending, descending)
LESSON 9
(Exercise only in
Paid Version)  Accent. Strong and weak beats.
 Joined and disjointed movement
 Chromatic Scale (ascending, descending)

LESSON 10
(Exercise only in
Paid Version)  Syncopation and Offbeat (regular and irregular)
LESSON 11
(Exercise only in
Paid Version)  Irregular values (duplet, quintuplet, sextuplet)
 Complex time signature
LESSON 12
(Exercise only in
Paid Version)  Bar line. Double bar line.
 Rehersal Symbols
LESSON 13
(Exercise only in
Paid Version)  Repeats. Measure jump signs.
 First and second endings. Da capo. Da capo al fine. Coda.
LESSON 14
(Exercise only in
Paid Version)  Other measure jump signs (del segno, del segno al fine, del segno coda)
 Notes on executing pauses
 Notes on measure notation (repeat, two measures, slash, rythm notation)
LESSON 15
(Exercise only in
Paid Version)  Expression symbols: Dynamic (intensity) and Tempo (agogic)
LESSON 16
(Exercise only in
Paid Version)  Articulations (Staccato, ligadura de expresión, acento, tenuto, arpegio)..
 Metronome
LESSON 17
(Exercise only in
Paid Version)  Ornaments (Grace notes): Appogiatura and Mordent
LESSON 18
(Exercise only in
Paid Version)  Ornaments (Grace notes): Turn. Trills. Cadenza.
LESSON 19
(Exercise only in
Paid Version)  Musical Structure. Motive. Start. (Anacrusic, Tetic and Headless)
 Endings. (Male - Female) Analyzing a musical phrase.
LESSON 20
(Exercise only in
Paid Version)  Score. Parts. Keys and brackets
 Instrument groups. (strings, brasses, percussion)

LESSON 1
(Néstor Crespo)
Musical Elements: There two constitutive elements in music: Sound and Rythm
Sound: The sensation or effect that a vibrating object produces in the ear. Sound has four qualities that
help us define it.
1. Tone: (penetrating or mellow) It's the quality that helps us differentiate one sound from another.
Metaphorically speaking, we could say its the sound "color".
2. Pitch: (high or low) It's the quality that helps us order sound from low to high.
w
3. Intensity: (strong or weak) The intensity or energy applied to creating a sound gives us louder or softer
sounds.
w
4. Duration: (short or long) It's the longitude of sound in time. To describe it we use
w
musical figures (Lesson 2)

.n
es
Rythm: the movement that pushes music forward in time.
Pentagram
to
(penta: five / gramma: line)
The musical symbols (from now on figures and notes) are writting in five horizontal and equidistant
rc
parallel lines called pentagram. It has five lines and four spaces between them counting from the lowest
to the highest.
re
5th line
sp
4th " 4th space

3rd " 3rd "
2nd " 2nd "
1st "
1st "
o.
In some cases, notes are higher or lower in pitch than what the pentagram would allow us to write, so it's
necessary to add additional lines above or below it, and we'll call them: Ledger Lines
co
Ledger lines
m
.a
Ledger Lines
Measure: it's the division of music in constant units called beats. This division is done drawing a vertical line
r
called bar lines.
Bar line
measure measure
Beat: each of the units that divides the measure
Tempo: Beat velocity or speed in a piece.

EXERCISE 1
(Néstor Crespo)
1. Which are to constituent elements of music?
2. Define sound and it's qualities
3. Define tone.
4. Define height,
5. Define intensity,
w
6. Define duration.
w
7. Definir rythm.
w
.n
8. Define pentragram
es
9. Draw a pentagram connecting the dots and assign it's number to lines and spaces.
to
. .
. .
. .
. .
rc
. .
re
10. Define ledger lines. Draw some above and below the pentagram.
sp
o.
co
m
11. Define measure

.a
12. Define beat.

r
13. Define tempo.
14. Define and draw a bar line.

LESSON 2
(Néstor Crespo)
Musical Figures: The sound longitude (short or long) it's measured in musical symbols.
w : Whole note [semibreve] (4 beats) *
w Equivalence
h : Half note [minim] (2 beats) h h 1 Whole note = 2 half notes

1 Whole note = 4 quarter notes
q : Quarter note [Crotchet] (1 beat) q q q q 1 Half Note = 2 quarter notes
The Whole Note is the longest symbol and we measure the rest of the figures according it's value,
so they are fractions of the Whole Note, as they are shorter.
w
Figure parts
w h
1
2
q
1
4
q ; Head
(whole) Stem :
w
w
The stem in quarter and half notes in drawn upwards The stem in quarter and half notes in drawn downwards
.n
and to the right if the note is below the third libe and to the left if the note is over or above the third line.
œ œ œ œ
œ œ œ
es
œ
to
Rest: Symbol that signifies the duration of a pause in a piece. Each figure has it's own rest and it's value in
beats it's the same as the figure's value.
rc
re
Whole note Half note Quarter note

(4 beats) (2 beats) (1 beats
∑ Ó Œ
sp
(debajo de la 4ta línea) (sobre la 3ra línea)

o.
Clef: The clef is a symbol that is written at the beginning of the pentagram to define the location of a musical
co
note. Three keys are more frequently used:

m
G Clef F Clef C Clef
& ? B
.a
; Fa ; Do
; Sol
(Soprano - Violin - Guitar) (Bajo - Trombone - Cello) (Contralto -Viola)
r
Author's Note: We say F Clef on fourth line because it's over the fourth line of the pentagram. There are other F clefs, such as on third
or fourth line, but they are infrequent, as the C Clef in first and second lines.
C Clef in fourth line
B ; Do
There are scores for Bassoon and Cello on C Clef on fourth line
(Tenor - Bassoon)
* Translators Note: We are also naming the figures in the British way between brackets.

EXERCISE 2
(Néstor Crespo)
1. Which musical element signifies duration?
2. Name the following musical figures
w ˙ œ
3. Which is the value of a whole note?
4. Which is the value of a half note?
5. Which is the value of a quarter note?

w
6. Which fraction corresponds to each figure?

w
Whole Half Quarter

w
|
q;
.n
7. Name each parto of a figure

es
8. Indicate with a C (correct) or I (incorrect) if the the stem is in the right of wrong position
œ œ ˙ œ œ œ œ
to
rc
9. Are the following values True or False?

re
Whole note = 2 Half notes ____
2 Half notes = 2 Quarter notes ____

sp
1 Whole note = 1 Half note plus 1 Quarter note ____

o.
10. Define Rest

co
11. Where's the Whole note rest positioned?

m
12. Where's the Half note rest positioned?
13. Draw each figure.

.a
whole note half note quarter note

r
whole note half note quarter note rest rest rest
14. What does a Clef determine?
15. Name the following Clefs.
B ?
&

LESSON 3
(Néstor Crespo)
Musical notes: They are symbols that represent sounds. With their position in the pentagram, they express
different sound and, as we learned earlier, also duration.
Name of the notes: Guido de Arezzo (995 - 1050) named the notes, according to the first syllable in each
of the verses of John the Baptist latin hymn. Nevertheless, in Anglosaxon
countries, they kept using the Greek derived format of calling each note as a letter,
startin from A (Alpha). It's known as American Coding.
Latin notes Do Re Mi Fa Sol La Si Do
American
Coding C D E F G A B C
w
w
& w w w w
w w w
w
w w w w
? w w w w
w
w w w w
.n
B w w w w
es
Ascendent Series: We call ascendent series to the order of low notes to high notes. To the first series,
to
we can add additional series, a second one, a third one, etc. Inversely, we add
descendant series.
rc
1ra serie 2da serie 3ra serie

re
Do Re Mi Fa Sol La Si Do Re Mi Fa Sol La Si Do Re Mi Fa Sol La Si, etc.

octava
sp
Octave: It's the distance between two note of the same name that belong in different but consequetive series.
o.
Thin
Grand Staff: The union of two pentagrams, which have to be played line
|
&
co
simultaneously.
It's comprised by one higher G Clef pentagram, and Brace|

?
m
one lower 4th line F Clef.

.a
w w w w w
& w w w w
w
r
w \ (Central C)
w w
? w w w w
w w w w
G A B C D E F G A B (C) D E F G A B C D E F
Central C: (C4) it's the C that is written over and additional line and shared by the two pentagrams.

EXERCISE 3
(Néstor Crespo)
1. Define: Musical note
2. Complete with American Coding
Re La Mi Do Fa Si Sol
3. Name these note in G clef with american coding
w w w w
& w w w
w
w
4. Name these note in 4th line F clef with american coding
? w
w
w w w w
w w
.n
es
5. Name these note in 3rd line C clef with american coding

w w w w
B w w w
to
rc
re
6. Define Ascendent series and Octave. Write two ascendent series.

sp
&
o.
co
7. What is a Grand Staff?

m
8. What represents an F clef and a G clef in a Grand Staff?

.a
9. Complete the following Grand Staff with Brace, Thin Line, G clef and F clef.
r
∑
∑
10. Write the Central C in both Clefs
?
&

LESSON 4
(Néstor Crespo)
Time Signature Fraction : It's a fraction in which the measurement unit is the whole note.
It's written at the beginning of the piece immedeately after the key.
4 Numerator: Quantity of beats in each measure. (4 beats)

&4 ;
; Denominator: Determines the time unit. (quarter note)
Example in 4/4 time signature
Whole note = 4 beats Half note = 2 beats Quarter note = 1 beat

4 4 4
w
&4 w &4 ˙ ˙ &4œ œ œ œ

w
1 2 3 4 1 2 3 4 1 2 3 4
w
Additional Time Signatures

.n
2 ; Numerator: Quantity of beats in each measure. (2 beats)

es
&4 ; Denominator: Determines the time unit. (quarter note)

to
2 ˙ 2 œ œ 2 Ó
&4 &4 &4
rc
1 2 1 2 1 2
re
3
sp
; Numerator: Quantity of beats in each measure. (3 beats)

&4 ; Denominator: Determines the time unit. (quarter note)
o.
3 3 3 Œ
&4 œ œ œ &4 œ ˙ &4 œ œ
co
1 2 3 1 2 3 1 2 3
m
2 ; Numerator: Quantity of beats in each measure. (2 beats)

&2
.a
; Denominator: Determines the time unit. (half note)

r
2 2 2
&2 ˙ ˙ &2 ˙ œ œ &2 Œ œ ˙
Alternative symbol for a Alternative symbol for a

4/4 time signature 2/4 time signature
&c œ œ œ œ & C ˙ ˙

EXERCISE 4
(Néstor Crespo)
1. Which number represents measure division?
2. Which figure represents the measurment unit?
3. What does the numerator represent?
4. What does the denominator reprsent?
5. Which figure represents the denominator 1?

w
8. Indicate if Correct or Incorrect

w
&c œ ˙ Œ &c Ó w &c œ Œ œ &c ∑ œ Œ

w
.n
es
& 43 Œ ˙ & 43 ˙ ˙ & 43 œ Œ ˙ & 43 œ Œ Œ

to
rc
& 24 Ó & 24 Œ œ &C œ ˙ &C ∑

re
sp
o.
9. Fill with different combinations of whole notes, half notes, quarter notes and their respective rests.
co
&c &c &c &c

m
.a
r
3 3 3 3
&4 &4 &4 &4
& 24 & 24 &C &C

LESSON 5
(Néstor Crespo)
Eighth note - Sixteenth note - Thirtysecond note - Sixty-fourth note
[Quaver] [Semiquaver] [Demisemiquaver] [Hemidemisemiquaver]
Eight note Sixteenth note Thirtysecond note Sixty-fourth note

(1/2 beat - 1/8) (1/4 beat - 1/16) (1/8 beat - 1/32) (1/16 beat - 1/64)
˚j̊ ˚˚
j j̊ j̊
œ œ œ œ
To read with ease, we replace the flags for bars.The number of bars is equal to the
Figure parts number of flags in each figure (one bar for eighth notes, two bars for sixteenth notes,etc.)
Steam|
\
e \ Flag
Head
œ œ œ œ œ œ œ œ œ œœ œ œ
Equivalences
w
2 Eight Notes = 1 Quarter note 4 Sixteenth notes = 1 Quarter note 8 Thirtysecond notes = 1 Quarter note 16 Sixty-fourth notes = 1 Quarter note
w
œ œ œ œ œ œœœœ œ œ œ œœœœ œœœ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ

w
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
.n
Rests
es
Eighth note Sixteenth note Thirtysecond note Sixty-fourth note

‰ ≈ ® Ù
to
Figure Value Comparison Chart

rc
Tiempos
re
1 2 3 4
A whole note w
equals to
sp
˙ ˙
o.
2 whole notes
co
4 quarter notes œ œ œ œ
m
œ œ œ œ œ œ œ œ
.a
8 eight notes
r
16 sixteenth notes œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
32 thirty second notes œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
64 sixty-fourth notes œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ

EXERCISE 5
(Néstor Crespo)
1. Name the following figures
˚j̊ ˚˚
j j̊ j̊
œ œ œ œ
2. What value represents a quaver?
3. What value represents a semiquaver?
4. What value represents a demisemiquaver?
6. What value represents a value represents a hemidemisemiquaver?

w
7. Which fraction represents each of these figures?

w
w
Quaver Semiquaver demisemiquaver hemidemisemiquaver
|e ;
.n
8. Name the parts on a figure ;

9. Tie with a lie the following note groups
es
rK rK rK rr rr
e x x e xq q x e x e x q qq e e
to
rc
re
9. True or False the following equivalences:

sp
1 Eighth note = 2 demisemiquavers 2 Eight notes = 2 demisemiquavers + 4 Thirtysecond notes

o.
1 Thirysecond note = 2 semiquavers 16 hemidemisemiquavers = 4 Thirtysecond notes+ 2 sixteenth

notes
co
1 Sixteenth note = 4 demisemiquaver 8 Thirtysecond notes = 1 quaver + 4 Sixteenth notes

m
10. Draw the following musical figures

.a
Eight note Thirty-second note Sixty-fourth note

r
Sixteenth note
Eight note Sixteenth note Thirty-second note Sixty-fourth note

rest rest rest rest

LESSON 6
(Néstor Crespo)
Alterations: Symbols that increases or lowers the note intonation, there are five of them
I Sharp: Increases the note intonation ‹ Double sharp: Increases the note intonation twice.
b ∫
n
Flat: Lowers the note intonation Double flat: Lowers the note intonation twice
Natural Sign: Nullifies the effect of any previous alterations.
Proper, Accidental and Precaution Alterations

Proper: They are written at the beginning of the pentagram, after the clef, and they affect all the piece. Also
known as Key Signature. These alterations modify every note at the height of the key signature
II c
w
as well as the octaves.
œ œ œ
&
w
œ
w
C# F# D F#
.n
Accidental: They are written before a note, and affect that note and any other in the same height and same measure,
This effect ends when the measure ends.
I I c #œ
es
œ œ œ œ nœ
& œ
œ
to
D# B D# D D C# F# F
rc
Precaution: In practice, they are not necessary, their purpose is to make the reading of the piece easier for the
II c
musician. They are written between parenthesis.
re
& œ œ Nœ œ œ nœ [œ œ
œ #œ œ œ
sp
F# G E G# G A B C C# A G F#
o.
Tone and Semitone: The semitone is the distance between two adjacent sounds. The tone is the sum of
two semitones.
co
C semitone C# C semitone C# semitone D

m
Tone
Diatonic and Chromatic semitone: The two semitones that make the tone are not equal. The shorter one is called
.a
diatonic and the larger one is called chromatic. (This difference is based in sound
acoustics and physics, neither of which will be explained during this book)
r
Diatonic Semitone Chromatic Semitone

Two notes, different name Two notes, same name
but different sound
w bw w #w
C Db C C#
Enharmonic: Any note, scale, chord, etc. with same sound but
different name. For example
#w bw
F# Gb

MUSICIAN FRIEND
You’ve just downloaded the Free Version of this Ebook:
Music Theory - Volumen 1

for all the musicians
by Néstor Crespo
If you wish, you can purchase for a very low cost the
complete version, which includes a greater number of
exercises, assignments, backing, tracks, etc. with
the objective of securing the addressed concepts.
As an independent publishing house, we will be so

thankful with your purchase, because in this way you are
helping us to create even more teaching material.
From Buenos Aires, Argentina, we send you the best

wishes for your musical career.
Néstor Crespo
Serie20&20 Director
LESSON 7
(Néstor Crespo)
Triplets: A group of three figure of the same value that need to be executed in the same as two figures
of the same value. Three against two or Ternary (a figure divisible by three) against Binary (divisible by two)
Eighth note triplet (1 beat) Quarter note triplet (2 beats)

3 3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ
(Ternary)
(Binary)
& 42 œ œ œ œ &c œ œ œ œ œ œ œ œ œ œ œ œ
2
4 ¿ ¿ c ¿ ¿ ¿ ¿
3 3 3 3
(Beat)
w
Half note triplet (4 beats) Sixteenth note triplets (1/2 beat)

w
3 3 3 3
˙ ˙ ˙ 2 œ œ œ œ œ œ œ œ œ œ œ œ
3
&c œ œ
w
œ œ œ œ &4 œ œ œ œ
.n
c ¿ ¿ ¿ ¿ 2
4 ¿ ¿
3 3
es
Author's note: The quarter and half note triplet are united by square brackets, whereas the eight and sixteenth note triplet are
united by a curved line.
to
Mixed figure value triplets. Some of the possible combinations

rc
&œ œ &œ œ œ œ &œœœ œ &œœœœœ

3 3 3 3
J
re
sp
Prolongation or Duration Symbols

o.
Ligature: A prolongation symbol, a curved line that links two or more notes of the same height,
co
transforming them into a continuous sound equal to the sum of their figures.
m
&c ˙ ˙ œ œ ˙ ˙ œ œ w
.a
3 beats 4 beats 5 beats

r
Dot: Prolongation symbol with the shape of a dot. It's written right of the figure, augmenting it's value
by half of the original figure value.
Double Dot: Augments the first dot value by half.
&c œ j j
˙. œ. œ œ œ ˙. œ ˙ .. œ
3 beats 1 beat and a half 3 beats 3 beats and a half
(2+1) ( 1 + 1/2 ) (2+1) ( 2 + 1 + 1/2)

LESSON 8
(Néstor Crespo)
Simple Time Signature: In the same manner that measures are divided in beats, beats are divided in fractions
& 24 œ œ œ œ œ œ ˙
.U U
. . . . .
Beats Fractions
When the beat subdivision is a simple figure (whole, half, quarter or eighth note) and that figure is divisible by
two, we'll name it Simple Time Signature or Double Meter.
The most frequently used Simple Time Signatures are 2/4 , 3/4 , 4/4 (a quarter note per beat), 2/2 (a half note
w
per beat) and, although rarely used, 3/8 (an eighth note per beat).
w
Compound Time Signature: Is the time signature represented by dotted figures. (a dotte half note, quarter
w
or eight note). When the subdivision is divisible by three, we'll call it Triple
Meter.
.n
The most frequent Compound Time Signatures are 6/8 , 9/8 , 12/8 (a dotted quarter note per beat), 6/4 (a
dotted half note per beat).
es
6 œ œ œ œ œ œ 9 œ œ œ œ œ œ œ œ œ
to
Subidivision
Beat
& 8 œ. œ. & 8 œ. œ. œ.
rc
œ œ œ œ œ œ œ œ œ œ œ œ
re
12 & 46 œ˙ . œ œ œ
& 8 œ. œ. œ. œ. ˙. œ œ
sp
Relationship between Compound and Simple time signatures: There's a Compound time signature corresponding
o.
to every Simple time signature and viceversa.

co
To transform a Simple time signature to a Compound one, we add a dot to the figure that makes the beat.
2 6
m
Simple
time signature
&4 œ œ Adding a dot to each of these quarter notes,
we obtain the corresponding Compound time signature
& 8 œ. œ.
.a
(a quarter note (a dotted quarter note

per beat) on each beat)
r
To transform a Compound time signature into a Simple one, we reverse the operation
Compound
time signature & 98 œ . œ . œ . Eliminando el puntillo a cada una de éstas negras
se obtiene el correspondiente compás simple.
& 43 œ œ œ
(a dotted quarter note (a quarter note
on each beat) on each beat)
Numerically, we transform a Simple time signature into a Numerically, we transform a Compound time signature into a
Compound one multiplying the numerator by 3 and the Simple one dividing the numerator by 3 and the denominator
denominator by 2. by 2.
2 x 3 = 6 9 % 3 = 3
4 x 2 = 8 8 % 2 = 4
LESSON 9
(Néstor Crespo)
Accent: Symbol that indicates that one note should be c œ> œ >
œ œ
played with greater intensity than the other ones. &
Strong and weak beats: The beats that make up a measure don't have the same intensity.
There are three types of accent: Strong, Semistrong and Weak.
& 24 34
F D F D D F D SF D
œ œ œ œ œ c œ œ œ œ
w
We'll call Strong beat where the accent is, and Weak beat the ones left. The accents follow the following
rules:
w
a) The first beat of every measure is Strong b) The last beat is always weak
w
c) There can't be two adjacent Strong beats

.n
Note: This can be applied to Simple and Compound measures alike. This is because, as we previously
learned, Compound time signatures derive into Simple ones.
es
Jointed and Disjointed movement

to
Jointed Disjointed
Two adjacent and immediate notes Two adjacent and non-immediate notes
rc
w w w w
& w w & w w
re
sp
Chromatic scale: The succession of the twelve semitones contained in an octave, in which seven are
natural, and five are altered.
o.
C# D# ---- F# G# A# ----
co
C D E F G A B | C
;
m
Db Eb ---- Gb Ab Bb ----
.a
Ascendant chromatic scale
& w #œ w w
r
w #œ w w #œ w #œ
w #œ
C C# D D# E F F# G G# A A# B C
Descendant chromatic scale
& w w bœ w bœ w bœ w w bœ w bœ w
C B Bb A Ab G Gb F E Eb D Db C

LESSON 10
(Néstor Crespo)
Syncopation: Rhythmical effect that extends a Weak beat to the next beat (1), or that extends the
weak part (up beat) of a Strong beat over to the next beat (2).
X X
(1) &c ˙ œ œ œ ˙ œ œ œ Ó
D F D F
X X X
jœ j
X
œ œ œ œ œ
(2) & 43 œ ˙ œ œ œ 2
&4 œ œ
U D
U F D F
w
D
Strong Weak
part part
w
Translator's Note: In English, Strong parts and weak parts of a beat are called Downbeat an Upbeat respectively.
w
A number of consecutive syncopations make up a repeated syncopation or a syncopated rhythm

.n
j
X
j
X X X
2 j j œ œ
&4 œ œ œ œ œ œ œ &c Œ œ Œ œ
es
to
Offbeat: Rhytmical that begins over a Weak beat (1) or on the upbeat of a Strong beat (2)
rc
but it doesn't prolong it's duration over to the next beat. (1) (2).
In Offbeat, a rest occupies the space of the downbeat

re
X
œ
X X X X X X X
sp
(1) &c Œ Œ œ Œ œ Œ œ œ
& 24 ‰ J ‰ Jœ ‰ Jœ ‰ œ
J
o.
X X X X X
j j j
&c ˙ œ œ œ ‰ œ œ Œ œ Œ œ ‰ œ ‰ œ
co
(2)
m
When all the figures are the same in an Offbeat or a Syncopation, we'll call that a Regular
.a
Offbeat or Syncopation. In the contrary case, if the figures are not the same, they'll be Irregular.
r
j j
(1) &c ˙ œ œ œ œ œ œ Œ œ Œ œ ‰ œ ‰ œ
R. Sync Reg. Off. Reg. Off.
(2) &c ˙ œ œ œ œ œ Œ œ ‰ œj Œ ≈ œj̊ ‰ œ

Irr. Sync. Irr. Off. Irr. Off.

LESSON 11
(Néstor Crespo)
Irregular Values: The figure value can escape the 1:2 relationship ( for example: 1 whole = 2 halfs
1 half = 2 quarters, etc)
Therefore, we are not limited in a duple meter to binary figures, for example, two quarter notes per
beat in a 4/4 time signature.
&c ˙ œ œ œ œ &c œ œœœ œ œ ˙ & c œœœ œœ œ œ ˙

3 5 6
It's important to notice that a triple meter, being irregular, is more complex to play than a regular one.
Quarter note triplet = 2 quarter notes

Equivalence examples: Sixteenth note quintet = 4 sixteenth notes
w
Sixteenth note sextet = 4 sixteenth notes

w
When we apply a irregular value, we establish an inverse relationship between regular and irregular
w
meters.
For example, two quarter notes will be a regular value in a simple meter, but irregular in a triple meter.
.n
es
Regular value Irregular value Regular value Irregular value
& 24 œ œ œ œ | & 68 œ œ œ œ 6
& 8 œ œ œ œ œ œ | & 24 œ œ œ œ œ œ
2 2 3 3
to
Dosillo
rc
Complex Time Signatures: The sum of two or more simple or compound meter.
re
In some cases, they are called Artificial Time Signatures
We call Amalgamated Time Signatures those meters that have a 5 or a 7 in the fraction numerator
sp
For a 5/4 meter, we add up a 3/4 and For a 7/4 meter, we add up a 4/4 and
a 2/4 or viceversa
o.
a 3/4 or viceversa
5 > > 7 > >

&4 œ œ œ ˙ &4 œ œ œ œ œ œ œ
co
3/4 time signature 2/4 time signature 4/4 time signature 3/4 time signature
m
Although it isn't necessary, we could divide with a dotted line each amalgamated measure to indicate to the musician
.a
the exact position of the accents or strong beats.
Lalo Schifrin 's Mission Impossible or Paul Desmond's Take Five are good 5/4 examples, and Pink Floyd's Money is a
r
7/4 example
For a 9/4 meter we add up a 4/4, a 3/4 and a 2/4 meter, but it's not used because it leads to confusion it being so similar to a 9/8
meter, which is a compound meter and not an amalgamated one.
3/4 meter
& 49 œ
4/4 meter 2/4 meter
œ œ œ œ œ œ œ œ
Even though it's possible to amalgamate amalgamated meters, they are rarely used.

LESSON 12
(Néstor Crespo)
There are two other indicators in reference to the measure other than the divisor line.
Final bar: It's a thick line added to the thin line measure line at the end of the piece. Likewise,
we could add the word "end". (or fine, the Italian word for "ending")
fine
&
Double bar: There are three specific cases in which we use a double bar
w
1) Separating two parts in a musical piece.

w
1st part 2nd part fine
&
w
.n
2) Indicate a key change

# nb
es
& b
to
3) Indicate a time signature change.

rc
6
&c 8
re
sp
Rehearsal marks: With the purpose of making rehearsal easier, it's common to use rehearsal
o.
symbols, they can be letters or numbers, to differentiate parts in a piece

or measure numbers.
co
A B
m
&
.a
r
1 2
&
18 20
&

LESSON 13
(Néstor Crespo)
Repeat Signs: When a piece is played, we commonly start at the first measure and we continue until the
last measure.
Nevertheless, there are signs that allows to modify this lineal progression, and we'll call them
repetition bars and jump signs.
These signs help us save space in the score, avoid rewriting measures, and achieve a more practical and
schematic way of writing a piece
Repetition bar: A thick line and two dots. (above and below the third line in the pentagram). It indicates a fragment
that must be played once over.
..
repeat from the beginning of the piece
&c
w
w
repeat this fragment and continue
&c .. ..
w
.n
Jump Signs: These signs, like the repetition bars, save us space space in the score and make for
es
practical score reading.
Multiple Endings: these signs are written with repeat bars and indicate a repetition but with a jump
to
to another measure when the repeat is played.

rc
A 1 2 B
&c ..
re
sp
When playing, we play until the repeat bar, go back to the beginning and then we jump to the 2nd ending.
o.
Da capo: (D.C.) Italian for "from the beginning", indicates a repeat from the beginning of the piece.
co
D.C.
&
m
.a
Da capo al Fine: It indicates a repeat from the beginning to the measure where Fine is written above.
r
Fine D.C. al Fine
&
Da capo al Coda: It Indicates that in the repetition, we should jump from the first Coda symbol to the second one
jump after the repeat and continue on

fi D.C. al Coda fi
&

LESSON 14
(Néstor Crespo)
Other repetition marks: Continuing from the last lesson
Segno: Not in every repetition we start from the beginning (da capo), it can happen from another part of the piece
for these cases, we use the Segno, placing it at the beginning of the measure we wan the repeat to begin from.
Dal Segno: When we get to D.S. we jump to % , repeat and continue until the end of the piece.
%
&c
D.S.
Dal Segno al Fine: Repeat from Segno until when we read Fine.
w
%
w
Fine D.S. al Fine
&c
w
.n
Dal Segno al Coda: Repeat from Segno until de first coda, then jump to the next coda and continue
the piece until the ending.
es
% fi D.S. al Coda fi
&
to
rc
Notes on rests
re
Regardless of meter or time signature, whole note rest is used to indicate measure rest.
sp
& 24 ∑ & 43 ∑ & 68 ∑

o.
co
A rest of 2 or 4 measure is indicated by a whole note rest When the rest lasts more than 4
and the number of measure that rest last above. measures we use the following symbol:
2 4 27
&c ∑ &c ∑ &
m
.a
r
Notes on measures
2
& ‘ & «
Repeat last measure Repeat first and second to last measures
& ’ ’ ’ ’ & | |Û Û Û Û
Slash: indicates beats Rhythm notation

LESSON 15
(Néstor Crespo)
Expression Marks: In most cases, they are written in Italian and tell us how the notes must be played.
This marks are divided in two categories: Dynamics and Agogic or Tempo marks
Dynamics: They tell us with how much energy or intensity we should play a part on the piece.
menor intensidad ; : mayor intensidad
Pianissimo Piano Mezzo Piano Mezzo Forte Forte Fortissimo

(very soft) (soft) (half soft) (half loud) (loud) (very loud)
& w w w w w w
π p P F f ƒ
w
w
œ œ. œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ
Crescendo: Incrementing intensity little by little Decrescendo: Diminishing the intensity little by little.
& c œ J & c œ J
w
J J
cresc - - - - decresc - - - -
.n
We could also write this marks with these symbols known a Regulators.
es
& c œ J & c œ J
J J
to
rc
Tempo: It's important to say that the metronome was invented in 1914, buy previously composers used different
Expression Marks to refer to the speed on which the piece should be played.
re
The most common ones are: Largo (very slowly), Adagio (slowly), Moderato (medium), Allegro (fast),
Presto (very fast).
sp
Allegro q = 120
6
To be more precise, it's recommended to use the following notation: &8
o.
co
Another resource the Expression Marks known as Agogic, which refer to tempo changes (gradual or abrupt).
These can be: Ritardando, Accelerando, Calderón, A tempo.
m
Ritardando: slowing down tempo little by little Accelerando: accelerating tempo little by little.
& c œ J & c œ J
J J
.a
rit. - - - - accel. - - - -
r
The Fermata is an Expression Mark that takes effect on a single note, prolonging it's duration according to the
musician or director's criteria. (suspension effect)
In general, it's an effect that appears in the last note of the piece. If it appears anywhere else, we should immediately write
"A tempo" above the next note to come back to the original tempo.
U U̇
œ œ œ
A Tempo
&c ˙ w & ˙ œœœœ œœœœ ˙ œœ
We should point out that even though there are other expression marks, this book objective is to show the most frequent ones.

LESSON 16
(Néstor Crespo)
Articulation: These symbols are also Expression Marks and help us on the interpretation of
one or more musical notes.
The Articulations are:
Staccato: (Picado) shortens the assigned note duration
. . œ. œ.
œ œ ≈ Jœ ≈ Jœ ≈
&c œ œ œ & c œ œ œ ≈
J J
it's written like this... it's effect is like this..
Slur : All notes are played without space between them. (legato)
; Expression slur
w
œ
&c œ œ œ œ œ t œ œ œ ‰ œ. &c œ œ œ
w
Ligature
In harmonic instruments (piano, guitar, etc.), it
w
To slur a sound means, for example, in violin, to play all

notes in the slur with the same bow, or singing, in only one means that you have to maintain the sound wihout
breath. lifting the finger
.n
Accent: It indicates that that one note should Tenuto: It indicates that that one note should
es
œ- œ-
be played with more energy than the others be sustained by all it's duration
> >œ œ œ. œ.
&c œ œ
&c
to
rc
Arpeggio: It indicates that all notes should

be played in quick succession from low to high
œœ
&c
re
Œ ggg œœœ Œ ggg œœ

gœ g
sp
Combinations
œ̆ œ̆
Accent + Staccato Accent + Slur
> œ œ œ œ œ ‰ œ.
& c œ œ œ̆ œ̆ &c ˙ œ
o.
co
Metronome: Jochann Maëlzel invented the metronome in 1814. It was analogical in its beginning but
m
nowadays it's more common to find digital ones.

.a
When the composer needs the piece's tempo speed to be a beat per secondo (a normal walking pace)
he must indicate the following: q = 60
r
This means that per minute we'll be playing 60 quarter notes or their corresponding equivalnces. So, in a 4/4 meter,
we'll play 15 measures per minute (60 % 4 = 15)
The number or beats per minute in a piece's movement (tempo changes) has varied in history, but nowadays we use
the following convention:
Largo q = 40 - Adagio q = 50 - Andante q = 60 - Moderato q = 80 - Allegretto q = 100 - Allegro q = 120 - Presto q = 160 - Prestissimo q = 180
Remember that this clarification goes after the movement . (see Lesson 15)
It's important to highlight the vital importance of practicing and rehearsing with a metronome

LESSON 17
(Néstor Crespo)
Ornaments (grace notes): They are represented by symbols or small notes which allow us, by applying
them to the score, to add variety to the melody.
They are written before or after the principal note and have no value of their own, their value is set
according to the principal note.
They are also called grace notes and the most common ones are: Appoggiatura, Mordent and the Turn
They must be played slurred and in quick succession.
Appogiatura: When played, it must be with more energy than the following note. They are divided in:
Acciaccatura and Double Appogiatura
w
Acciaccatura: Represented by an eight note with it's flag crossed by a thin line.
w
˙.
& 34 œ
j j
œ œ
j
œ œ
j
œ
w
it's written
œ
3 œ œ. œ œ. ˙
.n
it's effect &4 œ œ. œ œ.

es
Double Appoggiatura: Represented by two 16th notes, above and below the principal note
to
2 œ œ
&4
œ
rc
it's written œ œ
#œ
œ
œ œ œ œ
œ
& 24 œœ œ.
re
œ# œ œ .
œœ œ.
it's effect
œ œ œ.
sp
o.
Mordent: It's written with two adjacent notes, the first one the same as the principal note, and the second
one is the superior tone. (a semitone or a tone)
co
m m
&c œ Œ Œ & œ
c Œ Œ
m
it's written
œœ
œœ œ or œ
.a
œœœ . Œ œ
it's effect
&c œœœ . Œ it's effect
& c œ œ. Œ œœœ. Œ
r
If the Mordent has a vertical line M is played with the inferior note.
M M
&c œœ œ Œ œœ œ Œ & œ
c Œ œ Œ
&c œœ œ . Œ œœ œ . Œ & c œœœ. Œ œœœ. Œ

LESSON 18
(Néstor Crespo)
(Grace Notes - continuation)
Turn: A group of three or four notes that precede or follow the pricipal note
1. When the symbols is above the figure, it's a three note turn and they are played before the principal note
T
2
it's written &4 œ Œ or & 24 œœ
œ œ Œ
& 24 œ œ œ œ Œ 2 œ œ3 œ œ Œ
3
it's effect it's effect &4
2. When the symbol is between two notes, it's played before the second note and takes it's value from the first one.
3 œ T ˙ ˙
& 34 œ œ œ œ
w
&4
œ
it's written or
w
3 œ œœœœ ˙ 3 œ œœœ ˙
&4 &4 œ
w
it's effect it's effect

.n
3. This is how a Turn is played if it's after a dotted figure.

es
it's written &c ˙ T œ œ

3
to
it's effect &c œ œ. œ œ œ œ œ

rc
4. If the Turn has an accidental alteration, it's written like this:

re
T
I œ ˙
&c œ
sp
it's written
œ
& c œ #œ œ œ œ œ œ ˙
o.
it's effect
co
Trill: A two note alternate repetition is called Trill. These notes should be at a distance of tone or semitone.
It has three parts: Preparation, Shake and Finish
m
it's written
j̊ Ÿ~~~~~~~ œ Ÿ~~~~~~~~
˙ Ÿ~~~~~~~~~~ œ œ ˙
.a
&42 œ˙ œœ ˙ œ
j̊
˙ ˙
&
j̊ bœ œ
& œ œ œ
r
2 œœœœœœœ œœ œœ œœ œœ œœ œœœœ œœ ˙
Pre.
bœ œ œ œ œ œ
& 4 œ œ œ œ œ œ œ œœ ˙
Sha. Fin.
& & œœ œ œ œ œ œ œ œœ ˙
effect
Cadenza: A passage that in some cases the musician introduces into the piece during the Fermata. It's
written with smaller figures.
œœ œœ U
œ.
&c œœ œ
œœ
œ
œ œœ œœ
œœ œœ
œœ œœœœ œ ˙
œ
œ œ œ
œ œ J
u̇ œ etc.

LESSON 19
(Néstor Crespo)
Musical Structure: It's comprised of the following elements
1. Motif (motive): A short musical idea (one or two measures), in which the composer establishes the piece
development. (Example: Beethoven's 5th Symphonie : G - G - G - Eb )
2. Semi-phrase: The sum of two or more motifs.
3. Phrase: The sum of two or more semi-phrases, it's duration is commonly 8 measures.
4. Period: The sum of two or three phrases is known as the period, and a number of periods gives us a fragment
of or the whole musical piece.
w
According to the way they start, the motives are: Anacrusic, Tetic or Acephalous.
w
Anacrusic: Begins before the start of the phrase Tetic: Begins in the first beat
w
b
b
& b b 34 œ. œ
Œ & b b 34 œ. œ ˙
˙
.n
es
Acephalous: Begins with a rest

b
& b b 34 Ó œ . œ Œ
to
˙
rc
According to their ending they can be: Male or Female

re
sp
Male: (Conclusive) - The ending coincides with Female: (Suspensive) - The ending is after the accent,
the accent. creating a sensation of suspense.
b b
& b b 34 Œ œ n œ œ œ œ b œ œ œ ˙ . & b b 34 Œ œ . œ œ œ
o.
œ Œ
œ
co
m
Musical phrase analysis

.a
Semiphrase 1
Motive 4 - Suspensive motive 1

r
motive 1 motive 2 motive 3

b œ œ. œ œ œ
& b b Œ Œ œ. œ œ
Œ
œ. œ œ
Œ
œ. œ œ œ œ. œ
Semiphrase 2
motive 2 motive 3 Motive 5 - Conclusive

b
& b b œ Œ œ. œ œ
Œ
œ. œ
œ œ nœ œ œ œ bœ œ œ
˙.

LESSON 20
(Néstor Crespo)
Score: it's what the orchestra director uses for directing a piece
Moderato {q = c 108}
I &c ∑
Violin
The score is comprised of each and every orchestra
instrument, one below the other in a way that each II &c ∑
measure from each instrument is aligned.
Viola
Bc ∑
It has the advantage of encompassing with a single
glance all of the composition. Cello
?c ∑
Commonly, they are grouped by instrument class, like Double Bass

?c ∑
strings (violín, viola, cello, double bass) for example, or
percussion, winds, brasses, etc. (more on this at the end of the
&c ∑
w
lesson)
Piano
?c ∑
w
w
Parts: Each musician or instrument piece notation.

.n
Brackets: These vary between instrument classes.

es
Moderato {q = c 108}
& ∑
to
Violin
& ∑
rc
II
These allow us to group up instrument classes or families
to make the reading easier.
Viola B ∑
re
Cello
? ∑
sp
Notice the different bracket for the strings as a whole, Double Bass
? ∑
the violins as a subgroup (first and second) and also the piano.
∑
o.
&
Piano
? ∑
co
m
Instrument classes:
.a
String instruments Wind instruments

r
Bowed: violín, viola, violoncello, double bass Air reed: flute, piccolo etc.
Plucked: harp, guitar, mandolin, clavichord Reed: clarinet, oboe, saxophone, bassoon, etc.
Struck: piano, cimbalom Mouthpiece: trumpet, trombone, etc.
Keyboard: organ, harmonium.
Percussion instruments
Determined sounds: timpani, bells, carillon, etc.

Undetermined sounds: bass drum, drum, snare drum, triangle, etc.

Musical Symbols
(Néstor Crespo)
A clear and precise way of writing music diminishes the margin of error when we first read a piece.
This is way a good calligraphy, abbreviations, symbols, signs, etc. allow us to focus in our purpose: to play!
Some examples:
Breve Breve rest Neutral Key , breath mark

W „ ÷
8 beats 8 beats Percussion Key small rest in sound
w
w
Cesura Tab Æ Staccattissimo Marcato

"
w
T
A
œ œ
B
for guitar/bass
.n
mute instrument less than staccato stronger accent

between notes
es
+ Left Hand Pizzicato Up Down Sustain pedal

to
≤ ≥
œ œ œ w
rc
Violin Viola, etc: up-bow

Guitar: up pick
Violin Viola, etc: down-bow
Guitar: down pick
° Press sustain pedal
re
sp
Bártok Pizzicato Natural Harmonic Artificial Harmonic

w œ œo œO.
o.
* Release sustain pedal Pull the string away from the

instrument and release,
producing a loud snapping
co
sound
m
√ œ◊ œ œ œ œloco - -œ- œ œ
Portamento
œ ˙ ˙
.a
œ œ œ
Play an octave lower Play an octave higher Nullifies octave effect Play legato
r
Glissando Sudden Piano Sforzato Forte note, then piano
~~~~~˙ ˙ ˙ ˙ œ œ ˙ œ œ
˙ ~~
ejecución cromática rápida subito p ß Sudden Accent Í

Musical Symbols
(Néstor Crespo)
(continuation)
It's written Tremolo

˙
6
œ3 œ3
!˙ ˙
@ æ
œ
æ
œæ ˙
It's effect 3 3
œ œ œ œ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœœœœœœœœœ œ œ œ 6œ œ œ œ œ œ œ œ œ
w
˙ ˙ ˙ ˙˙ ˙ œœ œœ ‰ œ œ
˙ @ J œ œ ’
w
œ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œœ œœ œœ œœ ‰ œ œ œ œ
w
J œ œ œ œ
.n
es
to
œ œ3 œœ œœ
œ œ œ œ
rc
œ ’ ’ ’ œ œ œ œ œœ’ œœ’
re
œ œ3 œ œ3 œ œ3 œ œ3 œœœœ œœ œ œ œ
œ œ œ œ
œœœœœœœœ
œœœœ œœ œœœ œœœ œœœ
sp
o.
Simile Simile
co
Simile
œ œ œ œ ˙@ œ œ œ ˙˙ ...
œ ˙
œ œ œ œ œœ œœ œœ@
œ œ œ œ˙ @ @ @
m
œ œ œ œ œ œ œ œ œœ œœœ œœœ œœœ œ œœœœœœœœœ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
.a
(Símile)
r
Simile
@ j > œ. œ. œ. œ œ œ
œœ œœ œœ œœ œœ œ!. œ j ‰ ’ ’ ’ œ œ
œ. œ œ
> œ. œ. œ. > œ. œ. œ.
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ
j ‰ j ‰ j ‰ j ‰
œ œ œ
œ œ
œ

Spanish / English Glossary
(Néstor Crespo)
SPANISH ENGLISH
1er espacio First space

1ra línea First line
Acéfalo Acephalous
Acento Accent
Acordes Chords
Adornos Ornaments
Alteración Accidental
Alteración de Precaución Cautionary accidental
Alteración Precautoria Cautionary accidental
Altura Pitch
w
Anacrúsico Anacrusic
Apoyatura Apoggiattura
w
Apoyatura Breve Short apoggiattura

Apoyatura Doble Long apoggiattura
w
Arco para abajo Down bow - Giù arco

Arco para arriba Up bow - Sull'arco
Key Signature
.n
Armadura de Clave
Armónico Artificial Artificial Harmonic
Armónico Natural Natural Harmonic
es
Arpegio Arpeggio
Barra de Final Final Bar
Barra Punteada Dotted Bar Line
to
Barra unión corcheas, etc Beam

Barras de repetición Repeat Barlines
rc
Becuadro Natural
Bemol Flat
Blanca Half note
re
Cabeza u oval Note head

Cadenza Cadenza
sp
Casillas de repetición Volta brackets (1st and 2nd endings)

Cesura Caesura or Grand Pause
Clave Clef
o.
Clave de Do Alto Clef

Clave de Fa Bass Clef
Clave de Sol Treble Clef
co
Clave Neutral Neutral Clef

Compás Bar - Measure
Compound meter
m
Compás compuesto
Compás de amalgama Irregular meter
Compás simple Simple time signatures
.a
Compositor Composer
Contratiempo Back Beat
r
Corchea Eighth note

Cuadrada Double whole
Da Capo Da Capo
Da Capo al Coda Da Capo al Coda
Da Capo al Fine Da Capo al Fine
De arco Bow instruments
De cuerda punteada Plucked strings
De sonido determinado Pitched instruments
Del Segno al Fine Del Segno al Fine
Denominador Lower number
Dinámica Dynamic
División del Compás Time or Meter Signature

(Néstor Crespo)
SPANISH ENGLISH
Do Central Middle C
Doble Barra Double Bar
Doble bemol Double Flat
Doble puntillo Double dotted note
Doble sostenido Double Sharp
Dosillo Twins
Duración Duration
Enarmonía Enharmonic
Equivalencia Equivalence
Escala Cromática Chromatic scale
w
Femenino Feminine
Figura Musical Note value
w
Final Fine
Frase conclusiva Conclusive Phrase
Frase musical
w
Musical Phrase
Frase suspensiva Suspensive Phrase
Fusa
.n
Thirty-second note
Grupito Grupeto
Instr.de Cuerda Strings instruments
es
Instr. de Percusión Percussion instruments

Instr. de Viento Woodwinds instruments
Intensidad Intensity
to
Letras de Ensayo Rehearsal letters

Ligadura Legato o Slur
rc
Ligadura de duración Tie

Ligadura de expresión Slur
Línea Line
re
Línea delgada Thin line

Línea divisoria compás Bar Line - Barline
sp
Líneas adicionales Ledger lines

Llave Brace
Llaves - corchetes Braces - Brackets
o.
Marcato Marcato
Masculino Masculine
Metrónomo Metronome
co
Mordente Mordent
Motivo Motive - Motif
Movimiento Movement
m
Música Music
Negra Quarter note
.a
Notación Musical Musical Notation

Notación Pulso Slash
r
Notación Rítmica Rhythm Notation

Numerador Upper number
Números de Ensayo Measure numbers
Octava Octave
Particella Parts
Partitura Score
Pentagrama Staff
Pizzicato Pizzicato
Plica Stem
Primer tiempo o pulso First beat
Pulso Beat
Puntillo Dotted note

(Néstor Crespo)
SPANISH ENGLISH
Quintillo Quintuplet
Redonda Whole note
Ritmo Rhythm
Segno Segno
Segundo tiempo o pulso Second beat
Seisillo Sextuplet
Semicorchea Sixteenth note
Semifusa Sixty-fourth note
Semitono Semitone
Semitono cromático Chromatic semitone
w
Semitono diatónico Diatonic semitone

Septillo Septuplet
w
Serie Ascendente Ascending Series

Signo de Respirar Breath mark
Repeat Signs
w
Signo Repetición de compás

Silencio Rest
Double whole Rest
.n
Silencio de cuadrada
Síncopa Syncopation
Sistema Grand Staff
es
Sonido Sound
Sostenido Sharp
Staccatissimo Staccatissimo
to
Staccato Staccato
Tablatura Tablature
rc
Tenuto Tenuto
Tetico Thetic
Timbre Timbre - Tone color
re
Tono Tone
Tremolo Trill
sp
Tresillo de corcheas Eight note triplet

Tresillo de negras Quarter note triplet
Tresillo Tuplet
o.
Trino Trill
Varios compases de silencio Multi-measure rest
co
m
.a
r

 LEGAL
Crespo, Néstor Rubén
Musical Theory / Volume One
Serie 20&20
ISBN 978-987-28103-4-4
Date of Catagolation: 09/09/2017
Musical Theory / Volume 1

1st edition
© Néstor Rubén Crespo, 2017

nestor.crespo@usa.net
Publishing date: September 2015

Law 11.723
Edited in Argentina
Graphic Design: Edgardo Vallarino
Translation: Tomás Lidejover
The content and originality of this document is the sole responsibility of its author. No part of this
publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written
permission of the publisher/editor. Your violation is punishable by laws 11,723 and 25,446.
Proofreading: Prof. Federico Palmero
Cover Design: Edi Vallarino

www.edivallarino.com.ar
Translation: Tomás Lidejover

lidejover@gmail.com
Made in Buenos Aires, Argentina, December 2009

Music Theory 1 - Theory - Nestor Crespo

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Music Theory 1 - Theory - Nestor Crespo

Uploaded by

Copyright:

Available Formats

MUSIC FOR ALL INSTRUMENTS

20 LESSONS & 5 EXCERCISES

The remaining 15 exercises

Music Theory - Volumen 1

As an independent publishing house, we will be so

From Buenos Aires, Argentina, we send you the best

I humbly expect to be useful

GOALS AND PURPOSE OF THE MUSICAL LANGUAGE EBOOKS

20&20 SERIES GOAL

If you wish you can purchase the "Complete" Ebook

nestor.crespo@usa.net / www.nestorcrespo.com.ar / www.serie20y20.com.ar

 Triplets (eights, quarter notes)

nestor.crespo@usa.net / www.nestorcrespo.com.ar / www.serie20y20.com.ar

nestor.crespo@usa.net / www.nestorcrespo.com.ar / www.serie20y20.com.ar

musical figures (Lesson 2)

Rythm: the movement that pushes music forward in time.

(penta: five / gramma: line)

4th " 4th space

called bar lines.

Beat: each of the units that divides the measure

Tempo: Beat velocity or speed in a piece.

nestor.crespo@usa.net / www.nestorcrespo.com.ar / www.serie20y20.com.ar

1. Which are to constituent elements of music?

2. Define sound and it's qualities

11. Define measure

12. Define beat.

13. Define tempo.

14. Define and draw a bar line.

nestor.crespo@usa.net / www.nestorcrespo.com.ar / www.serie20y20.com.ar

h : Half note [minim] (2 beats) h h 1 Whole note = 2 half notes

q : Quarter note [Crotchet] (1 beat) q q q q 1 Half Note = 2 quarter notes

Whole note Half note Quarter note

(debajo de la 4ta línea) (sobre la 3ra línea)

note. Three keys are more frequently used:

G Clef F Clef C Clef

C Clef in fourth line

nestor.crespo@usa.net / www.nestorcrespo.com.ar / www.serie20y20.com.ar

1. Which musical element signifies duration?

2. Name the following musical figures

4. Which is the value of a half note?

5. Which is the value of a quarter note?

6. Which fraction corresponds to each figure?

Whole Half Quarter

7. Name each parto of a figure

9. Are the following values True or False?

Whole note = 2 Half notes ____

2 Half notes = 2 Quarter notes ____

1 Whole note = 1 Half note plus 1 Quarter note ____

10. Define Rest

11. Where's the Whole note rest positioned?

12. Where's the Half note rest positioned?

13. Draw each figure.

whole note half note quarter note

whole note half note quarter note rest rest rest

14. What does a Clef determine?

15. Name the following Clefs.

nestor.crespo@usa.net / www.nestorcrespo.com.ar / www.serie20y20.com.ar

Latin notes Do Re Mi Fa Sol La Si Do

1ra serie 2da serie 3ra serie

Do Re Mi Fa Sol La Si Do Re Mi Fa Sol La Si Do Re Mi Fa Sol La Si, etc.

It's comprised by one higher G Clef pentagram, and Brace|

one lower 4th line F Clef.

nestor.crespo@usa.net / www.nestorcrespo.com.ar / www.serie20y20.com.ar

1. Define: Musical note