Table of Notes With an Explanation of Clefs and Staves Bass Notes Treble Notes {ii} it pep : slalelelalalelelatetilalelelelele|rlele|®lelele lite 3 may be writen 0% : ‘| * gle ole|2|4|2/4|=|=|S]2|2|2|£/2|= Violin-clef Het == = (also ealled 6c toate o sep e|a|2|2\2 5 4= (atsotates Rater Sve ME man? T \s2 basea...i™ ss are of just the same pitch asthe noe f iil i Lat Bove them inthe treble clef | Contra-Octave Great Octave Small Octave Qne-lined Octave | Two-lined Octave |Threetined Cctave |Fourlined Octave ‘The round, black dots are called notes. They may be written either on the lines ar in the spaces between the lines. As shown above, each clef is set on a group of five lines. These five lines are called the staff Examine the clefs carefully, and notice what effect they have on the signification of the notes.The Rudiments of Music ‘The signs used to show the position (pitch, either high or low) of the tones are called nofes. They are written on what is called the stay, which consists of five parallel dines and the spaces between the lines. ‘The lowest line (or space) is called the first cine (or space); that is, both lines and spaces are counted from below upwards. he next line (or space) above, the sacond: ete Notes that are either too high or too low to be written on the staff must be set on or between short added lines above or below. These lines are called ¢eger-lines. pee et ete. 3 For naming the notes, the first seven letters of the alphabet are used. In the key of O mayor the letters come in the following order: C, D, E, F, G, A, B, ending on C. These eight notes form what is called the scale of C major. Every scale is composed of five whole-steps and two half-steps, which occur in the following order: Scale of C major ‘Whole-step Whole-step Half-step Whole-step Whole-step Whole-step Half-step —= s ss = = = — = ——— et § D E F G A B c 2 3 4 5 6 7 8 Tonic Supertonic Mediant Subdominant Dominant Superdominant Leading-tone Tonic A sharp (#) written before a note raises it a half-steps a flat (b) written before a note lowers it a half-step. A natural (}) restores a note to the original pitch. Csharp B flat Restored by the natural Chromatic Scale, ascending Chromatic Scale, descending Fe asbeseal + There are two modes, the major and the minor mode. The principal scales in the minor mode are the melodic and the harmonic. ‘Melodic Minor Scale, ascending and descending Harmonic Minor Scale,ascending and descending ~ E Geet eS. 3 One important difference between major and minor scales is that in the major there are four half-steps between tonic and mediant, but in the minor there are only three. ee Major mode Minor mode 2There are twelve mayor keys, the tonics or keynotes of which are determined by the signature. The following are the tonic chords of all these keys. Cmajor — Fsharp major ou G major F major D major flat major oy major flat major E ‘major flat major fate es == Bmajor —“p flat major Time-value of Notes A whole-note is equal to 2 half-notes, f P or 4 quarter-notes, r f f f or 8 eighth-notes, Crrr erp ep or 16 sixteenth-notes, Beer coer er er erp or 82 thirty-second-notes, EEE REESE CaS? CEP 0999 There are twelve minor keys, the tonics or keynotes of which are determined by the signature. The following are the ¢onic chords of all these keys. Aminor — D sharp minor EF D minor fi B minor Fsharp minor minor i F Csharpminor — F minor G shay minor Bflat minor 5 ou In writing signatures, sharps are added by skipping upwards a fifth}then downwards a fourth¥and so on. te: ote F sharp Csi rr = harp G sharp Dsharp A sharp E sharp B sharp * For the meaning ofthese intervals, see page VII In writing signatures, tlats are added by skipping upwards a fourth, then downwards a fifth, and so on. | be — abe = i OB fiat If a note already sharp is to be raised another half-step, this sign (x),called a double-sharp, Eflat Aflat Dflat Gflat C flat F flat js used; if a note with a flat is to be lowered another half-step, the (bb) doubdle-flat is used. * See tat F sharp Fdouble-sharp F sharp E flat E double-flat E flat ‘# The use of the § in this connection is being generally discontinued. Keys having similar signatures stand in closest relation to each other, and are called relative keys. The clafs chiefly used are the following: ‘Trebje or G-clef Bass or F-clef Soprano or C-clef Alto Clef Tenor ClefDat Segno (means “from the sign” Fermata (Hold) Da Oapo corresponding to the a Signs of repetition _ (means “from the beginning”) _one above the D.S.)_ DOC. DS. Time-value of Rests Whole- Half Quarter- Eighth- Sixteenth- rest rest rest rest rest ‘When a rest occupies the time of more than one measure, the number of measures rested may be indicate: by an equal number of whole rests run together, usually with a number over it, or by a heavy single o double stroke with a number over it, thus: 2 4 3 6 410 A dot set after a note or rest adds one-) a second dot further adds half as half to the time-value of the note or rest:| much as the first one. Notes| = z = etc. Restsl = = : = ‘ 2 Thro Thre Three ™ Soven Seven Time-value: faives quarters, eighths —_sixtecnths sixtecnths thirty-seconds ‘The following abbreviations are used in notation: written played A stur indicates that notes are to be played in a smooth and connected manner. A. fie, connecting two notes on the same degree, indicates that they are to be played as one nofe having the combined value of both. If, ina regular rhythm ) one or more notes are played before the beats on which they are expected, thus: , they are called syncopated notes.Detached Notes Staccato Mezzo-staccato Martellato (Detached or separated notes) (Half-detached notes) (Very short, detached notes) or a > Grace-notes A long appoggiatura is played A short appoggiatura is Turn like an ordinary note. played very rapidly. written >? = = = = == played Trill Passing Trill,or Inverted Mordent ia a = —<———— written SSS] The Different Species of Time There are two species of time: common time and triple time, These are subdivided into simple and compound. Simple common time has only two beats or divisions in a measure (7, 3, 2 ); simple triple time contains three parts in a measure (3, 2, 3, efc.). When two or more simple common measures are drawn into one, it is called compound common time. Compound triple time is that in which two or more simple triple measures are drawn into one. Four quarter-notes in a measure ( { ) are indicated by ©, other divisions by 3, 3, ete. Intervals The distance in pitch between two tones is termed an interval. There are seven principal intervals. Tonic or Prime Second Third Fourth Fifth Sixth Seventh Octave The following Italian words are used to point out the degree of slowness or quickness, or the ex- pression of a movement: Adagio, slow; Andante, not quite so slow; Allegro, rapid; Allegretto, less rapid; Presto, very rapid; p (piano), soft; YP (pianissimo), very soft; J (forte), loud; Jf (fortissimo), very loud and strong; diminuendo, gradually diminishing the tone; crescendo, gradually increasing the tone; decrescendo, decreasing the tone; ritardando, becoming slower, etc.Whole, Half-and Quarter-notes. CARL CZERNY. Op.823, Book I. . 8 23 2 3 2 4 2 5 1 5 4 2 3 4 8 2 3. § 3 2432 434Allegretto. Tha v.44 4 8 a $323 4 PAllegro.3 a z 5 5? a a Eighth- notes, Triplets and Sixteenth- notes in Common and Triple Time. 53 San 3 23 baa Zaz eae ound wd10Allegretto. > 3s Sas 3,3183 2 123-124 ao ee! = 5 z 7 Oo ? : i Aleppo, 2 3 19. a7 Allegro. on a oe 2 i as Pe 1BAllegretto. 4 : fe 4. i 3 BR “ ~ ee oe = Moderato, ee aS fas, 2 gc fy P dole aS aT. 2 a I a 383% SaAz5242 2 1 1 2 2Vivace. 5 5 Allegro vivace. SN 26.8 4 crese.Allegro vivace. 3 i 1 f ‘ i i 29. T 2 ‘ 4 + 4 15 Allegro vivace. , 5 A : Sa aks eee Pa f {Allegretto vivace. , Pare Ak i aa 8 —o peo 4a z 2 »Allegretto. Bane - 32. P ° 5s 3 rd ~20Allegretto. 4 ox. as Execises with # b and §. Gs a12y322Allegretto. (a bbe 23The Bass Notes. Moderato. Allegro moderato. wast UO 5a 54 ga + § $ 3 $3 xe q i 4 1 i = 24Moderato. Mw EOL Hes ay § 5 4g aa Allegro animato. 25The Twelve Major and Twelve Minor Scales 54a 6 C minor. ae . st , . to D minor. na joee fae ta 26A major. B major. 1 LaCF minor. Ab minor. 28Eb major. Bb minor, a : 3 Ta gie2tExercises in Different Keys. CARL CZERNY. Op.823.Book II, Allegretto. Dia 3 4 32 709N Hy se SN Li tee! eresc. 30Allegro moderato. erese. Allegretto vivace, ooo zd d . Site ie god gia2, 2 Allegro. P2igetsaay Exe t 2, getger4d 3149, 32Allegro vivace. a aa. 4 Allegro. oN aT Scehsed eeti2i t 4 : aod 33 23 51. ® 33crese. 2 ee 2 74 : 2 Be) Allegretto. a ; crese. Vivace. deg 3 34 53 tas 8 2 tts = fi 53¥ 34Allegretto vivace. : eooieet EE Te Tas2at 54s 35Andante sostenuto. 3 mse 1 ~e 7 P dolee erese. 31Allegretto vivace. 3. a8 crese]ror \ Andantino ia P dolee 39Allegro. Gages oe E = S=> (234328 ffs ( : a 5 1 a : 3 aot j ye ye 23 crese.ee te an ae 5) vivace. 4a I Allegro sf 1Continuation of the Exercises in Different Keys. B flat major has ab on B and E. cresc. 1 42E flat major has a b on B,E and A Allegro non troppo. 43The Trill. Allegretto. —— t 35 ¢ 3 Bests z oS felt. ~ tr 5 ~ 1 ots & tT os ¢ 5 FF Seeedd st aeertt Eras 44Allegretto. Tempo di Valse: S32 (21 08 sak 4 af 45Allegro risoluto, Beeels i, Eee _ i s 8t A major has a on F, C and G. 33) 5 12 Allegro vivace. a A rs 2 65. 47toe sige e | ° fe on oe v8 leeAllegretto moderato. Tempo di Polacca. a 3 14 fe * 66. Pdolee en ae ia SOOT a. a a Ts ¢ 312g She» beta oN ame —— P * I tz, ~~ SO 14 a ud 3. Sts 223 cheer 49= E major has a # on F, C,G and D. EDC ACIC ITs Allegro. Tempo di Valse. as —~ at : Caisse P 30Allegretto. Exercise in Thirds. Sa 5% 5 § 2 Mazurka. Allegretto — Boge 1 Go 1 Age a P dolce 51orese, Andantino. ae 4a a 2 § Poiles—— eels 5253Allegretto. Tempo di Valse. + . 4 12 . efe #20 tay G 54Rondino. Allegretto moderato. = = oa 1 2 55oi RB PditeeCrossing the Hands. Allegretto vivace, 5 St 58