Name:

---------------

Avon Grove High School

AP Music Theory
Summer Work Packet
Instructor:
Mrs. Krista Umile

DUE: First day of class

TOTAL POINTS: 100 points
DIRECTIONS: Read directions carefully for each section before completing packet.
WEBSITE: http://www.avongrove.org/kumile.aspx
Please familiarize yourself with the website before the first day of class.
PART I - Using notes from Theory I and/or other reliable resources (not Wikipedia), define the following terms:

A. In reference to Musical Form, define the following terms ...

1. Cadence-

2. Cadential extension -

3. Coda -

4. Codetta -

5. Contour-

6. Countermelody-

7. Elision (phrase elision)-

8. Fragment (fragmented motive -

9. Introduction -

10. Bridge -

11. Chorus-

12. Refrain -

13. Verse-

14. Motive -

15. Period-

16. Antecedent -
17. Consequent-

18. Contrasting period -

19. Double Period -

20. Parallel Period -

21. Phrase group -

22. Binary form -

23. Rounded Binary-

24. Simple Binary-

25. Ternary-

26. Solo, Soli -

27. Stanza -

28. Strophic -

29. Theme-

30. Through-composed -

31. Tutti -

32. Variation -
B. Melodic Procedures
1. Augmentation -

2. Conjunct -

3. Diminution -

4. Disjunct -

5. Extension, phrase extension -

6. Fragmentation -

7. Internal expansion-

8. Inversion, melodic inversion -

9. Literal repetition -

10. Motivic transformation -

11. Octave displacement -

12. Retrograde -

13. Rhythmic transformation -

14. Sequence -

15. Sequential repetition -

16. Transposition -

17. Truncation -
C. Cadence Types
1. Authentic Cadence -

2. Imperfect Authentic -

3. Perfect Authentic -

4. Deceptive Cadence -

5. Conclusive Cadence -

6. Half Cadence -

7. Phrygian Cadence -

8. Plagal Cadence -
PART II - Write an example of each triad and seventh chord requested below on the treble clef and bass clef (this
means you will write the same chord twice, once in treble clef and once in bass clef). If a specific inversion is
requested, be sure to include the correct inversion numbers underneath each chord. Use accidentals to spell the
chords correctly. Do not add key signatures.

C major triad - 1st inversion D minor triad - root position A diminished triad - 2nd inversion
..
a
'
.."' 7
•
~ ' [(A I
I •
' I

.J
<
v v
'

••• , •••
L
'

I
Lw
, -
••· 7
I

G augmented triad - root position E major seventh chord - root position F dominant seventh chord -1 st
, IA
,.
"'
"'
-~" '
•
""
•
v v ,i
< '

-~.,
F -·

\
--..
F '• , '•
, •• '
'

B major-minor seventh chord - D half-diminished seventh chord - C fully diminished seventh chord -
nd rd
2 inversion 3 inversion root position
. , ~

• I
' I

'
' ' .. •'
v v ,i

,~.....
<
' '

,~.••
-:,
, -·
••
I

E minor seventh chord -1 st inversion

A
-,
-,
~
I

.
t.l

~~
.. ,-·.
PART Ill - Complete the rest of the attached worksheets. Please read directions carefully.
 II. Identifying whole and half steps at the keyboard
Locate each pair of pitches on the keyboard below in any octave. Write their names on a white key or above ~
a black key. Then, in the blank provided, write W (whole step), H (half step), or N (neither).

H
(a) A#-B (d) Bb-C (g) F#-G# _ _

(b) F-E (e) G#-Gq _ _ (h) E-Fb

(c) Gb-A (f) DI-Cb _ _ (i) Gb-Gq _ __

A#

(j) B-C (m)Eb-Eq _ _ (p) Bb-C# _ _

(k) G-A# (n) A-B (q) Eb-F

0) C#-D# _ _ (o) Ab-Gb _ _ (r) Ab-Aq _ _

" '

i/i
;

,,l

III. Enharmonic pitches

Circle any pair of pitches that are not enharmonic.

(a) F#-Gb (b) Bx-C (c) A#-Bb (d) Cb-B (e) Gll,-F (f) D-Ell,

(g) E#-Fb (h) Ail,-G (i) Dx-E (j) C,-D (k) Bl,-Cll, (I) A,-Bb

1111111 Part I Elements of Music

 NAME _ _ _ _ _ _ _ _ _ _ _ _ _ __

,,,,_,,_=-,,,.~.=,---""""->L.. .,._,.........,,...,...,.=...""""'-"'~-_,,..,.......,,.,.,_..,.,,_........,....,......,,.,_..,,,,,._-..-..-"""""""'......,,,·='··-"""'-=<=-.....,_.,,.,,.,.,,.._.,.._.
-·""""""'~-~.,,.,.,,,_. ~--=·.,.--.==.=-="""=-·--~~-=-=---·=..~,.. . . . ,. ., ,. , . ,. ._. . ., . .,., , ,.,

• Assignment 1.3
I. Writing whole and half steps on the staff
Write the requested whole or half step above or below the given note, as indicated by the arrow. Choose a
spelling that has a different letter name from the given pitch.
(a) (b) (c) (d) (e) (f)

&o It ,~o
'j
11° 'j
II

',=
0

wt W-1- Ht H-1- W-1, H-1,

(g) (h) (i) (j) (k) (I)

~ll j
,.0 &o IIJ,..
0
0
I
wt wt Ht H-1- wt Ht

(m) (n) (o) (p) (q) (r)

&o I #.. It
&o 0
b. j
II
' H-1-

II. Identifying pitches with ledger lines

wt Ht H-1- Ht W-1-

Write the letter name of each pitch in the blank provided.

(a) (b) (c) (d) (e) (f) (g) (h)-e- (i) (j) (k) (I)
-e- .0.
-e- .0.

,= 0 I 0
II
-e- -e- U. e-
-e-
C
-- --
(m) (n) (o) (p) (q) (r) (s) (t) (u) (v) (w) (x)
-e- e-
.0.
.0.
'j
0
I I II

' -e-

-- --
u -e- -e-

-- --
u
u

Chapter 1 Pitch and Pitch Class Ill

 NAME _ _ _ _ _ _ _ _ _ _ _ _ _ __

...,,_-w--=. -""""'~•~--··=•=•"""'"·"·"'""""•,.... -~,·~m--a,,,-,..,~-,,,,_""'="L"- ,L..,,,._~,,,,-~,_,.,,,..-._,.,.,....,,,."' .,, .. , · · ~=-=~...., ,..,.,,,.~.. . , ­

,......,..,..,.,._._....,_..,.-=..,.,-.,.o.-..•.,,,,.,,.,o.,.,.,..,;a,,,_=-=,=-·~.,,.,.,..,,z-.,,,...,.....,_.,,,.,....,...,.-""""""'~""""'-=u.=:,o=.,•==....,.,_,_•">='<'"'"""""'"-"""==•'-'~""'-- · _,.,_,..~_,,,.,,,.,.,._,._.,...,•.,

• Assignment 1.4
I. Identifying pitches in mixed clefs
Write the letter name and octave number of each pitch below.

fil:
,l
(a)

&
(b)

1$
e
(c)

1,:
.0. (d)

1113 u
(e)

I~):
u
(t)

1113
11
,-
I
(g) (h)

·1118 ')
II
E2

,_ l"l: (i)

&
(j)

,
u
(k)

1118 &
(1)

1118
e
(m)

1,:
.0.
- (n)

1113
&
,,-
(o) .0. (p)

1,:
&
-.,.;

II

II. Writing half and whole steps: Mixed clefs

In the following exercises, choose a spelling that has a different letter name from the given pitch.

A. Write a whole step above each given note.

· (1)

' ~e ffo I
(2)

~e
(3)

· bu
(4)

11,: 'j
(5)

la,
(6)

11118 .e I
B. Write a whole step below each given note.
(1) (2) (3) (4) (5) (6)

I ~e lie
1
~}: lu, II
"'
, I I· 11118 )

C. Write a half step above each given note (with a different letter name).
(1) (2) (3) (4) (5) (6)

I ~e 11$ e e II
D. Write a half step below each given note (with a different letter name).
(1) (2) (3) (4) (5) (6)

Chapter 1 Pitch and Pitch Class •

 III. Identifying pitch and 1'egiste1' in musical context
In the excerpts below, write the letter name and octave number ofthe shaded pitch, in the blank that corre­
sponds with the numbers marked on the score.

A. Chance, VariationsonaKoreanFolkSong,mm.27-31 (;) (anthology)

28 31

:1'
I;
(I) _A_l_3_ (2) _ __
'F (3) _ __ (4) _ __

(5) _ __ (6) _ __ (7) _ __ (8) _ __

B. Webern, String Quartet, Op. 5, third movement, mm. 5-7 (;) (anthology)

Violin 1
I·,

l P-=== pp
arco (3)
f .ff
piz~.
Violin 2
!! pp
I 1··
i;
f
: I' pizz.
Viola
P-=== pp f (9)
(10)
Cello ' ,,
. -~"

(1) _C~#_2_ (2) _ __ (3) _ __ (4) _ __ (5) _ __

(6) _ __ (7) _ __ (8) _ __ (9) _ __ (10) _ __

Variations on a Korean Follc Song, by John Barnes Chance. © Copyright I967by Boosey & Hawkes Inc. Copyright renewed. Reprinted by permission of
Boosey & Hawkes Inc.

Part I Elements of Music

 NAME, _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

r
j '•_
• Assignment 1.5
I. Arranging
Rewrite each melody excerpt on the blank staves provided, according to the individual instructions. Your
arrangement will require some ledger lines. Remember to change the stem direction where necesssary in the
new octave. Copy note heads, stems, and other symbols as shown (you'll learn more about them in Chapter 2).

A. Purcell, "Music for a While;' mm. 23-24 0

Rewrite one octave higher in the bass clef.
23

9: I j J ~ j J ; j
24

J I c 'E ~ r t
#p §ff~ II

2:1 E C II
B. Purcell, "Music for a While;' mm. 21-22 0
Rewrite this line for bassoon in the tenor clef; don't change the octave.
21 22

,: I F f [ F
~ ~ E i Ir f rr~ ~ Ei
II

IIRt j J II
C. Mozart, Symphony No. 41 in C Major, fourth movement, mm. 407-411a (viola) 0
Rewrite this viola part for violin in the treble clef; don't cliange the octave .
408 409 410 411

r· PI r· U If f [Ff f f rI p
.. 407

I
Chapter 1 Pitch and Pitch Class
 NAME _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

" ,.,-,~cc•
•• ·· •• ••,. •· +' '· .•·,-·.-••-,.-,- ...... •·--," "'
,•' v,•,••,•· ,' 0• ·~,,,,.-.,.., .·,,-,
·.~,.,.,_ ··c,.~~·-,.-.' ~,-··•·· ·-· ··" · '"> ··--·~--...-- ·s ,, ·•· '"' ··
·, ·"'-"'•"",,-,>,.~c..·• -,,.. •,-,._,_, -'•···~·,,,,.. , 7•,,;.~"' ··· · -,._, ..,., ··-'-'·",>r,-,• .,
•,,•.. ·······"'-• ·.• •>
7,.,_...,.,~,.·,~--.,., · ..,_,., ..~. ·• ~-,v,,
,.-,,-.,~-.~.,.
... _,, ., .,..,._,,._-...., ..., .eu==,,_•t.,.._,,,__
,,..._-,~~"''""'"'-_............_.,.....-.-_ _
,.,.,.

Assignment 2.1 This assignment covers elementary fundamentals and may be skipped.

I. Notation basics
A Circle any notation errors on the left, then renotate the entire exercise correctly on the right.

B. For each rhythmic value or rest notated on the first line, notate the corresponding rest or note on the second line.

p j r ,, w w ., II
~
' ., II
'
II. Identifying meters
Write the meter signatures and meter type (e.g., simple duple) for each melody below.

A. Chance, Variations on a Korean Folk Song, mm. 215-218 (J (anthology)

r IF
216

r F Ir c
217

r~n I w. 218

),J I
Meter: _ _ _ _ __ Meter type: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

, ·~ 1 .
~-- Clara Schumann, "Liebst du um Schi:inheit;' mm. 3-6 (J

~1$~ J J J IF J -
5

It r
6

j
·1.~&
Liebst du um SchOn-heit. 0
F' p I II"
nicht mich lie be!
I
Meter type: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

_tions on a Korean Folk Song, by John Barnes Chance. © Copyright 1967 by Boosey & Hawkes Inc. Copyright renewed. Reprinted by permission of
& Hawkes Inc.
 i'

I C. Mozart, ''Voi, che sapete," from The Marriage ofFigaro, mm. 9-12 0
I 9 10 11 12
i''
'1,I, F -=1 J I F J I r tt@I F : II
Voi, che sa - pe - te che co - sae a-mor,

Meter: _ _ _ __ Meter type: _ _ _ _ _ _ _ _ _ _ _ _ __

III. Counting rhythms

11
I A. Beat divisions: For each rhythm or melody below, write the counts beneath the score.
I (1) Lionel Richie, "Three Times a Lady," mm.11-14 0
'
.I
12

i
',\ ':Znf' u I f' be tr (J,F ~F r I i, I
14~
j II
Now that we've come to the end of our rain - bow
(2) 3 &

(2) Elvis Presley, "Love Me Tender," mm. 5-8 0

,1· J Love
J nJ
me ten - der,
J 1J J j
6

love me sweet,
7

1J nJ J
nev - er let -I
me
8

Ia
go.
II

(3) 11 ! J. .J .J .J II

(4) 11j J n J II
B. Beat subdivisions: Add the missing bar lines to each rhythm below. Then perform the rhythm.
(1) ! J n 1 .J
11 .J .J , , , n .J , , J .J .J J II
(2) 11 i n n J n .J J J J n J n .J a
II
(3) 11 i .J .J J j j fil .J
.J ' ' ' n .J .J II
. :-'I
(4) nj J rn n .J J mn.JnJ rn .J .J II
(5) 11 ! m m .J .J .J .J H.J H.J I n n .J
(6) 11 i .J j j j .J J J J n .J rnn n .J .JjJj.J J II (

' '\
:: . 1;1

i i11a•-11i!I. Part I Elements of Music

 NAME _ _ _ _ _ _ _ _ _ _ _- , - -

- ~ " " ' ~....,,,........,.._,.,......-.,,,,..._...,,,,.....=

""'~-~-,-......-·.,....,_--... " - ~ -..~......,,..,......................,...,""""""'""~~...........
_._.,.,..,,.-~..---....._,=..-~-~........ .,_~.,,,,,,,,,.,.,,"",=··'·.......,,_,...,-.,......,_-=·=---~­
. ,._,..=,,,,....~·""'=-...,,,,,,,..,,,~.....

• Assignment 2.2
I. Understanding dots
Write the appropriate note value in each empty box below.

J. = j + J
J. = J +
= J, + ),
o· = 0 +

J. = + J
J. = + J,

II. Counting rhythms with beat subdivisions

A. Add the missing bar lines to each rhythm below. Then perform the rhythm.

(I) 11~ In m J n .r::J .r::J n .J.

J. .b J II
(2) 11 i n rn n n J J J J m J. .b rn J .J II
(3) 11 t J-j'"J J Jj n CJ J. ,b J J j J::J .J
II
(4) 11 f J J. .b n nnJ. ,b nnnJ .J .J II
c~) Iii J .CJ J. )i J n nn J. .bn J II
'~- ~teach position marked by an arrow, add one note to complete the measure in the meter indicated. If
·-qy_wri.te
an eighth- or sixteenth-note, beam or flag it properly..

t II

t t t t

t t t

Chapter 2 Simple Meters Ill

 (4) 11! J ), 1J J. 1J J j J j J ),. 1.J I
t t t t f)·
(5) 11 fJ j j j ),.
t
1J J j ),
t
1J. ~ .a t
1.J II

:,! III. Counting rhythms with rests

A. For each rhythm below, provide the missing bar lines that correspond with the meter signature given.
Then perform the rhythm .

(1) II i ,J ., 1,1,., ,mm.,. Jim . ., 1,J 11

I., )i., )i., ),J

:I
Ii,,
(2)11 ! J J. ), J ., 1,n ., ),J. nJ,, ,nn.J. II '

"i Jj j j rn Ji ., ., 1, .o n J. ., ,mn J , ,J II
IIi ,·
.
' .
(3)

(4)Hi mm., 1,., 1,., n1,.,., .nn , ,J J I e

B. Rewrite the following vocal melody with proper beaming to reflect the beat (without text). Then write
the counts beneath.
Schumann, "Im wunderschonen Monat Mai," mm. 5-lOa Q
p 5 6

,.11#; ~ Ip· ~ ~ m ~
• l Ij j
i ~
Im wun der schO - nen Mo - nat Mai, als

9 10

i Ji I p· ~ p· ~ ID p
al le Knos - pen sprang - en, da ist in mei - nem Her - zen

- i
I a a

!
- '

Part I -Elements of Music

 NAME _ _ _ _ _ _ _ _ _ _ _ _ __

-=-""""......,.,,,...."-"'"""'·.....~ · - " " " ' - - ·...._,......,.,_,___,,..,.,_"""""""'"'""''~,...,..,,..................,.....,.,"'-''""""'"'·""""'___

,.=-,,,.-~,.........,.,,,.,...,..,,.._,___,........._._,_.~....~ - - - - - - - - . , , , , . _...,.,,..~,,...,.,,,,=~».....-~.~W•·""'_,~,,..,-,c,,. - ...,.,.._..,._,~,-·,:.-·-·---~-
,....,.......,.,,.._,.,,__.,,_,,.,,.,,,,,,..,.

.·'· Assignment 2.3

I. Beaming to reflect the beat
Rewrite each ofthe following rhythms with correct beams to reflect the beat unit. Add the counts beneath
the rhythm, and read the rhythm aloud.

A. 11 t Ji ~ J JJn. m
nf J h II
1 & a

B. II~ J

II~ II

II
II. Counting rhythms with dots and ties
·Rewrite the following rhythms with dots in place of tied notes. Be careful to beam your answers correctly.
)Vrite the counts beneath the rewritten rhythm, with the beat number in parentheses if there is no corre­
sponding note above it.

II
j
a
II

Chapter 2 Simple Meters -

 II. Reading and writing in different meters
A. Complete the rhythms below by adding one note in any measure marked by an arrow. Connect beams fr,
as appropriate. Then perform each rhythm.

(1) II ff }, ..l
t
11,. j
t
I J, },.
t 1
nn t
I J, .t It I
(2) 11 i .0 ..J j j j J. t
1m.,1, t I.J ..Jjjj.fj 1.J.
t t I
(3) 11 ~ .J ..J. 1,m t I., m .l .l J
t
le . J. t
I . l J J J J,..J J, t I
11f ..l~..l j j j I 'I }, 'I 1..J j 1.a:J },. 1..J
(4)
t t t t II
(5) 11 ~ J .J J .J. 1JJJJ.J I.J. ..l ..l .J 1J I
t t t t

B. Renotate the following rhythms with ties instead of dotted notes.

(1) II~ .J. ..l J I J ..J. J,J I J,..J. · J J I .,. II

Renotated II ~ J~ II

(2) II i ..J. j ..J. j J.

Renotated -1.111-'j"------------------------llll

(3) II~ .J. J 1..JJJJ..J. },1.J ..l ..l 1..J .J. II

Renotated -1.Hl-4~-----------------------1-111
. '!

Part I Elements of Music

 NAME _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

• Assignment 2.5
I. Understanding meter signatures
For each meter given, write the beat unit on the staff (on any line or space); and the meter type (duple,
triple, or quadruple) in the blank.

,=1 J 12 IM IA le I~' I
duple

,=~ Ii Is Ii II I& II

II. Writing in different meters

A. Renotate Schumann's melody (not the text) on the staves below, in!. When beaming the rhythms, use
modern ("instrumental") style rather than vocal notation.

Schumann, "Widmung" ("Dedication"), mm. 18-25 g

'Un a~
# 18 19 20
-
I ,23.
21

0 J JI ii J ~l I J J t J .J---- JI
Du bist von Him me! mir be- schied - en. Dass du mich
23 · 24 25
d· +-11 ti J J
1 r· 21 ,t ) J •r ~ 1•r F r r FII
liebst, macht mich mir werth,_ dein Blick hat mich_ vor mir ver - klart,_ du hebst mich

20 21

22 23 24 25

Chapter 2 Simple Meters -

 B. Renotate the following rhythms without ties. Then perform each rhythm.

(1) 11 ~ )l-.n .a 1 )l~)l )l I a~n ), 1

J_)l II e
Renotated II ~ )i. ji II

(2)
1,
··1, .•
. '

Renotated -111fH-C"i--------------------tlll

(3)

Renotated -111fi;,~f--------------------tlll
:i
i\

.I.
I
: C. Complete the rhythms below by adding one or two rests to complete any measure marked by an arrow.
i
,,
Then perform each rhythm. ('
. / '
I•

11 ~
; i·
J. ), ), 1Jjjj)l 1J
'I
!
.
(1) 'I
t
1J
t t t
II
(2) II~ )l ),
t
1J ),.
t
1B n), t
l)l;;
t
II
J J JJ 1JJjj,J JJJjjj)l 1J
(3) II~
t t
1J
t t
II
Hz J j j ),
(4)
t t t t
II
(5) II~ ,J I O J IJ J J J J I o_n J II
t t t t

(6) 11t )l .r:J I J. )l )l 1.En )l II

t t t

C
- }! •
:·/·,

I ~
:.'l*i:;:,
:J{'i
111'_,
. I ,.
Part I Elements of Music
j
..'
.

~
.
 NAME _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

• Assignment 3.3
I. Scale and scale degree
A. Given the scale degree notated on the left, write the major scale to which it belongs.. Begin by writing
whole notes on each line and space, then fill in the necessary accidentals. Write the scale-degree number or
name beneath the given note in your scale, to check your answer.

ol,,, o c•
0 ll~o 4) II
2' 2

?= ffo II 11,= ,,. j

II II
3' dominant

,= -0 II
leading
tone
Iii la,
4
II II

:i
::,.·
0

5'
II 11,= ~o II
super-
tonic
II

3' 7
,,,:;,Complete the table below by writing the major key, scale degree, or letter name requested.
~t,)
~:.
SCALE DEGREE PITCH MAJOR KEY SCALE DEGREE PITCH

7 (7) F subdominant

supertonic C# (8) D leading tone

C# (9) 4 Fi
3 (10) B 5
4' m (11) C mediant

leading tone A (12) 6 F

Chapter 3 Pitch Collections, Scales, and Major Keys la;

 NAME _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

,.....,.,,.,,..• -=---......,,.. . .
..,,,,.~.:c---...,,,..,.._,__~.,.""'"'"""""<~~,...-,:,_=,=='-"-~..,...,-.......-~----...-.-"""="~""...
~--=_,,,.,,,._._,....,.=-<.-.-......,,.-.,,.,,....,.....~-=,..,.,.=,~-=-"""""""""'...............
~ ---==--..... ...,.,,,_,.---""'_="'=
. .,..~,.==---=•= - - ~..

• Assignment 3.4
I. Key signature review
.i A. Identify the major key indicated by each key signature below.
. (1) (2) (3) (4) (5) (6) (7) (8) (9) (10)

II ~1i1,b~ II # II ~l'I, # tt1 II ~1·1,b #11 II ~I, #11#1 ~1,1,b~1,

'#11#1uH 11 11 11 II
11 11
11
Fl

B. Write the key signature for each major key specified. Place sharps or flats in the correct order and octave.

(1) (2) (3) (4) (5)

'
(6)
Bs maJor
.
11 :1=

(7)
Bmajor
"'
(8)
Gs major
11

(9)
:1=
Cl major
"'(10)
Dmajor
II

113 11113 11118 11118 11113 II

Gmajor Eb major A major mmajor Emajor

II. Identifying scale degrees

·--~·--··
A:, ·write the appropriate note on the staff indicated by the major key aud scale degree.
(2) (3) (4) (5) (6)

3' F: 7' A: 2' Fl: 4 m: i5 Eb: s

'.,.ach of the following sequences of scale degrees aud solfege syllables represents a well-known melody.
,¢~e'is notated with just the first letter ofthe syllable.) An underlined symbol shows a pitch below the tonic.

!e;-th_e top staff, write out the major scale specified, aud label with scale degrees or solfege.

's,e.these labels to write out the melody (with correct key signature) on the lower staves. For now,
: · : J:i.m is optional. ·
r:~·:· _.
· !)/!'>ul<nowthe name ofthe tune, write it in the blaukprovided (optional).

Chapter 3 Pitch Collections, Scales, and Major Keys -