“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”

RUDIMENTS AND THEORY

PREHISTORIC 35000 BC
ANCIENT 2500 BC
MEDIEVAL 500 AD
POLYPHONIC 1200
RENAISSANCE 1400
HOMOPHONIC 17TH CENTURY
BAROQUE 17TH CENTURY
CLASSICAL 18TH CENTURY
ROMANTIC 19TH CENTURY
MODERN 20TH CENTURY
 “FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”

PYTHAGOREAN THEOREM
PYTHAGORAS: MUSIC, GEOMETRY AND MATHEMATICS
 Pythagoras (570-495 B.C.E – approximation)

A. Pythagoras was historically known as a

mathematician, philosopher, musician, scientist and
cultural hero and borderline mythological figure from the
ancient world. He was born in the 6th century B.C.
(approximately 570 BC) Popular beliefs about Pythagoras
has always been that he was born on the island of Samos
in the Aegean sea, however that is probably only one
theory (although well adapted) of his origin.
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”

Pythagoras is best known for his Pythagorean Theorem, a geometry

theorem that states that in any right-angled triangle, the square of the
hypotenuse (the side opposite the right angle) is equal to the sum of the
squares of the other two sides (A2 + B2 = C2).

He believed that music should be regarded as a holy science and should

never be used for mere entertainment purposes. He recognized music as
the unifying principle of Harmonia, which he regarded as a divine
principle that brings order to chaos and discord, which is also a
reconciliation of opposing principles. Harmonia was one of the main
principles of design and creation used in Egyptian architecture. 6
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”
Pythagoras measured specific string lengths sounded against each other
and discovered that these intervals, not only as they relate to the
fundamental frequency, but to each other and found that these ratios
produced the following intervals;
1:1 = Unison,
2:1 = Perfect Octave
3:2 = Perfect Fifth
4:3 = Perfect Fourth
5:4 = Major Third
He also discovered that the number twelve was the most divisible small
number and that all of these basic ratios can be expressed as mathematical
ratios of twelve:
12:12 (unison)
12:6 (octave)
12:8 (perfect fifth)
12:9 (perfect fourth)
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”

GREGORIAN CHANT NOTATIONS

BENEVENTAN MUSIC
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”

GREGORIAN CHANT NOTATIONS

“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”
FOUNDER OF STANDARD MUSIC STAVE
The founder of what is now considered the standard music stave was Guido
d'Arezzo,[13] an Italian Benedictine monk who lived from about 991 until
after 1033. He taught the use of solmization syllables based on a hymn to 
Saint John the Baptist, which begins Ut Queant Laxis and was written by
the Lombard historian Paul the Deacon. The first stanza is:

Ut queant laxis
resonare fibris,
Mira gestorum
famuli tuorum,
Solve polluti
labii reatum,
Sancte Iohannes.
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"Ut queant laxis" or "Hymnus in Ioannem" is a Latin hymn in honour of 

John the Baptist written in Horatian Sapphics[1] and traditionally attributed to 
Paulus Diaconus, the eighth-century Lombardhistorian. It is famous for its part
in the history of musical notation, in particular solmization. The hymn is sung
to a Gregorian chant, the original do-re-mi music.
It is not known who wrote the melody. Guido possibly composed it, [2] but he
more likely used an existing melody. A variant of the melody appears in an
eleventh-century musical setting of Horace's poem Ode to Phyllis (4.11)
recorded in a manuscript in France.[3]
Guido used the first syllable of each line, Ut, Re, Mi, Fa, Sol, La, and Si, to read
notated music in terms of hexachords; they were not note names, and each
could, depending on context, be applied to any note. In the 17th century, Ut
was changed in most countries except France to the easily singable, "open"
syllable Do, said to have been taken from the name of the Italian theorist 
Giovanni Battista Doni, but rather Do have been taken from the word
"Dominus" in Latin with the meaning "the Lord" [14]
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”

DIMENSIONS OF NOTES

HORIZONTAL TEMPO/PULSE

VERTICAL PITCH

DYNAMICS LOUDNESS

TEXTURE HARD/SOFT
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”

NOTE DURATIONS
REMINDERS
* Set a constant tempo
* Recognize patterns as words
(group of notes)
* Subdivide beats for precision
* Consider correct phrasing
PARTS OF A SCORE
TITLE
COMPOSER
EXPRESSION
TEMPO
STAFF (LINES AND SPACES)
CLEF
TIME SIGNATURE
KEY SIGNATURE
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”
 PITCH PATTERNS

MAJOR SCALES
NATURAL MINOR SCALES
HARMONIC MINOR SCALES
MELODIC MINOR SCALES
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”
PITCH PATTERNS
MAJOR SCALE
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”
Minor (Natural)Formula:WHWWHWW
- lower 3,6,7 for minors
- begins on the 6 scale degree of a relative major
- cancels 3 accidentals from key signature
    Forms
        Natural
        Harmonic - lower 3,6 raise 7
        Melodic - lower3, raise 6,7 | lower 7,6,3
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”

PYTHAGOREAN THEOREM
DISNEY VIDEO
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”

BROTHER JOHN

Keep on reading notes

Sing while conducting or tapping the tempo

Exercise pitch and rhythmic patterns.

SESSION 2
Pitch Intervals
Arpeggios/Chords
Musical terms.
Forms and Analysis
“FOUNDATIONS OF MUSIC - BEGINNINGS OF A MAESTRO”

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