M893236
I
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$7.9s MEL BAY PUBLICAIIONS. PACIFIC,MO 63069
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MEL BAY GOMPLETE TENORBANJO METHOD
:t :a
v
AUÍHOR'5
NOTE
¡, A s o y o u t h d u r i n g t h e r o o r i n g t w e n t i e sI e n j o y e d p l o y i n g t h e T e n o rB o n i oi n o r c h e s t r o s
J J
i n m y o r e o . T h eT e n o rB o n i og o v e t h e s p o r k l i n g l i f t s o e s s e n t i o lt o t h e d o n c e m u s i c o f fhot ero.
t :a J
T h e i m m o r t o l H o r r y R e s e rw q s p l o y i n g o v e r the oir woves leoding fhe Cliquot Eskimos w i t h h i s s u p e r b T e n o r B o n i o s o l o so n d o r r o n g e m e n f sT. h e r ew e r e m o n y s t o r so n t h o f i n s t r u m e n td u r i n g t h o t p e r i o d .
t t t J I
L o t e r I w o s i n s p i r e db y m y t e o c h e r B u n n y Longo, o top ortist ond greoi leocher into b e c o m i n go p r o f e s s i o n ool n t h o t i n s f r u m e n t .
.t a a
a a a t t t t t
//Á'
:F tt
T h e T e n o r B o n j o w o s e v e n t u o l l ys h e l v e di n fovor of the Guitor to remoin in the bockg r o u n d f o r m o n y y e o r s .T o d o y i t h o s m o d e o tremendous comebock enfoying greof populority. For mony yeors I hove wonted to creote o good text book for the Tenor Bonjo ond feel thot now is the time for o modern o p p r o o c h t o f u n d o m e n f o l m u s i c o n s h i pf o r i h o s e d e s í r i n gt o p l o y t h i s i n s t r u m e n t .
)
t a a a a a a t ,
I s i n c e r e l yf e e l f h o t t h i s b o o k w i l l b e t h e onswer to lhof opprooch to good Tenor Bonioploying.
IAuLBaa
t t t !
a D a
j
t
_ Copy'right1968,1969,1987by MEL BAy PUBLICATIONS,INC. Internationalcopyright Secured.All RightsReserved. printed in u.s.A.
THE CORRECTWAY TO HOLD THE TENOR BANJO
THIS IS THE PICK
HOID IT IN THÍS AAANNER FIRMTYBETWEEN THE THUMB AND FIRSTFINGER.USE A MEDIUMSOFTPICK.
2
THE IEFT HAND
PRACTICE HOTDINGTHE TENORBANJO IN THIS MANNER. KEEPTHEPALMOF THEHAND FROMTHE NECKOF THE INSTRUMENT.
THE FINGER,BOARD
s T R I N G
The verticol lines ore the STRINGS. The horizontollines ore the FRETS. T h e e n c i r c l e dn u m b e r s o r e the numberof the STRINGS.
STRIKING THE STRINGS
ñ :
DOWN STROKE OF T H EP IC K .
Tuning rhe Tenor Banio I 2 3
I
-
I
4
I ) ) ) ) ) ,
l
t ,
t t
BANJO NOTATION
)
PIANO NOTAIION
)
'!t
t t t t t t t t
@@@o ANOIHER METHOD OF TUNING P l o c et h e f i n g e r b e h i n d t h e s e v e n f hf r e t o f t h e f o u r t h s t r i n g t o o b t o i n t h e p i t c h o f t h e t h i r d s t r i n g( G ) .
) P l o c et h e f i n g e r b e h i n d t h e s e v e n t hf r e t o f t h e t h i r d s t r i n gt o o b t o i n t h e p i t c h o f t h e s e c o n ds t r i n g ( D ) .
t
a t
P l o c et h e f i n g e r b e h i n d t h e s e v e n t hf r e t o f t h e s e c o n ds t r i n g
a a a
t o o b t q i n t h e p i t c h o f t h e f i r s t s t r i n g{ A ) .
t t t t
Pitch Pipes
-D ; a
- r =
o ' c e s f o r t h e T e n o r B o n i o ( C e l l o )m o y b e p u r c h o s e do t o n y m u s i c s t o r e . E o c h p i p e ' - e c o r r e c l p i t c h o f e o c h T e n o r B o n i o s l r i n g .T h e s eo r e o n e x c e l l e n ti n v e s i m e n t .
will
THE RUDIMENTS OF MUSIC
THE STAFF l . M u s i c i s w r i t t e n o n q S T A F Fo f f i v e l i n e so n d f o u r s p o c e s . T h e fi n e o n d s p o c e so r e n u m b e r e du p w o r d q s s h o w n t
5TH IINE 4TH IINE 3RD LINE 2ND IINE I ST UNE
4TH SPACE 3RD SPACE 2ND SPACE I 5T SPACE
2 . T h e l i n e so n d s p o c e o s l s oh o v e L E T T E nRo m e s . T h e L I N E So r e : I - E ,2 - G , 3 - 8 , 4 - D , 5 - F .
The letterscon eosily be rememberedby the sentence: Every Good Boy Does Fine.
3 . T h e l e t t e r n o m e so f t h e S P A C E S ore: I -F,2-A,3-C, 4-E.
T h e L e t f e rn o m e so f t h e s p o c e ss p e f lF - A - C - E .
4 . T h e m u s i c o lo l p h o b e t v s e s7 l e t t e r s-
A, B, C, D, E, F, G. A l t e r n o t i n gl e t l e r so f t h e L I N E So n d S P A C E S o n d s t o r t i n go t t h e fi rst g o l i n e , o s c e n d i n gw ,e forword in the olphobet:
THE CIEF /\
=z-
5 . T h i ssi g n ¡@'a)
istheTREBLE or G CLEF.
A l l b o n i o m u s i cw i l l b e w r i t t e n i n t h i s c l e f .
6 . T h eS T A F iFs d i v i d e di n t oM E A S U R EbSy v e r t i c o ll i n e sc o l l e d B A R S . BAR
MEASURE
MEASURE
MEASURE
7 . D o u b l e b q r s m o r k t h e e n d o f o s e c t i o no r s t r o i no f m u s i c .
REVIEW F i l l i n t h e m i s s i n gw o r d s i n t h e f o l l o w i n g s e n t e n c e s .
I.
Music is written on o
consisting of -
L I N E So n d
2 . T h e L I N E So n d S P A C E S ore numbered
3. They olso hove
nomes.
4 . T h e L I N E So r e n o m e d o s f o l l o w s :
5 . T h e S P A C E So r e n o m e d
6 . T h e m u s i c o lo l o h o b e t h o s
LETTERS;
They ore
7 . A t l T e n o rB o n i om u s i ci s w r i t t e ni n f h e 8 . T h e STAFFis divided into
C l e f.
b y v e r t i c o l L I N E Sc o l l e d
SPACES.
NOTES: T H I S 15A
o
?
NOTE: V
The HEAD The STEM
A NOTE HAS THREEPARTs. THEYARE
The FLAG
IJ
ABOVETHESTAFF,
IN THEsTAFF, NOTESMAY BE PLACED
AND BELOWTHESTAFF. A n o t e w i f l b e o r l h e n o m e o f t h e l i n e o r s p o c e i t o c c u p i e so n t h e s t o f f . T h e l o c o t i o n o f o n o t e i n , o b o v e o r b e l o w t h e s f o f f w í l l i n d i c o t et h e P i t c h . P I T C H :t h e h e i g h t o r d e p t h o f o t o n e . TONE: o musicol sound.
TYPES OF NOTES O |
O |
) L
THErYPEoF NorE wrLL THELENGTH oF tNDtcATE
I
I
l/
rTssouND.
tt7
O rxrs rs A wHotE NoTE. THE HEAD fS HOLIOW. IT DOESNOT HAVEA sTEM.
THIS 15 A
=4BEATS O A WHOLE-NOTE WILLRECEIVE FOURBEATS OR COUNTS.
HATF NOTE
THE HEAD IS HOII.OW.
= 2 BEATs
¿
IT HAS A sTEM.
A HALF-NOTEWILI RECEIVE TWO BEATSOR COUNTS.
NOTE la) THls ls A QUARTER
I
I
rne HEAD rs soLrD.
a
IT HAsA sTEM.
= r BEAT
A QUARTERNOTE WIIL RECEIVEONE BEATOR COUNT.
¡-
rxrs rs AN ETcHTH NoTE
2'rrE
HEAD lS SOtlD.
a
f.
= tizBEAT
IT HAs A STEMAND A FLAG. AN EIGHTH.NOTE WITL RECEIVE ONEHATFBEATOR COUNT.(2 FOR I BEAT) ó
RESTS: A RESTis o sign used to designoteo period of silence. T h i sp e r i o do f s i l e n c ew í l l b e o f t h e s o m ed u r o t i o no f t i m e o s t h e n o t e t o w h i c h i t c o r r e s p o n d s .
7
THrsrs AN ErcHTr{ REsr
THrsrs A .,ARTERRE'T
) (
_____I
TH|StS A HALFREST.NOTETHATtT rAyS ON THEL|NE.
'-.r-
THrsrs A wHorE REsr.NoTETHATrr HANGsDowN FRoMTHEuNE.
) ) ) ) )
NOTES It
-
-
I
.J
, ,
WHOIE
HAI.F
OUARIER
EIGHIH
t t t t t t t t t t
4 COUNTS
2 COUNTS
I COUNT
2 FOR I COUNT
a
RE5T5
THE TIME SIGNATURE
) )
a a a a a a
TO BE THE ABOVEEXAMPTES ARE THECOf rt'tONTYPESOF Tli E SIGNATURES USEDIN TH¡SBOOK.
IHE TOP NUIIIBERINDICATESIHE NU|I'IBEROF EEATS PER frtEASURE.
THE BOTTO'IA NUMBERINDICATES THE TYPE OF NOTE RECEIVING ONE BEAT.
4
BEATS PER *EAsuRE A QUARTER.NOTE RECEIVES ONE EEAT
) t t t
SIGNIFIES SO CAttED "COrrtfütON TltvlE"AND lS SlliPtY ANOTHER WAY
t
oF oESTGNAT|NG TmE. *
:
; a
THE NOTES ON THE FOURTH STRING (C)
IIEF
ñ
IU' -
_/
á FRETs O
--F
_-l
-{C-=--u+>
FINGERS O
WHOTE NOTES
couNTt
2
3
4
{>
HALF NOTES
QUARTERNOTES
(G) THE NOTES ON THE THIRD STRING
A
U irE
-
I
B lr-
) I ) ) ) ) ) ) )
FRETS O 'l
(r
I ,
.'=-4
t - F I N G E R S0
t )
t
WHOTE NOTES
) ) ) )
t t t t t t t t
HAIF NOTES a
A€ a:
COUNTI
t
a t
a t t t t É -= :
-
a
A ¿
GTUARTERNOTES
trr
c
SOTOS ON THE THIRD AND FOURTH STRING THE C SCATE
O['R FIRST SOTO
Long, long Ago
THE NOTES ON THE SECOND STRING (D)
E
v -r
F
G
WHOLE NOTES - - - _ " = ! . ,
u
- _
couNTr
2
3
4
HALF NOTES
QUARTER NOTES
THE NOTESON THE FIRST STRING (AI
-
FRETS
\y
U
tl 1rf
lr-
l[
O
<>
árLn:
Fl
ffil urQ-l2
WHOLE NOTES ()
e
HAIF NOTES
QUARTER NOTES
THE C SCATE (Two Octqves)
Yonkee Doodle
ttThird Avenuet'
THREE-FOUR TIME THIS SIGN
3 4 _
INDICATESTHREE-FOUR TI'TiE
BEATSPERi,IEASURE TYPEOF NOTERECEIVING ONE BEAT (Quqrter-Nole).
ln fhree-four time, we will hove three beots per meosure. A quorter note will receiveone beof.
DOTTED HALF NOTES A dot ( . ) ploced behind o nofe increosesits volue by one-holf. A dotted hqlf-note tJ.l -tt, receivethree beots.
Coloniql Woltz
THE REPEAT SIGN THEDOTSPTACED ABOVEAND BETOWTHETHIRDLINE OF THE STAFFAT THE DOUBI.E-BAR INDICATE T H A T T H E P I E C EI S T O B E R E P E A T E D . THE DOTS PLACEDBEFOREAND AFTERA DOUBTE-BAR EETWEEN. MEAN REPEAITHEAAEASURES
t6
)
t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t a a a a a J .'
A WORD ABOUT DUETS
One of the first requisitesof o good Tenor Bonioist is the obifity to ploy well with others. li is with f h i s p o i n t í n m i n d t h o t I o m s t r e s s i n gt h e v o l u e o f d u e t f r o i n i n g . Duet troining will teoch the student to perform his own pori independently without the bewildermenf or confusion coused by the rhythm or counterpointoppeoring in the secondport. The second port (ll) should be ployed by the teocher.The studentshould be oble to ploy both ports.
OMMON
Our Firsf Duef
_i
",/tS O,1
.a
| :ára= a
¡
:1
-t
f:t
J
:;/
I
-t_ -1'
-¿.-t
, ó ¿ , / .-?-
,4 a-,
-t J .J a
-' j
A? t t7
IAEI BAY
PICK.UP NOTES ore referred to os pick-up One or more notes ot the beginning of o stroin before the first meosure notes. t h e b e o f so r e c o u n t T h e r h y f h m f o r p i c k - u p n o t e si s i o k e n f r o m t h e l o s t m e o s u r eo f t h e s e l e c t i o no n d ed os such. Note the three beots in the lqsf meqsureof the following duet.
? f-
-
It
F--
c
,1e e
:-$ ¡ t-f l tl tl
? || rr 1r té |
t
J JI
.
r.+t
r¡ f J r 1 f'f a't:f ]f tl JJ JJ+J.l j'rll j ?
?
f T
t
?
p
lal
? t
ñ'I )
¡
?,?"f I ll
I
r r {-l'f
I
I
fI ,? ? T: I ll
] r,:r:f .l
I
f t
I
t
r
I
1
I
l
--r
l-t l 'l
'-l
?l t-
ll
? t F f -ll - ? | fI f' ,f If t--+ IJ l- i I t 1
lr
tl '{ i 'i l.'i'' r=J-fa-i f r
l-l
e
1
-l I
I ,
t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t J
t
THE
KEY
OF
C Att music srudied sofor in
this book hos been in the key of C. Thot meons thot the notes hove been token from the C S c o l e( s h o w nb e l o w ) o n d m o d e i n t o m e l o d i e s .
ASCENDING lYzl
I t i s c o l l e d t h e C S c o l eb e c o u s et h e f i r s t n o t e i s C o n d w e p r o c e e df h r o u g h t h e m u s i c o lo l p h o b e f u n t i l C r e o p p e o r s .
c - D - E - F - G - A -B -C .
DESCENDING
W e w i l l c o v e r t h e s u b i e c to f k e y s o n d s c o l e sm o r e t h o r o u g h l y í n t h e T h e o r y o n d H o r m o n y C h o p f e r so p p e o r i n g loter on in ihis course. A t p r e s e n iw e w i l l d e o l o n l y w i f h b o s i cf u n d o m e n t o l s .
STEPS A H o l f - S t e pi s t h e d i s f o n c ef r o m o g i v e n t o n e t o t h e n e x t h i g h e ro r l o w e r t o n e . O n t h e T e n o rB o n j ot h e d i s t o n c eo f o H o l f - S t e pi s O N E F R E T . A Whole-Stepconsistsof TWO Holf-Sreps. f h e d i s t o n c eo f o W h o l e - S t e po n i h e G u í t o r í s T W O F R E T S . f h e C S c o l e h o s t w o h o l f - s t e p s .T h e y o r e b e t w e e n E - F o n d B - C . N o f e l h e d i s t o n c eo f o n e f r e t b e i w e e n t h o s e n o t e s . f h e d i s t o n c e sb e l w e e n C - D , D - E , F - G , G - A , o n d A-B ore Whole-Steps. W h o l e - S t e p so n d H o l f - S t e p so r e o l s o r e f e r r e dt o o s W h o l e - T o n e so n d H o l f - T o n e s .W e w i l l r e f e r t o t h e m o s W h o l e - S t e p so n d H o l f - S t e p s .
THE TREMOTO A t t h i s t i m e w e s h o u l d s t o r t t h e d e v e l o p m e n to f t h e t r e m o l o . T h e t r e m o l o i s o v e r y r o p i d d o w n o n d u p s t r o k i n go f t h e p i c k g i v i n g o s u s t o i n e dt o n e . T h e t r e m o l o w i l l b e e m p l o y e d o n o l l n o t e s r e c e i v i n gm o r e i h o n t w o b e o t s .T h e s i g n f o r t r e m o l o i s ? *
THE TIE The TIE is o curved line between fwo notes of the some pifch. The first nole is ployed ond held for the time durotion of both. The second note is not ployed but held. EXAMPIE
3
s .'
It \----
J .J -J
THE C SCALE
TIE COUNT
r23
n 231
't
_-' i9
WHENTwooR|^oRENoTEsAREWR|TTENoNTHEsA|,lEsTE,t,tPIAYTHEMAsoNE. fingersunlil necessory' (x- - - - - -): Hold fingersdown' Neverro¡se
MEt BAY
Follow The Lec¡der
-^
---T
^---t
IA
I I
a
-¡
L
[Tt
20
a
---a
) , ,
t t t t t t t
THE E NOTE ON THE FIRSTSTRING,7Ih FRFT
in
)
t t ,
t ,
Sporkling Srellq
, , ,
t t t t t t t t t t t t t t t t a t I
t t t t t t --
Double Trouble
, ,
t t t t t t t t t t t t t t t t t t
CHROMATICS The olterotionof the pitchesof tonesis broughiobout by the use of symbolscolled CHROMATICS. (olso referredto os ACCIDENTALS)
THE SHARP
# The SHARPploced before o noie roisesits pitch t/z -step or one fret.
s r R t N G@ . . . - . . - - -.- . F I N G E R S( )
1
Z
3
4_.-*
4 i
0
r_-_I
z
a
L-L
FRETS
J
t t t )
t t t t t t
THE FLAI
b The FLAT ploced before o note lowers its pitch t/t -stepor one fret.
A
J t
á ¿1
a a a a t 3 -t 3 '3
THE NATURAI.
h
The NATURALrestoreso n o t e t o i t s n o r m o l p o s i t i o n .l f c o n c e l so l l o c c i d e n f o l sp r e v i o u s l yu s e d .
-3 -{t -_a
?..\
i
THE CHORDS IN THE KEY OF C T h eC h o r d sI n T h eK e yo f C A r e ' C , F ,& G 7 MUSICAI NOTAT¡ON
iE, MUSICAT NOTATION
Gr I | | /
TIT
| | |
: srnoKEs oF TUEPtcKovERTHE
'
FOURSTRINGS.
:
srRUMTHEc cHoRDTHREE TrMEs.
24
, ,
CHORD STUDY IN THE KEY OF C
t t t t t
./ :
REPEAT THEPREVIoUS MEASURE Gz a
)
t t t t t t t t t t t t t t t t t t t t t t t t
OUR FIRSTSONG (Usingthe C ond G7 Chords)
[ong, Long Ago (-) Tell -
me the
Gr
C //// t a l t ' s-
that
to
G;
I
Iong
C t// w e r e *sc)
Gr
/// T .,.I.urr5 -
C /// me -
dear
(l /////
a-g()
Iong -
/
long a-go
ra $-¿
)
(\
C
o a a
'(n
)
¿-
-me
I
the
song -
(-)
c ///
de
light
ed
to
hear
)
t
lr?
///
) )
I
l-ong -
long
Gz /lttttl ¿r go
Gr
(,) tl
long
Iong
)
1 z. (e .---l-
)
Be sure to ploy the chordsdirectly on eoch word or sylloble os indicoted.
)
Q-l
(} -'--
I
;
25
go.
The Blue Toil Fly (' I C C O M P A N I M E N T7.
(i;
¡ ///
/// \\.1: \'tlUIl$ ánd
used to wait
///// on my
ole Mas'and
(' //// hold his plate -
SOLO,
j T' AJ
(' /// I'a:s the
l' jug
/// he was dry
vi'hen
and
Gz ////// brush a - wíty
(l the
blue tail
flv -t
F--
J
T--
I
Gz //// I don't
Jirn crack corn and
Gr /// J i * c r a r : kc o r n ¿uld
care
(1.
lt// I don't care
?
T (,' tltt Jirn crat'k corn and
F
Gr0 lttl/ \l¿rs-sas gone a - \\'ay.
It? tta
I
don't care
The Bonio Morch
Gr
26
MEL BAY
THE KEY OF A MINOR (Relotiveto C Moior) EochMoior key will hove o RelotiveMinor key. The RelotiveMinor Scoleis built upon the sixthtone of the Moior Scole. TheKeySígnoiureof both will be lhe some. The Minor Scolewill hove the somenumberof tones(71os the Moior. The differencebefweenlhe two scolesis the orrongementof the whole-steps ond holf-steps. qre There three forms of the minor scole:l. PUREor NATURAI,2. HARMONIC.3. MELODIC.
; I ) ) ) )
NATURAL
The A Minor Scqles
) ) ) )
HARMONIC
) ,
t t t t t t
f ELODtC
¿
¿J
f H E M I X E D M I N O R S C A T E( A s c e n d M e l o d i c o n d D e s c e n dH o r m o n i c )
) ) )
t t t t t t ) ) ) )
6 QJ
T H E G Y P S YM I N O R S C A L E( T h e 4 t h o n d 7 t h T o n e so r e R o i s e dt h r o u g h o u t l
ó
a_
T h e M e l o d i c o n d H o r m o n i cM i n o r S c o l e sw i l l b e u s e d i n t h i s t e x t .
e
Minkq
¿
)
t ,
t t t t t 2 .t
c {4 t a
6 o
27
THE EIGHTH NOTE A n e i g h t h n o t e r e c e i v e so n e - h q l f b e o t . ( O n e q u o r t e r n o t e e q u o l s t w o e i g h t h n o t e s ) . An eighth nofe will hove o heod, slem. ond ffog. lf two or more ore in successive order they moy be connected by o bor. (See Exomple).
Eighth Nofe And Eighrh Resfs ET.HTH NorEs ) JJI
J1:) IJ-J-J-JJI= )
EIGHTHNorEsT 7 7'l
aaoo-2
f-j-r-]
I I a rr]--] aaaaooo-_
The Scqle in Eighth Notes -
counl:l
¡|¡-..t]l¡
&
2&
3
&
4&
Hqrmonic Mode
Melodic Mode
2E
o
THECHORDSIN THE KEY OF A MINOR T H E C H O R D SI N T H E K E YO F A M I N O R A R E :A m , D m & E Z . MUSICAT NOTATION
Ar
MUSICAT NOTATION
llr
t uslcAt
Er
29 !
-
NOTATION
THE UP STROKE l/
V
-
of the some pitch. This strokewill be usedon repeotedeighth-notes UP STROKE.
A Visir to the Relqfives
A MINOR (Hormonicl
(q -f-f
ru ; 'oa'o'o
a
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--
n J J ¿ .g4 - -
-
c+-2
LJ --r-i -
t.--.-L.r-H? +
-? i lffi
L-l''-
A ,tllNOR (Melodicl
The Volgc Boqtmqn 24
30 foshion. G l i d es l o w l yo v e rl h e s i r i n g si n o H o r p - l i k e
j
I
t t t t t t t t t t t t t t t
Two New Nofes
TEMPO Tempo is the rote of speed of o musicol composition. Three types of tempo used in this book will be: ANDANTE: A slow eosy poce. MODERATO:Moderote. ALLEGRO:Lively.
Ploytime
a
:T ,r,á -?.- + +
r' l /¡
t
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oj
o'
Ct2 -:l' Á a
1n ;'
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THE KEY OF G The key of G will hoveone shorp.(Ffi) It w¡ll be identifiedby this signoture: The F-noteswill be ployed os shown,
4TH FINGER 6TH FRET
3RD FINGER 4TH FRET
9TH FRET
The G Scqle
t/z STEP
Note thot in order lo hove the hqlf-stepsfolling between the seventhond eighth degrees of the scole the F must be shorped. O u r m o i o r s c o l e p o t l e r n i s t h e n c o r r e c f . 1 1, 1 , 1 / 2 , 1 ,l , I , % . ) ( s t e p s )
TWO.FOUR TIME THIS SIGN
INDICATESTWO.FOUR TIIAE
2 _ BEATSPERTiAEASURE 4 - A QUARTER NOTERECEIVES ONE BEAT
Two-FOURtime will hove two beots per meosurewith the quorternole receivingone beot. T E N O RB A N J O D U F T
" D . C . o l F I N E ":
The Old House
G O B A C KT O T H EB E G I N N I N GA N D E N D A T " F ¡ N E " . '19
AAETBAY
The G Scqle (Two Ocfovesl 3
n.lrñnnnn NVñV-VNV
A Scqle Sfudy
Drink To Me Only Wirh Thine Eyes Moderoio
HRsr AND SECOM Sometirnestwo endings ore required in certoin selecfions. . . one to leod bock into o repeoted chorus ond one to cfose it. They will be shown like this:
( 1 s tT j n r e )
(2¡d Tinre)
The first time ptoy the brocketed ending l. Repeotthe chorus. The secondtime skip the first ending ond p l o y e n d i n gN o . 2 .
n.|.1n.n. .n!,.v¡v
A Doify Drifl
A Duer in G
,!^AZAS
NorEs
ffiRTER
its Vqlue by ONE-HALF' A DOT AFTERA NOTEincreoses
/a
Eighrhs
- Note
ffit_;l h*-f-EeuAr
ro+[ffi1
quorler-note is os f o l l o w s : The count for the doited
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A O"tted Gluorter-Note Etude I
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A Scqle StudY
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tal
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A Rhyfhm Review |.r V-V
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Austrion Hymn I
ll
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THE CHORDS IN THE KEY OF
t t t t t t t t t t t t t t t t t t
' ' C & DZ' l N T H EK E YO F G A R E G T H EC H O R D S
?F, MUSICAT NOTATION
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t t t t t t t t t t t t t t
ilr'
th
t t t t 't -t -t
Ploy fhe following Chord Srudy G
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-.t t
lq e
,.t 'e
Dz
0
E f 21
G
THE KEY OF E M¡NOR ( R e l o t i v et o G M o i o r ) T HEE M INORSCALE H A R M O N I CM O D E
Melodic Mode
o_g
ttDqrk EYes"
,
t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t ,
t t ,
t t t t t t ) ) ) t
Horik Voh ( T h e H o p e)
I
a
, = A Horp Like Stroke a
a
The Woyforin'
Sfronger
THE CHORDS IN THE KEY OF E MINOR : m ,A m & B Z T H EC H O R D lSN T H EK E YO F E M I N O RA R E E a\ MUSICAT NOTATlON
Er
Ar
Br
40
I )
HOW TO COUNT TRIPLETS o. Whot ore TRIpLETS?
) )
A. A group of three notes,ptoyed in the time of two notes of the some kind. . TRIPI.ET.EIGHTSI rEtcHTs-l
) )
equol ro
) rJr
)
-|
|
) ) )
trip-let
2 trip-ler
) ) )
Torontelle
.n. r-71
, )
All ñ
33
stroke
,
t
Counl: I
trip-let
,
2 t r i p - l e t I i r i p -l e t .f
2 .)
t
t t I ¡
/1. ttl
I r-pii fo proctíce both ports.
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Triplef Duef
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)rt I
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ol FfNE
41
THE KEY OF F T h e K e yo f F w i l l h q v eo n e f l o t . A l l B - N o t e sw i l l b e p l o y e d o n e H o l f - S t e pl o w e r o s s h o w n :
3RD FRET I ST FRET
The F Moior Scole ( T w o O c t o v e s)
A Triplef Etude in F Moior q
o
Melody in F
, ,e gÉÉFrii#f l¡prot? -r k+ \f + IiV'rt F l: IFi-+3 #+ rffiI#f 42
"Aunt Rhody"
t tCqreless
Lovet t
t'Auro Lee"
MUSICAL TERMS D O L C E "' S w e e i l y ' AN|MATO...Lively M A E S T O S 'O" M o i e s f i c ' C A N T A B I I E... I n o s i n g i n gs t y l e ' ' 'Quicker' I U' M O S S O ud S F O R Z A N D O . (. s. f . .) . . F o r c i n g t h e t o n e s u d d e n l y l o P MoRENDo...Dyingorfodingowoy.SosTENUTo...Sustoined. A D L I B I T U M ( A p i o c e.r. e. A) t t h e l i b e r f y o f t h e p e r f o r m e r . A T E M P O . . . B o c k t o t h e r e g u l o r t e m p o ' cresc.) Groduolly C R E S C E N D(O (d¡m.)-Groduolly DIMINUENDO grow louder. grow softer.
Romqnce
MAZAS
ANDANTE
trl ú ,1_._1
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a ?
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l-, ral ,l
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F i' I? 'I
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Jtl
l'¡l1 l14 H
[, r \-,I
44
THE CHORDSIN THE KEY OF lN THEKEYOFFARE:F,Bb& C7. THECHORDS
THls IS A MODIFIEDFORMOF THEF CHORD USEDIN THEKEYOF C. IT I5 RECOMTAENDED FORUSEIN THEKEYOF F.
Bt
Gr Chord Srudy
+.)
THE KEY OF D MINOR The D Minor Scqles
Two Studies in D Minor
,;ALLLL?
-¿ii^
Blqck ls The Color Of MY True Love's ]|c¡ir
Duet in D Minor
I ) ) )
t ) ) ) ,
I ,
I , ) )
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47
THE CHORDS IN THE KEY OF D MINOR : m ,G m & A Z T H EC H O R D lSN T H EK E YO F D M I N O RA R E D
Dr
G' Az CHORD STUDY A7
Gm
48
ACTUATPITCH(s,-,,¡ w h e n th e p i tch p l o ceso noie so high obove the stoff thot r eo d i n g b e co me s d i ffi cult the nototion m oy be lower ed one o c to ve .T h i s i s " A ctu o l Pitch" in Tenor Bonio m usic.The ter m Soais used for fhis.
"L o co " me o n s re tu rn b o ck to the or ginol nototion. The notes on the first string in Actuol pitch.
49
THE KEY OF D MAJOR The Key of D Mojor will hove two shorps-
F# ond C#.
A Study In D
p. - Tremolo Lively
She Wore A Yellow Ribbon
50
SIXTEENTH.NOTES l n c o m m o n t i m e f o u r s i x t e e n t h - n o t ee sguol one quorter-note.
They moy be countedin this monner: | -six-teenth-nofes,2-six-teenlh-notes,3-six-teenth-notes,4-six-teenfh-notes.
Exomple sln ieo xe? ne ls h
25 I
x
ln eo et ne ts h
sln i eo t xe ne is h
4s I
x
tn eo e? ne ls h
TABTEOF NOTES AND RESTS Whole Note Hqlf Notes
d
I a
Quorler Notes Eighrh Nofes
¿¿
Sixleenth Notes J a a a
I
A Whole Meosure Rest A Holf Rest
I
I a aa FFFI ¿¿¿¿
¿
I a
..f
A Quorter Rest el An Eighth Resr 7
¿
f-1
l-l
¿ ¿ trt-Ff aa.a
taa
aaaa
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A S i x l e e n t hR e s t '1
In lhe fifth ond ninlh meosuresof the following siudy on eighth note is followed by rwo sixteenth n o t e s .ltut 2 f l) a
aa
They moy be countedin this rrronn€r:L-u 7
&a
a
aa
L-lJ 2
&a
A Speed Study ln D Allegro
t'lvnynvny
nvnvnynv
COUNT:TfJI ¿ ,: f-'- ! i ii ;ñ ér- ii éÁ t? ne ts h
ts h
o
&a
9i
s
tl e
X
t.'
et n{) ts h
r1
a
aa
a
i--tl
t-ll
3
4
&a
)a &a
Minuet ln D TENORBANJO DUET Allegretto
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nññn
7 &2&
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Arr. by Mel Boy
nnñ
D
j'f]
n
DAz
D
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D ,I 4 7 -l
t)
D
J-fl
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D
)ta
II
( K E Yo F D rl l l i o h )
ol FINE
Dr
D. C. ol FINE
Cieliro lindo Iively
V. .
t3
Drink To Me Only Wirh Thine Eyes Moderoto
53
I?
ü
2
+r
THE CHORDSIN THE KEY OF D T h e C h o r d sI n T h e K e Yo f D A r e : D , G , & A Z
D
G
At
THEKEY OF B MINOR (Relotive to D füoior)
THE B tvllNORSCATES
Etude In B lvlinor a
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Chqnson Triste
THE CHORDSIN THE KEY OF B MINOR T H EC H O R D S l N T H EK E YO F A M I N O R A R E :B m ,E m & F : 7 .
m,
r
CHORD STUDY E }I
F#?
TNilE THREE.EIGHT -4-
time. three-eight indicotes
Thissign ffi
a
3 --beots per meosure. 8 - - type of note receivingone beot. (eighf note)
: two beots ond o dotted quorter-note An eighth-note y' : one beot, o quorfer-note f ': three beots. A sixteenth-note =tbeat. g f
Creole Memories Moderoto
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.
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57
THE DOTTEDEIGHTH NOTE A Dotted Eighih-noteis equol to EXAMPLE:
|\ .
¿t
I
JJ 11
,6
I
equol to
|\N
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rTi",
lJ
1l
6,
,6
G,
33
1616
Country Gordens
I I
Ihe fteyof g_FtAf will hove,_.
,
;::,,%Afl g ond rñ
I I
@
9--';r:nd
:---É
,
&
F nores E ,^r^wilf ,r\
9c
b, e fowered t/2 step.
t tl
I
ll ,
t t f.
t t:
rl
a
t t-r
rá rü t ¡r
-A
'
-r-
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*-.................-
=_=+-f=.= rñ.n-
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U-
9-
t
-
Í,t41:-
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c¡_---
'-'.':=-_====-
I
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Al,l,A-BEEm
whencommon rin ne
is to be pfoyed in o r.rrr^^ .^_ r
r h - ^ best L_-, then to counr onty r*o b-";;:":^;:"J:r"..too Eochholf meosure wiff receiveone beof. Ihis is referredto os ..cuf,, lime.
Therime "i:ffi3; ñ
1if;;t*""
fost ro convenienrry counr four beofs, ir is
fimewillbeo verricof finedrownrhroush rheferfer c osshown: d
THE QUARTER-NOT¡ TNIPIET p
Thisgroup of notes.? ? ,Ll_l)
is used exrensively in modern music. T h r e eq u o r r e r - n o t e s wirf be ployed in the some rime required by two. f n p l o y i n g t h í st y p e o f t r i p l e re m p f o y t h e A f f o - B r e v et y p e of count.
r-;*r
r-J -r
r-?-r
ETUDETWO
,' ¿
SIX-EIGHTTIME Thissign
indicotes six-eight time.
;
ó8-
I
I I )
I I )
beofs per meosure type of note receivingone beot
AnEighth-notej:on:beot,cquorter-noteJ:twobeotsondodottedquorternoteJ.-three beots, o sixleenth-note - y2 f,¿sl. .f, six-eighttime consists of two unitscontoiningthreebeorseoch. ft w¡ff be counted' ,l
FFT
r! ¿ wirh rhe occentson beotsone ond four. t - 2l - E - 1|- t - O I
) )
TRIPIETETUDEIN B.FLATMAJOR
) )
t ) )
I I I I ) ) ) ) ) ) I Andonte
On Wings of Song
FETIXITIENDELSSoHN Arr. by Mef Boy
THE CHORDSIN THE KEY OF B.FLAT T H EC H OR D S tN T HEKEYOF B- FLAT ,ARE: B[, E$ & r z
il,, IAUSICALNOTATION
Bb
ffi,
Eb
Fz
CHORD STUDY
t I
THEKEY OF G MINOR
tt-
(Relotiveto B-flot Mcior)
3 I
ThekeyofGMinorwillhovethesomekeysignotureosB-f|otMoior.
THE G MINOR SCALES
a {¡ -
t t t t t t t t t t t É
t t J
t t t
úoltr
FromThe Poet qnd Peqsqnf Overlure
Allegretto
.< --<¡
-{ : = : -,
-t
-a -t
-a ,r-Q_'
-{
Y tqrc ----z "l
=--I¡-'
E I E I É
t-I
i-t it
ttSuhqnqtt Arr. by Mel Boy
" l3i ri
[empo ¡ l l -
F!'¡ n
64
,
THECHORDSIN THEKEY OF G MINOR
)
& D7' T H EC H O R D Sl N T H E K E YO F G M I N O RA R E :G m ' C m '
) )
t
MUSICAL NOTAIION
)
t t t t t t t t t t t t t t t t t t t t t t t t t t t t
GM
CM ?
rr
Ct
D7
a a a a {
Chord Study
{ Gll
J
-t -.
c,
(qt l.*
{
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f
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THEKEY OF A The key of A will hove three shorps.(F#, C#, ond G#.)
THEA SCATE
*Optionol fingering
SCATESTUDY
¡ v ñ I Ii
g
4 St'o------'-'----------------;
Mqriq
KEY OF A 'IIINOR
D.C.ol FINE
66
t : :
THE NOTESON THESEVENTHFRET
: j'
j'
t !
t t t t t t t t t t t t t t t t t
ANOTHERSCATESTUDYIN A MAJOR NV-V
34
|rv|-lt
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24
Hqppy Frefs Allegretto
a t t t t t t t !,
a
a a a a
a t t t t t )
Á,# a
--__I
.- _1_a
nitard 67
rr
The SpeedwoY
R,omqnce Moderoto DUET
KEY OF A MINOR
12--e
THE CHORDSIN THE KEY OF A T H E C H O R D SI N T H E KEYOF A ARE:A, D & EZ.
A
D
E7
CHORDSTUDY JI
-t-¿ ü -
Gte
E;
MORE CHROMATICSIGNS Up to fhis point we hove studiedond used ihe Shorp(f), the Flor{b),ond the Noturol (h).Thestudent is fqmilior by now with iheir function.We now introducethe Double-Shorp ond the DoubleFlot. x :
Double-Shorp. A Double-Shorp will roisethe soundof o tone two frets.
bb : DoubleFlot. A Double-Flotwill lower the soundof o lone two frets. A notursl will cqnceloll shorps,flots, double-shorpsond double-flots.lf o nole hos been doubleshorpedor double floited, the reiurn to one shorp or flot will requireo noturol sign followed by t h e d e s i r e ds h o r po r f l o t .
THEKEY OF F# M¡NOR Relotiveto A Moior
Two FI Minor Scoles
Fr I{INOR HAR^ ONIC
A TABTEOF NOTESON THE FIRST.SECOND,THIRDAND FOURTHSTRINGS
I t ) ¡) It
!
t t t t
Folk Song
)
t 3
t t t t t t t t t
cri
a a
=----
a
a a t t
'.¿7 /^'i
a t t
71
THE CHORDSIN THE KEY OF F-SHARPMINOR N T H EK E YO FF - S H A RMPI N O RA R EF, fm , B m& c f 7 T H EC H O R DlS MUSICALNOTATION
rF' Ff'n
B,n
Ctz
CHORD STUDY cli
THE E.FLATSCALE
THEKEY OF E-FLAT
will be lowered o Holf-SteP' All B' E ond A notes flots' three hove The key of E-FLATwill
Bequtiful Dreqmer
; I
t )
I ) ) ) ) ) ) ) ) I
SIGNS APPERTAININGTO EXPRESSIONAND PHRASING ;; T h e S t o c c o t o :( f ' l |
. o n e s d e s i g n e di n i h i s m o n n e r w i l l b e p l o y e d i n o | | | I i n d i c o t eS t o c c o t o T ", disconneciedstyle with emphosis.
);a)
f f f f ::: ))a I f | )
.,
: S h o r t l i n e s o v e r n o t e s i n d i c o t ee m p h o s i so n d i n d i v i d u o l i t y . , E v e r yt o n e m o r k e d t h i s w o y s h o u l db e e m p h o s i z e dí n d i v i d u o l l yo n d s l i g h t l y s e p o r o t e d .
, Accent with sudden force.
Legoto(-_).Al|toneswillbeconnectedondp|oyedinof|owingsty|e'
-----The Swell (
-H
#ÉJ
Slow
, Groduol diminishing of intensity. ==-
nJni -i
) : l n c r e o s eo n d d i m i n i s hv o l u m e .
. i--r-,ffi-
' a -=^- ¡''-:-- -É--,
Elirj trfri tffi?r#ll
a I I t
t t I
GRACE NOTES Groce notes ore smoll-sized noles, which subfroci their vofue from the note they The Technicolterm for the grqce note is Appoggioturo. The groce note wirf be crossedqt the end ond wi, be proyed the some os sturs.
t t t t t t t t t
EXAMPTE
SCATESTUDY
I
t I
t t t t t I I t t t
t )
Tenuto( A l : Hold the tone its fulf volue. Rubolo:Siolenfrom one tone ond odded io o tone preceding. tuft Pouset// I ' An exoggerotedpouse. usuoltyfollowso notethot is held by o hold sign.(fermoto) Exomple: ? ll |" TheCommo{ , } is usedsomelimes to indicoteon interruptionÍn the ffow of tone.
) ) )
Shenondooh
) )
Slow
) I I
--
THECHORDSIN THEKEY OF E-FLAT T R E :E f' A b & B b 7' T H EC H O R D Sl N T H EK E YO F E - F L A A
IAUSICALNOTATION
115
+-
^
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\
Bbt
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CHORDSTUDY Bni
) )
THEKEY OF C MINOR
) )
lRelotive to E| Moior)
)
The C Minor scoleswill be ployed in the third positionwith the exceptionof the highernoteswhich will be ployed os shown.
) )
THEC MINOR SCATES
) ) ) ) ) ) ) ) )
T h e f o l l o w i n g e t u d e w i l l b e i n o l l o - b r e v eo r c u t i i m e . f n g r o d e f o u r f h i s t y p e o f t i m e h o s b e e n e x p l o i n e d .W h e n p l o y i n g t h e q u o r t e r - n o t et r i p l e t s ,d i v i d e t h e m e o s u r e si n t o t w o b e o t s g i v i n g e q c h s e t o f i r i p l e t s ,o n e b e o t e o c h .
) )
t
ETUDEIN C MINOR
) )
'/
.l.1|.1.
t
) t',uttt: 1
) :/
) ) o-
) ) ) )
A a-
) ) )
Melodic
) ) ) ) ) ) ) ) )
#
3
) ) ) I I
77
--J
THE CHORDSIN THE KEY OF C.MINOR I N T H EK E YO F C M I N O RA R E :C m , F m & G Z ' T H EC H O R D S
a, NOTATION MUSICAT CM
CHORDSTUDY
7B
_
----i Il
Il
:
I
t t t t t t t t t t t t t
THE SLUR To execute oscending slurs of two noles, the lower note ¡s to be ployed ond the finger of the left h o n d d e s c e n d sh o m m e r l í k e u p o n t h e h i g h e r n o t e c r e o t i n g i h e t o n e d e s i r e d . Descendingslurs ore execuled by first fingering the notesto be ployed with the left hond. Strikethe higher nole ond by drowing the finger sidewoys off the string, the lower note will ouiomoticolly sound. Slurred notes will be connected by o curved line. ( ^ )
ASCENDINGSTURS +l fi
DESCENDINGSIURS
I
t t t t t t t 3 t t I t t
THE SIIDE The SIide is performed by one finger of the left hond sliding over the frets from the first fo the second note. The first note is struckond the second note is sounded by the slide. T h e S l i d ei s i n d i c o t e db y f h e f o l l o w i n g s i g n :
FI t'rz-
3
t )
FFI ,¡t¿,^
THE SNAP T h e S N A P i s s i m i l i o rt o t h e s l u r i n e x e c u t i o n T . h e s e c o n dn o t e o f t h e S N A P w i l f u s u o l l y b e o n o p e n stríng.
)
t t tl
t
The first note is ployed ond immediotely the left hond finger pulls the string sidewoysos it slidesoff the fingerboord. When snopping o nole to o closed nole, both notes should be held before executingthe snop effect.
a a a !)
t t t t t t
79
THE KEY OF A-FLAT be rowered FtATs.A, B, E' A ond D wi* The key of A-FLATwi, hove FOUR b-e-o-d' ore eosyto rememberby spelling
THE A.FLAT gCALE
Wqltz ln A'Flqt
1/zsrep-Thefro*ed notes
THE TRILT When o note olternotesoccording to ifs volue, very ropidly wiih o tone or holf-tone obove it the effect produced is termed ihe trill. The best produced by picking the first or principol note ond slurring the upper ouxiliory note.
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THE CHORDSIN THE KEY OF A.FLAT T H EC H O R D S l N T H EK E YO F A - F L A TA R E :A f , D [ o n d E f Z .
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IAUSICALNOTATION
Ab
l) L, 2 l_
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Db
CHORDSTUDY
A"r-=
THE KEY OF F 'I,IINOR (Relotive to A-Flor Moiorl
HAR'IIONIC
THE F MINOR SCATES
Greensleeves
SYNCOPATION S y n c o p o t i o nm e o n s i r r e g u l o r i t yo f r h y f h m . T h e o c c e n t w i l l f o l l o n f h e b e o f s n o t n o t u r o l l y o c c e n t e d . T h e s c o l es t u d i e sb e l o w w i l l i n t r o d u c et h r e e t y p e s o f s y n c o p o f i o n .
r h e m o i o rs c o l ew i l l b e c o u n f e, dl 7 I f a t 824 S4+E
SYNCOPATIONETUDE
THECHORDSIN THEKEY OF F M¡NOR THECHORDSlN THEKEYOF F MINORARE:Fm,Bf m & CZ
'$USICALNOIATION
Ft
Ct
CHOR,DSTUDY Bill
C1
THE GRUPPETTO
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of srocenotescomposed of rheprincipof nore,ihe noreimmediorely obove
It is ployed three woys: l . B e g i n n i nw g i t h t h e note obove ond designofedos ( ca )
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PIayed 3 . B e g i n n i nw g i t h t h e p r i n c i p o fn o t e o n d d e s i g n o t e do s ( . h g ¡ )
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PIoyed lf o littfe note of the Gruppeito is to be oltered by o s h o r p o r f l o t , i t i s t h u s i n d i c o t e df o r t h e n o t e oboveot ( á ) ond thusfor f he note befow.( ) f
Wri¡ten
PIayed W h e nt h e G r uppetto sfonds between two p r i n c i p o l n o l e s , i f i s o l w o y s c o m m e n c e d with the upper nole.
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THE KEY OF E MAJOR, T h e k e y o f E M o i o r w i l l h o v e f o u r s h o r p s .A l l F , C , G , o n d D n o t e sw i l l b e s h o r p e d .
THE E MAJOR SCALE
IN E MAJOR EXERCISE
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HAR,MONICS Hormonics ore produced by plocing the finger of the left hond dírecfly over certoin frets pressing very lightly stopping the open string vibrotions. T h e y o r e p r o d u c e do t t h e 1 Z t h , 7 t h , 4 t h o n d 3 r d f r e t s . Borely touch the strings ot ony of the obove frets quickly removing the finger os soon os the string hos been struck. (Teochershould demonstrote) H o r m o n i c sw i l l b e d e s i g n o t e db y t h e o b b r e v i o i i o n s :H o r . 1 2 , H o r . 7 , H o r . 5 , o n d H o r . 4 p l o c e d over or under the noie to be treoted in this monnner. Due io the foci thol hormonicsore seldom used in Tenor Bonjo Music no exomples will be shown,
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THE MORDENTE The Mordenteis o frogmentof o Trill. lt is indicotedby the sign: ,*
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THECHORDSIN THEKEY OF E MAJOR T H EC H O R DISN T H EK E YO FEM A J O RA R EE : , A &B 7
IAUSICATNOTATION
E
E
A
Chord Study
THEKEY OF C SHARPMINOR (Refotive to E Moior)
ETUDEIN C-SHARPMINOR
T r e m o l oq u o r t e r n o t e s 2 I Lorgo
PRETUDE Opus 28 No. 20
F R E D E R IC CH O P I N
THE CHORDSIN THE KEY OF C.SHARPMINOR T H EC H O R DlS N T H EK E YO FC - S H A RMPI N O RA R EC ' f m , F fr n& G # 7
iF
NOTATION AAUSICAT
Br?n' Cf'
F#.
Gfrt
CHORDSTUDY ¡'rlt
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THE KEY OF D.FLAT
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The key of D! hqs five flots. They ore B[, Eb,A[, D[ ond G[.
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THESCATE
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STUDY IN D.FIAT
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91
THECHORDSrN THEKEY OF Db MAJOR T H EC H O R DrSNT H EK E YO FD bM A J O RA R ED , f , G b& A b 7
MUSICALNOTATION
Db
Gb
Abt
CHORDSTUDY
THEKEY OF B.FIAT MINOR {Relqtive to D-Flqt Moior) 8ta
l,tELODlC
tb)ir;13: ETUDE HARMONIC 'ITODE
"Lozy Evening"
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IiEt BAY
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THECHORDSIN THEKEY OF B.FLATMINOR : b t , E fm & F Z T I N O RA R E B T H EC H O R DlS N T H EK E YO FB ' F L AM MUSICATNOTATION
Ft
Chord Study
THE KEY OF B The key of B hos five shorps.They ore F, C#, G#, Df ond A.
THESCATE
ETUDEIN B
-B
t- 1^ío
3,t 1--7
How Cqn | leove Thee
4
2r
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T E N O RB A N J O DUET
Duet In B Moior
96
THE CHORDSIN THE KEY OF B MAJOR T H EC H O R DIS N T H EK E YO FB M A J O RA R E , : B & , EF i l 7
MUSICATNOTATION
B
E
r#t
CHORDSTUDY
THE KEY OF G-SHARPMINOR (Relotive to B-Moior)
l"rT I ' I
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THE KEYS OF F.SHARPAND G-FLAT MAJOR Thekeyof F-shorphossixshorps. Theyore Ff, cf, G# D#,A# ond Ef. Thekeyof G-Flothossixflors.Theyore B!, Eb,Ab Db,Gb ond C[. THEYAREENHARAAONIC KEYSAND WILLBE DEVEIOPED TOGETHER.
THE F.SHARPAND G.FLAT scArEs 4)
ETUDE
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MAJOR qNd G'FLAT MAJOR CHORDSIN THE KEY OF F-SHARPMoior ore Ff ' B & CI7 TheChordsin the Keyof F-Shorp TheChordsin the Keyof G-FlotMoiorore G[
' Cb A Dh7 ¡AUSICAtNOTATION
tf
F# or
Gb
B,n
or
cb'
ctt € 1_
c#z or Dbt
CHORD STUDY c$t
THE KEYS OF D.SHARP MINOR AND E-FLATMINOR (Relqtive to F-Shorp ond G-Flqt Moior)
THE HARMONIC MODE Df MINOR
J'
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THEMETODICMODE
Wirchcrqft
THE CHORDSIN THE KEYSOF D.SHARPMINOR AND E-FIAT MINOR T h e C h o r d si n t h e K e y o f D - S h o r pM i n o ro r e : D f i m ,G f m & A f 7 t i n o ro r e :E fm , A f m & B $ 7 T h eC h o r d si n f h e K e yo f E - F l oM M U S I C A TN O T A T I O N l)Í]l
D#. or Eb'
(itU 24 4
Gft" or
Ab'
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e-*3
A#z or Bbt
CHORDSTUDY GfM
A Toble of Moior Key Signorures D
No sharps or I lats
One sharp F*
Key of F
One flat
Tv'o sharps Three sharps
Four sharps
Five sharps
S i x s h a r ppss
Key of Bb
Df-At-El F#-cf-Gfl Ff-c#-G#-D# Ff-c$-c*-Dg-Al Ff -c$-G#ey of Db lley of Gb K:y o f A b Key of E b
Tr.r.o flats
Three flats
F$-cf,
Bb-Eb
Bb
Key of
E
ofA
Fivc flats
Four l'lats
Bb-Eb-Ab
Six flats
b b- E b-A b- D b-c b-Cb Bb-Eb-Ab-Db Bb-Eb-Ab-Db-cB
The Circle of Keys
S U B D
D
o
o
M I N A N T
M I N A N T
K E Y
K E Y
s
s
rEnharmonic G o i n g o r o u n d f h e c i r c l ec l o c k w i s ew i l l t o k e u s t h r o u g h t h e D o m i n o n tk e y s . s ei l l t o k e u s t h r o u g ht h e S u b D o m i n o n lk e y s . G o i n g o r o u n d i h e c i r c l ec o u n t e r - c l o c k w i w * E n h o r m o n i cW : r i t t e n d i f f e r e n t l yo s l o n o t o t i o nb u t s o u n d i n gt h e s o m e .
The Moior qnd Relqtive Minor Keys r. Am
F I) ru
B',
E'
Ab
Db
(irn
(l rrr
Ful
Bbln
GbFflB Ebnr DHm
E A Gflnr C F r u l'fl nr
TO BE MEMORIZED
r03
D Brrr
G Etu
Eaerybody'sMusic Tbacher
lü
SavroFFlqql
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