MUSIC THEORY 2 - Theory - Nestor Crespo - FREE

MUSICTHEORY 2

FREE VERSION

INTERMEDIATE LEVEL

MUSIC THEORY FOR

ALL INSTRUMENTS

by Nestor CrespoPractical and dynamic study methodology for the self-learning

student and the teacher in class.serie20y20.com.ar

20 LESSONS & EXERCISES

TECHNICAL DICTIONARY

( Spanish / English )

Does not include:

Additional 15 exercises

Answers to the exercises

Print version without watermark

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You’ve just downloaded the Free Version of this Ebook:

Music Theory - Volumen 2 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

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.

[email protected] / www.nestorcrespo.com.ar / www.serie20y20.com.ar

Thanks to

My son, Franco.

I humbly expect to be useful.

Néstor Crespo

FREE VERSION CONSIDERATIONS

You just downloaded the FREE VERSION (39 pages PDF – 19.4 MB) which DOES NOT contain:

* Additional 15 exercises (Essential for practicing the 20 lesson) (See the index in "images")

* Answers to the exercises (Essential to corroborate answers to the exercises)

* Ready to print book (No watermark)

If you wish, you can buy the paid version for a verylow cost in: www.serie20y20.com.ar

OBJECTIVES AND PURPOSES FOR THE BOOK: MUSIC THEORY 2

In this book we'll study the essential tools of Harmony.

It is most important to know each and everyone of the lessons in the book, because their omission of any of them would hinder our ability to comprehend functional harmny.

(Functional Harmony 1 and 2 - Ebook - 20&20 Series)

Theres a spanish to english dictionary included, with more than 150 words.

.

20&20 SERIES PURPOSE

20&20 is made from multiple books that include 20 lessons and 20 exercises of different aspects of musical science.

There workbooks have as a purpose to initiate or broaden knowledge in the art of music in a dynamic way, without and abundance of text and with exercises that allow us to reaffirm those concepts.

More than 30 years teaching allow me to assure that in 20&20 Series you will find the necessary tools to develop even more our musical knowledge as a means of expression.


INDEX - FREE VERSION

LESSON 1 / Exercise 1• Tetrachords (Structure and definition).

• Diatonic Scale construction• Scale degrees names (Tonic, supertonic, etc.).• Characteristics.

LESSON 2 / Exercise 2

• Sharps Order

LESSON 3 / Exercise 3• Flats Order

LESSON 4 / Exercise 4• Intervals• Melodic and Harmonic intervals• Ascending and Descending intervals• Quality and Quantity• Simple and Compound intervals.

LESSON 5 / Exercise 5

• Interval analysis• Interval inversion.• Consonant and Dissonant intervals.

LESSON 6 / Exercise 6 (only paid version)

• Triads. (consonant, dissonant, open and closed)

• Inversions.• Triad structure.


• 7th Chords. (all 7th species)

• Third inversion. 7th Chords structureLESSON 8 / Exercise 8 (only paid version)

• Tritono.


• Minor and Major modes.• Ancient Minor Scale. (contruction)

• Relative Minor Scale.



• Major and Ancient manor scale's harmonization with triads and 7th chords


• Minor Melodic and Harmonic scales. (Construction)

LESSON 12 / Exercise 12 (only paid version) • Minor Melodic and Harmonic manor scale's harmonization with triads

and 7th chords


• Define tonality• Difference between tonality and diatonic scale.• Tonal and modal degrees.• Politonality and Atonality definition.


• Tonal Functions.

LESSON 15 / Exercise 15 (only paid version) • Conclusive Cadences.• Simples: Perfect and Imperfect Authentic , Plagal and Altered Plagal


• Suspensive Cadences. (Semicadences, Broken Cadences)• Compound Cadences.


• Non-harmonic notes or Ornaments.


• Suspended 4th, sus2 and add9 chords


• Harmony. Harmonic Phrase. Harmonic Rhythm


• Transposition. Transposing Instruments.


& w w w w

& w w w w w w w w

& w w w w w w w w


Tetrachord We call tetrachord to the succession of four soundsseparated by a tone, tone and semitone structure

Tone semitone

Inferior Tetrachord Superior Tetrachord

Tetrachord Characteristic in a Diatonic Major Scale

Tone Tone Tone ToneTone SemitoneSemitone

( I ) Degree

( II ) Degree

( III ) Degree

( IV )Degree

( V )Degree

( VI ) Degree

( VII ) Degree

TONIC MEDIANTsupertonic subdominant DOMINANT superdominant LEADING TONE OCTAVE

The Tonic (I) gives name to the scale. As an example: if the first sound is a C, we are in a C scale, it it's D, we'll be in a D scale.

The Dominant (V) it's the most important one after the tonic, hence the name.

The Mediant (III) is called this way because it's between the tonic and the dominant

The Leading Tone (VII) is called that because as it's separated by only a semitone from the tonic, it's unstable and

1. They are exactly the same in lenght, two consecutive tones and a diatonic semitone

2. They are linked by a tone, a Link Tone.

3. In the inferior tetrachord, we have a semitone between the 3rd and the 4th, and in the superior it's betweenthe 7th and the 8th

LESSON 1(Néstor Crespo)

manifests a tendency to head towards the Tonic.

Scale Degree NamesAny sound can be the origin or the starting point of a scale. This is why, to avoid confusion, each of them has a

particular name that indicates it's position and function in the scale.

We call each sound a Degree and they are written with Roman Numerals

The Diatonic Major Scale has seven notes plus the octave of the tonic so, it will have two tetrachords. We call the notes in this scale Diatonic Notes.

We call the first Tetrachord, the one with the lower bass notes, Inferior Tetrachord, and the later one is called Superior Tetrachord.

Next, a Major Scale structure.

Link

Diatonic Major Scale ConstructionBefore studying how a diatonic mayor scale is constructed (also known as a Jonic Scale), we must understand the

Tetrachord concept, it's definition and it's form.

Tone

www.nestorcrespo.com.ar

& & &

& w w w w w w w w

& w w w w w w w w_______ _______ _______ _______ _______ _______ _______


1. Define Tetrachord

2. . Write three Tetrachord examples and their structure.

EXERCISE 1

3. How many tetrachords are in a Diatonic Scale?

4. How are the notes called in a Diatonic Scale?

5. How is the first tetrachord called and what does it contain?

6. How is the second tetrachord called and what is it's structure?

7. Fill with the terms: Tone, Semitone, Link Tone, Inferior Tetrachord and Superior Tetrachord

8. Fill with Scale Degree (in Roman Numerals) and name.

( I ) ( ) ( ) ( ) ( ) ( ) ( ) ( )

TONIC

10. Define I degree or Tonic:

11. Definir V degree or Dominant:

12. Definir III degree or Mediant:

13. Define VII degree or Leading Tone

9. Indicate two Tetrachord characteristics in a Diatonic Scale

a.

b.

(Nestor Crespo)


& w w w w w w w wSuperior Tetrachord

Inferior Tetrachord

SemitoneToneToneTone Tone SemitoneLink Tone

& w wTone Tone Semitone

w wInferior Tetrachord

& w w w w w w w wInferior Tetrachord

SemitoneToneTone

& w

## # ## #

# # # # # # # # # # ## ### # # # # # # #

w w w w# wSuperior TetrachordInferior Tetrachord

Link ToneSemitoneToneTone

w wTone Semitone

This is why a G major scale has an F#

&&& &

& & & &

Key Signature sharp order


To obtain the order of the sharps in the key signature we shall do the following:

2. Fill in the scale from the last note of the inferior tetrachord until the octave (G)

3. Last, we create a Link Tone between the inferior tetrachord and the new superior tetrachord, observing that

LESSON 2

C Major

G Major

D Major

A Major

E Major

B Major

F# Major

C# Major

C Major

(F#)

(F#, C#)

(F#, C#, G#)

(F#, C#, G#, D#)

(F#, C#, G#, D#, A#)

(F#, C#, G#, D#, A#, E#)(F#, C#, G#, D#, A#, E#, B#)

1. Take the superior tetrachord in C major and transform it in the inferior tetrachord in a new scalenueva escala.

(Néstor Crespo)

to maintain a tone relationship between E and F, we should transform the F into F#

Continuing with the procedure, we obtain the following sharp order, which appear in an ascendant 5th order or descendant 4th order.

Tone


& w w w w w w w w

& w w w w w w w w

& w w w w w w w w

& w w w w w w w w

& w w w w w w w w

& w w w w w w w w

& w# w w w w w w w#

& w# w w w w w w w#

& & & && & & &


EJERCICIO 2

C Mayor

G Mayor

D Mayor

A Mayor

E Mayor

B Mayor

F# Mayor

C# Mayor

C Mayor

G Mayor

D Mayor

A Mayor

E Mayor

B Mayor

F# Mayor

C# Mayor

1. Beginning from G major and maintaining the same procedure as in C major, build the remaining scales ending with C# major.

2. Build the following key signatures:

(Nestor Crespo)

Inferior Tetrachord

SemitoneToneTone Tone Tone SemitoneLink Tone

Inferior Tetrachord



Inferior Tetrachord


&Tone SemitoneTone

w w w wSuperior Tetrachord

& w w w w w ToneTone Semitone

w w wTetracordio Superior

& w

b b b b bbb b b b b bb bb b b b bb b b b bb bb b

Superior TetrachordInferior Tetrachord

Semitone Link toneTone

So, a F mayor scale has a B flat (Bb)

Tone

w w bw w ToneTone Semitone

w w w

&&& &

& & & &

Key Signature Flat Order


To obtain the flats order for the major scale key signature, we must proceed in the following manner:

1. We take the C scale inferior tetrachord and transform it into a superior tetrachord of a new scale

2. We fill in the notes from the first tetrachord to the lower and new F

3. Last, we create the link tone between the tetrachords, keeping in mind that to keep a whole tone between

LESSON 3

C Major

F Major

Bb Major

Eb Major

Ab Major

Db Major

Gb Major

Cb Major

C Major

(Bb)

(Bb, Eb)

(Bb, Eb, Ab)

(Bb, Eb, Ab, Db)

(Bb, Eb, Ab, Db, Gb)

(Bb, Eb, Ab, Db, Gb, Cb)

(Bb, Eb, Ab, Db, Gb, Cb, Fb)

Sharp Order F - C - G - D - A - E - B

Flat Order B - E - A - D - G - C - F

(Néstor Crespo)

A and B, we should transform B into Bb

If we keep going with this procedure, we get the following order for the flats. Notice that the order for the flats is opposite to the the order for the sharps.



Inferior Tetrachord


& w w w w w w w w

& wb w w w w w w wb

& wb w w w w w w wb

& wb w w w w w w wb

& wb w w w w w w wb

& wb w w w w w w wb

& wb w w w w w w wb

& & & && & & &


EXERCISE 3

C Major

F Major

Bb Major

Eb Major

Ab Major

Db Major

Gb Major

Cb Major

C Major

F Major

Bb Major

Eb Major

Ab Major

Db Major

Gb Major

Cb Major

1. Beginning from F and with the same procedure shown in C, build the remaining scales ending in Cb Major

2. Fill in with the following corresponding major scale key signatures

(Nestor Crespo)


& w w & ww

& w: w & w

:w

& w w w & w w w w w& w w ww ww ww ww ww w

www

& w w w& w w

& w w

;

w w w

:

w wœœ

œœœœ

œœœœ

œœœœ

(Intermediate Sounds) (Intermediate Sounds) (Natural Sounds

Melodical Harmonical


(+7)

Comp

succesive simultaneous

For interval analisis we will consider the following two aspects:

unisone 2nd 3rd 4th 5th 6th 7th 8th

The "unison" is considered an interval despite there being no distance between the two notes

(9th) (10th) (11th) (12th) (13th) (14th) (double 8th)Simple

Adding 7 to any simple interval we get a compound interval, the inverse operation also holds true

Diminishes the intonation Augments the intonation

Subdiminished Diminished

Subdiminished Diminished Minor

Agumented Superaugmented

Augmented Superagumented

(unis - 8va - 4ta - 5ta)

Perfect

Mayor(2nd - 3rd - 6th - 7th)

b. Ascendant and Descendant

high note

Descendant

high note

Ascendant

bass notebass note

Unless specified, while analyzing we will consider intervals to be ascendant

Intervals: We call intervals to the distances between two sound or notes. They are divided in:

a. Melodical and Harmonical

from bass note to high note from high note to bass note

1. Quantitative aspect: it's indicated with a number and it refers to the quantity of scale degrees between the

3rd (third)5th (fifth)

Simple

smaller than the octaveCompound

larger than the octave

At the same time, we can divide intervals into: Simple and Compound

fundamental sound (inferior note) and the secondary sound (superior note).

They are divided between Primaries (Tonal: unis, 4th, 5th, octave) and Secondaries (Modal: 2nd, 3rd, 6th and 7th)

LESSON 4(Néstor Crespo)

2. Quality Aspect: it refers to the interval's qualification, mode or nature.

a. We will call each scale degree in the diatonic major scale Natural and they are Perfect or Major

b. The degrees that don't belong in the diatonic major scale we'll call Intermediate and they are: Minor, Diminished, Augmented, Subdiminished and Superaugmented


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& &

& &

& &

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& wwww & ww & ww & ww

& ww & w

w &ww & w

w


EXERCISE 4

1. Define interval.

2. Define melodic and harmonic interval

3. Define ascendant and descendant interval

4. Define the quantitative aspect of an interval.

5. Define simple intervals.

6. Define compound intervals

7. Which number can we add to a simple interval to get a compound one?

Write an example of each one

Write an example of each one

Give two examples

Give two examples

8. Transform into a compound interval the following simple intervals and name them

9. Transform into a simple interval the following compound intervals and name them

3ra 4ta 6ta 2da

9th 10th 11th 13th

Melodic Harmonic

Ascendant Descendant

Give two examples

(Nestor Crespo)


& ww& ww :

& ww

& ww& ww :

& ww

& ww ;: ww

:;:

::

;;;

& ww ;:ww

Perfect

Major Agumented

Subdiminished

PerfectMinor Diminished Superaugmented

1st Step: Establish the quantity, as in, if it's a 4th, 5th, etc.

2nd Step: Establish the C major scale key signature (inferior note) and then check if G (superior note) belongs in the scale.

3er Paso: Taking into account if the note is natural or intermediate, establish the quality aspect of the interval, as in, if it's major, minor

2nd Step: Establish G major scale key signature (inferior note) and then check if F (superior note) belongs or not in the scale.

3rd Step: Establish quality.


LESSON 5

Interval analysis procedure

5th

natural

Perfect

In this way, we obtain the name of the interval: perfect fifth

Another example

1st Step: Establish quantity

The interval is a minor 7th

7th

sostenido

minor

Interval Inversion: Only simple intervals can be inverted, and we do this by descending the superior note an octave or ascending the inferior note an octave.

Inverted Quantity: The sum of the inverted interval and its original it's always 9

Quality: Establish quality following this chart

(when invertedit transforms into

A 5th becomes a 4th when invertedand viceversa

A 3rd becomes a 6th when inverted and viceversa

Consonant an Dissonant Intervals. They are divided into:

Consonant: Soft, static, they do not show the necessity to resolve or to move into another interval. We can establish the degree of consonance in them.

Dissonant: Unstable, they require a resolution into another interval

Consonance and Dissonance: The wavelength relationship that's established when two sounds are simultaneous, determines their affinity or their incompatibility.

In that regard, we say that consonances are associated to stability and dissonances to inestability.

Perfect Consonants: Unison - Perfect 8th - Perfect 4th and Perfect 5th

Imperfect Consonants: major and minor 3rds and 6ths

Soft Dissonances: minor 7th - major 2nd

Strong Dissonances: major 7th - minor 2nd

Neutral: augmented 4th or diminished 5th (Tritone)

Conditional Dissonances: every augmented or diminshed interval

(Néstor Crespo)

or diminished


& ww wwb ww#ww ww ww# ww∫b

& ww ww ww# ww ww#ww w

w#

& wwb w

wb w

wbwwb w

wb w

w# w

w#

&ww# w

w# w

w# w

www## w

wb w

w#

&wwb( )

w w w w w w

&wwbb)(

w w w wb w w

& wwww wwb wwb ww

& wwb ww# wwb wwb

1. Name the following simple intervals and indicate if they are consonant or dissonant. (according to the example)

4 J

Perfectconsonant


2. Name the following Compound Intervals (according to the example)

3. Fill in with the superior note the following intervals. (according to the example)

9 m

4. Fill in with inferior note the following compound intervals. (according to the example)

12 P

5. Name the following intervals according to the scale. (according to the example)

Ab: 6m ( Fb ) 3M ( ) 4aug ( ) 7m ( ) Eb: 2M ( ) 9m ( ) 11aug ( ) 3m ( )

E: 2m ( ) 11P ( ) 5dim ( ) 6M ( ) A: 5dim ( ) 7m ( ) 9aug ( ) 6m ( )

6. Name the following intervals and their inversions. (according to the example)

9 m

3 m 6 M

4 dim 10 M 6 m 13 m 2 M 2 m

13 m 7 m 7 dim 2 M 4 aug 9 M

EXERCISE 5(Nestor Crespo)


MUSICIAN FRIEND

You’ve just downloaded the Free Version of this Ebook:

Music Theory - Volumen 2 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

Editorial Proofreading: Prof. Federico Palmero

Book cover design: Edi Vallarino www.edivallarino.com.ar

Made in Buenos Aires, Argentina January 2010


Translation: Tomás Lidejover

MUSIC THEORY 2 - Theory - Nestor Crespo - FREE

Education

Transcript of MUSIC THEORY 2 - Theory - Nestor Crespo - FREE