MUSIC THEORY 1 - Theory - Nestor Crespo - FREE

MUSIC THEORY

20 LESSONS & 5 EXCERCISES

FREE VERSIONIt does not contain:

VOLUME 1

FOR ALL INSTRUMENTS

by Nestor CrespoPractical and dynamic studying methodology for self taught

students and classroom teachers.

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The remaining 15 exercises

Solutions of the 20 exercises

TECHNICAL GLOSSARY ( ( English/Spanish)

Printable Book Without Watermark

MUSICIAN FRIEND

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

Music Theory - Volumen 1 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

Thanks to

My daughter, Lucía.

I humbly expect to be useful

Néstor Crespo

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

CONSIDERATIONS

ADVICE

There are countless portals and web pages where to find the 20&20 Series workbooks

As the act of teaching is dynamic, so are the workbooks, and they could be subjected to modifications over time, so we encourage you to download them only via www.serie20y20.com.ar, to be sure they are up to date.

GOALS AND PURPOSE OF THE MUSICAL LANGUAGE EBOOKS

The therm "language" refers to "communication", meaning to speak, read and write and comprehend the meaning of the words being written or spoken. In music, we write in symbols and signs that make this possible.

The goal of this workbook, is none other than to be able to comprehend and decipher each and every symbol and sign in a score.

20&20 SERIES GOAL

The 20&20 Series comprehend various volumes that include 20 lessons and 20 exercises about different aspects of the musical science.

These workbooks purpose is to bring and expand your musical knowledge in a dynamic way, without and over abundance of text and with exercises that let us strengthen those concepts.

More than 30 years teaching allow me to assure that in the 20&20 Series, you will find all the necessary elements to develop your musical knowledge as a way to express yourself.


If you wish you can purchase the "Complete" Ebook at a low cost in: www.serie20y20.com.ar

PROGRAM- INDEX

LESSON 1 Music's constituent elements. Sound (tone, height, intensity,

duration). Rhythm. Pentagram Ledger lines. Measure (diving line). Beat. Tempo.

LESSON 2

LESSON 3

Figure values and equivalence (whole, half and quarter note). Silences (whole, half and quarter note) Clefs (G, F and C)

Musical note. Note names (latin and anglosaxon denominations) System. Central C.

LESSON 4

LESSON 5

LESSON 6

LESSON 7

Time signature divisions. 2/4 - 3/4 - 4/4 - 2/2 Figure value and equivalence (eighth, sixteenth, thirty second and sixty-

fourth notes) Rests. (eighth, sixteenth, thirty second and sixty-fourth notes) Figure value chart

Alterations (sharp, flat, double sharp, double flat and natural) Proper and Accidental Alterations Half-step an whole-step. Diatonic half-step and cromatic half-step Enharmony

Triplets (eights, quarter notes) Prolongation signs (tie, dot)

LESSON 8 Simple and compounded time signatures Equivalence and relationship between them Chromatic Scale (ascending, descending)

LESSON 9 Accent. Strong and weak beats. Joined and disjointed movement Chromatic Scale (ascending, descending)


(Exercise only in Paid Version)




LESSON 10 Syncopation and Offbeat (regular and irregular)

LESSON 11 Irregular values (duplet, quintuplet, sextuplet) Complex time signature

LESSON 12 Bar line. Double bar line. Rehersal Symbols

LESSON 13 Repeats. Measure jump signs. First and second endings. Da capo. Da capo al fine. Coda.

LESSON 14 Other measure jump signs (del segno, del segno al fine, del segno coda) Notes on executing pauses Notes on measure notation (repeat, two measures, slash, rythm notation)

LESSON 15 Expression symbols: Dynamic (intensity) and Tempo (agogic)

LESSON 16 Articulations (Staccato, ligadura de expresión, acento, tenuto, arpegio).. Metronome

LESSON 17 Ornaments (Grace notes): Appogiatura and Mordent

LESSON 18 Ornaments (Grace notes): Turn. Trills. Cadenza.

LESSON 19 Musical Structure. Motive. Start. (Anacrusic, Tetic and Headless) Endings. (Male - Female) Analyzing a musical phrase.

LESSON 20 Score. Parts. Keys and brackets Instrument groups. (strings, brasses, percussion)














In some cases, notes are higher or lower in pitch than what the pentagram would allow us to write, so it's necessary to add additional lines above or below it, and we'll call them: Ledger Lines

1st "2nd "3rd "4th "5th line 4th space

Ledger lines

Ledger Lines

Sound: The sensation or effect that a vibrating object produces in the ear. Sound has four qualities that help us define it.

2. Pitch: (high or low) It's the quality that helps us order sound from low to high.

1. Tone: (penetrating or mellow) It's the quality that helps us differentiate one sound from another. Metaphorically speaking, we could say its the sound "color".

3. Intensity: (strong or weak) The intensity or energy applied to creating a sound gives us louder or softersounds.

4. Duration: (short or long) It's the longitude of sound in time. To describe it we use musical figures (Lesson 2)

Musical Elements: There two constitutive elements in music: Sound and Rythm

Measure: it's the division of music in constant units called beats. This division is done drawing a vertical line called bar lines.

Bar line

measuremeasure

3rd "2nd "1st "

Rythm: the movement that pushes music forward in time.

Pentagram (penta: five / gramma: line)

The musical symbols (from now on figures and notes) are writting in five horizontal and equidistant parallel lines called pentagram. It has five lines and four spaces between them counting from the lowest to the highest.

Beat: each of the units that divides the measure

Tempo: Beat velocity or speed in a piece.

LESSON 1(Néstor Crespo)

www.nestorcrespo.com.ar

. .. .. .. .. .


1. Which are to constituent elements of music?

2. Define sound and it's qualities

4. Define height,

5. Define intensity,

6. Define duration.

7. Definir rythm.

8. Define pentragram

10. Define ledger lines. Draw some above and below the pentagram.

11. Define measure

12. Define beat.

13. Define tempo.

9. Draw a pentagram connecting the dots and assign it's number to lines and spaces.

3. Define tone.

EXERCISE 1(Néstor Crespo)

14. Define and draw a bar line.


œ

whq

:

:

:

w h q q

œ œ œ œ

wh h

q q q q

:;

œ œ œ

∑

;&

Ó

;?

Œ

;B

B ;


Musical Figures: The sound longitude (short or long) it's measured in musical symbols.

Whole note [semibreve] (4 beats) *

Half note [minim] (2 beats)

Quarter note [Crotchet] (1 beat)

The stem in quarter and half notes in drawn upwards and to the right if the note is below the third libe

The stem in quarter and half notes in drawn downwards and to the left if the note is over or above the third line.

Rest: Symbol that signifies the duration of a pause in a piece. Each figure has it's own rest and it's value in beats it's the same as the figure's value.

Whole note(4 beats)

Half note(2 beats)

Quarter note(1 beats

(debajo de la 4ta línea) (sobre la 3ra línea)

(whole) 1 2

1 4

Figure parts

StemHead

Clef: The clef is a symbol that is written at the beginning of the pentagram to define the location of a musical note. Three keys are more frequently used:

G Clef F Clef C Clef

SolFa Do

(Soprano - Violin - Guitar) (Bajo - Trombone - Cello) (Contralto -Viola)

Author's Note: We say F Clef on fourth line because it's over the fourth line of the pentagram. There are other F clefs, such as on thirdor fourth line, but they are infrequent, as the C Clef in first and second lines.

C Clef in fourth line

Do

(Tenor - Bassoon)

There are scores for Bassoon and Cello on C Clef on fourth line


Equivalence

1 Whole note = 2 half notes

1 Whole note = 4 quarter notes

1 Half Note = 2 quarter notes

The Whole Note is the longest symbol and we measure the rest of the figures according it's value, so they are fractions of the Whole Note, as they are shorter.

* Translators Note: We are also naming the figures in the British way between brackets.


w

q|

;

˙ œ

œ œ ˙ œ œ

?

œ

&B

œ


1. Which musical element signifies duration?

2. Name the following musical figures

3. Which is the value of a whole note?

4. Which is the value of a half note?

5. Which is the value of a quarter note?

6. Which fraction corresponds to each figure?

Whole Half Quarter

7. Name each parto of a figure

8. Indicate with a C (correct) or I (incorrect) if the the stem is in the right of wrong position

9. Are the following values True or False?

Whole note = 2 Half notes

2 Half notes = 2 Quarter notes

1 Whole note = 1 Half note plus 1 Quarter note

10. Define Rest

11. Where's the Whole note rest positioned?

12. Where's the Half note rest positioned?

13. Draw each figure.

whole note half note quarter notewhole note

resthalf note quarter note

14. What does a Clef determine?

15. Name the following Clefs.


restrest

____

____

____


w& w w w w

w w w

w? w w ww w w w

wB w w ww w w w

w

\

|

|

&

&

?

w w w ww w w w

w

w?

w w w ww w w w

ww

Name of the notes: Guido de Arezzo (995 - 1050) named the notes, according to the first syllable in each


Latin notes Do Re Mi Fa Sol La Si Do

American Coding C D E F G A B C

different sound and, as we learned earlier, also duration.

Grand Staff: The union of two pentagrams, which have to be playedsimultaneously.

It's comprised by one higher G Clef pentagram, and one lower 4th line F Clef.

Thinline

Brace

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

Central C: (C4) it's the C that is written over and additional line and shared by the two pentagrams.

(Central C)

Do Re Mi Fa Sol La Si Do Re Mi Fa Sol La Si Do Re Mi Fa Sol La Si, etc.

Octave: It's the distance between two note of the same name that belong in different but consequetive series.

1ra serie 2da serie 3ra serie

octava

Ascendent Series: We call ascendent series to the order of low notes to high notes. To the first series,


Musical notes: They are symbols that represent sounds. With their position in the pentagram, they express

of the verses of John the Baptist latin hymn. Nevertheless, in Anglosaxon countries, they kept using the Greek derived format of calling each note as a letter,startin from A (Alpha). It's known as American Coding.

we can add additional series, a second one, a third one, etc. Inversely, we add descendant series.


w& w w w w w w

w? w w w w w w

wB

&

w w w w w w

∑∑

& ?


1. Define: Musical note

2. Complete with American Coding

3. Name these note in G clef with american coding

4. Name these note in 4th line F clef with american coding

5. Name these note in 3rd line C clef with american coding

7. What is a Grand Staff?

8. What represents an F clef and a G clef in a Grand Staff?

9. Complete the following Grand Staff with Brace, Thin Line, G clef and F clef.

10. Write the Central C in both Clefs

6. Define Ascendent series and Octave. Write two ascendent series.

Re La Mi Do Fa Si Sol



w& 44

& 44 ;;

& 24 ;;

˙& 44 ˙ œ& 44 œ œ œ

˙24& œ24& œ Ó24&

œ& 34

& 34 ;;

œ œ œ& 34 ˙ œ& 34 œ Œ

œ& c œ œ œ

˙

22&

& 22

;

;

˙ ˙& 22 œ œ Œ& 22 œ ˙

˙C& ˙


Time Signature Fraction : It's a fraction in which the measurement unit is the whole note.

Numerator: Quantity of beats in each measure. (4 beats)

Denominator: Determines the time unit. (quarter note)

1 2 3 41 2 3 41 2 3 4

Whole note = 4 beats Half note = 2 beats Quarter note = 1 beat

Example in 4/4 time signature

It's written at the beginning of the piece immedeately after the key.

Additional Time Signatures

Numerator: Quantity of beats in each measure. (2 beats)

Denominator: Determines the time unit. (quarter note)

1 2 1 2 1 2

Alternative symbol for a4/4 time signature

Alternative symbol for a2/4 time signature

Numerator: Quantity of beats in each measure. (3 beats) Denominator: Determines the time unit. (quarter note)

1 2 3 1 2 31 2 3

Numerator: Quantity of beats in each measure. (2 beats)Denominator: Determines the time unit. (half note)



& c œ ˙ Œ & c Ó w & c œ Œ œ & c ∑ œ Œ

& 43 Œ ˙ & 43 ˙ ˙ & 43 œ Œ ˙ & 43 œ Œ Œ

& 42 Ó & 42 Œ œ & C œ ˙ & C ∑

& c & c & c & c

& 43 & 43 & 43 & 43

& 42 & 42 & C & C


9. Fill with different combinations of whole notes, half notes, quarter notes and their respective rests.


1. Which number represents measure division?

2. Which figure represents the measurment unit?

3 . What does the numerator represent?

4. What does the denominator reprsent?

5. Which figure represents the denominator 1?



8. Indicate if Correct or Incorrect


jœ j̊œ j̊̊œ j̊̊̊œ

e \\|

‰ ≈ ® Ù

œœœœœœœœœœœœœœœœ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ

w

˙ ˙

œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Eighth note - Sixteenth note - Thirtysecond note - Sixty-fourth note

Eight note(1/2 beat - 1/8)

Sixteenth note(1/4 beat - 1/16)

Thirtysecond note(1/8 beat - 1/32)

Equivalences

2 Eight Notes = 1 Quarter note 8 Thirtysecond notes = 1 Quarter note4 Sixteenth notes = 1 Quarter note

RestsEighth note Sixteenth note Thirtysecond note

1 2 3 4

Sixty-fourth note

Sixty-fourth note(1/16 beat - 1/64)

16 Sixty-fourth notes = 1 Quarter note

1 2 3 4 1 2 3 4 1 2 3 4


Figure Value Comparison ChartTiempos

1 2 3 4A whole note

equals to

2 whole notes

4 quarter notes

8 eight notes

16 sixteenth notes

32 thirty second notes

64 sixty-fourth notes

Figure parts

SteamHeadFlag

To read with ease, we replace the flags for bars.The number of bars is equal to thenumber of flags in each figure (one bar for eighth notes, two bars for sixteenth notes,etc.)


[Quaver] [Semiquaver] [Demisemiquaver] [Hemidemisemiquaver]


jœ

e;|;

x xe x e

rK

j̊œ

e q

rK

q

rK

x e x x

j̊˚

œ

q q q

r rr r

j̊˚̊

œ

e e


1. Name the following figures

2. What value represents a quaver?

3. What value represents a semiquaver?

4. What value represents a demisemiquaver?

9. True or False the following equivalences:

1 Eighth note = 2 demisemiquavers 2 Eight notes = 2 demisemiquavers + 4 Thirtysecond notes

10. Draw the following musical figures

Eight note Sixteenth note Thirty-second note

rest

Sixty-fourth note

6. What value represents a value represents a hemidemisemiquaver?

7. Which fraction represents each of these figures?

8. Name the parts on a figure

9. Tie with a lie the following note groups


Quaver Semiquaver demisemiquaver hemidemisemiquaver

1 Thirysecond note = 2 semiquavers 16 hemidemisemiquavers = 4 Thirtysecond notes+ 2 sixteenth notes

1 Sixteenth note = 4 demisemiquaver 8 Thirtysecond notes = 1 quaver + 4 Sixteenth notes

Eight note Sixteenth note Thirty-second note Sixty-fourth noterest rest rest


œ

Ib

‹∫n Natural Sign: Nullifies the effect of any previous alterations.

c& I I œ œ œ

œ#c& I I œ œ œ œ œ œ œn

œ&I I c œ œ œ# œN œ œ œn œ[ œ œ œ

w wb w w#

w# wb


Alterations: Symbols that increases or lowers the note intonation, there are five of them

Tone and Semitone: The semitone is the distance between two adjacent sounds. The tone is the sum of

C semitone C# C semitone C# semitone D

Tone

Sharp: Increases the note intonation

Flat: Lowers the note intonation Double flat: Lowers the note intonation twice

Double sharp: Increases the note intonation twice.

Proper, Accidental and Precaution Alterations

Proper: They are written at the beginning of the pentagram, after the clef, and they affect all the piece. Also

Accidental: They are written before a note, and affect that note and any other in the same height and same measure,

C# F# D F#

D# B D# D D C# F# F

Diatonic and Chromatic semitone: The two semitones that make the tone are not equal. The shorter one is calleddiatonic and the larger one is called chromatic. (This difference is based in soundacoustics and physics, neither of which will be explained during this book)

Two notes, different name but different sound

Enharmonic: Any note, scale, chord, etc. with same sound butdifferent name. For example

F# Gb

Precaution: In practice, they are not necessary, their purpose is to make the reading of the piece easier for the

C Db C C#

F# G E G# G A B C C# A G F#

Chromatic Semitone Two notes, same name

Diatonic Semitone


known as Key Signature. These alterations modify every note at the height of the key signature as well as the octaves.

musician. They are written between parenthesis.

This effect ends when the measure ends.

two semitones.


MUSICIAN FRIEND

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

Music Theory - Volumen 1 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

& 42

42

œ œ œ œ œ œ3 3

œ œ œ œ

¿ ¿(Beat)

(Binary)

(Ternary) & c

c

œ œ œ œ œ œ3 3

œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3

¿ ¿ ¿ ¿

& c

c

˙ ˙ ˙3

œ œ œ œ œ œ

3 3

¿ ¿ ¿ ¿

& 42

42

œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3

œ œ œ œ

¿ ¿

& œ Jœ

3

& œ œ œ œ3

& œ œ œ œ3

& œ œ œ œ œ3

& c ˙ ˙ œ œ ˙ ˙ œ œ w

& c œ .˙ .œj

œ œ œ .˙ œ . .˙j

œ

Triplets: A group of three figure of the same value that need to be executed in the same as two figuresof the same value. Three against two or Ternary (a figure divisible by three) against Binary (divisible by two)


Eighth note triplet (1 beat) Quarter note triplet (2 beats)

Ligature: A prolongation symbol, a curved line that links two or more notes of the same height,

Dot: Prolongation symbol with the shape of a dot. It's written right of the figure, augmenting it's value

3 beats 4 beats 5 beats

3 beats 3 beats and a half1 beat and a half

Prolongation or Duration Symbols

Half note triplet (4 beats)

3 beats

Sixteenth note triplets (1/2 beat)

Mixed figure value triplets. Some of the possible combinations

Double Dot: Augments the first dot value by half.

Author's note: The quarter and half note triplet are united by square brackets, whereas the eight and sixteenth note triplet are united by a curved line.


( 2 + 1 ) ( 1 + 1/2 ) ( 2 + 1 ) ( 2 + 1 + 1/2)

transforming them into a continuous sound equal to the sum of their figures.

by half of the original figure value.


& 42 œU

œU

. . œ œ œ œ. . ˙ ..

& 86 œ œ œ œ œ œ.œ .œSubidivision

Beat& 89 œ œ œ œ œ œ œ œ œ.œ .œ .œ

& 812 œ œ œ œ œ œ œ œ œ œ œ œ.œ .œ .œ .œ & 46 œ œ œ œ œ œ.˙ .˙

& 42 œ œ & 86 .œ .œ

& 89 .œ .œ .œ & 43 œ œ œ


Simple Time Signature: In the same manner that measures are divided in beats, beats are divided in fractions

Beats Fractions

When the beat subdivision is a simple figure (whole, half, quarter or eighth note) and that figure is divisible by two, we'll name it Simple Time Signature or Double Meter.

The most frequently used Simple Time Signatures are 2/4 , 3/4 , 4/4 (a quarter note per beat), 2/2 (a half noteper beat) and, although rarely used, 3/8 (an eighth note per beat).

Compound Time Signature: Is the time signature represented by dotted figures. (a dotte half note, quarteror eight note). When the subdivision is divisible by three, we'll call it Triple Meter.

The most frequent Compound Time Signatures are 6/8 , 9/8 , 12/8 (a dotted quarter note per beat), 6/4 (adotted half note per beat).

Relationship between Compound and Simple time signatures: There's a Compound time signature corresponding

Simpletime signature

Adding a dot to each of these quarter notes,we obtain the corresponding Compound time signature

(a quarter noteper beat)

(a dotted quarter noteon each beat)

To transform a Compound time signature into a Simple one, we reverse the operation

Eliminando el puntillo a cada una de éstas negras se obtiene el correspondiente compás simple.

Compoundtime signature

(a dotted quarter noteon each beat)

(a quarter noteon each beat)

Numerically, we transform a Simple time signature into a Compound one multiplying the numerator by 3 and the

denominator by 2.

2 x 3 = 6

4 x 2 = 8

Numerically, we transform a Compound time signature into a Simple one dividing the numerator by 3 and the denominator

by 2.

9 % 3 = 3

8 % 2 = 4


to every Simple time signature and viceversa.

To transform a Simple time signature to a Compound one, we add a dot to the figure that makes the beat.


& 42 43 cœ œ œ œ œ œ œ œ œ

& w w w w

;|

& w w w w

& w œ# w œ# w w œ# w œ# w œ# w w

& w w œb w œb w œb w w œb w œb w

& c œ> œ œ> œ


Chromatic scale: The succession of the twelve semitones contained in an octave, in which seven arenatural, and five are altered.

C# D# ---- F# G# A# ----

C D E F G A B C

Db Eb ---- Gb Ab Bb ----

C C# D D# E F F# G G# A A# B C

C B Bb A Ab G Gb F E Eb D Db C

Ascendant chromatic scale

Descendant chromatic scale

Strong and weak beats: The beats that make up a measure don't have the same intensity.

Note: This can be applied to Simple and Compound measures alike. This is because, as we previously learned, Compound time signatures derive into Simple ones.

We'll call Strong beat where the accent is, and Weak beat the ones left. The accents follow the following rules:

Accent: Symbol that indicates that one note should beplayed with greater intensity than the other ones.

F D F D D F D SF D

Jointed and Disjointed movement


There are three types of accent: Strong, Semistrong and Weak.

a ) The first beat of every measure is Strong b) The last beat is always weak

c) There can't be two adjacent Strong beats

JointedTwo adjacent and immediate notes

DisjointedTwo adjacent and non-immediate notes


& c ˙ œ œX

œ ˙ œX

œ œ Ó

& 43 œU

œX

U

œ œX ˙ œ œX

œ œ œ & 42 jœ œX jœ

& 42 jœ œX jœ

jœ œX jœ œ œ œ & c Œ œ

X

Œ œX

& c Œ œX

Œ œX

Œ œX

Œ œX

& 42 ‰ JœX

‰ JœX

‰ JœX

‰ JœX

& c ˙ œ œ œX

‰ jœ œ Œ œX

Œ œX

‰ jœX

‰ jœX

& c ˙ œ œ œ œ œ œ Œ œ Œ œ ‰ jœ ‰ jœ

& c ˙ œ œ œ œ œ Œ œ ‰ jœ Œ ≈ j̊œ ‰ œ


Syncopation: Rhythmical effect that extends a Weak beat to the next beat (1), or that extends theweak part (up beat) of a Strong beat over to the next beat (2).

D F D F

(1)

(2)

D DF FStrong

partWeakpart

A number of consecutive syncopations make up a repeated syncopation or a syncopated rhythm

Offbeat: Rhytmical that begins over a Weak beat (1) or on the upbeat of a Strong beat (2)but it doesn't prolong it's duration over to the next beat. (1) (2).

In Offbeat, a rest occupies the space of the downbeat

(1)

(2)

When all the figures are the same in an Offbeat or a Syncopation, we'll call that a Regular Offbeat or Syncopation. In the contrary case, if the figures are not the same, they'll be Irregular.

(1)

(2)

R. Sync Reg. Off. Reg. Off.

Irr. Sync. Irr. Off. Irr. Off.

D


Translator's Note: In English, Strong parts and weak parts of a beat are called Downbeat an Upbeat respectively.


& 45 œ>

œ œ ˙> & 47 œ

>œ œ œ œ

>œ œ

& 49 œ œ œ œ œ œ œ œ œ

& c ˙ œ 3œ œ œ & c œ 5œ œ œ œ œ ˙ & c 6œ œ œ œ œ œ œ ˙

& 42 œ |œ œ œ & 86 2œ œ 2œ œ & 86 œ œ œ œ œ œ | & 42 3œ œ œ 3œ œ œ


Complex Time Signatures: The sum of two or more simple or compound meter.

We call Amalgamated Time Signatures those meters that have a 5 or a 7 in the fraction numerator

For a 5/4 meter, we add up a 3/4 and a 2/4 or viceversa

For a 7/4 meter, we add up a 4/4 and a 3/4 or viceversa

Even though it's possible to amalgamate amalgamated meters, they are rarely used.

3/4 time signature 2/4 time signature 4/4 time signature 3/4 time signature

4/4 meter 3/4 meter 2/4 meter

Irregular Values: The figure value can escape the 1:2 relationship ( for example: 1 whole = 2 halfs1 half = 2 quarters, etc)

Dosillo

When we apply a irregular value, we establish an inverse relationship between regular and irregular meters.

For example, two quarter notes will be a regular value in a simple meter, but irregular in a triple meter.


Regular value Irregular value Regular value Irregular value

Therefore, we are not limited in a duple meter to binary figures, for example, two quarter notes per beat in a 4/4 time signature.

It's important to notice that a triple meter, being irregular, is more complex to play than a regular one.

Equivalence examples:

Although it isn't necessary, we could divide with a dotted line each amalgamated measure to indicate to the musician the exact position of the accents or strong beats.

Lalo Schifrin 's Mission Impossible or Paul Desmond's Take Five are good 5/4 examples, and Pink Floyd's Money is a 7/4 example

For a 9/4 meter we add up a 4/4, a 3/4 and a 2/4 meter, but it's not used because it leads to confusion it being so similar to a 9/8 meter, which is a compound meter and not an amalgamated one.

In some cases, they are called Artificial Time Signatures

Quarter note triplet = 2 quarter notesSixteenth note quintet = 4 sixteenth notes

Sixteenth note sextet = 4 sixteenth notes


&fine

&fine

& # n b b

& c 86

&A B

&1 2

&18 20


Double bar: There are three specific cases in which we use a double bar

There are two other indicators in reference to the measure other than the divisor line.

Final bar: It's a thick line added to the thin line measure line at the end of the piece. Likewise,we could add the word "end". (or fine, the Italian word for "ending")

1) Separating two parts in a musical piece.

1st part 2nd part

2) Indicate a key change

3) Indicate a time signature change.

Rehearsal marks: With the purpose of making rehearsal easier, it's common to use rehearsal symbols, they can be letters or numbers, to differentiate parts in a pieceor measure numbers.

LESSON 1 2(Néstor Crespo)


& c ..

& c .. ..

& c ..A 1 2 B

&D.C.

&Fine D.C. al Fine

& fi D.C. al Coda fi


Da capo: (D.C.) Italian for "from the beginning", indicates a repeat from the beginning of the piece.

that must be played once over.

repeat from the beginning of the piece

repeat this fragment and continue

Jump Signs: These signs, like the repetition bars, save us space space in the score and make for practical score reading.

Multiple Endings: these signs are written with repeat bars and indicate a repetition but with a jump to another measure when the repeat is played.

Da capo al Coda: It Indicates that in the repetition, we should jump from the first Coda symbol to the second one

Da capo al Fine: It indicates a repeat from the beginning to the measure where Fine is written above.

jump after the repeat and continue on

When playing, we play until the repeat bar, go back to the beginning and then we jump to the 2nd ending.

Repeat Signs: When a piece is played, we commonly start at the first measure and we continue until the last measure.

Nevertheless, there are signs that allows to modify this lineal progression, and we'll call them repetition bars and jump signs.

These signs help us save space in the score, avoid rewriting measures, and achieve a more practical and schematic way of writing a piece

Repetition bar: A thick line and two dots. (above and below the third line in the pentagram). It indicates a fragment



& c%

%D.S.

& c% Fine D.S. al Fine

& % fi D.S. al Coda fi

& 42 ∑ & 43 ∑ & 86 ∑

& c ∑2

& c ∑4

&27

& ‘ & «2

& ’ ’ ’ ’ & | | Û Û Û Û


LESSON 14

Other repetition marks: Continuing from the last lesson

Segno: Not in every repetition we start from the beginning (da capo), it can happen from another part of the piecefor these cases, we use the Segno, placing it at the beginning of the measure we wan the repeat to begin from.

Dal Segno: When we get to D.S. we jump to , repeat and continue until the end of the piece.

Dal Segno al Fine: Repeat from Segno until when we read Fine.

Dal Segno al Coda: Repeat from Segno until de first coda, then jump to the next coda and continuethe piece until the ending.

Notes on rests

Regardless of meter or time signature, whole note rest is used to indicate measure rest.

A rest of 2 or 4 measure is indicated by a whole note restand the number of measure that rest last above.

When the rest lasts more than 4 measures we use the following symbol:

Notes on measures

Repeat last measure Repeat first and second to last measures

Slash: indicates beats Rhythm notation

(Néstor Crespo)


& wπ wpw

; :

PwF

wf

wƒ

& c œ œ .œ Jœcresc - - - -

œ œ œ .œ Jœ œœ œ & c œ œ .œ Jœ

decresc - - - -

œ œ œ .œ Jœ œœ œ

& c œ œ .œ Jœ œœ œ .œ Jœ œ

œ œ & c œ œ .œ Jœ œœ œ .œ Jœ œ

œ œ

& 86q = 120

& c œ œ .œ Jœ œœ œ .œ Jœ

rit. - - - -

œ œ œ & c œ œ .œ Jœaccel. - - - -

œ œ œ .œ Jœ œœ œ

& c ˙ œ œ œ wU & ˙ œ œ œ œ œ œ œ œ U̇ ˙ œ œA Tempo


Expression Marks: In most cases, they are written in Italian and tell us how the notes must be played. This marks are divided in two categories: Dynamics and Agogic or Tempo marks

Dynamics: They tell us with how much energy or intensity we should play a part on the piece.

Pianissimo(very soft)

Piano(soft)

Mezzo Piano(half soft)

Mezzo Forte(half loud)

Forte(loud)

Fortissimo(very loud)

menor intensidad mayor intensidad

Crescendo: Incrementing intensity little by little Decrescendo: Diminishing the intensity little by little.

We could also write this marks with these symbols known a Regulators.

Tempo: It's important to say that the metronome was invented in 1914, buy previously composers used different

Another resource the Expression Marks known as Agogic, which refer to tempo changes (gradual or abrupt).These can be: Ritardando, Accelerando, Calderón, A tempo.

Ritardando: slowing down tempo little by little Accelerando: accelerating tempo little by little.

We should point out that even though there are other expression marks, this book objective is to show the most frequent ones.

Allegro


The Fermata is an Expression Mark that takes effect on a single note, prolonging it's duration according to the musician or director's criteria. (suspension effect)

In general, it's an effect that appears in the last note of the piece. If it appears anywhere else, we should immediately write"A tempo" above the next note to come back to the original tempo.

To be more precise, it's recommended to use the following notation:

Expression Marks to refer to the speed on which the piece should be played.

The most common ones are: Largo (very slowly), Adagio (slowly), Moderato (medium), Allegro (fast), Presto (very fast).


& c œ œ œ. œ. œ. œ.

& c œ œ J�œ ≈ J�œ ≈ J�

œ ≈ J�œ ≈

& c œ œ œ œ œ œt œ œ; ‰ .œ & c œ œ œ œ

& c œ> œ œ> œ & c œ. œ. œ- œ-

& c Œ œœœœgggg Œœœœœgggg

& c œ œ œ̆ œ̆ œ̆ œ̆ & c ˙ œ> œ œ œ œ œ ‰ .œ


Articulation: These symbols are also Expression Marks and help us on the interpretation ofone or more musical notes.

Metronome: Jochann Maëlzel invented the metronome in 1814. It was analogical in its beginning butnowadays it's more common to find digital ones.

The Articulations are:

Staccato: (Picado) shortens the assigned note duration

Slur : All notes are played without space between them. (legato)

Expression slur

Ligature

it's written like this... it's effect is like this..

To slur a sound means, for example, in violin, to play all notes in the slur with the same bow, or singing, in only one breath.

In harmonic instruments (piano, guitar, etc.), it means that you have to maintain the sound wihout

lifting the finger

Tenuto: It indicates that that one note should

CombinationsAccent + Staccato Accent + Slur

q

When the composer needs the piece's tempo speed to be a beat per secondo (a normal walking pace)he must indicate the following:

This means that per minute we'll be playing 60 quarter notes or their corresponding equivalnces. So, in a 4/4 meter,

we'll play 15 measures per minute (60 % 4 = 15)

The number or beats per minute in a piece's movement (tempo changes) has varied in history, but nowadays we use the following convention:

L a r g o q = 40 - Adagio q = 50 - Andante q = 60 - Moderato q = 80 - Allegretto q = 100 - Allegro q = 120 - Presto q = 160 - Prestissimo q = 180

Remember that this clarification goes after the movement . (see Lesson 15)


It's important to highlight the vital importance of practicing and rehearsing with a metronome

Arpeggio: It indicates that all notes should be played in quick succession from low to high

Accent: It indicates that that one note should be played with more energy than the others be sustained by all it's duration

= 60


&

&

43

43

jœ œ

jœ œ

jœ œ

œ .œœ .œ

œ .œ

it's written

it's effect

jœ .˙

œ .œ ˙

&

&

42

42

œœ œ œ

œ# œ

œ œ .œ œ œ# .œ

it's written

it's effect

œœ œ

œœ œ

œ œ .œ œ œ .œ

&

&

c

c

œ œ œ Œ œ œ œ Œ

œœ .œ Œ œœ .œ Œ

&

&

c

c

œm

Œ œ

m

Œ

œ œ .œ Œ œ œ .œ Œit's effect

&

&

c

c

œ œ œ Œ œ œ œ

M

Œ

œœ .œ Œ œ œ .œ Œ

&

&

c

c

œM

Œ œ

M

Œ

œ œ .œ Œ œ œ .œ Œ


Appogiatura: When played, it must be with more energy than the following note. They are divided in:Acciaccatura and Double Appogiatura

Double Appoggiatura: Represented by two 16th notes, above and below the principal note

Acciaccatura: Represented by an eight note with it's flag crossed by a thin line.

Mordent: It's written with two adjacent notes, the first one the same as the principal note, and the secondone is the superior tone. (a semitone or a tone)

If the Mordent has a vertical line is played with the inferior note.

They must be played slurred and in quick succession.


Ornaments (grace notes): They are represented by symbols or small notes which allow us, by applying them to the score, to add variety to the melody.

They are written before or after the principal note and have no value of their own, their value is set according to the principal note.

They are also called grace notes and the most common ones are: Appoggiatura, Mordent and the Turn

it's written

it's effect

or


&&42

42œT Œ

3œ œ œ œ Œit's written

it's effect

&&42

42œ œ œ œ Œ

3œ œ œ œ Œor

it's effect

&&43

43œ T ˙

œ œ œ œ œ ˙&&43

43œ œ œ œ œ ˙

œ œ œ œ œ ˙

&&cc

˙ T œ œœ .œ

3

œ œ œ œ œ

&&cc

œTI

œ œ ˙œ œ# œ œ œ œ œ ˙

&&42

42

Ÿ~~~~~~~j̊œ ˙ œ œ œit's written

effect

˙˙

&&

Ÿ~~~~~~~~~~j̊œ ˙ œ œœœœœœœœœœœœœœœœœ

˙˙

&&

Ÿ~~~~~~~~j̊œ ˙ œ œb œ œœœ œb œœœœœœœœœœœœœ

˙˙

& cu̇ œ œ

œ œ œ œœ œ œ œ

œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

.œU Jœ ˙etc.


Trill: A two note alternate repetition is called Trill. These notes should be at a distance of tone or semitone.It has three parts: Preparation, Shake and Finish

Cadenza: A passage that in some cases the musician introduces into the piece during the Fermata. It'swritten with smaller figures.

Turn: A group of three or four notes that precede or follow the pricipal note

1. When the symbols is above the figure, it's a three note turn and they are played before the principal note

2. When the symbol is between two notes, it's played before the second note and takes it's value from the first one.

(Grace Notes - continuation)

3. This is how a Turn is played if it's after a dotted figure.

4. If the Turn has an accidental alteration, it's written like this:

Pre.œœœœœœœœœœœœœœœœ


it's written

it's effect

or

it's effect

it's written

it's effect

it's written

it's effect

Sha. Fin.


& bb b 43 .œ œ ˙ Œ & bb b 43 .œ œ ˙

& bb b 43 Ó .œ œ ˙ Œ

& bb b 43 Œ œ œn œ œ œ œb œ œ .˙ & bb b 43 Œ .œ œ œ œ œ œ Œ

& bb b Œ Œ .œ œmotive 1

œ Œ .œ œmotive 2


Semiphrase 1

œ .œ œ œ œMotive 4 - Suspensive

œ œ .œ œmotive 1

& bb b œ Œ .œ œmotive 2


Semiphrase 2

œ œ œn œ œ œ œb œ œMotive 5 - Conclusive

.˙


According to their ending they can be: Male or Female

According to the way they start, the motives are: Anacrusic, Tetic or Acephalous.

Anacrusic: Begins before the start of the phrase Tetic: Begins in the first beat

Acephalous: Begins with a rest

Male: (Conclusive) - The ending coincides withthe accent.

Female: (Suspensive) - The ending is after the accent,creating a sensation of suspense.

Musical Structure: It's comprised of the following elements

1. Motif (motive): A short musical idea (one or two measures), in which the composer establishes the piece

2. Semi-phrase: The sum of two or more motifs.

3. Phrase: The sum of two or more semi-phrases, it's duration is commonly 8 measures.

4. Period: The sum of two or three phrases is known as the period, and a number of periods gives us a fragmentof or the whole musical piece.

Musical phrase analysis


development. (Example: Beethoven's 5th Symphonie : G - G - G - Eb )


&&B??

&?

ccccc

cc

I

II

Viola

Cello

Double Bass

Violin

Piano

∑∑∑∑∑

∑∑

Moderato {q = c 108}

&&B??

&?

I

II

Viola

Cello

Double Bass

Violin

Piano

∑∑∑∑∑

∑∑

Moderato {q = c 108}


Score: it's what the orchestra director uses for directing a piece

Parts: Each musician or instrument piece notation.

The score is comprised of each and every orchestra instrument, one below the other in a way that each measure from each instrument is aligned.

It has the advantage of encompassing with a single glance all of the composition.

Commonly, they are grouped by instrument class, like strings (violín, viola, cello, double bass) for example, or percussion, winds, brasses, etc. (more on this at the end of thelesson)

Brackets: These vary between instrument classes.

These allow us to group up instrument classes or families to make the reading easier.

Notice the different bracket for the strings as a whole, the violins as a subgroup (first and second) and also the piano.

Instrument classes:

String instruments Wind instruments

Percussion instruments

Bowed: violín, viola, violoncello, double bassPlucked: harp, guitar, mandolin, clavichord Struck: piano, cimbalom

Air reed: flute, piccolo etc.Reed: clarinet, oboe, saxophone, bassoon, etc. Mouthpiece: trumpet, trombone, etc.Keyboard: organ, harmonium.

Determined sounds: timpani, bells, carillon, etc.Undetermined sounds: bass drum, drum, snare drum, triangle, etc.



W

"

Breve

8 beats

„ ÷,Breve rest

8 beats

Neutral Key

Percussion Key

breath mark

small rest in sound

Cesura

mute instrument between notes

Tab

for guitar/bass

œÆ Staccattissimo

less than staccato

œMarcato

stronger accent

œ+ Left Hand Pizzicato

œ≤ Up

Violin Viola, etc: up-bow Guitar: up pick

œ≥ Down

Violin Viola, etc: down-bow Guitar: down pick

w

°

Sustain pedal

Press sustain pedal

w

* Release sustain pedal

œBártok Pizzicato

Pull the string away from the instrument and release,

producing a loud snapping sound

œoNatural Harmonic

œ.OArtificial Harmonic

œ

√

œ œ œPlay an octave lower

œ◊ œ œ œ

Play an octave higher

œ œ œ œloco - - -

Nullifies octave effect

˙ ˙

Portamento

Play legato

˙˙

Glissando

ejecución cromática rápida~~~~~

~~ ˙ ˙Sudden Piano

subito p˙ œ œ

Sforzato

Sudden Accentß˙ œ œ

Forte note, then piano

Í


TA

B

Musical Symbols(Néstor Crespo)

A clear and precise way of writing music diminishes the margin of error when we first read a piece.

This is way a good calligraphy, abbreviations, symbols, signs, etc. allow us to focus in our purpose: to play!

Some examples:


!̇ ˙@

œ œ œ œ œ œ œ œ œ œ œ œ

It's written

It's effect

Tremolo˙æ

œæ

œæ

œœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ

˙6 œ3 œ3

6œ œ œ œ œ œ3œ œ œ 3œ œ œ

˙ ˙ ˙˙

œ œ œ œ œœ œ œ

˙̇ ˙ œœ@ Jœœ ‰

œœœ œœ

œ œœœ œœ

œ œœ œœ œœ œœJœœ ‰

’œ œ œ œ


’ ’ ’3œ œ œ

3œ œ œ3œ œ œ

3œ œ œ3œ œ œ


œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

’ ’œ œ œ œ

œ œ œ œ



œœœœœœœœ˙˙@

œœœœœœœœœœœœœœœœ

Simile

(Símile)

œ œ œ œ...˙̇˙

@



Simile

œ œ œ œ œœ@

œœ@

œœ@

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Simile

œœ œœ œœ œœœœ@ .

.œœ! jœ

œ

œœ œœ œœ œœœœœœœœœœœœ

œœ

œœ

œœ

’ ’ ’jœ ‰

jœ

‰ jœ

‰ jœ

‰ jœ

‰

œ>œ. œ. œ.

œœ œ œ

œ>œ. œ. œ.

œ>œ. œ. œ.

Simile


Musical Symbols(Néstor Crespo)

(continuation)



SPANISH

1er espacio1ra líneaAcéfaloAcentoAcordesAdornos AlteraciónAlteración de Precaución Alteración Precautoria AlturaAnacrúsicoApoyaturaApoyatura Breve Apoyatura DobleArco para abajoArco para arriba Armadura de Clave Armónico Artificial Armónico Natural ArpegioBarra de FinalBarra PunteadaBarra unión corcheas, etc Barras de repetición BecuadroBemolBlancaCabeza u ovalCadenzaCasillas de repetición CesuraClave Clave de DoClave de FaClave de SolClave NeutralCompásCompás compuesto Compás de amalgama Compás simple Compositor ContratiempoCorcheaCuadradaDa CapoDa Capo al CodaDa Capo al FineDe arcoDe cuerda punteadaDe sonido determinado Del Segno al Fine DenominadorDinámicaDivisión del Compás

ENGLISH

First spaceFirst lineAcephalousAccentChordsOrnamentsAccidentalCautionary accidentalCautionary accidentalPitchAnacrusicApoggiatturaShort apoggiatturaLong apoggiatturaDown bow - Giù arcoUp bow - Sull'arcoKey SignatureArtificial HarmonicNatural HarmonicArpeggioFinal BarDotted Bar LineBeamRepeat BarlinesNaturalFlatHalf noteNote headCadenzaVolta brackets (1st and 2nd endings) Caesura or Grand PauseClefAlto ClefBass ClefTreble ClefNeutral ClefBar - MeasureCompound meterIrregular meterSimple time signaturesComposerBack BeatEighth noteDouble wholeDa CapoDa Capo al CodaDa Capo al FineBow instrumentsPlucked stringsPitched instrumentsDel Segno al FineLower numberDynamicTime or Meter Signature

Spanish / English Glossary(Néstor Crespo)



Spanish / English Glossary

SPANISH

Do CentralDoble BarraDoble bemolDoble puntilloDoble sostenido DosilloDuraciónEnarmonía EquivalenciaEscala Cromática FemeninoFigura MusicalFinalFrase conclusiva Frase musicalFrase suspensiva FusaGrupitoInstr.de CuerdaInstr. de Percusión Instr. de Viento IntensidadLetras de Ensayo LigaduraLigadura de duración Ligadura de expresión LíneaLínea delgadaLínea divisoria compás Líneas adicionales LlaveLlaves - corchetes MarcatoMasculino Metrónomo MordenteMotivo MovimientoMúsicaNegraNotación Musical Notación Pulso Notación Rítmica NumeradorNúmeros de Ensayo OctavaParticella PartituraPentagramaPizzicatoPlicaPrimer tiempo o pulso PulsoPuntillo

ENGLISH

Middle CDouble BarDouble FlatDouble dotted note Double SharpTwinsDurationEnharmonic Equivalence Chromatic scale FeminineNote valueFineConclusive Phrase Musical Phrase Suspensive Phrase Thirty-second note GrupetoStrings instruments Percussion instruments Woodwinds instruments IntensityRehearsal letters Legato o SlurTieSlurLineThin lineBar Line - Barline Ledger linesBraceBraces - Brackets MarcatoMasculineMetronomeMordentMotive - Motif MovementMusicQuarter noteMusical Notation SlashRhythm Notation Upper number Measure numbers OctavePartsScoreStaffPizzicatoStemFirst beatBeatDotted note

(Néstor Crespo)



SPANISH

QuintilloRedondaRitmoSegnoSegundo tiempo o pulso SeisilloSemicorcheaSemifusaSemitonoSemitono cromático Semitono diatónicoSeptilloSerie AscendenteSigno de RespirarSigno Repetición de compás SilencioSilencio de cuadrada SíncopaSistemaSonidoSostenidoStaccatissimoStaccatoTablaturaTenutoTeticoTimbreTonoTremoloTresillo de corcheas Tresillo de negrasTresilloTrinoVarios compases de silencio

ENGLISH

QuintupletWhole note RhythmSegnoSecond beat Sextuplet Sixteenth note Sixty-fourth note Semitone Chromatic semitone Diatonic semitone Septuplet Ascending Series Breath mark Repeat SignsRestDouble whole Rest Syncopation Grand StaffSoundSharp Staccatissimo StaccatoTablatureTenutoTheticTimbre - Tone color ToneTrillEight note triplet Quarter note triplet TupletTrillMulti-measure rest

Spanish / English Glossary(Néstor Crespo)


LEGAL

Crespo, Néstor Rubén

Musical Theory / Volume One

Serie 20&20

ISBN 978-987-28103-4-4

Date of Catagolation: 09/09/2017

Musical Theory / Volume 11st edition

© Néstor Rubén Crespo, 2017 [email protected] www.serie20y20.com.ar

Publishing date: September 2015Law 11.723Edited in Argentina

Graphic Design: Edgardo Vallarino

Translation: Tomás Lidejover

The content and originality of this document is the sole responsibility of its author. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher/editor. Your violation is punishable by laws 11,723 and 25,446.

Proofreading: Prof. Federico Palmero

Cover Design: Edi Vallarinowww.edivallarino.com.ar

Made in Buenos Aires, Argentina, December 2009


Translation: Tomás [email protected]

Lenguaje Musical - TRADUCCION 301. Tapa Lenguaje Musical02. Bio - Nestor Crespo04. Indice Lenguaje Musical05. Agradecimientos06. Contratapa Lenguaje MusicalLeccion 1Ejercicio 1Leccion 2Ejercicio 2Leccion 3Ejercicio 3Leccion 4Ejercicio 4Leccion 5Ejercicio 5Leccion 6Ejercicio 6Leccion 7Ejercicio 7Leccion 8Ejercicio 8Leccion 9Ejercicio 9Leccion 10Ejercicio 10Leccion 11Ejercicio 11Leccion 12Ejercicio 12Leccion 13Ejercicio 13Leccion 14Ejercicio 14Leccion 15Ejercicio 15Leccion 16Ejercicio 16Leccion 17Ejercicio 17Leccion 18Ejercicio 18Leccion 19Ejercicio 19Leccion 20Ejercicio 2001 - Simbolos Musicales 102 -Simbolos Musicales 203 - Glosario Musical Espanol-Ingles 104 - Glosario Musical Espanol-Ingles 205 - Glosario Musical Espanol-Ingles 3

Lenguaje Musical - TRADUCCION SOLUCIONESEjercicio 1Ejercicio 2Ejercicio 3Ejercicio 6Ejercicio 7Ejercicio 8Ejercicio 9Ejercicio 10Ejercicio 11Ejercicio 12Ejercicio 13Ejercicio 14Ejercicio 15Ejercicio 16Ejercicio 17Ejercicio 18Ejercicio 19Ejercicio 20

MUSIC THEORY 1 - Theory - Nestor Crespo - FREE

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