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Jump to: Day 1, Day 2, Day 3, Day 4, Day 5, Day 6, Day 7, Day 8, Day 9, Day 10, Day 11, Day 12, Day 13, Day 14, Day 15, Day 16, Day 17, Day 18, Day 19, Day 20, Day 21, Day 22, Day 23, Day 24, Day 25, Day 26, Day 27, Day 28, Day 29, Day 30, Final test.
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Day 1
There are no audio examples in our first lesson and the reason for this is actually quite important! It is because in order to know how a note is going to sound, the note values alone are not enough. To know the exact duration of a note, we will need to have more information, and we will slowly build this up as we progress through our course.
Day 1 Answer Key
1a. The stem
1b. The flag
2.
3.
4b. four
c. two
d. four
e. four
f. two
g. eight
5.
Day 2
Day 2 Answer Key
1a. True
b. False
c. True
2a. 4 beats
b. 2 beats
c. 1 beat
d. one half of a beat
e. one fourth of a beat
3.
Day 3
Day 3 Listening Experience
Day 3 Answer Key
Listening Experience Answers
Clip 1: Moderate tempo
Clip 2: Slow tempo
Clip 3: Fast tempo
Clip 4: Fast tempo
Clip 5: Moderate tempo
Clip 6: Fast tempo
Clip 7: Fast tempo
Clip 8: Moderate tempo
Clip 9: Slow tempo
Clip 10: Slow tempo
Day 3 Answers to the Exercises
1a. False
b. True
c. True
d. True
2. Beats per minute
3. To make an audible pulse with a constant click or beep.
4a. At a walking pace; 80 bpm
b. Lively and quick; 120 bpm
c. Very fast; 140 bpm
d. At a moderate pace; 100 bpm
e. Very slow and broad; 40 bpm
f. Slow; 60 bpm
Day 4
Day 4 Listening Experience 1
Day 4 Listening Experience 2
Day 4 Answer Key
Listening Experience 1
1. Strauss: March
2. Schubert: March
3. Chopin: Waltz
4. Beethoven: March
5. Tchaikovsky: Waltz
6. Tchaikovsky: March
7. Strauss Jr.: Waltz
8. Offenbach: March
9. Debussy: Waltz
10. Sibelius: Waltz
Listening Experience 2
1. Bach: Duple
2. Beethoven: Duple
3. Bach: Triple
4. Dvorak: Triple
5. Grieg: Duple
6. Handel: Triple
7. Haydn: Triple
8. Haydn: Duple
9. Paganini: Duple
10. Waldteufel: Triple
Answers to the Exercises
1a. Equal groups
b. accented
c. 3 beats
d. bar lines
e. signature
f. beats per measure; the type of beat.
2b. Three eighth note beats (quaver beats) in every measure;
c. Two half note beats (minim beats) in every measure;
d. Four quarter note beats (crotchet beats) in every measure;
e. Three quarter note beats (crotchet beats) in every measure.
3b. Strong, weak, weak
c. Strong, weak
d. Strongest, weak, strong, weak
e. Strong, weak, weak
4a. Four-four (or two-two)
b. Four-four (or two-two)
c. Three-eight
5.
Day 5
Answers to the Exercises
1. Silence
2.
3.
4.
Day 6
Answers to the Exercises
1. The dot adds half the value of the original note to the original note itself.
2b. Dotted quarter rest (dotted crotchet rest);
c. Dotted eighth rest (dotted quaver rest);
d. Dotted half rest (dotted minim rest);
e. Dotted eighth note (dotted quaver);
f. Dotted whole note (dotted semibreve).
3.
4b. sixteenth notes (semiquavers)
4c. eighth notes (quavers)
4d. quarter notes (crotchets)
5.
Day 7
Answers to the Exercises
1. The purpose of the tie is to add together the duration of 2 or more notes. It allows for longer notes that wouldn’t be possible to notate otherwise.
b. 1 and a fourth
c. 5
d. 2 and a half
3.
Day 8
Answers to the Exercises
1b. 8
c. 1
d. one half
e. 4
2b. one-fourth
c. one-eighth
d. 2
e. one half
Day 9
Day 9 Listening Experience
Listening Experience Answers
1. Marcello: Simple
2. Mussorgsky: Compound
3. Lehar: Simple
4. Mozart: Simple
5. Gounod: Compound
6. Offenbach: Compound
7. Prokofiev: Simple
8. Smetana: Compound
9. Beethoven: Compound
10. Vaughan Williams: Compound
Answers to the Exercises
1. By 2
2. By 3
3a. Simple duple
b. Compound duple
c. Simple duple
d. Compound duple
e. Compound triple
f. Simple quadruple
g. Simple triple
h. Compound triple
i. Simple triple
j. Compound quadruple
Day 10
Answers to the Exercises
1a.
1b.
1c.
Also a good answer:
1d.
1e.
1f.
Day 11
Answers to the Exercises
1. Compound meters consist of dotted note beats so every beat is divisible by 3. Simple meters consist of basic note values as beats (not dotted ones) so every beat is divisible by 2. Complex meters are a combination of both.
2a. To turn the pulse into five-four meter, make sure you have a bar line every 5 quarter note beats (crotchet beats).
2b. To turn the pulse into seven-eighth meter, make sure you have a bar line every 7 eighth note beats (quaver beats).
3. There are no fixed answers for these exercises. Make sure the rhythms you create fit in the time signatures given.
Day 12
Answers to the Exercises
1b.
1c.
1d.
1e.
1f.
Day 13
Answers to the Exercises
1a.
1b.
1c.
1d.
2a.
2b.
2c.
2d.
3.
4.
Day 14
Day 14 Listening Experience
Answers to the Listening Experience
1. Beethoven: Yes
2. Traditional: Yes
3. Chopin: Yes
4. Bach: No
5. Dvorak: Yes
6. Haydn: Yes
7. Handel: No
8. Albeniz: No
Answers to the Exercises
There are no fixed answers to these exercises.
Day 15
Answers to the Exercises
1a.
1b.
1c.
1d.
Day 16
Answers to the Exercises
1a. 12
b. 7
c. 5
2a. A, B, C, D, E, F and G
b. 8; an octave
c.
3a. Scientific Pitch Notation
b. its specific octave.
Day 17
Day 17 Listening Experience
Answers to the Exercises
Exercise 1
a.
b.
c.
d.
Exercise 2
a.
b.
c.
d.
Exercise 3
a.
b.
c.
d.
Exercise 4
a.
b.
c.
d.
Answers to the Listening Experience
1. H
2. H
3. W
4. H
5. W
6. H
7. W
8. W
9. W
10. H
Day 18
1a. The second one
b. raise the note
2a. The last one
b. lower the note
3a. The third one
b. cancel a sharp or a flat that occurred before
Exercise 4
a. F sharp:
b. E flat:
c. G natural:
d. D double sharp:
e. A sharp:
f. B double flat:
g. G flat:
h. F flat:
5b. E
c. C
d. A flat
e. D sharp
f. B flat
g. B
h. B sharp (or D double flat)
i. A
j. A sharp
Day 19
Answers to the Exercises
1. Five
There are no fixed answers for the rest of the exercises.
Day 20
Answers to the Exercises
1. Ledger lines
There are no fixed answers for the rest of the exercises.
Day 21
Answers to the Exercises
1.
2. These notes can be written in different octaves. Please compare your answers to the notes in the lesson.
Day 22
1.
2. These notes can be written in different octaves. Please compare your answers to the notes in the lesson.
Day 23
Answers to the Exercises
1.
2.
Day 24
Answers to the Exercises
1.
2.
Day 25
Answers to the Exercises
1. The loudest is ff
2. The softest is p
3. mf means “moderately loud”
4. Crescendo: “gradually getting louder”
5. Diminuendo means “gradually getting softer”
6. The symbol for forte piano is fp
7. Sfz is short for sforzando meaning “with force” or “a sudden emphasis”
Day 25 Listening Experience
Solutions to the Listening Experience
Here are the solutions to today’s listening experience. These are not the only possibilities; if your answers are close enough (for example a crescendo starting a little earlier or using mezzopiano instead of mezzo forte), consider it done right. As with all our listening experiences, the main purpose is to listen with awareness.
1.
2.
3.
4.
Day 26
Answers to the Exercises
1.
2.
3. A variety of answers are correct.
4.
Day 26 Listening Experience
Solutions to the Listening Experience
1.
2.
3.
4.
Day 27
Answers to the Exercises
1. Adagio
2. Vivace
3. Andante
4. A variety of answers are correct.
5. 60 half note beats in a minute (or 60 minim beats in a minute)
6. Getting faster
7. Back to the original tempo.
Day 27 Listening Experience
Solutions to the Listening Experience
If your answers are similar or close enough, consider them correct.
1. An accelerando towards the end:
2. Two pauses:
3. A ritardando starting at the middle
Day 28
Day 28 Listening Experience
Listening Experience Solutions
1.
2.
3.
Day 29
Answers to the Exercises
1.
or
2.
3. It means that the notes should be played on the instrument’s lowest string, the “C” string.
4. The pianist’s thumbs are numbered “1”.
5. Because the right-hand fingers are not usually in direct contact with the strings. They hold the bow.
6. Flutter-tonguing
7. In the bell
8. Pizzicato means to pluck instead of to bow.
9. Circled numbers indicate which string a note should be played on.
10. “Sul G”.
Day 29 Listening Experience
Solutions to the Listening Experience
1a. No
1b. Yes
2a. Yes
2b. No
3a. No
3b. Yes
Day 30
Answers to the Exercises
1. An ornament is a quick decoration of a note, represented in musical notation by grace notes or special symbols.
2a. True
b. False (the mordent is not limited to a whole step above)
c. False
d. True
e. True
3. While the trill is a continuous and rapid alteration of a note and the note above it, a tremolo is a rapid alteration of either the same note, or any two notes (even ones that skip).
4.
5. The lower mordent is a decoration of the principal note with the note below it; the upper mordent is a decoration of the principal note with the note above it.
6. Trill
7. A fast note played just before the principal note
8. Please compare your answers to the diagrams in today’s lesson.
9. The turn starts on the note above the principal note while the inverted turn starts on the note below it.
10. The arrow specifies the direction of the arpeggio.
Listening Experience
1.
2.
3.
4.
5.
6.
Solutions to the Listening Experience
1. Trill
2. Inverted turn
3. Tremolo
4. Acciaccaturas
5. Arpeggio
6. Upper mordent
Answers to the Test
1. The reason is that we can have rhythm without pitch but not pitch without rhythm.
2a and 2b:
3. The answer is “a.” – fixed
4. The answer is “d.” – Both meter and tempo
5. The answer is “c.” – The strong beat occurs every three beats
6. The answer is “a.” – It tells us how many beats there are per measure; and c. It tells us what type/quality of beats they are;
7. The answer is “b.” – Although the values of the notes in relation to each other are always the same, tempo is important because it determines how fast or slow those notes are.
8. The tie and the dot
9. The answer is “d.” – any note value
10a. The pulse of a compound time signature is assigned to a dotted note, making every beat divisible by 3. The pulse of a simple time signature is assigned to a basic note value (and never a dotted note).
10b. Duplets and triplets allow for a division of a beat that is not normally permitted by the meter. A duplet allows for a beat of a compound meter to be divided into 2 equal parts. A triplet allows for a beat of simple meter to be divided into 3 equal parts.
11.
12. These notes can be written correctly in various octaves. Please compare your answers to the diagrams in the book.
13.
14. These notes can be written correctly in various octaves. Please compare your answers to the diagrams in the book.
15a.
15b.
16.
17. There are 12 pitches. They’re named: C, C sharp (or D flat), D, D sharp (or E flat), E, F, F sharp (or G flat), G, G sharp (or A flat), A, A sharp (or B flat), B.
18. We mean that the first F note is 8 alphabetical and musical steps above the second F note.
19. While the half step is the smallest possible distance between any two notes, the whole step is the distance between any two notes that have one intervening note in between. Two half steps make a whole step.
20. To alter a note by a half step: the sharp raises a note by a half step; the flat lowers a note by a half step.
21. The natural: it cancels a sharp or a flat to bring the note back to its original.
22a. The double flat lowers a note by a whole step:
22b. The double sharp raises a note by a whole step:
23. The term for loud is “forte” and its symbol is this:
The term for soft is “piano” and its symbol is this:
24a.
24b. sub. p
25. Staccattissimo
26. Mistakes numbered 1 to 8 and fixed:
27a.
27b.
28. The final bar line was missing:
29. Play from the beginning to the measure marked ‘Fine’ (Italian for ‘end’).
30. The “engage sustain pedal” symbol:
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