Notes:
Music 6 Introductory Video Script
Course
Music
Lesson Objective
Semester
A
Unit
3
Lesson
12
Lesson 12: The student will be able to accurately write ascending and descending
Bb and D Major Scales in Bass Clef without key signatures.
VISUAL
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AUDIO
How has your practice been going? The last
scales we practiced writing out were the B flat
and D major scales
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We are going to stick with these two scales for
this lesson but instead of the treble clef, we
are going to write them using the bass clef
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Let’s begin by reviewing the bass clef. Do you
remember what the other name for the bass
clef is?
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You got it, it is the F clef because the two dots
of the bass clef surround line 4 which is the
note F
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To remember the lines of the bass clef we
used an acronym. The acronym we used for
the lines of the bass clef from bottom to top
was Good Boys Do Fine Always.
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<Text:
Lines of the bass clef:
This means that from the bottom to the top,
the lines of the bass clef are G B D F A
A-------------------------------------------------------------F--------------------------------------------------------------D-------------------------------------------------------------B-------------------------------------------------------------G-------------------------------------------------------------- >
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Now we are left with the spaces. Do you
remember what the acronym was for the 4
spaces of the bass clef? Remember, it had to
do with cows.
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<Text:
If you were thinking All Cows Eat Grass then
you are right. This makes the spaces of the
bass clef from bottom to top A C E G.
Spaces of the bass clef:
-------------------------------------------------------------G
--------------------------------------------------------------E
-------------------------------------------------------------C
-------------------------------------------------------------A
-------------------------------------------------------------- >
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Now that we have re-familiarized ourselves
with the bass clef, let’s review where the half
and whole steps fall in the solfege for the
major scale.
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n_Hand_Signs_MT.jpg>
Think back to your hand signs. Which two
hand signs are our unique ones that point? If
you answered fa and ti then you remember
correctly!
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<Text: This means that from fa to mi is a half-step, and
from ti to do’ is a half-step>
This means that from fa to mi is a half-step,
and from ti to high do is a half-step
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<Text:Whole and Half steps of the Major Scale
(solfege):
do-re: whole
re-mi: whole
mi-fa: half
fa-sol: whole
This leaves the rest of the intervals of the
major scale to be whole steps.
sol-la: whole
la-ti: whole
ti-do’: half>
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<Text: Naturally occurring Whole and Half steps:
C-D: whole
D-E: whole
E-F: half
F-G: whole
G-A: whole
A-B: whole
B-C: half>
If we turn the solfege into letter names to find
the existing whole and half steps we have this
formula.
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<Text:
B flat on the staff with the bass clef.
Now that we have our formula down, let’s
apply it to the ascending Bb Major scale on
the bass clef. Begin by drawing your bass clef
then drawing line 2 B with a flat in front
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------bB--------------------------------------------------------------------------------------------------------------------do >
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<Text:
B flat scale on the staff with the bass clef (no changes
yet)
Once the first note is there, draw in all the
other ones from line 2 B to the B right above
staff.
B
-------------------------------A-----------------------------G
-----------------------F-------------------------------------E
---------------D---------------------------------------------C
----bB--------------------------------------------------------------------------------------------------------------------Do
re mi fa sol la ti do’ >
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Now that we have our scaffolding, let’s apply
the formula to the scale
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<Text: The first interval we have is a Bb to C, or do
to re which needs to be a whole step.>
The first interval we have is B flat to C, or do
to re which needs to be a whole step.
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If you look at the letter name formula we
came up with, you will notice that B to C is a
half-step. But because our scale has a B flat
instead of a regular old B, we have a whole
step.
journal-font-451487/>
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Now that our first interval is good, let’s look
at our next two notes, C and D or re to mi.
Check your formulas to make sure it is the
whole step that it needs to be.
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<Text: Mi to Fa>
You should have found that these notes are the
whole step apart that we need. Moving on, we
have D to E or mi to fa. Here I think we might
have a problem.
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From mi to fa we need a half step but with the
notes D and E, we do not have one. Do you
know how to fix it?
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B flat scale on the staff with the bass clef (E is now flat)
If you are thinking that we just need to add a
flat to the E then you are correct!
B
-------------------------------A-----------------------------G
-----------------------F-------------------------------------bE
---------------D---------------------------------------------C
----bB--------------------------------------------------------------------------------------------------------------------Do
re mi fa sol la ti do’ >
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<Text: Fa to Sol>
Now that mi to fa is a half step, let’s move on
to our next interval, which is E flat to F, or fa
to sol. For this interval we need a whole step,
check it out and see what you find
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<Text: Interval does not need to be changed>
If you used our formula correctly, then you
found that our interval does not have to be
changed.
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We are now rounding the final bend and need
to finish up with our last few intervals. Take a
look at F to G, sol to la, which needs to be a
whole step. You will notice that we are good
here.
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<Text: La to Ti>
Moving on up we have G to A, la to ti, which
needs to be a whole step. Using the formula
sheets as a reference, you’ll notice we are
good.
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<Text:
B flat scale on the staff with the bass clef (all changes
made)
This now brings us to our high home which is
ti to do. Since we are dealing with the B flat
scale and low do is B flat, we need to add the
flat to the high do as well
bB
-------------------------------A-----------------------------G
-----------------------F-------------------------------------bE
---------------D---------------------------------------------C
----bB---------------------------------------------------------
------------------------------------------------------------Do
re mi fa sol la ti do’ >
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<Text: A to Bb = half step>
This makes our final interval, A to B flat the
half step that it needs to be.
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<Text:
All together your scale should have three flats.
Two of them are on both the low and the high
B, and the third is on the E.
B flat scale on the staff with the bass clef (no changes
yet)
B
-------------------------------A-----------------------------G
-----------------------F-------------------------------------bE
---------------D---------------------------------------------C
----bB--------------------------------------------------------------------------------------------------------------------Do re mi fa sol la ti do’>
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<Text:
B flat on the staff with the bass clef for descending
bB
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Do’ >
Practice writing this scale in descending order,
which will start on the B flat right above the
staff and will end on line 2 B flat.
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Instead of just copying the ascending B flat
major scale backwards, write it using the
formulas that we came up with.
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<Text: D Major Scale>
Once you have that down, try writing the D
major scale both ascending and descending.
This scale will start on line 3 D for ascending,
and will actually end right above middle C.
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Remember to use the tools that we created,
and as always, good luck.