{"id":1239,"date":"2023-09-27T13:51:09","date_gmt":"2023-09-27T13:51:09","guid":{"rendered":"http:\/\/localhost\/ecole9ja\/?p=1239"},"modified":"2023-09-27T13:56:10","modified_gmt":"2023-09-27T13:56:10","slug":"week-2-jss-2-third-term-cultural-and-creative-art-cca-lesson-notes","status":"publish","type":"post","link":"https:\/\/ecolebooks.com\/nigeria\/posts\/week-2-jss-2-third-term-cultural-and-creative-art-cca-lesson-notes\/","title":{"rendered":"Week 2 – Jss 2 Third Term Cultural And Creative Art (CCA) Lesson Notes"},"content":{"rendered":"

CLASS; J S S 2 WEEK 2 <\/strong>
\n\t\t\tTOPIC;
\n\t\t\t\t\tKEY \u2013 SIGNATURE.
\n<\/strong>Key signature is the several combinations of sharps or flats after the clef at the beginning of each stave, indicating the key of a composition.
\nIn musical notation, a\u00a0key signature\u00a0is a set of sharp or flat symbols placed together on the staff.\u00a0Key signature are generally written immediately after the clef at the beginning of a line of musical notation, although they can appear in other parts of a score, notably after a double bar line.
\n\"\"\/ In\u00a0musical notation, a\u00a0key signature\u00a0is a set of\u00a0sharp\u00a0or\u00a0flat\u00a0symbols placed together on the\u00a0staff. Key signatures are generally written immediately after the\u00a0clef\u00a0at the beginning of a line of musical notation, although they can appear in other parts of a\u00a0score, notably after a\u00a0double bar line.
\nA key signature designates\u00a0notes\u00a0that are to be played higher or lower than the corresponding\u00a0natural\u00a0notes and applies through to the end of the piece or up to the next key signature. A sharp symbol on a line or space in the key signature raises the notes on that line or space one\u00a0semitone\u00a0above the natural, and a flat lowers such notes one semitone. Further, a symbol in the key signature affects all the notes of one letter: for instance, a sharp on the top line of the\u00a0treble staff\u00a0applies to Fs not only on that line, but also to Fs in the bottom space of the staff, and to any other Fs. This convention was not universal until the late Baroque\/early Classical period, however; music published in the 1720s and 1730s, for example, uses key signatures showing sharps or flats on both octaves for notes which fall within the staff.
\nAn\u00a0accidental\u00a0is an exception to the key signature, applying only in the measure in which it appears.
\nAlthough a key signature may be written using any combination of sharp and flat symbols, about a dozen\u00a0diatonic key signatures\u00a0are by far the most common, and their use is assumed in much of this article. A piece scored using a single diatonic key signature and no accidentals contains notes of at most seven of the twelve pitch classes, which seven being determined by the particular key signature.
\nEach\u00a0major\u00a0and\u00a0minor\u00a0key\u00a0has an associated key signature that sharpens or flattens the notes which are used in its scale. However, it is not uncommon for a piece to be written with a key signature that does not match its key, for example, in some Baroque pieces,\u00a0or in transcriptions of traditional modal folk tunes.
\nLater on, this use of a key signature that is theoretically incorrect for a piece as a whole or a self-contained section of a piece became less common (in contrast to brief passages within a piece, which, as they modulate from key to key often temporarily disagree with the key signature); but it can be found at least as late as one of Beethoven’s very late piano sonatas. For example, in his Sonata no. 31 in A\u266d\u00a0major, Op. 110, the first appearance of the Arioso section in the final movement is notated throughout in 6 flats; but it both begins and ends in A\u266d\u00a0minor and has a significant modulation to C\u266d\u00a0major, and both these keys theoretically require 7 flats in their key signature. (The second appearance later in the movement of this same section, a semitone lower, in G minor, uses the correct key signature of two flats.)
\n\"\"\/
\n\t\tCLEF SIGNATURE.
\n\t\t\t\t<\/strong>Clef signature is related to stave and pitch notes accurately, a sign called a clef is used to fix the position of a certain letter names on it. Tow clefs are commonly used, one of the high notes, which is G or treble clef while the other if F or Bass clef. These clefs are signs written on the staff at the beginning of a piece of music to show the types of stave or staff.
\nSCALE<\/strong>.
\nScale is an alphabetical arrangement of sounds ascending and descending order. It consist of eight notes.
\nExamples; from C to C = 8 notes.<\/p>\n

Major scale structure
\n<\/h2>\n

Except for C major, key signatures appear in two varieties, “sharp key signatures” (“sharp keys”) and “flat key signatures” (“flat keys”), so called because they contain only one or other.<\/p>\n

Scales with sharp key signatures
\n<\/h3>\n

Sharp key signatures consist of a number of sharps between one and seven, applied in this order: F C G D A E B.\u00a0A mnemonic device often used to remember this is “Father Charles Goes down and Ends Battle.\u00a0The key note or\u00a0tonic\u00a0of a piece in a major key is immediately above the last sharp in the signature.[7]<\/sup>\u00a0For example, one sharp (F\u266f) in the key signature of a piece in a major key indicates the key of G major, the next note above F\u266f. (Six sharps, the last one being E\u266f\u00a0(an enharmonic\u00a0spelling of F\u266e) indicate the key of F\u266f\u00a0major, since F has already been sharped in the key signature.)<\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n
Major key<\/strong><\/td>\nNumberof sharps<\/strong><\/td>\nSharp notes<\/strong><\/td>\nminor key<\/strong><\/td>\nEnharmonicEquivalent<\/strong><\/td>\n<\/tr>\n
C major<\/td>\n0<\/td>\n\u00a0\u00a0<\/td>\nA minor<\/td>\nNone<\/td>\n<\/tr>\n
G major<\/td>\n1<\/td>\nF\u266f<\/td>\nE minor<\/td>\nNone<\/td>\n<\/tr>\n
D major<\/td>\n2<\/td>\nF\u266f, C\u266f<\/td>\nB minor<\/td>\nNone<\/td>\n<\/tr>\n
A major<\/td>\n3<\/td>\nF\u266f, C\u266f, G\u266f<\/td>\nF\u266f\u00a0minor<\/td>\nNone<\/td>\n<\/tr>\n
E major<\/td>\n4<\/td>\nF\u266f, C\u266f, G\u266f, D\u266f<\/td>\nC\u266f\u00a0minor<\/td>\nNone<\/td>\n<\/tr>\n
B major<\/td>\n5<\/td>\nF\u266f, C\u266f, G\u266f, D\u266f, A\u266f<\/td>\nG\u266f\u00a0minor<\/td>\nC\u266d\u00a0major\/A\u266d\u00a0minor<\/td>\n<\/tr>\n
F\u266f\u00a0major<\/td>\n6<\/td>\nF\u266f, C\u266f, G\u266f, D\u266f, A\u266f, E\u266f<\/td>\nD\u266f\u00a0minor<\/td>\nG\u266d\u00a0major\/E\u266d\u00a0minor<\/td>\n<\/tr>\n
C\u266f\u00a0major<\/td>\n7<\/td>\nF\u266f, C\u266f, G\u266f, D\u266f, A\u266f, E\u266f, B\u266f<\/td>\nA\u266f\u00a0minor<\/td>\nD\u266d\u00a0major\/B\u266d\u00a0minor<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

This table shows that each scale starting on the\u00a0fifth\u00a0scale degree\u00a0of the previous scale has one new sharp, added in the order given above.<\/p>\n

\u00a0<\/p>\n

Scales with flat key signatures
\n\t\t\t\t<\/h3>\n

“Flat key signatures” consist of one to seven flats, applied as: B E A D G C F\u00a0(same as the order of sharps, but reversed.) The mnemonic device is then reversed for use in the flat keys: “Battle Ends and down Goes Charles’ Father”.\u00a0The major scale with one flat is F major. In all other “flat major scales”, the tonic or key note of a piece in a major key is four notes below the last flat, which is the same as the second-to-last flat in the signature.\u00a0In the major key with four flats (B\u266d\u00a0E\u266d\u00a0A\u266d\u00a0D\u266d), for example, the penultimate flat is A\u266d, indicating a key of A\u266d\u00a0major.<\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n
Major key<\/strong><\/td>\nNumberof flats<\/strong><\/td>\nFlat notes<\/strong><\/td>\nminor key<\/strong><\/td>\nEnharmonicEquivalent<\/strong><\/td>\n<\/tr>\n
C major<\/td>\n0<\/td>\n\u00a0\u00a0<\/td>\nA minor<\/td>\nNone<\/td>\n<\/tr>\n
F major<\/td>\n1<\/td>\nB\u266d<\/td>\nD minor<\/td>\nNone<\/td>\n<\/tr>\n
B\u266d\u00a0major<\/td>\n2<\/td>\nB\u266d, E\u266d<\/td>\nG minor<\/td>\nNone<\/td>\n<\/tr>\n
E\u266d\u00a0major<\/td>\n3<\/td>\nB\u266d, E\u266d, A\u266d<\/td>\nC minor<\/td>\nNone<\/td>\n<\/tr>\n
A\u266d\u00a0major<\/td>\n4<\/td>\nB\u266d, E\u266d, A\u266d, D\u266d<\/td>\nF minor<\/td>\nNone<\/td>\n<\/tr>\n
D\u266d\u00a0major<\/td>\n5<\/td>\nB\u266d, E\u266d, A\u266d, D\u266d, G\u266d<\/td>\nB\u266d\u00a0minor<\/td>\nC\u266f\u00a0major\/A\u266f\u00a0minor<\/td>\n<\/tr>\n
G\u266d\u00a0major<\/td>\n6<\/td>\nB\u266d, E\u266d, A\u266d, D\u266d, G\u266d, C\u266d<\/td>\nE\u266d\u00a0minor<\/td>\nF\u266f\u00a0major\/D\u266f\u00a0minor<\/td>\n<\/tr>\n
C\u266d\u00a0major<\/td>\n7<\/td>\nB\u266d, E\u266d, A\u266d, D\u266d, G\u266d, C\u266d, F\u266d<\/td>\nA\u266d\u00a0minor<\/td>\nB major\/G\u266f\u00a0minor<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

In this case each new scale starts a fifth\u00a0below<\/em>\u00a0(or a\u00a0fourth\u00a0above) the previous one.<\/p>\n

\u00a0<\/p>\n

Major scale
\n<\/h2>\n

\"\"
\n\t\tMajor scales
\n<\/strong>The\u00a0major scale<\/strong>\u00a0or\u00a0Ionian\u00a0scale<\/strong>\u00a0is one of the most commonly used\u00a0musical scales, especially in\u00a0Western music. It is one of the\u00a0diatonic scales. Like many musical scales it is made up of seven\u00a0notes: the eighth duplicates the first at double its frequency\u00a0so that it is called a higher\u00a0octave\u00a0of the same note (from Latin “octavos”, the eighth).
\nThe simplest major scale to\u00a0write\u00a0is\u00a0C major, the only major scale not to require\u00a0sharps\u00a0or\u00a0flats:
\nC-D-E-F-G-A-B-C (\"\"\u00a0C major scale\u00a0(help info)
\nThe major scale had a central importance in European music, particularly in the\u00a0common practice period\u00a0and in\u00a0popular music, owing to the large number of\u00a0chords\u00a0that can be formed from it.[citation needed<\/em>]<\/sup>\u00a0In\u00a0Hindustani classical music\u00a0it is known as\u00a0Bilaval<\/em>.<\/p>\n

\u00a0There are 15 major scales in music, these major scales have their own relative minor scales.<\/p>\n

    \n
  1. \n
    The sixth degree of the major scales is the first degree of the minor.\n<\/div>\n<\/li>\n
  2. \n
    The sub-mediate of the major of the major is the tonic off the minor.\n<\/div>\n<\/li>\n
  3. \n
    The minor scales uses the same key signature with its major scale.\n<\/div>\n<\/li>\n<\/ol>\n

    Structure
    \n<\/h2>\n

    \"\"
    \n\t\tThe pattern of whole and half steps characteristic of a major scale
    \nA major scale is a\u00a0diatonic scale. The sequence of\u00a0intervals\u00a0between the notes of a major scale is:<\/p>\n

      \n
    • \n
      whole, whole, half, whole, whole, whole, half\n<\/div>\n<\/li>\n<\/ul>\n

      where “whole” stands for a\u00a0whole tone\u00a0(a red u-shaped curve in the figure), and “half” stands for a\u00a0semitone\u00a0(a red broken line in the figure).
      \nA major scale may be seen as two identical\u00a0tetra chords\u00a0separated by a whole tone. Each tetra chord consists of two whole tones followed by a\u00a0semitone:<\/p>\n

        \n
      • \n
        Whole, whole, half.\n<\/div>\n<\/li>\n<\/ul>\n

        Scale degrees
        \n<\/h3>\n

        \"\"<\/p>\n

        \n\n\n\n\n\n\n\n\n\n\n\n\n
        \u00a0<\/td>\n<\/tr>\n
        MAJOR SCALE \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0RELATIVE MINOR SCALES<\/td>\n<\/tr>\n
        C major\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A minor.<\/td>\n<\/tr>\n
        G major \u2013 1 shape\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 E minor \u2013 1 shape.<\/td>\n<\/tr>\n
        D major \u2013 2 shapes\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B minor – 2 shapes.<\/td>\n<\/tr>\n
        A major \u2013 3 shapes \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 F# minor \u2013 3 shapes.<\/td>\n<\/tr>\n
        E major \u2013 4 shapes \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C# minor \u2013 4 shapes.<\/td>\n<\/tr>\n
        B major \u2013 5 shapes\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 G# minor \u2013 5 shapes.<\/td>\n<\/tr>\n
        F# major \u2013 6 shapes\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 D# minor \u2013 6 shapes.<\/td>\n<\/tr>\n
        C# major \u2013 7 shapes\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A# minor \u2013 7 shapes.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

        FLAT KEYS
        \n<\/strong><\/p>\n

        \n\n\n\n\n\n\n\n\n\n\n
        MAJOR SCALE <\/strong><\/td>\nRELATIVE MINOR SCALES<\/strong><\/td>\n<\/tr>\n
        F major- 1 flat<\/td>\n D minor \u2013 1 flat.<\/td>\n<\/tr>\n
        Bb <\/sup>major \u2013 2 flat<\/td>\n G minor \u2013 2 flat<\/td>\n<\/tr>\n
        Eb<\/sup> major – 3flat<\/td>\n C minor – 3 flat.<\/td>\n<\/tr>\n
        Ab<\/sup> major \u2013 4 flat<\/td>\n F minor \u2013 4 flat.<\/td>\n<\/tr>\n
        Db<\/sup> major \u2013 5 flat<\/td>\n B minor \u2013 5 flat.<\/td>\n<\/tr>\n
        Gb<\/sup> major \u2013 6 flat.<\/td>\n E minor \u2013 6 flat.<\/td>\n<\/tr>\n
        Cb<\/sup> major \u2013 7 flat.<\/td>\n Ab<\/sup> minor \u2013 7 flat.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

        CLASS; J S S 2 WEEK 2 TOPIC; KEY \u2013 SIGNATURE. Key signature is the…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,120],"tags":[],"class_list":["post-1239","post","type-post","status-publish","format-standard","hentry","category-posts","category-third-term-jss2-fine-art"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1239","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/comments?post=1239"}],"version-history":[{"count":1,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1239\/revisions"}],"predecessor-version":[{"id":1240,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1239\/revisions\/1240"}],"wp:attachment":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/media?parent=1239"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/categories?post=1239"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/tags?post=1239"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}