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Grade
Discovering Music Theory I Workbook
Discovering
Music Theory THE ABRSM GRADE 5 WORKBOOK
Simon Rushby
Discov ering
Music Theo ry THE ABRSM GRADE 5 WORKBOOK
Design by Kate Benjamin Music origination for workbook by Moira Roach Music origination for practice exam paper by Pete Readman Cover and inside illustration by Andy Potts First publ ished in 2020 by ABRSM (Publishing) Ltd, a wholly owned subsidiary of ABRSM
© 2020 by The Associated Board of the Royal Schools of Music ISBN 978 1 78601 349 1 AB4014 All rights reserved. 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 permission of the copyright owner. Printed in England by Page Bros (Norwich) Ltd, on materials from sustainable sources
P14813
THE ABRSM MUSIC THEORY SYLLABUS FROM 2020: GRADES 1 TO 5
2
Grade 1
Note values of semibreve, minim, crotchet, quaver and semiquaver, and their equivalent rests (candidates may use the terms 'whole note', 'half note', etc. ) . Tied notes. Singledotted notes. 2
i
Simple ti me signatures of j 2, bar-lines and the grouping of the notes listed above within these times.
3
The stave. Treble (G) and bass (F) clefs. Names of notes on the stave, including middle C in both clefs. Sharp, fla t and natural signs, and their cancellation.
4
Construction of the major scale, including the position of the tones and semitones. Scales and key signatures of the major keys of C, G, D and F in both clefs, with their ton ic t riads (root position), degrees (number only), and intervals above the tonic (by number only).
5
Some frequently used terms and signs concerning tempo, dynamics, performance directions and articulation marks. Simple questions will be asked about a melody wri tten in either treble or bass clef.
3
4
Triads ( root position) on the ton ic, subdominant and dominant notes in any of the keys set for this grade Ch d . • or s in . h T t ~oo posI I0n on t e toni c, subdominant and dominant notes in any of the keys set for th is grade (the harmonic form of th e scale will be used in minor keys).
5
More terms and signs, incl uding the recognition and naming of the trill, turn, upper and lower mordent, acciaccatura and appoggiatura. Questions about a passage of music will include simple rel ated questions about standard orchestral instruments.
Grade 2 As in Grade 1, with the addition of: 1
i
Simple time signatures of~ ~~and the grouping of notes and rests within these times. Triplets, and triplet note grou ps with rests.
Grade 5 As
Relative major and minor keys. Construction of the minor scale (harmon ic only). Scales and key signatures of the major keys of A, Bl, and El,, and the minor keys of A, E and D, with their tonic triads (root position), degrees (number only), and intervals above the tonic (by number only) .
4
More terms and signs in common use.
i I ii
and the grouping of notes Irregular time signatures of and rests within these times. Irregular divisions of simple time values.
2
Tenor clef (C clef centred on 4th line). The identification of notes in the four clefs in any of the keys set for this grade (see below), and the t ransposition at the octave of a simple melody from any clef to another. Transposition to concert pitch of a short melody notated for an instrument in B~. A or F, and vice versa (the interval of transposition up or down will
above each stave. 3
in preceding grades, with the addition of:
1
Extension of the stave to include two ledger li nes below and
2
Alto clef (C cle f cent red on 3rd line) N t . . o es in the alto I f c e in any of t he keys set for th is grade (see b 1 ) e ow . Notes of th . . ·t h . sam e p1 ct· wri tten in different clefs (treble, alto bass) ed t ran spos1 I0n at th e octave from the treble or th~ b an ass clef to the alto clef, and vice versa Double sh nd signs, and the ir can cellatio n. Enharmon·icaerp ~ i double flat quIva ents k · Scales and key signatures of all major and . minor eysup t0 d. • . an d inc 1u ing five sharps and flats, with both f arms of mino . r sea Ies. liec hmeal names for the notes of the d. t . ia onic scale . . ( tome, supertomc, etc.). Construction of the chro t· ma Ic scale . I · A ll Interva s, not exceeding an octave, between a t · ny wo . d" t · Ia omc notes In any of the keys set for this grade.
be given).
Grade 3 As in preceding grades, with the addition of:
3
Scales and key signatures of all major and minor keys up to and including six sharps and flats. All simple and compound
4
The root position (a), 1st inversion (b) ~nd 2nd invers~on (~) forms of the tonic, supertonic, subdominant and dominan chords in any of the keys set for this grade. The cho ice _of suitable chords at cadential points of a simple m_elody in the major key of C, G, Dor F. Perfect, plagal and imperfect
1i
Compound time signatures of ff ff and the grouping of notes and rests within these times. The demisemiquaver
1
(32nd note) and its equivalent rest. 2
intervals from any note.
Extension of the stave beyond two ledger lines. Transposition at the octave from the treble clef to the bass clef, and vice versa.
3
4
Scales and key signatures of all major and minor keys up to and including four sharps and flats, including both harmonic and melodic forms of minor scales, with their tonic triads (root position), degrees (number only), and intervals above the tonic (number and type). More terms and signs.
Grade 4 As
1
in preceding grades, with the addition of:
All simple and compound duple, triple and quadruple time signatures, and the grouping of notes and rests within these times. The breve and its equivalent rest. Double-dotted notes and rests. Duplets.
cadences in the major keys of C, G, Dor F.
5
More terms and signs. The recognition of ornaments,_ including the replacement of written-out ornamentat~ion on rsa Ques ions t • . with the appropriate signs, but no vice ve . h I fs they the types of voice and names of instrume~ts, t e ~ ewhich
r
use, instrument family groups and_the bas1~::r m~sical ability to apply they produce sound, as well as point~-~f observation designed to test the can_ I a es theoretical knowledge to actual music.
CONTENTS Introduction Chapter 1: Rhythm Rewriting in simple and compound time (revision); irregular time signatures: ~ grouping in irregular time signatures; quintuplets and sextuplets
&l
i;
Chapter 2: Pitch (Part 1)
10
The tenor clef; octave transposition between clefs Chapter 3: Pitch (Part 2)
17
Transposing by a major 2nd, minor 3rd and perfect 5th; finding the new key signature; transposing melodies with accidentals; transposing instruments Chapter 4: Keys & Scales
27
F~/GI, major and D~/ EI, minor; all keys and scales for Grade 5; helpful patterns: the circle of Sths Chapter 5: Intervals
35
Intervals with or without a key signature; chromatic intervals; compound intervals Chapter 6: Chords
44
The supertonic chord (11); cadences; choosing suitable chords for a melody; inversions Chapter 7: Terms, Signs & Instruments (Part 1)
61
New instruments at Grade 5; transposing instruments; voice types and their ranges Chapter 8: Terms, Signs & Instruments (Part 2)
68
Written-out ornaments; new Italian terms and German terms; the piano: terms and signs Chapter 9: Music in Context
76
Practice Exam Paper
85
Music examples are written by the author unless otherwise stated. Some music examples have been adapted to suit learning requirements.
INTRODUCTION . Learning music is like learning a language. Understanding how it is written down will hel 1 rn all t : improvi! and composing to listening and aspects of your music making, from performing
Discovering Music Theory is a suite of five workbooks, with answer books, that covers everythin to know and understand for ABRSM's Music Theory exams at Grades 1to 5. In addition the gYou need of ideas and opportunities to help you link music theory with your wider musical activit~. Yprovide lots . Discovering Music Theory: Grade 5 will help you to build the skills, knowledge and understanding required . . f or t he ABRSM Grade 5 Music Theory exam. Each chapter focuses on a particular area, corres O d' to the sections of the exam paper. Throughout the book, new topics are introduced with simpl~ n rng explanations, followed by progressive and varied exercises. These exercises have been carefully writ to help you become familiar with the style and types of questions used in the exam. Some example ten answers have been provided in orange to help you along the way. Alongside the exercises, you'll find plenty of suggestions to help you apply your theory skills and link them with your other musical activities. These are presented in different ways:
Q) Did you know?
Overview of the knowledge, skills and understanding required for your exam Interesting additional information related to the knowledge required for your exam
Smart tip
Hints and suggestions on how to approach a specific exercise
Reminders of information covered earlier, and relevant to a specific exercise Remember! Theory in sound Ideas for how to link theory with what you have learnt with your playing, singing and listening Extra tasks to challenge you and extend your learning Challenge! A chance to check your skills and progress at the end of each chapter Your progress At the end of the book, you'll find a practice exam paper. You can try each section of the paper as you complete the work for that topic, or use it as revision once you've completed the whole book. Further practice exam papers for each grade are available from ABRSM.
Note names Notes have different names in different parts of the world. In this book we will use words such as 'semibreve' and 'minim', but you may be used to 'whole note' and 'half note'.
---
The following will help you to convert the note names if you need to: I
breve IOI
double whole note
semi breve 0
whole note
semiquaver
crotchet
quaver
j
J
}
)
half note
quarter note
8th note
16th note
minim
--___
demisemiquaver
)
32nd note
~ . ! ~.
~
. ;.-..,
- -~
~
In thls:c-ha'p teriyou will learn about Rewriting in ·simpl~ and com~oun d time (revision) · Irregular time signature s: Grouping in irregular time signature s Quintuple ts and sextuplet s
RHYTHM •
l
2Z I i
Rewriting in simple and compound time
Remem ber! Simple t ime
• We know that the beat is d ivided into two in simple time, and three in compoun d time.
J 3
• When rewriting a rhythm , we change the type of beat, but we keep the number of beats the same.
m
n
Compound t ime
.. .. ..
:Ill
J
:Ill
m 2
n
:Ill
Exercise 1 Tick ( V
) or cross ( )() each box to show whether each bar has been correctly or incorrectly rewritten in compound time.
El
41
r rrrf
El
''iJ
II
~J i
3
j
c r
r
m 2= 1 I ~ II 2= 1ff I l
j JJ
E~ ~
~
L__ 3 __J
~
g
L--3__J
~
II
II
11
II
j
r
Ja J.
r -t= --j r-
2= g
C
2= 1I ~ 2
II
rr
&er· &•w;
~-
~=•ff el"
r- E ~ ~
II
□
II
□
II
□
II
□
II
□
2
~
g ~-
Challenge! Can you write out any incorrectly written bars from Exercise 1 correctly? Use the staves below.
Chapter 1: Rhythm
I
1
Exercise 2
que stio n to sho Tic k ( V) one box for eac h
.
in
tly rewritte n w wh ich bar has been correc
.
sim ple tim e.
aP Pr vr· 2=~1, 1 ~ z ~ r vr 2=~1,1 P z Pr r r
a
:]= ~"
11
I
11
L _ 3 __J
L._ 3 ___J
II
□
□ pffiJ,
,~rJ
4 c :P R J J
L J
11
_J
II
II
l ' cJr' •~ f!' J J: §
&c:P.ffiw
D
□
□
a &ti# H pU l J. I I ,~ H H S-;J I L 3 -.J
3
'N# H
pE f';d j
D
□ 2
m 2=~ gp 7 g t fJ
11 2
2=~ I r
1
c f £J
11
L__3 __J
□ Th eo ry in sound
2=~ p 1 p P fJ I
l__ 3__ j
□
com pou nd- t ime versions of Play or cla p the sim ple - and nd the sam e? Can you hea r how the y sou Exe rcise
2E1.
id c 5 ove rim1 Mu sic The or y: Gr.:
11
2=~ I r ,
d7 I_, J ®
L- -1_ __ J
D
•
l
Irregular time signatures
Quintuple time
• So far we've encount ered ti m e sig natures t hat divide into two, three or fou r equal groups. Bars in these time signatur es are in duple, triple or quadrup le t ime.
I= 3=
five quaver beats in a bar
Septuple time
• Bars that cannot be divided into equal groups of two or three beats are describe d as irregular. The most common irregula r time signatur es contain five beats (quintuple time) or seven beats (septuple time) .
Exercise 3
five crotche t beats in a bar
i i
=
seven crotche t beats in a bar
= seven quaver beats in a bar
number Add the time signature for each of these rhythms. The first four have the bottom included to help you get started.
Smart tip or All the time signatures in Exercise 3 are irregular. Work out whether they use a crotchet two. first the quaver beat, then write the beats over the bar. This has been done for you in
1
2
3
m9 nn J
4
J
5
nJ
1
II
2
nJ
n Theor y in sound
Jl 1
J
II
4
5 6
7
m 9 J J J J J 9J J 1
n
J j J
II
.l J J J J
II
J mn 11
aOnnJ
3
D
DJ
111
OnJ n
El
nJ
n11
m
from or Clap or count the beat while someone taps or claps rhythm Exercise 3, and then swap! Can you think of different ways to count?
\
Chapter 1: Rhythm
I
3
Theory in sound Listen to examples of irregular time signatures in well -known pieces, and see if you can count or tap the beats. Here are a few ideas; the first two are used in Exercise 5, opposite. • Tchaikovsky, Symphony No. 6, Op. 74 (2nd movement) (inf) • Holst, The Planets, Op. 32 ('Mars') (in
f)
• Schifrin, Theme from Mission: Impossible (in
f)
4)
• Britten, Peter Grimes, Op. 33 ('Old Joe has gone fishing') (in • Prokofiev, Piano Sonata No. 7, Op. 83 (final movement) (in
i)
..
Grouping in irregular time signatures • As irregular time signatures contain an odd number of beats, bars are divided into unequal
Parts. • The principles for grouping notes and rests in irregular time are similar to those for duple t . , ripe 1 and quadruple time: Beams are used to group together notes shorter than a crotchet within each part of an irregular bar. Ties are used to join notes across different parts of an irregular bar, or across a bar-line. Rest s should show each beat, part-bar or whole bar, depending on how the bars are divided. • However, in irregular time, it is possible to divide bars in more than one way. For instance, in quintuple time, a bar can be divided into 3+2 beats or 2+3 beats.
Here are some examples of bars in irregular time signatures, grouped in different ways.
+
3
or l
I
J J J J; +2 3 .-,- - , 1 1
+
2
2
3J
3
+2
---~
In septuple time, bars can als_o 1 be divided into three parts: 3+2+2 or 2+2+3
I
J ; 3 J J JJ J
11
3
Did you know?
2+
II
3
2
+3
17 or 17 - - -
11
&RJ 1'.Jl±)JWWJ IIJ JJfflJJJ'J 3
4
+
+
4
II
3
or
I 3 + r-7
&z J
4
I
i'.
Jj I
J J J JJ
4
+
3 I
i'.
J J 11 J
Discoverin g Music Theory : Grade 5
F3 j J j
I
J
4
I
,.
J J J. j I .J
II j
4 or
II
J
i'.
J
II 4
3
+
•
JJ
I
I
J J. j I )
i'.
+
3
i-----7
J J j~
Exercise 4
. , d tement. le TRUE or FAL SE for each sta circ n the IS me o Y and
Study th ·
t" ~ r g Er CJ I
j
J J ] J IJ J #J J J
a
tchets. Each bar contains seven cro
IJ
o Bars 1 and 3 are divided int
II
same groups of beats. Every bar is divided into the
Exercise 5
3+4 beats.
to each of these melodies. Add the missing bar-lines t of the bar. They all begin on the first bea
I
TRUE
FALSE
TRUE
FALSE
TRUE
FALSE
Tchaikovsky
f1'E rpfr f'11 II
I · r e & @ r J g f@ tf & ~ 'V § tf f~ ( V
a
· r rF J J · r J Ji zz r r r u r r tHtt zJ r r
Chap ter 1: Rh yth m
11
I
5
◄
r: Exercise 6
Tick ( V ) one box for each quest ion t o show which bar is grouped correctly.
Smart tip Before doing th is exercise, revise how notes are grouped in regular simple and compound t ime signatures.
Exercise 7
V) or cross ()()each box to show whether rests are correct or incorrect.
Tick (
IE 'r
Ff f 1
2
□ 1 1
n
□
~l H~
r
g nl J
p
Is
i'. ~~)
□
r,~ ,
[- E - [-r:--
-·
J#3 J j J I I J
g
9 #J
□
□
□
□
Challenge! This melody has an irregular ti me signature. Can you show how each bar is divided by drawing brackets r--i?
P 6
I
Di scovering Mu sic Theory: Grade 5
c
FJ
1
r r ~r r
j
j'
□
E
□
II
! ~
Quintuplets and sextuplets
•
l
• At Grade 2, we discovered t hat a tripl et is a group of t hree notes played in the same amount of time as two non -triplet notes of the same time value .
• Quintuplets and sextuplets are groups of five and six notes that are played in t he same amount of time as a group of four notes of the same time value. • Just like dupl ets and t riplet s, quintu plets and sextuplets can be any time value, and they can also cont ain a combinati on of t ime va lues.
Did you know?
5
Jj j j
j
is equal in time value to
Jj j j
or
~
6
Jj j j j j Exercise 8
El
[I] 4
is equal in time value to
Jffl
or
~
The word 'tuplet' is often used as a general word to describe notes like duplets, quintuplets and sextuplets.
,.
Number the beats and then complete the time signature for each of these rhythms.
n J:J:J:J:J:Jn ~ 6
2
Beats: 1
3
II
4
El
II Beats:
5
5
J JJJ J ~ ~
j J J J J II
II Beats:
Beats:
.------6-----,
a ~ j JJJJJJJ J :J Beats:
5
JJJJJ~
II
~ II
Beats:
Challenge! Write a two-bar rhythm
inf that conta ins either quintuplets or sextuplets in the space below.
' ' - - - - - - - - - - - - - - - - - - - - - - - - - - ------_..,,
' - - - - - - - - - - - - - - -- - - - - - - - - - - - - ---------' Chapter 1: Rhythm
I
7
Exercise 9
Add the missing bar-lines to each of these melodies.
v rrrrro □
El
1
5
2=1tt# I
El
r
;n r"crFFf ~ 6
r:r rf ff rfl F J, S'CCEfC~
CF f
5
6
II
&2 f f r rrrrrrrJ J □ □ J J JJJ11i] ~
l!I
IIH 1N· I j j
.J
fF rr
[
ff f FFErEf r
;
j ~
6
11
thl• r r r rr rf 1,~~
LLJ r .J ce rH[; r - ~ 5
The next two exercises draw together the t ime signatures learnt so far.
Exercise 10
Complete these sentences by adding a number to each .
El
In
f
there are
crotchet beats in a bar.
El
In
i
there are
quaver beats in a bar.
II
In
}i there are
m g D !
8
I
dotted-qu aver beats in a bar.
In
there are
dotted-cr otchet beats in a bar.
In
there are
minim beats in a bar.
Discoverin g Music Theory : Grade S
Exercise 11
Circle the correct time signature for each of these bars.
smart tip Look at how the notes and rests are grouped; this will help you work out the type and number of beats.
3
Qj
II
~h
m ~)=~
f7':f §ECf}
r------F
r
2
a
Qi
&~ r , u
ii!
J
II
3 4
t
5 8
6 8
12 16
3 4
f II
6 8
11
6 8
r
JJJ B ill
3 4
3 4
5 8
4 8
6 4
m ~-hb
r· ~ r r r r , ,
11
9 4
4 2
12 8
L-2_.J
Your progress Congratulations! You've completed all the work for Grade 5 on Rhythm. Turn to the Practice Exam Paper on page 85 if you'd like to try some sample exam qi,Jestions. "of
Chapter 1: Rhythm
I
g
I
In this chapt er You\vill I earn ab 0 11t The te lef C nor bet n ositio transp e Octav Ween Clefs
PI TC H (PA RT 1)
The teno r clef
•
l
4 • The C clef shows where the note C is on the stave . At Grade called we learnt that when it is centred on the middle line, it is the alto clef. t op, it • When t he C clef is centred on the second line from the is ca lled the tenor clef.
JI
19
e
-
"
_a_
_a_
-
~
.,..,.
--
-
.
--
-
-u-
-e-
... -,
.
middleC
The tenor clef is used most commonly by the cello, bassoon and trombone. In earl ier centuries it was used by the tenor singers in a choir - hence its name.
"
I
~~
Did You know?
n in all fou r clefs: Here are the same seven pitches around middl e C, writte -e-
tenor clef
"
..
l'l tJ
-e-
u-
'-J
-
middle C
Exercise 1 Name the follow ing notes in each of the four clefs. ..0..
0 0
Treble :
D
Alto:
E
Tenor:
C
Bass:
F
10
I
''
j
0 0
11
Discovering Music Theor y: Grade 5
0
0
smart tip There are lots of ways you can be co me fam iliar with the ten or clef. Here are two to try:
1. Make up phrases from the letter names of the notes on the lines and spaces in the tenor clef, and write them below.
Lines:
D ...... ...... .. ...... F .... ...... .......... A .. .................. C .. .................. E .................. ..
Spaces:
E .. .......... ........ G .. .... .......... .... B .. .......... .. .. .... D ................... .
2. If you remember that middle C is on the 2nd line from the top in the tenor clef, you can count up or down from th is note to find any other pitch .
Exercise 2
Tick (ti') one box for each question to show the clef needed to make each of the named notes.
-.
El
,)l
El
11
e
E
Look carefully at the alto and tenor clefs it is easy to confuse them ! Remember that the clef sign is centred on the note C.
A
- □ - □ -□
~□
r
II
Smart tip
II
~
m
II
i
II D
-□
~□
~□
D ' ' m 1eQ 4 D IIB D D e
G
~:
e
IIB~
El
Ill
1;
I
II
~:
IJ
IIB
I
D
IIB
u
u
G
II
II
e
II
-e-
D
-□
Rewrite these notes in the given clefs, keeping the pitch the same. ~
El
II
D
G
-□ -□ -□
Exercise 3
,,
II II
C
A
~□
~
\.
El
IIH
~:
#:a:
I
~..il.
D
IIR
D D 4D 1;
I
II!
II
Chapter 2: Pitch (Part 1)
I
I 11
.
Rem emb er!
·
nharm onic equiva lents. 11 ed e ca are ntly differe n writte are but pitch Notes that sound at the same Here are three enharmonic equivalents:
I!
118
110
El
~e
C flat
B
A double sharp
Exercise 4
118
Cl
Write an enharmonic equivalent of each of
th ese notes.
4 D 4 D II! ii D IIB D D !b-e-
le
II El
#a
m ~:
II :>=
II II
-a-
~e
II El
lE0
II II IIB
!b-e-
D
IIB
II II
Ill
I
XII
12, >
[) □~
D
The ory in sound These notes have been writte n witho ut clefs. Try giving them differe nt clefs and then playing or working out their pitch.
•
l
Mid dle C rewritten (or transposed) one octave In previous grades we encountered music that had been s helpful to remember where higher or lower. When different clefs are involved, it is alway middle C is positioned on the stave.
I/ff
0
IIB
0
Middl e C
12
I
Discovering Music Theor y: Grade 5
~
Exercise 5
a
,, IIH
'
m
Tick (~)one box to show whether the second note is one octave higher, at the same pitch, or one octave lower than the first. higher
e
~
same lower
,, II ,,
~:
higher
II
-ee
'
same
IIH
higher
I
-0-
IIH
D
Smart tip Start by finding the note in the new clef at the same pitch. ~
lower
m
□ □ □
IIH ,,
same lower
higher
I
same lower
□ □ □
a
□ □ □
'
IE
higher
-0-
II
"U"
II
II!
lower
higher
a IIH u IIH '' I
□ □ □
same
~: ij-e-
ffu
same lower
higher
I
same lower
□ □ □ □ □ □ □ □ □
Smart tip You will need to know key signatures in the tenor clef. To practise this, here are some key signatures and tonic triads for you to name.
1s 11
§
I II! 12~~ n I II! 1•n
§
fl:
lt
I II! 12
fl:
'
lt II! 1 # I 13 I
D major
-
ff
I II!
12 12~~ 12
I II!
12~
I II! ,1tt#1 lt I II! l2~~l2
I
ff
Chapter 2: Pitch (Part 1)
I
13
Exercis e 6
Tick (ti') one box to show whether melody 2 is correctly or incorrectly written one octave lower than melody 1.
2.
1.
4i F .Q J J J
a
1.
correct
□
EC p 1
correct
□
~
2.
&•R JJJJ
II
1
cr .J J J
I IIB H
-)II ~ngr t
incorrect
incorrect
incorrect
1.
o
i] .r. ~ _ffi~ r
II
correct
□
incorrect
0
IIR,1 gL~f@Grr· 11
correct
D
incorrect
O
II 9: ~ !
2.
1.
a IIRtta g F ~fFr~J
11
Challe nge! Can you rewrite these melodies one octave lower in the tenor clef? Rewrite the rhythms exactly as in the originals, and make sure you include any accidentals.
f E r Fme 1181,0
14
o
2.
m IIB I, I (j JJ t1f F
El
[J
I Discoverin g Music Theory: Grade 5
r
11
II
II
. Exercise 7 Tick c11 >one box to show whether melody 2 .1s correctly or incorrectly written one octave higher than melody 1.
2.
1.
a :ll11tt I r EF Fr 1
&1## 1r ff [ E
11 correct
2.
1.
m:2= I JJJ .J#(F P z 11 IU jJ J:li[fp , 11
□
incorrect
□
incorrect
D
incorrect
D
incorrect
□
incorrect
□
2.
1.
l!I
correct
□
th' 1,E gJJ 1
DJ
I IIK 1h E-JJ J tf r I
,orrect
O
correct
□
2.
1.
a , ~gJ
JJ JJ
1 IIR~ gr V Et [ I
Challenge!
clef? Rewrite the rhythms exactly Can you rewrite these melodies one octave higher in the tenor as in the originals, and make sure you include any accidentals.
a
2:1
gj
111 1g
~ ~
r
~ II II
II 1181, ! J
F
nJ
II
IIH1, !
II
Chapte r 2: Pitch (Part 1)
I
15
Exercise 8
In each question, compare bars A, Band C and then circle TRUE or FALSE for each statement.
A is one octave higher than B.
TRUE
FALSE
C is two octaves lower than A.
TRUE
FALSE
B is two octaves lower than C.
TRUE
FALSE
C is one octave lower than A.
TRUE
FALSE
A and Bare at the same pitch.
TRUE
FALSE
B is two octaves higher than C.
TRUE
FALSE
.
1•
I
Test your progress Write down five notes of your choice in all four clefs, keeping the pitch the same ... °'"'k for each of the five notes. Now write enharmonic equivalents of each note. - z
IIB
16
I
Discoverin g Music Theory: Grade 5
g
. ·-, "' . \ ~' - " " - ~
•
. a, .
·.,
~
-~ ~-l::i
.
'
.
,
i..~:._~ t:--~:·,~·_,.(r_ ..~ ~.
3
..• ,.. "''7-l>
1 '
I I
0
a
0
11
11
D#harmonic minor, ascending The leading note in this scale needs a double sharp accidental, as it already has a sharp.
·•11#1##
u
0
0
II
0
311
II
I I
0
II
qo
0
0
11
EP harmonic minor, ascending
.l>i'!,Pl>i,
ii
0
I I
11
D# melodic minor, ascending and descending In this scale, the Cx is cancelled by a
&*tt#nffll
u
0
II
0
II
C#.
fo
XII
0
ffo qo
II
0
II
0
u
11
ii
0
Cl
0
11
H melodic minor, ascending and descending
~l>i'!,Pl>i, 0
Ii
0
ii
0
110
qo
I I
l>o
lzc,
0
Theory in sound Play or list en to these new scales. Can you hea r that the two major and t he two minor keys sound the sa me as each 0th er? This is because they are enharmonic equivalents.
·,
Chapt er 4 : f
0
lo
II
lo
0
II
#11
IS #«>
lo
jto
!10
lo
ijo
II
lo
This is a correctly written chromatic scale beginning on F#.
Exercise 8
ij o
#a
a
0
ffo
~
FALSE
-e--
~
FALSE
TRUE
Th is is a correctly written chromatic scale beginning on G.
II
qo 1,..
& o ~o & u- qu- ~-e- q-e-
!io
TRUE
#o
qo ~
FALSE
Circle the correct key for each melody. These melodies have been written without key signatures.
&t 1r
1.l.J 1,:m r t r
II
Bmajor
G minor
G#minor
Bminor
m 2= a•r
•v ~r c r I c #rn ttr·
11
Bmajor
F#minor
C#minor
F#major
II
B>major
F minor
Bli minor
Fmajor
m 2= g~J. ~JEfilr I~ffl1,J ~n. 11
u mi••·
D major
Eli major
Bl, minor
a
11
&, J&J J.a~n J J 4 I
Your progress
,, t.
/-
Congratulations! You've completed all the work for Grade 5 on Keys & Scales. Turn to the Practice Exam Paper on page 85 if you'd like to try some sample exam questions.
•
34
I
Discovering Music Theory: Grade 5
In this chapter you will learn about Intervals with or without a key signature Chromatic intervals Compound intervals
INTERVALS •
l
Interva ls w ith or without a key signature Interva ls are named by number and t ype: major, minor, perfect, augmented or diminished. Here is a reminder of how to identify them: • First, identify the number of the interval by counting up from the lower note as if it is the tonic. • Next, identify the type of interval. In Interval A, the Chas been raised by a semitone, making it an augmented 4th. In Interval B, the D has been lowered by a semitone, making it a diminished 5th. At Grade 5 intervals may be written with or without a key signature.
Interval A
~
Interval B
~o
II
0
Smart tip Check whether a key signature has been used. If it has, will th is affect any of the notes in the interval?
Exercise 1 Circle the type of each interval.
El
'
m ~: II
118
m IIB
e
u
~n
''
•'ff
ijo 0
I
perfect
major
minor
diminished
augmented
I
perfect
major
minor
diminished
augmented
II
perfect
major
minor
diminished
augmented
I
perfect
major
minor
diminished
augmented
II
perfect
major
minor
diminished
augmented
~
perfect
major
minor
diminished
augmented
..0..
-e-
I
~: ~lz
Q
, ~1·1N•
0
go II
0
Chapter 5: Intervals
I
35
Remember!
Smart tip • Al~ ays work out the interval number first, then check the • ·:.. accidentals or key signature to identify the type of interval. .;• Count up from the lower note, even if it comes second.
+ semitone Augmented
~
I
Major . Perfect M inor Diminished
- semitone
Exercise 2
El
'
• Name these intervals. Some have been wn·uen w,·th key signatures and some without·
#o
ii
II
m
augmented 4th
m 2·
.0..
lz,,
II
•
Chromatic intervals
l
ii
-e-
'
~ II
119
II D
II
l>..o. II
II II 118
t)=~lzI,
#o
II
II El 118 #1•tt,•
ii
u
II
a
lzn
0
,~#tt
0
~
1
#..o. 11
Some intervals above the tonic contain notes that are not part of the major or minor scales. These can be described as chromatic intervals.
Look at this interval:
~o
11
It is a semitone smaller than a minor 3rd because the higher note is E double flat, not Eflat. This makes it a diminished 3rd.
Did you know? If the higher note of the interval above were written as D instead - the enharmonic equivalent of Efh - the interval would be a major 2nd rather than a diminished 3rd. This is why it is important to work out the interval number before its type.
36
1111
0
I
Discoveri ng Music Theory: Grade 5
Exercise 3
El
m II II II
'
' ' ' '
D '
Here are t he chrom at ic intervals found at Gra des written with C as the lower note. Fill in the blank spaces to complete their descripti~ns.
II
-e-
W, 0
-e-
ffo II Augmented 3rd (a
-e-
-e-
Diminished 3,d
l~n1 II
tlu II
(a
mino, 3,d
that has been
lowe,ed
by a semitone)
that has been raised by a semitone)
(a minor 6th that has been lowered by a semitone)
(a major 6th that has been raised by a semitone)
lo II Augmented 7th (a
that has been
-eby a semitone)
-e-
Im II
(a
that has been
by a semitone)
D
8ve (a perfect 8ve that has been
11
'
-e-
ff
II by a semitone)
Chapter 5: Interval s
I
37
Smart t ip If t~e lower note of an interval is a sharp or flat, it can be easier to change it to a natural to work out the interval. For ~xample, this interval is a type of 3rd. If we change the C# to C, it becomes a minor 3rd. This means that the interval from C# to E~ must be a diminished 3rd because the lower note has been raised by one semitone to make the interval smaller.
Remember! In .augmented and diminished intervals, one note is raised or lowered by a semitone from major, minor or perfect intervals.
El below, you could start by writing a major 7th (the note G) and then raise it by adding a sharp. • In II below, a minor 6th above D would be a Bil, so what note would you write to make it diminished?
• In
Exercise 4
Write one note to form the named intervals. Your note should be higher than the given note.
#-e-
D ' ~:-~~- D D
El ~:~I,~ I,
e
I El
II
I II
'pl,
augmented 8ve
augmented 7th
m
II
I D ~:
e
I D II!
e
□~
diminished 6th
II
D
augmented 4th
diminished 8ve
diminished 7th
augmented 3rd
augmented 6th
diminished 3rd
augmented 2nd
augmented 6th
0
diminished 6th
38
I
Discovering Music Theory: Grade 5
I
Exercise 5
El
m
'
r is given Write the name of each of these interva ls. The interva l numbe and in
a.
El , m M,,o
0
II
m
3rd
tt.o..
~:
ba
'
II II IIB ,,
ije
2·
0
llO
II 3rd
8ve
XO
II
XI >
II B
0
II D IIB I,~
II
II D IIB
M,,o
II
11
Uu,
II
''
II
I)
•
l
Com pou nd intervals Compound intervals are intervals greater than an octave . There are two ways to name them.
~
II
This is a compound major 3rd or a major 10th.
II
This is a compound perfect 5th or a perfec t 12th .
..o. 0
9· ,,
Did you know? By lowering the upper note of a compound interval by an octave, you can find the equivalent interval within an octave . For instance, here is a compo und major 3rd followed by a major 3rd.
0
II
Theory in sound
ls within an octave followed ) ·nterva 1 erfect 4th fo llowed by a you to play to ne someo ask (or Play 1 by th eir compo und equivalent - for ~; ~:~~·il: ~ty in their sound? compo und perfec t 4th. Can you hea
Chapte r 5. lntervu ls I 39
Exercise 6
Complete the names of these intervals.
smart tip Compound intervals can be major, minor ' perfect, augmented or diminished.
e
major 9th or
perfect 11th or
compound major 2nd
Or
compound perfect 5th
compound
or
or
or
compound diminished 6th
Exercise 7
El
Circle the type of each compound interval. ~.o.
4
m 9:
perfect
major
minor
diminished
augmented
perfect
major
minor
diminished
augmented
perfect
major
minor
diminished
augmented
11
perfect
major
minor
diminished
augmented
II
perfect
major
minor
diminished
augmented
II
II
#.o. II
0
g.o.
II 119t1,#
m II
~~ 0
m 9:~
40
I
II
0
#.o. 0
Discovering Music Theory: Grade 5
Exercise 8
Name these compound intervals.
Smart tip • First, check the clef and key signature. • Now work out the interval number. You can write the higher note an octave lower if it helps. • Next, work out the type of interval - is it major, minor or perfect, or has one note been raised or lowered a further semitone (making it augmented or diminished) ? \
-e-
a II
'
0
D
perfect 4th
or
compound
or
compound
or
II
compound
or
II
compound
or
II
compound
or
II
compound
or
II
compound
or
II
compound
II
compound
II
&ue
II
&u-
perfect 11th
~-e-
m IIB
It
ko
'
compound
II
~:
II IIH
II
II
-e-e-
~:
-ex-e-
II 'j## e #.o..
El 119,,~
0
-e-
D ~=~I,I,~ D 119 tt-°-
0
ffu
or
or
Chapter 5: Intervals
I
41
Th~ final two exercises in this chapter include the new intervals you need to know at Grade 5, written in any of the four clefs we have encountered.
Exercise 9
--e- ,
2=~lll ~
El
Write one note to form the named intervals. Your note should be higher th an th e given note.
It
11
II
compound perfect 5th
:J=luHn
II
IIR1l
2=•~
II II
u
DJ]
compound major 6th
D □~ □ D D a &»bn -..- D ' ~ D D 11
0
II
II
2=
11
El
fo
11
D IIK
lln
II
major 10th
~
11
compound minor 6th
I II IIR
II
0
compound diminished 5th
minor 9th
D
0
augmented 7th
perfect 11th
II
, ~ , D '
augmented 14th
11
D IIH
U'
compound diminished 3rd
Exercise 10
augmented 9th
diminished 15th
Tick< t/) one box to name each interval.
II □
major12th
□
diminished 6th
□
diminished 12th
□
augmented 5th
□ compound perfect 4th
D
42
I
I
augmented 11th
Discovering Music Theory: Grade 5
D D
minor6th augmented 6th
II
::tiu:IIH==== o ==~f,.~.==ll~
D
D D
D
major2nd diminished 3rd minor 2nd augmented 2nd
Challenge! Can you identify the intervals marked by brackets ( r---,) in these melodies?
3 r7
4 r-i
Rachman inoff
"flt) "Elf ~fy If) 1
3
2
4
II 1
2
3
4
5
'
Your progress
,,
....-1"~
Congratulations! You 've completed all the work for Grade 5 on Intervals. -.:. Turn to the Practice Exam Paper on page 85 if you 'd like to try some sample exa m qu~stions.
-,,
~)!
--
fl.:j.
'i1"llt..
Chapter 5: Interval s
I
43
·---.--.-,_~ In this chapter you Will learn ab
6 CHORDS •
Ollt
The supertonic chord (II) Cadences . Choosing suitable chords for a rnelody Inversions
The supertonic chord (II)
l
• At Grade 4, we explored primary chords: chords bu ilt on the 1st, 4th • and 5th degrees of major and minor scales. • The supertonic chord (11) is built on the 2nd degree of the scale.
C major
'
u
:§_
II tonic supertonic
·····························•··••·················-•···
6
II
e
e
ii
II
V IV subdominant dominant ···••·•••o1-••·······"'''"'"'""''""' ' ""'' ""' ''"'"'''"""'""'"''''''''''"""'"''""""""'"'""
C minor
u
II
e
~e
I I
V IV subdominant dominant
II tonic supertonic
In chord II of C minor, the top note is an Al> because it is made up of notes from the harmonic minor scale.
Remember!
Exercise 1 Add one note to complete each supertonic chord.
El
'I ,~IV
u
II
m
II
F~major
9
II
m &•n#nff#
II
44
I
II
_g_
II
F minor
II
,~I,
Bil major
E minor
Discovering Music Theory: Grade 5
9 II
~
• We use roman numerals to identify chords. Each chord is built on a degree of the scale, which gives us the number of the chord. • The note that a chord is built on is called its root - when this note is at the bottom of the chord, it is said to be • ..!' ~ in root position. "
..
Theory in sound Play (or ask someone to play to you) chords I, 11, IV and V in C major and C minor. Listen carefully to how they sound . • Chords I, IV and V in the major key are major chords, but chord II is m inor. • Chords I and IV in the minor key are minor chords, but chord Vis major as it contains the raised leading note. Chord II in minor keys is diminished - it contains a diminished 5th between the root and the upper note.
Exercise 2
Describe each chord using roman numerals (I, II, IV or V).
Al, major
El
4,1v
,.fl
B minor
ff
l
II
,.~
G minor
§
II
II
u
II
§
11
II
E major
C major
m 41fl#I ff
II
D
,.
Challenge!
H
II
D
G# minor
D minor
m
'
D I, major
jiu
II
El
41fl#lfl
4,1v,
,,
G major
:!
II
a
ti
II
Try writing some of the chords in Exercise 2 in the alto, tenor and bass clefs.
I
Chapter 6: Chords
I
45
•
l
Ca de nc es
t ence. Cad ences are seq uence s o1 • 1 sen 1ca a bit like a mus • A phrase 1s a por tion of a mel ody, enc · cho rds that com plet e a phrase. · hed dep end ing on wh ich cad e is . f .inis ' un or hed finis k nd ma n sou se stio phra que a e and s mak stop l can e ful as enc ch cad A • . r s su tion ctua to pun used. Cad enc es are sim ilar in effe ct - in writ ten sen tenc es. •
•
•
need to kno w at Gra de S. The re are thre e type s of cadences you IV or V: . The y are all mad e usin g cho rds I, 11,
Per fect
V - 1
for exa mpl e:
V .... ········· ··••······ ···········•············
Plag al
IV - I
......................... .......... .
· ···•• ·
..... .
for exa mpl e:
···············
J IV
Imp erfe ct
1- V or II - V or IV - V
for example:
II
Th eo ry in so un d
V
, the three cadences Play (or ask someone to play to you) \ sound? writ ten above. Can you hear how they • . -• on chord I and sound • The perfect and plagal cadences end a like ic, a section of mus finished - they 're suitable for the end of mus ical full stop. rd V and sounds unfinished. • The imperfect cadence ends on cho section of music, but is It wou ld sound weaker at the end of a like a musical comma or goo d for end ing phrases in the middle, que stio n mark.
de 5 46 I Disc ove ring Music The ory: Gra
.
Re me mb er,
Cho rds can be made up of more than thre e notes. In these cadences ' we have used ds· chor e four -not these are crea ted by incl uding one of the notes of the triad at two diffe rent octaves.
Exercise 3
Describe the two chords in each question using roman numerals (I, 11, IV or V) and then identify the cadence.
r
smart tip • Start by working out the key from the key signature - in this exercise it will be C, G, Dor F major. • Then work out the two chords by looking at their root notes (which are at the bottom) . • If the final chord is V, the cadence is imperfect (1 - V, 11-V or IV-V). If it's I, the cadence is perfect (V - 1) or plagal (IV - I).
Cadence:
El
imperfect
IV
Cadence:
m
V
Cadence:
Cadence:
m
Cadence:
D
II
D
r
r
Cadence:
Cadence:
Cadence:
El
Chapter 6: Chords
I
47
Cadence s in minor keys When we write cadences in minor keys, chord V will contain the raised lead ing note. Here are examples of the three cadences we have learnt, written in Eminor. The raised leading note is 0#:
Perfect
Imperfect
Plagal
V
11
IV
V
Exercise 4 includes cadences in major or minor keys, with up to four sharps or flats in the key signature
Exercise 4
Tick one box to name each cadence .
. Smart tip Start by identifying whether cliords are I, II, IV or V in the given key. -
D major
El
perfect
D
plagal
D
imperfect
D
perfect
D
plagal
D
imperfect
D
BP major
II
48
I
Discovering Music Theory: Grade 5
► Exercise 4
Cont inued .
A major
perfe ct
D
perfect
O
plaga l
D
r,
t_J
impe rfect
D minor
II
plaga l
0
impe rfect
0
plagal
D
impe rfect
0
C:minor
a
perfect
D
Challenge!
El
in D minor. You'll need to change t he key Rewrite Exercise 4 shou ld be raised. signature, and reme mbe r that the leadi ng note ~
, I
_-..: v
t)
'
...
_.. ' _I
Chap ter 6: Chor ds
I
49
Choosing suitable chords for a melody In the Grades exam you will be given a melody and asked to choose suitable chords to harmonis e it. You will need to choose from chords I, 11, IV or V. Look at this exam p le:
F
F le
J
cr
□
If
j
I
□
You are being asked to choose one chord for each set of bracketed notes. The two chords should make a cadence, as they are the last chords in the phrase. H ere is a step-by-step guide to choosing suitable chords :
1.
Identify the key. In this exam ple, the key is D major as there are t w o sha rps in the key signature. It is not B minor as the leading note, A , has not been ra ised .
2 . Work out chords I, II, IV and Vin the key. Here they are for D major:
,-ff
()
§
§
II
II
IV
V
I
3. Name the notes in the melody. The notes in bar 3 of this melody are C#, D, E and Ct 4. Choose a suitable chord for each box. Compare each chord with the notes of the melody. The most suitable chord will contain all or most of the notes from the melody. i.
In bar 3, the best chord to use is V because it contains two of the notes of the melody: C# and E.
ii.
If you do the same for the second chord (bar 4), you will find that chord I works best as it contains both the notes D and A.
5 . Identify the cadence. Check that the two chords make a perfect, imperfect or plaga l cadence. In this case they make a perfect cadence.
Smart tip Very often you will find that not all the melody notes w ill fit in w ith a chord. If this is the case, find a chord that fits the majority of the notes, particularly those that fall on the main beats of the bar.
so I
Di scovering Music Theory: Grade 5
'""t ""
Exercise 5
ln~i~ate suit able chords for each of the followin g melodies in major keys by writing I, 11, IV or V in each box, and then circle the correct cadence .
smar t t ip , Choose chords that contain the majority of t he melody notes within each bracket. , Make sure that the two chords you choose form a perfect, plagal or imperfe ct cadence .
a ~ •iJ J I f
r f I J F Et I d IV
II
imperfect
j I
perfect
plagal
imperfect
II only contains one note. Make sure you choose t he chord that will belong to a cadence.
&~·u r r Ir
m t>= ng#n i
plagal
□□
Smart tip
11
perfect
V
~~ C ,] f' I r· Ji .lJ I J J r I J
The final bar in
JI
a
r Ir
r J Ir·
I
perfect
plagal
imperfect
11
perfect
plagal
imperfect
JI
perfect
plagal
imperfect
□□
F
If C Ir· f [] 1F J L__]
□□
r In JJI J
□□ Chapte r 6: Chords
I
51
Exercise 5
Continued.
D t.J:111# r f
f If H EIf Ef f IJ F 1
perfect
plagal
imperfect
plagal
imperfect
L--1
m
,~Iv J I
□□ J I jJ J 13 rF Er I JJ J II
perfect
□ □ •
l
Choosing suitable chords for a minor key melody Let's work through an example of a melody in a minor key, following the same steps as earlier.
11
□ □ □
1. Identify the key. From the key signature we can see that it's either B~major or G minor, but the raised leading note (F#) shows us that it is G minor.
2. Work out chords I, II, IV and Vin the key. Here they are for G minor. Note that chord V has the raised leading note, F#:
&~'· 6
m
II II
IV
II
V
3. Name the notes in the melody. 4 . Choose a suitable chord for each box. 1.
The first chord (bar 2) needs to fit with the notes EP, C and G - and chord IV fits the bill here.
ii. Bar 3 contains the notes A, G, F#and D. Al l of these except the G can be found in chord V. ii i. As the fina l bar contains only the note G, either chord I or chord IV could fit . However, in order to make a cadence, we have to choose chord I. 5. Identify the cadence. Check that the two chords make a perfect, imperfect or plagal cadence. The final two chords (V and I) make a perfect cadence.
52
I
Discovering Music Theory: Grade 5
Sma rt tip Look out for t he ra ised leading note • Exercise 6 conta ins melod ies in major and minor keys. key at the sta rt if that helps. to identi fy melod ies in m inor keys. You cou ld write t he • Each melod y conta ins two differe nt cadences.
Exercise 6
El
ies by writ ing Indica te suitab le chord s for each of the follow ing melod I, 11, IV or V in each box, and then name each cadence.
, ~I, ; f r
,~b
J j IJ
J
,~g
□ j j
r 3 IJ j
J F IJ.
□
Caden ce 1
~
f Ir Cadence 2
Jl•
□
F If
r
II
□ □ Cadence 2:
Cadence 1:
Cadence 1
m 4untt I d
,-ff#
j
V
V
If F r J 'r F f
,~
□ F J J I~ J
□
□ Cadence 1:
~
~
IJ
Cadence 2
r
□
J IJ
j
II
□
Cadence 2:
Chapt er 6. Chord s
I
53
Exercise 6
Continued. Cadence 1
p iJ
j J
J
j
I~J I
_j
□ □ Cadence 2
&~'v r .1 u Ir
J Iq] £ J IJ
I
□ □
□ Cadence 1:
Cadence 2:
Cadence 1
l!I , .##I H
,1##1
r C r 11u
rr
F
r
f J Ii J J F I'F j
Ir J j I J~
54
I
Discovering Music Theory: Grade 5
~
~
□
□ Cadence 1:
□
Cadence 2:
Cadence 2
~
□
IJ F
□
I
Inversions • The note that a t riad is built on is called its root. When this note is at the bottom of the chord it is said to be in root position. • When the lowest note of the cho rd is not the root, the chord is called an inversion. /
Here is chord I in C major, written as a triad in root position. la
Here is the same chord, now written in its 1st inversion. The note E - the 3rd of the triad - is now the lowest note.
lb
Here is the same chord in its 2nd inversion. The note G - the 5th of the triad - is now the lowest note.
le
• We use letters after the chord numbers to indicate inversions:
Did you know?
'a' for root position
For root-position chords, the 'a' is often omitted. 'Chord I' means the same as 'Chord la'.
'b' for 1st inversion 'c' for 2nd inversion
You can see that the three chords above are labelled la, lb and le.
Theory in sound Play or listen to triads in root position, 1st inversion and 2nd inversion. Can you hear the difference in how they sound?
Challenge! Write these chords in their 1st and 2nd inversions:
'ti
§
II
II
II
:f~
§
II
II
Chapt er 6: Cho rds
II
I
55
h ther the chord is in 1st or 2nd Inve rs Ion. Write b or c after each chord number to show w e
Exe re .I Se 7
Smart tip
.
El .,.
4th, f th interval of a perfect . . . Th e chords .In · to 1:1 are written as triads. By looking out or e . 1st (b), inversion in be will triad the top, the at you can identify the inversion. If the 4th is if the 4th is at the bottom it will be in 2nd inversion (c).
D major
C major
El
o
'
IV
11
§ V
b
o
11
8
11
8
11
g
§
II
IV
II
# 11
11
IV
V
~
V
:8: -e-
..0..
#
II
II
F#minor
..0..
II 2=~1,I,
8
II
V
II
Eli major
11
m ~•1 0
m 2=1#11
8 II ff#
§ II IV
II
]
II
V
II
Remember! In the case of four-note chords, one of the notes will appear twice. You might find it helpful to rewrite the notes in each chord as a triad.
E major
D minor 11
.
a
--
~
''t .,J
u-
'
.
..... ::-
'~
II
56
I
\
~u n
~-
.. u
---
IV
Discovering Music Theory: Grade 5
~-e-
.-.
.+
,1 a
.
.. D
M M ~
~
tJ '
-
-e-
-. ·. ·■o M
-
~
-
~
~
7 "I
-e-
M
V
..-
n
.. -
IV
-
~ V
~ ,. -
II
rsions An alte rna t ive way to iden tify chords and inve ions as a grid. You may find it helpf ul to wri te chords and thei r invers r. majo D in Here is a grid show ing the chord s and invers ions
b
a
C
~
I D F# A II E G B IV G B D V
C#
A
E
Each colum n show s the botto m note of the chord in root positi on (a), 1st invers ion (b) and 2nd invers ion (c).
identify these chords. Write the chord number and inversion in the boxes to
Exercise 8 r
Sm art tip can write the Work out the chord first, and then its inversion. You above. chords out on a stave or use a 'grid' version as shown
Eli major
.il.
II g
El
u
11
8
11
f
11
8
11
11
:tt II
II
'' 1t
IVb
.il.
A minor
ft 0
-e-
II ff8 II ff
II
0
o
:>=
II
II
11
f
II
1t
#g
II
11
F minor G major
,.tJ
I
I
D
.. -J,I
~ ~
'
u
V
I
....--
..-
:::_ '-'
..-
,
Ii
I
...
" "
-
u
m
=
2r
N
r
m ,~I,§ ,1'.f
70
I
J F
Discovering Music Theory: Grade 5
j
New Italian terms Here are some new Italian terms you need to know at Grade 5: I
Dynamics:
Italian term
Meaning
a niente
to nothing
morendo
dying away
perdendosi
dying away
rinforzando (rinf., if, ifz) reinforcing smorzando (smorz.)
dying away
sotto voce
in an undertone (literally 'under the voice')
Tempo:
/argamente
broadly
Expression:
cantando
singing
con do/ore
with grief
con spirito
with spirit
doloroso
sorrowful
sonoro
resonant, with rich tone (like the word 'sonorous')
ad libitum (ad lib.)
at choice
attacca
go straight on (to the next part of the music)
quasi
as if, resembling
General:
Challenge! We encountered lots of Italian terms at Grades 1-4. How many of them can you remember? Write some of them down below, or make a larger table of your own.
Term
I
Meaning
Chapter 8: Terms, Signs & Instruments (P21rt 2)
I
71
The following exercises include some terms and signs encountered in Grades 1, 2, 3, 4 a nd 5·
Exercise 3
Answer the following questions.
El
What does attacca mean?
l!I
What is the Italian term for 'in an undertone'?
II
What is the Italian word for 'broadly'?
m What does perdendosi mean? D
What does allegro con spirito mean?
D
What does largo e sonoro mean?
m
What does sempre cantando mean?
El
What is the Italian term for 'at choice'?
a
What does morendo a niente mean?
D
What does quasi mean?
II
Give another Italian word that has a similar meaning to smorzando.
D
What does ifz mean?
liD
What is the Italian for 'singing'?
m
What does /argamente con do/ore mean?
m
What Italian word means sorrowful?
72
I
Discovering Music Theory: Grade 5
German terms Composers often use German terms in their music. Here are the ones you need to know for Grade S, along with s im ilar Ital ian and French terms we've already encountered:
German term
Meaning
Similar Italian
Similar French
langsam
slow
adagio/lento
lent
lebhaft
lively
vivace
mi:issig
at a moderate speed
moderato
ruhig
peaceful
tranquil/a
schne/1
fast
allegro/presto
traurig
sad
mesto
modere
vite
Theory in sound Listen to a recording of Schubert's Wiegenlied, D. 498, for an example of a song with the marking, langsam. Schubert (1797-1828) wrote over 600 songs (or Lieder) in his lifetime, and is well known for his expressive and lyrical style.
Exercise 4
Answer the following questions.
El
What does langsam mean?
EJI
What is the German word for 'sad'?
II
What does lebhaft mean?
l!I
What is the German word for 'fa sf?
II
What is a similar German word to vivace.
D
What is a similar Italian word to ru h,g ·
D
What is a similar French word to massi9 ·
El
What is a similar German word to vite?
.
?
. ?
... ?
Chapte, 8: Term s, Signs & lnst,um0nts (Part 2)
I
73
The piano: terms and signs In addition to the terms and signs covered so far, there are a smal l number relating to piano music that you need to learn at Grade 5. These are:
Ped.
*
Ped._ ~
press the right pedal (the sustain pedal); release it at* or the vertical line
con pedole
with the right pedal
senzo pedo/e
without the right pedal
uno cordo
press the left pedal
tre corde
release the left pedal
mono sinistro (m.s.)
with the left hand
mono destro (m.d.)
with the right hand
II
Spread the chord from the bottom.
!] jJ.)7
2
Played '
•
Also appears in harp music
Exercise 5
Tick< v') one box for each question.
/ongsom means:
ruhig means:
morendo means:
111 slow
□
tenderly
□
agitated
_....., light
□
simple
□
playful, merry
□
peaceful
O
calm
D
slow
D
dying away
__J
moderately
~
J
lively
~, :::::::;:::li ::::===..11 means:
tranquillo con do/ore means:
attacca means:
□ spread the chord from the bottom
□
calm and slow
□
□
D
sad and slow
□ spread the chord from the top
□
sad, with grief
□ press the right pedal
□
calm, with grief
74
I
press the left pedal
Discovering Music Theory: Grade 5
D D D
at choice with determination go straight on repeat from the beginning
Exercise 5
Cont inued.
vite means:
lebhaft is similar to:
m.d. means:
□
quick
□
vivace
□
wit h pedal
□
playful, joking
D
□
allegretto
□
an octave higher
gradually getting quicker
□
andante
□
wit h the right hand
O
slow
□
lento
□
with the left hand
Which is fast est?
Which is slowest?
tre corde means:
□
andante
□
modere
□
press the right pedal
□
allegro
□ schnell
□
press the left pedal
□
miissig
□
langsam
□
release the right pedal
□
lent
□
allegro
□
release t he left pedal
Which word means 'sad'?
sonoro means:
Which word means 'without'?
□
largamente
□
resonant, with rich tone
□ con
□
lebhaft
□
with passion
□
□
traurig
□
singing
□ sotto
□
morendo
□
simple, plain
□ senza
schnell
Your progress Congratulations! You've completed all the work for Grade 5 on Terms, Signs & lnstrum; nt s. Turn t o the Practice Exam Paper on page 85 if you'd like to try some sample exam-questions.
Chapter 8 : Terms, Signs & Instruments ( Part 2)
I
75
\
I
•
9
MUSIC IN CONTEXT · Putting it all together The last question of the Grade 5 exam is a Music in Context question, in which you will be asked some questions about the things you can see in a passage of music. All of the questions will be about topics covered in this book or in previous grades.
Exercise 1 Study this music for piano and then answer the questions that follow. Andante sostenuto fl
1 I
-- ..
,,,---
I
-·
II
~
~
V
'
t)
p I
....
~
-
-
~
~
I
. ~
2
-
,.
,.
,-
~
~
-
-·
~ - - - I"""-· - -
---.}_____
-
~
,-
~
,
r
~
,-
-
-
-
-
~
~
-
~
-
..
-
--
~
I
Ped._J Ped.__J sim.
Ped. _ __. 6
- -= = = ==+======== f
etc.
76
I
Discovering Music Theory: Grade 5
~
I
..
,-
I
poco rit.
- -
~
~
L3--'
.. . . .. ... . .. .... .-- - . ,-
.
I
... -
Chopin
Ill.
.. . .
I=-
~
-
-
El
Compare the following bars to bar 1 of the right-hand part, then tick ( v') the one correct statement.
Andante sostenuto Andante sostenuto
1
A
Andante sostenuto
1181,~ CJ
B
f)J J I
C
------=------
A, B and C are correctly written one octave lower. Only A is correctly written one octave lower. Only A and Care correctly written one octave lower. Only C is correctly written one octave lower.
El
11
Circle TRUE or FALSE for each statement. The music begins in the key of Eli major.
TRUE
FALSE
The pedal should only be used in bar 1.
TRUE
FALSE
The leading note of D minor is played in bar 5.
TRUE
FALSE
The music gets a little slower in bar 7.
TRUE
FALSE
Bar 7 contains a sextuplet.
TRUE
FALSE
Which instrument is best suited to play the right-hand phrase in bars 7-8 (marked so that it sounds at the same octave? Tick ( v') one box. trombone
II
□ □ □ □
D
cello
D
timpani
D
)
oboe O
How many times does the leading note of 811 major appear in the right-hand part? Tick ( v') one box.
,□
II
Complete the following two sentences by adding a number to each. There is an upper mordent in bar
The left-hand part of bar 4 has the same notes and rhythm as bar
Chapter 9: Music in Conte>.t
I
77
Exercise 2
Study this music for piano and then answer the questions t hat follow. Debussy
Lent
3
3
El
Compare the following bars to the right-hand part of bar 5, then tick ( t/) the one correct statement. 5
5
B
A
IIB1•tttt
p ~ J'JJ I ::.__/
A, B and C are correctly written two octaves lower. Only A is correctly written two octaves lower. Only B and C are correctly written two octaves lower. Only C is correctly written two octaves lower.
78
I
Discovering Music Theory: Grade 5
~
□ □ □ □
C
2:1ttttl
19 j Jj JI ~
--..;
II
II
Circle TRUE or FALSE for each statement. The music should be played slowly.
TRUE
FALSE
apart. In bar 5, the hands play the same notes two octaves
TRUE
FALSE
The music gets loude r in bar 7.
TRUE
FALSE
The final chord in bar 8 is chord IV in E major.
TRUE
FALSE
and phrase in bar 5 (marked Whic h instru ment is best suited to playing the left-h box. so that it sounds at the same octave? Tick ( t/) one oboe O
II
trump et
D
cello
D
flute
)
D
of C# minor appear in the right- hand How many times does the dominant note in the key part of bar 5? Tick ( t/) one box.
,□
II
Comp lete the follow ing two sentences by adding a
number to each.
There are 'spread' chords in bar 2 and bar
Bar
. begins with the interval of a perfect 5th in both hands
Chap ter 9 : Music
in
Conte xt
I
79
Exercise 3
Study this music for violin and piano and then answer the questions that follow.
Andantino
Alben 1z 4
2
Violin
mp
Piano
p
5
etc.
80
I
Discovering Music Theory: Grade 5
,_
El
Compare the following bars to the violin part in bars 7- 8, then tick ( t/) the one correct stat ement. .-..._
B
IIB 1•
*....--::::::,.
~
EfJt r r I ct7r g
1
C
A, B and C are correctly written two octaves lower. Only A is correctly written two octaves lower. Only B and C are correctly written two octaves lower. Only C is correctly written two octaves lower.
II
II
Circle TRUE or FALSE for each statement. The tempo should be faster than allegro.
TRUE
FALSE
The violin begins with three down-bows.
TRUE
FALSE
The right-hand piano part in bar 7 is made up entirely of major 3rds.
TRUE
FALSE
The left-hand piano part contains acciaccaturas.
TRUE
FALSE
The highest note in the violin part is a G.
TRUE
FALSE
Which instrument is best suited to play the violin part so that it sounds at the same pitch? Tick ( t/ ) one box.
horn □ l!J
bassoon □
flute
D
cello
D
How many times does the submediant note in the key of D major appear in the violin part? Tick ( t/ ) one box.
,□
D
Complete the following two sentences by adding a number to each. There are upper mordents in bar
There is an augmented 4th in the violin part in bar
Chapter 9: Music in Contex t
I 81
Exercise 4
Study this music for piano and t hen answer t he questions t hat fo llow.
Allegro moderato I
I
/)
I II ~
~
,,
'""' V
t)
_1
.
-- -- -- -; e ■
,.
I
..
~
V
- ~
,,V
::
-
> ~
~
p
' L
Schubert 3
2
~
-
.,
qs:
...
~
IT.
staccato sempre
'"~
-
- --
' ' ' -
,-
-- .--,,-
r""'::I.
>
- . I I =
~
-
-
--
>
4
qs:
.,
>
--
'
., '
I
I
'
~
'
::
El
Compare the following bars to the left-hand part of bar 1, then tick ( t/) the one correct statement.
A
'&•"1,•i
JgJJ
I
C
B staccato sempre
staccato sempre
A, B and C are correctly written at the same pitch. Only A and Bare correctly written at the same pitch. Only Band Care correctly written at the same pitch. Only A and C are correctly written at the same pitch.
(I
82
I
staccato sempre
D D D D
Circle TRUE or FALSE for each statement. The music should be repeated from the beginning.
TRUE
FALSE
The left-hand part should always be played detached.
TRUE
FALSE
The right-hand part contains major 6ths in bar 4.
TRUE
FALSE
The right-hand part contains appoggiaturas.
TRUE
FALSE
The key of the music is C minor.
TRUE
FALSE
Discovering Music Theory: Grade 5
II
Which instrument is best suited to play the right-hand phrase in bar 1 so that it sou nds at the same octave? Tick (II) one box. bassoon
I)
D
oboe
D
cello □
tuba
D
How many times does the subdominant note in the key of F minor appear in the left-hand part ? Tick ( II) one box.
,□
II
Complete the following two sentences by adding a number to each. There are accented notes in bar 2 and bar
Bar 3 has the same rhythm and articulation as bar 1 and bar
Congratulations! You've completed all the work for ABRSM Grade 5 Music Theory. If you haver 'already done so, test your knowledge and understanding with the ABRSM Practic~ Exam Pape on page 85.
Chapt er 9 : Music in Context I 83
Notes
84
I
Discovering Music Theory: Grade 5
Grade
I
5
Total marks (out of 75)
Practice Exam Paper ABRSM Grade 5
•I
~ Prac tice Exam P.:iper
I
85
1 Rhythm 1.1 Circle the correct time signature for each of these bars.
(3)
6
(a)
(b)
(c)
:>=~ JJJJJJ)7 uDF II
6 4
4 4
5 4
2= #J p f[ [ y f
6 8
7 8
4 4
12
7 4
5 4
'
11
J JJ E1f!r vr 3
1.2 Here is a bar in simple time:
L3_l
II
'j#i Qr l'
8
-!~
t_3_.J
II
(1)
3
Which of the following shows the bar above correctly rewritten in compound time? Tick (II) one box.
i
7
&"ff 3Qr 7 7 i i
'j#ff Cr
'ti# ff Qr
I
7 7
II
□
7
11
□
7
11
□
1.3 Complete the following two sentences by adding a number to each. (a) In
{i
there are ............ dotted-quaver beats in a bar.
(b) A dotted-semibreve is equal to ............ minim(s).
86
I
Discoverin g Music Theory: Grade 5
(2)
(1)
1.4 Tick (.,;') one box to show which bar is grouped correctly.
&a §f f f C-( r Pf II &a §f f ~~-l Pf II &a ~E B5J Pf II i'
□
i'
□
~
i' ;;;I::
□
(3)
1.5 Tick (II) or cross (,C) each box to show whether the rests are correct or incorrect.
1
□
r * * r· □
I-
rA
J II
□
Practice Exan, Paper
I 87
;
2 Pitch
- - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - 10
2.1 Tick (.-') one box to show the name of this note.
118
II
(1)
so
cO
2.2 Tick (.-') one box to show to show the correct enharmonic equivalent of this note ..
xU
(1)
II
2.3 Here is a bar at sounding pitch for the trumpet in B!i.
) r ~r
(5)
II
This bar has been transposed up a major 2nd to be at written pitch. There are some mistakes. Put a tick (.-') or cross (,C) underneath the key signature and each note to show whether each is correct or incorrect.
□ □ □□□ 2.4 Compare bars A, Band C, then circle TRUE or FALSE for each of the three statements.
pt :nf E~~
A
II
B
118
iW
~a Jpg
(a) A and Bare at the same pitch
TRUE
FALSE
(b) B is one octave lower than C
TRUE
FALSE
(c) C is one octave higher than A
TRUE
FALSE
88
I
Discovering Music Theory: Grade 5
II
C
4H ~f r,J
(3)
II
3 Keys and Scales
/1s
major. 3.1 Tick (II) one box to show the correctly written key signature of DI,
-
□
1
IIB ,,~~
IIB l,~~1,1' II
□
(1)
1, , 1
□
□
3.2 Tick (II) one box to show the correc tly written key signature of F# major.
:>= 1tt## #1
IIB U1##11 I
IIB ###l11U 11
11
□
(1)
□
□ (3)
3.3 Circle the correc t key of each of these three melodies.
(a)
~lH F v p#f 1•r#r rttr· I
Eminor
8 major
A major
D major
(b)
&2~r· ~r r 1,J11~J. ,,c~er~r· II
Bl, minor
GI, major
Di, major
Al, major
(c)
:J=c
A minor
G major
D major
D minor
r
j
F Ir !r
rJ
J
II
(2)
needed 3.4 Tick (II) one box for X and one box for Y to show which notes are to comple te the scale of B major.
Yi
Xi :.>=
X y
ffu
"CJ"
#-e-
#-rr
FD
Ex □
E# □
ED
A# □
A□
FD
F# □
#o
0
Practic e E'
lo
(j
ffo
.0
t o go
'
~o
ttn
~lU
a
ffu
o lo
~l"
ije
I I
II FALSE
TRUE
(b) This is the correctly written chromatic scale beginn ing on A
-e-
FALSE
TRUE
(a) This is the correctly written chromatic scale beginning on F#
~o
II
(3)
3.7 Circle TRUE or FALSE for each statement. (a)
(b)
~:
~:
(c)
90
'
I
~o
ffu
II
Th is is the supertonic in E!I major
TRUE
FALSE
II
Th is is the tonic in F# major
TRUE
FALSE
II
This is t he dominant in E minor
TRUE
FALSE
0
Discovering Mu sic Th eo ry: Grade 5
II
4 Intervals
/10
4.1 Tick (II) one box to name each interval. ..0..
(a)
~: lzn
II
major 10th compound major 2nd minor 9th augmented 2nd
(b)
□ □ □ □
~=In~
0
II
u
augmented 11th compound perfect 5th perfect 11th major 11th
□ □ □ □
(c)
,~
(3)
0
II
-e-
□ □ □ □
minor 7th major 7th compound major 7th major 6th
(3)
4.2 Circle the type of each interval.
(a) ' (b)
II
0
II
4uff#fl -u-
-u(c)
2·
II
lz11 II
-e-
perfect
major
minor
diminished
augmented
perfect
major
minor
diminished
augmented
perfect
major
minor
diminished
augmented
4.3 Write notes to form the named intervals. Your note should be higher than the given note.
(a)
(c)
'
II
~-e-
(b)
2=
(4)
II . -eaugmented 7th
compound perfect 5th
2=~!2!2
II -eminor 13th
(d)
,~
II "lY
major 3rd
Pruct1ce Exam Pape,
I
91
5 Chords 5.1 Indicate suitable chords for the two cadences in the follow ing melody by writ ing either I, 11, IV or V in each of the five boxes underneath t he staves.
&•1~~
~
,,
rJr
If
rr
-
~ ~ I~
rr
1J
□
~ IJ
If
D major
I
(2)
(b)
plagal
O
perfect
O
imperfect D
imperfect
O
5.3 Tick (II) one box to name each of the three marked chords. The key is G major.
(a) Chord A
vcO
le □
lb □
Vb □
( b) Chord B
Ila □
llbD
IVcO
Va D
(c) Chord C
la □
le O
Va D
IVcO
I
r
C major
(a)
92
G-
□
□
5.2 Tick (II) one box to name each cadence.
J
□
□
r-3~
r
j
rr
ILJ
(5)
Discovering Music Theory: Grade 5
plagal
O
perfect
0 (3)
6 Terms, Signs and Instruments
/10
6.1 Tick (II) one box for each t erm/ sign. doloroso means:
(3)
a niente means:
□ □ □ □
calm pleasant tenderly sorrowful
cantando means:
□ □ □ □
to nothing less at choice more
□ □ □ □
resonant singing dying away rhyt hmically
6.2 Tick (II) one box to name each of the two written-out ornaments, which are marked with bracket s.
(a)
~J= i r~[ trill
(b)
r7
0 5
trill
0
II
upper mordent
0
rr
II
acciaccatura
0
2=i E~f Er
(2)
acciaccatura
appoggiatura
0
0
appoggiatura
upper turn
0
0
6.3 Circle TRUE or FALSE for each of the following five statement s.
(5)
(a) The oboe uses a double reed
TRUE
FALSE
(b) The xylophone produces sounds of definite pitch
TRUE
FALSE
(c) The clarinet has a higher range than the bassoon
TRUE
FALSE
(d) The cello is the lowest-sounding string instrument
TRUE
FALSE
(e) A flute might be played 'con sord.'
TRUE
FALSE
Practi ce Exam Paper
I
93
7 Music in Context Study this music for flute and piano and then answer the questions that follow.
Allegro scherzando I
,,..--::;
4
3
Flute
p subito
Piano
ti 5 tr
.- t.J
.
.......
ti
-·
-
-
,-
t.J
I
,_
-
I
'•
-
----
-
I
~
~
l ~
~
I
*,_
'
-~. -· -- -
. ·-
8
/","\
-
-·-
~
~
~.
-
-
-. - -
Only A is correctly rewritten two octaves lower Only B and C are correctly rewritten two octaves lower
A, B and Care correctly rewritten one octave lower Only B and C are correctly rewritten one octave lower
I Discovering Music Theory: Grade S
;"'
•
-
,_
l ii'-
~
-
f
-
7.1 Compare the following bars to bar 1 of the flute part, then tick (v') the one correct statement.
94
,..,
-
~
f
,,,
---
pii'- 7 •
-
~
I
p
.
6
0 0 0 0
- " -· ~- -
,
-
tr
-
~
I
I
-·
~
(1)
7.2 Circle TRUE or FALSE for each of the following five statements about the music.
( 5)
(a) The music should be performed playfully
TRUE
FALSE
(b) All the notes in bar 1 should be played slightly separated
TRUE
FALSE
(c) The highest note in the extract is an E
TRUE
FALSE
(d) The first four notes in the left-hand part of bar 7 form part of a chromatic scale
TRUE
FALSE
(e) The flute plays an appoggiatura in bar 7
TRUE
FALSE
7.3 Which other instrument is best suited to play the flute part so that it sounds at the same pitch?
(1)
Tick (II) one box. double bass
0
violin
0
horn
0
tuba
0
7.4 How many times does the supertonic note in the key of C major appear in the flute part? Tick (II) one box.
(1)
sO
(2)
7.5 Complete the following two sentences by adding a number to each. (a) The note in the flute part of bar 4 is worth ............ demisemiquavers. (b) There is an instruction to play suddenly quiet in bar ............ .
End of exam
Practi ce Exam Paper
I
95
