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Theory of Music-°4

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4K views76 pages

Theory of Music-°4

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Abraham Hernandez
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COLLEGE LONDON A al-re) a Ae Vleiie Tor sample exam for Trinity College London it iak-am-> D F Gt E MiddleC Cb either a bass or alto clef before these notes to make the note name correct. Write the following tunes using alto clef, so that they sound at the same pitch. Handy tip! Use Middle C to help you check your first and last note. Handy tip! Notice the position of the sharps or flats in the key signatures in alto clef. Write the following tunes using alto clef, so that they sound at the same pitch. Remember You do not need to use a bracket when there are three triplet quavers, but | you must | bracket any other triplet grouping, e.g | cs + +4 | or —3— th | — . New time signatures For Grade 4 you need to know the following new time signatures: (5 crotchet beats in each bar) Did you (S quaver beats in each bar) know? 3.7 quaver beats in each bar) Since the When writing in or § composers tend to group the crotchet or quaver beats into 1900s these two longer main beats. These main beats are irregular in length, for example: time signatures have become more and 5 M more common ! Did you N J know? be In some pieces the way the When writing in Z composers tend to group the quaver beats into two or three main beats longer main beats. These main beats are irregular in length, for example are grouped changes neorly 4d de or qe J every bar. = ) . Remember 4 : : | = 44 z J A semibreve rest is used to Numbers are sometimes written above the music to show how notes and rests are show a whole to be grouped and beamed: bar of silence Bartok in any time a2 signature. i oo a> Bartok _—— = S irohosros, 517 © Coot 40 Hates Son Londen ts Borat @23) be = ater Prelude © Copyright 19 by Boosey & Hawkes Musi Publishes Ld Reproduced by permission of Boosey & Hawkes Music PUD Lt Bw I Write the main beats in each of the following bars: a2 23 | z Write the correct time signatures, gd. _. |. J e. d. Nl e. ‘Add time signatures to the music. —ee _—_———_ Barratt Patter Prelude € Copyright 195 by Boosey & Hawkes Music Pubshrs Lid Reproduced by permission of Boosey & Hawes Misc Publshers ta, Holst ote Juon & Br o io ° = Chanter Symphony 0.27 © Cop 0 Rober ina Pui Fartrt/sin Germans. sed wih writen conser fh pubis Bartok Mirokosmas, 107 © Copyright 1940 by Hawkes & Sn London Lid. Reproduced by permission of Boosey & Hawkes Musk Pushers Lit Remember When two parts or voices are written on one stave the stems go up for the top part and down for the bottom part Look at the folowing music. Ad bar ines to agree withthe time signatures, Holst ae Bartok ote? Pe ste 9 Pw ste 0 Fw tod = a Mileotosmes 52107 © Copyright 540 by Howes 5 Son London LX, Reproduced by permision of Boosey & Hawes Music Pushers Lis, Barratt ee z is <—- * i oo 7 7 6 eo] eo ——+ use: aration Anonymous: Make we Mery aen fom The Chester Book ot Cros) © Copyrign 1985 Chester Musi ite, 115 Berets Street, London WT 3, United Kingdom Al ignts Reserve. internat Copyright Secured, Reprinted by Permisson. Holst pt Stravinsky - Music travinsy/ibreto: Ramu: stor du Sldat © Copyright 1924, New Eton {© Copyeant 57,1952 forall counties Chester Musk Lite, ls Bornes Stet, London WAT SL United Kingdom, ‘A Rights Reserved tvratinal Copy Secure, Reprinted by Persson, Bartok 5 a Bsotofopr cy 7 te z am CBN + ~$ = Fan Sonat no 7.95 83 © Copyrit 99 by Booey & Hans Music Pbsnrs i. Forthe Ut in Commonwenth x Conde and South rcs, Regrodices by permis of Boosey & Hones Mase Pbishers La Brahms ee 7 o Beethoven Writing your own tunes to a given rhythm ®Bw Il write a tune for viola using the first five degrees of the scale of G minor to the given Handy ti See page 68 for the ranges of violin, viola and cello (string instruments) and flute, oboe and bassoon (woodwind instruments). rhythm. Use a key signature and finish on the tonic. gO Fy ji === SS FI Write a tune for oboe using the notes of the tonic triad in B minor to the given rhythm. Use a key signature and finish on the tonic. git 074) 1 1 EA Write a tune for viola using the first five degrees of the scale of D major to the given rhythm, Use a key signature and finish on the tonic. Re A write a tune for bassoon using the notes of the tonic triad in B flat major to the given rhythm, Use a key signature and finish on the tonic. poy ay Bi Look at the tunes you have written and add some musical words and symbols that you know. Also see page 55 for those for Grade 4 Harmonic rhythm ia Remember Chord progression means the order in which chords move from one to another in a piece of music. | Handy tip! ) | The chords | | in these | examples have | been written | as triads in | root poston | | | | to make the chord | progression easy to see. | Composers | hardly ever | use lots of | root-position | triads because | chords spaced | | so closely in | | the bass make | [the music | | sound heavy. | | Composers | also usually | want to avoid | parallel Sths | | (see page 33). | rc Harmonic rhythm describes the way a chord progression moves below the tune ina piece of music — whether the chords change quickly or slowly, regularly or irregularly. The type of harmonic rhythm that a composer uses can really affect the mood of a piece. Here are some examples ‘Sur le pont d’Avignon (first phrase) Here the harmonic rhythm is regular ~ it changes once a bar: G D G Steal away to Jesus (first phrase) Here the harmonic rhythm is static for three bars (the chord stays the same for 3 bars even though the composer builds up the tension by raising the pitch of the notes in the tune): D D D AD ‘Au clair de la lune (first phrase) Here the harmonic rhythm is irregular to start with: c G c G6 c G c Bz Il bescribe the harmonic rhythm in the following music. c G c € ‘Anon Traditional (Ukranian) D A D D A D Traditional (American) Traditional (English) DG D G G D 10 1 How does the rhythm of these tunes differ from the harmonic rhythm? Traditional (Russian) Am E Am E i v i v The rhythm of the tune moves faster than the harmonic rhythm which is regular Schubert G G Gi G & G c G Traditional (Russian) < Cc G G c Setting words to a rhythm | People have been setting words to a rhythm or to a tune throughout history. Usually the most important words or syllables land on strong beats in the bar. This Did you is what you need to do for your examination. Tap and sing this music so that you can feel the strong beats or stresses: know? A synatiets For example: part of a word = (for example, 2 ee ee the word music 16 70d What shall we do with the drun - ken up of two syllables mussio. Hyphens are El Underline the important words or syllables in these phrases. used to show which syllable to sing on which note. Bob-by Shaf-toe's gone to sea, = Sil-ver buckles on his knee. A ship there is and she sails the sea, She's load - ed deep as deep can be. Alife on the hea-ving sea, At home on the bound-ing wave! E. Continue the rhythms to fit the following phrases. Each is set in more than one way because it is possible to set the same words to rhythms in different time signatures. )gryl pd oT pb) oo A ship there is and she sails the sea, She's Jf j fi] f J load - ed deep as deep can be. — Handy Anacruses (up-beats) ore used if the first word or syllable is not | as important | | | ‘as the second, | for example: A ship there is etc. Remember to take this into account in | the last bar. git _ 14 ALi Joi ——— A ship there. = is-_—and she sails the sea, She's load > ed deep as deep can be. ght 14 Foy J 4h od ge dod. dod. di Bob - by Shaf - toe’s gone to sea, Sl ver buck = kes on his ince gi Al Al Aid t t Bob - by Shaf ~- toe's gone to sea, {| Il si oe on his ie @ ) 74d dt oe ce Bob = by Sha = toe’s- gone to sea, sl ver buck = es on his kee Composers often separate the beaming like this to make each syllable clear for the singer: eS Bob- by Shaf-toe’s gone to sea, —_ ‘You do not need to do this for your examination. 4 B Writing words under a rhythm If a word has one syllable, centre the word below the correct note. If it has more than one syllable, put each syllable below a different note with a hyphen to link them. sleep - ing Ifa few notes are to be sung to one syllable, add a line at ground level to show where the sound of the syllable should end. For example: sleep _____ there, The same applies if the note to be sung is tied: cares for me, __ If more than one note is to be sung within a word hyphen: more than one syllable, add only a EI Write the given words below the rhythms. Michael row the boat ashore, hallelujah geil pb ti si Mich-ael row theboat a - shore, hal-le - lu (One evening as the sun went down ‘And the jungle fires were burning 4 oT Early one morning just as the sun was rising ae m4 JT 74d I The following music contains mistakes in the setting of words. Write the words out correctly in the coloured boxes. Traditional (English) Three gypsies stood ~=at_ the castle gate Three. gyp - sies stood at the cas - tle gate Spiritual That promised land where all is peace Traditional (Chilean) In the evening = as 1 wander + Through the town by lantern light 15 title ems Nel Look at these notes: Bflat Asharp If you play them one after the other on a piano keyboard you will hear that they sound the same even though they are written differently. Notes written like this are enharmonically equivalent. ze I Circte the pairs of notes that are enharmonically equivalent. Handy tip! To start with, use the picture of the piano keyboard on page 69 to help you, and don't forget to look at the clef. A Write the enharmonic equivalents of the following notes. ——— 6 = —— 16 The chromatic scale { Handy tip! ) | Achromatic passage is a part of a piece that moves up or down in intervals of a semitone (although it might have more than one note on, each degree of the chromatic scale). Remember Check the clef ond key signature when you look for music moving in semitones, In a chromatic scale the distance between each degree of the scale and the next is a semitone. ‘The scale is easy to find on a piano keyboard. Just play every note in the octave (white and black) from C-C or B flat-B flat etc., and you will find it. Just as there is more than one way to write and name notes enharmonically, there is more than one correct way to write a chromatic scale. Here is one way of writing a one-octave E chromatic scale going up then down. bee ee (2 eS SS oJ In reality composers tend to be inconsistent when they write chromatic passages. Often they are writing chromatic notes within a key signature so some accidentals are already taken care of anyway. For Grade 4 you do not need to be able to write out a chromatic scale but you should be able to recognise one (whole or part) and to find chromatic passages in a piece of music. I Circle the chromatic passages. Schubert Beethoven Clementi w 18 BA Rewrite the following music without a key signature. pit’ 2 a =f Mahler Beethoven EI Copy this € chromatic scale in minims going up. © Copy this D chromatic scale in crotchets going down. Remember Music moves in similar motion if two or more parts move in parallel or in the same direction Remember Music moves in contrary ‘motion if two or more parts move away from one another or towards one another: Did you know? If there are two different parts on the some stave and both have accidentals, put the accidental of the upper part nearest the note-head ‘ond the lower one o little further away. Ei write two more repeats of these chromatic ostinati that move in similar motion. | 23,2) 20 The circle of 5ths Did you know? There are whole keys that are enharmonically Here is the circle of 5ths that you will recognise from Grades 1-3. The highlighted keys are the only ones that you will need for Grade 4. cown | a ao S asin ser \ Sao " equivalent —-f——\ oa F You do not need to know this for your exam A ? oom 7 7 / 7 Using the circle of Sths above, answer these questions: EI Which minor key has three flats in its key signature?__ A which major key has two sharps in its key signature? EI Which minor key has three sharps in its key signature? A Which major key has three sharps in its key signature?__ E} Which minor key has two flats in its key signature? which minor key has one sharp in its key signature? I Which major key has no flats or sharps in its key signature? More about the new keys for Grade 4 The new keys for Grade 4 are A major and E flat major (and their relative minors F sharp and C). They work like the others you have learned; the key signatures are there to make sure that the tone-semitone pattern is the same for each key. Bw EI write the key signature and the tonic triad in root position for each of the following keys. Amajor Eb major Amajor == ¢ F# minor € minor F# minor Bi write a one-octave € flat major scale in minims going up then down. Use a key signature, EX write a one-octave A major scale in crotchets going down then up. Use a key signature. BSE EA write a one-octave E flat major scale in minims going down then up. Do not use a key signature but write in the necessary accidentals. é 2 eo i write a one-octave A major scale in crotchets going up then down. Do not use 2 key signature but write in the necessary accidentals. G write a one-octave C harmonic minor scale in minims going up then down. Use a key signature. write a one-octave F sharp melodic minor scale in crotchets going up then down, Use a key signature. EI write a one-octave F sharp natural minor scale in minims going down then up. Do not use a key signature but write in the necessary accidentals. ~~ © write a one-octave C melodic minor scale in cratchets going up then down. Do nat use a key signature but write in the necessary accidentals. y Labelling scales Remember Melodic and natural minor scales sound the same going down, 50 either label is correct. Ss = E Label these scales. Here there are no key signatures so check the accidentals instead. Bb major going up 23 24 Tale mean elt Com ute Root position, first and second inversions of tonic chords or triads can be labelled with Roman numerals. In major keys a root position triad is labelled I (as you already know); a first inversion triad is labelled Tb and a second inversion triad is labelled Tc. In minor keys: i, ib or ic. Here are the tonic triads of C major and A minor labelled this way: C major Aminor i ib ic Chord symbols show that the triad is in first or second inversion by giving the bass-line note after the chord symbol, like this: c C/E C/G C major A minor Did you know? Figured bass (used in a lot of 18th-century music) is based on the intervals between the | bass-line and the notes to be played above them. Here are the root, first and second inversion triads written in this way; cmaor 5 | Count up the interval numbers from the bottom note in the examples above and you should understand how it works. You do not need to know this for your exam, but if you play o piece by J S Bach (or another 18th-century composer) look out for the figured bass below the keyboard part. Handy tip! Notice that here there isa C sharp writen in as the bass-line note. This is because there isa ‘C sharp in the key signature. Handy tip! You are asked to write both Roman numerals and chord symbols for practice; in reality composers use either one or the other (or neither). El Write the key signature and the tonic triad for each of the keys shown. Then write its first and second inversions. Label them using Roman numerals below the stave and chord symbols above, A ACE ANE 2. & 2 ° r Amajor * = : D major B minor ¢ major ¢ minor F4 minor Eb major G minor E minor G major Aminor F major D minor Amajor 25 Arpeggios gz I Write the key signature of each key shown. Then write its one-octave arpeggio in the rhythm given below. gW— 1 FT| { F sharp minor going down then up B minor going up then down C minor going down then up C major going up then down ‘A major going down then up B Label these one-octave arpeggios. Bite) ume gq El Using minims, write a broken chord using F sharp minor tonic triad (going up). Use patterns of three notes each time. Finish on the first F sharp above the stave. Remember A broken chord, like an arpeggio, ismade by | FA Using quavers, write a broken chord using E flat major tonic triad (going up). Use patterns ‘brecking | -_of three notes each time. Finish on the fist E flat above the stave. up' a chord. — | ‘Sometimes you can find one-octave arpeggios within larger EI Using triplet quavers, write a broken chord using B fiat major tonic triad (going down). broken chord Use patterns of three notes each time. Finish on the first B flat below the stave. potterns SE BB Label these broken chords. Did you ee ee know? Composers = ae C minor broken chord # the music a particular feel 3 Dotzauer or texture. You can describe arg ey ‘for example, thick, thin, polyphonic (two or more 2 separate parts il == interweaving), homophonic (parts moving jin the same rhythm). JSBach a 28 Working out the key of a piece Remember The composer may be using the melodic minor scale (6th and 7th degrees raised going up and returned to natural minor pitch going down). For Grade 4 you need to be able to recognise more major and minor keys (see page 20). Here are two examples to remind you how to work out the key each time. Mozart ee ee 1 5 fers ; o =a + Are there flats or sharps in the key signature and, if so, how many? Yes, thre: so the key could be A major or F sharp mino! + Are there any accidentals in the music that could be the raised 6th or 7th degrees in the relative minor? No + Are there any other reasons to think that the key is A major? Yes, the first tw are based on the scale of A major and the last part he notes of the tonic triad in A major f the music is based ‘Answer: The A major 2 Haydn f * Are there flats or sharps in the key signature and, if so, how many? Yes, three flats > the key could be E flat major or C minor * Are there any accidentals in the music, that could be the raised 6th or 7th degrees in the relative minor? Yes (so the key is probably a minor) + Are there any other reasons to think that the key is C minor? Yes, much of the is based around the tonic triad of C minor and the last note is on the dominant (G Answer: The key is C minor "SQA ai usethe questions above to work out the ke. Schubert Key: JSBach Schubert Key: Paradies Key: TNL oe Ceara mm date(e hy LQ In major keys = As you know, the 1st and 5th degrees of the scale are very important to the sound Did you of any key. The triads built on the tonic and the dominant are often considered the Jom | | most important chords in a key. know? | Choris 2¥. The 4th degree (the subdominant) ~ and the triad built on it ~ is also significant Pevae thin a key, The subdominant of the scale can also be called fa. often known Here is the scale of C major with triads built on the Ist, 4th and Sth degrees: ‘as primary g chords because | 4 z § g 2 © 8 they are so -_ important to 1 2 3 4 5 6 7 aw | the sound toni subdominant dominant tonic of the key. | or doh orfa’—orsoh or doh el Roly Here is the subdominant triad in the key of C major. Notice that itis labelled ZV or are compose F because the bottom interval of the triad is a major 31 using only r these chords. & I Here are some major scales. Write triads on the tonic, subdominant and dominant degrees of the scales and label them with Roman numerals below the stave and chord symbols above. ©: a: e i I a ° oO” ie. 2 re 2 S o e 2 30 In minor keys Subdominant triads in minor keys are built on the subdominant of the minor scale. you Here is the harmonic minor scale of A minor with triads built on the tst, 4th and Sth know? degrees: Chords i, iv g—8 tr 8 (or Iv) and v (or V) are also known as a 5 a0) * tonic subdominant dominant tonie primary chords in minor keys \ _/ | Here is the subdominant triad in the key of A minor. Notice that itis labelled iv or ‘Dm because the bottom interval in the triad is a minor 3rd: Dm However, if a composer uses the melodic scale going up the F is raised because F sharp is the 6th degree of A melodic minor scale: D By HI Here are some minor scales. Write triads on the tonic, subdominant and dominant degrees of the scales and label them with Roman numerals below the stave and chord symbols above. oe D Gm Gm Handy tip! Check whether the scale is harmonic or melodic. Chord progression Bw I Label the triads with Roman numerals below the stave and chord symbols above to show the chord progression. c F c c Remember Chord progression means the order in which chords move ain one major) to another in a piece of music. (Cajon Remember | 8minon The chords in these examples have been written in root position (A major) to make the chord progression easy to see. Composers hardly ever do (F# minor) this because it creates parallel Sths Gee page 33). (major) (Gminory Writing a bass line qa In major keys EB Use the root of each triad shown by the Roman numerals to write a bass line. Remember A strong bass line often moves in contrary motion to the tune. Do not let the bass line move in similar motion in perfect ‘Sths or octaves with the tune; this sounds weak and will lose you marks in your exam, parallel octaves 1 Use the root of each triad shown by the chord symbols to write a bass line. These parallel Sths are A D E A compound intervals. See page 54. Handy ti Try to ploy the music that you write on a keyboard so that you learn to imagine the sounds you write down, This will be useful when ‘comes to your exam, 33 In minor keys Use the root of each triad shown by the Roman numerals to write a bass line. FA Use the root of each triad shown by the chord symbols to write a bass line. Em Am B Em Fem Fem Bm ce Fem Writing a tune In major keys El Use notes from the tonic, subdominant or dominant triads shown by the Roman numerals to write a tune above the bass line. 35 | Remember A strong tune often moves in contrary motion to the bass line. Do not let the tune move in similar motion in perfect Sths or octaves with the bass. | line; this sounds weak | ond will lose {you marks in your exam. I Iv v z In minor keys 36 When you write a tune above the bass line in a minor key, notice whether the Roman numerals are large (I, IV, V) or small (i, iv, ). If they are large for the subdominant and dominant chords, the composer is using the melodic minor scale and the 6th and 7th degrees of the scale need to be raised like this (in A minor): i Iv v i If the Roman numerals are small, the 6th and 7th degrees remain as for the natural minor scale (or the melodic minor scale going down). gy HI Use notes from the tonic, subdominant or dominant triads shown by the Roman numerals to write a tune above the bass line. _ Remember Try to play the music that you write on a keyboard so that you learn to imagine the sounds you write down This will be useful when it comes to | your exam, | Use notes from the tonic, subdominant or dominant triads shown by the chord symbols to write a tune above the bass line. Em Am B Em Look at the tunes you have written and add some musical words and symbols that you know. ‘Also see page 55 for those for Grade 4, Unaccented passing notes (aa Tunes are most often composed using the notes of the chords that accompany them, Unaccented passing notes are notes that link the harmony notes in a tune to make it sound smoother to the listener. They do not appear in strong parts of the bar. 7 Here is an example in C major. The unaccented passing notes are circled so that Did you they are easy to see: know? Traditional English) Harmony notes are the notes thot you use to write chords below the tune ina chord progression. When writing unaccented passing notes in minor keys, notes from the melodic scale are often used to make the contour of the tune sound smooth. However, there are many cases where composers use notes from the harmonic or natural minor scales; it depends on whether the composer uses iv or TV, vor V. Here is an example in the key of A minor where notes of the natural (or melodic) minor scale have been used going down: Vat t(e\ 2 a> # fe) SSS ®B Hl Add some crotchet unaccented passing notes below the asterisks (*), Ge * % c DB G Did you know? Melody is another word {for tune; this word will sometimes be used in your exams * * * * BA Add some unaccented passing notes to the melodies you wrote on pages 35-38. 39 4-part chords a Remember Spread the notes of the chord fairly evenly across the staves. This makes the chord sound clear and balanced ond gives all the singers a note which suits their range. See page 69 for voice ranges 40 For Grade 4 you need to know how to write tonic, subdominant and dominant chords for SATB (soprano, alto, tenor and bass voices) in the keys you know. Work out which triad you need to use from the Roman numeral given. Then double the root and write out the chord, being careful not to position the notes too closely together, especially in the tenor and bass. Here are some examples of the way these chords could be successfully written for SATB: Tonic chord in the key of G minor: ‘Subdominant chord in the key of G minor: Dominant chord in the key of G minor: a (Cmajor) IV (Binoy V (€5 major) IV. Handy Try to play the chords that you write on a keyboard so that you learn to imagine the sounds you write down. This will be useful when it comes to your exam, (Cminor) iv (Fé minon Vv. (minor) IV B. Using crotchets, write out 4-part chords for SATB using the chords shown by the Roman numerals. Double the root in each case and make sure that each chord is in root position. (minor) iv (Cmino) IV. (majo Vv (minor) i (Eb majon IV (Ft minor) iv (Cmajor) Vv (minor) iv (Gminon Vv a ed t-let-]mots(3 (Valen t4 U For Grade 3 you learned that cadences are chord progressions that behave like punctuation in sentences. They give structure and meaning to the music. You learned to recognise the perfect cadence (V-I or V-i), which acts as a musical full stop. Handy tip! | Play these | cadences | (or ask your | teacher if you | need help). | | Here isa plagal cadence in C major: Here is a plagal cadence in A minor: ‘Sometimes composers use another kind of cadence called a plagal cadence, and you will need to recognise this chord progression for Grade 4. It is rarer than the perfect cadence ~ and is often called the Amen cadence because it is found a lot in church music. It sounds calmer than the perfect cadence. Ww I Look at these cadences. Give the key of each cadence and say whether it is perfect or plagal. Write in the chords in Roman numerals. Plagal cadence in D minor 42 Tae 1 Meme ate eo ae-Lale| diminished 5ths and perfect and diminished Sths. Did you Augmented 4ths know? 2 — Augment in Ooo this context ° means to Interval: Perfect ath make the — In major and minor keys there is always an interval of a perfect 4th between the Ist and 4th degrees of the scale. interval lorger. Diminish in this context means ‘to make the interval alle Diminished Sths oe Interval: Perfect Sth zy In major and minor keys there is always an interval of a perfect Sth between the 1st and 5th degrees of the scale. Handy tip! First, count up from the bottom note to get I Name the following intervals. For Grade 4 you need to know the difference between perfect and augmented 4ths ‘o Interval: Augmented 4th An augmented 4th is one semitone larger than a perfect 4th. — Intervat: Diminished Sth A diminished 5th is one semitone smaller than a perfect Sth. the interval number. Then | imagine that the bottom | note is the Intervat: Augmented 4th Interva: Interval: tonic in the | mojor key. if the top note Intervak Interval is in its major scale the Interval interval will 3 be a perfect zs = 4th or Sth If not, check whether itis | Interval: Interval: one semitone larger or smaller. Interval: Interval Intervak: Ba: Interval 43 Did you Hayan know? 2 - ete. ‘S ‘Augmented 4th - | Ga Jt Diminished sth 'f you play these intervals onapiano | keyboard, they sound exactly | the same. This. | is because | Fsharp and | enharmonically equivalent (see page 16) | This is why it | is important to count up from the bottom note to get the interval number correct. J Circle the augmented 4ths. Schubert etc. Dotzauer 2 's the distance between a perfect 4th larger or smaller than an augmented 4th? Circle the diminished ths. Schubert | Mozart Did you know? Augmented ‘ths and diminished Sths split an octave exactly in half and come halfway along Bartok @ chromatic scale ‘Augmented ths are also | seotozmes 22107 © Copyriht 1940 by Hotes 5 Son Londo) Lis. Resroduces by persion Booiy & Hanks Mase Pb td sometimes | known as Is the distance between a perfect Sth larger or smaller than a diminished 5th? tritones, 44 IE Name the following Grade 4 intervals. SS Interval: Intervet Interval: Major 7 6 — S= io be Interval: Interval BUr ay essiace me mmol mele) a) perfect 4th or 5th Ifa piece of music is written too high or low for an instrument to play ~ or for a voice to sing ~ it is sometimes necessary to move it to a more comfortable register. Look at this: This is easy for a soprano to sing but not suitable for an alto, Transposing it down a perfect Sth makes it comfortable for an alto to sing: Use the following method: ‘+ Write the tonic of the piece and its key signature Move the tonic up or down a perfect 4th or Sth to find the new tonic, Write the new tonic and its key signature Write out the tune up or down a perfect 4th or 5th with the same intervals between the notes Check that the last note that you write is a perfect 4th or Sth higher (or lower) than the original last note Bw Il Transpose the following tunes down a perfect 4th. Mozart i Sant gn? Remember a yt Use a key signature and add accidentals where necessary to keep the intervals a perfect 4th or 5th apart. Beethoven ete. ‘Transpose the following tunes up a perfect 4th. Haydn Brahms 46 Did you know? Some instruments play music that sounds at a higher or lower pitch than the music they play. They are called transposing instruments, EI Transpose the following tunes down a perfect Sth. JSBach etc. Gl Transpose the following tunes up a perfect Sth, Shostakovich = Pano ona p. 8 © Copyright 1825 by Boosey & Hawres Music Publishers i. For the UK silish Commonmeath x Canada), and Ete Reproduced by persion of Boosey & Hawkes Music Pulsars is Mozart a7 know? Music for double bass is written an octave higher than it sounds. Music fo descant recorder is written an octave lower than it sounds. Music for classical (or Spanish) guitar is written an octave higher than it sounds. Music for French horn in F is written a perfect Sth higher than it sounds. See page 68 for the ranges of these instruments. \ 48 ———, Did you Transpose this tune up an octave so that a double bass player will be able to play it at the same pitch as the following notes. : c Beethoven Gi Transpose this tune down an octave so that a descant recorder player will be able to play it at the same pitch as the following notes. Traditional (American) Transpose this tune up an octave so that a guitar player will be able to play it at the same pitch as the following notes. Chopin ‘Transpose this tune up a perfect Sth so that a French horn player will be able to play it at the same pitch as the following notes, Mozart BM tara mle ce { Handy tip! Play these examples on the keyboard to get a feel | for v-1 Did you know? In the tonic chords here the composer has chosen to leave out the Sth of the chord. Composers sometimes do this, but they hardly ever leave out the 3rd or root, because this would take ‘way the true character of | the chord. 7c In major keys As you know, the dominant triad is built on the dominant degree of the scale. To remind you, here is the dominant triad in C major: oS v For the dominant 7th chord, a 7th above the root of the dominant triad is added. Here is the scale of C major showing how this works: p a SS > 1 2 3 4 5 6 7 8a) Here is the dominant 7th chord in C major. Notice that the little ” is put just after the Roman numeral and the chord symbol. Ge In minor keys Here is the dominant triad in A minor: Here is the dominant 7th chord in A minor: v ‘The fascinating thing about the dominant 7th chord is that it feels as though it is magnetically attracted to its tonic chord and isn't happy until it ‘resolves’ there. ‘As you know, the dominant chord followed by the tonic (V-I or v-i) makes a perfect cadence. Sometimes composers use V"-I or V+ instead. These are still called erfect cadences. Here are two examples: I wv i In minor In C major 49 50 ya Bl Here are some major and minor scales. Write a triad on the tonic and a dominant 7th Remember The chords in these examples have been written in root position to make the chord progression easy to see Composers hardly ever do this because it creates parallel Sths ee page 33). chord on the dominant of the scale and label them with Roman numerals below the stave, and chord symbols above. Eb Bb’ Eb s ——: a —————————————— G3 I v 1 ——— - = ° ea = o = = = Label the triads and dominant 7th chords with Roman numerals below the stave and chord symbols above to show the chord progression. F#m 8 ct or Fem (F# minor) (G major) (A minor) (0 major) More about writing a bass line w Did you know? The circled notes are unaccented passing notes (see page 39). Notice that they make the tunes smoother. Remember | Do not let the bass, line move in similar motion in perfect Sths or octaves with the melody, In major and minor keys Hl Use the root of each chord shown by the Roman numerals to write a bass line. Bi Use the root of each chard shown by the chord symbols to write a bass line. Then circle the unaccented passing notes in the tune. Em B By Em 51 ut writing a tune In major and minor keys Bw Hl Use notes from the chords shown by the Roman numerals to write a tune above the bass line, Add some unaccented passing notes. Remember Unaccented passing notes | ore notes thot link the harmony notes in a tune to make it sound smoother to the listener. They appear ‘on the weaker beats of the bar. i iv vi i Use notes from the chords shown by the chord symbols to write a tune above the bass line. ‘Add some unaccented passing notes, By F Fr Bb Fem B ar Fem EV Look at the tunes you have written and add some musical words and symbols that you know. Also see page 55 for those for Grade 4, 53 More about the dominant 7th chord an There is an interval of a diminished Sth within every dominant 7th chord in root position. This interval gives the chord an insecure feel. diminished Sth you o™ oe This wants to resolve to: = Intervals larger than an octave in ¢ major are called ‘compound intervals. An To resolve the dominant 7th to the tonic chord octave plus a as smoothly as possible, the leading note (in this diminished Sth case B), usually rises in the same part to the can be called tonic (C). The seventh in the dominant 7th @ compound chord (F) falls in the same part to the 3rd of the diminished tonic chord (E). Sth. You can also count the number from Hl Resolve these diminished Sths. Some of them are written as compound diminished Sths. the bottom to the top xh and call it a diminished 12th, €b major) (6 majon compound | ) ‘iminished Sth 6 (or i dt Giminished 12th) — (C major) (€ minor) . Circle the intervals of a diminished 5th (or compound diminished 5th) and their resolutions. zy (8b major) (€b major) — te o 28 is = (Gminon (Cminor) 54 Musical words and symbols (an Form Music is a series of sounds within a time-span. Composers help listeners make sense of their music by sorting their ideas into contrasting sections ~ each with a number of phrases. When musicians talk about these sections and the way they are put together, they talk about the form of a piece. For Grade 4 you need to be able to say how many sections there are in a piece. These sections are often shown by repeat marks (usually just after a perfect cadence) or in vocal music by the labels verse and chorus or refrain. Composers make use of repetition in their pieces so that listeners can feel familiar with what they hear. Try to hear in your head the music you see, so that you can feel where the sections end. For Grade 4 you need to know the following, in addition to the words and symbols for Grades 1-3 Articulation marks Jp (fortepiano) ~ play loudly, then immediately let the sound die away sf or sfz (sforzando) ~ play the music with a heavy accent Expression marks animato ~ play in an animated way brio ~ britiantly giocoso ~ playfully largo ~ slow and broad maestoso ~ majestically pesante ~ heavily Tempo marks and other signs accelerando ~ speed up assai - very ben ~ well (ben marcato ~ well accented) con moto ~ with movement (e.g. quite fast) Vistesso - the same primo ~ the first (tempo primo — at the first speed of the piece) Sempre ~ always senza without simile (sim.) ~ play in a similar way subito ~ suddenly troppo - too much (ma non troppo) ~ but not too much 55 PNT gy Hl Look at the following piece and answer the questions on the opposite page. Gypsy Dance Haygn ’ Allegro ma non troppo , leg po a. — 56 1. Imhow many sections is this piece?__ Two, each repeated 2. In which key in this piece? C minor 3. How many times is the raised leading note to be played (treble part)? _It is to played four times (not including repeats) _ 4. What is the difference between the harmonic rhythm in bars 5-7 and bars 9-127 The harmonic rhythm in bars 5-7 is static; the harmonic rhythm in bars 9-12 changes regularly every bar 5. Write an appropriate chord symbol above the second crotchet in bar 3. 6. Which 4-bar phrase in this piece ends on the dominant chord? The first 7. Why do you think the composer has repeated the second 4-bar phrase of the piece at the end? is a way of making sure that listeners finish the piece feeling that they know it well 8 Is the sequence in bars 5-6 real or tonal (treble part)? Itis tonal 9. Inwhich bars are there examples of syncopation (treble part)?_ Bars 9 10. Name the notes that are unaccented passing notes in bars | and 2 (treble part). The two Ds in bar 1 and the two Fs in bar 2 1, Name the interval between the two notes marked with asterisks (*) in bar 1 Minor 7th 12, What does the little line above the last note mean (treble part)? It means ‘tenuto’ — slightly lengthen sustain the not 13. Comment on the spacing of the notes of the chords in this piece (bass part). The spacing is close together which will make the chords sound rather heavy 14, Name a woodwind instrument that could play the treble part of this piece. A flute 15. Use Roman numerals to write the chord progression of the two last chords of this piece. Vi. 58 B21 Look at the following piece and answer the questions on the opposite page. waltz r t Moderato we Schubert 1 2 9. 10. 1 12. B 4 6 In how many sections is this piece? In which key is this piece? Circle a place where there are four notes of a chromatic scale put one after another. Name two unaccented passing notes in bar 5. 1s the harmonic rhythm in bars 10-11 the same or different from that used in bars 12-137 Name one bar in the piece where the harmonic rhythm changes on the 3rd beat of the bar. Describe the dynamic markings in this piece. Write an appropriate Roman numeral below the last crotchet beat of bar 16. Write an appropriate chord symbol above the first crotchet beat of bar 17. Name one bar where the treble and bass parts move in similar motion for the first two beats of the bar. Name one bar where the treble and bass parts move in contrary motion for the first two beats of the bar, Name the interval between the two notes marked with asterisks (*) in bar 6. Write the first note of the treble part of this piece in alto clef. Comment on the spacing of the notes of the chords in bar 5 and 6 (bass part). Name a woodwind instrument that could play the treble part of the first section of the piece. Look at the following song and answer the questions on the opposite page. Fire Down Below i Allegro Traditional (English) ar. Hand VERSE Voice fire down be Piano fetch a buck-et of wa - ter, boys, there's fire down be - low. — 9 REFRAIN, fetch a buck-et of wa - ter, boys, there's fire down be 60 1. Name the two sections of this song, 2. Inwhich key is this song? 3, Name two bars where phrases finish on the tonic chord. 4, Name two bars where phrases finish on the dominant chord. 5. Name two bars where phrases start on an anacrusis. 6. Is the harmonic rhythm in bar 1 the same or different from that use 7. Write an appropriate Roman numeral below the last dotted crotchet beat of bar 15. 8. Write an appropriate chord symbol above the first dotted crotchet beat of bar 16. 9. Name the cadence that finishes this song, 10. Comment on bars 5-8 and 13-16 (voice part) Tl, Which type of voice (SATB) is most suited to singing this song? 12, Name the notes that are unaccented passing notes in bar 5 (voice part). 13, Name the interval between the two notes marked with asterisks (*) in bar 14 (bass part). 14, Why is there a line after the word ‘below’ in bar 4 (voice part)? 15. Compare the spacing of the notes of the chords in bar 1 with that used in bar 2 (bass part). Fre Down Below ar Hand © 197 Keio Mayow Lis Reproduced om The Kevin Mayhew Commutity Song Sock by petmsien of Kevin Maye Li, ‘into, Stowrare, Ps 38M, UK. wwnbevnmayheucor. Licence. 707030 él Sample examination paper Section 1 (10 marks) Puta tick (¥) in the box next to the correct answer. Example Name this note: © This shows that you think C is the correct answer. ul 12 13 14 1S 62 Name the circled note: Add the total number of quaver beats of silence in these rests. 3,2) Which is the correct time signature? Giocoso means: playfully C] Which note is the enharmonic equivalent of this note? €O FO cO e2gO 10 0D 8O 80 30 always] not too much L] FO cO @O TFnity College London reserves the right to alter the format and content of examination papers at any time, Please ensue that you Consult the latest syllabus and our website ~ wiratintycollegecouk-~ before entering for an examination. Botes for examiners use only Boxes for 1.6 Which note is the tonic of the minor key shown by this key signature? use only BO BO co 17 Here is the scale of F sharp natural minor. Which degree(s) of the scale will you change to make the scale of F sharp harmonic minor? 6th&7thdegrees |] 4th & Sthdegrees] 7th degree L] 1.8 Which chord symbol fits above this subdominant triad? brs _ 6mO GO pm 1.9 Which Roman numeral fits below this triad? TO wO ro 10 Name this cadence: Plagal cadence in D minor L_] Full close in D minor L) Perfect cadence in F major C] 63 Section 2 (15 marks) 21 Write a one-octave C harmonic minor scale in crotchets going down then up. Do not use a key Botes for examiner use only signature but write in the necessary accidentals. 2.2 Using triplet quavers, write a broken chord using Eb major tonic triad (going down). Use patterns of three notes each time. Finish on the first G below the stave. ore Section 3 (10 marks) 31 Circle five different mistakes in the following music, then write it out correctly. — a Section 4 (15 marks) 41 — Transpose this tune up a perfect Sth so that a French Horn in F will be able to play it at the same pitch as the following notes. Use a key signature. Mahler Section 5 (15 marks) 51 Using crotchets, write out 4-part chords for SATB using the chords shown by the Roman numerals. Double the root in each case and make sure that each chord is in root position. (F# minor) Vv (Eb major) IV Section 6 (15 marks) _ 61 Use notes from the chords shown by the chord symbols to write a tune above the bass line. ‘Add some unaccented passing notes. Em Am B7 Em Please turn over for Section 7 Boxes for use only 65 Section 7 (20 marks) Look at the following song and answer the questions opposite. VERSE Traditional Vivo Voice The gyp-sy ro- ver came o - verthe hill, Bound through theval- ley so Piano nf He whist-led and he sangtill the green woods rang, And he won the heart of a 5 HORUS f Ab = di do, ah-di- do-da-day, Ah - di~ do, ah-ai- He whist-led and he sang till the green woods rang, 1” 72 73 TA 75 16 7 78 79 710 wonthe heart of a In how many sections is this song? In which key is this song?. Look at bars 1-2 (treble part) and bars 1-2 (voice part). Comment on the pitch. In which bars is the melody syncopated (voice part)? Write an appropriate chord symbol above the third crotchet beat of bar 4. Describe the harmonic rhythm in bars 10 and 11. Write appropriate Roman numerals below the last crotchet beat of bar 17 and the last chord of the song. Name the cadence that finishes this song. Circle every interval of a perfect 4th in this melody in bars 1-8 (voice part). On which degree of the scale/key does the melody finish (voice part)? Boxes for use only or 68 Instrument ranges The ranges given here are the written ranges for players of approximately Grade 5 standard. The complete ranges (especially for string instruments) go much higher. 2 String instruments. Violin Viola Cello Double bass Classical guitar Woodwind instruments Flute Descant recorder Brass instruments French horn in F Voice ranges Soprano Alto Tenor * Bass * Sometimes music for tenor voice is written in treble clef an octave higher than it sounds, as you will learn ina later grade. I Remember You may use American names for note values | in your exam, but there is no need to | use them at all if you do not want to. Different words — same meaning In music there are often different words to describe the ‘same thing. You need to know the words that are in heavy type for Grade 4, alto clef —C clef C’ (in relation to chord symbols) - Cdom’ chord progression - harmony parallel (e.g. Sths/octaves) - consecutive plagal cadence ~ Amen cadence, Church cadence, half close ‘strong beat ~ stress, down-beat subdominant - fa tune — melody PI 3 g I Theory of Music Workbook for Trinity College London written examinations Cory Tal ale Rl ese ele elm Clare Rigel ese] O me elms [e-e- w ae OMe Leen Includes: © Information for teachers elmer Cel Cd ST San UC ROR CRE Nau Rally i ean R Sed Diagrams to help understanding SeOOE LCR ea ie t aca urkict (4 Dene ea ROR eo Ue Ra Racy eS Ca eR Re UCR CU) TSR Seu uR aac Ic See ecuue an ete PET SDE Try Pei om ie eae Teese ua euue ae Senet fare era sie Pea eal)

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