82 | General exercises Exercise 4 ‘This is the beginning of a melody. Look at it, and then answer the questions below. Ravel, Pavan fra de Itai 4 tc, =e aeumcaemao (@)_ Add the missing word in this sentence: ‘The melody is written in the et. (6) What is the key of the melody? (6) Draw -— above any pairs of notes which are a semitone apart. ()_ What dagree of the scale is the fist note in bar 3? (@) Give the full name of the last note. sie tating — (1) How many crotchet (quarter-note) beats are there in a bar? Tick the box. 1 2 3 4 6 (g) Which bars contain tied notes? = (h) Tick the boxes for the words you think describe the music: smooth loud == quiet «== slow = fast. «= mony sad () Which is the highest note in the melody? Tick the box: A. B c D E Fe a Answer true or false to the following sentenoe: The melody uses all the notes of the G mejor scale, Tick the box: True False (Copy out bar 3 to the end, Put in the cle, key signature and articulationExercise 3 General exercises | 31 Look at the following melody, and then answer the questions below. Poco adagio, M.M. J = 56 Dvoitk, Symphony No. 7 (2ncl rt) 4 ——— poim Pp (@) Poco means alitle!. What does adagio mean? oo (©) What is am, short for? sree What does it mean? eka (©) The key of the melody is F major. In which bars isthe key-note not used? eee (8) What does ‘MM. J = 56' tel you? = (©). Give the meaning of legato (®) Which s the quieter: p or pp? ae a (@) Which bars contain the frst four notes of the scale of F major? (h)_ Which bar has the same rhythm as bar 1? = (What do the signs ——= and —=— mean? _ @ How many bars contain only crotchets (quarter notes)? Tick the box: 1 2 3 4 5 ()_ Which is the fowest note in the melody? Tick the box: A Bb c D e c (Give the full name of the fist note in bar 3, = (rm) Copy out the last four bars (5-8). Put in the clef, key signature, dynamics and articulation,0 | General exercises Exercise 2 This is the beginning of a melody. Look at it, and then answer the questions below. Allegro Hummel, lego, Op. 52No. 2 1 NE a 4 (a) What does Allegro mean? __ eee — (6). What key is the melody in? = oud - 2 (@) Show another way of writing the time signature, _ (@) What are the curved lines over the melody called? __ a What do they tel the performer? __ — (€) What does a dot aver a note (in bars 2 and 4) mean? —___ (0) How many times does the note F appear? Tick the box: 1 2 3 4 (@) Which bar contains all the notes of the tonic triad but no others? (H) What does the sign & mean? = Answer trus or false to the folowing sentence: “The melody uses all the notes of the scale of C major, Tick the box: Tue False @ Which is the highest note in the melody? Tick the box: A B c D E F s (What do you notice about the rhythm of bars 3~4 compared to the rhythm of bars 1-2? 0 Copy out the frst two bars. Remember to put in the clef, key signature, time signature, tempo and, articulation.General exercises 29 Exercise 1 This is the beginning of a melody. Look at it, and then answer the questions below. Andante Tohakovsl, Abum forthe Young (Morning raya’) 1 4 5 6 (a) What does Andante mean? __ (b)_ What isthe time signature of the melody? _ Explain what it means ene (0) Whyis there a dot after the notes in bars 4 and 8? __ (@) What is p short for? aoe What does it mean? caesar i (@) The key of the melody is G major. Which degree of the scale does the melody start on? () What is the letter name of the highest note? ‘What isthe letter name of the lowest note? Emeereat (@) What is the value of the shortest note? oa Oy) How mary timesistnisrtytom | dd. dN | usea? Tekthebon 1 2 3 4 How many bars contain only crotchets (quarter notes)? Tiok the box: 1 2 3 4 (Answer true or false to the following sentence: The melody uses al the notes of the scale of G major. Tick the box: Tue ‘False () Inbar 7, what does the = above the note mean? ti (Copy out the first four bars. Remember to put in the clef, key signature, time signature, tempo, ‘dynamies and articulation28 | Performance directions Here are some signs and other directions which you need to learn in Grade 1 Boa pee ee ee 4 a Y = crescendo (gradually getting louder) = diminuendo (gradually getting quieter) over two different notes (not to be confused with 2 tie) Cr over a group of notes is called a ‘slur’: perform the nates smoothly = ottava (octave) (over a note or notes): perform an octave higher (under a note or notes): perform an octave lower dot overor under anote fq =staccato over orunderanote J = accent over a note pause on the note under a note repeat marks ~ at the second sign, go back to the frst sign ‘and repeat the music from there (the first sign is left out ifthe ‘music is repeated from the beginning) 72 crotchet (quarter-note) beats in a minute (MM. is short for Maetze!'s Metronome)Performance directions ar (The AB Guide to Music Theory, Chapter 10) Composers often use special signs and words which are not English to explain how they want their music to be played. The best way of getting to know them is to look them up as you come across them in your pieces, and then to remember them. (There is a Glossary on pages xiv of The AB Guide to Music Theory, Part |.) Here are some very common wards ~ all taian — which you should know in Grade 1. accolerando (or accel) gradually getting quicker edagio slow alegretto faily quick (but not as quick as alegro) alegro Auick (iterlly ‘cheerful) andante ‘at amedium (waking) speed cantabite ina singing style crescendo (or crese:) gradually getting louder da capo (or D.C) repeat from the beginning dal segno (or D.S.) repeat from the sign 8 decrescendo (or decresc:) gradually getting quieter four quae (eohth noes) which cou be replaced bya minim a not) QITTI tT 1 al 71 > six quavers (eighth notes) to fila complete bar in In printed music you may sometimes find groups of four or sx quavers (eighth notes) beamed together in twos. Nevertheless, in this test you should keep to the rules above, Note that in 4 quavers should never bbe beamed across the middle of a bar between the 2nd and 3rd beats: al T7704 | al Fs | (2) Beam semiquavers (16th notes) together in single beats, and also any group including a semiquaver (16th note}: RITE 4S | a9 | (Avid tes vnerover posse BL DM ssvetermn ELIT) and BJ J | istoternan 4) Ld J | ‘The arrangement of rests wil be explained in Grade 2. You will not need to use rests when writing an answering rhythm in Grade 1 Rewrite these bars so that they still sound the same. Make any necessary corrections in the use of beams, ties and dots. zr btiqa gh db dod yy ghd ddd att 4 4 GAddA yy ghd DDL 44 gdddddosy a 4 4 o gad Dy gL oD DAAD 4 gl BND 3 a 422. The tonic triad Exercise 1 Example (The AB Gui to Music Thea, Chapter 8/1) ‘The key-note, or frst degree of the scale, has another name: the tonic. The toric triad is @ group of three notes: the key-note plus the Srd and Sth degrees above it. Here are three tonic triads in C major: a — a Write the key-note followed by its tonic triad after each of these major key signatures. = 4F Dat & Composing an answering rhythm (The AB Guide to Musio Theany, Chapter 5/12) In the Grade 1 exam, you wil have to compose a two-bar rhythm. It wil have these simple rules: > you will be given a two-bar rhythm to folow on from, > it will start on the frst beat of the bar, > it wil use one of the time signatures you already know - & or 4, > you will not need to write a melody — only a rhythm, >» you will not need to put in a clef or key signature, >» you will write your rhythm on one line of the stave, like this, oa eee Cea me ‘or on no line at all, 3d JTda\d d 5) | ‘You need to be careful about two different things: (1) How to write the rhythm down — in other words, how to decide which notes you should join or beam together, and where to use ties and dots. Look at the rules on the next page for help with this. (2) How to make the two-bar rhythm interesting, There is some general advice on pages 24-5 to help you with this.Exercise 3 Example Degrees ofthe scale and intervals | 21 Put a semibreve (whole note) above each note to make the harmonic interval. (The first answoris sivon as an example.) D major 3rd Tth sth 2nd 4th eth o S = oe = Cmajor sth 8ve etn ath rd 7th Look at the melodic intervals marked r—1 . Write the number of each interval. The first note is the key-note in every case. Haydn, Symphony No, 08 (Sura) (2nd mt) — 3rd avd, Mothar Goose (The Enchanted Garon) @ ete. aay (Cac, The Holl an the hy? » = te. Puroal, Sonata of 4 Pats, No. 9 (Golden) tr) — © a — gar Sabi tamour @ ‘Schubert, Rosamund (alt No.2) a @ Wigner, Sago Act, Scene 3) ) te. Beethoven, Missa Solon (loa), etc.20 Degrees of the scale and intervals (The AB Guide to Music Theong Chaptrs 2/2 & 7/) Exercise 1 Each note in brackets isthe first degree of the scale. Its the key-note of the scale. After each key-note, write the note to match the degree that is written below the stave. ‘The frst degree of the scale is called the key-note. o-4 Example +s a oF — toy oF é a 7th sth ath eve The distance in pitch between two diferent notes is called an interval If the two notes are played one after the other, it is called a melodic interval — == ifthe two notes ae played together, tis called @ harmonic interval - =S= You can measure the size ofan interval by counting the numberof degrees o the scale that it includes — 2nd aid ath sth “The number of degrees i the numberof the interval In Grade 1 the examples alvays have the key-note as the lower note. Here are the intervals from the key-note in @ maior. hay a sth oh 7th Be The number of the interval is not changed by the key signature or by any accidentals in front of the notes - the number remains the same. Exercise 2 Give the number of each of these melodic intervals (2nd, 3rd, 4th etc). (The first answer is given as an example.) G major __Cancelling an accidental 19 (The AB Guide to Music Theory, Chapter 2/4) ‘An accidental lasts until the end of the bar. For example, look at the nate marked ®. In this bar itis F #: To change the note back to Ff, you have to add a sign. You do the same if Ff is in the key signature: SS Look at this example: ee) Note 1 is F#, note 2is Fi, note 3is FH, note 4 is F# (the # before note 4 cancels the Hf before note 2) Exercise 1 ‘Add an accidental in front of each note marked * to cancel the previous accidental. Example Exercise 2 Name each note marked with a number. The letter name is enough if dos not have an accidental - but think about the key signature and any accidentals from earlier inthe bar. (The answers to numbers 1 and 2 are given as examples) {An accidental only changes later notes in the bari thoy are on the same line orn the same space. een? 3 45 6 @18 | The scales and key signatures of C, G, D and F major Exercise 6 Example Name each of the keys of the melodies below. Then write out the extracts again. This time use key signatures instead of accidentals. Beethoven, Vion Concerto (1st mf) Key =D _major Mozart, The Mage Fite (0 se and Ost} J 8. Bach, Ana Magda Bach Notabook (Minuet) © “Taciona,"Eary one morring © ete. “Tehakovs', Serenade fr Stings Wz) @ ‘Bar, Pomp and Groumstance March No. 4 ® Key majorExercise 4 Exercise 5 ‘The scales and key signatures of C, G, D and F major | 17 The key signature comes after the clef but before the time signature. Add the clefs and key signatures needed to make these scales. F major major D major G major Write out these scales using the rhythm shown on the line above. Add the correct key signatures. eee | G major (descending) a ee SS (ascending)16 The scales and key signatures of C, G, D and F major Exercise 1 Exercise 2 Example Exercise 3 (The AB Guide to Music Theory, Chapter 2/23) In this scale of C major, two notes a semitone apart are shown by :— . Show the other two notes which are a semitone apart in the same way. ut accidentals in front of any notes that need them to make these scales. Then put -—1 above each pair of notes that make a semitone. =a ess G major (ascending) ———————— F major 5; (descending) D major (ascending) F major (descending) G major (ascending) Name the major keys that have these key signatures. s » 4 Dy 9 = key major Key major Key___major Key __majorAccidents | 15 fo) () Semitones and tones {The AB Guide to Kise Theory, Chapter 2/1) Exercise 1 Look at these pairs of notes and draw -— above any pairs that are semitones. AA semitone is half a tone, Bare Rates) oe Exercise 2 ‘Add an accidental (if needed) to the second note in each of these pairs, so that it is a semitone above the first. Puta tick underneath iit does not need an accidental Example a 2S] ‘Add an accidental (if needed) to the second note in each of these pairs, so that it is a semitone below the first. Put a tick underneath if it does not need an accidental. Exercise 3 Example fas 214 Accidentals Exercise 1 Exercise 2 Example © @ Exercise 3 (The AB Guide to Music Theory, Chapter 2/1) What is this sign called: # 2 ‘What does it do to the note that follows it? ‘What is this sign called: b ? What does it do to the note that follows it? ‘What is this sign called: 2 What does it do to the note that follows it? Look closely at the three signs above, Can you see how they are formed? Look at how we put them on a line or in a space: ye DD cha Oa. Itis important to draw them clearly so that you can see which note each sign belongs to. Draw a sharp in front of each of these notes. = a & at Feat ce e o Draw a flat in front of each of these notes. e © 2 ——— Draw a natural in front of each of these notes. ‘The signs for sharps, flats and naturals are called accidentals. Write the name of each of the notes marked with a number. The letter name is enough if there is ). If there is an accidental, you must write it (e.g. F#). (The answers to no accidental (e. numbers 1 and 2 are given as examples.) 1 2 3 4Exercise 2 Example Exercise 3 Example Dots | 13 ‘Add dots where necessary to make the bars complete. @ f- ) © © Put in the bar-lines where they are missing. Handel, Serse (Ombra mali) Franck, The Dos Lament @ Foster, “The Ot Fol at Home" ) 4:8. Bach, No, 4 of Sx Preludes, WYV 996 © atc. ‘ato, Puce, Sarabend, 20219 @ Mancllssohn, The Hebrides (Overt) © ete. Spiritual, Swng ow, sweet chavo ti) vel, Bosoro @12 Ties (The AB Guide to Music Theory, Chapter 3/2) Pe ie sac ca tee rtneter reams (ete ne ees rain nnn nner eee eeee a an a eae Se pee ree con the outside, lke this: —e not 2 and not — os 22 v x v x Exercise 1 ‘Add ties where you can in these pieces of music. Write the total number of crotchet (quarter-note) beats made by the tie, Example o ‘Tebeats @ @ beats beats © beats beats Dots {The AB Guide to Music Theon; Chapter 3/2) Adot after a note or rest makes it half as long again, Exercise 1 How long does each note last? Example Ad. tastsasiongas «3S dS Ads astoaslongaas me) A de laste.as long as Dad tastsasiongas — 4 Ad tastsasiongas —___ d) ad. taste as ongas 4 “The dot needs to go just to the right of the note or rest. If the note-head is in a space, the dot goes in the ‘same space; f the note-head is on a line, the dot normally goes in the space just above the line, like this:Rests 1" Exercise 1 Exercise 2 Example @ (b) ce) (The AB Guile to Music Theory, Chapter 3/1) ‘The semibreve (whole-note) rest hangs below a line, usually the fourth line, tke this: The minim (half-note) rest sits on a line, usually the third line, like this You can draw a crotchet (quarter-note) rest in two ways: tot ‘The fat one is a litle harder to draw, but try to use it because itis often used in printed music. Drew it ke this ~a sideways ‘2’ on top joined to a sloping ‘c’ below: Rene Now practise drawing crotchet (quarter-note) rests. Copy this one: = Usually, you draw the crotchet (quarter-note), quaver (eighth-note) and semniquaver (16th-note) rests in the middle of the stave, ike this: === ‘Add ONE rest at each * to make the bars complete. A completely silent bar always has a rest - not only in 4 but also in # and #.More on time values Exercise 1 Example Exercise 2 o) Exercise 3 Example (The AB Gute to Mase Teo, Chapter 1/2 What is this note called: 2 How long is each note? Complete the sentences. Ad testsasiongas 2) Ad taste asiong as 4 Ad tastsastong as 4 4 A. © lasts.asiong as, ‘Add ONE note at each * to complete the bar. a ee eee ado od | wah abl abd | Notes with tals are often joined (beamed) together. For example, you can write: Dd I DDD os FTG: on DDS os FTF Join up the quavers (eighth notes) and semiquavers (16th notes) in these pieces of music. ©Exercise 2 Exercise 3 Exercise 4 The bass fF ole | 9 Write the name of each note. (The first answer is given as an example.) Name __C Name Draw the clefs which will make the letter names correct. (The first answer is given as an example.)The treble (G) clef Exercise 1 Exercise 2 (The AB Guide to Music Theory, Chapter 2/1) You might find the treble clef aificult to draw at first, but with a bit of practice it wil become much easier ‘Start with the loop around the second tine (G) of the stave from lft to right ike this ~ o———— ~ and then follow through. The top of the clef must be just above the stave, and the bottom of the clef should be just below it Practise by copying this treble clef: ¥ In Grade 1, you will only use one ledger line in the treble caf: the one below the stave. This note is middle C: = Write the name of each note. (The first answer is given as an example.) The bass (F) clef Exercise 1 (he AB ito Me hen, Cate 2) Yaucan rw bas ct nwo ws hoi wy tee caer They both have wo ds: ow on iter sib oft Try drawing some bass clefs: In Grade 1, you will only use one ledger ne in the bass clef: the one above the stave, This nate is middle C: 2 2Exercise 3 Exercise 4 "Notes on the stave | Like semibreves (hole notes), the note-heads of minims (half notes) and shorter notes are also oval (not rouncl, but they area litle smaller (Some people draw black note-heads as single slanting strokes, ke this: 6 J) but these are not easy to read and can lea to mistakes.) The stom ofa note goes down on the et [an up on the ight d ‘The stems of notes on the top two lines go down, ‘The stems of notes on the bottom two lines go up. ‘The stems of notes on the middle line may go up or down. eae k SSS + ae Notice how long the stems are, and do not draw them too long or too short. Also, they should stand up straight. Here are some good and bad examples: ————_ 4 ee d i eee ERE ges Koei x, = v Draw a crotchet (quarter note) on every line. Draw a minim (hatf note) in every space. In prted musio, uavers (eighth notes) and shorter notes have cuved tas a P tut you can craw thom wth straight ais °F When you draw a note with a tail, the tail always goes on the right-hand side of the stem. ‘Add stems and tails to turn each note into a quaver (eighth note): SS Se 7Notes on the stave The semibreve (whole note) Exercise 1 Ledger lines Exercise 2 (he AB Guide to Music Theory, Chapters 1/1 & 2/1) ‘The easiest note to draw is the somibreve (whole note): itis simply an oval, © IF you draw it on a line, the line must go exactly through the middle, and the semibreve (whole note) should cover only half the space on either side, For example: SS vot SS] er SS= Vv aga re TERN IF you draw it in a space, it should fil the space (not overtap a line} Se ot =e v * ¥ It is hard to see if the notes marked are on a line or between the ines. Draw a semibreve (whole note) on every line and in every space between these notes. = 2 =s = You can draw notes higher or lower than the five stave lines by drawing another line or lines. For example: Each note has its own line: 2 2 ee v mi: Do not draw a line over the note above the stave, and do not draw a line underneath the nate below i: ‘When you draw extra lines, they must not slope up or down. They should be the same distance apart as the stave lines: 2 v ¥ * ‘You can draw more than one line above or below the stave, but in Grade 1 only one line above or below the stave is used: 2 ‘What are these extra lines called?Bar-lines and time signatures Exercise 1 Exercise 2 Exercise 3 Exercise 4 Exercise 5 Exercise 6 Example a) ) ce) @ @ () o (The AB G to Music Theory, Chapter 1/2) What are these lines called? Mie oe aa What is this pair of lines called? [At the beginning of a piece of music you can see two numbers: for example, #, # or 4 What are these numbers called? In directions such as %, and 4, what does the top number tell you? ‘And what does the bottom number tell you? ‘So what is the full meaning of % 2 ‘And what is the full meaning of # 2 eres Write the sign which can be used instead of 4 . ‘Add ONE note at each place marked * to complete the bar. l= eee | td pe a6 eee | 2 ee ee) ie Ak te tve signe a eben of ac no. Bee eles eerie a Se ee sele al Je ee al yy * +Introduction Right from the start, itis important to learn how to write down music clearly. As a musician, unclear manuscript can waste valuable rehearsal time and might lead to performance mistakes. In an exam, badly written work may be misunderstood and could lose you vital marks. “This workbook offers advice and practical exercises, which provide a solid foundation for notating music and understanding it in context. Working through the book wil ‘equip and fully prepare you for the Grade 1 Music Theory exam; it is also an excelent resource for developing your general music tracy skils. To enhance your leaming, each chapter begins with a reference to The AB Guide to Music Theory, a book that supplies further background knowledge on each topic. Where keywords are introduced in the text, they are highighted in bold! and accompanied by a definition. ‘Bear in mind that this workoook presents an introduction to understanding music rotation: any printed music wich you are learning to play or sing will provide a good ‘model to help consolidate theory into practice. Look closely to see how the notes and signs are written, and where they are placed, Practise copying out music carefully — ‘mastering it may be a slow process, but spead and technique will come with time, Exercise 1 Exercise 2 Example Time values (The AB Guide to Music Theo, Chapter 1/1) What are these notes called? o Name _ i: ee Name ans Sass Name Name How long is each note? Complete the following sentences with the right number. (As an example, the answer to the first one is given.) Ad tasteasiongas 2 J A © lasteasiong as 4 Ao lasteasiongas __ d a J tastsastongas d Ad tastsasiongas