Music Theory in Practice Grade 1 ERIC TAYLOR The Associated Board of the Royal Schools of MusicSyllabus for Grade 1 (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. Single-dotted notes and rests. (2) Simple time signatures of 3 J 4 , bar-lines, and the grouping of the notes listed above within these times. Composition of a two-bar rhythm in answer to a given rhythm starting on the first beat of a bar. (3) The stave. Treble (G) and bass (F) clefs. Names of notes on the stave, including middle Cin both clefs. Sharp, flat and natural signs, and their cancellation. (4) Construction of the major scale, including the position of tones and semitones. Scales and key signatures of the major keys of C, G, D and F in both clefs, with their tonic triads (coot 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 written in either treble or bass clef. First published in 1990 by “The Associated Board of the Royal Schools of Music (Publishing) Ltd 14 Bedford Square, London WCIB 3}G © 1990 by The Associated Board of the Royal Schools of Music ISBN 1 85472 490 8 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. ‘Typesetting and music processing by Halstan & Co. Ltd, Amersham, Bucks Printed in Great Britain by Headley Brothers Led, Ashford, KentContents Section A Section B Section Section D Section E Section F Section G Section H Section I Section J Section K Section L Section M Section N Section O Section P Section Q Section R Elementary time values Bar-lines and time signatures Notes on the stave The treble (G) clef The bass (F) clef ‘More on time values Rests Ties Dots Accidentals Semitones and tones ‘The scales and key signatures of C, G, D and F major Cancelling an accidental Degrees of the scale and Intervals ‘The tonic triad Composing an answering rhythm Performance directions General exercises ‘The music on the cover is the opening of en arrangement for trumpet in D and piano by Philip Cranmer of the aria, “The trumpet shal sound’, from Handel's Messiah (Handel ard Bach Arias, published by the Associated Boaed) page 10 ul 12 12 “4 15 16 19 8 a 29Introduction Jn the theory examinations you may write your answers either with a pencil or with a pen. ‘Most people use a pencil, but the choice is yours, The important thing is that the answers should be clearly written. If you use a pencil, choose one that is not too faint, and make sure that it is sharp. If you use a pen (of whatever kind), choose one that does not make too thick a stroke: some of the lines you will need to draw will have to be thin. ‘The advantage of using a pencil is that you can make corrections easily and neatly. But this needs care ~ and also a good-quality, clean rubber if you are to avoid smudges (and perhaps a crumpled page as well!). Right from the beginning, it is important to lear to write down music clearly. Badly written work may be misunderstood, so it could lose you marks in an examination. And quite apart from examinations, bad writing leads to mistakes or to waste of time when musicians have to sing or play from manuscript. Some hints about writing will be given in these work-books, and any printed music which you are learning will provide a good model. Look closely to see how the notes and signs are written, and where they are placed. Practise copying out music carefully. To do it well may take time at first, but speed will come with practice. In the examination marks will be lost for inaccurate copying and untidy work. A Elementary time values Exercise 1 Exercise 2 (see The AB Guide to Music Theory, 1/1) ‘What are these notes called? ee 2 Name .. © Name Complete the following sentences by adding the right number on each of the dotted lines. (As an example, the answer to the first one is given.) 1 A d iastsastongas 2 ds. © lasts as long as A A. lasts as long as... A d lasts as long as... A 4 tases as long as... as,Bar-lines and time signatures Exercise 3 Exercise 4 Exercise 5 Exercise 6 Exercise 7 fa) © @ Exercise 8 (a) b) c) a) (see The AB Guide to Music Theory, 1/2) ‘What are these lines called? .........65 2 oy! ‘What is this pair of lines called? .........2..202000ee At the beginning of a piece of music you will usually find two numbers: for example, %, Yor 4. What are these called? . In directions such as 3, J 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 22 ‘Write the sign which is sometimes used instead of 4. ... Add ONE note at each of the places marked * to make the bar complete. a lo aos CU as Jldts sd ies dt dle dd Add the time signature atthe begining ofeach ofthe following. a go ee Ay el | Jd [ddL ddd |c Exercise 9 Exercise 10 Notes on the stave (Gee The AB Guide 10 Music Theory, 1/1 & 2/1) ‘The easiest note to draw is the semibreve: it is simply an oval, 0. If it is meant to be on a line, the line should run exactly through the middle, and the semibreve should cover only half the space on either side. For example, Ic is not clear where the notes marked x are meant to be. Draw a semibreve on every line and in every space between the given notes. ‘Notes higher or lower than those provided for by the stave can be shown by drawing an additional line or lines when required. For example, Notice that each note then has its own line: 2 3 A line should not be drawn over the note immediately above the stave, nor underneath the note immediately below it: When you draw extra lines, they must not slope up or down. They should be the same distance apart as the stave lines: ‘As many lines as are needed may be drawn, but in Grade 1 we shall go no further than one above or below the stave: What are these additional lines called? . ..Exercise 11 Exercise 12 Like semibreves, the note-heads of minims and shorter notes are also oval (not round), though drawn a little smaller. (Some people draw black note-heads as single slanting strokes, thus: }) but these are not easy to read and can lead to mistakes.) ‘The stem of a note goes down on the left ( and up on the right J). ‘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. 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: ner Good Bad Good Bad Good Bad Goad Bad Good Bad Draw a crotchet on every line. Draw a minim in every space. Quavers (and shorter notes) are shown with curved tails J) in printed music, but you may draw them with straight tails J (if it is easier. Notice that the til is always on the right-hand side of the stem. ‘Turn each of these notes into a quaver,Exercise 13 (see The AB Guide to Music Theory, 2/1) ‘The treble clef is not easy to draw at first. The most important partis the loop around the second line (G) of the stave: start (from left to right) like this ~ == = and then follow through. The top of the clef should be just above the stave, the bottom just below it. Practise by copying this treble clef: In Grade 1, only one ledger line will be used in the treble clef: the one below the stave. A note on this line is middle C: = Under each of these notes write its letter name. The bass (F) clef (see The AB Guide to Music Theory, 2/1) The bass clef can be drawn in two ways: BE o GE Notice that they both have two dots: one on either side of the F line. ‘Try drawing both ways here: In Grade 1, only one ledger line will be used in the bass clef: the one above the stave, A note on this line is middle C: <Exercise 14 Under each of these notes write its letter name. Exercise 15 Under each of these notes write its letter name. Name . Exercise 16 Before each of these notes draw the clef which will make the letter name correct.F Exercise 17 Exercise 18 (a) (b) Exercise 19 (@) More on time values (see The AB Guide to Music Theory, 1/1~2) What is this nore called: 4)? 2.2... Complete the following sentences by adding the right number on each of the dotted lines. A 2) tases as long as... dis, Ad tastsaslongas.... ds, Ad Insts as long as... Js. Ao lasts as long as... dis, Add ONE note at each of the places marked * to make the bar complete. a7 Ot DD AIP JL 1 wi ddal Sd Notes with tails are often joined (‘beamed’) together. For example, 2} Day be writen TO; ) bes as TT9; ana BD Das LTT Rewrite the following, joining up the quavers and semiquavers. $. @ ==G Exercise 20 @ (b) © @ Rests (see The AB Guide to Music Theory, 3/1) ‘The semibreve rest hangs below a line, normally the fourth line if there is only one melody on the stave: ‘The minim rest sits on a line, normally the third: A crotchet rest may be drawn in two ways: lor ‘The first is a little harder to draw, but try to use it, (It is used in printed music, and even in manuscript music most composers now write the rest this way.) It is drawn this way - a sideways z on top joined to a sloping ¢ below: co. z Practise by copying several crotchet rests after the one printed here: = = = Normally, the crotchet rest is placed in the middle of the stave, and so are the quaver and semiquaver rests: ‘Add ONE rest at each of the places marked * so as to make the bars complete. Remember that a completely silent bar will always take a rest - not only in 4 but also in 3 and 3,12 H Ties (see The AB Guide 10 Music Theory, 3/2) A tie (— or —) joins notes which sound the same, It turns them into one sound (4_ 4, for example, sounds like 2 ). Any number of notes can be joined in this way, but they must be the same notes, and they must be next to each other. The tie goes from the head of the first note to the head of the next, on the outside: S= not = ot = = not and Sf not Exercise 21. Add ties wherever possible in the following, Underneath each, write the total number of, crotchet beats made by the tie (as shown in the first example). Lf beats - + - beats se beats . beats beats sos Deats: 1 Dots (see The AB Guide t0 Music Theory, 3/2) A dot after a note makes it half as long again. Exercise 22 Complete the following sentences by adding the right number on each of the dotted lines. A d:tastsastongas....d s. Ad: lastsaslongas.... Js, Ad. lasts as long as... 2) s. A 2) tasts as longas.... A 4: tassaslongas.... 2s. Ad. assastongas.... ds.13 ‘The dot must be placed immediately to the right of the note or rest to which it refers. If the note-head is in a space, the dot goes in the same space; if the note-head is on a line, the dot normally goes in the space above: S=—=p—ES= Add dots where they are needed to make complete bars (d) © Exercise 24 Handel, Sere COnbra ma fi) @ ) ae, === e == i) ia 4 Fores, The Old Folks at Hom 4 = © =>} 1.5, Bah, No 4 of Six Preludes, BWV 936 a ec pti oa (e) © = = Mendelsohn, Th Hebrides (Overs) = Le © = | eH @ =—=F == See SE (n) re siegeJ Accidentals (see The AB Guide 10 Music Theory, 2/1) Exercise 25 What is this sign called: # ? What is this sign called: b ? sss s+ +s+++ How does it affect the note which follows it? ‘What is this sign called: §?............... How does it affect the note which follows it? ‘Look closely to see how the three signs are formed, and note how they are placed on @ line or in a space: If they are not carefully drawn, it can be difficult to tell which note each belongs to. Exercise 26 Draw a sharp in front of each of these notes. a CS=— 5S eo Draw a flat in front of each of these notes. = Draw a natural in front of each of these notes. i *; = ‘The signs for sharps, flats and naturals are all called ‘accidentals’ Exercise 27 Give the name of each of the notes marked with a number. The letter name alone is enough if there is no accidental (¢.g. C). If there is an accidental, it must be shown (eg. F#). (As examples, the first two answers are given.)15 K Semitones and tones (see The AB Guide to Music Theory, 2/1) Exercise 28 Draw -— (as in the first example) above any two notes making a semitone. Exercise 29 Add an accidental (if needed) to the second note in each of these pairs, to make it a semitone above the first. Put a tick underneath if no accidental is needed. Exercise 30 Add an accidental (if needed) to the second note in each of these pairs, to make it fa semitone below the first. Put a tick underneath if no accidental is needed. 2S5 65er ] L The scales and key signatures | of C, G, D and F major (see The AB Guide t0 Music Theory, 2/2-3) Exercise 31 In this scale of C major, two notes a semitone apart are marked by —. Mark the other two notes which are a semitone apart in the same way. Exercise 32 Add accidentals before any notes that need them to make the scales named below. Then add -— above each pair of notes making a semitone G major (ascending) ¥ major (descending) D major (ascending) F major (descending) G major (ascending) Exercise 33 | | Key... .major Key...-major Key....major Key... .majorExercise 34 Exercise 35 Exercise 36 @) 7 Add the clefs and key signatures needed to make the scales named. (Remember thet the key signature comes after the clef but before the time signature.) F major C major D major +p) G major = = oe ‘Write the scales named below, using the given rhythm. Add the correct key signatures ‘but do not use any unnecessary accidentals. G major (descending) F major {ascending) C major (ascending) ‘Name the key of each of the following. Then write them out again, using key signatures instead of accidentals. Beethoven, Violin Concerto (Ist vt) Key....major18 Exercise 36 (continued) ‘Mozart, The Magic Fluve (0 Isis end Osiris) J. 8. Bach, Arova Magdalona Bach Notebook (Minuet) ‘Traditional, ‘Early one morning® (d) Key....major “Tehakovsky, Senonade for Serine (Walle) Key....major Elgar, Pomp and Cirewnztance March Not © ++ +major19 Cancelling an accidental Exercise 37 (a) (b) © @ Exercise 38 (a) (b) (see The AB Guide to Music Theory, 2/4) ‘An accidental lasts until the end of the bar. For example, the note marked * here is F4: To change the note back to F, a § sign is added; similarly, if F} is in the key signature: note | is F4, note 2 Fy, note 3 Fe, note 4 Fé (the # here cancels the earlier b). Before each note marked *, add the accidental needed to cancel the previous accidental: i . fog — he = oS —— j Give the name of each of the notes marked with a number. The letter name alone is enough if there is no accidental ~ but keep in mind the key signature and any accidentals which may have been added earlier in the bar. Remember, too, that an accidental only affects later notes in the bar when they are on the same line or in the same space.Degrees of the scale and Intervals Exercise 39 Exercise 40 (see The AB Guide t0 Music Theory, 2/2 & 1/1) In each of the following, the ‘first degree’ of the scale (the key-note) is in brackets. After it, write the note whose degree is given below (as shown in the first example). x t——— ft > _—— aoe =f or ‘ ae 2nd rd ath 7th Sth ‘The distance in pitch between two different notes is called an interval. Its a ‘melodic’ interval if the two notes are played one after the other ~ === or a ‘harmonic’ interval if they are played together - === ‘The size of an interval is measured by the number of degrees of the scale it includes: 2nd 3rd 4th 5th ‘The number of degrees is the ‘number’ of the interval, It is not changed by a key signature, or by any accidentals in front of the notes. In Grade 1 we shall use only the intervals which have the key-note as the lower note, These, for example, are the intervals from the key-note in G major: oy 2nd 3rd 4th sth th 7th ave G majoraa Exercise 41 Above each of these notes, write a semibreve which makes the named harmonic interval. D major 3rd 7th Sth 2nd 4th 6th = = = C major 5th Bve 6th 4th 3rd th Exercise 42 Give the number of the melodic intervals marked ——— in the following. The first note is the key-note in every case. Haya, Symphony No.94 (Surprise) 2nd me) Ravel, Mother Goose (‘The Enchanted Garden’) fa) (Carol, “The Holly and the Ivy? © Elgar, Sale d'amour © Schubert, Rsamude (Ballet No.2) = fe) Sieghried (Bet I, Scene 3) (s) oy 6 Beethoven, Missa Solonnis (Gloria) (hyO The tonic triad (see The AB Guide 10 Music Theory, 8/1) The key-note, or first degree of the scale, has yet another name: the ‘tonic’. The tonic triad is a group of three notes: the key-note plus the 3rd and 5th degrees above it. These are all tonic triads in C major: fae SS ae Exercise 43 After each of these major key signatures, write its key-note followed by its tonic triad (as shown in the first example). & _ : SHE P Composing an answering rhythm (See The AB Guide 10 Music Theory, 5/1-2) A two-bar rhythm will be given. It will start on the first beat of a bar, and it will use one of the time signatures you have already studied (3, 3, 4). You will be asked to write another two-bar rhythm to follow it. Notice that a melady is not required: only a rhythm ~ something which could be played on 2 drum or on one note of the piano, or which could be tapped out on a table, Therefore, a clef and a key signature are unnecessary. You can write a rhythm on any one line of the stave, or just on a single line, or without a line at all: pes 9 TY a Ts | ‘There are two different problems in this test. The first is how the rhythm is written down: which notes should be joined (‘beamed’) together, and where ties and dots may be used. ‘This is just a matter of remembering a few simple rules ‘The second problem is what else the examiner will be looking for, apart from correct notation, What matters most here is whether you can make up an interesting two-bar rhythm. of your own, Only general advice can be given about this. ‘We will tackle these two problems separately on the next page, starting with the rules.23 (1) Beam together (@) two quavers which could be replaced by a crotchet: ade | a) el ed) (©) four quavers which could be replaced by a minim: | 40a as om (©) six quavers filling a complete bar in } a ads | In printed music you may sometimes find groups of four or six quavers beamed together in twos, Nevertheless, in this test you should keep to the rules above. Note that in 4 quavers should never be beamed across the middle of a bar between the 2nd and 3rd beats: 42 FITTS | iswrong 4.1 JD IDd | is sign. @) Beam semiquavers together in single beats, and also any group including a semiquaver: § SIRT 4 STE 2 S| (3) Avoid ties wherever possible: 4d Dlisvener thn 4 J SI|;4 4 3 J listenerthn4 J JJ J | You may have noticed that in these rules nothing has been said about rests. There are special problems about the arrangement of rests, and they will be explained in Grade 2. ‘You will not need to use rests when writing an answering rhythm in Grade 1. ‘The next exercise will give you some preliminary practice in writing rhythms correctly. Exercise 44 Revrrite the following bars without changing their effect, but making any necessary corrections in the use of beams, ties and dots. @ iw wm gbbhdd wo gbdbbory a 4 4 | @ bb @gbbbpl 4 © 4b dbbbdb oy 4 4 8 @ eb bAD Dy m pL DAI 4tddrty $e‘Now for some general advice about your two-bar rhythm itself. The first and most important point is this: try to imagine how the notes which you are writing would actually sound. If you can accurately ‘hear’ them in your head, most of the advice below will be unnecessary. When you are practising, always tap out your rhythms. Even in the examination room ‘you need not disturb anyone if you do this really quietly with your finger-tips on the desk, It is very important to keep in strict time, which means having a clear speed in mind. Probably somewhere between J = 76 and J = 100 will be suitable. (For an explanation of speed directions see page 28.) Normally it does not make the test any easier to imagine it at a very slow speed. Remember that the examiner will want to see that you can invent an interesting rhythm. Imagine, for example, that you have been asked to add a two-bar rhythm to follow thi QL FITTS 2 dV vou com write just J 1d lana that would be correct. But it is very dull. Another solution would be to repeat the two bars you have been given. This often happens, as in this example: 5.8. Boch, dima Aagado Back Noto Mie) 4 _—— ——= eee ie However, if in the examination you merely copy out again the two bars you have been given, you still have not shown that you can invent anything. Your rhythm, therefore, should be a litte different to the one you have been given. But it should be similar, and parts of it may even be exactly the same. Bars 1 and 3 of this melody, for example, have the same rhythm (though not the same notes): Beethoven, Symphoay No. (4th mvt) 1 2 3 4 7 A) ed Dota In the next example, bars 2 and 3 have the same rhythm: Hook, Guide di Musics, No.2 1 2 3 4 Ad | And in this example, bars 2 and 4 have the same rhythm: Stanford, Six Sketches (Minuet) fe 2 3 5 — ot F aiidExercise 45 @ () © (@) © @ 26 Pattems such as these can help to bind the four bars together, but you do not have to use them. Here, for example, are four bars which all have different rhythms: Dei, ‘New World’ Symphony (Ist mvt) 4 Ce em | But although they are all different, bars 3 and 4 seem to belong to bars 1 and 2. ‘The last two bars seem to balance the first two, Or you could say that the last two ‘answer’ the first two ~ they make an ‘answering’ rhythm. ‘The ending of your rhythm will need particular care. It is not usually a good idea to finish with a semiquaver, because this may make the rhythm feel unfinished. If you tap these rhythms, for example, you will see that they both feel as though they want to be followed by something in the next bar: a ode) In other words, they are not really two-bar rhythms at all, but merely two bars out of longer rhythmic pattems. They cannot be ‘answering’ rhythms because they themselves are not complete. Adan answering two-bar rhythm to each of the following. gett oe - et) d : a4 oer : cal oA : a26 Exercise 45 (continued) (h) 4d hL 1 @ 44 o gt ial 4 : oe o 3+ a eo eee oo. o gt AY og. fea oe eee27 Q Performance directions (see The AB Guide to Music Theory, 10) Many words which are not English, and many special signs are used to explain how music is to be performed, 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 of such words fon pages 106-114 of The AB Guide 1o Music Theory, Part I.) Below are some very common words ~ all Italian ~ which you should know in Grade I, accelerando (or accel.) gradually getting quicker cadagio slow allegretto fairly quick (but not as quick as allegro) allegro quick (literally ‘cheerful’) andante at a medium (‘walking’) speed cantabile in a singing style crescendo (or ores.) gradually getting louder da capo (or D.C.) repeat from the beginning dal segno (or D.S.) repeat from the sign $% decrescendo (or decresc.) gradually getting quieter diminuendo (or dim.) gradually getting quieter Sine the end f © forte) loud Sf ( fortssimo) very loud legato smoothly lento slow mezzo half inf (= mezzo forte) moderately foud (literally ‘hal? loud) ‘mp (= mezz0 piano) moderately quiet (literally ‘hal? quiet) moderato moderately (allegro moderato: moderately quick) ? piano) quiet b (= pianissimo) very quiet poco a litde rallentando (ot rall.) getting gradually slower ritardando (or ritard, ot rit.) getting gradually slower ritenuto (or rien, or rit.) held back staccato (or stace.) detached tempo speed, time (a tempo: in time)28 Below are some signs and other directions which you should know in Grade 1. = crescendo (gradually getting louder) = diminuendo (gradually getting quieter) over two different notes (not to be confused with a tie) or over a group of notes is called a ‘slur’: perform the notes smoothly = ottava (octave) (over a note or notes): perform an octave higher (under a note or notes): perform an octave lower adot over or under a note fd = staccato over or under a note? J = accent over a note pause on the note under a note repeat marks ~ at the second sign, go back to the first sign and repeat the music from there (the first sign is left out if the music is repeated from the beginning) 72 crotchet beats in a minute (MLM. is short for Maelzel’s Metronome)R General exercises Exercise 46 This is the beginning of a melody. Look at it, and then answer the questions below. Andante “Tehaikosky, Alum for he Yourg (Morning Prayee") (a) What does Andante mean? (b) What is the time signature of the melody? . Explain what it means. ........222202000+ (©) Why is there a dot after the notes in bars 4 and 8? (A) What is p short for?..... 2.6.6.0 What does it mean? .. . (© The key of the melody is G major. Which degree of the scale does it start on? .. (£) What is the letter name of the highest note? What is the letter name of the lowest note? . . . (g) What is the value of the shortest note? (h) How many times is this rhythm [J a. 2 usea? (i) In bar 7, what does the > above the note mean? ... @ Copy out the frst four bars. Remember to put in the clef, key signature and time signature.30 Exercise 47 This is the beginning of a melody. Look at it, and then answer the questions below. Allegro Hammel, Allegro, Op.52 No2 1 2~ 3 (@) What does Allegro mean? (b) What key is the melody in? . . (©) Show another way of writing the time signature... . (@) What are the curved lines over the melody called? ....... ‘What do they tell the performer? (©) What does a dot over a note (in bars 2 and 4) mean? (f) How many times does the note F appear? . . (g) Which bar contains all the notes of the tonic triad but no others? . . (h) What does the sign } mean? . () What do you notice about the rhythm of bars 3-4 compared to the rhythm of bars 1-2? @) Copy out the first two bars. Remember to put in the clef and time signature.Exercise 48 31 Look at the following melody, and then answer the questions below. Poco adagio, MM. d= 56 Dvottk, Symphony No.7 (2nd mvt) 1 2 3 4 Plegato ip iyo 8 —== ——_ pdim. PP (@) Poco means ‘a little”. What does adagio mean? ..... (b) What is dim. short for? ... ‘What does it mean? ... (©) The key of the melody is F major. In which bars is the key-note nor used? (@ What does ‘M.M. J = 56’ tell you? ..... oe (©) Give the meaning of legato. «+++ (©) Which is the quieter: p or pp? . (g) Which bars contain the first four notes of the scale of F major? .... (h) Which bar has the same rhythm as bar 1? @ What do the signs == and == mean? i) Give the full name of the first note in bar 3... . (&) Copy out the melody from the beginning of bar 5 to the end, Put in the clef, key signature and time signature,32 Exercise 49 This is the beginning of a melody. Look at it, and then answer the questions below. ee Ravel, Pavan for @ dead Infanta 1 4 (@) Add the missing word in this sentence: ‘The melody is written in the ....... clef. (b) What is the key of the melody? . (©) Draw — above any pairs of notes which are a semitone apart (©) Give the full name of the last note... (f) How many crotchet beats are there in a bar? . (@) Which bars contain tied notes? .. (b) Underline any of the following descriptions which you think suit the music: smooth loud quiet slow fast. «=o merry sad @ Copy out the melody from the beginning of bar 3 to the end. Put in the clef, key signature and time signature. 797