General Knowledge

Grade Six
General Knowledge & Score Reading

Video Course Handbook
(ABRSM Syllabus)
Copyright © 2016 Victoria Williams
All rights reserved.
1st Edition
© 2016 Victoria Williams / www.mymusictheory.com 1

CONTENTS
About the Author .......................................................................................................................... 4
General Knowledge 1: The String Section ...................................................................................... 5
General Knowledge 1: Assignment – String Section ....................................................................... 7
General Knowledge 1: Assignment Answers ................................................................................ 10
General Knowledge 2: The Woodwind Section ............................................................................ 11
General Knowledge 2: Assignment 6 - Woodwind........................................................................ 12
General Knowledge 2: Assignment Answers ............................................................................... 13
General Knowledge 3: The Brass Section ..................................................................................... 14
General Knowledge 3: Assignment – The Brass Section................................................................ 15
General Knowledge 4: The Baroque Era ....................................................................................... 17
General Knowledge 4: Assignment – The Baroque Era ................................................................. 19
General Knowledge 5: The Classical Era ....................................................................................... 20
General Knowledge 5: Assignment – The Classical Era ................................................................. 22
General Knowledge 6: The Romantic Era ..................................................................................... 24
General Knowledge 6: Assignment – The Romantic Era ............................................................... 26
General Knowledge 7: The Modern Era ....................................................................................... 27
General Knowledge 7: Assignment – The Modern Era.................................................................. 28
General Knowledge 8: Foreign Musical Terms ............................................................................. 29
General Knowledge 8: Assignment – Foreign Terms .................................................................... 31
General Knowledge 9: Ornaments ............................................................................................... 32
General Knowledge 9: Assignment – Ornaments ......................................................................... 34
General Knowledge 10: Transposition ......................................................................................... 38
General Knowledge 10: Assignment - Transposition .................................................................... 39
General Knowledge 10: Assignment Answers .............................................................................. 40
General Knowledge 11: Intervals ................................................................................................. 41
General Knowledge 11: Assignment – Intervals ........................................................................... 42
General Knowledge 12: Chords and Key ...................................................................................... 45
General Knowledge 12: Assignment – Chords and Key................................................................. 46

General Knowledge 13: Musical Devices ...................................................................................... 48
General Knowledge 13: Assignment – Musical Devices ................................................................ 50
General Knowledge 14: Assignment – Revision ............................................................................ 52

ABOUT THE AUTHOR
Victoria Williams graduated with a BA Hons degree in Music from the University of Leeds, UK, in
1995, where she specialised in notation and musicology.
In 2007 she decided to open up music theory teaching to a worldwide platform, by creating
www.mymusictheory.com, which initially offered free lessons for Grade 5 ABRSM Music Theory
candidates. Over the years, the full spectrum of ABRSM theory grades has been added, making
MyMusicTheory one of the only websites worldwide offering a comprehensive, free, music theory
training programme aligned with the ABRSM syllabuses.
You can connect with Victoria Williams in the following ways:
http://www.mymusictheory.com
info@mymusictheory.com
http://www.facebook.com/mymusictheory
http://www.twitter.com/mymusictheory
https://www.youtube.com/user/musictheoryexpert

GENERAL KNOWLEDGE 1: THE STRING SECTION
STANDARD INSTRUMENTS
• violin (treble clef)
• viola (alto clef)
• cello (bass clef, also tenor/treble clefs for high pitched sections)
• double bass (bass clef, sounds an octave lower than written)
OPEN NOTE TUNINGS
= use an open string
STRING WORDS
“sul A” = use the A string “tre corde” = three strings (chord with three
notes)
“arco” = use the bow as normal
“divisi/div.” = instrumental section divided
“pizzicato” = pluck with the finger
into two parts
“una corda” = one string (single note)
“unison” = instrumental section plays all
“due/double corde” = two strings (chord with together
two notes)
down bow
up bow

FOREIGN NAMES
You need to be able to recognise instrument names in French, Italian and German (as well as English of
course!) These are mostly similar to the English names, apart from for the viola:
English French Italian German

Violin Violon Violino Violine
Viola Alto Viola Bratsche
Cello Violoncello Violoncello Violoncello
Double bass Contrebass Contrabasso Kontrabass

GENERAL KNOWLEDGE 1: ASSIGNMENT – STRING SECTION
A) Look at the score on the next page and answer the questions:
1. For each of the string instruments, say whether the notes played in bar 1 can be played on an open
string or not.
a) violin b) viola c) cello
2. What is the letter name of the first note in the viola part?
3. Which standard orchestral string instrument is absent from this extract?
4. True or false: the Violin I and Violin II parts are identical.
5. What bowing technique would you expect the string section to be using in this extract?
6. What is the German word for viola?
(B) Look at the following score and answer the questions
1. Which string instruments are playing in this extract (give the English names)
2. What does “div.” mean in bar 37?
3. What does “double corde” mean in bar 37?

GENERAL KNOWLEDGE 1: ASSIGNMENT ANSWERS
A)
1.
a) violin - yes b) viola - yes c) cello - yes
2. D
3. Double bass
4. False (the last three notes are different)
5. “arco” (because nothing else is indicated)
6. Bratsche
B)
1. Violins, violas and cellos.
2. The viola section is divided into two
3. Play the notes as chords with two strings

GENERAL KNOWLEDGE 2: THE WOODWIND SECTION
Standard woodwind section (from Classical era)
• 2 flutes
• 2 oboes
• 2 clarinets (Bb or A)
• 2 bassoons
Extended woodwind section (from Romantic era)
• Piccolo
• Cor Anglais
• Eb clarinet
• Bass clarinet
• Double bassoon (or contrabassoon)
“a2” or “zu” means “both players”
“solo” or “I” or “II” (etc.) means one player
Stems up = first player
Stems down = second player
Double semibreve (whole note) means one per part
Double reeds: oboe, bassoon, cor Anglais
Single reeds: clarinets of all sizes
Unfamiliar foreign names: Fagotto/Fagot = bassoon; hautbois=oboe
Cor Anglais/
English Flute Oboe Clarinet Bassoon Piccolo
English horn
Italian Flauto Oboe Clarinetto Fagotto Corno Inglese Flauto piccolo
French Flûte Hautbois Clarinette Basson Cor Anglais Petite flûte
German Flöte Hoboe Klarinette Fagot Englischhorn Kleine flöte

GENERAL KNOWLEDGE 2: ASSIGNMENT 6 - WOODWIND
1. Name the four standard woodwind instruments
2. A score is orchestrated for 2 flutes, 2 oboes, cor Anglais, Eb clarinet, 2 Bb clarinets, 2 bassoons
and contrabassoon. Which is the earliest era it could be from?
3. Name a double reed instrument which isn’t normally found in an orchestra in the Classical era.
4. A score calls for “2 fagotti” – what is this in English?
5. You have written an orchestral piece in Ab major. Is it better to score it for Bb clarinets, or A
clarinets?
6. What order would you find these instruments written in a score (from top to bottom): bassoon,
clarinet, flute.
7. What instruments are playing here? Write a semibreve (whole note) A (in a space) for each
instrument in the second bar.
8. Which instrument has the lowest sounding note in this extract?
9. You write a melody and want both oboists to play the same thing, but don’t want to write it out
twice. What do you write above the stave? (give the Italian and German terms)

1. Flute, Oboe, Clarinet, Bassoon
2. Romantic
3. Cor Anglais or double bassoon (contrabassoon)
4. Two bassoon players
5. Bb clarinets, because their part will be in Bb major. If you use A clarinets, their part will be in B
major/Cb major.
6. Flute, Clarinet, Bassoon
7. Two oboes are playing.
8. The Flute I part has the lowest note (stem up, on E in the second bar)
9. “a2” or “zu 2”

GENERAL KNOWLEDGE 3: THE BRASS SECTION
• Trumpet (Bb) (treble clef) • Trombone (bass clef, also sometimes
• French horn (F) (treble clef, also tenor/treble)
sometimes bass) • Tuba (bass clef)
In a score, horns are at the top of the brass section, followed by trumpets, trombone and tuba.
Trumpets in Bb and horns in F are the modern standard, but in the past brass instruments could be
in any key.
Brass parts are often written without key signatures, because the player would always use an
instrument which would pitch the part in C. (E.g. if the key of the piece is A major, they would use a
horn in A, and the written pitch would be C.)
Classical orchestra: small number of trumpets/horns. Romantic orchestra: large brass section.
Part of Mahler’s 8th Symphony, showing large brass section including trumpets in F:
Listen to Mahler's 8th Symphony, and take special note of the brass section!
https://youtu.be/KugLAIzW3u8
English Trumpet French Horn Trombone Tuba
Italian Tromba Corno Trombone Tuba
French Trompette Cor Trombone Tuba
German Trompete Horn Posaune Tuba

GENERAL KNOWLEDGE 3: ASSIGNMENT – THE BRASS SECTION
1. Name the four standard brass instruments in the order that they are normally written in an
orchestral score:
2. What transposition keys are modern trumpets and French horns in?
3. Name a composer who is famous for including several French horn parts.
4. Give the English name for Posaune.
5. What is a tromba and what language is the word?
6. Which brass instrument often doubles up the woodwind section?
7. True or false: large brass sections are often found in Classical era music.

1. French horns, trumpets, trombones, tubas
2. Trumpet: Bb and French horn: F
3. Mahler (or Bruckner)
4. Trombone
5. Trumpet in Italian
6. French horn
7. False

GENERAL KNOWLEDGE 4: THE BAROQUE ERA
In the Baroque era, each instrument/voice was often weighted equally, with separate melodies
woven together intricately to make a harmonious sound. Each part would be quite independent.
This is called counterpoint. We can say the music has a “contrapuntal texture”.
The following piece is by Bach (written for “clavier”, which means “keyboard instrument”- either the
harpsichord or clavichord).
Although it’s a composition for just one instrument, Bach uses the contrapuntal style by writing
separate strands of music which are interwoven.
The melody begins at A in the right hand. At B, the left hand plays a similar tune, but a fifth lower. At
C, a third part is added, playing the same notes as in A, but an octave lower. At this point, the right
hand has to play the upper two parts, and the left hand begins the third part.
This type of composition is called a “fugue”.
Another common contrapuntal genre from the Baroque period is a vocal composition called the
“chorale”. The harmonisations and figured bass exercises in the grade six music theory exam are all
based on the chorale style.
This is an example by Buxtehude, from his harmonisation of “Wie soll ich dich empfangen”, for two
sopranos, bass and a “continuo” (keyboard) part. Notice how the voice parts enter one after
another, with the same melody (one at an interval of a 5th) in the same way as in the above fugue.

Not all Baroque music was contrapuntal in texture, but if you do see music written like this it’s likely
that it will have been written by a Baroque composer.
Baroque music also often has a lot of ornaments in it.
In Baroque music, pieces were usually written in one key for long stretches. Modulation was usually
only to related keys, the relative major or minor, the dominant, or occasionally the subdominant.
Here are some clues that a piece is NOT from the Baroque era:
• Written for piano or clarinet (they weren't invented yet)
• Written for a keyboard with pedal markings (the pedal wasn't invented)
• Written with lots of dynamics (letters and hairpins), or other performance directions (this
wasn't common until later)

GENERAL KNOWLEDGE 4: ASSIGNMENT – THE BAROQUE ERA
Some of the most famous Baroque composers are
• JS Bach
• Purcell
• Haydn
Your assignment for this week is to listen to a variety of Baroque music. Try to follow along with the
scores as you listen.
Here are some examples:
https://youtu.be/NdbABjTs4v8
https://youtu.be/foacRsak3cQ
https://youtu.be/7e2tr2P4VIo

GENERAL KNOWLEDGE 5: THE CLASSICAL ERA
The Classical era spans roughly from 1700-1800.
In the Classical era, the texture of music is generally less “complicated” than in the Baroque era.
Music of the Classical era tends to sound light, clear and elegant. Instead of being mostly
“contrapuntal”, at this time music was mostly “homophonic”.
Homophonic (which literally means “sounding together”) usually means there is a single melody
which has an accompaniment based on chords. (Compare this to “contrapuntal” music, which has
several melodies woven together.)
Here is part of Mozart’s Clarinet Quintet (for clarinet and string quartet). Notice how the melody is
almost completely in the clarinet part, with the strings providing an accompaniment.

As with Baroque music, Classical music pieces were usually written in one key for long stretches.
Modulation was usually only to related keys, the relative major or minor, the dominant, or
occasionally the subdominant.
Here are some other clues:
• Expression directions are sometimes used, but not heavily.
• Dynamics can now be gradual, with long crescendos or decrescendos.
• The mood of a piece can change considerably as the piece progresses.
• Melodies are shorter than in Baroque music.
• The piano was now in use, but pedal markings are not often seen.
• The clarinet was now in use.
• The harpsichord was not used much anymore.

GENERAL KNOWLEDGE 5: ASSIGNMENT – THE CLASSICAL ERA
1. Write down four important differences between music typical of the Baroque and Classical eras.
2. Name three Baroque and three Classical composers
3. Listen to the following classical pieces, and follow along with the score.
https://youtu.be/B5fqVYXVDwU
https://youtu.be/xSAmVBIh2ZU
https://youtu.be/zpeQKGoV8cw

1. Some possible answers:
Baroque: often polyphonic, use of the harpsichord, very few performance directions, many
ornaments, fugue form. Classical: often homophonic, use of the piano and clarinet, dynamics
present, fewer ornaments, sonata form.
2. Some possible answers:
Baroque: Bach, Handel, Purcell, Vivaldi
Classical: Mozart, Haydn, Scarlatti, Clementi

GENERAL KNOWLEDGE 6: THE ROMANTIC ERA
The Romantic era roughly spans 1800-1900.
In the Romantic era, textures became thicker, richer and more luscious. Romantic music is also more
likely to feature dramatically contrasted sections – for example a full-on orchestral section followed
by just the woodwind and cellos, for example.
Here is another clarinet quintet, this time by Brahms.

Notice how much richer the texture is. Instead of there being a simple melody plus accompaniment,
the parts are more involved. The clarinet has the melody, but the first violin imitates it a beat and a
half off-set. The second violin, viola and cello have a complicated quaver (8th note)/triplet
accompaniment, which will sound much heavier than the crotchets (quarter notes) in the Mozart
quintet.
The piece is in 3/4, but rather than having, say, three crotchets (quarter notes) or perhaps six
quavers (8th notes) in a bar, there is a huge amount of rhythmic movement going on. In the first bar
alone, there are notes being played at 11 different instances- each beat is divided into triplets, but
the second two beats are also divided into normal quavers (8th notes). This makes the texture
sound dense.
Romantic music tends to use more melodic chromaticism (adding flats or sharps to the music
because “it sounds nice”, rather than only for modulation purposes).
Here are some clues about the Romantic style:
• Directions for expression are abundant and descriptive, including detailed articulation
(staccato, accents, sforzandos, etc.)
• Dynamics change frequently, either gradually or suddenly.
• The mood of a piece is more dramatic – tragedy, comedy or romance, for example, and
often based on literature.
• Melodies are often more lyrical, song-like.
Some Romantic composers are famous for writing in a particular genre,
• Chopin and Rachmaninov are famed for their piano music
• Mahler and Bruckner are famous for using enormous orchestras.
• Verdi and Wagner are famous for writing opera

GENERAL KNOWLEDGE 6: ASSIGNMENT – THE ROMANTIC ERA
There are probably more world-famous Romantic composers than from any other musical era. Here
are some of the most famous ones – find some of their music on Youtube and listen carefully.
Beethoven Tchaikovsky Chopin Liszt
Schumann Verdi Wagner Berlioz
Mendelssohn Dvořák Rachmaninov Bruckner
Rossini
Listen to this piano sonata by Rachmaninov. How many of these typical Romantic markers can you
see?
https://youtu.be/YOx710drHnw
• Big chords
• Lots of articulation directions
• Extremes of dynamics
• Dramatic mood
• Use of chromatic chords and chromatic melody notes
• Complicated rhythms
(Answer: all of the markers are found in this piece!)
Now try to find similar markers in this Verdi piece: https://youtu.be/jGvYaMIXuxU
In this Tchaikovsky piece, try to pinpoint the things which make it Romantic, rather than Classical in
style: https://youtu.be/EMfjgyHcIWk

GENERAL KNOWLEDGE 7: THE MODERN ERA
The Modern era spans roughly from 1900-2000.
In Modern music, many composers abandoned the diatonic system, which is the system using major
and minor scales as a basis for a piece.
Some composers experimented with building pieces based on other types of scale. For example,
Debussy exploited the pentatonic scale (the 5-note scale you get by playing only the black notes on
a piano). Other systems are the whole note scale, serialism (using each of the 12 semitones once
only in a phrase, and not giving special importance to any note), atonalism (avoiding any sense of
major/minor) and other invented scale-systems based on an arbitrary choice of notes. The main clue
is that if it is not major/minor, then it is Modern!
Modern music tends to be experimental in nature. Any aspect of the music is open to
experimentation: special instrumental effects, making the structure random, using two or more keys
at once (polytonality), using more than one time signature at once (polyrhythms) and so on.
• Expression directions can be incredibly precise and may not be restricted to the “traditional”
Italian terms.
• Dynamics may go to extremes or be used for special effects.
• The mood of a piece and types of melody used are completely open to the composer’s
imagination. They may be atonal (not built from notes which correspond to a diatonic or
modal scale), discordant (jarring chords), modal (based on a very old scale system) or
something else altogether.
Things to look out for: strange time signatures, strange symbols, frequent key signature changes or
no key signature but lots of accidentals, complex rhythms, instructions written in English, French or
any other language which are very detailed.
In fact, it’s rare to find a Modern piece in the grade six music theory exam, although they do crop up
from time to time. The main give away that a piece is Modern is that it doesn’t conform to any of
the other categories, particularly in its harmony.
Although a large number of modern pieces are diatonic, just like in the other eras, in an exam
situation you will normally be presented with a non-diatonic piece if it is Modern.

GENERAL KNOWLEDGE 7: ASSIGNMENT – THE MODERN ERA
Some well-known Modern era composers are:
• Bartok
• Stravinksy
• Schoenberg
• Debussy
• Stockhausen
Try to find some of their music on Youtube and listen carefully.
Listen to a string quartet by Bartok, and notice the elements that make it Modern in style:
https://youtu.be/Du07qCXkNa8

GENERAL KNOWLEDGE 8: FOREIGN MUSICAL TERMS
This unit has a selection of foreign musical terms which it's a good idea to learn, including the
foreign names for instruments. Unfortunately there isn't a published list of words for grade 6 - you
are just expected to have a good knowledge!
On the following page is a list of the terms. It is not a comprehensive list, and you should strive to
look up any new terms you come across!
Make sure you know the names of the notes and instruments in Italian, French and German, as well
as English!

Allargando Growing broader Langsam Slowly
Alto Viola (French) Larghetto Rather broadly
Becken Cymbals (German) Larghissimo Very, very slow
Bemolle flat Lebhaft Lively
Bewegt Animated Leggero Lightly
Bratsche Viola (German) Maestoso Majestically
Bravura Boldness Malinconico Melancholically
Caisse claire Side/snare drum (French) Mässig Moderately
Calando Dying away Meno mosso Less movement
Campanelli Glockenspiel (Italian) Mesto Sadly
Col legno With wood side of the bow Mi E
Con sordino With the mute Moins vite Slower
Contrabasso Double bass (Italian) Pauken Kettle drums (German)
Contrafagotto Double bassoon (Italian) Pesante Heavily
Cor French horn (French) Piatti Cymbals (Italian)
Corno French horn (Italian) Più mosso More movement
Corno inglese Cor Anglais (Italian) Plus vite Faster
Do C Posaune Trombone (German)
Dolce Sweetly Precipitando Hurrying
Doppio Twice as fast Rasch Quickly
movimento Re D
Englischhorn Cor Anglais (German)
Saltando Jumping
Eroico Heroically
Scherzando Playfully
Es (note) E flat
Schnell Fast
Fa F
Senza sordino Without the mute
Fagott Bassoon (German)
Si (note name) B
Fagotto Bassoon (Italian)
Sol G
Giocoso Merrily
Spiccato Bouncing the bow
Gran cassa Bass drum (Italian)
Stretto In a faster tempo
Grosse caisse Bass drum (French)
Stringendo Getting faster
Grosse Trommel Bass drum (German)
Sul ponticello Play near the bridge
H (German note B (Stringed instruments)
letter name) Tambour de Tambourine (French)
Hautbois Oboe (French) Basque
Hoboe Oboe (German) Tamburello Tambourine (Italian)
Jeu de timbres Glockenspiel (French) Tamburo piccolo Side/snare drum (Italian)
Kleine flöte Piccolo (German) Timbales Kettle drums (French)
Kleine Trommel Side/snare drum (German) Tremolo Move the bow up and
Kontrabass Double bass (German) down extremely fast
Tromba Trumpet (Italian)
La A
Vif Lively
Lacrimoso Sadly
Violon Violin (French)
Lamentoso Mournfully

GENERAL KNOWLEDGE 8: ASSIGNMENT – FOREIGN TERMS
This game will help you to learn (click on "override, I was right" if your answer is close enough!). In the
next lesson you can play a game to practice the same vocabulary: https://quizlet.com/_2swtp1
If you find any terms you don't know in the music you're playing, let me know and I'll add them to the
list!
These widgets will give you a different bunch of words each time, so keep coming back to practise
regularly!
GENERAL KNOWLEDGE 9: ORNAMENTS
The Trill
Rapid alternation between the note written (called the “principal” note), and the note above.
Beam with a main beam that groups the notes into one beat, but then make subdivisions of fours, to
make them easier on the eye.
End on the principal note. This means you might have to add a triplet figure to make a smooth ending.
The Turn
The note above, the principal note, the note below, the principal note again.
This turn is directly above the note, so it starts on the C and is made up of four notes.
This turn is between two notes, so starts after the Bb and consists of five notes.
The Mordent
Upper Mordent – principal>note above>principal
Lower mordent (Line=Lower) – principal>note below>principal

The Acciaccatura
An acciaccatura is a small sized quaver or 8th note, with a slash through the tail.
Acciaccaturas are performed very quickly. Because the principal note falls on the beat, the acciaccatura
has to “steal” its time from the previous note.
Write the acciaccatura with a semiquaver or demisemiquaver (16th or 32nd note), then work out how
much of the previous note is left, and adjust the previous note accordingly.
The Appoggiatura
An appoggiatura is written with small-size notes, but without a slash through the tail.
Falls on the beat, not before it. Can be one or more notes. Use the note value used in the ornament.
It can consist of one or more notes. The notation of the appoggiatura shows you which note
Accidentals
Position of an accidental shows whether it applies to the note above or below the principal.
GENERAL KNOWLEDGE 9: ASSIGNMENT – ORNAMENTS
Write out the following bars in full. Try a few each day!
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
The following are suggested answers – many

answers are possible
1.
8.
2.
9.
3.
10.
4.
11.
5.
12.
6.
7.
GENERAL KNOWLEDGE 10: TRANSPOSITION
You need to learn the transposition interval and direction of each instrument.
The note you see in the score is the WRITTEN pitch. The note that actually sounds is CONCERT pitch.
Instrument Direction INTO concert pitch Interval

Clarinet, Trumpet Bb Down Major 2nd
Clarinet A Down Minor 3rd
French horn, Cor Anglais F Down Perfect 5th
Piccolo Up Octave
Double bass Down Octave
Bass clarinet Bb Down Major 9th
Clarinet Eb Up Minor 3rd
Trumpet D Up Major 2nd
Watch out for:

• Key signature
• Clef changes
• Accidentals
• Tied notes
• Placement of stems, slurs and ties
To compose into WRITTEN pitch, reverse the direction.

GENERAL KNOWLEDGE 10: ASSIGNMENT - TRANSPOSITION
EXERCISE 1
Give the interval and direction of transposition needed for these instruments to create concert pitch
(e.g. "up a major 3rd"):
a) Klarinette in B d) Clarinette in La
b) cor Anglais e) Kontrabass
c) Corni in F f) Clarinet in Eb
EXERCISE 2
Transpose the following horn parts into concert pitch:
EXERCISE 3
Write the boxed note at concert pitch, at the end of the stave.
EXERCISE 4
Write the boxed note at concert pitch, at the end of the stave.
EXERCISE 5
Write this cello note for a double bass, so that it sounds at exactly the same pitch.
EXERCISE 1
a) Down a major 2nd
b) Down a perfect 5th
c) Down a perfect 5th
d) Down a minor 3rd
e) Down an octave
f) Up a minor 3rd
EXERCISE 2
Don’t forget to change the stem directions.
EXERCISE 3
The original note is D# - there is a D# accidental in the previous bar, so the tied note is also D#.
EXERCISE 4
EXERCISE 5
GENERAL KNOWLEDGE 11: INTERVALS
INTERVALS REVISITED
• Intervals have a number and a quality.
• There are five interval qualities: major, minor, perfect, augmented and diminished.
• Major and minor intervals only apply to 2nds, 3rds, 6ths and 7ths.
• Perfect intervals are the unisons, 4ths, 5ths and octaves.
• The major and perfect intervals are the default intervals.
• Intervals greater than one octave are “compound” or use the actual number e.g. 11th, plus the
quality.
Take the lower of the two notes in any interval, and imagine it’s the tonic of a major scale. If the upper
note is also in that major scale, then the interval is major, or perfect.
If the upper note is a semitone lower, the interval is minor (for 2nds, 3rds, 6ths and 7ths) or diminished
(for 4ths, 5ths and 8ves).
If the upper note is two semitones lower, the interval is diminished.
If the upper note is one semitone higher, the interval is augmented.
• There is no such thing as a diminished unison

• An augmented unison is also called a chromatic semitone
TRICKY INTERVALS
Remove the accidentals to begin with. Add or subtract semitones with accidentals from each side, to
keep the interval the same. Add or subtract semitones from one side only to match the interval in the
question.
Raising the top note, or lowering the bottom note, makes the interval wider.
Lowering the top note, or raising the bottom note, makes the interval smaller.
“Harmonic interval” = in the harmony = simultaneous notes
“Melodic interval” = in the melody = consecutive notes
INTERVALS IN A SCORE
• Work out each note at concert pitch. Jot down on scrap manuscript paper
• Check for key sigs, accidentals, ties, clef changes
• Make sure you transpose in the right direction/octave
GENERAL KNOWLEDGE 11: ASSIGNMENT – INTERVALS
The following is an extract from a Wind Quintet by Beischer-Matyó.
1. Fully describe (e.g. augmented 2nd) the boxed melodic intervals A-E.
A: B: C: D: E:
2. Fully describe the boxed harmonic intervals A-E.
A: B: C: D: E:
Bonus question: what era is this music probably from? Baroque, Classical, Romantic or Modern? Why?
3. Find and circle the following melodic intervals: A) perfect 5th; B) aug unison; C) dim 7th; D) minor 3rd;
E) aug 4th
1. A: minor 6th; B: diminished 4th; C: major 7th; D: major 2nd; E: perfect unison
2. A: (E-D) minor 7th; B: (F-A) compound major 3rd (major 10th); C: (C-G) perfect 5th; D: (Bb-A) major
7th; E: (D-Bb) compound minor 6th (minor 13th)
Bonus question: Modern era, because of the unusual melodic intervals, frequent time signature and
tempo changes, detailed performance directions.
3.
Did you get any wrong answers?
These were the intervals that might have caught you out:
GENERAL KNOWLEDGE 12: CHORDS AND KEY
You can expect questions on identifying any of the normal triad-based chords, and also added 7th
chords:
• V7 • ii7 • ii°7
You must state the:
• Roman numeral name of the chord

• The inversion (a, b, c or d)
• The prevailing key, if asked
V7 is always a major triad plus 7th. Found in major and minor keys.
ii7 is always a minor triad plus 7th. Found only in major keys.
ii°7 is always a diminished triad plus 7th. Found only in minor keys.
To work out chords, follow this 4–step plan.
1. Write out the names of all the notes sounding, at concert pitch
2. Cross out any duplicates
3. Stack the notes in thirds
4. Work out the inversion
The notes in this chord are Ab, Eb, F and C.
Stacked in thirds, the order from bottom to top is F, Ab, C, Eb.
Bottom note =root of the chord (F).
Triad = F minor, so this must be a ii7 chord – remember that V chords are always
built on major triads.
Lowest sounding note is Ab, so the chord is in first inversion. It is ii7b.
Prevailing key: check the next two chords. V7 is followed by tonic chord. II7 is followed by V-I, or Ic-V-I.
Chord I is the tonic chord in the
prevailing key.
Sometimes you can work out the key

from the notes used, if they make up a
scale. These notes all belong to the
scale/key of E major.
GENERAL KNOWLEDGE 12: ASSIGNMENT – CHORDS AND KEY
EXERCISE 1
Name each of the following chords with Roman numeral notation including the inversion, e.g. Ia (=major
chord root position) or ii°b (= diminished chord first inversion), and name the key (major or minor is
given).
EXERCISE 2
Work out the key of this Bach Chorale, then describe the lettered chords using the Roman numeral
system, including the inversion.
Key:
EXERCISE 3
A. In this Chorale extract, Bach modulates three times. What key does it start in, when does it modulate
and to which other keys?
Starting key:
1st modulation: 2nd modulation: 3rd modulation:
B. Describe the lettered chords and state the prevailing key for each one.
EXERCISE 1
a. Bb major, IVb e. E major, iia i. Bb minor, vii°b
b. B minor, VIa f. G minor, ii°b j. G major, via
c. C# minor, ic g. B major, Vc
d. Ab major, vii°b h. F minor, iva
EXERCISE 2
Key: G minor
a. Vb c. ivb
b. ib d. Va
EXERCISE 3
A. Starting key: A major
1st modulation: first pause, E major
2nd modulation: second pause, A major
3rd modulation: third pause, B minor
B.
a. Ib (prevailing key A major)
b. Va (prevailing key A major)
c. vii°b (prevailing key E major)
d. iiia (prevailing key A major)
e. ib (prevailing key B minor)
f. Va (prevailing key B minor)

GENERAL KNOWLEDGE 13: MUSICAL DEVICES
Composers use “musical devices” to develop a small number of melodic ideas into a complete piece.
SEQUENCE
A short stretch of melody is repeated, but starting on a different scale step.
In an exact sequence, the interval number between each note stays the same.
In an inexact sequence, one or two intervals might be altered to fit the harmony better.
This is an exact sequence:
IMITATION
A short stretch of tune is immediately repeated by another part, either at the same pitch, or an octave
higher/lower.
PEDAL
A repeated or held (sustained) note, while the harmony changes through different chords.
Most pedals are in the bass, and on the tonic or dominant note.
Sometimes a pedal can be “inner” or “inverted”, when it is not in the bass.
Here is a sustained dominant pedal (bassoon G):

CHANGES OF MOOD
Most large pieces of music include changes of mood, to make them more varied and interesting. In your
exam, you might be asked to explain how a composer has managed to change the mood of a piece. You
can look for changes in:
• key
• tempo
• time signature
• rhythm
• melody
• dynamics
• articulation
• texture
• instrumentation
Think about what effect these changes have on the mood – don’t just state the obvious!
In this extract from a Prelude by Albeniz how does he achieve a change of mood from the double bar line
onwards?
Mood change: from slightly agitated, to calm and dreamlike.
How: longer note values, legato instead of staccato, changed the texture from being chord-based, to
being a thin, octave doubling with no harmonisation, apart from at the end of the phrase.
As you are playing pieces on your own instrument, try to notice these changes of effect, and work out
what exactly has happened in the music, to make the change apparent.

GENERAL KNOWLEDGE 13: ASSIGNMENT – MUSICAL DEVICES
1. In your own words, explain the terms inner pedal, inexact sequence and imitation.
2. This is part of Mozart's Clarinet Quintet. The double bar line in the middle bar 32 signals a change of
section. Comment on how the composer achieves a change in mood after the double bar line.

1. Inner pedal: a note which is held or repeated while the harmony changes around it, and which is in
the middle of the texture of the piece. Inexact sequence: a short section of melody which is repeated
starting on a different scale note, with some small adjustments. Imitation: The immediate repetition of a
short melodic idea, in another part, either at the same pitch or an octave higher or lower.
2. The overall dynamic is quieter (no forte sections), the melody is less lyrical/smooth and more
spiky/detached, the texture is lighter because the clarinet is now tacit (not playing), the key has changed
from major to minor. The mood has changed from light and lyrical to dark and anguished.

GENERAL KNOWLEDGE 14: ASSIGNMENT – REVISION
Look at the score on the next page and answer the following questions:
1. How many types of woodwind instrument are playing in this extract?
2. How many oboe players are there?
3. Name a transposing double reed instrument which doesn’t feature in this extract.
4. Which two different instruments share a stave? (Give their English names.)
5. True or False: The first and second violins play in unison throughout this extract?
6. Which orchestral section (family) does not feature in this movement?
7. In this extract, are the violas are playing: "a deux", "divisi" or "unis."?
8. Why does the notated G in bar 9 of the "Corni in G" part have two stems?
9. What is "Corni in B" in English?
10. Give the full name of the melodic interval between the last note of bar 3 and the first note of bar
4 in the violin I part.
11. Give the full name of the harmonic interval between the two notes in the corni in B part in bar 7.
12. What musical device has the composer employed in the violin I and II parts from bars 7-9?
13. What word describes the rhythm in bars 1-4 of the violin and viola parts?
14. What is “Allegro con brio” in English?
15. What period do you think this piece comes from: 1600-1700, 1700-1800, 1800-1900 or 1900-
2000?
16. Give reasons for your answer to question 14.
17. Who is the most likely composer of this piece: Purcell, Wagner, Mozart, Debussy?
18. Give the letter name of the lowest note played by the viola in this extract.
19. Look at the chord formed by the first four notes in the violin part in bar 7. Give the chord’s
Roman numeral name, inversion and state the prevailing key.
20. Look at the chord formed by the first four notes in the violin part in bar 9. Give the chord’s
Roman numeral name, inversion and state the prevailing key.

1. One (oboes).
2. Two (the part is marked “a2”).
3. Cor Anglais.
4. Cello and double bass.
5. True.
6. Percussion.
7. “Unis.” (all together)
8. It is shared by two horn players.
9. Horn in Bb.
10. Diminished 7th.
11. Minor 7th.
12. Sequence.
13. Syncopated.
14. At a fast tempo and with vigour/liveliness/energy.
15. 1700-1800.
16. Homophonic texture, small Classical orchestra, simple harmonies, very balanced.
17. Mozart.
18. F#.
19. vii°b in G minor.
20. ib in G minor.

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Grade Six

General Knowledge & Score Reading

Copyright © 2016 Victoria Williams

All rights reserved.

© 2016 Victoria Williams / www.mymusictheory.com 1

© 2016 Victoria Williams / www.mymusictheory.com 2

© 2016 Victoria Williams / www.mymusictheory.com 3

You can connect with Victoria Williams in the following ways:

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OPEN NOTE TUNINGS

= use an open string

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English French Italian German

© 2016 Victoria Williams / www.mymusictheory.com 6

a) violin b) viola c) cello

3. Which standard orchestral string instrument is absent from this extract?

4. True or false: the Violin I and Violin II parts are identical.

6. What is the German word for viola?

(B) Look at the following score and answer the questions

2. What does “div.” mean in bar 37?

3. What does “double corde” mean in bar 37?

© 2016 Victoria Williams / www.mymusictheory.com 7

a) violin - yes b) viola - yes c) cello - yes

4. False (the last three notes are different)

5. “arco” (because nothing else is indicated)

1. Violins, violas and cellos.

2. The viola section is divided into two

3. Play the notes as chords with two strings

© 2016 Victoria Williams / www.mymusictheory.com 10

Standard woodwind section (from Classical era)

Extended woodwind section (from Romantic era)

“a2” or “zu” means “both players”

“solo” or “I” or “II” (etc.) means one player

Stems up = first player

Stems down = second player

Double semibreve (whole note) means one per part

Double reeds: oboe, bassoon, cor Anglais

Single reeds: clarinets of all sizes

Unfamiliar foreign names: Fagotto/Fagot = bassoon; hautbois=oboe

Italian Flauto Oboe Clarinetto Fagotto Corno Inglese Flauto piccolo

French Flûte Hautbois Clarinette Basson Cor Anglais Petite flûte

German Flöte Hoboe Klarinette Fagot Englischhorn Kleine flöte

© 2016 Victoria Williams / www.mymusictheory.com 11

1. Name the four standard woodwind instruments

and contrabassoon. Which is the earliest era it could be from?

4. A score calls for “2 fagotti” – what is this in English?

instrument in the second bar.

8. Which instrument has the lowest sounding note in this extract?

© 2016 Victoria Williams / www.mymusictheory.com 12

1. Flute, Oboe, Clarinet, Bassoon

3. Cor Anglais or double bassoon (contrabassoon)

4. Two bassoon players

6. Flute, Clarinet, Bassoon

7. Two oboes are playing.

© 2016 Victoria Williams / www.mymusictheory.com 13

English Trumpet French Horn Trombone Tuba

Italian Tromba Corno Trombone Tuba

French Trompette Cor Trombone Tuba

German Trompete Horn Posaune Tuba

© 2016 Victoria Williams / www.mymusictheory.com 14

4. Give the English name for Posaune.

5. What is a tromba and what language is the word?

6. Which brass instrument often doubles up the woodwind section?