Grade 5 Theory Revision

You will be expected to know everything contained in the previous theory grades as well as:

* Identify and write any note using the treble, bass, alto (middle C on the 3rd line of
the stave) and tenor clef (middle C on the 4th line of the stave).
Notes may also include double sharps (×) and double flats (º). You will also be
expected to understand enharmonic equivalents e.g. F = E# = Gº

* Transpose a passage of music from any clef to another. Remember to use middle C as a
guide note

* Write and identify key signatures for all major and minor keys up to and including six
sharps and flats:

Major: Key signature: Minor: Major: Key signature: Minor:

C major A minor
G major F# E minor F major Bb D minor
D major F# C# B minor Bb major Bb Eb G minor
A major F# C# G# F# minor Eb major Bb Eb Ab C minor
E major F# C# G# D# C# minor Ab major Bb Eb Ab Db F minor
B major F# C# G# D# A# G# minor Db major Bb Eb Ab Db Gb Bb minor
F#major F# C# G# D# A# E# D# minor Gb major Bb Eb Ab Db Gb Cb Eb minor

Sharps: Father Christmas Gave Dad An Electric Blanket

Flats: Blanket Exploded And Dad Got Cold Feet

* Sharps and flats must be correctly positioned in a key signature, notice the placing of
sharps in the tenor clef:

#### # ? #### # # B #####

& # # B ## ### #

bb
& b b bb ? bbb B bbbbbb B bbbbbb
bbb
* Identify and write both the melodic and harmonic form of minor scales:
Harmonic: raise the 7th a semitone ascending and descending
Melodic: raise the 6th and 7th a semitone ascending; follow the key signature descending

* Know the technical names for the notes: 1 = tonic 2 = supertonic 3 = mediant
4 = subdominant 5 = dominant 6 = submediant 7 = leading note

* Identify all simple and compound intervals from any note. The lowest note is the keynote.
Count the number of notes inclusive. Use 'compound' if the notes are larger than an
octave. Carefully check for key signatures and accidentals that may affect the notes.
4ths, 5ths & 8ves: diminished, Perfect or Augmented.
2nds, 3rds, 6ths & 7ths: diminished, minor, Major or Augmented.
© Kevin Fairless 2015
* Construct a chromatic scale. Notes with the same letter name never occur more than
twice. For example:

w w #w w #w w
& w w #w w #w w #w

w #w nw #w nw w #w
& nw #w nw #w nw w
* Transpose a melody up or down a major 2nd (2 semitones), a minor 3rd (3 semitones)
or a perfect 5th (7 semitones)
First, transpose the notes up or down the correct number of lines or spaces on the
stave, then, if necessary, adjust the interval with an accidental. For example:

#˙
note to be note to be note to be up a 5th

#˙˙
up a 2nd up a 3rd

˙ #˙˙ ˙ ˙
transposed transposed transposed

& & & ˙

down a 2nd down a 3rd
down a 5th

If there is a key signature remember to transpose that too. For every accidental in the
given melody there must be a corresponding accidental in your answer (eg. if a note has
been raised in the given melody then raise that note in your answer).
If there isn't a key signature extra care is needed to determine which notes require
accidentals.

* To write in open score using treble and bass clefs a passage for SATB on two staves
and vice versa. Write as neatly and clearly as possible so the notes are vertically aligned.
Remember the small 8 below the treble clef when writing in open score for the tenor
voice (the notes will sound an octave lower than written) and the stem direction of notes.

* To identify the root, first and second positions (a, b, or c) of chords I, II, IV and V in
any key. Also, to be able to choose suitable chords at cadential points in a melody in the
major keys of C, G, D or F. Remember the last chords of the cadences at grade 5 will
either be I (V-I: perfect cadence or IV-I: plagal cadence) or V (any chord (I, II or IV)
to V: imperfect cadence). Remember to ignore passing and auxilliary notes in the melody.
6 5
* To identify the chord progression Ic-V ( 4 3 ) on the dominant note in any key. Look for
two consecutive chords where the lowest note of both is the dominant note of the key of
the music (which will be given).

* To recognise and understand:

simple time signatures: compound time signatures: irregular time signatures:

2 3 4 2 3 4 34 6 6 9 12 6 9 12 5 5 7 7
4 4 4 222 88 4 8 8 8 16 16 16 4 8 4 8
Bottom number: (top number: multiple of 3)
2 = minim beats Divide the top number by 3 to
4 = crotchet beats give the number of beats per bar
8 = quaver beats

© Kevin Fairless 2015

* To add bar lines or time signatures to a passage of music. You should be able to recognise
time values from a breve W (remember the two vertical lines either side of the semibreve)
to a demisemiquaver y. Also be able to group notes apporopriate to the time signature
(groupings of threes in compound time) Describe time signatures as duple, triple or
quadruple, and simple or compound.

* To compose an eight-bar melody for a specific instrument (from a choice of two).

Identify the key of the given opening section (if there are accidentals it will be in a minor
key, remember to raise the 7th note). Write two four-bar phrases, the first, ending in
bar 4 on the dominant, the second ending in bar 8 on the tonic. If the melody has an
anacrusis end each phrase with the appropriate number of beats. Begin the second phrase
with an anacrusis too. Use rhythmic motifs from the given opening and make some use of
sequence and imitation. If you are unsure of the range of the instrument you've chosen
it should be safe to go no further than one ledger line above or below the stave. Add
tempo and performance directions (dynamics and articulation) and a double bar-line at
the end.

* Translate and interpret musical terms in Italian, French and German. Also be able to
understand signs for specific instruments (bowing markings for strings, pedal signs for
pianists etc). Make use of the Quizlet app or website, and flashcards from the Score
Exchange website.

* Recognise ornaments, such as acciaccatura, appoggiatura, mordent, turn and trill.

Including the replacement of written-out ornamentation with the appropriate signs (but
not vice versa)

* Have a knowledge of the instruments of the orchestra and voices, which clefs they use
and instrument family groups to which they belong. Also know the basic way in which they
produce their sound (e.g. double reed or single reed: oboe and bassoon have double letters
they also have double reeds)

You have two hours to complete the seven questions on the exam paper, you will be given
some manuscript paper for rough working and writing out the circle of fifths for quick
reference.

PLEASE READ ALL OF THE QUESTIONS SLOWLY AND CAREFULLY.

HIGHLIGHT OR UNDERLINE IMPORTANT WORDS IN THE QUESTIONS.
ALWAYS READ THROUGH THE EXAM PAPER WHEN YOU HAVE FINISHED

AND CHECK YOUR ANSWERS!

GOOD LUCK!

© Kevin Fairless 2015