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Grade 6 Course
A1. Introduction to Harmony

A2. Triads and Chords

A2. Triads and Chords Exercises

A3. Inversions

A3. Inversions Exercises

A4. Chord Progressions

A4. Chord Progressions Exercises

A5. Melodic Decoration

A5. Melodic Decoration Exercises

A6. Harmonizing a Melody I

A7. Harmonizing a Melody II

A6 & A7. Harmonising a Melody Exercises

A8. Figured Bass an Introduction

A8. Figured Bass Introduction - Exercises

A9. Figured Bass Rules for Realization

A9. Figured Bass Rules Exercises

A10. Figured Bass Worked Example

A10. Realising a Figured Bass - Exercises

A11. Adding a Figured Bassline

A11. Adding a Figured Bass - Exercises

The Rules of Harmony

B0. Composition - Introduction

B1. Composition - Architecture

B1. Composition Architecture Exercises

B2. Composition - Motifs & Sequences

B2. Composition Motifs and Melodic Sequence Exercises

B3. Composition - Cadences

B3. Composition Cadences Exercises

B4. Composition - Interpolation

B4. Composition Interpolation Exercises

B5. Composition - Key and Tonality

B5. Composition Key and Tonality Exercises

B6. Composition - Modulation

B6. Composition - Modulation Exercises

B7. Composition - How to Compose

B7. Composition How to Compose Exercises

C1a. Reading an Orchestral Score

C1a. Reading an Orchestral Score Exercises

C1b. Reading a Chamber Music Score

C1b. Reading a Chamber Music Score Exercises

C2a. Musical Instruments, Families and Names

C2a. Musical Instruments, Families and Names - Exercises

C2b. Transposing, Reed & String Instruments

C2b. Musical Instruments,Transposing, Reed and Strings - Exercises

C3. Musical Terms and Signs

C3. Musical Terms and Signs - Exercises

C4. Commenting on Music

C4. Commenting on Music - Exercises

C5. Key

C5. Keys - Exercises

C6a. Naming Chords

C6b. Chords in a Score

C6. Naming Chords - Exercises

C7a. Ornaments

C7a. Ornaments Exercises

C7b. Melodic Decoration and Pedals

C7b. Melodic Decoration and Pedals Exercises

C8. Technical Exercises

C8. Technical Exercises - Exercises

C9. Periods and Composers

C9. Periods and Composers Exercises

Practice Test

Next UK theory exams

12 weeks 3 days 1 hour 33 minutes
Saturday 20th June 2015, 10 a.m.

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A3. Inversions Exercises

Written by Victoria Williams

Category: Grade 6 Online Course

Last Updated: 23 October 2014

Created: 17 August 2010



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Grade Six Music Theory - Inversions Exercises

Chord Inversions (A3)

Move your mouse slowly over the stave (tap on mobile devices) to reveal the answers.

Q.1- Naming Inversions

Name these chords using the Roman numeral plus a letter to show the inversion. The first one has
been done as an example.

Q.2 - Completing Chords

Write one note between the given notes, to complete the following chords. The first one has been
done as an example.

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C7a. Ornaments Exercises 2 comments

Grade Five Revision - 7 (Score)


Q1. Lesson 8: A Worked Example






Grade Five Music Theory - Lesson 10:

Describing Chords 1 comment


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Bobby Tennant

5 months ago

I see for question 2i. that the III chord has been used. I don't think this
augmented chord is required for Grade 6 and further yet, shouldn't it have an
F#? It has also been portrayed as a major chord when I think it is supposed to
be an augmented chord - 'iii+'. Thanks.

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Mod > Bobby Tennant 5 months ago

Hi Bobby,
Although you don't need to use chord III in the harmony or figured bass
questions, it's actually quite a common chord in a minor key and could
come up in the general knowledge questions based on a score, for
This is not an augmented chord, it is chord III (major) as you correctly
pointed out. In a minor key, chord III (major) is the relative major e.g. a
chord of C major in the key of A minor, and this is why it is used - music
often "passes" between the relative major/minor keys without actually
modulating. III+ (augmented - rather than iii+) is not used due to the
augmented interval.
You are right in that it's unlikely to come up in the exam, but this is just a
theoretical exercise where a triad is built from each degree of the scale.

see more
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Louise > mymusictheory

17 days ago

I have seen the III chord a lot in minor keys. However, in my

notes I have the triads written out for the minor (harmonic) and I
have III+ as the 3rd, is that wrong? I have the III+ written out for
the minor (melodic) and I am with the understanding that the III+
is used when the melody is rising? Is that correct? Thanks

is used when the melody is rising? Is that correct? Thanks

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Mod > Louise 17 days ago

No Louise, you'll find that III+ is not used at all in music of

this period. It's only used much later (late 19th century
onwards). When the melody is rising it's common to
raise the 6th degree of the scale to avoid an augmented
2nd, but you don't build a triad from that note. In practice,
the raised 6th/7th also happen when melodies fall, not
only when they rise.

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Louise > mymusictheory

17 days ago

Thank you for your quick reply! I've traced the

source of my notes to ABC of Harmony, Book A
which included all possible 'choices' of triads very confusing! I've always used and played III so
going back over my earlier notes had me
wondering where III+ came from and if it was
right. Thanks for explaining!

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Shirley T

9 months ago

Shirley T

9 months ago

For Q2, #12, why is that a VIa instead of a via as the G is not a G#? Thank you.
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Mod > Shirley T 9 months ago

Hi Shirley,
It's because there are two flats in the key signature (it's G minor). So
the chord is Eb-G-Bb, which is an Eb major chord.
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Shirley T > mymusictheory

9 months ago

Oh, duh, of course!! Haha. Thank you!

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10 months ago

need help please! why does the accidental in question 1 number 5 still give a
V(c) answer?
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Mod > Monika 10 months ago

Hi Monica, when making chord V it's normal to use the notes from the
harmonic minor scale for minor keys. The F# minor harmonic scale has
a sharpened leading note (E#). The sharpened leading note makes
chord V a major chord, in minor keys. Without the accidental it would be
vc (lower case), but the minor version of chord isn't found so often.
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