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Royal Conservatory Grade II rudiments?
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I'm just wondering what Royal Conservatory Grade II rudiments includes?
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Royal Conservatory of Music Grade II Rudi‐
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Grade II Royal Conservatory level.?

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Can anyone figure out the chords to the
song "From Here to Zero" by David Cook? I
would like to learn it but haven t found any
chords.?
What is a (at least somewhat known) song
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Meu periquito botou ovo numa gaiola de
madeira els vão roer-la e fugir?

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Best Answer: Here's a little digest version of what I had to know when I
did mine:
RCM Grade II Rudiments of Music
1. Notation
2. Major and Minor Scales
3. Other Scales and Modes
4. Intervals
5. Chords
6. Cadences and Melody Writing

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7. Time
8. Naming the Key, Transposition, and Detecting Errors
9. Score Types
10. Terms, Signs, and Abbreviations
1. Notation
a) Things to Know:
- Reading notes on a staff in the treble, bass, alto, and tenor clefs (including
ledger lines, and correct note stem placement)
-Simple time values (e.g. whole note, half note, etc.), and their relationship to
eachother
-Tones, Semitones, and Accidentals (including double sharps, and double
flats)
b) Things to watch out for:
-Placement of stems and dots!
-The difference between diatonic semitones and chromatic semitones can get
confusing; remember that 'Diatonic' means "two toned."
2. Major and Minor Scales
a) Things to know:
-Semitone and wholetone pattern in major and minor scales
-Key signatures and key signature placement in the different clefs
-The technical names of the degrees of the scale (tonic, supertonic, mediant,
subdominant, dominant, submediant, leading note)
-Minor scales: Natural, Harmonic, and Melodic
-Relative Keys
b) Things to watch out for:
-these concepts all overlap on the actual exam so you could be asked to write
a G-sharp melodic minor scale, ascending, and descending, starting on the
mediant, using a correct key signature
3. Other Scales and Modes
a) Things to know:
-Chromatic scales, with accidentals and key signatures
-Whole tone scales
-Blues scales (the intervals: tonic, minor 3rd, perfect 4th, diminished 5th/aug‐
mented 4th, perfect 5th, minor 7th, perfect octave)
-Pentatonic scales
-Modes: Dorian, Phrygian, Lydian, and Mixolydian, with accidentals and key
signatures
b) Things to watch out for:
-remember that a chromatic scale has sharps ascending, and flats descending
-whole tone scales require six different letter names, must start and end on the
same letter name, and that all steps between notes are major 2nds, except for
one which is a diminished 3rd
-just play the black keys on a piano if you have access to get a good sense of
a pentatonic scale
-although there are other modes, the RCM only requires that you know what
they are; only the Dorian, Phrygian, Lydian, and Mixolydian modes do you
need to write answers for on the exam (or at least that's how it was when I did
it)
4. Intervals
a) Things to know:
-Type: Harmonic or Melodic (e.g. sounded together or separately)
-Size: The number of letter names in the interval
-Quality: Major, Minor, Perfect, Diminished, and Augmented.
-Inverted Intervals
-Finding the scales containing a given interval, or finding the number of a cer‐
tain interval in a given scale
b) Things to watch out for:
-There are MANY unusual intervals, and special cases to watch out for: The
Unison (you cant make a unison diminished), Illogical Keys (e.g. E-sharp; men‐
tally change the key and remove intervals, then replace them, this can be men‐
tally confusing), The Inverted Augmented Octave.
-Finding the scales containing a given interval can be incredibly time consum‐
ing if not done properly; there are many ways to speed up the proccess that
people have developed that will make your life a lot easier!
5. Chords
a) Things to know:
-Triads, using accidentals and key signatures
-Chords in different technical interval positions (e.g. a G major triad is the
dominant triad of the key of C major)
-Major, Minor, Diminished, Augmented, and Dominant 7th Chords
-Chortal chords, polychords, and clusters
-Inversions: Root position, 1st inversion, 2nd inversion
-Open and closed chords

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b) Things to watch out for:
-again, many of the concepts get intertwined and you may be required to
name the root, quality, position, key, and technical degree of a single chord, or
you may be required to write an open dominant 7th chord in 2nd inversion in a
certain key, or using accidentals
-take a look through a church hymn book to get a better sense of open
chords. Very often the SATB 2:2 chorale structure is the easiest to visualize
and figure out mentally
6. Cadences and Melody Writing
a) Things to know:
-Cadences: Perfect, Plagal, and Imperfect
-How to write cadences
-Inserting cadences in major and minor melodies
b) Things to watch out for:
-there are many methods for writing cadences, and most people usually devel‐
op their own unique style of figuring out how to do it
-again, looking in songbooks of any sort and finding where cadences exist can
be very helpful. Usually theory students are also musicians, and finding pieces
without cadences is nearly impossible
7. Time
a) Things to know:
-Simple and compound duple, triple, quadruple time, and the accompanying
stress patterns (e.g. in simple 3/4 time, the stress pattern is strong, weak,
weak like a waltz)
-Proper musical notation (i.e. placement of rests, notes, and barlines)
-Hybrid Time (e.g. 5/4, or 4/3, or in rare, and usually unwelcome instances
3/10)
b) Things to watch out for:
-The timing for Rudiments II is extremely mathematical, and once the basic
concepts are understood, the formula can be applied to many cases: there
aren't very many things here to watch out for
8. Naming the Key, Transposition, and Detecting Errors
a) Things to know:
-How to find the key of a given melody. Things to consider: The key signature,
accidentals, the final note, the opening notes, "triads"
-How to transpose a melody (into tenor and alto clefs too...sorry!)
-Concert pitch, and transpositional instruments
-Detecting errors in music. Things to consider: clef position, key signature po‐
sition, time signature position, bar lines (these are actually common in real mu‐
sic), double bar lines, stem and dot placement, note and rest placement in ref‐
erence to time signature, incomplete measures at the beginning and the com‐
plementary incomplete measure at the end, slur and tie shapes, musical term
spelling, melodic issues that logically do not work (e.g. incorrect accidentals)
b) Things to watch out for:
-The hardest part of identifying mistakes is not identifying them but correcting
them
-This is where a musician's intuition benefits him or her (i.e. knowing from ex‐
perience when something doesn't "look right" is the most powerful tool here)
9. Score Types
a) Things to know:
-Different types of score layouts: Pianoforte, Organ, Orchestral, Vocal, Short
Score, Open Score, Modern Vocal Score, and String Quartet
-How to rewrite scores into other types of scores
b) Things to watch out for:
-Be sure to copy out details very precisely; missing a simple "Allegretto" at the
top of the score can cost unnecessary marks on the exam
-The orchesatral, short, and open scores require the use of tenor, and alto
clefs not used in the other more common types
10. Terms, Signs, and Abbreviations
a) Things to know:
-(to list all of the RCM's requirements for Rudiments II would take up way to
much space, so I will just list the general type of term and two examples).
-Tempo Terms: Largo -> Prestissimo
-Tempo Change Terms: Ritardando, meno mosso
-Volume Terms: Mezzo piano, fortissimo
-Volume Change Terms: Crescendo, Sforzando
-Style Terms: Maestoso, con brio
-Italian descriptors: con pedale, tutti
-French descriptors: lentement, vite
-German descriptors: langsam, mit Ausdruck

Well, there you have it. I think some of this was a bit of a review for me too! I'll
just finish off with some exam tips.

-read the instructions carefully, and follow them! It is easy to get caught up
writing in the treble clef and then forget that you were actually supposed to be
writing in the bass clef. This is the number one thing to remember!
-be sure to add double bar lines at the end of a section, it makes it look
proffessional and the person marking it won't have convulsions
-try to get in the habit of "singing" the pitches in your head, it will make for a
quiet exam, but will also help you musically
-lastly, have fun with theory, if you tell yourself it is stupid and boring then
that's certainly what it will be. My attitude was, ok, I don't like this, but I need
to try and enjoy myself so I can get it all over with. Many musicians are way
ahead of the theory mentally but need to get the certificate anyway. Just try to
enjoy it while it lasts...trust me.
Source(s):
Wharram, et al. "Elementary Rudiments of Music." Fredrick-Harris Music Co.,
Ltd. Mississauga, Ontario. 2005.
John · 8 years ago
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Carlita · 1 month ago
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Grayce · 1 month ago
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Royal Conservatory Grade II rudiments?
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