Music Theory in Practice Grade 1 ERIC TAYLOR ‘The Associated Board of the Royal Schools of MusicSyllabus for Grade 1 (1) Note vals of semibreve, minim, ctotchet, quaver and semiquaver, and their equivalent rests (candidates may use the tems ‘whole not’ ball note’ etc). Tie notes. Single-doned ores and ress, (2) Simple time signatures of $9 4 , bar-tines, and the grouping of the notes listed above within these times. Composition of a two-bar chythm in answer to a given shythm staring on the first beat of a ber, (3) The save. Treble (G) and bass (F) cleft, Names of notes on the stave, inching middle in both clef Sharp, fat and natura signs, and their cancellation. (4) Construction of the major scale, including the position of tones and semitones. Sales and key signatures of the major keys of C, G, D and F in boch clefs, with their tonic triads (rest postion}, degrees (number only and intervals above the tonic (oy number only), (5) Some frequently wed terms and signs conceming tempo, dynamics, performance directions and articulation marks. Simple questions willbe asked about a melody writen in either treble or bass clef. Fit publi 1990 by “The Anse Board ofthe Raps Schools af Masi (Publsing) ad 14 Bedford Square, Looden WCB 31G © 19H by The Asocintd Bou of te Royal School of Msc ISHS 1 884724905 A sights esereed. No part ofthis pubention may be reproduced trove in sere eytn,o rman’ fay lores by ay Dear Sector, mechanical, potscoping, recording or echerwine, rth de roe perme of the Sopyright owner “Typesetig acd mnie prsesing by Halts & Co, 2 Amersam, Backs emi ia Great Britain by Heatiey Bother: Led, Ashford, RestContents Section A Section B Section C Section D Section E Section F Sectian G Scetion H Section I ‘Section J Section K Section L. ‘Section M Section N Section 0 Section P Section Q Section R Blementary time values Barclines and time signatures Notes on the stave ‘The treble (G) clef ‘The bass (F) clef More on time values Rests Tes Does Ascidentats Semitones and tones, ‘The scales and Key signatures GG, D and F major (Caelting an accidental Degrees of the scale and Intervals ‘The tonic iad Composing an answering rhythm Performance directions General exercises ‘The muric on the cover isthe opening of an arungement fo cumget in and paca by Pap Cranrnet ofthe ai, "The trumpet shal soon fen Handel's Menish (Hane and Back Aras, posh by the Asvocae Bowed) 10 u 2 a 4 5Introduction In the theory examinations you may write yoor answers ther 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 wrinen, Ifyou wse a pencil, choose one that isnot too fant, and make sure that i is sharp. LF you sea pen (af whatever Kind}, choose one that does nat make too thick a stroke: some of the lines you will need to draw will have to be thin, ‘The advanage of using a pencil is that you can make corrections easily and neatly. But this needs care - and also & good-quality, clean rubber if you are to avoid smudges (and perhaps a crumpled page a8 well!) Right from the beginning, its imporaant to lear to write down music cleatty. Badly written work may be misunderstood, 50 it could lose you marks in an examination. And «quite apart from exarninations, bad writing leads to mistakes orto waste of time when musicians have to sing or play from manuscript, Some hints about writing willbe given in these work-books, and any printed music which you ate learing will provide a good roadel. Look closely to sce hour the notes and signs are writen, and where they are placed. Precise copying out music carefully. To do-it well mzy take tine at first, bux speed will orn wih practice. In the examination marks wil be lost for inaccurate copying and untidy work. A Elementary time values (see The AB Guide co Music Theory, 1/1) Exercise 1 What are these notes callied? go Blame cersivnssits ¢ Name .. J Name. } Name... Exercise 2. Complete the following sentences by adding the right number on each of the dotted lines. (As an example the answer tn the fit ooe is given) Ad tess asloagas 2 J Ao Masts as lng as. A lass as long as Ad lana as lg. Ad tases as long aExercise 3 Exercise 4 Exercise 6 Exercise 6 Exercise 7 @) Exercise 8 @ @ Bar-lines and time signatures {see The AB Guide to Music Theory, 1/2) (What ae these lines calle? wi at 1303 Wd fle What is this pair of lines called? 54+ At the beginning of piece of moc you wil usually find two numbers: for example, 4B, For 4. Whar are these called? ..., ‘And what des the bottom mumiber tell you? So what i the full meaning of % * ‘And what ifthe full caning of 22 Write the sign which is sometimes used instead of $. .. [Add ONE note at cach of the places marked * 40 make the bar compte Re le ld Tete C1 aid ot Jc dd Jot ssl od alo dla sd Wed bool dd Add the time signature at the beginning of each of the following. Jdld ld) AJ II Jd Wid led tle J Jaded 31d 21 2d Idd Dd 2 1c Notes on the stave Exercise 9 Exercise 10 What are thee additional lines caled? .., (toe The AB Gude 19 Muse Theory, V1 & 2/1) ‘The easiest note to draw is the xcmubeeve: it is simply an oval, ©. [fit is meant tobe on 4 line, the line should run exactly through the middle, and the semibreve should cover only half the space on either side, For example, Tris not clear where the notes marked x are meant 1 be. [Draw a semibreve on every line and in every space between the given notes, —_————— 5 [Notes higher or lower than thove prose for by the smve can be shown by drawing a additonal Line ot lines when required. For example, [Notice that each note then has its on line: is A line should not be drawn over the note immediately above the stave, nor undemeath the note immediately below it: ‘When you draw extn lines, they must not spe up or down. They should be the same dlitance apart as the stive lines: ‘As many lines as are necded may be imwn, but in Grade | we shall go no furber than one above or below the stave:Exercise 11 Exercise 12 Like semibrewes, the noe-heads of misims and shorter notes are alo oval (not round), though drawn a line smaller (Some people draw blick not-heads a singe stating sro, thus: J) but these are not easy to read and cin lead to mistakes) “The stem of a note goes down oa the left [and up om the right 2), “The stems of notes an the top two Hines go down. ‘The stems of notes on the bottom two lines go up. ‘The stems of notes on the middle fine may go up or down. cy 2 = : = o— - [Notice how long the stems ae, and do not drew them toe lang ortoo short. ‘Ako, they should sand wp straight, Here are some good and bad examples: SSS Gund Bad Good Bad Gnd Had Gund Bad Gnd ad Daw a crochet on every lie. ‘Draw a minim in every space. ‘Qhaivers (and shorter noted) anc shoo with carvid wily J) in pains aa, but you may drow them with straight tils J) [iit is easicr. Notice that the ual is always on the right-hand side of the stem, ‘Turn each of these notes io a quaver. S66 SSS — SS(ee The AB Guide to Music Theory, 2/1) ‘The treble clef is not easy to draw at frst, The most important partis the loop around the second line (G) of the stave: start (from eft to right) ike this ~ == = and then follow through. The top of the clef should be just above the stave, the bartom just below it. Practise by copying this treble elf: SSS In Grade 1, only one ledger line will be used in the trebie clef the one below the save, A move on this fine is misidle C: E The bass (F) clef (see The AB Gudide to Music Theory, 2/1) ‘The bas clef can be dwn in two ways Eo Notice that they both have two dots one on either side of the F line. ‘Try drawing both ways here: In Grad 1, ely one lect tine will be used in the bass clef: the one above the stave, ‘A nate on this line is midle C:Exercise 14 Under cach of these notes write its letter name. | = ee SS ee Exercise 18 Under each of these notes write its lemer name.F More on time values (see The AB Guide to Music Theory, WA-2) Exercise 17 Exercise 18 @ tb) Exercise 19 ‘What is this note calle: 1? ‘Complete the flowing sentences by adding the right number on cach ofthe dot tines A 2 tse astoagas. 0. 2 Ad lasts as long as... Bs. Ad toss astongan. dls Ao bass asboogas.... ts, “Add ONE note at cach of the places marked * 10 make the bar complete. Gl DP etd HDD GIP J 1 wt dD dhY ‘Notes with ui are often joined (eam) together, For example, DD ray ve wren TD Abs STO sant SD Des STH, ‘Rewrite the folowing, joining up the quivers and semiquivers,G Rests (see The AB Guide to Music Theory, 3/1) ‘The semibreve rest hangs flow a ine, normally the fourth line if there is only one melody om the save: ‘The minim zest sits on a line, normally the tind: = A crotchet rest may be drawn in two ways: gor ‘The first isa Bide harder to draw, but ty vo uve i, (I is used in printed musi, and even in manuscript music most composers now write the rest this w1y) Te isdrawn this way ~ a sideways 210m 0p joined toa sloping ¢ below: feed Practise by copying several crotchet ress after the one printed! ete —————————————————————— ‘Normally, the cotchet rests placed inthe mide of the stave, und so are the quiver sand semigquaver ress: == Exerciso 20. Add ONE rest at each ofthe places marked * sos to make the bars complete, Remember shat aicompleney silent bar will always take a "=| rest = notonly in 4 but also in J and 4.H Ties (ie The AB Guide 10 Music Theory, 3/2) Ate (-— oe —) joins notes which sound the same, Kt rn them io one sound (44) for example, sounds like 4). Any numberof notes canbe joined inthis wuy, bur they must be the same notes, and they must be next to each othe. The tc goes from the head ofthe fist note tothe bead of the next, on the outside: a Exercise 21 Add ties wherever possible inthe following. Undemeath each, write the noel number of cvotchee beats made by the He (as shown inthe fist example} = » SSSI. 1g beats 1 Dots (068 The AB Guide 19 Music Theory, 3/2) ‘A.dot after a nowe makes it half 2s long again. Exercise 22 Complete the following sentences by ackling the right number on cach of the docted lines, Adtmmsiegais cd | Wd tense cen vicd ty Ad wmvscmagae De wD taarengss.. Ds A 4 toss as tong as Ad. tastsas tong a5... ds.‘The dot must be placed immediately 10 the right of the note ot rest wo which it refers. 1 the nowe-bead i in w space, the dot goes inthe same space; ifthe note-head ison a line, the dt normaly procs in the space above: =p Exercise 23 Add dots where they are nesded to make complete bas.“ Accidentals Exercise 25 Exercise 26 Exercise 27 (ice The AB Guide to Music Theory, 2/1) What is this sig cal: # How does it atfect the note which follows it? ‘What is this sign called: b> Flow does it affect the note which follows it? How does it affect the note which follows it? Look closely 10 see how the thee sigas are formed, and note how they are placed on a line 0c in a space: SoS Da DE Cs Ch Bs Ab If they are not carefully drawn, it can be difficult to tell which note exch belongs to. Draw a champ in front of each of these notes. Dave a fla in front of each of these notes, fe age Drow a natural in front of each of these notes, fo See ‘Dh signs for sharps, ats and natures are all called ‘acidentals' Give the name of each of the notes marked with a number. The leter name alone is cnough if there is no accidental (eg. C). If there ran accidenra, it must be shown (eg. F#). (AS extooples, the first two answers are given.)K Semitones and tones (see The AB Guide 10 Music Theory, 2/1) Exercise 28 Draw -—> {as in the fir example) above any two notes making «semitone. Exercise 29 Add an accklental {if needed) to the second note in each of these pair, to make it ‘a semitone above the first, Put a tick undemeath if no accidental is needed. 23 255 eS] e a & SES Be Exercise 30 Add as accidental (if needed) to the second nate in each of these pairs, vo make it 1 semitone Below the firs. Puta tick undemeath if no accidental is needed, 5 cS 5 3 5 5Exercise 31 Exercise 32 Exercise 33. The scales and key signatures of C, G, D and F major (sce The AB Guide to Music Theory, 2/2-3) 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. - ‘Add accidentals before any notes that need them to make the series named below: “Then add — abave cach pair of notes making a semitone, G major (ascending) F major SS (descending) SSS ES D major (ascending) - seis (descending) SS SSS (ascending) Name the major keys which have the following key signatures, = Key, ,..major Key... major Rey... major Key... .msjorExercise 34 Exercise 35 Exercise 36 W ‘Add the clefs and key signanutes needed to make the sales named. (Remember thatthe key Aignatuce comes after the clef bur before the time signture) f= = Fimijot Sa ee] ime SSS Write the sales named below, using the given rythm, Add the coerect Rey signatures but do nos use any unnecessary accidentals, tJocdlbdsaddl G major (descending) SSS a —EEoE>y>yIyyISS>>>>>>>== 9 SSS —) [Name the key of each of the following. "Then write them out again, using key signarures instead of accidentals, retores, Vek Cancer fst et)18 Exercise 36 (continued) Maar, Te Mani Fate (0 Is a0 Oxi") 4S. ch Are Maples Ba Neeood (Meet Serenade or Sings (ale) Tehhonly,M Cancelling an accidental (sce The AB Guide 19 Music Theory, 24) ‘An accidental lasts until the end of the bar. For example, the mote masked * here is F¥: ‘pote | is FE, nove 2 Fy, note 3 Fe, note 4 FF (the # here cancels the cartier $). Exereise 37 Before cach note marked, add the accidental needed to cancel the previous accidental: lt oS = SSS Exercise 38 Give the name of cach of the notes marked with a number. The letter name alone is enough if these is no accidental ~ but keep in mind the key signecure and any accidentals which may have been added easier in the ber. Remember, to, what en acckentl only affects lier notes in the br When they are‘on the same line oc inthe same space. 2 3 aos ‘N Degrees of the scale and Intervals (pee The AB Grade to Music Theory, 2/2 & 7/1) Exarciso 39 In cach ofthe flowing, the ‘rt degree’ of the cae (the key-not) i in brackets. Aer it, write the note whose degree is given below (1s shown in the first example). ‘The distance in pitch between two different notes is called an interval. It is *melocic* interval ifthe two notes are played ane after the ocher ~ =$—=F= 9 a harmonic’ interval if they are played together ~ === ‘The sie ofan interval is measured by the number of degrees ofthe sale it inchades: SS Ee Mth ‘The umber of degrees isthe ‘number’ of the interval. Its not changed by a key signature, by any accidentals in font ofthe 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 froen the hey-note in. G major: Slararareics Pimabelisishs = Giles) «GRE lca Teekay = G major ..... #60 ae eae se HOEa Exarcise 41 Above cach of these notes, write a semibreve which gsakes the named harmonic interval, Se a SS Diamajor ard Teh sh and ch 6th = = = = = Crujor Sth Sve th eh ad ith Exercise 42 Give the numberof the clos intervals marked -—— in the following. The first note is the key-nowe in every case. ards, Symphony No M (Serre! nd Rave eh Gre (Th ated Garden’) SS = Caco “The Hllly and ihe ty" 2 » SS] =- Pred, Seana of 4 Far, No Golden’ (tm) (a) Becthoven, Mie Salma (Glo)© The tonic triad (see The AB Guide to Music Theory, 8/1) “The key-note, or frst degree of the scale, has yet another name: the ‘tonic’, ‘The tomic triad isa group of three notes: the key-note pt the Srl and Sth degrees: above it, These are all onic triads in C major: Exercise 43 After cach of these major key signatures, write its key-note followed by its tonic triad (as shown in the first example}. P Composing an answering rhythm (bee The AB Grade to Music Theory, 5/1-2) ‘A two-bar chythm will be given. Te will star on the frst beat of a bar, and it will we ‘ce ofthe time signatures you have already suadind (3,4, f). You will be asked to-wrte another rwo-bar rhythm 19 folow it Notice that a mele is not require: only a rhythm - something which could be played on 4 drum or on one note of the plano, o¢ which eoull be tapped out on a table, Therefore, ‘Lckf and a Key signature are unnecessary, You can write a rhythm on any one line of the save, of just on a single line, oF witout a ine at al: Pees pL gy odd ‘Theve are rw dferemt problems in dis est, ‘The fis is how the ehythm is written down: ‘which notes should he joined (beames”) together, and where tics ad does may be used. ‘This is just a mamter of remembering o few simple rules, ‘The second problem is what else the examinee wil be lating for, apart from coerct notation, What matters mast here is whether you ean rake up an ineeresting two-bar faythen of your own. Only general advice cxn be given about this, ‘We will tackle these row problems sepurtely on the next page, starting with the rales.(1) Beam together (a) two quavers which could be replaced by a crochet: GLa Aas sl al Fl (b) four quavers which could be replaced by a minim: aT AT 1a om (©) six quavers filling a complete bar inf: ia In primed music you may vometimes fd groups of four or sx quavers beamed together in twos, Neverthe, in this tes you should keep tothe rues above, Note that in. quavers shout newer be beamed acrss the middle ofa bar between the Zod and Sed beats: 4S STTDS | crops 42 STIS | ise. (2 Beam semiquavers together in single beas, and also any group including a semiquaver: Lerererrrie Perret iar ag (3) Avoid ties wherever possible: Kd Misveneritan i LTDA 24d livtenertn td J dd |. ‘You shy have tice that in these rules nothing fas been aid about rests. There are special problems about the arrangement of rests, and they willbe expaied in Grade 2. You will not need to use rests when writing an answering rhythm in Grade |. “The nest exercise will give you some preliminary practice in writing rhythms correctly. Exercise 44 Rewrite the following bars without changing their effect, but making any necessary corrections in the we of beams, tes ant os w gddty weMADD oO gbAbhtdy —<— 4+ + @ gAbpd 4 | gbbddd 4m gl bhadady i—_—__ +___- 4 @ gD DD Dy my pL yd ab (fe‘Now for some general advice about your nro-har rhythm itl: The fit and mst important point is this try w imagine how the motes which you are writing would actually suond, I you can accurately hear’ them in your bead, most of the advice below willbe unnecessary. ‘When you are practising, always tap out your rhythms. Even in the examination room 00 need not disturb anyone if you do this realy quiely with your Gngertips an the desk, Tt is very important ta keep in strict time, which means having a clear speed in mind. Probably somewhere berween J = 76and J = 100 wil be suitable, (For an explanation of spoed directions see page 28) Normally it does not make the test any easier to imagine it at 2 yery slow speed, Remember that the examiner will want to see that you can invent an interesting rhythm. Iagine, for example, that you have been asked to add a rwo-bar rhytlim to follow this: VL TITAS J 1 levered witcioed | Vana that would! be correct. But itis very dull Another salution would be to repeat the 10 bars you have been given. This often happens, asin this example: oat) JIoJ JIN Amd! However, ifn the examination you merely copy out agin the two bars you have been ‘ives, you sil have not shown that you can invent anything. Your rhythm, therefore, should be a lin different ta the one you lave been given. Bur it should be similar, and parts of it may even be exacily the sae. Bars 1 and 3 of this melody, for exumple, have the same rhythm (though not the stine notes): Becton, Spagbony Na. (4th) 4 1 a 3 e Pilg d dM Laie wd In the next cxaraple, burs 2 and 3 have the same rhythm: i Heo Gott Manes No 2 3 aid dO fir | ‘And in this example, bars 2 and 4 have the same thythm: Suni, Sc Sate (Mowe) ‘ 2 3 Qld die Liu dd odda — (a *) © Pattems such as these can help to bind the four bars together, but you do: not have 10 ‘use them. Here, for example, are four bars which all have different rhythms: [Drolt,"New Weel? Syaphoay (Is et) 3 4 1 2 al did) WT | But although they are all different, bars 3 and 4 seem to belong to bars 1 and 2. ‘The last two burs seem to balance the fist two. Or you could say thatthe last 10a “answer! the first two - they make an ‘answering’ ehythm. “The ending of your rhythm will need particular care, It is mot usually a good idea to finish with a semiguaver, because this may make the rhythm feel unfinished, Ifyou tap these rhythms, for example, you wil see that they bouh fel as though they want to be followed by something i the next bat: a) FIM 321 Oi sl Tn other words, they are not realy two-bar rhythms a al, but metely two bars out of longer rhythmic panterns. They cannot be “answering” rhythms because they themselves are not complete. Add an answering two-bir rhythm to eich of the following. pod tds 4y}—_ qo 4.4_+—_+ teExercise 45 (continued) witli fj 4) _j _4 w getty tt 9 444 4 4 __}__ ofl w 42 iti oy, 4, __ oft FY =i o #4 SO. @ fey »o FOO 1 » #O. Tan o 4 ALQ Performance directions (sce The AB Guide to Mauic Theory, 10) Many words which ee aot English, and many special signs are used to explain how msi isto be performed. The best way of geting to now them it ro lak them up a you come ‘cron them in your pices, and then w remember them. (There is 1 Glossary of sach words sn pages 106-114 of The eB Gide so Masic Theory, Part 1.) Below ae some very common ‘words ~ all [allan = which you sbould know in Grade J, ecelerando (or accel) gradually getting quicker dais slow callegretio fairly quick (but not as quick as allegra) allegra ‘quick (literally ‘cheerful’) nbante ata medium (‘walking’) speed samtabile ina singing syle crescendo (or cre.) ‘gradually geting louder ‘ts capo (or DC) repeat from the beginning dal sgno (or DLS.) repeat from the sign $3 decrescenda (or decree.) gradually getting quieter init (06 din) eedualy getting quiter fw the end (= forte) loud SiMe fortis very bod segate smoothly lento slow mezzo half Inf (= meee forte) socal fou (literally “hal? Joud) imp (= mezzo piano) moderately quiet (literal ‘half quiet) moderato moderately (allegro moderate: moderately quick) PCs piaw) quiet 9 pininino) very quit peo aie rallentando (0 ral.) setting gradually slower ‘itardanda (or ritard. ot rit.) getting gradually slower rita (or rien. of rit.) ‘bel ack staccato (or tac.) detached tempo speed, tee (a tempo: in tie)‘Below are some signs and other directions which you shouk know in Grade 1. oe) MM. d =72 (orjust J = 72) «= crescendo (gradually getting fouder) = ciminuendo (gradually getting quicis) cover wo different notes (not 10 be confused with te) or over a group of notes is called ‘sur perform the notes amoochly = ottava (octave) (over a note oF notes): perform an octave higher (under a note or notes): perform an octave lower dot over or under aaate PY waccaw ver or under a note fd accent ever a note under a note fepeat marks ~ at the second sign, go back 1 the fire ign and repeat the music from there (ibe fit sign is eft out ifthe music i repeated from the beginning) ‘TP emechet beas in 1 minute (MLM. is abort for Mactae!s Metronome) | Fuse on the noteR General exercises Exercise 46 This is the beginning of a melody. Look at it, and then answer the questions below. Andante ‘ebony, Allan fo the Png (Morning Penyr’) 5 ‘ a) What does Andante mean? ) Whar is he time signature of the melody? Explain what it means, ‘) Why is there a dot after the notes ia bars 4 and 8? (@) What is p short for? What dos it mean? (6) The bey ofthe melody it G maine, Which depie of the sale desi art on? (0) What is the leer mame of the highest note? ‘What isthe ler mame ofthe wet ene? (What is the value of the shortest noe? () How many times is this eoythm 1). 2 used. Gn bar 7, what does the = above the note mean? (0) Copy out the fire four bars, Remember to putin the clef key signature and time signature.» Exercisa 47 This is the betinning of a rselody, Look at ity and then answer the questions below. Allegro Wisse, Alep, O9.52 No i 4 2 3 (a) Whar does Allegre mean? {b) What hey isthe melody ind. (6) Show another way of writing the tite signature... (@) Whar are the curved lines over the melody called? ‘What do they tell the performer? (@) What does a dot over & note (in bars 2 and 4} mean? (f) How many times does the note F appear? () Which bar contains all the notes of the tonic triad but no others? (h) What does the sign f mean... eee eeees (0) Whar do you notice about the rhythm of bars 3-4 compared tothe chyubm of bars 1-2? @) Copy our the first wo bars. Remember to putin the clef und time signature.Exarcise 48 n [Look at the following melody, and then answer the questions below, Poce mdaglo, MM d= 56 ‘Drobit, Symphony MoT (ind ea) t 2 (@) Poca means ‘rite’. What does adagio mean? ... {b) What is dim. sort for? 2. ‘What docs it mean? (6) The key of the melody is F ajo. In which bars is the key-nate not used? (d) What docs "MLM. 4 = 56° tell you? (€) Give the meaning of gato. ... (2) Which is the quicter: po pp? ...- - () Which bars conuin the fit four notes of the scale of F major? (h) Which baz bas the same rhythm as bar 1? (What do the signs = and =— mean? ) Give the fall name of the first note in bar 3... (8) Copy out the melody from the beginning of bar 5 to the end. Pat in the clef, key signature and time signature. ——_— —eeeeeeeauoaoaa™hmhmhmmM™LUEESS=Ea__N— aaa >aEFEH]™h——_—_—_—====S=2 Exercise 49 This isthe beginning of a melody. Look at it, and chen answer the questions below. (a) Add the missing word in this semence: “The meloy is written inthe (b) What is the ley of the melody? (6) Deaw -— above any pairs of notes which area semitone apart. (2) What degre of the sale is the frst mote in bar 3, () Give the full mame of the lst note... (8) How many crotchet bea are there in abbas? g) Which bars contain ted mowed? ees (h) Undertine any of the following descriptions which you think suit the music smooth loud «quiet slow fa merry sad ) Copy out the melody from the beginning of bar 3 tothe end, Putin the cet key signanure snd time signature, cc