ated GUILDHALL Theory of Music a Workbook AC) ma Laas II CeLaT- lI d ad LUA} Grade 7Contents Introduction. Note values .. Unusual time signatures. a os = 4 Transposing melodies Whole-tone scales The Dorian mode... Scales and melody writing The 12-bar blues ____. Writing for blues piano/keyboard Writing for keyboard in the Classical period. 20 More cadences Secondary 7ths. 4-part chords : Approaching cadence points... 38 Harmonic sequences and suspensions. Modulation = a Close and open scores. Layout of orchestral scores ~ Classical period. Musical words and symbols. Analysis Sample examination paper——____ Instrument ranges Voice ranges... Different words ~ same meaning. English and Italian words for instruments... 77TRINITY GUILDHALL Theory of Music Workbook for Trinity Guildhall written examinations Grade 7 by Naomi Yandell Published by: Trinity College London 89 Albert Embankment London SEI7TP UK T +44 (0)20 7820 6100 F +44 (0)20 7820 6161 E music@trinityguildhall co.uk wwwtrinityguildhallcouk Copyright © 2008 Trinity College London Unauthorised photocopying is legal No part of this publication may be copied or reproduced in any form or by any means without the prior permission of the publisher Designer: Natasha Witts Editor: Moira Roach ‘Music processed by New Notations London Printed in England by Halstan & Co, Ltd, Amersham, Bucks.Grade 7 Theory of Music Syllabus from 2009 Section? 10 questions (20 marks) Section 2 Transposition of a 12-bar blues chord progression or for a transposing instrument (0 marks) Section 3 Writing an 8-bar melody (using notes from major, minor, pentatonic major, pentatonic minor, blues or whole-tone scales or from the Aeolian or Dorian mode. Clet, time signature, instrument and tonality are prescribed and an optional start is given (5 marks) Section 4 Harmonic sequence with suspensions (dO marks) Section 5 Transferring a short extract for string quartet from close to open score or vice versa (10 marks) Section 6 Labelling the chords of a phrase of a hymn/chorale with Roman ‘numerals and chord symbols and completing it with an appropriate three-chord progression (bass line given) (15 marks) Section7 Analysis ~ 10 questions (20 marks) Questions and tasks may cover all matters specified in previous grades and also the following: Rhythm and form Irregular rhythmic groupings (e.g. quintuplets, 5:4) Unusual time signatures (2, 2 24, 8 8. 12 ana38) Notational shorthand Rondo and sonata rondo forms coda Scherzo and trio Sonata form Sonatina The number and type of movements likely to be found in Classical sonatas, string quartets and symphonies ~ definitions for each as defined in the workbook 10. t2-bar blues PONAHAWNS ‘Composers ‘Composers of particular relevance to this grade are those writing in the Classical period (approximately 1750-1830) 4, the early works of Beethoven, and works by J Haydn and W Mozart Pitch ‘Transferring a short extract from close to open score for string quartet, or vice versa Recognising and writing all pentatonic major, pentatonic minor, and blues scales, Recognising and writing Dorian mode scales starting on C, DF or G Identifying an extract written using Dorian mode Recognising and writing whole-tone scales Writing an 8-bar melody using notes from the major, minor, pentatonic major, pentatonic minor, blues or whole-tone scales or using notes from the Aeolian or Dorian mode Identifying modulation turning points through pivot notes, pivot chords and diminished 7th or dominant 7th chords 8. Recognising and writing secondary 7ths oyawne 9. Recognising and writing pre-cadential chord progressions 10. Recognising and writing suspensions in a harmonic sequence 1l,_Labelling the chords of a phrase of a chorale/hymn in Roman numerals and chord symbols, and completing it with {an appropriate 3-chord progression (bass line given) 12, Recognising and writing Tierce de Picardie and inverted cadences — including ivb-V (Phrygian cadence)13, Transposing a simple 12-bar blues chord progression (I I I I IV IV II V IV I Vyand writing an accompaniment using it in piano style (block chords or vamping) 14, Recognising Alberti bass and other features in Classical piano/string composition 15, Inversion of pedal points and melodies 16. Transposing a melody for any transposing instrument for the grade (transposing intervals to be known include those for Grade 6 and also treble recorder, clarinet in A, soprano saxophone in Bb, baritone saxophone in Eb, tenor horn in €b), also understanding the way Baroque/Classical composers notated music for brass/timpani in orchestral scores 17, Ranges of timpari, tenor horn in E, trombone (tenor and bass), as defined in the workbook General knowledge Classical period as defined in the workbook Layout of Classical scores (for orchestra and string quartet) as defined in the workbook Blues style as defined in the workbook Musical words and symbols Bridge passage, development, exposition, recapitulation, transition and shorthand signs used in the workbookAcknowledgements Trinity Guildhall would like to acknovledge the invaluable contribution to the development of this music theory programme by music teachers, professors, examiners, language specialists and students from around the world. Their ‘comments have usefully informed the final shape of the workbooks and examination papers, and are much appreciated. Every effort has been made to trace and acknowledge all copyright owners. If any right has been omitted or if any detail is incorrect, Trinity College London apologises and will rectify this in any subsequent reprints following notification.Introduction Using this workbook Here are a few points to bear in mind if you have not used a Trinity Guildhall theory workbook before: ‘The writing in boxes(___) tells you: + About the music that you sing or play on your instrument ‘+ What you need to know to pass your Trinity Guildhall Grade 7 Theory of Music examination. Topics from previous grades of the syllabus should also be known Remember, when doing the tasks ‘+ Use a pencil with a sharp point and a fairly soft lead so that you can easily rub out what you have written it you need to + Beccareful to be accurate with musical notes and signs ~ this will make a difference to your marks because the examiner must be able to read what you have written ‘+ Read through the boxes to make sure you understand how to do the tasks and ask for help if you need it * The first task in each section has usually been done for you in red to show you what to do + Always try to play the music you write or input it onto a music software programme (if you have access to a computer) so that you can hear it back. This is a very important part of learning, and will help you ‘hear’ what you write in your head. it will help you in the examination when you have to work in silence Learn on your own ‘+ Use extra manuscript paper to practise transposition * Use extra manuscript paper to practise writing melodies; in your examination you can choose whether you use the start that is given (though clef, time signature, instrument and tonality are prescribed) * Composers of particular relevance to this grade are those writing in the Classical period (approximately 1750-1830), eg. the early works of Beethoven, and works by J Haydn and W A Mozart + Play the music of the period and listen to recordings of the music mentioned in the Form section (see page 54) * Read about the composers’ lives * Find out about the differences between modern instruments and those played in the Classical period (today known as period instruments) + Music of a period has a cultural context; it will help your understanding if you find out about the visual art, drama and architecture of the time; also about the social role of composers in that period What comes next? When you have finished this book try some sample papers. You can download them from wwwtrinityguildhall.co.uk (follow the links to Theory from the Music page). Additional sample and past papers are available for sale from your Jocal music shop. You will then be ready to ask your teacher to enter you for the Grade 7 Theory of Music examination.Nol CMLL Sod Irregular rhythmic groupings ‘Sometimes composers want to divide the beat into irregular rhythmic groupings other than duplets and triplets ‘There are many types of irregular groupings. Each is marked with the number of notes to be played instead of the usual number of the note value given, for example: Meno Allegro Beethoven =a 12 to be played 9 to be played inthe time of 8 inthe time of 8 =~ y 5 to be played in the time of 4 Today the sign :is often used as an abbreviation for ‘to be played in the time of", for example: G2) Maxwell Davies 53 ee ‘Violin Concerto © Copyright 1990 Chester Music Limited, 14-15 Berners Street, London WIT 3LJ, United Kingdom, {All Rights Reserved, international Copyright Secured. ‘As with triplets, you must bracket all irregular groupings where there is a rest or several different note values in the grouping, or where there could be confusion if the brackets are not included. ‘Sextuplet — 6 to be played in the time of ‘Septuplet ~ 7 to be played in the time of 4 (or 6, depending on the main beat of the bar)g Hl Write some irregular groupings to agree with each time signature 53 2 43 go) |) Add correct time signatures to the music. oD pe oko ok ae Jandtek ee r io Db Rodney Bennett a Nonsense © Copyright 1988 Novello & Company Limite, 14-5 Berners Street, London WIT 3, United Kingdom. All Rights Reserved, International Copyriaht Secure. PaaS od JandéekUnusual time signatures aa Here are some of the more unusual time signatures that composers may use in their music. =I) For Grade 7 you need to know the following new time signatures: Simple time signatures = faa Composers rarely use ; jing fom ote es ep naa ore ‘They use ¥ when they Did you know? want 0 feeling of two in a bor. Grouping notes ond rests in ff is very similor Compound time signatures®y i Ada correct time signatures to the music. In some examples you will need to add more than one; these are marked with asterisks(*). a Jandick o Beethoven Barratt - sre < (© Copyright 1995 by Boosey & Hawes Music Publishers Lt Reproduced by permission of Boosey & Hawkes Music Publishers Ltd Jandiek Notice where composers choose to change the time signature, they sometimes write =) to show that the semiquaver in the first bar equals the speed of the semiquaver in the next bar. The ca. here means ‘approximately’Transposing melodies For Grade 7 you need to know how to transpose a melody for any transposing instrument for ‘the grade. See page 76 for the instruments, ranges and which transposing intervals you need to memorise. Where the transposing interval is large you may need to write the music in another clef. — Remember \_ Use a key signature and add accidentals where necessary to keep the intervals the required distance apart. & Il transpose this melody so that a soprano saxophone in B flat will be able to play it at the same pitch as the following notes. Schumann aoe 5 Transpose this melody so that a clarinet in A will be able to play it at the same pitch as the following notes. ‘Traditional (Russian) Transpose this melody so that a tenor horn in E flat will be able to play it at the same pitch as the following notes. Mahler Transpose this melody so that a baritone saxophone in E flat will be able to play it at the same pitch as the following notes. Traditional (Spiritual) P =Whole-tone scales As its name suggests, the whole-tone scale is a scale made up of a series of intervals of a tone. Like ‘other scales it can be transposed to start on different notes if the interval pattern remains the same. Here is the whole-tone scale starting on C: Write out the following one-octave whole-tone scales in a rhythm to fit the given time signature. Use rests between some degrees of the scale. Do not use key signatures but write in the necessary accidentals. Use the correct spelling. Whole-tone scale starting on D ascending then descending 23 \Whole-tone scale starting on Eb descending then ascending ‘Whole-tone scale starting on F ascending then descending \Wnole-tone scale starting on Ab descending then ascending 22.9A virte @-bar meloses using notes from whole-tone scales. Do not use Ke signatures but wrt in the necessary accidentals Write at written (rather than sounding) pitch for transposing instruments, For violin, using notes from the whole-tone scale starting on Eb (3.2) Allegretto Pp a niente For oboe, using notes from the whole-tone scale starting on C Andante con moto nf 6 oe For double bass, using notes from the whole-tone scale starting on F Giocoso a For tenor trombone, (see page 76 for its range) using notes from the whole-tone scale starting on D Allegretto mp B Remember | | When writing a melody: * bolance the shape of phrases * consider using rests, sequences and repetition | + consider the instrument that you write for (range, techniques, writing idiomatically) * consider where the highpoint (or climax) of your melody should be * always play or sing the melody to check that it sounds as you think it does in your head | | your exam you may choose whether or not you use the stor tht is gen hough de | | | time signature, instrument and tonality are prescribed), || Use extra manuscript poper to practise writing melodies.The Dorian mode In Grade 6 you learned that melodies are sometimes written using modes. if you play all the white notes of a keyboard from D-D you will find the Dorian mode tone-semitone pattern. s s wos Ss, 1 2 3 4 5 6 7 80) Dorian mode starting on D Here itis transposed to start on C. Notice that accidentals are necessary to keep the tone-semitone pattern correct for the Dorian mode. s s o™. aN oe 1 2 3 4 5 6 7 aa) Dorian mode starting on € Many melodies are written using the Dorian mode and for Grade 7 you need to be able to recognise such melodies and write them using the Dorian-mode scales starting on C, D, F and G. Working out the key or mode of a piece Here is an example to show how to work out whether music is written using the Dorian mode: Traditional (English) Bear in mind Key signatures are sometimes used in modal melodies, though this is not always the case ‘+ Are there flats or sharps in the key signature and if so, how many? Yes, two flats so the key could be B flat major or G minor, or the music could be written using Aeolian mode starting on G or using Dorian mode starting on € ‘+ Are there any accidentals in the music that could be the raised 6th or 7th degrees in the relative minor? No ‘+ Are there reasons to think that the key is B flat major? No, but it can’t be Aeolian mode starting on G either because the phrases are focused around C ‘+ Are there any other unusual features? Yes, although the phrases are focused around € the 6th degree (A) remains raised and the 7th (B) is not Answer: This melody is written using Dorian mode starting on €& Use the questions on thi to work out the key or mode (Aeolian or Dorian). se the questions on the previous page to work out the key or mode (Aeolian oF Dorian). 5. stcnal English) Key or mode: Traditional (Scottish) Key or mode: ‘Traditional (English) Key or mode: Traditional (English) Key or mode: 10Write out the following one-octave scales in 2 rhythm to fit the given time signature. Use rests between some degrees of the scale, Do not use key signatures but write in the necessary accidentals: Dorian mode starting on C descending then ascending Dorian mode starting on D descending then ascending 23) Dorian mode starting on F ascending then descending 43) OE Dorian mode starting on G descending then ascending me Write 8-bar melodies using notes from the Dorian mode. Do nat use key signatures but write in the necessary accidentals. Write at written (rather than sounding) pitch for transposing instruments. For trumpet in Bb, using Dorian mode starting on F Allegretto af =f =— im. P For clarinet in Bb, using Dorian mode starting on Larghetto 0 $ For bassoon, using Dorian mode starting on € (,2) Grave z "Scales and melody writing Bq I Write out the following one-octave scales in a rhythm to fit the given time signature. Use rests between some degrees of the scale, Use key signatures. F# major descending then ascending B melodic minor ascending then descending C harmonic minor descending then ascending B major descending then ascending Write out the following one-octave scales in @ rhythm to fit the given time signature. Do not use key signatures but write inthe necessary accidentals. B pentatonic major ascending then descending F pentatonic minor descending then ascending wCC blues scale ascending then descending Aeolian mode starting on GE ascending then descending 28 Write &-bar melodies in the keys shown. For flute in Ab major Laid back JJ For cello in C minor ‘Maestoso_ v B For trombone in E> major Allegro ea eirite @-ber melodies using nates from the pentatonic major pentatonic minor blues scale or from the Aeolian mode, Do not use key signatures but write in the necessary accidentals. Write at written (rather than sounding) pitch for transposing instruments. For clarinet in Bb, using Bb pentatonic major Andante P tranguitlo € : oJ For double bass, using C pentatonic minor Con moto For violin, using D blues scale focusing on D ‘Andante eNom io 4 For viola, using Aeolian mode starting on F3 Grazioso J = 84 _—— P senza rubatoMate Pte YL) Cay Melodies using blues scales are often backed by a chord progression called the 12-bar blues. It is called “12-bar blues’ because the progression lasts for 12 bars. The performers improvise a melody above it using notes taken mainly from the relevant blues scale. Here is a simple version: Blues progression on C v Vv Notice the 7H signs (for an explanation see page 57). ‘This chord progression may be transposed to play along with other blues scales. ®& IH Transpose the 2-ar blues chord progression shown above forthe folowing keys with Roman numerals below the stave and chord symbols onthe stave G major 5meeWriting for blues piano/keyboard Here are three of the simpler ways that keyboard players choose to accompany blues melodies using the 12-bar blues chord progression. These accompaniments are idiomatic for keyboard: Block chords: Vamping: I Transpose the 12-bar blues chord progression shown on page 15 for the following keys with Roman numerals below the stave and chord symbols above. Then fil in the keyboard part with block chords on each crotchet beat. Use shorthand Where appropriate (see page 57). Bb major Bb 8b ”BS 3 write the bar blues chord progression shown on page 15 forthe following Kes with Roman numerals below the stave and chord symbols above. Then lin the Keyboard part with a vamp of your choice. Use shorthand where appropriate (see page 57). F major F F ‘Ab major 9Writing for keyboard in the Classical period ‘The word that musicians use to describe music that is idiomatic for keyboard is pianistic. There are ‘many ways of composing music that works well on a Keyboard; many of them evolved for keyboards such as the harpsichord in the Baroque period. Later they were transferred and adapted for the capabilities of the new fortepiano in the Classical period (1750-1830, see page 54) and then the pianoforte and beyond. | Remember ) The keyboards in general use in the Baroque period were harpsichords and clavichords. It was quite a while later that the piano became the most common domestic keyboard instrument. This did not happen suddenly; there were many attempts at developing keyboard instruments before the piano became ‘standard’. There {are whole books written on the subject. } Here are some examples of pianistic patterns: Allberti bass (broken chord patterns filling in the chord accompanying a melody): {A version of this may sometimes be used in the treble part accompanying a melody in the bass: Other broken chords and scale passages flow well on the keyboard because they are naturally easy to play. ‘They may be played in one hand or in octaves in two hands:Alternating octaves is easy and more interesting to play than repeating one note; these are common in ‘accompanying passages: Melodies (and accompaniments) in octaves in one hand were not used much in harpsichord works, but are used increasingly in piano writing through the Classical period. (It is difficult to play them quickly): Contrasts in register and dynamics Keyboards tended to have a wide range (which became yet wider throughout the Classical period) and itis fairly easy for players to move register and to change dynamic to give contrast in mood and character. d Haydn = 3 Inverting melodies and pedal points Melodies are usually played in the treble and pedal points in the bass, but they may be inverted: 2 2 aAlternating octaves is easy and more interesting to play than repeating one not accompanying passages: hese are common in 2 Melodies (and accompaniments) in octaves in one hand were not used much in harpsichord works, but are Used increasingly in piano writing through the Classical period. (it s difficult to play them quickly.): Contrasts in register and dynamics Keyboards tended to have a wide range (which became yet wider throughout the Classical period) and it is fairly easy for players to move register and to change dynamic to give contrast in mood and character. d Haydn Inverting melodies and pedal points Melodies are usually played in the treble and pedal points in the bass, but they may be inverted: 2& I The following music was written for keyboard in the Classical period. Name the features that make it pianistic. HayanMozart 2BBeethoven yoo.More cadences ‘In minor keys composers sometimes write perfect and plagal cadences with a Tierce de Picardie. This 's when the third in the final tonic chord (normally a minor chord) is altered to major. It has a special feel and was often used in the Baroque period. Here Bach uses it at the end of a chorale in G minor: wc Gmi>D 0 BE pach | Remember | In the Roman numeral system it is ‘assumed that you know that some ‘chords in each key are diminished (or ‘ugmented). L = J Look at these cadences (in both major and minor keys). Give the key of each cadence and say which type it is. Label the chords with Roman numerals below the stave and chord symbols above. Put TP by any cadence that finishes with a Tierce de Picardie, om A d i v Imperfect cadence in D minor 25Phrygian cadences and inverted cadences In minor keys composers sometimes write the following imperfect cadence. This type of cadence was often Used in the Baroque period at the end of a slow movement, finishing on the dominant and leading into a fast movement in the tonic key: Dm E It is called a Phrygian cadence and is a type of inverted cadence because one of the chords (ivb) is in first inversion, not root position. vo. v You need to know about other inverted cadences for Grade 7. They sound less final than cadences with both chords in root position. Here is an example of an inverted pertect cadence using first inversion chords. Second inversion chords are sometimes used too. c che Hl Look at these cadences (in both major and minor keys). Give the key of each cadence and say which type it is. Label the chords with Roman numerals below the stave and chord symbols above. Put TP by any cadence that finishes with 2 Tierce de Picardie and IC by any inverted cadence. c om Ps v vi Interrupted cadence in F major 26Composers often decorate cadences and they do not always writ al the notes of the chord tha they are using Lok at the Key signature, bas line and any accidentals to workout the ype | of cadence andthe key Remember Notice in contrast to writing for SATB, composers often include | parallel octaves when writing for keyboard/piano. 2Secondary 7ths ‘As you know, the dominant 7th chord is built on the dominant degree of the scale. You can add 7ths to every other triad of the major or minor scale, though none will sound like 3 dominant 7th chord shown in the coloured box. This is because the intervals in the other 7th chords are different from those that occur naturally in the dominant 7th. These other 7th chords are called secondary 7ths. Here is the scale of C major showing how this works using Roman numerals and chord symbols: cer bm? En rar am? een? car v ii? ww Ww vt vil? r Here is the harmonic minor scale of A minor with 7ths built on every degree: ame? gem? cet? per He? ame? Remember | If you build secondary 7ths on the melodic minor scale the intervals in some of the chords will change becouse ofthe diferent intervals | within ther. } Here are some major and minor scales. Write secondary 7ths on every degree of the scale except the Sth and label them with Roman numerals below the stave and chord symbols above.| Remember more interesting XK Broken chords - secondary 7ths For Grade 7 you need to know how to write broken chords using secondary 7ths. Composers use broken chords to give music different textures and to make accompaniments sound gy IHL Using semiquavers, write broken chords using the appropriate chord. Use patterns of four notes each time. Finish no more than two leger lines above or below the stave. IV? in G major ascending SS 2 ii7in A minor descending ss oS 2 SS SS xin Amajor ascending li? in D major descending TTin Eb major descending ‘Write the following broken chords using note values of your choice. Use patterns of three or four notes each time. Finish no more than two leger lines above or below the stave. Chord V7 in Eb major ascending, using a key signature 3 3 3 3 3 Chord G#°” ascending, without using a Key signature (correct spelling) Chord iv7in D minor descending, using a key signature Chord ii7in E major ascending, using a key signature Chord V" in € minor ascending, without using a key signature Chord F**7in D minor ascending, using a key signature Chord F#°in G minor descending, using a key signature4-part chords For Grade 7 you need to write any of the chords you know for SATE (from Roman numerals or chord symbols) in root position or in inversion. Circle the roots) in the following chords and label each with a Roman numeral below and a chord symbol above. Diminished chords are spelt correctly. Gri vi? (Bb major) (A major) (F minor) (G major) F major) (minor) (8 major) (minor) ( Remember Composers sometimes choose to leave out the 5th of a chord, because doing this does not take away the true \\ character of the chord. )Bi Using crotchets, write out 4-part chords for SATB using the chords shown by the Roman numerals. Then write an appropriate chord symbol above the stave. a7 v 7 w ( major) (C$ minor) (G major) vib vii im? Ve (€ minor) © minon (Dminon vit Ve vib (major) (major) (E major) jib i v (Aminon (A major) (G minor)Approaching cadence points For Grade 7 you need to be able to label chords of a chorale or hymn phrase either in Roman numerals ( chord symbols, and complete the chords leading up to a cadence point in the style of the chorale or hymn for SATE. To do this you will need to know the following chord progressions that are often used to prepare the listener for a cadence point: 1. The chord progressions SVS oF SIGEWEVEY work well in major keys; itt Pr RET PEVCTET oF WEAVER work well in minor keys 2, The secondary 7th on the supertonic chord works well moving to the dominant (or dominant 7th): did Bs Ib i> ov 1 3. The cadential § : This chord progression gets its name from figured bass (remember that § means second immersion). Here the second inversion tonic chord resolves downwards onto the dominant chord ready for the cadence:Bye Hl Labe! the chords with Roman numerals below the stave and chord symbols above to show the chord progression. Then Circle the progressions mentioned in the box on page 33. 6 o/s D Dirt G amc 6 2 (A minor) (0 major) (G minor) @ minor) Label the chords of each phrase with Roman numerals below the stave and chord symbols above and complete it appropriately. JSBach cm Fm/Ab Fri (Bb 8 ED Remember ‘When completing the phrases, be sure that you write smoothly {for each voice part and include Passing notes where appropriate.JSBach y Melody from Rheinhadt MS Hugh Wilson JSBach v Remember Hidden (parallel fifths. Hidden (parallel) octaves Do not let any voices move in parallel perfect Sths or octaves; this sounds weak and will lose you marks in your exam. This includes ‘hidden Sths and octaves’, {for exampleHarmonic sequences and suspensions For Grade 7 you need to be able to recognise the harmonic sequences that you know from Grade 6 and also those that include 7th chords (either dominant or secondary). These sequences contain 7th chords that resolve downwards in a series of overlapping discords called suspensions. Suspensions usually occur on strong beats in the bar. preparation cer Fer Bom? Em! Am? Dent? or c cmp i Ti Ta Notice each 7th (the suspension, or suspended note) appears as the 3rd of the previous chord in the same register. This ‘prepares’ the listener for the discord that resolves downwards in the next chord; here they are in coloured boxes to make them easy to see. Here is a similar harmonic sequence in A minor. Because most of the movement of the chord sequence is downwards, the notes of A melodic minor have been used to keep a smooth contour in the part-writing, except where the leading note moves up to the tonic near the end. Am Om? sr cr Fer Bem? a am o on Te i i La Composers often use harmonic sequences in all types of music. | Remember ) Harmonic sequences move in a pattern and often contain chords that are chromatically altered. This means {that composers can travel through diferent keys as port ofthe sequence (see page 41), }®& Il Bracket the harmonic sequences. a Corelli a Vialin ive adel 7 = | I Continuo Haydn 738 BeethovenMozart Corelti Here is a chord progression. Make a harmonic sequence by repeating it, one note lower each time to complete the phrase. (0 minor)(A minor) minor) minor) (Eb major) 40CoCo LUE aCe a) For Grade 7 you need to learn some of the ways that composers modulate from one key to another in a piece of music: Harmonic sequence: the composer alters the notes of a harmonic sequence chromatically to mave towards ‘a new key; this is often used where the composer wants to travel through keys fleetingly, while modulating to another key. Tessarini * 7 6 7 6b 7 + © Copyright 1989 6. Henle Verlag, Munich, Printed by permission, so Pivot note: the composer uses one note (sometimes two) as a bridge from one key to another. This enables dramatic modulations and became popular during the Classical period. Look at these bars from a piano trio (iolin, cello and piano): Beethovenpivot note ‘Cminor ‘The chords of G major and E flat major (the relative major of C minor, which is the key to which this phrase is, eventually modulating) have the note G in common: 6. & (eae 1 Pivot chords this is similar to the pivot note but the composer uses @ whole chord common to both keys as @ bridge from one key to another, JS Bach Oiler flDiminished 7th chord: composers use diminished 7th chords to modulate to a number of keys; if any note in this chord resolves down a semitone, it becomes a dominant 7th in a new key (major or minor). Bear in mind Enharmonic equivalents are commonly used to show the way the music is modulating. This can look complicated: listen to the chords to get the feel; then learn to write them out. oer (or Gmit the per (or Emitihe Bis flattened) i G stays as a natural) (ori if the (ori ifthe G Bis flattened) stays as a natural) (or Cm if enharmonic equivalents are used Ebe? EME ansitre Fis written — gyor (EREREDIB 0" 85/0» it the down a semitone) Dis flattened) o—— bo (or |if enharmonic (or ibif the equivalents are used Dis flattenea) ‘and the Fis written down a semitone) ( Remember Diminished 7ths are unstable chords because they contain two tritones (written as diminished 5ths or ‘cugmented 4ths depending on the spelling of the diminished 7th chord). Composers often use these chords to add a sense of drama to the music. Here is an example of how this can work in a piece of music: o4e7 2 Beethoven z —— he ie expressive 43& HB Look at the harmonic sequences on pages 37-39 and write the keys that they travel through below the music, 1 Write the note(s) that could function as pivot note(s) between these pairs of chords. pivot (Aminon notes) (Es calor} be note(s) (Bminon) pivot (€ major) pivot note(s) note(s) (G major) pivot (Amajony pivot note(s) notes) (G minor) pivot (B major) pivot notes) note(s) I Write a chord that could function as a pivot chord between these pairs of keys. Dm F Dminor i i G major vi 1 F major D major pivot pivot ‘chord chord A major F minor E major minor pivot pivot chord chord Bb major D major C minor B minor pivot pivot chord chord C major Ab major F major Db major pivot pivot chord chordResolve these diminished 7th chords to modulate through a dominant 7th chord to the tonic of four new keys (see page 43). Bow FUR Bb Kw? vip I eT a Boas oer apr eT Resolve these diminished 7th chords to modulate through a dominant 7th chord to a tonic of your choice. be” be” o 45Close and open scores Here is one phrase of a piece for string quartet. It is written on two staves in close score (the two LH) violin parts in the treble and the viola and cello in the bass): Haydn = Violin Violin Viola Violoncello For Grade 7 you need to be able to transfer one phrase of a piece for string quartet from close score to open score and vice versa. | Remember Many composers have copied music by other composers. As you transfer the music to open or close score notice how the composer uses chord progressions and writes idiomaticaly for the instruments 46‘To transfer to open score: write each part on a separate stave using stems as you would if you were writing for cone part only. Here is the above example written in open score: Haydn Menuetto ~ Violin t Viotin I Viola Violoncello Remember The notes are aligned vertically so that the beats line up. In open score music for viola is usually written in colto clef. It is shown here in the coloured boxes. X a To transfer to close score: Do the opposite. aTTransfer these string quartet phrases to open score. rio = t Ss Lt = )) Haydn Violin | Viotin ia Menuetto P Viotin | Violin Violoncello‘Transfer these string quartet phrases to close score, (Presto) Mozart Viotin | Violin Viola VioloncelloPresto Haydn Violin | Viotin i Viola Violoncello 51Layout of orchestral scores — Classical period FY Re ers inscen coring gutta stent oe ith arth nye 1—})| the highest register placed at the top. {As the core instruments of the orchestra evolved through the Classical period, it became common practice for the instruments in the orchestra to be written in a specific order, with the ‘families’ of the orchestra grouped together, usually as follows: Woodwind (Flutes) Boe Did you know? (Clarinets) ‘Through the Classical period composers began to use the instruments shown in Bassoons brackets more often (see left) Brass Horns Trumpets (Trombones) Did you know? i + In-@ Classicalperiod score, instrument names are often written in italian. Percussion | 4¢ there is more thon one wind or brass instrument of the same type, the Timpani two ports usually share a stave (e.g. Oboe ! and Oboe ID. , ‘+ Horn and trumpet parts tend to be written for instruments in the key of the Strings symphony, though the music is notated in the key of C and transposed by the Violin | players. This is because each brass instrument could only play the notes of the aa harmonic series in its key — instruments with valves were not generally available Yolms until after 1850. Timpani parts of this period are often also notated like this. Viola Cello Double bass For Grade 7 you need to be able to comment on the way a Classical-period composer writes for string quartet cr orchestra. Opposite is a page of a score of Haydn's Symphony no. 91 in D, composed in 1791. ‘The coloured boxes on page 53 show some features of the orchestration that make it typical of the period, Having said this, composers constantly experimented with orchestration (which instruments play what and when). Orchestration is important because different instruments can give music many colours. (Col6tred|BOXT: 22 (means that both woodwind instruments sharing that stave should play) (CBIGUFEAIBONA: whole orchestra for big statement at the beginning of the movement (COlGUFEEIBGNS: string family for instrumental and dynamic contrast, with melody and detail in the Violin | part (CBIOUFEAIBORIA: brass adds force to the Jf articulation marks in string and woodwind families, and often plays ‘mostly tonic and dominant notes of the key of the symphony GeioUTeDBOKS: lower st harmony notes below high held chords in the woodwindsaa Haydn a me 2 Flauti 2 Oboi 2 Fagotti 2 Corni (D) 2 Trombe (0) Timpani (D,A) Viotint Violin’ Viole Violoncelt e Contrabassi Z FL ob. Fo Cor. Tr. Timp. vid vuil va. Ve, Cb. 53Musical words and symbols Form gy For Grade 7 you need to know the following forms, widely used in the Classical period (approximately 1750-1830). Bear in mind that the definitions given here are generalisations and composers chose to interpret the forms in different ways. Rondo form is similar to ternary form (ABA) but is extended to include another section (C) which contrasts with sections A and B in key, melody and mood. It can be shown as ABACA. Did you know? Sections that appear just once in rondo-form pieces (such as B and C above) are often called episodes. Rondo forms are sometimes known as episodical forms. Codas ore often used to finish off rondo-form pieces and other sonata-form movements. They are usually short and their function is to increase tension towards the end of the movement. ‘Sonata rondo form is rondo form extended further with another B section (though this time in the tonic key) followed by another section A. It can be shown as ABACAB (in the tonic key) A/Coda, ‘Scherzo and trio movements are in ternary form (ABA). They are similar to the minuet and trio in that they are usually in triple time, but they are often much faster and humorous ~ Scherzo means ‘joke’. Sonata form is used in many movernents and evolved naturally as an extension of forms popular in the Baroque period. It is sometimes called ‘extended binary form’ It can be outlined as follows: Exposition First subject (tonic key) Bridge passage (modulates to the dominant key) ‘Second subject (dominant key) ~ often has contrasting mood to the first subject A perfect cadence and repeat marks usually finishes the exposition (dominant key). Development Musical fragments or themes from the exposition (or even sometimes new ones) are used to travel through more remote keys, often finishing on the dominant to give the listener a sense of expectation that the recapitulation is about to happen. Recapitulation First subject (tonic key) Bridge passage (similar to the bridge passage in the exposition but its role is to prepare for the second subject to return in the tonic key) ‘Second subject (tonic key) Apperfect cadence and repeat marks usually finishes the recapitulation (tonic key) and the movement. Did you know? There are many movements in sonata form that begin with a slow introduction andlor have a coda at the end to round them off. Also, the keys to which composers choose to modulate may be different than those given here in the outline of sonata form.Here is an example of sonata form (shown in its simplest and shortest form in a sonatina by Clementi) to demonstrate the features on page 54: a Did you know? A sonatina means a short sonata. EXPOSITION first subject inthe tonic key pone Allegro ‘ BE bridge passage, modulation to dominant key ‘ ee Gi peers ee ie second subject in the dominant key ere Pe og ‘ oS perfect cadence in the dominant key ® —iieesn,, . o. DOD! aes DEVELOPMENT musical fragments built on first subject; here in the tonic minor key em abridge passage bullt around an inverted dominant pedal first subject in the tonic key 24 RECAPITULATION pI eee Es beleige passage staysn-the tonic key second subject in the tonic key 28 perfect cadence in the tonic keyThe sonata in the Classical period ‘The word sonata in the Classical period came to mean a substantial piece for either solo piano or piano and one ther instrument. it was generally in three or four movements in closely related keys, as shown below: 1. A fast movement in sonata form (sometimes with a slow introduction) 2. A slow movement (often in ternary, shortened sonata form, air and variation form or rondo form) 3. Adance (often a Minuet and Trio or, as time went on, a Scherzo and Trio (ternary form)) 4, A fast movement (often called a Finale) of a slightly lighter nature than the first movement (often in sonata form, rondo or sonata-rondo form). Shorthand To save time composers sometimes use shorthand for writing music (ornaments, octave signs, da capo/dal segno marks, repeat marks and simile signs are all examples of this). For Grade 7 you need to know: 2 6L Fee’ -{| - the player should rest for 2 bars (or for as many bars as shown) Tis = the player should repeat the bracketed music 2 ~ the player should play quavers for as many beats as shown. (If there are two strokes through the stem the player should play semiquavers, if three, then demisemiquavers) is played: GE E E = is played: oe : : z : : : z H ~the player should repeat the previous bar's music once or for as many times as the number written above the sign shows 2 wm C ZZ G ~ the player should play notes from the chord of C for the first three beats of the bar and change to the chord of G on the last beat xdimes| eS ~ the player should repeat the previous 2 bars’ music the player should play the music between the repeat marks four times.PNA & Look at the following Gavotte and answer the questions opposite.9. 10, 2 a 14, 15, In which period was this movement composed? In which form is this movement composed? Why are there no dynamic markings in this movement? Name two features that make this movement typical of a gavotte, In which key is this movement?, ‘To which related key has this movement modulated by bar 87 Look at the chord in the coloured box and say why it could be considered as a pivot chord to the new key. Through which keys does the music travel from bars 9-20? In how many individual parts is this movement written? In which bars is there an inverted tonic pedal point? In which bars is there a dominant pedal point? Circle an accented passing note in this movement. Name the ornament in bar 9. . Bracket ("—) a place where the parts move in similar motion for four crotchet beats (treble part). Name one bar where there is a suspension on the first beat of the bar.Look at the exposition of this short sonata-form movement and answer the questions opposite. Allegro . : * . 2 a 5 £1. Name a composer who might have composed this movement. 2. Inwhich key is the first subject? 3. Which cadence leads into bar 7? 4, In which bar does the second subject appear?, 5. Name two ways in which the composer contrasts the first and second subjects. 6. Write appropriate Roman numerals below bar 14 and the first beat of bar 15 and describe the way that the composer approaches this cadence. 7. Which cadence leads into bar 16? 8. Which cadence finishes the exposition and in which key? 9. Describe the accompaniment in bars 1-4. 10. Describe the harmonic rhythm in bars 1-3, 11. Compare the harmonic rhythm in bars 1-3 with that used in bars 15-16. 12, Write appropriate chord symbols above bars 8-1. 13, Name the ornament in bar 7 (treble part). 14, On which note should you start the trill in bar 14 (treble part)?, 15, Give the note name of the lower chromatic auxiliary note in bar 15. atLook at this movement for string quartet and answer the questions on pages 64 and 65. Menuetto Poco allegretto Violino! t Violino I Viola Violoncello | 2 See | |30 + FineDa capo al Fine 1. Ina four-movement piece composed in the Classical period, where would you expect this type of movement to be positioned? 2. In which form is this movement composed?. 3. What is the key relationship between the Menuetto and the Trio?, 4. What is unusual about the cadence at the end of Section A (Menuetto)? 5. Compare bars 1-8 (Violin | part) with bars 8-16 (Cello part). 6. Comment on the intervals between the descending chromatic passages in bars 5-6 (Violin Il and Cello parts) and bars 13-14 (Violin | and Violin Il parts)?10. W 12. B. 14, Name the ornament in bar 5 (Violin | part). Compare the role of the cello in the Menuetto and the Trio, How does the composer contrast the texture (end of the Menuetto and the beginning of the Trio)? Compare the range of the Violin | part in the Menuetto and the Trio. Name a bar in the Trio where the composer uses syncopated quavers for octave decoration (Violin | part). Name a bar in the Trio where there is a one-octave arpeagio ascending and descending, built on the subdominant chord of the key (Cello part), What is the musical effect of the articulation markings in bars 44-54? Re-write the viola part from the last beat of bar 28 to bar 30 in treble clef. . Name a bar where the viola plays at a higher register than the Violin II part.‘Look at the beginning bars of this symphony and answer the questions on page 67. Allegro spirituoso boi Corni in D Trombe in D f ‘Allegro spirituoso Viatino | Violino i Viola Violoncello e Contrabasso| 2 5 “ on. Cor. Tr. wi vill va. Ve. cb. 0b. Cor. Tr. veal Va Ve cb.1. Write in English the names of the woodwind and brass instruments needed to play in this symphony. 2. In which period was this symphony composed?. 3. Why are there two different key signatures in the score?. 4, Write the note names that will sound when the brass instruments play in bar 1. 5. Why are these brass parts idiomatic for the instruments that were being played at the time this symphony was written? 6. Which instrument doubles the notes played by oboe I! in bars 7-8: 7. Rewrite the viola part in bar 1 in full. 8. Write the notes that will sound when the double bass players play in bar 1. 2. Comment on the role of the violins and violas in bars 5-6. 10. How does the composer use instrumentation to help the contrast between dynamic markings (bars 7-10)? 1 Write appropriate Roman numerals below the first 2 bars. 12. In which bar are there only the notes of the dominant chord? 13. Write appropriate chord symbols above bars 5-15. 14, Which bars could be described as being built on a continuous tonic pedal?. 15. What does Allegro spirituoso mean? erFT) (Care 1 a (eda os-) 1-1 Section 1 (20 marks) 11__Using semiquavers, write a broken chord using the appropriate chord. Use patterns of four notes each time. Finish no more than two leger lines above the stave. V7 in B minor ascending 1.2 Write in the correct time signature. 4 1.3. Write the key signature for F# major. 1.4 Which note is the leading note of the major key shown by this key signature? Fa? 1.5 Write a root-position chord using the notes shown by this chord symbol: 1.6 How would you transpose music for clarinet in A? Give the interval (and say whether to transpose it up or down), 17 Inwhat order are the ‘families’ of the orchestra usually written in scores in the Classical period? “TentyGuilonal reserves the right to alte te format ane content of examination papers at ay time, Please ensure that you consult the latest syllabus and aur weosite~ wwwtrinitygildnalica.uk ~ before entering for an examination, 68 Boxes for examiners Use only LJ1.8 What is an Allemande? 19. List the types of movement you would expect to find in a four-movement sonata in the Classical Period. Boxes for ‘examiner's use ony 110 What does una corda mean, and with which instrument is it usually associated? Please turn over to Section 2Boxes for Section 2 (10 marks) examiners cette eA a — Soa se ony 21 Transpose this 12-bar blues chord progression into Eb major with Roman numerals below the stave and chord symbols above. Then fill in the keyboard part with block chords on each crotchet beat. Use shorthand where appropriate, y | NS teSection 3 (15 marks) 31 Write an 8-bar melody for oboe using notes from the whole-tone scale starting on Eb. Do not use a key signature but write in the necessary accidentals. Allegro vivace You may use the following as a start if you wish: ) Teggiero Section 4 (10 marks) 41 Here is a chord progression. Make a harmonic sequence by repeating it one note lower each time to complete the phrase. a (C major) Bote for ‘se ony aSection 5 (10 marks) 51 Transfer this string quartet phrase to open score. i —~ Mozart veal Violin I i Pi —~ doe [dd ad ye Violoncello Boxes er examiners use only Section 6 (15 marks) 61 Label the chords of this phrase with Roman numerals below the stave and chord symbols above and complete it appropriately. JSBachThis page is intentionally blank, please turn over. 3Section 7 (20 marks) Look at the exposition of this short sonata-form movement and answer the questions opposite. Con iat Clementi 1Boxes for 71 Inwhich key is the first subject?, 7.2 _Inwhich bars is there a bridge passage preparing the listener for the second subject? 73. Inwhich bar does the second subject appear? 7.4 _ Inwhich related key is the second subject? 75 Compare the first and second subjects (dynamics, articulation, rhythm). 7.6 Give the note name of the lower chromatic auxiliary note that is a particular feature of the second subject. 77 How does the second chord in bar 12 function as a pivot chord between the keys of the first and second subjects? 78 _ Describe the harmonic rhythm in bars 28-30. 79 Inwhich bar can you see the final cadence of the exposition? 710 Which parts of a sonata-form movement do you expect to come after the exposition? 5Instrument ranges The ranges given here are the written ranges for players of approximately Grade & standard. The complete ranges (especially for string instruments) go higher. You need to memorise the transposing intervals for the Instruments in the coloured boxes. Woodwind instruments Flute Descant recorder Treble recorder Oboe Clarinet in B flat Clarinet in A Bassoon Soprano saxophone in B flat Alto saxophone in E flat Tenor saxophone in B flat Baritone saxophone in E flat Brass instruments Trumpet in B fat French horn in F * Tenor horn in € lat SS Tenor trombone Bass trombone Percussion instruments Timpani You also need to know about Classical scores for brass (see page 52) andString instruments Violin Viola Cello Double bass Classical guitar Voice ranges Soprano oe tenor to es = * In open score, music for tenor voice is almost always written in treble clef an octave higher than it sounds Different words - same meaning In music there are often different words to describe the same thing. You need to know the following for Grade 7: bridge passage ~ transition €*” (inrelation to chord symbols) ~ € maj? = ma” - CM? cm*" ~ cm Com’ — Cm ~ C795 —Cmin7>S — ‘consonance ~ concord | Remember dissonance ~ clash You may use pianistic — (equivalent word for other instruments) idiomatic (Aaericab bari piano ~ pianoforte in your exam, but Tiff ~ ostinato there is no need to use them at all if || you do not want to. rondo form ~ old rondo form second subject ~ second theme sonata form ~ first movement form sonata rondo ~ rondo sonata, modern rondo, new rondo subject ~ theme timpani — kettle drums tutti ~ whole orchestra English and Italian words for instruments Wind instruments clarinet ~ clarinetto trombone = trombone CT ea a a a aaaTheory of Music Workbook Sol Tala Lael ats CRS Clee y Containing all requirements for examinations from 2009 for Grade 7. Late tel Ulta Rom CY Rel eed ST RR eee ol een Real tur eee OR CM mead Diagrams to help understanding See OER Sa ace nC ark ict) eT ES Tul (ok ou Aeon RR Ld ON MU URC Rl aS ee ale Re) Musical words and symbols for the grade ST eC eer oe Perro cul nner ne bes Te Te lg Roe aol ree mn cea aetna eee ca Rot Trinity Guildhall Coa cad ea nas ber Ooo) eer E music@trinityguildhall.co.uk Pa Mee conty Ld ol'730570 1 38020: fooMtsc ate eae ninations board TIVHGTAS ALINIYL