—___ | FUNWAY | Theory of Music ey GRADE ONE 4 . Isobel Randall (Sorephine Walsh 4 A aa Maskew Miller LongmanLines and Spaces Treble and Bass Clefs Treble Clef Lettemames Bass Clef Lettemames Accidentals Values of Notes and Rests Leger Lines — Treble Clot Leger Lines — Bass Clot Pitch Dotted Notes and Rests Time Signatures Grouping the Beats Grouping of Quavers Dotted Notes and Rests Scales Key Signatures More about Key Signatures Flats in Key Signatures Degrees of the Scale Scales on Different Degrees Intervals Broken Triads Musical Terms Intervals and Triads Hello! I'm Micky the Music~man? rm here to help you have fun with this workbook. WORK ONLY IN PENCIL, PLEASEI (a SHARP. pencil} You may colour in as you go, but be NEAT! oVasen 10 u 2B 6 18 21 23, 24 2% 27 28 30 36 38 39 40 4We wite notes of mate on ines ond Insoacee Eaen note hos fe wn specialplace on alle orn a space. We so Sinesend é waces L wieee ) reteove on L meant ) aco Ske aor an he notes go Pana DOWNon ‘We olvays count ros ‘ond spaces tom the BOTTOM of ho STAVE, =sih ino o- = Ath line = 3d ine = 2nd line = isting = Ty ns execs, © Sorawine nos okod for. Toke cove with ‘he Shaps. Ana place hom orc, eo [Ontte |inime _|Oathe linthe [onthe ino ‘Gane [inthe \Salhe [Telspace] am ine (Onin. BEE lem Ee i © seosnmnam rons sonnan = = SoS S=-TASC Sr ow sound J fossa the ath ine Dols {99 on each sido sao ofthe ih ine, ‘colodihe Foon Exercise 1 } 2) Drow a line of TREBLE CLEFS, Take care with the shape and the size. © _ itMusT cut oround the 2ncine. i's cky and you'l need lots of practice! 'b) Draw a line of BASS CLEFS. Thoy MUST stor on the 4th line ‘and don’t forge! the two dots on each side ef the ath ine! Which one of the following signs represents the boss clef? Mark the correct answerLZ] 5 2@ ES >: 3 PE = Oo o oO Oo a oO Oo \Winich one of the folowing sane raprerens the obie cot? Mark the comect answerLZ] Oo ‘We con jan th ® "eeond oo] aac G) | cctmysocie | | Sete Sestoncne | = ——I ‘GRAND STAVE,ee Tha ey sg hb eu ovo 1S ee ors aaa : Fania e ee sng ol IE Exercise 2 Name each note. Use a CAPITAL letter. © vite he tetoningnotesin he TREBLE 8 A ha Coa Cha Gono Ena Oma fone ome wwoce “he pace “ing” pose ina itm pce Put 0 fick eff these ore ight ond a aif they are wrong. Then write the LETTERNAME for each note under the ores 0 Ece rf 5 @ & co ooo0oo0000o00o ' 1 t I 'Hore are the LETTERNAMES of the notes In the BASS CLEE oo — FG A 8 co ft Ff 6 as “é These funny sayings wil help you remember. 5 femembartesighatine BonoM. ATER Notes on ane: ‘reat Big Dogs Foht Angry cette SF sormoeainte too carat 2 SS =| @ wre he towing notes nthe BASS cot . D toma Bne =~ Fone Miko Fina —Cho Gane wnat words do these notes soet? SB wite mere woresin notes of mic, Bao FACE ACE FADED ADDEO dani6 Exerce 4 Name the notes in each bar on the lines beow i. 123 1 i224, 1 g—— feo J a= i fs | GS |G I {3 @ _Purntne cots ond craw the notes os osted ASS clet | TREBLE clot | BASS clef | TREBLE clot L'Chawece| 1"Soncino | 1 'Senaine | TEMES, 2 Xonaine” | 2 Smaspace| 2 Enogee| 2 eorcue A Bonsme | SSonaime | Scores] 3 Eeuee © tee the musical cues gwen to inthe croswora puto (Clues Across‘Gre cay nad On ACCIDENT, "suppose ts only NATURAL ‘hat hase ATI fern Troe overs SHARD 078, SHARES (Fond FATS “G)ond NATURAIS (+ x0 colog ACCIDENTALS? Oly choo a Gt AL oll oF [SHARP raves Snetobyo ae ve} a LAE EfoeT FST e{e]o De OM BG DB RAT owes Snotebya 2 “bown| oT BPE] FSP Ap ehcfope = = SHARPS and FLATS do NOT have to be black notes. Look at Ef and BF. Lookat Ch and Fh ae Sea a SAesitaeisise®) © Atar Anatael Gah @natuet brercise 5 Wlto out the name of each note BS Wite the required notes. Accidentots MUST BE NEAT! © of exh ot ston ust be on ane or na space to moteh smote, p= or Abon Elin Cnohutal Sine aware _haspaceNotes Rests Serer —semioren hangs onto me Aine onahos gvesve ot counts, = ars ioe, GES GES. thas 2 counts Note the srs S fcxorcner — Roser ot Boiack & BES] (ntwon'nne has a stern. Seat 2 volue of 1 count, Ten, — Kerra eae cs Sere DD euaver Same (Ee ibione eae Reed wan ORE Ran oper, Brorcise Write the required notes. me estcet Goa — Seaumibeve Sanat Next to each note write its est. Then wits the lotemame of each @)_note under it. Give the value of each note in counts,9 Brorcise 7 White c rest of the same value next fo each note, eg eg. \Wite @ note equal in value fo each of these ress Brercise B Remembers Name each alven note. — Then write @ note that isa semitone Sha tone, above it, Name the new note that you have waitten Se rcanbeanote with a aiferentetemarne) A Amp ff Name each given note, © Then wite @ note that ic a semitone below I: Name the new nots, (can be a note with « diferent lettemame) Exercise 9 Witte ONE note equal in value to the following. eg Rreehkarere Tih cou eps ra cea shane ‘When we write music we can alge odd extra tines ABOVE tno stave or BELOW We call nese LEGER LINES, They help us fo'wite mors notes, a 3 , —— = isone space Alison the Bin he above the stove Istlegertine 2nd space ebove inthe keble ci above the slave ‘he stove Midste > c 8 Disinthe Middte cis on B&in the Ist space the It teger ine 2nd space below below the stave below the stave ine save. archon ©) vinotme notes oven 6 o Gonist Jaonist [eints Jone | anand | aidce | sinana | Aon wt tegerine |iegerine fspace | space’ | Space | space” | oer ine Beowine |abeve" |soove | Baow | Seve Below | obove stove” |{hesleve | hostove| the sto | ha seve, Ihestove | thasteverere 12 © _deserbe nworcs where each notes Mepr 8 c 2 iS a ——— 2=—= Bisintne It —_ —— space cbove =— iResiove. = F € D 2== == = vere. Say the lettemomes tom middie © vasevorce toxin. 8 Brercise 13 Name each note. Write CAPITAL jetters 2 2 oe12 — < WiC4 ‘Add a clef to each of the folowing so as fe make the answer correct. ° 2 2 2 “of = = coo; 8 c a 8 ° + ° === oS € e ° A ° 8 8 z 6 Draw the required clefs, and write the notes as minims. Then walle the letternames of each note in the box cq GQ cy Cj Teabiaclet. —] sou oblelt Boss ct Boss ct st tecce Tine. wiapace Isiwace | rawoce gboveine | coovetne | Sbove tne abowine | hove the seve. save Bove Seve Sows Do these in the same way as erotchets. Flin the required cle. jo qo cj Typecet fas cit. obi ot ass cot etl at soc sine. nd space ietspoco | et oiew he, ote he Beow ine eowine | below ihe Sve Foe sow. stove ove, Do these in the same way as quavers. Filin the roquired clot cs io ltetie clot. —]_ osc Treble cer, Boss cot Trobe cet, igre Draseece — | stine ‘Bdspoce | draspace sbove he | boicw the Batow tne Ghoweine | Boles sow sive Save Stove saveHere are some notes which have the same lettemame. But they are at a different PITCH. ‘They are witten in aifferent places on the stave, AAA » a 3S les o ° aa =e o ? BE ID PD Pog f= OPT FG rmoaniai Exercise 15 Write each note 4 times in a aitferent pitch on the grand stave, es pz pe —— = 3 rr Gunns : \Wiite each note 4 ties ino aitterent pitch so that at least one note ‘of each group is above or bslow the grand save, Shae14 Exercise 16 Write the folowing notes in the froble clet os MINIME, Toke care win ine STEMS, : Bin a space below the stave. Cina space Con a lege’ line below the stave 4 Gone ine 2. G Inc space above the stave 4 : y : 1 1 1 Wie ne owing poten me bo cle cs CROTCHETS CS Wscesetanea wees Bin aspace above the stave Bonaline Fonaline: Fina space below the stave 1 his CROTCH 2 a 4 5. Con aiegar line above the stove 6 7 8 8 ok teste good, Cinaspace Ein space Eon legeriine below the stave Don aiine 10. Dina space above the stave 11. Dina space below the stave 12. Ginaspoce Lo2 & & & 6 72 8 & 1H 2ee tt fe 4 Music is wtten on lines and spaces catles @ Two of these make up a crotehet — ‘Aminim rest sits on the. “line of he stave A full bar's rest is shown by @____rest. ‘Another name for the G clef is the One name for these, # bs — Lines added above of Below the stave ore_____ tines. the distance between Fi and 6 Is called a Another name for the Bass Clef is the Give another name for the following notes clef. Bshop — Eshop. chap. Ashorp ——___ Gh 11. How many quavers are there in each of the following? fl 12. Draw a keyboard. Label the keys. You car alse draw Micky.‘Wo wis DOTS ta show ifort things in muse ‘Thete ote DOTTED notes SEREfa= ‘he dot placed ater the note othe res. emakes notes ances LONGER In value by cnolher na ofthe usual vale counts 3 Sccounis 2413 Dotted crotchet note Dotted crotch! rest SS 7 = = 1 counts led ah 1 counts Veda } Wite 0 note of equat value for each rest given. } Exercise 17 e.g, © Replace every note and every dot with @ est of the same value.Brerclse 22 Complete the folowing te signatures for sach Remember tat eresthor the some Vetus cea nce) ase To work out he Tine signature when The notes andl ro Exercise 23 ite the VALUE of each nate under it ‘hen drewin barnes io match each lime sgnature. Brerche 24 coe merote not ans up fo a crotchet {Gnd show the croichets under the stave, eg. PP Se rtp or20 Exercise 25 Fil in the conect time signatures under each *, e.g, Then detetbe the te (simple cuple, tiple or quodruple) The most COMMON time signature ie Sometimes ins sign is used to show $ Brerciso 26 Fist wite crotchets below the stave to show the time. ©) Thenfilin the RESTS uncer * to complete each bar, 23. “when we have o WHOLE BAR'S REST, ae 1 SEMIBREVE REST for ute ANY ime signature. I Range fromthe 4th tine: 7 Brerceo 27 “Somer © Hirde uncer “to complet ese ax beter. (on nesting Stow cratehe’ Books Saou he stave21 It's very importont to group the CROTCHEY BEATS together in the right way. whether they ore notes or rests, the grouping depends on the strength There are strong, medium and weck ss tL &% wiki &4s eo we bonded BEES ‘ules wll help you to group correctly. 78 do ROUGH work Bsiow the stove You can join STRONG to WEAK ‘or MEDIUM to WEAK + You connot join WEAK to WEAK 3 Keep beats ‘ot WEAK 20 MEDIUM S SEPARATE + You must join TWO QUAVERS to make Ube enotener seat 9g Oe: (fd) ot a © sueyn are Coneine aby nmg rene” sisson Follow these stops towork rout Step 1. Filin the beats, —> Step 2.Filin the stresses —S answer 9 eee Stop 3 7 Step 4, Completa “PHS tlle Crete ne boot the boats wiheess —> (0 [fF22: e.g. Complete ihe bar b other examples, G inserting rests under” Pe QUESTON , Step 1.Filin ne beats = —> rere Step 2. Flin the stresses —> Ss wMw p=E it Siep3.Creie me beats given —> [re | Step 4, Work out what fs stil needed s/w! MTw Ineed 2 beats and | CANjoin M to W. Filia minim ret Exercise 28 (©) Complete the bax with as FEW rests os possbie, Mark the answer you choose with £21. Choose i or i Give reasons why: oo mow Cn AoW Eg G52 6eEst = * Neppens it there are QUAVERS? (bears) You MUST complete Ihe t beats FiRsr Complete a beat before you move Gn to the newt one. Step 1. Filin the beats Step 2. Filin the stresses ANSWER + ee Ce) Oe onianalwe sometimes break the usuet wles 7 tN al fules whon there are QUAVERS, 17000 Group the following notes comactty. Use the rules. og. ok, grou Ts Tw tw fw Keep each.” | Join alt the quavers it not group $ EROTEHET aEAT | ifthere cre seat” info CROreker | Joins yw Separate theme Bears oad wb Bierce 29 ‘Show all your rough work, Take care with the STEMS of your notes. Bxercke 30 with as few rests os possible, QUESTION , ANSWER, SE Step 1. Filin the beats. —> Step 2. lin the stresses —} Step 3. Circle the beats ond complete tbeats, Step 4. Flin os FEW other resis as posse. Follow the steps as before, and then complete the bor24 You must bo extra carehil when you wom with Gettod note or rst “You must pow the VALUE of the DOT so that you can complete each bect Dafoe ging on 10 The next one Greco ha a a by wg manana 6 custo, Step 1.Fllin thebeats J dd Step 2.Fllin the stesses Sw Step 3. Cite the ven beats: Step 4 What the value of ho gt I the second answer creer cont Ge ‘Step S. Complete this + beat with another } beat LA-g—tttintt ; (gwen) rai ‘Step 6, Now complete the bar with one mere beat coe (@ crochet rest ) so oww —— AA RA $e how each ccs Tow a=, OER Daa Gere) re Semenimer you aro asked fo compisie o Bar with ae FEW ross 8 possible Winicr Is ght? wny? Mati ine Sox Exercise 31 Compicte with rests corectly grouped, Do rough work under the stave, Follow the stops shown above, fe Bw fn fw PS 7 olexerce 32 ©) Daaw bax nes conecty tomaich each tine donate, CaS SSS SS ay SS Exercise 33 Witte ¢ note or a dotted note equal in value to each of the folowing groups, eee) [eee Brercke 34 (©) Complete each bor wih conectly grouped quovers bckoss ©) Uecitenes and conecy gewped cure olathe mecring tne canes Sere ven otal he Snob Son age Sanna. TT ©) Simple dupte 1) Smple tiple c}Simple quaduple Exercise 36 (]) Which box shows us he grouping rule best? Markit Give your reasons. =26 crave, ‘Octo, There ao Bnctosina SCA. The 8 notes make on OCTAVE ‘Aseae s mae up of tones end sertones A tone s 0 FULL step Bohwoon notes, ‘A serstone sa HAL ston between nates, OS Amie te Here te scan ot (Cimjo: ASCENDING fae DESCENDING means ‘going DOWN JASCENDING. gong Py Rules for writing MAJOR SCALES © fF tte 8SEMIBREVES and space thom out "Dutt oF} ifthe key requires them *# SLUR SEMITONES Sand 78 ‘+ LABEL each scaie tuly Paes == S mojor descending in F motor ascending in the treble ciet the bass let.Instead of putting the shoros ¢oe fats) Inront of aach rete, wa con put them a Lis aftr the elt aan Isis Cod the KEY SIGNATURE, «The KEY SIGNATURE is always waltien in o special order. + Each sharp has its own special place on the stave, * Every mojor scale hos its own KEY SIGNATURE, € a |e 3 A cf mgjor| mSjor| mor maor | mBor | mbar | mit | mGbe Pose dap a ‘hi ihing, Here a funny saying to remind you othe Steer ofthe shops. Fainer Chores Goss Down And Ene Bat a ©) rosie wing no key sence eoch ot hese maps Gmacr major CHmajor Emajor major Fmajr Amajar major Dmejor major Bmar —Fhmajor Cmojor Emake —CHmokr major@ Sometimes you os gvon a key nature wih hares ‘nd you must name te mar sea to which aang Hero Ison 20s) woy o fr oat chy. ea. Given 2 shores “ f= * Name the Lastsharp — ct = *Goup a SEMITONE from ft —D. c + That means this key sgnature belongs to D major. YoU are not sure of your semitones, ‘Graw a rough keyboard to check. Exercise 38 Nome the major scales which have the follwing key signatures. \Wiite the major scale, ascending, for each ofthe following ©) key signatures. Sur the semitones. Label each scale completely. ‘——s— \Wiite the major scale, descending, for each of these two key signatures. Sur semitones, Label scales, gt # \iite the scale of D major, ascending and descending (©) Add the necessary # orb to the notes and si the semitones, —29. Sometimes you ae cxked to wie a majorscoe, ‘and youneed io the out whot snaps as Hore i riotner easy woy to cl ou Guchy. Youwor he some method n reverse eo. How can you work out the key signature for E mojor? Draw a rough keyboard if you need it: Go back & SEMITONE from Eto Dt «= Order of sharps clofe Falher Chatles Goos Down... stop! *Emojorwil have F#CE Gt DE Remember ‘Cimgjot has NO shops crf hos NO EY SIGNATURE! Exercise 99 lite the scales indicated. Putin the necessary accidentals, cond sluthe semitones, Label each scale, maior oscencing Aimojordecenaing Nome Nome Beier ascending major dosconcing fe == —— Sine. Nome, ‘Cshorp mejor tcending and descending A desconing scale [Anascenaing coleCa major | major} major | me Exercise 40 Give the key signature for each of the folowing scales, o re, o ehinojor —obmalor —Frmcjor Ghmaler —ebmair major “mater Bmaer ——hmaler emajor ‘Add any sharps or flats to notes which, according tothe key. require i. Slur the semitones. Label the scales, An escending soa byAn ascending soale o 7 a Nome ae egg ; Write the mojor scaies indicated by the fist rate given below. edAdesconaing sale PAcetcendng sole None33. se omemsar— Bates Wite these major scales as indicated. Begin on the note given and wilte one octave. Pre a sharp ora fat fo a note itnecessary Mark the serntones with skzs \Wiito the complete name for the scale below the stava! ‘An oscending scale Adescendng toca 4 - 6 — Nome Nome A descending cole ‘An orcondieg scale o o Name. Nome ee an octave ofeach scale according tothe gen Koy sate ©) Mark fe Srtones tabs sac soos ‘An oscending scale Adescending ale Nom Exercise 44 White the scales asked for. Add any necessary accidentals to Notes which, according fo the kay, require thom. Mork semitones with a slur. Label each scale. © major oscending: Bom cht Db maior descencng: able cat Nome. Name ‘Web clok: CF arcending Bost cle: Shrcjar desconcing ———— SS SSS S| Nome Nome — ‘Abmejor cxcanding ond descending n the Tobie letreat moan each NOTE of the seal, ach NOTE or DEGREE hos @ species NAME Thos cre sometimes colod TECHNICAL NAMES, ROMAN SPECIAL NAME ‘SHORT WAY 1 1 note’s name is TONIC. T 11 | 2°$note's name is SUPERTONIC. st 11 | (3% note’s name is MEDIANT...._ M Iv | 4" note’s name is SUBDOMINANT.. sd v_ | 8" note’s name is DOMINANT....... “D vi | 6™note's name is SUBMEDIANT.........-.. Sm vit_ | 7" note's name is LEADING NOTE...- in vit | 8" note’s name |s_ TONIC. 1 because itis the same os the Ist roké Loam allo have names. The most mporant ones now are the FRST DEGREE 0° TONIC ‘ne FOURTH DEGREE or SUSDOMINANT ‘no TH DEGREE o: DOMINANT e F 6 c . 6 Yeni subdominent dominant tonic. subdominant donihart Exercise 45, (@) {oka the scales alven Below. hey are ofF major and G mejor, Then put ating oround the tonic, subdominent and dominant of each scale, and label them T, Sd or D one give lettemmomes, 4 Fmator — Fp SS] S major35) area Gare Vie mam ch trout ten, Semana! MAJOR FMAJOR GMAIOR [dominani}domnant| sub | tone | sua- | toric [dominant ‘one | ape ee tend betad Beret 47 ©) Grete tectniccinames othe nter gen below Gmaior EWAloR cuaion pe Spr ata= Z 6 = H > b a Bere 48 (Pease, © i merocer enced wt he seguseaindts BS ees Fmaer ‘Smajer Fmater Frrajer ‘emaer Tene Dominant Subdominent’—_Subdeminant Dominant ‘Cmatr Emap ‘Ema mao FG mabeSometimes you ore gven a cetoin dagiee a asoxie,and you ‘te then ested o wll the scale. with aceldentok and tas, ‘faring onthe gon nota. Or you ore given a sala which does Nor bogn on inane ‘Your pth SWRS Grd ACCIDENTALS to nateh the key feutich belongs The oven note cD. which the deminant note inthe seal of G major 50 you have fo put ACCIDENTALS ond SUURS In he fh loses for se event he sc3@ does not ett on ifyou compare me ble above wens ‘ual ssa ofS moor ‘arg on ie ton), Yeulsge hot na Sas] ‘hd ACCIDENTALS co Exercise 49 (])_ Put SLURS ond ACCIDENTALS inthe right places for the scales given, Each scale starts on the DOMINANT. Number 20ch note ane! name each scole, 2° Nome. Frercise 50 7 \Wiite the scales for which the note glven is the SUBDOMINANT, Put in SLURS ond ACCIDENTALS, Name each major scale, Anescencing scale ‘Adesceneing sale Nome.37 Exerc st ER SES (ete canerracoe OBI ' Wie one octave of the scale. Avoid key signatures but prefix sharp ora fat to any note that, aecording to the Key. requires I | Complete the scale by marking all semitones with sure i Wite, beneath each scale, iis complete name, ‘Abbreviations may not be uted Dinsior ascending staring Bat maj, Geccendng. sexing Snine TONIC. ‘onthe DOMINANT. Nome Wit an ascending ste. the note (ven is Ne SUBOOMNANT, Tans eases etches © ite me mojr scales weichbegh onthe ntes gen Add # or} if necessary. Slur semitones, Lobel scales fully. Wie on ascending salen the White a cexconcing stein te TREBLE rsa the let Te note BASS inser ng cel Tha nate en se MEANT ‘von tho LEABING NOTE, SSS} Nome pg exercise 63 \Wiite the major scales indicated, Label ach, Slur the semitones, and ace aecicientais Wie a descending seae in the ite on ascending alain the TREBLE iho ey 6S mor, BASS. inthe ay or? mai Bagh on he SUBMEDIANT Beg cn tse sUPERTONIE.ose maorna [Oe prect sin ord) (6885, etn (eRe aboverrerenc) | yeSeMe? | ance tne tone 7 ence wecon aio iag | oe ease We ali Seve natOMe | — Wo cari mar aatscsh Inset the necessary clef. Exercise 54 \Wilte the folowing intervals on the stave below. | Ard above the fonic in F mojor in the treba, li Ard above the fonie in G major in the bas li A Sth above the tonic in G mojorin the treble, The dominant above the tonic in F major in he bass, Amalor thre above the tonic in G mojor inthe treba, i Aperfect fifth above the tonic In G majer inthe boss, Ermator S maior Major Perfect tn bot ‘below Exercise 58 f ) Fillin notes to complete the given intervals. Fmojer Crmaler F matere Yonctiat “ Bekentos — onle iad Atcken tod InGmger. onthoTone mG mar ontheTons Thstat> “Gt motor O18 mar cated Choral ‘You con wite many other BROXEN TIADS. Her yousae them on tho RST, FOURTH cn PITH DEGREES of tha sealen@ mai. Flor, {and moje: Study eml Remember Bin rer & FF NG moj “C maior S mojor sors) ee oe w v [or ew v Pore al ee 1 W vor ow v Exercise 66 (J) Wile the triads asked for. Add any #'s or b’s which are necessary na — Atwosoni o_ ‘Attosonv — Incmapr —nFmajer InGmoor Gna nFmaer Exercise 57 (©) _ Wille the broken tod asked fr. Add orb cx needed 4 onw ont nv Son nw Sony on nGmaer In major InCmeaier nFmoior NG maker Ine major InFnajor‘ose can ‘bong tit re 2 She oom these Tors wal eee italian English ‘Abbreviation (short way) Musca TERMS are wor o signs that talus how topay @| QF] poco better tous, st tat sow ete) they cor bala Englth. French. German oon Wa must row wil hey ‘ean so that we can mttprs he ase ight Woy Forte lous f fortissimo | very louc. r mezzoforte | moderately loud mp iano soft > ianissimo | very sott bp. mmezzo-piano | moderately soft mp cerescenda gadualy getting iouder | eres. decrescendo Gradual getting softer | decres. These show SPEED. andanz ] alowateng poce C=] moderato | Gtamoderatespeed | mod. an allegro fost Ota) ritardando | gradually slower rie, ea sisi, | ecommerce oe TOE Exorcie $8 (S) Con you interpret my sony? w erewenee wen | One day twas going andante(...) when I heard a lion with a forte...) roar just behind me. I decided to walk acceterando (...) because the roar was {erescendo (...),and soon tt was fortissimo (.... By now I woas going very Allegro (..,J! Suddenly 1 had a bright idea! I hid behind a thick bush. ‘The lion sniffed and got ritardando (.. I trembled! Then luckily it wetked fon. Soon its roar was only mezzo-forte(... then tt wes decrescendo (..) until (t was mezz0-piano (..) then piano (..) and finally pianéssimo(.. Twas safe! Icontinued my watk moderato (..— 4; —_____ Tea a hese se cata st samc Cpl estos yc oreo net oS) rane eg) “ee—] Chow 1 Chora Choi "chert ¥ Chon v CMa. nF majer—_InGmabr, inCmab. Emel he agar eee § pS 2 = | o Caribe och of eto Hach. Soy woh ey tn Praia Exercise 62 Complete these broken triads by adding the necessary notes Insert # or} iftequied by the key. eg. Grest chow V chord V “ches V chee IV Cheve f Fmojo. nmap. Cae, nino hCard, ects G weie die chad wwe toy saa pstes|42 Exercise 64 ‘Study the bars below. Which one is correct? [7] the box. ‘Give'a reason for your answer a mo ol s— = Reaton: Ton i wd $: PSs 1 Reason: Exercise 65 ()_ On the emoty stave below rewite the exercise, ond add barines so that the notes ond rests are corectly groups = Pe ee oq Exercise 66 ©) Insert rests under * to complete each ber. Exercise 67 G)_Aasasutoble cet sas 0 make the lostnote a 6. Then give the lettemame of each note in he boxes. Putin botiines to suit the time-signature, « Moderato SS ~ OooOgood oo o0000 ‘What does moderato mac? In what major key this melody wren?43 1.0) White, below each note, its etterame, Be J o 'b) Wite each of the following notes as a QUAVER. Drotin aspace: cbovo thestave Rott ona re Ctotinaspace a 2.) Replace every note andl every dot in the following examples with o rest of equal value. White the answer in the empty bar beside each example, © ® w o. if == == 1 'b) Add a sultable time signature to each of the following bars. Be = 16 a FF Bs e Ne e a 3. Compile each ofthe folowing bar with conecty grouped quavess ® © @ a = = == | PoAa: 4. Wiite major scoles os required: Write one actave of the scale, Avoid Key signatures but prefix ‘a sharp oF a flat fo any note that, accorcing fe the key. requires it. | Complete the scale by marking all semitones wihsturs. W Wite. beneath each scae, its complete name, ‘Abbreviations may not be used. 0) Atconcing: the major seale by Descercing: he major scale vis rs sharps ‘wena fat ©) Bagi on tha rote glen arc ©) Bogh on tha note given anc vento on cxcencing ese wile desconcng sso. Nore: Nome: 5.0) Complete the intervals os indiceted, pp eS Ain Ars Asin Atska —ty Soot alow ‘oove coors Ealow ') White broken triads as indicated. Avoid key signatures but pret, ‘asharp or a ft fo a note fit is requited by the key p= SE 3 Oninesuedorinant | Banesominarr | onthe dominant | *on te tonee Sttmaer oremaer orcas ofemaor 6. Give the answers required for) fi) i) Prefix a bass cle. '} Insert. beneath the * in bar one, the comect timer signature. li) Name the key. An abbreviation must not be wien, 1) Give the meaning of Andante. = Andante Err peta i) Nome of key:45; 7.2) Give the meaning, in English, of the folowing terme, moderato menoforte decrescendo. Piano ') Give the tollon music terms for the folowing, without using abbreviations very loud. slower. eccelerating very sof TOTAL: 100 fe 1.) Wiite, below each note, ts lettemname. BE Fonomne Enorpace Stotoncine Sp J o Fora ino rmace Dransalon tne ‘Atarnaspace 2.0) Replace every note and every dot in the following examples with a test of equal value. Wiite the answer in the emply bar beside each example. ® © w oo Lf =e =a6 2, b) Uso croichets and correctly grouped quavers to ilustrate the ‘Mesning of the folowing time signatures. Each example forms one bor, 3. Write major scales as required, D The note given is the fist degree of a major scale, ‘Complete one octave os indicated, | Avold key signatures but prefix sharps or als to.any notes that require it according fo the key. lip Indicate every semitone, where it Occus, with a she, 'N) Wile, below each scale, its complete name. Abbreviations wil not be accepted. 4, Give answers to the questions 1) ane ii) ‘about each of the examples a) and b). Name the key. {) Insert. beneath the * in bar one, the corect time signatue, I) Give the meaning of the music term above bor one. Dy, Allegro key.47 5, White the required key signatures, Bmajor. major Chmaor—bbmajer major FE major 6. White broken triads os indicated, Avoid key signatures but prefix shorp oF a flat fo any note that, according fo the key signature, requ i, 3 “on me tent ‘nme comnent | Brno acdominant] “on ne one ofc marr Stier oremaer oemae 7. Complete the intervals as indicated, Attn below Atta obove Ate above Aft above: comavon cmavor FMAoR Smasor 8 Rewnte the folowing passage on the empty stave bslow, halving the value of each note and rest Insert the new. correct time signature, 9.) Give the meaning. in English, of the following terms. forte vtardando. mezzo-piano decrescendo 9.8) Give the allan terns in full for hese abbreviations, (Goodbye ter now ‘ee youn a mod. srenent Boon accel. mp Pp eres. TOTAL 100 [iauowaaanyon soy waar 1 aufyay sty an eae. FINO SCVeD AWMANAS | payatduros sey 2eip SOLID SIT i Pench, fo aywoifiqsa: