.,.

f
-..;;;; _ fo this chapter you will learn about
Breves and breve rests
Double-dotted notes
Duplets

Breves and breve rests

• A breve is worth eight counts It is tw· th h l
.b · ice e Iengt
of a sem, reve and would fill an entire bar in j.
j
0 0

No(t•~=) Rest == • =c ( f" 0, , \ ; )

............--. ............--.

Exercise 1 Complete these sentences by addin a

\~v /'-..
j j
/'-..
j
/'-..
j
/'-..
number to each. g
j
JJJJJJJJ
\

El A breve is equal to
J. semi breves. f J
I
J pfd you know?
d A breve is equal to
minims. I \ \ ,, 1,,..
~ ~eve rest is used as
J J u \,) a whoJe-bar ~st in , .
II A breve is equal to
quavers. In all other time signatures,
the semibreve rest is used
as a whole-bar rest.
II A breve is equal to
64 demisemiquavers.

Exercise 2 Rewrite these notes and rests in order of duration, from shortest to longest.

El IIOII j_
II IIOII ) O•

II I

mJ.
1. O•

D J J.
 1
h box to show Remember!
. ti) or cross ( ,t) eac en correctly or
Exercise 3 Tick ( h melody has be nd rests of 4 has four~ beats in each b
whether eac . using notes a 4 ar,
incorrectly rewritten j
while has four cJ1 beats.
JJ twice the value.
1
/
J
J J
JJ
tJ J

II $2yDJJ. ~lo II ta J *D J rI w ~I QJ

Ill 'H Hf fr I II crcrB- 8J

Theory in sound
Ask your teacher or a friend to play these melodies
while you count the beats out loud. If they have
been correctly rewritten, each pair of melodies
should sound like they have the same rhythm.

• Double-dotted notes
l
• We've learnt that a dot after a note or rest adds on half its value.
• A second dot after a note or rest adds on half the value again. In other words, it adds
on half the value already added by the first dot.

Double-dotted ). = ) + ) )
quaver:
:;
+
Double-dotted J. = + ) + )
.................
"/" = "J + + 1 crotchet:
.. =
·· ·-·- ·-· ·· ·-· •• ·····••o,,., ... , ..
+ 7 + 7
J. =
....... , .............. ............... ... .. ............ , ...
Double-dotted
minim:
_.. =
cJ + J+ ) Double-dotted = j
- -----
- -- ---- --- + t + 7 semibreve:
o ..

.... =
0

..
+ cJ
+ ...
+
+
--
Exercise 4 Circle TRUE or FALSE for each statement. s~s-+J--\'f
j .. J k S
El A double-dotted crotchet is equal to a crotchet plus a dotted quaver. @ FALSE
J ..
II A double-dotted minim lasts longer than a dotted minim. ~ \ FALSE
T:: s
II A double-dotted quaver plus a semiquaver is equal to one crotchet.
o~:
TRUEB
II A double-dotted semi breve is equal to a breve.
TRUE S
Did you know? Remember!
Double-dotted notes are often followed by short notes that complete Three triplet notes fit
the beats. Here are s~me ~ommon rhythms you may come across at into the time of two
Grade 4 in different time signatures: non-triplet notes of
the same time value.
For example:

.. f t J t J -t-J +J- t - -t- - 'r

m n -~.,,,,
3

r--3----,
=
~ ·

J ; i
,<

j JJJ = J
Exercise 5 Answer each musical 'sum' with one note.

am 3
+ = QJ
I d )
' ' '\' -•,
+ .. + =

II ) + ffl n'~ J = @]
I j + 0
+
n + =
[ill
II IIOII j =
r -3--,
D J j j + 0
=

II O• j = []
I Exercise 6

:
Add one rest at each

J
.J
to complete each bar.
Remember!
A demisemiquaver
rest looks like this:
:;
1
- -.Ill\
\

Js-; --J s
El ' C .J.. :; 7 j j j J J J II DI

a 2= 1 1 a-- fl"'
j J
r· p 11 m
J'JJ•i- J. J

Exercise 7 Add the missing bar-lines to each of these melodies.

Smart tip
Watch out for upbeat star-t -
s.
"-t, ..

I /F ~(J ~:r~--- =t I
El ;,: I I• c:2
I E II
11011
l

I I
I I.

----------··

ifd I Bartek
II
J. JI J. rr r1 c:_y. E2t I r·
3

Mendelssohn

m
I

J- J JJ

II th,\ g f f r F[JI f" r ttf ~IF z F z r-;f r1["

fheorY in sound
h ar an example of double-dotted notes 'in action', listen to Haydn's String Quartet in F,
fo ; 4 No. 2. The theme at the beginning of the 2nd movement (Andante grazioso) includes
OP· t,er of double-dotted rhythms.
anurn~------------------------------------
ouplets in compound time
• In compound time, each beat divides into
J
three equal parts: divides into JJJ
n is equal in time value to .r:r:J or l
• If we want to divide the beat into two

n
2
equal parts instead of three,
we use duplets: J
divides into
2 J J is equal in time value to_I
• • I I I
_ _ or cJ.

• Duplets are shown by adding a figure

2 above or below the notes or rests to which
they apply.
• Rests can be included as part of duplet r-2-,
n is equal in time value to ffl or).
groups, just as they can be for triplets: 7 Ji

Exercise 8 Number the beats and then circle the correct time signature for each
rhythm in compound time.

n n n ~-
2 2 2 2

El JJJ In J. I II JJJ II
Beats: 1 2 2 Beats: l. 4-

g
CD ff
1 sr r rs
,2-, 2 srs-
m 7 )>In J / 11

Beats: Beats:

6
8
I
 l
• By using dup/ets in compound time and triplets
in simple time, it's possible to rewrite a
-----~
Smart tip
Simple time
•
simple-time rhythm in compound time, and
vice versa, without changing the way it sounds: J becomes

I Simple time
.rn becomes

J a -0
3

I g1J
I Compound time
9
n becomes

J J -D
2
I 4gJ 11

Exercise 9 Tick ( v') or cross ()()each box to sho~ whether each melody has been correct!
or incorrectly rewritten in the new time signature. Y

II fir ,.
_; E -,. I'/ r E :s~ ca
'
3 I

(i) 29'1 - ,· E ,. -r I~ '

' I I
3
I
I
I
ff
,11

F
' '

r Lr r~ g
2

E - ,. r ,..
I I

, ~-- rrrc1 ~ c;y

i I
I' B
3
I
' '
;5 ~
2
,. r J SJJ
l!J I
f:.11 I
v E_, ~·

' e..
fi r \ \
•
L2-.J
I
I
2

/'1

... :i=
Aa '
I

I I ' J :
EC f F l 1

--J_ I 1 } I I ,1

D }fr Ip 8CSr--r_-_1_J_. J_z---Lj --=--

] ___
J J. J J3-;1
3

II
2
CJ
D 2J p CC ,. f j
'/

d
I .
I (

r r C{P f
I

,.
I /
L
=' I z
3
II

Discovering Music Theory: Grade 4

r:,c.ercise 10 Add the missing bar-I"
1- ines to each of these melodies.
J ) J 1 ) ) JJ

~Zar c·r &1; vC utU\cu a r

~ti 7 §E~ JJ , , D,boss,

11 -== H cf 2 L 2 _J 2
2

111 ~~,,,~ WJ J vr· c:r1tfrrcrr:r r\H±crrr- g ln-

2 2 2

11 ~~N·1.H t.J ~: r C:t Ier rEr

2 2 2
f 1J_ r HJ;\r . '\\,

~'qr rCF1r F· rrE1r- J ttr1f" ttvt" t~1fl(drrr

• •, -. Tchaikovsky 7I
11 '

a 2=
1
ar v C c; r I Lt EU J ~J r rI r 2 2
't· p
f\

Challenge!
Can you rewrite each of these rhythms in the new time signature? The smart tip on page 6 wili he\p you.

J t II \ j _ J. ~- ' \\

n m I .J. D .J. I
2 2 I I

l
}

mH.J. J 11 rn \ j nJ \\

Test your progress

Draw notes with as many time values as you can, from longest to shortest.
Can you include some double-dotted notes?
 --- --
•
1:1. 1
New time signature:
.j .
is an example of simple quadruple t,me: .
-~
J J ;Q If F F r
there are four beats in a bar, and each beat ,s j, 1 2 3 4 1 2 3 4
divided into two equal parts .
.j f
time is similar to time, but there are four

~IJ J - r Ir f r r F~
quaver beats in a bar instead of two crotchet :::j
beats.
3
• A rhythm in can be rewritten inf
by
J 1 2 3 4 1 2 3 4

--
doubling all of the time values. This is
because the time value of the beat has
J
doubled: the j, beat (8) becomes a beat (4).
• A rhythm inf can be rewritten in 3 by Smart tip
halving the time values. To help with Exercise 1, write in the beats
?f- • In j, notes shorter than a crotchet are under the rhythms. Remember that the
beamed together to make up half-bars, time value of the beat is indicated by the
but notes should not be beamed across the bottom number of the time signature.
middle of the bar.

Exercise 1 Tick ( V) or cross ( 1() each box to sho{whether each rhythm),as been correctly
or incorrectly rewritten in the new time signature.
J J J J J J J ss s-
J~ J- I Y ,
Iii f} )JJJ iJ fn)., II (EhJJJ /J .JJ9J711 0

;, ;i mJ
3

II f J J. II I ~
J J
i
1
II 1 0

m aJ J JJ9J 1n) II i fnJ fnJ I J. )j II [2]

I 11
½ q I v 1, q
I -v

Disco vering Music Theory : Grade 4

 rwo new compound t·1 • 9
• me signatures: 6 and
.t .! and i are examples of compound time 4_ _4_ _ _ _ _ _ _-,.
____
signatures because each beat ct·iv·ct .
1 es into HJ
r I a r r v·
three equal parts.
f has two J beats in each bar J ,J II
2has three J beats in each bar J 1 2 2
(1 2 3 4 5 6)
• The grouping of notes works in the same way ............................................. ·· · ·· ..
as in and R, but because the beats are now
dotted minims rather than dotted crotch t
the time va Iues are doubled. es, =
~2J J A r r r r Iur r ... II
• The dotted semibreve o. is used in I and!- d. 1 2 3 2 3
It is equal to two dotted minims. (1 2 3 4 5 6 7 8 9)

Exercise 2 Ti~k ( t/) or cross ( K) each box to show whether each melody has been correctly
or incorrectly rewritten in the new time signature.

Remember!
A dotted semi breve is twice the time value of a dotted minim. _ «
\

ElgJ J JJ n1J )J lhJJJ. I/ 1

i J J Jd n Id J cJ IJl J J J 1J.._,,J I 00
J ) JhJ IJ lhJJJ. 1
d JJ11Jid iJlJ J J I [2]

II I J J nJ J IJ J nJ .,.,.
I
7

J J Jj J ) IJ I
J J. JJ. (j}f
I'
1 [2]
' I ' '

mid nJ J n 1J. )J cJ IO• 1 . ')

g,,J n J J J J I J. J J ) J 1([) ~w~rj·11

I/ I !I
 a

More compound time

l
•
signatures: 1\ 1\
•\ ,\
fs
and ffi are examples of compou
nd
...
2
.. .. ' . .
. .
2

1time1 signatures; they have a dotted-quaver

beat that divides into three semiquavers.

\ has two ). beats in each bar

1
2 3 2 3
\ has three ). beats in each bar
1
ffi has four }. beats in each bar }.
• Notes are usually grouped into dotted-quaver
beats, but in \ dotted quavers are beamed
1
together across an entire bar, just as quavers
are in~ and f.
smart tip
It might help to think of these time signatures
'
as ff, and I 'i, with the time values halved.
Exercise 3 Number the beats and then complete the time signature for each of these melodies.

2 2
2
Beats: 2

Beats: 2

II

\
Beats: l

i ,,
-~v ; f au Ir r- r
~• 1
111'1
,
a
I ' I

JJJI J.
II I

Beats: j l l .:1- 3 i l. 3

I I DisrnvPr inri M .
e)(ercise 4 Add a number in each box t 0
complete these sentences. Theory
in sound
El In rs j.here a~e {: semiquavers in a bar.
Listen to a recording of
Schumann's 'Sehnsucht',

ll In 3there are CJ- quaver beats in a bar.

Op. 51, No. 1, which is in
time. Can you count along
\i
with the beat? As you
a j In there are if minim beats in a bar, or
cP crotchets.
listen, try to subdivide the
beat into threes for

mi
compound time.
In there are :l dotted minim beats in a bar.

I In B n 2

is equal to
r--3-----,
3 quaver(s).

D In i JJJ is equal to
I minim(s).

II In (6 m is equal to
I dotted quaver(s).

Exercise 5 Complete these sentences by adding the missing words. Remember!

• Duple time has
El is an example of r.f.'w-fu quadruple time. 2 beats in each bar
• Triple time has
IJ (6 is an example of compound time.
3 beats in each bar
• Quadruple time has

II f is an example of compound time.

4 beats in each bar
~--
..~--.

m& is an example of compound d wipl{ time.

II i is an example of simple 1np 1..t. time.

Exercise 6 Circle the correct t,·me signature for eachCofWesley
these melodies.

a ~= 1 u ,r tr I Ll7
fiJ~J~~..F .f '

4@1J LJll
n (\
Itr s f-
f\ [\ Beethoven
.P-.r J· ..J · J ·

o Ji~ 6
16

Stebbins

a 4~1;,JJJJ JI JJJ,.. IJ~JJJ J I

Beethoven

Ill 4±,, dMirbf ¥@1 bQPW 8 · g !

®
• J JJ
6
4
.liJ
@ w
i Simple or compound? d. c\.

The grouping
rhythms of notes and
in compound time.rests helps to distinguish between rhythms in simple time and

,1 These rhythms have been written first in compound duple time and then in simple triple
beats they
I time; are divided.
use the same time values, but the notes are grouped differently to show how the
I
2J J~ J J
J II
2
becomes
J J J J
J II

J
LF.JJYin-1 2 3

!n
II becomes
j2j
n
2
~7 j 1
1\). t=,=, II
....... '·• ·· ··· ··· ... ., ..... ........
2
3
1 2

--- - ------
I ).
becomes
~r.-~11
'---- ) 1 2 3
' I Discoveri ng Music Theory, Grade
4
 ercise 7 C_ircle t~e corre~t time signature for each of these melodies, then describe each as
either simple triple time or compound duple time.

clt1plt. . time
J. S. Bach

11 ¾! J.br ID IJj JJJpg~- pJ-JJ3p· 1

J'. ---- - - - - -

C(JW\r~ time

II ,~## u J
!'
J
n f Ir I f Ir ; f I
<.J j-_JJ s-JS-
J_ - 7_
JJJ
I LY 6
16

2,~u. t1nrlt time

m~, Jr.rl P
J'
,,_____;
g: r r E r· r !
f J' J'
L---.J
1
, ' , ,,,
1
1
2
,1
o Ir·
,, , 2 ,,~
11 I
time

Exercise 8 Add the missing bar-lines to each of these melodies.

II :Hff If" f rf FIr· rrrr rIci· r rrffIr· O • I

gpffDfa£!~rUI~-g~-f-0 f :ttav·,.11
1 • -. Bellini

a ::>' 1Ii ( 'f

sS\ .t \' i !
UJ1 ' f . f I- f C JJ J

bkfuf -:. J J JJ . j JJ hapte r 2: Rh ythm (Part 2) I 13

 Exercise 9 Tick (ti') or cross ( )() each box to show whether rests are correct or incorrect.
> <-'I \i)l,i,.,\
A~ ,_
a ,uaJ , , J J 1r - , 1u r , Jir l
[Z] [2] 0
r ri31J z' r II
D
a ' Hiiilg RJ ,. J Q 4>I :j @4 Il pJJz Oyf 1 -.
0
( l J' c,v .n. )
ca ; 0 ·· '-
,.
r :i J ,

D ...,•l=s
7 _ #
I I
•
I
J
t IE
i 3/ IL_;_z r r r I
3/ 3/

g
·- - - 2
J')'J

g ~
 rcise 10 Tick ( t/) one box for each question to show which bar is grouped correctly.
f,ce
d ~uj 0?
~~~1:~ 1=+:::n-----0

d1 l ft -9 11 ,~ ft
I
fl 6J. 9Ji !
J s- s-

I Ff Fr(f Etr i , ,1w1I CCE!Fffrr ! =?'•~tt I crrrrf[!r II

II . i_---...__J

[2] [2) ? (2]

! ,- ¢ C,~P L
[2)
J
I 2'& l l
J.
(Uy
CZ]
II 2'& Ll
J.
ff FW
[{] I

a
j
tau •J. Cr0 iiu9J I ,a E·
V J C-~
J J..u9J II
-
&e J. V
Cr
2[21
1:!! II

Challenge!
Can you rewrite this rhythm in the new time signature?

J ) J n JIJ ) cJ.

n rm
f •

1JJ J. I Jffi J~ I\
J- .

J. r s. J j
.1 - ' ' /
Your progress I •--.. ./

"::.~ \ .• 7 ~
fo;
Congratulations! You've completed all the w~rk G_rade 4 on Rhythm. . __-.-\ _
Turn to the Practice Exam Paper on page 69 1f you d like to try some sampleexa-m:_~ sttons. , __ _
- -~
J:,
 . ~ ~-,-h rn "b - f
PITCH _:~-,~ ~-.~ ,,,,
T he alt <:i~I
Double sh a rps and doubi O ci~ "·;~~ rl,
:-~t1-rP~
3 Enharmonic equive F1 0 1 ~.1t11
' - . ._; .c... <lle~t srnart tip • _}~, ~ t ']1J
i.. ! I ~,,.."N
t-\.. .(' ,here are lots of ways you can become f .. .
am,har with the alto clef '
,, f'j
• I
"I'-
Here are two to try : ·
' . . ...c,.,,1,;.
,.' :,_'/ ;'JI :
·/rt:>
.
(V\ake up phrases from the letter nam O f th r •,~ t
Did you know? 1· them in the spaces below. es e notes in the alto clef on the lines and spaces, and write
; ; --...-
The alto clef: /15
l The alto clef uses a sign known as the C def: f/5 We use different clefs in order ~-- u j
II
0
to avoid having to use too many 0 F A G
C E f~)
w hich is centred on middle C I
ledger lines. Instruments and • -.f
voices that use the alto clef F A C E G J_1"-J'itt
.,
7 -; -.
-
alto clef typically have a range of notes
G !
/ that would frequently need ledger B D F
,S - middle C lines in the treble or bass clef.
G B D F
d i,
2 _If you remember that middle C is on the middle line in the alto clef, you can count up or down from this
..
tu
Here are the same seven pitches around middle C, written in the three
note to find any other pitch. .,
(•
~- I
clefs we have met so far. Write the note names in the boxes .
-e- ..Q_
-e- ..Q_
Exercise 2
-
Tick ( V) one box for each question to show which clef is needed for each named note.
1
El
ll
:ll El a
E E F
' u 0 Ci ' D 115 D 'J: QI \15 0 ~Y O ~ Q \15 0 ~Y O
'CT -e- 'CT -e-
middle C
['\ D t;, ji..o..
m I II D l
D 0
I
A
Exercise 1 Write the words spelt by the notes in these examples.
9: 0 ,~ 0 9: 0 \15 0 ~Y 0
D IS
/ 0 11
-0-
B ADD II e
e
Il
~l~ t t \)
-0- u
a Ill D ll
A1,t 1) mB ..
a ..a.. ..a.. -e-
11 rAt tv
C
bi E

n
fl I!
..a.. a -a-
11
0 11
u
ij CA&~~h:E. IB0 ~J O ,rti.l ~ ~J O \t;ZJ ~J O
i6 I G :: -:, 1':r, r:9 Music Theory: Grade 4
Chapter 3·. Pitch
 ...---
Exercise 3 Rewrite these notes in the given clefs, keeping the pitch the same.
e,cercise 5 Tick ( t/) one box for each question to show which bar has been correctly
written one octave lower.
Smart tip
Make sure you write each note at the same octave as the given note. -, El
You can use the position of middle C in each clef as a reference point.
a &.. IIR .. II Ill , e , 6 II II IG e & D ffl ,J
J2(
Jr 11 a 2 J J rr 11
'J'
b-
= I! El I IIR &o 'J' §IaI 9: lli
i 11 1er f Ll+ r
a
II
:iu ctrrrx6- r I u mr ,,JtH
111 ~n
1 ~r 2ctr r fj J
g a $"I i
11
q
11 &u IIK I 111 'J' "" IIR II lLJ
Did you know?
Exercise sll and sm use key signatures in the alto clef.
You will learn more about this on page 25.
Exercise 4 Rewrite these notes one octave higher, in the given clefs.
r
Smart tip a 11, ur PJ J 1 11
, ~,MF v iJ3 J. I ~r g"Mf C[ EEF" i
Find the note at the same pitch first, and then move it up one octave. Always
check the clef carefully and think about the position of middle C in that clef.
~ '-I-
&- IIR &- IIR El El I I
O
II Fi Ill I II II 9:
-e-
m :1:•~ mf" tfrfr11
1!!1 ')=
8
IIR 0 I II IG#'& ')= I!:] I D IIR ffe ' §I 1111@In J ;TI JJj I IIB"• ffi F" r_j (f; mJ f5 01 Il
m & e IR Ii I m 9' bu IIR ffi a 4 == § I IIR 11

JZ]
-e-
18 I u,::s r.ring l~uc,c Th eory· Grade: 4
Cha pter 3: Pitch
 in soLll1d alto clef, ano
TheorY
. I is often
written in the . la is a/to.
f the v10
Music for v10 a F nch narne or t0 hear wha
ta -~. ,
,., \
· I the re · ces
interesting y
Have a listen to one
of these pie \
... ('

viola sounds like: t (3rd rnovernent)t)

• R. Clarke, ~iol~ so::r:o (2nd rnoverne~ent)
• Walton: v,ola sonata (2nd rnove
• Shostakovich: v,o a
UE or FALSE
d then circle TR
AB and C, an
. compare bars '
. 6 In each question,
Exercise for each statement.
C
B
II A FALSE

A is one octave higher than B FALSE

Band Care at the same pitch
TRUE S
c is two octaves lower than A

mA ~isr vfrn
A is one octave lower than C
TRUE Q
FALSE
A and Bare at the same pitch

Cis two octaves higher than B e FALSE

Bis two octaves higher than A TRUE ~

None of the melodies are at the same pitch& FALSE

Cis three octaves lower than A )
TRUEL7
 .......--- ; !,J;~
lt !,'I 1
~f
- j
. . .,,, _.¼ J ,~
•. I'":!:/'
~·
•. SJ ""'" I
-~ =~ ml
e.)(ercise 8 Write an enharmonic equivalent of each of these notes that does no\ use an acc.iden\a\. •i~1_r-r_. l
Exercise 7 Tick one box to show the correct name of each of these notes. ~ 1,/i-r-r "
:,--rwf
,.~ -1•''
.i'f
a ~
xn: Ill
II
f -~
X-U-
Xll
... 1/
,,/r,, -"'
, . ~,1 :.'f
r:I h;
"t'!,f' F,T:
F double flat
Ho double sharp
~'i _: -
-;:: !'.J
8i
7
E double sharp
C sharp
j 2 JE double flat E double sharp
l!I ~ : &•• D :J: ~ 0
~ D
·-rr.;:.~.
vf:-:.
,,
~-
L Esharp r;J,:,:
t/ ' C double sharp
0
Dflat
F double sharp G double flat
X
'l•}I1
E double flat
ffl x••
)I
'-
X.D.. X.D..
D \'
r.
Ill ~- II II D i
l»-u-
D D double flat go double sharp B double flat
Exercise 9 Tick ( t/) or cross ( )C) each box to show whether or not pairs of notes are
D A double sharp C double flat Dflat enharmonic equivalents .
@ double sharp B double sharp Bsharp
II :>: II 0 \i•l D JI .. a
0
\\,,
0 C double flat D double sharp double flat
. ~, 80 0
Q1 0 0
.
l
Enharmonic equivalents ,,
'P..u.
- -e-
• It is possible to write a note of the same pitch in a Theory in sound II &•• q i\h D \! "~,II o ~:)-· 0 \ln1 IIV.
t
number of different ways. Notes that sound at the Try playing F, E sharp and
same pitch but are written differently are called G double flat one after another
0
i
( enharmonic equivalents.) on a keyboard . Do you notice that
you are pressing the same key for
-
..0..
• Every pitch can be 'spelt' in up to three ways using
enharmonic equivalents.
• These three notes are enharmonic equivalents, so they

all three notes? Try some other

double sharp and double flat $
notes and see if you can work out
IJ ti 0 -e-
·1 Ill
Ii
X..o..
\\ D :>=
II
-u- It---
~. I
all have the same pitch: their enharmonic equivalents.
"- w
F Challenge\ Add an accidental to the second note ol any 'incorrect' pairs in
E sharp Exercise 9 to make them enharmonic equivalents .
G double flat
.,'·'
. / ' .
Your progress
Congratulations! You' ve completed all t he work lor Grade 4 on Pitch .
Turn to the Practice Exam ?aper on page 69 ii you'd like to try some sample exam ~

..,, ..... ..-- -

stioos.
~',i
<-t:,..
.,

.t:.
l~I:::.:
..
:.,:,. t
 -,.._ n
\ l'l ~b C
Technical na
111
KEYS &·
the d egrees of th ees f~
.. .
4
Th e keys and scaist •I,
B major and Db ~ st TWO new major keys and scales: 0 1, and B major
(PART 1) , t-"' . c=::_ '' '•i l.
!,:".!ii
FLATS SHARPS
.
l
Technical names for the
degrees of the scale
In Grades 1-3 we called the degrees of the scale by thei r

Degree
1st
2nd

Name
tonic
superton ic Di> maIor major
! I
.
I
El, major Bi, major F maIor C maIor G .
i = i" D majo, A major
m
E major B major
number. We are now going to learn the technical names for 3rd mediant
all the degrees of the scale. 4th subdom inant B major scale, ascending
5th dominant
/ Degrees: tonic supertonic mediant subdominant dominant submedian\ leading note tonic
Smart tip 6th submed ia nt
The technical names for the degrees of the scale are the same, 7th leading note
"
e I
whether the scale is major, harmonic minor or melodic minor. ;~. -.:I"
E1 t~l e \ II e
C:I D: F: G:: A:
Exercise 1 Write the technical name for the boxed degrees of each scale. Di> major scale, ascending
tonic supertonic median\ subdominan\ dominant submedian\ leading note tonic
Cmajor Degrees:
I
[;J , i ~g1u , t.,, "
I 0 '\ 'L
\
'
e
e II
I Ii
El I e ii
ii I ii
c:'3
-e- , U
Di>
Di> El> GI> Ai, B'>
QGwi°•~
supertonic
-- ----
I
--
~ FmajM
,~ e 11
B
.\'t1.b ,wdl11".f

11 e
B
vw.d, .. ,{. .

e i i 1
Did you know?
The order of sh arps or flats
in a key signature stays the
\ same, no matter what clef is

!r~zlz t
!r•11~•n
1 •;l• '1
I l> lz
1~b,
rI
being used.
C harmonic minor
go
B B
-e-
D 9:~1,,
e
e
e
B
-
(j
II Exercise 2 Circle TRUE or FALSE for each statement.
cL""'1""""'-- M.eclle,-,>i ~ II The mediant of B major is D. FALSE
E melodic minor
8
11 @ m
B
The leading note of DI, major is Cb. FALSE
II e i I e I I j!o e
II
II The submediant of B major is Gt TRUE 6
i., jr.,
J'111b~\CA ~
24 I D,:co 1£:ring Music Theory: Grade 4 Chapter 4: Keys & Scales (P,
 5r,1art tip
ch question to
check the position of the ac Cid
.
Exercise 3 Tick ( ti >on• b ' 0
f•; :ak• each k•Y
shoW the clef that WI
on the stave carefully. •nta1,

signature correct.
El7 major

I~j2l' '>T
El ~ 9=0 II
Al7 major

B major

mp
m 18 0
J<
II D17 major

d I~ '>'[
~,p
D major

II I~ D

These scales have been written Remember!

Exercise 4 without key signatures. All major scales follow the same patt
..-1 · Add accidentals to make the of tones and semitones: TT 5 TT T s"'n
,, 1' _\,-,~1· pitches correct.

El ,,
1 ~ajor, ascending
~o
lzo ki
0 fu
ho
B major, descending

m 418 0
 exercise 5 Name the major ke d
Yan the technical name for each of these notes.

fJ
IJ
II
D major

leading note m ,.## 11

· · · ~·· ·~~f~. . . . . . . . ..
!'iAb wt;f,~.. -l
0
A-~ Vv1'-j'oi, vv,c.{v-
II I, II ............... ··········
m IIB# 11
j ......... , ............... .......... .
1 \'tilL D<>~~"'~..,,-1

~I, II
~tv
················ ·········· ······················
D IIB ,,~~,,,,
11
f)b IM" /~-
-··•·•················•···•"'' ' ''''' ''' '

II -e- L~tA,1 ti1A1 c.ll11 i,,--\.

Ill
tti11#1 II · ··· ··~•: .~t~.'. . El IIG#;i~i, .R>. ... ~ .~,~ ·················
-e- j't.(l;x;i,.1,1,1J ,u,vrt L»-d~ V1 irtt

Exercise 6 Add one note above each tonic to show the named degree of each major scale.
Use accidentals where necessary.

El e
:::::::n:::::::
II m &u § II
tonic subdominant
' tonic submed iant

I ~:
&-rr
tonic
B
lead ing note
II m ~:
-rr
ton ic
B
dominant
II

II IIB l2u

ton ic
8
mediant
II D

' -rr
tonic
B
lead ing note
II

D 118
b-e-
toni c
@
supertonic
II m ~: e

ton ic
B
submed iant
II

Chapter 4: Keys & Scales (Part 1) I 27

n Exercise 7 Circle the notes that need smart tip

I an accidental to create a
melody in each named key.
• An accidental is only needed the first time th
note is used in each bar.
• When notes with accidentals are tied, an
accidental is not needed for the second note
e

even if it is in a new bar. '

f' r/ "~ o~ "A Haydn

:BJtb!: I Fca, @l@ICf (f)@@J

B major

11 f)= c
Db major
,. . Chopin

l!J , c r@ <p I r cfi) 1@1® I I

II
Db major

/IB B7 @t .ffffi!MP
B major r-,tf ~11 ,I~" Brahms

l!J
 e~ercise 8 These melodies have been written without key signatures.
Circle the correct key for each melody.

smart tip .
00
k t which notes have accidentals in each melody. For example melody El includes
L da D#. Even though there is no C# or G# in the melody the D# ~eans that the key
F# an · G . D · · ' .
cann Ot be C ma1or, ma1or, ma1or or A ma1or, as D is not sharpened 1n these keys.
'

D major A major Gmajor

rLf BJ. ~J J J J .J. BP major AP major D'1 major

11 ~= a, rr~c ; rf r v. 1 G major A/7 major D!Jmajor

D major A major Emajor e

 .
l
11 minor c# minor G#minor
..,.-,jnor F
II ' Al! ..,.-,aJor
. ErnaJor
· B mai·or
B
Er,1inor Dr,najor '',
A ,,,,,jr,Or .
·.-,or ,-, '" . GrriaJor
· r Drri 11 • aior
o1 · C,oin°' G,o,no aor C"'
B, m;nor f .,,nor . BV,oajor f "' I
Dii major Ali rnaior £1, rnaior t keY signature.
how the correc
each question to s

Exercise 1 nck(ll"> 0 ••b

0
'fo' -~--

smart tip · b ut each keY sign

. aturff·
0
t f h ps or flats fort e e . ,
Ask yourself these three queS ,ons • h k y7
O
, Does it contain the correct number s ar d aces? ,
, Are the sharps ,nd flats on the correct lines a• SP ·
• Are they presented in the correct order?

Bl, minor

I Discovering Music Th eory.. Grade 4