ae Taylor Music Theory in Practice ee oe . to ee ; Bar Teri oograde Eric Taylor Music Theory in Practice Revised edition 2008 Sonia Khan ABRSM Represent ©: 0091-971113; Osa ABRSM eSSyllabus for ABRSM Grade 1 (1) Note values of seribreve (whole note, minim (aif note, crotchet (quarter note), ‘quaver (eighth note) and semiquever (16th note), and their equivalent rests. Tied notes. Single-dotted notes and rests. (2) Simple time signatures 4 % 4, bar-tnes, and the grouping of the notes isted above within these times, Composition of a two-bar thythm in answer to a given rhythm starting on the frst beat ofa bar, (9) The stave. Treble (6) and bass (F} clefs. Names of notes on the stave, including middie C in both clefs, Sharp, ft and natural signs, and thir cancelation. (4) Construction of the major scale, including the position of tones and semitones. ‘Scales and key signatures of the major kays of C, G, D anc Fin both ciefs, with their {onic triads (cot position), degrees (number only), and intewals above the tonic (oy number oni). (6) Some frequently used terms and signs concerning tempo, dynamics, performance directions and erticulation marks. Simple questions will be asked about a melody written in ether treble or bass clef, ogo 1: Ravel, Batre ‘Copyiht © 1828 by Eatons Durand ~ Pars, France ‘Sin Spain uni 2052) ano U.S. unt 2024) Alright served, lernatoral copight eocured Pefroducod by Kd partion of Ha Leonard Ewooe Si. aly for Sein ana US. Pogo 21: Ravel, Mather Goose The Enchanted Garden) Copyright © 1810 ations Durand - Parsi Carp Nowcie BY. Alright reserved. Reproduced by kind permission of Hal Lene MGB 5 Pago 32: Rave, Pavan fora dad infant Copyright © 1912 Eattone Max Es0n9 Paris Aig resaved. Reproduced by tnd permission of Ha Lenard MGB si Fst published 1880 evied elon 2008 eget a 2016, Publica by AAS Pubihing) Lda wally ove aisary of ABRSM £2008 by Th Associated Boa of the Royal Scr008 of Muse “Typeset by tenes Mute Engraving Ltd Cover by Gevk Design Insice design by Verrtien Prented h Enda by Halstan & Co. Lid, Amersham, Bucks, ‘on matorale fom eustsnane soursContents Time values Bar-lines and time signatures Notes on the stave The treble (6) cet The bass (F) clet ‘More on time values Rests Tes Dots Accidentals| ‘Sernitones and tones ‘The scales and key signatures of, G, D and F mejor Canceling an accidental Degrees of the scale and intervals The tonic tied ‘Composing an answering rhythm Performance directions General exercises page 4 10 " 12 12 14 16 16 19 20 2 22 27 29Introduction Fight from the start, itis important to learn how to write down music claary. AS a ‘musician, unclear manuscript can waste valuable rehearsal time and might lead to performance mistakes. In an exam, badly written work mey be misunderstood and ‘could lose you vital marks. ‘This workbook offers advice and practical exercises, which provide a sold foundation {for notating music and understanding it in context. Workirg through the book wil ‘equip and fuly prepare you for the Gracie 1 Music Theory exam; itis also an excellent resource for developing your general music literacy skils. To enhance your learning, ‘each chapter begins with a reference to The AB Guide fo Music Theory, @ book that ‘supplies further background knowledge on each topic. Where keywords are Introduced in the text, they are highiighted in bold and acsompanied by a definition. Bear in mind that this workbook presents an introduction 70 understanding music Notation: any printed music which you are learning to play or sing will provide a good ‘model to help consolidate theory into practice. Look closely to see how the notes and ‘signs are written, and where they are placed, Practise copying out music carefully — mastering it may be a slow process, but sped and techn que wall come with tine. Exercise 2 [2] Example Time values (The AB Guide to Music Theory, Chapter 1/1) ‘What are these notes called? © Name Name . J Name Dna How long is each note? Complete the following sentences withthe right number. (As an example, the answer to the first one is given.) ad tasteasiongas 2 4 A © lsteasiongas —___ Ao tastsasiongas __ J ad tastsasiongas =) Ad jaste.as tong asBar-lines and time signatures Exerciso1 [J Exercise 2 Exercise 3 [A S| Exerciso4 Exercise 5 Exercise 6 Example (The AB Guide fo Music Theory Chapter 1/2) — << a fee ‘What is this pair of lines called? At the beginning of a piece of music you can see two numbers: for example, 4, # or & What are these numbers called? In directions such as %, # and 4, what does the top number tell you? ‘And what does the bottom number tell you? _ ‘So What isthe full meaning of % 2 ~ ‘And what is the full meaning of #7 Write the sign which can be used instead of 4. ‘Add ONE note at each place marked * to complete the bar. oo sy ee ce oa I ee a0 @ fe oe Oe eo I i |Notes on the stave The semibreve (whole note) Exerc Ledger lines Exercise 2 (The AB Quid to Music Theory Chapters 1/1 & 2/7) ‘The easiest note to draw isthe semibreve (whole note: its simply an oval, © Ifyou craw it on a line, the ne must go exacty through the middle, and the semioreve (whole nots) should cover only half the space on ether side, For example ‘you draw it ina space, It should fl the space (not overtas a line) Ss= wot SS SS v ¥ ¥ tis hard to see it the notes marked X are on a line or between the lines. Draw a semibreve (whole note) on every line and in every space between these notes. a ene aaa ‘You can draw notes higher or lower than the five stave lines by drawing another line or ines, For exemple: Each note has its own line: ee oo v ¥ ‘Do not draw a line over the note above the stave, and de not draw a line undlemeath the note below I \When you draw extra lines, they must not slope up or down. They should be the same distance apart as the stave lines: 2 a x aaa aa ‘You can draw more than one fine above or below the stave, but in Grade 1 only one line above or below the stave Is used: 2 What are these extra lines called?Stems Exercise 3 Exercise 4 Notes on the stave | Like semibreves (whoo nots), the note-heads of minis ha notes) and shorter notes are also oval (not round), ut they ae alte smal. (Some people craw black note-heads as single trtng strokes ke this: § J ut these ere not easy to rad and can Ise to mistakes) “The siem of note goes cow on te ot and up onthe int d ‘The stems of notes on the top two Ins go down ‘The stems of notes on the bottom two lines go Up. ‘The stems of notas on the middle ne may go up or down, ad { a ee i Notice how long the stems are, and do not draw them too long or too short. Also, they should stand up straight, Here are some good and bad examples: Cte 6 ky ke Draw a crotchet (quarter note) on every Draw a minim (half note) in every space. Inpnted music, uavers eighth notes) and shorter noes have cunedtas J) Pout you can craw thom with etright tate JE When you draw a note with a tall, the tall always ‘908s on the right-hand side of the stem. ‘Add stems and tails to tum each note into a quaver (eighth note): | 7The treble (G) clef (The AB Gute to Musie Theory, Chapter 2/1) ‘You might find the treble olf dificult to draw at fist, but with a bit of practice t will become much easier. ‘Start with the loop around the second line (G) of the stave tom left to right lke this ~ SSS and then folow through. The top of the cst must be ust above the slave, and the bottom of the clef should be just below it Exercise 1 Practise by copying this treble clef: In Grade 1, you wil only use one ledger ne nthe treble cle: the one below the stave. Tis nota is middle C: Exercise 2 Write the name of each note, (The first answer is given as an example) 4 = o . SSS i The bass (F) clef (The AB Guido to Music Theory Chapter 2/1) You can draw the bass clef in two ways {the first way is the most common): ‘Tey both have two dots: one on ether side ofthe F tne. Exercise 1 ‘Try drawing some bass clets: In Grade 1, you wal only use one ledger ne in the bass clet the one above the stave. This note is middle C: 2Exercise 2 Exercise 3 Exercise 4 Thebass Fide 1 @ Write the name of each note. (The first answer is given as an example.) © 2 2. == 2 Name Write the name of each note. (The first answer is given as an example.) Name Name. Draw the clefs which will make the letter names correct. (The first answer is given as an example.)More on time values (The AB Guide to Music Theary, Chapter 1/1-2) Exercise 1 What is this note calod: 2 a How long is each note? Complete the sentences. example Ad) tasteaslongas = 2 A J tastsastonges Ad tastsasiongas A © lastsasionges Exercise 2 ‘Add ONE note at each * to complete the bar. 0 ¥J Do | et) fo oh ePh D> J | wth bd] DDD | Notes with talis are often joined (beamed) together. For example, you can waite: Db we TI: DID we TH dD ds FT Exercise 3 Join up the quavers (eighth notes) and semiquavers (t6th notes) in these pieces of music. Example ©Rests "1 Exercise 1 Exercise 2 Example (The AB Guide to Music Theery Chapter 9/1) ‘The sornibreve (whole-note) rest hangs below aline, usually the fourth line, lke this ‘The minim (naf-nots) rest sits on a line, usually the third line, tke this: You can draw a crotchet (quarter-note) ret in two ways: toy Tha tone ltl haverto cra bit uot cai is fen wad pred re. Drake tha a sdovaj 7 ono ed toa sop be tek Now practise drawing crotchet (quarter-note) rests. Copy this one: Usually, you draw the crotchet (quarter-note), quaver (eighth-note) and semiquaver {16th-note) rests in the middle ofthe stave, ike this: See ‘Add ONE rest at each * to make the bars complete. A completely silent bar always has a rest - not only in 4 but aiso in # ang &.12 Ties (he AB Guide fo Music Theery, Chapter 3/2) Atio( ~ oF — joins notes which soune the same. tums them no one sound (¢_ dor example, sounds Ike J You can jin any number of notes inthis way, but they mustbe the same notes, and they must bene te each ether. The tie goes rom the head ofthe fist note to the head of tho next Con the outside, tke this: v x x Exercise 1 ‘Add tes where you can in these pieces of music. Write the total numberof orotchot(quartor-note) beats made by thot Example Th beats ——beats —— beats beats (b) fe a oats Dots (The AB Guide to Music Theory, Chapter 3/2) A cat eter anote o et makes tha as ong agin, Exercise 1 How long does each note lat? Brample A d+ tasteasionges «9d. tastoastongas A dk tastsasionges —__ ) a db teatnastongen —__. Ad tastsaatonges ad. tnntnantongan —_ ‘The dot needs to go just tothe right of the note or rest. Ifthe note-head is in a space, the dot goos in the ‘same space; the note-head is on allne, the dot normally goes in the space just above the line, lke this: SSSExercise 2 Example Exercise 3 Example © @ @ be) @ ® © @ Dots | 13 ‘Add dots where necessary to make the bars complete. Put in the bar-lines where they are missing. anc, Srse (Omra ma ti) Franck, The Dats Lament Foster, The Oia Feet Heme 18, Boch, No. dot Sk Preudes, BWV 836 st, Pucel, Sereband, 20218 Mondelsso, Te Habis (Overt) Spit, Seg ow wee chart14 Accidentals Exercise 1 Exercise 2 Example © @ Exercise 3 (The AB Guide to Music Theary, Chapter 2/1) ‘What is this sign called: # _____________ What does it do to the note that follows it? ‘What is this sign called: b? ___________ What does it do to the note that follows it? ‘What is this sign called: 2 What does it do to the note that follows it? Look closely atthe three signs above. Can you see how they are formed? Look at how we put them on a line or in @ space: a DF DL Ge Ck OBO [tis important to craw them clearly so that you can see which note each sign belongs to. Draw a sharp in front of each of these notes. Draw a flat in front of each of these notes. co o BS Draw a natural in front of each of these notes. = o 555 E ‘The signs for sharps, flats and natuals are called accidentals. Write the name of each of the notes marked with a number. The letter name is enough if there is ‘no accidental (e.g. C). If there is an accidental, you must write it (e.g. F#). (The answers to numbers 1 and 2 are given as examples.) 1 2 3 4 5 6Accidentals | 18 @ Semitones and tones (he AB Guide to Music Thon, Chapter 2/1) Exercise 1 Look at these pairs of notes and draw -—1 above any pairs that are semitones. Asemitone is half a tone. 3 = a Ses = ee = = Exercise 2 ‘Add an accidental (f needed) to the second note in each of these pairs, so that it is @ semitone ‘above the first. Puta tick undemeath i it does not need an accidental. Example Exercise 3 ‘Add an accidental if needed) to the second note in each of these pairs, so that itis a semitone bolow the frst. Puta tick underneath iit does not need an accidental. Example16 The scales and key signatures of C, G, D and F major Exercise 1 Exercise 2 Example Exercise 3 Example (The AB Guido to Music Theor, Crepter 2/23) {In this scale of C major, two notes a semitone apart are shown by -— . Show the other two notes which are a semitone apart in the same way. < — — ve o = Put accidentals in front of any notes that need them tomake these scales. Then put -— above each pair of notes that make a semitone. —_— @ major (ascending) F major 3 (descending) Dmajor (ascending) F major (descending) major {ascending} Name the major keys that have these key signatures. = eS =| se = Key @ major Key major Key. major Key _major 4 Key______major Key. major Key. major Key majorExercise 4 Exercise 5 ‘The soaies and key signatures of ©, G, Dand F major | 17 ‘The key signature comes alter the clef but before the time signature. ‘Add the clefs and key signatures needed to make these scales. F major major D major @ major Write out these scales using the rhythm shown on the line above. Add the correct key signatures. te | @ major (descending) ee (ascending) {ascending)18 | The scales and key signature of ©, 6, D and F maior Exercise 6 Name each of the keys of the melodies below. Then write out the extracts again. This time use key signatures instead of accidentals. Beethoven, Vth Concerta (str Example Key =D major etc, 5 ‘major © z ‘ey _____ major @ ete, : major “Terakovey, Sernade ker Stings (Wate) Key —______ major ber, Pomp and Crcumstance March No. 4 © ete, Koy yy —___ majorCancelling an accidental uy Exercise 1 Example Exercise 2 (The AB Guide to Music Theory, Chapter 2/4) ‘An aocidental lasts untl the end of the bar. For example, look at the note marked *. In this bar its Fi S== ‘To change the note back to Fil, you have to add a I sign. You do the same if F# isin the key signature: === Look at this example: leo 4 Note 1 is Ff, note 2 is Fl. note 3 is FO, note 4is F# (the # before note 4 cancels the {before note 2) ‘Add an accidental in front of each note marked * to cancel the previous accidental. * Name each note marked with a number. The letter name is enough if it does not have an accidental ~ but think about the key signature and any accidentals from earlier in the bar. (The ‘answers to numbers 1 and 2 are given as examples.) ‘An accidental only changes later notes in the bar if they are on the same line or n the same space. ©)Degrees of the scale and intervals Exercise 1 Example Exercise 2 (The AB Guide to Music Meory, Chapters 2/2 8.7/1) Each note in brackets is the first degree of the scale. It's the key-note of the scale. After each key-note, write the note to match the degree that is written below the stave. The first degree ofthe scale is called the key-note. AS = = SS -; 4th 2nd ord 4th é 5 7h - Sh oh é oe ‘The distance in pitch between two aifferent notes is celled en interval Ifthe two notes are played one after the other, itis called a melodie interval ~ Ifthe two notes are played together itis called a harmonic interval- =S—= You can measure the size of an interval by counting the number of degrees of the scale that It includes ~ SS 2nd 8re ath sth ‘The number of degrees is the number ofthe interval Ih Grade 1 the examples alvays have the key-note as the lewer note, Here are the intervas from the key-note in G major. iv oe : 2nd rd ath sth eth 7th ve ‘The number of the interval is not changed by the key signature or by any accidentals in front of the notes - the number remains the same. Give the number of each of these melodic intervals (2nd, Grd, 4th ete). (The first answer is given as an example) fe ee F major ath — — — — —— ee ee ee eee) G majorExercise 3 Exercise 4 Example Degrees ofthe scale and intervals | 21 Put a semibreve (whole nots) above each note to make the harmonic interval. (The first answer is fen as an example) D major ard 7th th and ath en = s Se = Ss major sth 8ve ath ath ord 7h Look at the melodic intervals marked r—1 . Write the number of each interval. The first note is the key-note in every case. Haydn, Symehony No.9 (Supe ne mit) ‘ord vel, Mother Goose (The Enchanted Gace) —_ ‘oa, The Holy en the iy" ) = etc. Purcl, Sorat of Pars, No, 9 (Golden (stm) o ge Sat otaour Schubert, Rosamund (Beet No.2) — fe) Wegne, Seated Wt Sosne 8) i) ‘Beethoven, ssa Salers (Gots) @ tc.22 The tonic triad Exercise 1 Example (Te AB Guide to Music Theory, Chapter 8/1) ‘The key-note, or frst degree ofthe scale, has another name: the toni. The tonic tiad is a group of three notes: the key-note plus the Grd and Sth degrees above it. Here ae three tonic triads in © major: = = == Write the key-note followed by its tonic triad after each of these major key signatures, 4 i o-+4 : 4 z Composing an answering rhythm (the AB Guide 10 Music Theary, Chapter 6/1-2) In the Grade 1 exam, you wil have to compose a two-bar rhythm, It wil have these simple rules: > you willbe given a two-bar rhythm to follow on from, > itil start on the frst beat ofthe br, > It will use one of the time signatures you akeady know ~#, 8 or 4 » you wil not need to write @ melody ~ only @ rhythm, >» you will not need to put in a clef or key signature, >» you will write your rhythm on one ine of the stave, like this taherthan onacnge ine, foe ddIdd LL cronrotneata, 2) JTJI|J JJ | You need to be careful about two diferent things: (1) How to write the rhythm down in other words, how to cecide which notes you should join or beam together, and where to use ties end dots. Lock at the rules cn the next page for help with this, (2) How to make the twe-bar rhythm interesting. There is some general advice on pages 24-5 to help you with thisWriting down a rhythm Exercise 1 Example ‘Composing an answering rhytim 123 (1) You should beam together >> two quavers (eighth notes) which could be replaced by a orotchet (quarter note asia) lal) a) i tl dn > four quavers (eighth notes) which could be replaced by a minim (half note): 4I7T) 1 alTTI i | tl 7701 > six quavers (eighth notes) to fila complete bar in & alTTT71 | Inprinted music you may sometimes find groups of four or sx quavers (eighth notes) beamed together in ‘wos, Nevertheless, in this test you should keep to the rules above. Note that in quavers should never bbe beamed across the middle of a bar between the 2nd and 8rd beats: wom) wan (2) Beam semiquavers (16th notes) togother in single beats, and also any group including a seriquaver (16th note): QIN) tI | ald | (@) Avoid ties wherever possible: BL Dl icvorermn FL SI] ea 4) J J | ssrerernen 44 LJ J | Tho arengement of rests wil be explained in Grade 2. You wil not need to use rests when writing an answering rythm in Grade 1 Rewrite these bars so that they stil sound the same. Make any necessary corrections in the use of beams, ties and dots. eee oy pe —____ »# o qrddbl je ghd ddl jy gl dbbbbsy 4 4 rs gd HDDS gL Sh ADDS, geht bl | 4 + 424 | Composing an answering rythm General advice Now for some general advice about wating two-bar rhythms. ‘The frst and mast important point is this: ry to imagine how the notes which you are writing would actualy Sound. Try to ‘hear’ them in your head, When you ere practising, always tap out your rhythms. Even during the exam you need not disturb anyone if you do this realy quietly with your finger-ios on the desk. Itis very important to keep in strict time, 90 think of a speed and stick tot! Probably somewhere between J =76 and d = 100 wil be suitable. (For an explanation of speed directions see page 28) Ty to meke your rhythm interesting. Imagine, for example, that you have to add a twa-bar rhythm to follow this: BL TTTI LL JV vevcouswitont $2 1d Tone that would be correct. But itis vey dull. You could repeat the two bars you have been given. This often 5, asin this example: de J. 8, Bach, Anne Magdalena Bach Notebook (Minuet) 4 1 non eee de eee | However, if you ust copy out again the two bars you have been given, you wall not have shown that you ccan invent anything. Your rhythm, therefore, should be a itie diferent from the ane you have been given, But it should be simile, and parts of it may even be exactly the same. Bars 1 and 3 of this melody, for example, have the ‘same rhythm (out not the same notes): Beethoven, Symphony No 9 (4h) 1 2 3 4 Ce In the next example, bars 2 and 8 have the same rhythm: 1 2 a 4 Hook, Qi of Must, No.2 | eee | And in this example, bars 2 and 4 have the same rhythm: Steer, Si Statens Mint : 4 Ro ee LLExercise 2 Example ‘Composing an answering rhythm | 25 Patterns with a repeat in them can help the bers connect to each other, but you do not have to use them, Here, for exemple, are four bars which all have diferent rhythms: act "New Wor Symphony (ism) 4 1 2 a ad. dhs eee Jee Although the bars are all different, bars 3 and 4 seam to belong to bars 1 and 2. The last two bars seam to balance the first two. Or you could say that the last two ‘answer the frst two — they make an ‘answering’ rhythm, ‘You must be careful how you frsh your rhythm. It isnot usualy @ good cea to fish with a serriquaver (16th note), because this may meke the rhythm feel unfinished. Ifyou tap these rhythms, for exemple, you ‘wil see tht they both fe! as though they want to be followed bby somathing in the next bar: eS rs=—“=ERDCC ‘They sound lks two bars out of longer rhythmic patterns. They are not ‘answering’ rhythms because they are not complete. ‘Add answering two-bar rhythms to these opening patterns.26 | Composing an answering tthe 7 og 1441Performance directions a (The AB Guide to Musie Theory, Chapter 10) Composers often use special signs and words which are not English to explain how they want their music to be played. The best way of getting to know them isto look them up as you come across them in your Pieces, and then to remember them, (There is @ Glossary on pages xiv-oti of The AB Guide to Music ‘Theory, Part |.) Here are some very common words ~ al talan ~ wihich you should knowin Grace 1 accelerando (or accel) radualy geting cuicker adtagio sow ategrato fet quick (out not a9 quick as alegr) alegro cul feral ‘cheerful andente at amecium (walking! speed cantabite ina singing style ‘crescendo (ar cres¢.) gradually getting louder da capo (or D.C.) repeat from the beginning dl seg (or 08) repeat rom the sign cdecrescendo (or decrasc) racy geting quiter diminuendd (or aim.) gradually getting quieter fre the end Sf (=torte) ‘oud Sf fotssimo) vey loud fegato smoothly fento sow mezzo ht ‘mf (= mezzo forte} moderately loud (iteraly ‘haf loud) mp (= mezzo piano) moderately quiet (ieraly ‘haf cule) moderato mederately alegro moderato: moderately cuick) Pi=piano) wit PP (= pianissimo) ‘very quiet poco alle rental (rr) credually geting slower rtardand (or rtard. rit) gradually gating stoner itenuto (or riten. or rit.) held back: ‘staccato (or stace.) ‘detached tempo speed, time (a tempo: in time)28 | Performance directions Here are some signs and other directions which you need to learn in Grade 1. MM. d=72 (orjust J = 72) = crescendo (gradually gating louder) = diminuendo (aredualy getting quieter) ‘over two afferent nates (not to ba confused with a te) ‘or over a group of notes is called a ‘slur: perform the notes smoothiy = otteva (octave) {over a note or noves): perform an octave higher {under a note or notes): periorm an octave lower accrow orinairancie Pd « saccato ovr oruncerarets Fd - accent over anoie pause on the note under a note repeat mae atthe second sgn, go back t the fat sign and repeat the music from there (the first sign is left out if the ‘muse repeated rom he begining 72 crotchet(quarter-note) beats in a minute (MAM. is short for Macize's Metronome)General exercises 2 ‘This is the beginning of a melody. Look at it, and then answer the questions below. ‘Andante “ehakonsy, Aun fr to Young (Morning Preyer) 1 5 6 (a) What does Andante mean? (bo) What isthe time signature of the melody? Expiain what it means (c) Why is there a dot after the notes in bars 4 and 8? (@) Whats p short for?____ What does it mean? _ (@) The key of the melody is G major. Which degree of the scale does the melody start on? (f) What isthe letter name of the highest note? ‘What is the letter name ofthe lowest note? (g) What isthe value ofthe shortest note? tr) Howmany mes ists rhythm | dd. dD | uses Tikthe box 4 2 9 4 How many bars contain only crotchets (quarter notes)? Tick the box: 2 3 4 Answer true or flee to the folowing sentence: ‘The melody uses all the notes of the scale of G major. Tiokthe box: Tue False (Inbar 7, what doas the > above the note mean?. () Copy out the fst four bars, Remember to putin the oe, key signature, time signature, tempo, dynamics and articulation.80 | General exercises Exercise 2 [Z] This isthe beginning of a melody. Look at it, and then answer the questions below. Hamel Alegro, Op. 52 No.2 4m Allegro t a = a {@) What doss Allegro mean? (©) What key I the melody in? (6) Show another way of writing the time signature, (0) What are the curved lines over the melody called? What do they tel the performer? {€), What does a dot over a note (in bars 2 and 4) mean? (®) How many times does the note F appear? Tick the box: 1 2 3 4 {@) Which bar contains al the notes of the tone tad but no others? (t) What does the sign meen’? ()_ Answer tue or false to the following sentenos: ‘The melody uses al the notes of the acele of © major. Tickthebox: Tue False {Which s the highest note inthe melody? Tiekthe box: A 8 ° D E F 6 El El i |) What do you notice about the rhythm of bars 3~4 compared to the rhythm of bars 1-2? ©) Copy out the first two bars. Remember to put inthe cle, key signature, time signature, tempo and articulation,General exeriees | 81 Exercise 3 Look at the following melody, and then answer the questions below. Dot Symphony No.7 nd th 4 a parm, (@) Poco means ‘a ite’. What does adaglo mean? (b) What is dim. short for? What does it mean?. (@}_ The key of the melody is F majoc In which bars is the key-note not used? {@) What does ‘MM. d = 56" tel you? {@) Ge the moaning of agate, (1) Which i the cuter: p orp? (@ Which bars contaln the fst four notes ofthe scale of F major? {hp} Which bar has the same rhythm as bar 17. (0) What do the signs <== and === mean? ) How many bars contain only crotchets (quarter notes}? Tick the box: 1 2 3 4 5 (K) Which isthe lowest note in the melody? Tick the box: A eb c D Ee iz (0 Give the ful name of the first note in bar 3. (rm) Copy out the last four bars (6-8), Put inthe cle, key signature, dynamics and articulation982 | General eercises Exercise 4 This fs the beginning of a melody. Look at it, and then answer the questions below. Fave, Pavan fora dead fra 4 a otc. oe (Add the missing word in this sentence: ‘The melody s written in the _______ let (b)_ Whats the key of the melody? (@) Draw — above any pairs of notes which are a serritone apart. (@)_ What degree ofthe scale isthe frst note in bar 3? (@) Give the full name of the last note. —_ () How many erotchet (querter-nots} beats are there in abar? Tick the box: 1 2 38 4 5 (@) Which bars contain ted notes? (h) Tick the boxes for the words you think describe the musio: smooth loud © quiet «slow fast «= memy sad (Which isthe highest note in the mefody? Tick the box: A 8 c D E FR 6 Answer true oF false to the following sentence: ‘The melody uses all the notes of the G major scale. Tick the box. Tue False (® Copy out bar 3 to the end, Put in the cet, key signature and articulation,Sree ets eee ci Beate ere eee ee on eee Supporting the teaching and learning of music in partnership with the Royal Schools of Music eee College of Music Pee PC hoat? = i Es Z 8 3 = fe a a