INTRODUCTION Learning mi like learning a language. Understanding how it is written down will help you in all aspects of your music making, from performing and listening to composing and improvising, Discovering Music Theory is a suite of five workbooks, with answer books, that covers everything you ne to know and understand for ABRSM’s Music Theory exams at Grades 1 to 5. In addition, they provide Ic of ideas and opportunities to help you link music theory with your wider musical activity. Discovering Music Theory: Grade 3 will help you to build the skills, knowledge and understanding require for the ABRSM Grade 3 Music Theory exam. Each chapter focuses on a particular area, corresponding to the sections of the exam paper. Throughout the book, new topics are introduced with simple explanations, followed by progressive and varied exercises. These exercises have been carefully writter to help you become familiar with the style and types of questions used in the exam. Some example answers have been provided in orange to help you along the way. Alongside the exercises, you'll ind plenty of suggestions to help you apply your theory skills and link them with your other musical activities, These are presented in different ways: @ Overview of the knowledge, skills and understanding required for your exam Did youknow? _ Interesting additional information related to the knowledge required for your exam Smart tip Hints and suggestions on how to approach a specific exercise” Remember! Reminders of information covered earlier, and relevant to a specific exercise Theory in sound Ideas for how to link theory with what you have learnt with your playing, singing and listening Challenge! Extra tasks to challenge you and extend your learning Your progress A chance to check your skills and progress at the end of each chapter At the end of the book, you'll find a practice exam paper. You can try each section of the paper as you complete the work for that topic, or use it as revision once you've completed the whole book Further practice exam papers for each grade are available from ABRSM. Note names Notes have different names in different parts of the world. In this book we will use words such as ‘semibreve’ and ‘minim’, but you may be used to ‘whole note’ and ‘half note’ The following will help you to convert the note names, if you need to: semibreve minim crotchet quaver semiquaver _ demisemiquaver 3 d d > 4 4 whole note half note quarter note 8th note 16th note 32nd noteR =| YT i. M a eats (PART 1) Pima The demisemiquaver + The demisemiquaver is one of the shortest time values used in music notation. It has three tails, or three beams when it is part of a group i note 7 vest * There are eight demisemiquavers in a crotchet, so each demisemiquaver is worth an eighth of a crotchet beat, or half a semiquaver. + Like quavers and semiquavers, demisemiquavers can be A grouped together using beams, They can also be beamed with quavers and semiquavers, and with dotted quavers and semiquavers. Here are some common groupings: Did you know? A demisemiquaver rest FHI BR TFG is positioned like this on the stave: = Exercise 1 Adda number in each box to complete these sentences. El Asemiquaver is equal to demisemiquavers. Remember! _ ss) Bh Aminimis equal to demisemiquavers. Adotattera note adds on half its value. TA dotted crotchet is equal to demisemiquavers. EEL Two quavers are equal to. demisemiquavers. Three semiquavers are equal to demisemiquavers. Challenge! Practise writing demisemiquaver notes and rests here: Chepter 1: Rhythm (Part 1) | 1Remember! Challenge! The bottom number of Can you make up a rhythm in that uses some the time signature tells demisemiquaver notes and rests? Write it below. you whether the beat is measured in crotchets, quavers or minims. Exercise 2 Number the beats and then circle the correct time signature for each melody. eo cen Beats:1 2 1 2 Beats: Beats: Beats: Beats: 2 | Discovering Music Theory: Grade 3 aTriplet demisemiquavers + Three triplet demisemiquavers are played in the same amount of time as two demisemiquavers or one semniquaver: FR- 5: + Triplets may include notes and rests of different values: 3 325 fo7f Did you know? When triplet demisemiquavers are beamed into beats with other notes or rests, a bracket 3 can be added to show which notes are part of the triplet, Exercise 3 Tick (#) the four triplet groups that have the same duration as one semiquaver. 4 oe moO wo Ay AO FO 8 Exercise 4 Answer each musical ‘sum’ with one note. ¢ + we " ye we eS A ws ee MoO a5 réf O Remember! Chapter 1: Rhythm (Part 1) | 3Exercise 5 Complete the time signature for each of these melodies. ~ 1:5. Bae Beethove Exercise 6 Adda rest or rests in each box to complete these bars. Remember to use a new rest for each new beat. 3 4 | Discovering Music Theory: Grade 3Exercise 7 Add the missing bar-lines to each of these melodies. Challenge! Fill in the gaps to complete this rhythm. Make sure you use at least one demisemiquaver note or rest, and one triplet group. m3 ad, AFRAC JC AC Chapter i: Rhythm (Part 1) | 5Starting on an upbeat Not all music starts on the first beat of the bar. Many melodies start on an upbeat — often the last beat of a bar. When this happens, the final bar of the melody is usually shortened so that the first and last bars make one whole bar when added together. Did you know? Another name f an upbeat is an anacrusis. + Ifa melody in 4 starts on the fourth beat of the bar, the last bar will often have only three beats — the final beat has been ‘borrowed! from the last bar and placed at the beginning. * Amelody in 2 that begins on the third beat will often have only two beats in its final bar, and so on. Theory in sound Listen to Chopir Prelude in A ma to hear what an upbeat sounds like. What other pieces do you know that start with an upbeat? | Look at this example from Chopin's Prelude in A major, Op. 28, No. 7: La] 1a) Chopin's melody starts on the last beat of the bar, which has been | ‘borrowed’ from the bar at the end of the extract. Smart tip When a melody begins with an upbeat, work out the time signature by looking at the complete bars in the middle. Exercise 8 Add the time signature to each of these melodies, Hanc Beethoy 6 | Discovering Music Theory: Grade 3Duple, triple and quadruple time + Time signatures may be described as duple, tripleor | 4 & = dupletime quadruple, depending on how many beats they have in a bar. This is shown by the top number ofatime signature. 3 J = tripletime A duple time signature has two beats in a bar. 2 A triple time signature has three beats in a bar. 4 $ = quadruple time A quadruple time signature has four beats in a bar, \ + Notice that the type of beat (crotchet, quaver, minim) does not matter here — only the number of beats ina bar. ercise 9 Tick (W) one box to describe each time signature. Bi [| duple [__| tripte quadruple va [_]euple [| triple [| quadruple 3 duple triple quadruple HZ [| dupe [| triple ~~ | quadruple 3 duple triple [) quadruple | Theory in sound Listen to the following pieces, which are in duple, triple and quadruple time, and count or clap the beats as you listen. Duple time Beethoven, Symphony No. 7, Op. 92 (Finale) Triple time Tchaikovsky, Swan Lake, Op. 20 (‘Dance of the Swans’) Quadruple time = Mozart, Serenade in Bb, K. 361 (opening) Write down the name of a piece you have played or sung that is in Duple time Triple time Quadruple time Chapter 1: Rhythm (Part 1) | 7Grouping notes and rests At Grade 2 we discovered how to group notes and rests to make the music as easy to read as possible. As the rhythms get more varied at Grade 3, the grouping of notes and rests is very important. Here are a few key points to remember for the following exercises: * Beams: Quavers, semiquavers and demisemiquavers can be beamed together across one or more beats, but avoid beaming them across the middle of a bar (beats 2-3) in ¥ time. + Rests: Each whole bar, half bar or whole beat of silence should have its own rest. For silences in the middle of a beat, use a new rest for each half-beat. Whole bars of silence should use a whole-bar rest: . * Ties: Avoid using ties where a single note can be written instead. Exercise 10 Tick (W) or cross ( X ) each box to show whether the notes are grouped correctly or incorrectly, Smart tip Check the time signature carefully. Remember that the bottom number of the time signature tells you whether the beat is measured in crotchets, quavers or minims. — SSS a SS 8 | Discovering Music Theory: Grade 3Exercise 11 Tick (W) one box for each question to show which bar is grouped correctly. 7 O O O \ Exercise 12 Tick (W) or cross (X) each box to show whether the rests are correct or incorrect. O O O 0 O fal Chapter 1: Rhythm (Part 1) | 9Remember! Rhythms can be rewritten in different time signatures by doubling or halving all the time values. For example, % can be rewritten in 3 by doubling all the time values. Exercise 13 Look at this bar of music: 3 Which example shows the bar above correctly rewritten using notes of half the value? Tick ( W ) one bo Sipps eeee] Sepa ] LC) oO Exercise 14 Lookat this bar of music: Which example shows the bar above correctly rewritten using notes of twice the value? Tick ( W ) one box GES ers L) UJ O Challenge! Try writing out a bar from a piece you know with a time signature, using notes of twice the value. 2 Test your progress. ea ; How many duple, triple and quadruple time signatures can you name? 10 | Discovering Music Theory: Grade 3RHYTHM XRT 2) Simple and compound time + All the time signatures we've met so far are examples of simple time. In simple time, each beat divides into two ~ a crotchet into two quavers, a quaver into two semiquavers, and so on. | 2 Randy: fhe d teal dividesinia dl’ S 3 Bands: The dbeatdivicesintad d 3 The 2) aarawvides inte YS * It's time to meet some compound time signatures. In compound time, each beat is a dotted note that divides into three. At Grade 3, the compound time signatures all have a ® — dotted-crotchet beat, which is divided into three quavers. * The top number of the time signature tells us how many quavers (shown by the bottom number ‘8’ there are in a bar. No.of beats 1” 2 1 2 in, and B the ‘d. beat divides into J) J) J) Bocoibaat a 4. J. i* « N w XN w nN} w N w No. of beats tert dd 2 do ddd a. ddd Noofbeats 71 2 3 4 123 4 «2 2 3 4 123 4 wetter de dod ddd i dt od dt Jil Did you know? Notice the dotted minims in the J and '¥ examples above. In compound time, 2 dotted minim is equivalent to two dotted-crotchet beats: | = J J justas |=) Jin simple time Chapter 2: Rhythm (Part 2) | 11Exercise 1 Circle the correct answer for each of these questions. [El Whatis the time signature for four dotted-crotchet beats ina bar? How many quavers are there in a bar of 7 Which of these is a compound time signature? EI How many dotted-crotchet beats are there in a bar of 9 ‘ Exercise 2 Number the dotted-crotchet beats and then circle the correct time signature for each rhythm. Timm #@? Beats: ap JT7 1. | § 2 # Bp J7)1 Tid) g 2 8 Beats: Beats: Beats: 12 | Discovering Music Theory: Grade 3 Smart tip Each of these rhythms adds up to one dotted- crotchet beat: IT i 4 drdbadh Iiodd Challenge! Can you tap the rhythm: in Exercise 2 while counting the beats out loud? Try repeating then over and over.Exe rcise 3 Addonenote at each f to complete each bar, 1 ag J. 2. | wel J. J I Y Y pgs oo | og d. \ ag lI ! | me. J 7d | EXercise 4 Addone rest at each t6 complete each bar. y o Theory in sound Listen to some of these pieces to hear the difference between simple and compound time: Simple time Compound time % Tchaikovsky, The Nutcracker, Op. 71, § Sousa, The Liberty Bell (‘Dance of the Reed Pipes’) Strauss, The Blue Danube Waltz, Op. 314 8 Wagner, The Ride of the Valkyries 4 Mozart, Piano Sonata in C, K. 545 ® Beethoven, Symphony No. 6 (‘Pastoral’), (ist movement) Op. 68 (2nd movernent) Chapter 2: Rhythm (Part 2) | 13Exercise 5 Add the time signature §, 8 or 42 to each of these melodies. Smart tip Some of these melodies begin with upbeats. Remember to look at the complete bars to work out their time signatures Berl Fi Mendelsso Tehalkows Challenge! Match up each of these rhythms with the correct time signature by drawing lines. 14 | Discovering Music Theory: Grade 3Grouping notes and rests in compound time Notes in compound time are grouped to show the beats, just as they are in simple time, but there are a small number of extra things to remember: + Beams: Notes are always beamed to make dotted-crotchet beats. Multiple beats are not beamed together. SIT) 20 (FRITS ITT I STI IT 1 Beats: 1 2 1 2 1 2 + Ties: Ties are used to join notes that go across different beats, but not to join notes within a beat, Exception: two full beats are written as a dotted minim. soba oo Beats: 1 2 5 1 Zz 3 1 2 3 . Rests in compound time follow the same rules as rests in simple time: don't use more rests than necessary, but give each new beat of silence a new rest. Exceptions: + In B, use a dotted minim rest (m) for the first two or last two beats of the bar, but not across the middle of the bar. B I. ~ Il ok or JTL red d I Beats; 1 2 3 4 «1 2 3 4 1 2 3B 4 \ = Show silent bars with a whole-bar rest (~), whatever the time signature. Pe ee ce ce a | | Beats: 1 2 3 12 3 1 2 3 L * If the first two quavers in a beat are silent, use a crotchet rest. If the second two are silent, use two quaver rests la Di des Chapter 2: Rhythm (Part 2) | 15Exercise 6 Add the missing bar-lines to each of these melodies. 7 ere = = mtg [Tippett treed eters srry == f—» _ ie ort ie Y Pe eee jt f = Exercise 8 Tick (W) or cross (% ) each box to show whether the rests are correct or incorrect. 16 | Discovering Music Theory: Grade 3@ Compound time: duple, triple and quadruple L We know that simple time signatures can be described as duple, triple or quadruple, depending on whether they have two, three or four beats in a bar (see p. 7). The same applies in compound time. § (two dotted-crotchet beats ina bar) = compound duple time 2 (three dotted-crotchet beats inabar) = compound triple time | % (four dotted-crotchet beats ina bar) = compound quadruple time ‘Exercise 9 For each of these bars, add the time signature and then tick ( ) one box to show if it is simple or compound, and one box to show if it is duple or triple or quadruple. simple | compound | duple triple 9 | quadruple simple compound duple triple quadruple =] simple [| compound ) duple triple quadruple simple compound duple triple quadruple [| simple {| compound duple triple quadruple Challenge! How many simple and compound time signatures can you name? Chapter 2: Rhythm (Part 2) | 17The following rhythms in § (compound duple time) and § (simple triple time) use the same notes, but they are grouped differently to show the beats. @ § or 3? L | gmamy mony Beats: 1 2 , Beats: 1 2 3 gs) sITTI I won Beats: 1 2 Beats: 1 2 3 § IT) JT70 I IAN 2 Beats: 1 Beats: 1 2 3 Exercise 10 Add the time signature 3 or § for each of these melodies, Smart tip At Grade 3, triplets are used only in simple time signatures. : Mendelssck Your progress Congratulations! You've completed all the work for Grade 3 on Rhythm. Turn to the Practice Exam Paper on page 53 if you'd like to try some sampleexa 18 | Discovering Music Theory: Grade 3ecm cr esc Notes on three ledger lines + So far, we've met notes that use one or two ledger lines. Now we're going to adda third Here are the notes that use up to three ledger lines above and below the stave: a. ¢ b It Ip = dil 7 ail al 4 q 6 dl 4l q 4 © dil > ail © a ° m ° ° + These notes may be sharpened or flattened by the addition of an accidental, or by a key signature. Chapter 3: Pitch | 19sc" Exercise 3 Rewrite these notes in the bass clef, keeping the pitch the same, Smart tip Make sure you write each note at the same octave as the given note. Remember the position of middle C in each clef: Exercise 4 Rewrite these notes in the treble clef, keeping the pitch the same. “e 2 o 20 | Discovering Music Theory: Grade 3Rewriting notes one octave higher or lower '» So far, we have been rewriting notes at the same pitch in a different clef. In Grade 3, you also need to know about rewriting notes one octave higher or one octave lower, either in the same clef or in a different clef. Here is a melody written at the same pitch in the treble clef and the bass clef. Here is the melody again, this time written in the bass clef one octave lower. All the note names are the same, but they have moved down in pitch by an octave We can also rewrite this melody one octave higher than the original, in the treble clef. Once again, the note names are the same, but they are an octave higher. Did you know? ¥ Rewriting a melody so that it sounds at a different pitch is called transposing or transposition. Exercise 5 Rewrite these notes one octave lower in the bass clef Smart tip In questions [EJ to Ki, find the note at the same pitch first, then move it down one octave. Always check the clef carefully. Chapter 3: Pitch | 21Exercise 6 Tick (W) one box for each question to show which bar has been correctly rewritten one octave lower. 22 | Discovering Music Theory: Grade 3Exercise 7 Tick () one box for each question to show which bar has been correctly rewritten one octave higher. Theory in sound Think of a simple melody that you can sing or play, and try performing it an octave higher or lower depending on the range of your voice or instrument. Your teacher can advise you on this. Chapter 3: Pitch | 23Smart tip In questions [J to may help to find the not at the same pitch first (working it out from middle C). Exercise 8 Rewrite these notes one octave higher in the treble clef. Challenge! Can you rewrite these melodies in the given clefs so that they sound one octave lower? Write the rhythms exactly as in the originals, and make sure you include the accidentals. Schuma Tart Your progress Congratulations! You've completed all the work for Grade 3 on Pitch. ‘Turn to the Practice Exam Paper on page 53 if you'd like to try some sample 24 | Discovering Music Theory: Grade 3Mae & SCALES int! Rp ora ea (PART 1) @ Two new major keys So far, we've explored major keys and scales that include up to three sharps or three flats. At Grade 3, you will meet keys and scales with up to four sharps or flats. The two new major keys and scales are E major (containing four sharps) and Ab major (containing four flats). FLATS SHARPS —— Aymajor Ebmajor Bomajor Fmajor Cmajor Gmajor Dmajor Amajor Emajor E major scale, ascending Degrees: Tonic (Ist) 2nd 3rd 4th Sth 6th 7th — Tonic (8th) Fe Gt ca De Degrees: Tonic (Ist) 2nd 3rd 4th Sth 6th 7th — Tonic (8th) Fe GH a Dt ‘Ab major scale, ascending Degrees: Tonic (Ist) 2nd 3rd 4th Sth 6th 7th — Tonic (8th) Ab Bb Db & Ab Degrees: Tonic (Ist) 2nd 3rd ath 5th 6th 7th — Tonic (8th) et Ab Bb Db B A> Chapter 4: Keys & Scales (Part 1) | 25Remember! + All major scales have a semitone between the 3rd and 4th degrees and the 7th and 8th degrees, + Major scales that include accidentals always have either sharps or flats, never both. Exercise 1 These scales have been written without key signatures, Add accidentals to make the pitches correct. ‘A> major, ascending cE = = = = Se o 2 E major, descending = a 2 2. 2 = tt eS a > 7 Ab major, descending = = = = a o a © ——— E major, ascending © => o = o oa = ool co Exercise 2 Circle TRUE or FALSE for each statement. El Gis the 3rd degree of the scale of E major. TRUE FALSE [EI Dbis the 4th degree of the scale of Ab major. TRUE FALSE Tl There are four flats in the key signature of E major. TRUE FALSE 26 | Discovering Music Theory: Grade 3Exercise 3 Write the missing degrees of each major scale as ; semibreves. The tonic note is given each time. Smart tip Remember to add accidentals where they are needed Tonic Sth Tonic = 7th Tonic 3rd Tonic 4th Tonic 8th Tonic 4th = be Tonic 6th Tonic 2nd Tonic 3rd he remaining exercises in this chapter include major keys from Grédes 1, 2 and 3. Exercise 4 Name the major keys that have these key signatures. a? Key: major Key: major Key: major Key: major major Key: major Key: major Key: major Chapter 4: Keys & Scales (Part 1) | 27Exercise 5 Circle the correct key for each of these melodies. Smart tip These melodies have been written without key signatures. Look for the accidentals, and remember that an accidental alters a pitch for a whole bar. Also bear in mind that not all of the sharpened or flattened notes in a key may be present in the melody. Amajor — Emajor G major Sehut by b. Bbmajor = Ebmajor == Ab major E>major = Bbmajor = F major Dmajor — Amajor — Emajor 28 | Discovering Music Theory: Grade 3eee eats KEYS & SCALES (PART 2) @ The melodic minor scale * In Grade 2, we explored the harmonic minor scale, in which the 7th degree of the scale is raised by a semitone. * Let's look at another type of minor scale: the melodic minor scale. In this scale, the 6th and 7th degrees are raised by a semitone when the scale ascends, and lowered again when it descends. « Like the harmonic minor, the melodic minor scale starts on the 6th degree of its relative major key (see page 31). ep A melodic minor Ascending Descending raised lowered 6th 7th 7th 6th oly re GH Gi fe A harmonic minor Ascending Descending | raised raised 7th 7th ee ee == 2 ° Gt Gt Theory in sound ~ " Play or listen to the harmonic and melodic minor scales of A, E or D. In the ¢ harmonic minor scale, notice that the larger interval (three semitones) between the 6th and 7th degrees gives it a different character from the melodic minor = scale, whose smoother sound means it is often used in melodies. Chapter 5: Keys & Scales (Part 2) | 29Exercise 1 Tick (W) or cross (X ) each box to show whether notes are correct or incorrect. Ammelodic minor scale, descending = te 2 a > O 0 E melodic minor scale, ascending ns = = = — = D melodic minor scale, descending = i= b. a% ‘ 0 es ~ Oo 0 E melodic minor scale, descending = bo o = = = 7 fe o Amelodic minor scale, ascending = = = ros a S = = de = . Remember! Challenge! In ascending melodic minor scales, the 6th and 7th degrees are raised by a semitone. 30 | Discovering Music Theory: Grade 3 Have a go at writing out one of the melodic minor scales, ascending or descending, on the stave below. aS HJYHHNew minor keys ~*~ 1 In Grade 2, we learnt that: * Every major key has a relative minor key that shares the same key signature * The tonic (key note) of a relative minor key is the 6th degree of its relative major ~ or you can count down three semitones from the tonic of the major key + A, Eand D minor are the relative minors of C, G and F major respectively, In Grade 3, we'll explore the relative minor keys of all the major keys introduced in Grades 1-3. ————— ee SHARPS ——<—=—=>>>>>_>_>_>_>——_—_—» Fminor Cminor Gminor Dminor Aminor Eminor Bminor Féminor C#minor Abmajor Ebmajor Bhmajor Fmajor Cmajor Gmajor Dmajor Amajor major Although these relative major and minor keys share the same key signatures, their scales start on different tonics (key notes), and they do not contain all the same notes. As we have seen, minor scales sometimes require additional accidentals to the 6th and 7th degrees. Exercise 2 Tick (%) one box to show the correctly written Remember! key signature for the named keys. The sharps or flats in a key signature are always Biiior written in the same position on the stave, and in the same order. Chapter 5: Keys & Scales (Part 2) | 31Exercise 2 Continued. C# minor Gminor F minor Exercise 3 Circle TRUE or FALSE for each statement. Challenge! See if you can name the major keys that use the same key signatures as those in Exercise 2. G minor is the relative minor of B> major. TRUE FALSE Fe minor has two sharps in its key signature. TRUE FALSE F major and F minor have the same key signature. TRUE FALSE EE major is the relative major of C# minor. TRUE FALSE [Bh The tonic of a minor key is the Sth degree of its relative major. TRUE FALSE Challenge! Complete this diagram by adding the key signatures for each key in the bass clef. Fminor Cminor Gminor Dminor Aminor Eminor Bminor Abmajor Ebmajor Bhmajor Fmajor Cmajor Gmajor D major Faminor C#mino Amajor — E major 32 | Discovering Music Theory: Grade 3Exercise 4 Here are the minor scales of the new keys we've been exploring. Tick (W ) one box to show whether each scale is harmonic or melodic. 2 B harmonic minor, ascending 8 melodic minor, ascending F# harmonic minor, ascending F# melodic minor, ascending Ct harmonic minor, descending C# melodic minor, descending G harmonic minor, descending G melodic minor, descending C harmonic minor, descending C melodic minor, descending F harmonic minor, ascending F melodic minor, ascending G harmonic minor, ascending G melodic minor, ascending C# harmonic minor, ascending C# melodic minor, ascending B harmonic minor, descending 8 melodic minor, descending F harmonic minor, descending F melodic minor, descending Chapter 5: Keys & Scales (Part 2) | 33Exercise 5 Name the key of each of these melodies, which have been written without key signatures. ‘ Smart tip Notice the accidentals on the 6th and/or 7th degrees. Learning to recognise these will help when you need to identify whether a melody is major or minor (see, for example, Exercise 8, page 37). Key: minor Chepin be Key: minor Tehaikorsk be o es Key minor Scarlatti Key: minor Rachmaninoff Key: minor Theory in sound It is a good skill to be able to hear the ‘sound’ of music in major and minor keys. Ask someone to play you some of the melodies in Exercise 5; compare how they sound to the pieces in major keys from the previous chapter (see Exercise 5, page 28). 34 | Discovering Music Theory: Grade 3Smart tip The féllowing exercises may include any of the minor keys introduced in Grades 2 and 3. Exercise 6 Add one semibreve at each ¥ to complete these scales. E melodic minor, descending ‘ y a= a C# melodic minor, ascending y } D harmonic minor, descending ' 1. a ts Fémelodic minor, descending | y fo 2 Charmonic minor, ascending ’ r, descending ’ Y og 2: = sh = Chapter 5: Keys & Scales (Part 2) | 35Exercise 7 Circle the accidentals that are not needed in each of the following melodies. ‘ Smart tip Accidentals are not needed where notes are already covered by the key sigature or if the same accidental appears earlier in the bar. Aminor 2 F minor C minor G minor Challenge! Can you write out the scale of C# harmonic minor, ascending and descending, from memory? Use either the treble or the bass clef. 36 | Discovering Music Theory: Grade 3Smart tip The extracts in Exercise 8 may be major or minor. Remember that minor keys can include accidentals on the 6th and 7th degrees, whereas major keys do not require accidentals outside of the key signature. 4 | Exercise 8 Circle the correct key for each of these melodies. Brahms. Ebmajor — Abmajor — Cminor ~~ G minor —_ Gottschalk. == Fmajor Bbmajor = Dminor — G minor Rameau and are written without key signatures. F major Bbmajor — D minor G minor Burgmiler Cmajor — Ebmajor = C minor ~=— D minor Handel Fmajor Bbmajor += Dminor — G minor 2 Schubert . | a ee | F major A>major — Cminor F minor Chapter 5: Keys & Scales (Part 2) | 37SWZ RS er Rac Seen pene one The perfect interval = As well as giving them a number, we can also describe intervals as major, minor or perfect. * The 4th, Sth and 8th/8ve are all perfect intervals because the notes are the same in major and minor keys + For instance, the 4th degree of E major and E minor is A: it is not raised or lowered in either the major or the minor scale. This means that the interval from the tonic (E) to the 4th degree (A) is a perfect 4th. + So far, we've learnt to number intervals by counting up the degrees of the scale from the lower note (the tonic) to the upper note. perfect 4th | perfect 5th | | perfect 8th/Ave | Exercise 1 Write one note after each tonic to form the named interval. Your note should be higher than the given note. Use accidentals if necessary. * D major perfect perfect perfect 4th Sth Bve 5 A> major perfect perfect perfect Ath Sth Bve E major = perfect perfect perfect Ath 5th Bve 38 | Discovering Music Theory: Grade 3 F minor perfect 4th 5th 8ve perfect perfect perfect perfect perfect 4th Sth 8ve Remember! Count up the degrees of the scale from the lower note until you reach the named interval,Major and minor intervals Other intervals above the tonic can be either major or minor. Major intervals above the tonic contain notes from the major scale. Here are the major intervals found above the tonic E: | i | major 2nd major 3rd major 6th major 7th KO - Minor intervals above the tonic contain notes found in the harmonic or melodic minor scale, but not in the major scale. Here are the minor intervals above the tonic E: | | minor 3rd minor 6th i minor 7th In minor intervals, the upper note is a semitone lower than in the major interval of the same number. Did you know? + The intervals of a 6th and 7th may be major or minor in minor keys. This is because minor scales can use the raised or lowered 6th and 7th degrees (see page 29). * The major 2nd is part of major and minor scales. The minor 2nd is not part of either scale — you will find out more about this interval at Grade 4. Exercise 2 write one note after each tonic to form the named interval. The key is E major. major minor major perfect perfect 2nd 3rd 3rd ath Sth minor mejor minor major perfect eth 6th 7th 7th Bve Chapter 6: Intervals | 39Smart tip Major or minor? If the upper note of the interval appears in the major scale, the interval is major. If it is @ semitone lower, the interval is minor. Exercise 3 write the full name of each of these major or minor intervals above the tonic. Amajor B minor a2 2 major 3rd Ab major C# minor Ip l Remember! aths, sths and 8ves are perfect intervals. All other intervals can be major or minor. , Exercise 4 Circle the type of each interval. The lower note in each is the tonic. o perfect major minor [Ey perfect major — min perfect major minor perfect major min perfect major minor perfect major min perfect major minor perfect major min = BJ rect aloe minor 3 perfect major min 40 | Discovering Music Theory: Grade 3Exercise 5 Write one note after each tonic to form the named interval. Your note should be higher than the given note. Use accidentals if necessary. Abmajor C minor major perfect major minor major —_ perfect 3rd Sth 7th 6th 2nd 8ve G major perfect major major perfect minor major 4th 3rd eth 5th 3rd 7th B> major rod perfect major major minor perfect minor 4th 7th 2nd oth Sth 7th Challenge! Identify the intervals marked by brackets (T —— ) in this melody. The lower note of every interval is the tonic, but in some cases the higher note comes first. rs a ne Chapter 6: Intervals | 41TONIC ee eee eae Mea ar eed Mae Ttetaeets Maaliateia TRIADS Baral cette n Tonic triads in major and minor keys * As we know, a tonic triad is a chord consisting of the c 1st (tonic), the 3rd and the Sth degrees of the scale. Grmajortriad — G minor triad + In this chapter, we're going to meet the tonic triads of the new major and minor keys introduced in Chapters 4and 5. + As we discovered on page 39, the interval of a 3rd above the tonic is minor in a minor key or major in a Remember! major key, It is this interval that makes the major triad - and the minor triad sound different. Amitior stds a semitone smaller + At Grade 3, tonic triads are written without key than a major 3rd. signatures, and with the tonic as the lowest note. Exercise 1 Tick (W) or cross (X ) each box to show whether each tonic triad is correct or incorrect. a o mejor [| | Emjor [_] bs a 2538 Bminor |_| Abmajor |_| ctminor [| 1B © Feminor |_| Dmajor [| Amajor {_ |] 42 | Discovering Music Theory: Grade 3Exercise 2 Circle the correct key for each tonic triad. “ Cé minor Fé minor E major Eminor D major D minor Amajor E major G minor B minor Eb major Abmajor Exercise 3 Add accidentals to make the named tonic triads. G minor F minor B minor E> major B minor Eb major Amajor B minor Fé minor Cé minor D minor F minor D major G major Bminor Fé minor E minor Cminor D major F# minor Chapter 7: Tonic Triads | 43r ” ———— Exercise 4 Add one missing note to complete each triad, with the tonic as the lowest note. Use accidentals if necessary. Smart tip Make sure the interval between the tonic and the middle note is a major 3rd in major keys and a minor 3rd in minor keys F minor E major CH minor D major G minor C minor Ab mejor Bb major £b major bs oO F major D minor Fé minor Challenge! How many tonic triads can you remember? Write as many as you can on the stave below. Use either a treble or a bass clef. 44 | Discovering Music Theory: Grade 3T = R M += ea eC Reg aetna e & SIGNS ones Italian terms + All the terms you need to know for Grade 3 are in Italian, and some of them have abbreviations, Here are the terms you need to know in addition to the ones you encountered in Grades 1 and 2. « There are no new signs to learn, but you will need to be familiar with all those learnt so far, Italian term Meaning Dynamics: sforzando, sforzato, sf, sf= forced, accented Tempo: andantino slightly faster than andante | (but may also mean slightly slower) prestissimo very fast Expression: agitato agitated animato animated, lively ‘con forza with force energico energetic giocoso playful, merry leggiero light | maestoso majestic . ‘marcato (marc.) emphatic, accented pesante heavy risoluto bold, strong scherzando playful, joking semplice simple, plain | sostenuto (sost.) sustained | tranquillo calm | triste, tistamente sad, sorrowful General: ben well prima, primo first sempre always simile in the same way subito (sub.) suddenly Chapter 8: Terms & Signs | 45Smart tip These exercises include terms and signs encountered in Grades 1, 2 and 3. Exercise 1 Answer the following questions. EX What does prestissimo mean? What is the Italian word for ‘energetic’? What does sfz mean? What is the Italian word for ‘suddenly’? Which is faster: presto or prestissimo? What does giocoso mean? E_ What does sostenuto mean? What does sempre leggiero mean? What is the Italian word for ‘joking’? What does agitato, con forza mean? What is the Italian for ‘always very quiet’? What does molto pesante mean? Theory in sound Play or sing a piece you like in as many different ways as you can ~ giocoso, pesante, agitato, prestissimo, etc. 45 | Discovering Music Theory: Grade 3Exercise 2 Tick (W) one box for each question. allegro means: slow at amedium speed (Y guick gradually getting quicker means: accent the note staccato; detached IU) legato; smoothly pause on the note or rest CI poco leggiero means: very smooth alittle graceful very heavy alittle light Which is slowest? andante allegro andantino grave Remember! Terms describing tempo are often written in bold at the start of a piece or section of music. triste means: playful, merry sad, sorrowful heavy | very slow, solemn ben marcato means: well accented alittle accented very solemn always detatched double bar-line bar-line Which is fastest? andantino prestissimo presto allegro tranquillo means: sad OOOO semplice means: suddenly always I | simple, plain in the same way sempre ff means: simply loud suddenly loud without being loud always loud risoluto means: bold, strong held back simple, plain sweet Chapter 8: Terms & Signs | 47Challenge! Gave a look at some pieces you are learning, How many Italian terms can you find? ‘Weite them down here, along with a description of what they mean. = ( ( C ( - . C ‘you play your pieces with the expression and tempos given in the music? | Discovering Music Theory: Grade 3MUSIC IN CONTEXT © Putting it all together The last question of the Grade 3 exam is a Music in Context question, in which you will be asked some questions about the things you can see ina passage of music. All of the questions will be about topics covered in this book or in previous grades. Exercise 1 study this melody and then answer the questions that follow. i Sostenuto x : ‘ Rushby Sf ————$— ————_. P —$ ——— EX Compare the following to bar 1 of the melody, then tick (W) the single correct statement. Z Sostenuto , Sostenuto : Sostenuto A : y B ¢ = SS = uf nf Aisanexact copy [| Bisanexact copy [_ | Cis an exact copy They are all different from the original |_| TL Circle TRUE or FALSE. All the notes in the melody are in the key of Ab major. TRUE FALSE Complete the following three sentences by ticking (W ) one box for each. e(_] {| s[_) eo) Gi’) All three notes from the tonic triad of Ab major can be found in... var2{ | bara | — bare{_ | bar7 [J Gil) sostenuto means... inthestyleof { _ | sustained LC] expressive [| heldback || (i) The lowest note in the melody is Chapter 9: Music im Context | 49Exercise 2 study this melody and then answer the questions that follow, Moderato dim. a " EJ Compare the following to bar 1 of the melody, then tick (7 ) the single correct statement. Moderato 1 Moderato 1 Moderato ~————= ~ Aisanexactcopy {| Bisanexact copy {| Cisanexact copy |_| They areall different from the original C] EE Circle TRUE or FALSE. There are two pairs of tied notes in this melody. TRUE FALSE E_ Complete the following three sentences by ticking (W ) one box for each. Gi) All the notes in the melody are in the key of G major im Dmajor | | E minor C] B minor (ii) Bar 4 has the same rhythm as ... bars [| bars {| bar7 [| bars (iii) The longest note in the melody is held for ... twobeats [| four beats five beats [| sixbeats [| 50 | Discovering Music Theory: Grade 3Exercise 3 Study this melody and then answer the questions that follow. Molto adagio ~~ Fauré _— >, +t Pp tro ores. tf => => = o>. SEDI 7 a PP Compare the following to bar 1 of the melody, then tick ( W) the single correct statement. Molto adagio 1 Molto adagio ‘Molto adagio = ~~ = ya oN % fA & fel oc DBF ——— p> — — Aisanexact copy i Bisanexactcopy [| Cisanexact copy [| Theyareall diferent from the original |_| Circle TRUE or FALSE. Bars 5, 6 and 7 have the same rhythm, TRUE FALSE Complete the following three sentences by ticking (W ) one box for each. (i) The longest note in the melody is in... car2 [| bara {| bars | bare [| (ii) The loudest note in the melody is cart [| bar 3 bars [| vars {| (iii) The highest note in the melody is ... F ] (| 6] B[ Chapter 9: Music in Context | STExercise 4 study this melody and then answer the questions that follow. Vaughan Williams Lento 4 EX Compare the following to bar 1 of the melody, then tick (W’) the single correct statement. 1 Lento , Lento — A B ¢ ==: y= 2 = major, descending v = b. oO O UO OO DU UU ‘Tick (W) one box for X and one box for Y to show which notes are needed @ ‘te complete the scale of C¢ harmonic minor. x4 hy x aC) Ft Ag | F y ef) ob De | Be 7 Tick (7) one box for each named scale, to show which scale is correctly written. @) (@) G harmonic minor, ascending () F melodic minor, descending = = ba = 52 | Discovering Music Theory: Grade 3(©) Emajor, descending 4 Intervals 4.1 For each example, write ane note to form the named interval. Your note should be higher than the given note. The key is Eb major. fa) (b) = perfect 8th/8ve major 2nd (d) (e) perfect Sth major 6th 4.2 Circle the type of each interval. The lower note in each is the key note @) 4 — perfect major minor os ) perfect major minor © DF CC prerect major minor @ a perfect major minor Ao © © major 3rd CS —— SS major 7th Practice Exem Paper | 535 Tonic Triads v 5:1 Circle TRUE or FALSE for each statement. — This is the tonic triad of Ab major oe ): 5.2 Add one missing note to complete each triad, with the tonic as the lowest note. Use accidentals if necessary. @ (b) G minor 5.3 Circle the correct key for each tonic triad. @ € minor 7) B major © Fé minor @ Ebmajor @ G major 60 | Discovering Music Theory: Grade 3 This is the tonic triad of D minor Bb major Eb major B minor C# minor Ab major E minor TRUE TRUE G minor E major Amajor Bb major Aminor FALSE FALSE © F major E minor FH major C minor Cmajor As e ©6 Terms and Signs Tick (A) one box for each term/sign. giocoso means: majestic sweet graceful playful, merry SS mean slur: detached slur: perform smoothly tie: detached tie: hold for the value of both notes animato means: agitated animated, lively expressive emphatic, accented grave means: very slow, solemn graceful simple, plain broadening con forza means: with force with movement playful, joking less movement OOOO Practice Exam Paper |Music in Context é Study this melody and then answer the questions below. Maestoso BP ca ‘Compare the following to bar 1 of the melody then tick (#/) the single correct statement. a A Maestoso 1 Maestoso 1 lA = =—*) 3 ate rot : Jee y| 8 B coe ec De ™ mp Aisanexact copy (_] Bis an exact copy [_] Cisanexact copy (_] They are all different from the original [_] (Cercle TRUE or FALSE. a All the notes in this melody are in the key of C#minor = TRUE. FALSE Complete the following three sentences by ticking one box for each. @ (2) The lowest note in the melody is... c eE[ ce) A (©) There is an interval of a major 3rd between two notes next to each other in... bar3 (_] bar 4 [_] bar 5 [ bar7 (©) The 7th degree of the scale of Ct minor occurs in... bar 3 (_] bars (_] bar7 [_] bar 8 End of exam _ | Discovering Music Theory: Grade 3