z if jiece up or down from one key to another. The ‘Transposition simply ee key asin the original. The note values wil ee same in ember particularly are fo ensure thatthe interval be the me also, Te Frer this be one step higher, one tp lower, «BR higher or See caer ry ard that the tems go t= right cltecticn In ney es ee if the original phrase were in G major: and it was required to be written in F major: it would be necessary to see that the two quavers after the first bar line had their stems going up in the new version instead of down as in the original. After alittle practice at transposition, it becomes very straightforward. 1. Transpose this melody down into F major. Add the new key signature and be careful to point the stems of the notes correctly: . J a 2. Transpose this melody up into F major. Add the new key signature:1, Number the intervals given below: ej Name the kevefotlwhich @ O° | fe thee the tone lade == $= es CTUSHT —IILiLt LL LU 4 Using an accidental, raise each of these notes a Example semitone: 5. Write in minims the scale of G major, one octave descending, on the treble staff. Usea key signature and mark the semitones with slurs: = & Transpose this melody down into C major: 7. Count the time and clap the rhythms of each of the following patterns: = A Dt dd na AI) J |olel Bd Jil. Bs “ental Music Theory Grade 1 E\-omprehensive Test No. 1 | A) a) the following bars with quavers properly groupe: 1. Complete each of of the scale of G major in the bass staff. necessary. Mark the tones with slurs: 2. Write in minims one octave ascending of th x Do not use a key signature, but add an accidental if ines to this melody, and then write the 3, Add a time signature and the missing bar scale degree numbers under the notes: 4, Using an accidental, lower each note a semitone: 5. Transfer the symbols in the third column to the boxes provided so that they match the descriptions in the first column. An example is given: Accrotchet rest g A dotted minim note A semibreve note Aminim rest Ahalf-note Aneighth-note A pair of quavers 6 Transpose this melody into the key of G major: een 38 dt Essential Music Theory OrTerms and Signs ‘The terms and signs used in music (mostly borrowed from the Itai language) Show the intensity of sound (degree of loudness or softnes)or he ane ese ‘The commonest terms indicating the intensity of sound or dynamics are as follows: piano (p) soft crescendo (eres. ot ————— ) gradually becoming louder ‘Those indicating tempo are: ‘adagio slowly ‘ccelerando (accel) gradually becoming faster allegro lively, fast rallentando(rall) gradually becoming slower presto very fast ritardando (rt, ritard)_ gradually becoming slower ‘andante at an easy walking pace ritenuto (rit, riten.) immediately slower, held back ‘moderato ata moderate speed a tempo return to former speed Some terms indicate a certain required touch: legato smoothly, well connected Stacento short, separated, detached ‘Some ofthe signs in general use in music include the brace or bracket, used to join together two staffs to form a Great Staff (see Unit 5), the bar-line, which isa vertical line drawn from the top to the bottom of the staff (Unit 11), and the double bar-line (Unit 15). 1, Give the English meanings of : degre | _ crescendo ritenuto adagio ‘moderato forte decrescendo ritardando accelerando 5 Match the lst of terms in the third column with the meanings given inthe first column: smoothly, well connected ee e iin Eye oemmes speed rallentando atan easy walking pace is sradually becoming softer a gradually becoming slower _ . Essential Musi a " Music Theory Grade 1Comprehensive Test No, 2 1. Write the missing aS = (oes clefs in the following 2. Add a time signature tothe following phrase, then name the key in which itis written: 5 ee 3. Write time signatures that fit the following descriptions: ; — Simple quadruple Simple triple Simple duple 4. Some bars in the following passage have missing beats. Write in the missing notes, = then count the time and clap the rhythm of the complete passage: (wal pet ddd td td fd 5. Write Lied of these notes: a] is Csharp 6. For each of the following symbols, substitute those specified: Example: Two rests Beek Two notes One rest One note One dotted note Three rests © (wi) co) (i) ) o ~ (Da sign to show that the notes inthis bar are tobe (Wi) signs to show that the frst our notes this bar (&) adouble barine | Setached: oo 40 1 ot agente Theory GAM:(ae Aural Work| Theory of Music and Aural Work are very closel especially when melodies are being Singing or Playing connected, memorised or created. Singing from written music, especially sight singing, is one of the best ways to PO develop a ‘good ear’. The three activities to develop good aural ability can be shown in - eet Reading Writing aa Music Music Good co-ordination of eye and ear is very important. The eventual ai oped coordination imp. eventual aim is to develop (@)_ tobe able to hear a tune with the “inner ear’ when reading it from music; (i) tobe able to write a tune when hearing it played or sung. Some examples of rhythm tests have already been offered in earlier units. Below are examples of pitch tests requiring the help of a teacher or friend. When examples like these can be managed easily, simple melodies involving both pitch and rhytiim, like those in Exercise 2 below, should be written down or sung. Itmay take a year or two of constant practice to be altogether confident of these early elements of aural work, but be patient and persevere. 1, Have someone choose examples in random order from the following. In each case have them play the first note and name it, for example, 1st space F. Then: (@) have them play the example as a whole (two or three notes as the case may be), while you Write the notes on manuscript; or (©) have them show you the example in written form while you sing it. se eo oe eo io : i ill be given and the will be Page ening Passages. The time signature and first note will be given and the passage Ess Try Ge : 41 ry GradeUNIT 40 1. Arrange the meanings of terms its appropriate term in the first col rect order, so that each one matches, third column in co ler, $0 a eT ‘Write in the space provided: gradually becoming softer oe lively, fast —_ mentee immediately becoming slower = ae a soft staccato very fast andante slowly piano separated, detached ritenuto return to former speed 2. Using the treble staff, write the tonic triads required. Insert the correct key signatures: Ea Fmajor Cmajor G major 3. The following melody shows six errors, each marked with a number. Rewrite it correctly: | i) @ Gi) @v) w) 4. Study the following statements about note values and time signatures. place. tick in the box if they are wrong, mark across snes MY ate comeck (A semibreve is worth eight quavers (0) time has two minim inthe bar (ii) Two crotchet rests are equal in value toa semibreve Gv) f is simple tiple time . ® ‘The lower figure ofa time signature tells how. ‘many beats there are in the bar. (Wi) Arminim rest is worth two crotchet rests 2 eal Oo E] 0 Oo 0 O 1 Essential Music Theory ™te this passage in notes and rests of twice the value: 5, Rewrit a 3 6, Add bar-lines to the following: baw] . Write these intervals above the given notes: Ey 4th Sth 3rd Bye. Lm Remember that dots after notes lengthen their value, but that dots above or below notes make thei sounds shorte1 Scent Music Theory Grade 1