Write the following tunes using alto clef, so that they sound at the same pitch. Handy tip! Use Middle C to help you check your first and last note. Handy tip! Notice the position of the sharps or flats in the key signatures in alto clef. Write the following tunes using alto clef, so that they sound at the same pitch. Remember You do not need to use a bracket when there are three triplet quavers, but | you must | bracket any other triplet grouping, e.g | cs + +4 | or —3— th | — .New time signatures For Grade 4 you need to know the following new time signatures: (5 crotchet beats in each bar) Did you (S quaver beats in each bar) know? 3.7 quaver beats in each bar) Since the When writing in or § composers tend to group the crotchet or quaver beats into 1900s these two longer main beats. These main beats are irregular in length, for example: time signatures have become more and 5 M more common ! Did you N J know? be In some pieces the way the When writing in Z composers tend to group the quaver beats into two or three main beats longer main beats. These main beats are irregular in length, for example are grouped changes neorly 4d de or qe J every bar. = ) . Remember 4 : : | = 44 z J A semibreve rest is used to Numbers are sometimes written above the music to show how notes and rests are show a whole to be grouped and beamed: bar of silence Bartok in any time a2 signature. i oo a> Bartok _—— = S irohosros, 517 © Coot 40 Hates Son Londen ts Borat @23) be = ater Prelude © Copyright 19 by Boosey & Hawkes Musi Publishes Ld Reproduced by permission of Boosey & Hawkes Music PUD LtBw I Write the main beats in each of the following bars: a2 23 | z Write the correct time signatures, gd._.__ gt gi _1 oO - oe ‘Add time signatures to the music. —ee _—_———_ Barratt Patter Prelude € Copyright 195 by Boosey & Hawkes Music Pubshrs Lid Reproduced by permission of Boosey & Hawes Misc Publshers ta, Holst ete Jtuon = oi Sore OF} - ' = Chane Syhono.2 © opyaht 907 ye Lena Pu Farrar Usd wen coer fhe bier Bartok Mirokosmas, 107 © Copyright 1940 by Hawkes & Sn London Lid. Reproduced by permission of Boosey & Hawkes Musk Pushers LitRemember When two parts or voices are written on one stave the stems go up for the top part and down for the bottom part Look at the folowing music. Ad bar ines to agree withthe time signatures, Holst ae Bartok ote? Pe ste 9 Pw ste 0 Fw tod = a Mileotosmes 52107 © Copyright 540 by Howes 5 Son London LX, Reproduced by permision of Boosey & Hawes Music Pushers Lis, Barratt ee z is <—- * i oo 7 7 6 eo] eo ——+ use: aration Anonymous: Make we Mery aen fom The Chester Book ot Cros) © Copyrign 1985 Chester Musi ite, 115 Berets Street, London WT 3, United Kingdom Al ignts Reserve. internat Copyright Secured, Reprinted by Permisson. Holst pt Stravinsky - Music travinsy/ibreto: Ramu: stor du Sldat © Copyright 1924, New Eton {© Copyeant 57,1952 forall counties Chester Musk Lite, ls Bornes Stet, London WAT SL United Kingdom, ‘A Rights Reserved tvratinal Copy Secure, Reprinted by Persson,Bartok 5 a Bsotofopr cy 7 te z am CBN + ~$ = Fan Sonat no 7.95 83 © Copyrit 99 by Booey & Hans Music Pbsnrs i. Forthe Ut in Commonwenth x Conde and South rcs, Regrodices by permis of Boosey & Hones Mase Pbishers La Brahms ee 7 o BeethovenWriting your own tunes to a given rhythm ®Bw Il write a tune for viola using the first five degrees of the scale of G minor to the given Handy ti See page 68 for the ranges of violin, viola and cello (string instruments) and flute, oboe and bassoon (woodwind instruments). rhythm. Use a key signature and finish on the tonic. gO Fy ji === SS FI Write a tune for oboe using the notes of the tonic triad in B minor to the given rhythm. Use a key signature and finish on the tonic. git 074) 1 1 EA Write a tune for viola using the first five degrees of the scale of D major to the given rhythm, Use a key signature and finish on the tonic. Re A write a tune for bassoon using the notes of the tonic triad in B flat major to the given rhythm, Use a key signature and finish on the tonic. poy ay Bi Look at the tunes you have written and add some musical words and symbols that you know. Also see page 55 for those for Grade 4Harmonic rhythm ia Remember Chord progression means the order in which chords move from one to another in a piece of music. | Handy tip! ) | The chords | | in these | examples have | been written | as triads in | root poston | | | | to make the chord | progression easy to see. | Composers | hardly ever | use lots of | root-position | triads because | chords spaced | | so closely in | | the bass make | [the music | | sound heavy. | | Composers | also usually | want to avoid | parallel Sths | | (see page 33). | rc Harmonic rhythm describes the way a chord progression moves below the tune ina piece of music — whether the chords change quickly or slowly, regularly or irregularly. The type of harmonic rhythm that a composer uses can really affect the mood of a piece. Here are some examples ‘Sur le pont d’Avignon (first phrase) Here the harmonic rhythm is regular ~ it changes once a bar: G D G Steal away to Jesus (first phrase) Here the harmonic rhythm is static for three bars (the chord stays the same for 3 bars even though the composer builds up the tension by raising the pitch of the notes in the tune): D D D AD ‘Au clair de la lune (first phrase) Here the harmonic rhythm is irregular to start with: c G c G6 c G cBz® BI Describe the harmonic rhythm in the following music. c G c € ‘Anon Traditional (Ukranian) D A D D A D Traditional (American) Traditional (English) DG D G G D 101 How does the rhythm of these tunes differ from the harmonic rhythm? Traditional (Russian) Am E Am E i v i v The rhythm of the tune moves faster than the harmonic rhythm which is regular Schubert G G Gi G & G c G Traditional (Russian) < Cc G G c24 Tale mean elt Com ute Root position, first and second inversions of tonic chords or triads can be labelled with Roman numerals. In major keys a root position triad is labelled I (as you already know); a first inversion triad is labelled Tb and a second inversion triad is labelled Tc. In minor keys: i, ib or ic. Here are the tonic triads of C major and A minor labelled this way: C major Aminor i ib ic Chord symbols show that the triad is in first or second inversion by giving the bass-line note after the chord symbol, like this: c C/E C/G C major A minor Did you know? Figured bass (used in a lot of 18th-century music) is based on the intervals between the | bass-line and the notes to be played above them. Here are the root, first and second inversion triads written in this way; cmaor 5 | Count up the interval numbers from the bottom note in the examples above and you should understand how it works. You do not need to know this for your exam, but if you play o piece by J S Bach (or another 18th-century composer) look out for the figured bass below the keyboard part.Did you Hayan know? 2 - ete. ‘S ‘Augmented 4th - | Ga Jt Diminished sth 'f you play these intervals onapiano | keyboard, they sound exactly | the same. This. | is because | Fsharp and | enharmonically equivalent (see page 16) | This is why it | is important to count up from the bottom note to get the interval number correct. J Circle the augmented 4ths. Schubert etc. Dotzauer 2 's the distance between a perfect 4th larger or smaller than an augmented 4th? Circle the diminished ths. Schubert | Mozart Did you know? Augmented ‘ths and diminished Sths split an octave exactly in half and come halfway along Bartok @ chromatic scale ‘Augmented ths are also | seotozmes 22107 © Copyriht 1940 by Hotes 5 Son Londo) Lis. Resroduces by persion Booiy & Hanks Mase Pb td sometimes | known as Is the distance between a perfect Sth larger or smaller than a diminished 5th? tritones, 44IE Name the following Grade 4 intervals. SS Interval: Intervet Interval: Major 7 6 — S= io be Interval: Interval BUr ay essiace me mmol mele) a) perfect 4th or 5th Ifa piece of music is written too high or low for an instrument to play ~ or for a voice to sing ~ it is sometimes necessary to move it to a more comfortable register. Look at this: This is easy for a soprano to sing but not suitable for an alto, Transposing it down a perfect Sth makes it comfortable for an alto to sing: Use the following method: ‘+ Write the tonic of the piece and its key signature Move the tonic up or down a perfect 4th or Sth to find the new tonic, Write the new tonic and its key signature Write out the tune up or down a perfect 4th or 5th with the same intervals between the notes Check that the last note that you write is a perfect 4th or Sth higher (or lower) than the original last noteMore about writing a bass line w Did you know? The circled notes are unaccented passing notes (see page 39). Notice that they make the tunes smoother. Remember | Do not let the bass, line move in similar motion in perfect Sths or octaves with the melody, In major and minor keys Hl Use the root of each chord shown by the Roman numerals to write a bass line. Bi Use the root of each chard shown by the chord symbols to write a bass line. Then circle the unaccented passing notes in the tune. Em B By Em 51ut writing a tune In major and minor keys Bw Hl Use notes from the chords shown by the Roman numerals to write a tune above the bass line, Add some unaccented passing notes. Remember Unaccented passing notes | ore notes thot link the harmony notes in a tune to make it sound smoother to the listener. They appear ‘on the weaker beats of the bar.i iv vi i Use notes from the chords shown by the chord symbols to write a tune above the bass line. ‘Add some unaccented passing notes, By F Fr Bb Fem B ar Fem EV Look at the tunes you have written and add some musical words and symbols that you know. Also see page 55 for those for Grade 4, 5368 Instrument ranges The ranges given here are the written ranges for players of approximately Grade 5 standard. The complete ranges (especially for string instruments) go much higher. 2 String instruments. Violin Viola Cello Double bass Classical guitar Woodwind instruments Flute Descant recorder Brass instruments French horn in FVoice ranges Soprano Alto Tenor * Bass * Sometimes music for tenor voice is written in treble clef an octave higher than it sounds, as you will learn ina later grade. I Remember You may use American names for note values | in your exam, but there is no need to | use them at all if you do not want to. Different words — same meaning In music there are often different words to describe the ‘same thing. You need to know the words that are in heavy type for Grade 4, alto clef —C clef C’ (in relation to chord symbols) - Cdom’ chord progression - harmony parallel (e.g. Sths/octaves) - consecutive plagal cadence ~ Amen cadence, Church cadence, half close ‘strong beat ~ stress, down-beat subdominant - fa tune — melody PI 3 g I