London College of Music Examinations Popular Music Theory Exams Preliminary to Grade Eight Information Booklet Mele Rone Qualifications are awarded and certificated by Thames Valley University ama anole)© 2001 & 2005 Examinations Registry Worldwide rights reserved ‘These examinations are compiled and administered by the Examinations Registry in association with London College of Music Examinations. Any enquiries regarding these examinations should be addressed to EN Resi) Registry Mews 11 to 13 Wilton Road Bexhill Sussex TN40 1HY Tel: 01424 22 22 22 Fax: 01424 21 32 21 E mail: info@ExamRegistry.com London College of Music Examinations Founded in 1887 as an establishment devoted to musical education, the London College of Music was incorporated as a public educational institution in 1939, and became part of Thames Valley University in 1991. Today, London College of Music Examinations enjoys an esteemed reputation as a major international music examination board. London College of Music Examinations is a QCA and DfES approved music examination board. These examinations are accredited by the Qualifications and Curriculum Authority and have been placed on the National Qualifications Framework From Grade Six onwards, the examinations attract UCAS points towards university entrance, The qualifications are awarded and certificated by Thames Valley University. Popular Music Theory - accredited examinations a (52) ~ucas OcA BWAY Seen Rewaing Learngelcome to a unique music theory examination syllabus... one that is designed specifically for students of Popular Music. Regardless of which instrument you play, and whichever style of popular musi you like, if you have any interest in learning about the musical foundations of popular music - then this syllabus is for you! = These examinations offer a comprehensive and structured approach to studying the theory behind playing popular music. = For the first time, students of popular music can gain internationally recognised qualifications that are equivalent in stature to those available in the classieal music education field. = The emphasis within this syllabus is upon the musical knowledge and information that you need in order to improve your playing, in all styles of popular music, Making Theory Relevant And Practical A comprehensive course handbook is available for each grade. By studying the syllabus and working through the accompanying handbooks, you'll learn about keys, chords, scales, rhythms, harmony and improvisation — as well as developing a broad musical knowledge (including instrumentation, musical terms and the history of popular music). All topies are covered in a way that is directly relevant to the music you play, and the syllabus focuses very much upon how to apply theoretical knowledge in a practical music-making context. Improve Your Musicianship AND Gain A Qualification With nine examination levels available, the syllabus and handbooks cater for all instrumentalists and vocalists at every level ~ from beginner to advanced. Studying this syllabus will help you gain the relevant musical knowledge to enable you to improve your musicianship and level of musical awareness. It also provides you with the opportunity to gain an internationally recognised qualification which can act as a valuable foundation and access route to higher education. Working through this syllabus will give you an in-depth understanding of all the important aspects of popular music. Put simply...it will make you a better musician.Aims of this Syllabu: To offer a structured and comprehensive method of studying the theory of popular music which is relevant to the practical needs of the modern day To set worthwhile and well-defined standards for students of popular music theory, by providing a reliable system of assessing progress. To offer formal recognition of the musical knowledge of musicians in the field of popular music by the award of internationally recognised qualifications. ‘To value the language and notation systems of contemporary popular music — reflecting the fact that expertise in the use of traditional notation is not the highest priority in this field. To encourage the practical application of theoretical knowledge, particularly with regard to composition and improvisation. To encourage the academic study of popular music, including a knowledge of: the use of instruments and technology; performers, history, development and range of styles. Subject Areas ‘The examination syllabus aims to particularly recognise and evaluate the following: A knowledge of scales, keys, chords and intervals. A kmowledge of rhythmic notation. A knowledge of the performers, instrumentation, history, development and different genres of popular music. An understanding of popular music harmony and its application, with specific emphasis on the composition of chord progressions and the application of scales in improvisation. An understanding of transposition with regard to both chords and melodies.Section 1 - Scales and keys Candidates are expected to have a good knowledge of the notes that make up scales - this is essential if the scales learnt in theory are to be used in a practical context. = From Preliminary to Grade 4 inclusive, some answers can be expressed by naming the notes in letter names (e.g. A natural minor = ABC DEF GA), although candidates who are also able to write out scales using notation (in a clef of their choosing) have the possibility of gaining higher marks. From Grade 5 onwards all answers must be given in standard notation. = Candidates should have an understanding of scale spellings (e.g. pentatonic major scale = 123 56 8). = Candidates should be able to identify or write out key signatures. All scales and key signatures are fully illustrated and explained in the grade handbooks - which also contain sample questions and answers. Preliminary Grade = C major = G major Grade One As Preliminary Grade plus: = C pentatonic major = G pentatonic major Grade Two As Grade One plus: = D major = F major = Bnatural minor = Dnatural minor Grade Three Scales to the range of 2 sharps and 2 flats: = Major, pentatonic major, natural minor and pentatonic minor. = Blues scales: C, G, D, F and By. Grade Four Scales to the range of 8 sharps and 3 flats: = Major, pentatonic major, natural minor, pentatonic minor and harmonic minor. A natural minor E natural minor ‘A pentatonic minor E pentatonic minor D pentatonic major F pentatonic major B pentatonic minor D pentatonic minor = Blues scales: C, G, D, A, F Bs and E>Section 1 ~ Seales and keys (continued) Grade Five Scales to the range of 4 sharps and 4 flats: = Major, pentatonic major, natural minor, pentatonic minor and harmonic minor. = Blues seales: C, G, D, A, E, F, By, By and Ab. = Dorian modal scales: D, A, E, B, F#, G, C, F and B. = Mixolydian modal scales: G, D, A, E, B, C, F, B} and E). Grade Six Scales to the range of 5 sharps and 5 flats: = Major, pentatonic major, natural minor, pentatonic minor and harmonic minor. = Blues seales: C, G, D, A, E, B, F Bb, EL, Ab and Ds. = Dorian modal scales: D, A, E, B, F#, C#, G, C, F, Bb and E). = Mixolydian modal scales: G, D, A, E, B, F#, C, F, B), EB, and Ab. . . Lydian modal scales: F, C, G, D, A, E, By, Eb, A», Dp and G). The chromatic scale starting on any tonic. Grade Seven Seales in all keys: ™ Major, pentatonic major, natural minor, pentatonic minor, blues and harmonic minor, = Dorian, Phrygian, Lydian and Mixolydian modal scales. = Chromatic and whole tone. Grade Eight All requirements from all previous grades, plus in all keys: ® Locrian modal scale. Phrygian major modal scale. Jazz melodic minor scale. Lydian b7 (Lydian dominant) modal scale. Altered scale. Diminished scale.Section 2 - Chords Candidates are expected to have a good knowledge of chord symbols and the notes that make up chords — this is essential if the chords learnt in theory are to be used in a practical context. = From Preliminary to Grade 4 inclusive, some answers can be expressed by naming the notes in letter names (e.g. A minor = A C B), although candidates who are also able to write out chords using notation (in a clef of their choosing) have the possibility of gaining higher marks. From Grade 5 onwards all answers must be given in standard notation. = Candidates should have an understanding of chord spellings (e.g. C major = 1 3). All chords are fully illustrated and explained in the grade handbooks ~ which also contain sample questions and answers. Preliminary Grade = Major triads: C, G = Minor triads: Am, Em Grade One As Preliminary Grade, plus: = Cmaj7, Gmaj7 = Am7, Em7 Grade Two As Grade One plus: = Major chords: DE Dmaj7, Fmaj7 = Minor chords: Bm,Dm, Bm7, Dm7 = Dominant 7th chords: G7, D7, A7, C7 Grade Three Allimajor, minor and diminished triads from major and natural minor scales, within a range of keys to 2 sharps and 2 flats, plus: = Major 7th chords: C, G, D, E Bb ™ Minor 7th chords: A, E, B, D, G = Dominant 7th chords: G7, D7, AT, C7, F7 Grade Four From major and natural minor seales, within a range of keys to 8 sharps and 3 flats: = Major, minor and diminished triads. = Major 7th, minor 7th, dominant 7th and minor 7th}5 chords. = Sus 2 and sus 4 chords, 5th 'power' chords.Section 2 ~ Chords (continued) Grade Five As for the previous grades, but extended to a range of keys to 4 sharps and 4 flats, plus: Major and minor 6th Diminished 7th chords. 1st and 2nd inversions of major and minor triads. Dominant 7th chords from harmonic minor scales in a range of keys to 4 sharps and 4 flats. Grade Six As for the previous grades, but extended to a range of keys to 5 sharps and 6 flats, plus: = All triads, minor/major 7th, minor 7th}5, major 7th#5, minor 7th, dominant 7th, major 7th and diminished 7th chords from harmonic minor seales to a range of keys to 5 sharps and 5 flats. = 9th chords (major, minor and dominant). ™ Ist and 2nd inversions of all triads. Grade Seven As for the previous grades, but extended to all keys, plus: = Minor and dominant 11ths. = Major, minor and dominant 13ths. = Dominant 7th and minor 7th chords with # or boths. = Ist, 2nd and 3rd inversions of major 7th, minor 7th and dominant 7th chords. Grade Eight All requirements from all previous grades, plus in all keys: = Dominant 7ths with # or }9ths; minor 7ths with }9ths; major 7ths and dominant 7ths with #11ths. = Commonly used altered bass 'slash' chords (e. = Commonly used ‘add’ chords (e.g. Cadd9) Am/F#).Section 3 - Rhythm Notation Candidates should have a practical understanding of time signatures, as well as note and rest values (including correct grouping). Hlustrations and explanations ofall relevant aspects of rhythm notation areshown in the grade handbooks - which also contain sample questions and answers. Preliminary Grade = Whole notes (semibreves) = Half notes (minims) = Quarter notes (crotchets) = Equivalent rests = {time signature Grade One As for the previous grade plus: m= Eighth notes (quavers) and rests. Grade Two As for the previous grades plus: = 16th notes (semiquavers) and rests. = Dotted notes and rests. m {time signature. Grade Three As for the previous grades plus: = jand § time signatures. Grade Four As for the previous grades plus: m= Tied notes. Grade Five As for the previous grades plus: = Triplets = {and '?time signatures. Grade Six As for the previous grades plus: ™ Syncopated rhythms. ™ 82nd notes (demisemiquavers) and rests. = 64th notes (hemidemisemiquavers) and rests. Grade Seven As for previous grades, but of greater complexity, plus: = time signature. Grade Eight As for previous grades, but of greater complexity, plus: m iif) $ and { time signaturesSection 4 - Knowledge of Popular Music From Grade One onwards, candidates will be asked questions in three areas: = History of Popular Music: influential popular music groups, vocalists and instrumentalists from 1950 to the present day; at higher grades candidates should be aware of the styles, history and development of popular music. = Instrumentation (from Grade 3 onwards): instruments commonly used in popular music, including (at higher grades) a knowledge of their ranges and associated technology. m= Language of Popular Music (from Grade 3 onwards): musical signs and terminology. Further information on all aspects of this section of the examination is given in the grade handbooks - which also contain sample questions and answers. Grade One A basic awareness of influential popular music groups, vocalists and instrumentalists from 1950 onwards (from a pre-set list of four comprising: ‘The Beatles, Elvis Presley, The Rolling Stones, Jimi Hendrix). Grade Two An awareness of influential popular music groups, vocalists and instrumentalists from 1950 onwards (from a pre-set list of four comprising: Chuck Berry, Led Zeppelin, David Bowie, Madonna) Grade Three = A knowledge of influential popular music groups, vocalists and instrumentalists from 1950 onwards (from a pre-set list of four comprising: James Brown, Eric Clapton, Michael Jackson, Nirvana). = A basic knowledge of instruments commonly used in popular musi = A basic knowledge of common musical signs and terminology. Grade Four = A knowledge of influential popular music groups, vocalists and instrumentalists from 1950 onwards (from a pre-set list of four comprising: Bob Dylan, The Sex Pistols, Bob Marley, Pink Floyd). = A good knowledge of instruments commonly used in popular music. = A good knowledge of common musical signs and terminology.Grade Five = A broad knowledge of influential popular musie groups, vocalists and instrumentalists from 1950 onwards (selected by the candidate from pre-set lists shown below) together with an awareness of how their music was influenced by performers from earlier periods. List A List B List C List D ‘The Beatles Elvis Presley ‘The Rolling Stones Jimi Hendrix Chuck Berry Led Zeppelin Madonna David Bowie Bob Dylan, Michael Jackson James Brown Nirvana Brie Clapton ‘The Sex Pistols Bob Marley Pink Floyd ‘The Who Little Richard Abba Spice Girls Diana Ross Oasis Buddy Holly Metallica ‘The Doors Sting Van Halen Garth Brooks ‘The Grateful Dead ‘Tina Turner Aretha Franklin Queen Stevie Wonder ‘The Beach Boys Kraftwerk Grandmaster Flash, ‘The Eagles Otis Redding Bruce Springsteen Black Sabbath = An in-depth knowledge of instruments commonly used in popular music including: their ranges and functions; an understanding of transposing instruments; a basic knowledge of specialist notation systems including guitar and bass tablature and drum notation. = A broad knowledge and clear understanding of common musical signs and terminology. Grade Six In-depth questions on the history of popular music from 1950, designed to determine candidates understanding and knowledge of popular music styles. Grade Seven As for the previous grade, but in greater depth, plus a wider knowledge of the history and development of popular music dating back before 1950, where necessary, and including the influence of technological developments. Grade Eight As for the previous grade, but in greater depth, and with a wide knowledge of the history and development of popular music throughout the 20th century, including the influence of other forms of music and the societal contexts.Section 5 - Harmony This section only appears from Grade Two onwards Questions in this section largely focus on the candidate's ability to relate the knowledge of scales and chords, from Sections 1 and 2, to practical musie-making situations — such as improvisation and composition of chord progressions. Further information on all aspects of this section of the examination is given in the grade handbooks - which also contain sample questions and answers. Grade Two = The pattern of major and minor triads in the key of C major. = The technical terms for the I, IV and V chords. Grade Three = The pattern of triads built from major and natural minor scales, up to and including 2 sharps and 2 flats. The technical terms for the I, IV and V chords. V-I and IV-I cadences in major keys up to 2 sharps and 2 flats. Constructing chord progressions in the keys of C, G and F major. ‘The application of major and natural minor scales in improvisation. Grade Four In a range of keys up to and including 8 sharps and 8 flats: = the patterns of major 7th, minor 7th, dominant 7th and minor 7th)5 chords built from major and natural minor scales; = constructing chord progressions, and constructing and identifying V-I and IV-I cadences, using chords built from major and natural minor scales; = the application of major, pentatonic major, natural minor and pentatonic minor scales in improvisation. Grade Five Ina range of keys up to and including 4 sharps and 4 flats: m= the patterns of major 7th, minor 7th, dominant 7th and minor 7th}5 chords built from major and natural minor scales; = constructing chord progressions using chords built from major and natural minor scales and the dominant 7th chord built from the harmonic minor scale; constructing and identifying commonly occurring cadential chord movements; the application of major, pentatonic major, natural minor, pentatonic minor and blues scales in improvisation.Grade Six In a range of keys up to and including 5 sharps and 5 flats: the patterns of major 7th, minor 7th, dominant 7th and minor 7th }5 chords built from major and natural minor scales; constructing and identifying commonly occurring cadential chord movements; constructing chord progressions using: chords built from major and natural minor scales; the dominant 7th chord built from the harmonic minor scale; and chords built from the following: Dorian modal seales - D, A, E, B, F#, C#, G, C, B Bb and Eb; Mixolydian modal scales - G, D, A, E, B F#, C, F, Bb, Ep and A; Lydian modal scales ~ F, C, G, D, A, E, Bs, E>, Ab, D> and G). the application of scales and modal scales from Section 1 in improvisation. Grade Seven As for previous grades, but in greater depth and to the full range of keys, plus: the composition and identification of chord progressions using Phrygian harmony; the composition and identification of chord progressions involving key changes to near and related keys; using chord symbols to harmonise a melody in any key; the application of scales and modal scales from Section 1 in improvisation, including recognition of key changes to near and related keys. Grade Eight As for previous grades, but in greater depth and detail, plus: using chord symbols to harmonise a melody which may change key (to near and related keys only); the composition of chord progressions demonstrating modulation to a full range of keys; analysing chord progressions that use non-diatonic chords; the application of scales and modal scales from Section 1 to improvisation, including recognition of key changes to any key.Section 6 - Transposition This section only appears from Grade Three onwards In this section candidates will be asked to transpose, or identify transposed, chord progressions and (at higher grades) melodies. Further information on all aspects of this section of the examination is given in the grade handbooks - which also contain sample questions and answers. Grade Three m= Transposing a chord progression, presented in chord symbols, up or down one whole step (whole tone) within a range of keys up to 2 sharps and 2 flats. Grade Four m= Transposing a chord progression, presented in chord symbols, up or down one whole step (whole tone) tone or half step (semitone) within a range of keys up to 8 sharps and 8 flats. Grade Five = Transposing a chord progression, presented in chord symbols, into any key within a range of keys up to 4 sharps and 4 flats. Grade Six = Transposing chords, presented in chord symbols, into any key within a range up to 5 sharps and 5 flats. = Transposing melodies up or down a whole step (whole tone) within a range of keys up to 5 sharps and 5 flats. Grade Seven m= Transposing chords, presented in chord symbols, into any key. = Transposing melodies into near or related keys m= Transposing between the treble and bass clef. Grade Eight m= Transposing chords, presented in chord symbols, into any key. = Transposing melodies into any key. = Transposing between the treble and bass clef.Marking Scheme Preliminary Grade 1. Scales and keys 2. Chords 3. Rhythm Notation Grade 1 1. Scales and keys 2. Chords 8. Rhythm notation 4, Knowledge of popular music Grade 2 1. Scales and keys 2. Chords 3. Rhythm notation 4. Knowledge of popular music 5. Harmony Grades 3 to 8 1. Scales and keys 2. Chords 8. Rhythm notation 4. Knowledge of popular music 5. Harmony 6. Transposition Distinction: Merit: Pass: Below Pass, lower level Below Pass, upper level: 85-100% 75-84% 65-74% 55-64% 0-54% 45 35 20 40 35 13 12 35 30 13 12 10 20 20 10 15 25 101. 2. Regulations and Information ‘This syllabus is valid from 2004 until further notice. Examination entries for Popular Musie Theory are accepted only on original ‘Examination Registry’ entry forms - standard LCM entry forms are NOT valid for Popular Music Theory examinations. A specially stamped examination entry form is supplied with each official Examination handbook ~ one of which is published for each examination level. Each handbook contains all the information required for the grade. In order to ensure that, before entering the examination, all candidates are fully conversant with the exact requirements of these examinations the acquisition of an Examination Handbook is the only method of obtaining a valid examination entry form. Handbooks can be obtained from the Examinations Registry at the address given at the front of this syllabus. Entry dates: Written grade examinations are held twice a year (normally in June and December). Exact examination dates are printed on the examination fee list each year. These dates are fixed worldwide and written examinations are only held on these exact dates, consequently no alternative examination dates can be offered under any circumstances. Completed entry forms, together with full fees must be submitted to the Examinations Registry or one of their representatives on or before the following dates: For Summer examinations 1 May For Winter examinations 1 October N.B. Entries submitted by Fax will not be accepted. Late entries: These may be accepted up to seven days after the last date of entry. Each entry must be accompanied by the current late fee for each candidate. No entry will be accepted if it is received at a later date. Examination Centres: Examinations are held at LCM centres across the UK and overseas. In addition, examinations may be held at schools, colleges and private teaching studios by prior arrangement. ‘The right to postpone or cancel the entry of any candidate is reserved. Entries are accepted subject to the regulations stated in this syllabus. Entry fees: A list of current examination fees is printed by the Examinations Registry each year. Cheques and postal orders should be made payable to the Examinations Registry. Fees cannot be refunded, nor entries postponed to a later examination session. Candidates not attending examinations for which they have entered, for any reason whatsoever apart from illness, will forfeit their fees. Absence through illness: If a candidate is unable to attend an examination, a medical certificate (dated no later than the day of the examination) must be sent to the Examinations Registry immediately. The candidate will then be permitted to re-enter for the same examination at the next session on payment of half the current fee. Substitutions: Only candidates officially entered will be accepted for examination, and substitution of a candidate in place of a candidate originally entered will not be allowed.10. iL. 12. 13. 14, 16. a) b) 16. 18. Transfers: Transfer of candidates from one centre to another will not be considered unless there are exceptional circumstances which have been approved by the Examinations Registry in writing. An administration charge will be made. Examination Appointments: An Attendance Notice detailing the date, time and venue will be issued to each candidate or their teacher (if the teacher's name is given on the entry form). This should be retained until handed in on the day. Examination Results: A written report will be compiled for each examination. ‘This together with the result will be sent within 16 weeks of the examination date. Certificates for suecessful candidates are normally dispatched within three months. Examinations are open to all persons irrespective of age, and candidates may enter for any graded examination without having taken any preceding examination. No one, other than the candidate(s) and the invigilator(s), is allowed into the examination room. Formal complaints and appeals procedures: A candidate may appeal against a decision of the examiner(s) on the following grounds only: that there were special cireumstances which might have adversely affected examination performance, details of which were submitted at the time of entry but which were not made available to the examiner. that there was evidence that the examinations were conducted in a way that was not in accordance with the regulations as published (e.g. that the method(s) of assessment and/or examination differed in a significant manner from that set out in the current syllabus). Appeals: A formal marking scheme based on fixed assessment criteria, together with a system of moderation/double marking of a number of papers, ensures that marking is consistent and that results are reliable. However, on written request, upon submission of 50% of the current examination fee, the paper will be re-marked. Ifa marking error is found this fee will be refunded. Special Needs: The Examination Registry should be made aware of special needs at the time of entry by attaching to the entry form written evidence of the candidate's condition and any special requirements. Written papers may be enlarged and/or printed on different colour paper if requested at the time of entry. Candidates requiring coloured paper should specify the preferred colour. Dyslexic candidates will be allowed 25% extra time for written examinations. Please advise in advance of entry if wheel-chair access is required so that the most suitable venue can be selected. It is the candidate's responsibility to have knowledge of, and comply with, the current syllabus requirements. Where candidates are entered for examinations by teachers, the teacher must take responsibility that candidates are entered in accordance with the current syllabus requirements. Failure to carry out any of the examination requirements may lead to disqualification. Where changes to the syllabus take place, neither the Examinations Registry nor LCM Exams can accept responsibility for informing eandidates and teachers of such changes except through Forte (the LCM Examinations Newsletter) and the normal reprinting process.‘This syllabus was compiled for Examinations Registry / London College of Music Exams by Tony Skinner Director of the Registry of Guitar Tutors and LOM examiner, Previously Director of Youth Music for London Borough of Southwark ‘Author and editor of over 50 musie education books. Regular contributor to Musie Teacher, Total Guitar, Guitar Tutor, Musie File, Oxford Encyclopedia and Camilla Sheldon Lecturer in Popular Music and Senior Tutor at Southwark College Previously deputy co-ordinator at Southwark Young Peoples Music Project. ‘Saxophonist and band leader. with help and advice from: Michael Burnett MA FRCO Senior Lecturer in Music at Southlands College, University of Surrey. Author of several music education books. ‘Music Editor and reviewer for Times Edueational Supplement, Music File, Music Teacher Magazine, Martyn Williams BMus (Hons) FRCO FLCM GRSM ARCM MTC (London) HonLCM ‘Music teacher at Bedgebury School, Kent. LCM senior examiner. Jason Brown BA(Hons) PGCE. HND Popular Music course co-ordinator at City College Manchester Alan C Robertson LTCL PGCE, RGT and LCM specialist examiner. ‘Teacher at St.Thomas More High School, Tyne and Wear Barry Draycott, MusB FTCL FLCM ARCM ARCO HonLCM Paul Garraway Record producer, composer and Lecturer in Contemporary Popular Musie at Southwark College. Joo Bennett BA FAETC RGT senjor examiner. Head of Popular Music at Bath College. Contributor to Future Musie, Classie CD and Power-On magazines. Previously music editor of Total Guitar. Author of numerous music tuition books. Alan J Brown LTCL ‘Teacher, pianist and bassist. ‘Terry Armitage Dip.Bd RGT Canadian representative and author of popular-music sightreading books Will Todd BA(Hons) M.Mus Pianist, composer, and founder of the Brunel Ensemble. Gareth Huw Davies BA(Hons) Bass player, studio engineer and music educator. Assistant Director of Canford Summer School of Musie. Chaz Hart LRAM LOM examiner and senior RGT examiner. Author of several music tuition books. Contributor to Total Guitar magazine. Enquiries about Popular Music Theory examinations should be addressed to: THE EXAMINATIONS REGISTRY. Registry Mews, 11 to 13 Wilton Road, Bexhill, Sussex, TN40 1HY, UK. E mail: ExamRegistry@aol.com. Fax: 01424 213221 Tel: 01424 22 2222Popular Music Theory Grade Books This series of Specially designed books covers all grades of the Popular Music Theory exams. Improve Your Musicianship and Gain A Qualification As well as helping you pass the exams in popular music theory, the series will help you improve your musicianship (whether or not you intend to take an examination) Making Theory Relevant And Practical All topics are covered in a way that is directly relevant to the music you play, with the focus very much upon how to apply theoretical knowledge in a practical music-making context. The books are available from good music shops and book stores, or you can order direct from: Registry Publications 01424 22 22 22 B Order on-line at: www.BooksForMusic.comRene teeta McasiNeeac Regardless of which instrument you Sema nny Rea c a eet stm emutcrel es eames emt one Ree cL nomial PO p U | a r The emphasis is on the musical Pate eee Ralcure eun at RCo} eon nana een 1 M Uu S Ic . Uke Res col elma ttes CRU ee) eee RC Rte el Theor pallet venta behind playing popular music. E Seen neg at mcrae iRerelay xa if Y } S internationally recognised CNelice ease nectee tiie aaaF stature to those available in the classical music education field. SR cle oe Receo ag INFORMATION BOOKLET the Qualifications and Curriculum NO ee A neater onwards) attract UCAS points Deen cee These examinations are compiled and administered by the Examinations Registry in association with London College of Music Examinations. Any enquiries regarding these examinations should be addressed to The Examinations Registry Registry Mews 11 to 13 Witton Road Bexhill Sussex. TN4O 1HY Tel: 01424 22 22 22 Fax: 01424 21 32 21 E mail info@ExamRegistry.com eeePOPULAR ; MUSIC THEORYPopular Music Theory Preliminary Grade by Camilla Sheldon & Tony Skinner aA CIP record for this publication is available from the Bish Library, ISBN: 1-898466-40-8 First edition © 2001 and 2004 Registry Publications Ltd. A Tights reserved, including the tight of reproduction in whole or in part in any form or by any means without the prior written Permission of the copyright holders. WARNING Photocopying of any part of this book is illegal and may result in both {@ civil claim for damages and criminal prosecution. Published in Great Britain by Registry Mews, 11 fo 13 Wilton Road, Bexhill, E. Sussex, INAO 1HY Typesetting by Take Note Publishing Limited, Lingfield, Suey Instrument photographs supplied by John Homby Skewes Lic. Piintod in Great Britain,Contents 4 Introduction and guide to music notation clets notes sharps key signatures stems musical terms 8 Scales and keys major and natural minor scale notes keys and key signatures scale notation scale degrees 13 Chords ‘chord symbols notes in chords chord notation scale degrees 17 Rhythm notation note and rest values fime signatures grouping of notes and rests 21 Sample answers 23 Examination entry formIntroduction his book covers all tne material you need to know to take the London College of Music Preliminary Grade examination in Popular Music Theory. ‘As well as helping you fo pass the examination, the intention of this book is to Intoduce and explain the theory behind popular music and so help you Improve ‘your musicianship. You can benoit from working through the book whether or not You intend to take an exarninaton. You will benefit most you try out the information you learn in this book In a practical music-making setting. by relating the information to your instrument and by using it to create your own music. This book is part of a series that offers a structured and progressive approach to understanding the theory of popular music and whilst It can be used for Independent study, tt is ideally Intended as a supplement to group or individual tution, The book begins with a brief guide explaining the basics of music notation. It Is essential that you study this section before proceeding with the rest of the book. The chapters of the book reffect the sections of the examination. Each chapter outlines the facts you need to know for the examination, together with the theory behind the facts. Each chapter is completed with some exampies of the types of {questions that wil appear in the examination paper. The sample questions are intended to give a clear guide as to the types of questions that may be asked in. the examination, however the list of questions is neither exclusive nor exhaustive. ‘Once you have worked through the questions at the end of each section you can check your answers by looking at the ‘Sample Answers’ in the back of the book, Examinations are held twice a year and you can only enter for an examination by completing the stamped entry form at the back of each handbook. We hope you enjoy working through this book and wish you success with the examination and all your musical endeavours Gate ths, TT Camilla Sheldon and Tony Skinnerfe Wire EM eM remareuc icon) Music notation is normally written on five lines that are known as a statf (or stave). Each line, and each space between the lines, represents a different note, When you write music notation you have to be very careful that the noteheads are either dissected by a line, oF are placed in the space between two lines clefts A clef is the symbol that fells you which notes are represented by the different lines and spaces. & The freble clef (or G clef tells you that the second line from the bottom 8G =DE tne bass clof (or F 10) tells you that the second ine from the top Is F All other notes progress in alphabetical order up and down each staff from these notes. Temporary extra lines, known as leger lines, are used for any notes that are either 00 high or too low for a stat tebe clet feo [“ cxp BF G A BoC DEF GA Sot ys \ sees Mido — az | EX\e ¢ Bats cet Legere When writing @ treble clef ensure that it curls around the G line. When wilting a bass clef ensure that you add a dot on either side of the F line.notes It Is useful to have @ few (mnemonic) [phrases to help you remember the names of the notes on the clefs. Sornetimes the sillet the phrases are, the easier they are to temember. Here are a few we've made up with a wid anima’ theme, but you might remember the notes even batter if you make up your own unique Phrases. Lines in the treble clef Eager Girattes Bathe During February Spaces in the treble clef Fast Antetopes Can Escape Lines in the bass clef Griizaly Bears Dorit Fear Anyone si acldc si al AS Spaces in the bass clef Anaty Cheetans Emeige Growing —— sharps Rotwean most latter names there Is a whole step (or whole tone). For example, the distance between the notes A and Bis a whole step. However, you can also move just a hai step (ot semitone) up from any note by using signs known as sharps (#). For example, the note a halt slop above F is F sharp (F#). So F# Is halfway between F and G. There is a sharp note between most letfor name notes. The exceptions are between E ond F, and between B and C, There Is only a half step between these two sets of notes and so no sharps ‘exist between them. if you look at the diagram of the piano keyboard below you will notice that there are no (sharp) notes between E and F, and between B ond C. TU Therefore, the order of notes in the musical alphabet progresses lke this; A # DDE EF FHG GH When you write sharp notes on the stat the # sign must be wiltien fo the left of the notehead. Depending upon the note, the middie of the # sign should bbe either dissected by the same line as the notehead, or placed in the same space as the notehead. When a sharp |s witien before a note itis called an accidental. Here is an example of Fi written in both the treble and bass clets.key signatures It'a piece of music always uses an F# rather than an F, instead of wating the # every time the note occurs, the music Is glen a key signature. The # sign Is written across the F line, immediately iter the clet, at the start of every staff of music. This means that ail the F notes ‘are now Fi, S| stems Halt notes (minis) ond quorter notes (crotchets) ore witten with a thin vertical line attached to the notehead. This is called a sfom. It is important to waite it in the conect direction. in simple melodies, stems go 'up on the tight’ if me note Is below the middle line of the statt, and ‘down on the lett if the note is. ‘above the middie ine on the staff. The stems of notes on the middle line con go elther way, depending upon the direction of the adjacent notes in the rest of the bar. Stems should be about the height of a stat in length. musical terms Sometimes there are two different ames that can be used for the same musical elements. Also, the terminology that is widely used in N. America (and Increasingly amongst pop, rock and jazz musicians in the U.K. and elsewhere) is different to that traditionally used in the UK. and other parts of the world, ‘A summary of the main alternative terms is shown below. In the ‘examination you can use either version, whole nole = somibreve hatf note minim quarter note crotchet whole siep whoo tone ha step semione sat = save measures bars keynote tonic 4 . « fegering = ledger ne wrebleclet = 6 clet pow clef = F clef ‘ee his p66 16 wile yous some Yornndaw Gbod The inporan! pahs of mule nolan,Section One - scales and key: In this section of the exam you will be asked to write out and identity some of the following scales and keys signatures: = C major = mojor = A natural minor = E natural minor $0 that the scales learnt in theory can be used effectively in a practical way, you should be able fo do the following: = Witte out, and identify, he defer names that make up each scale. = Write out, and identify, each scale in standard music notation (adding or Identifying the key signature whete appropriate). You can write your answer in elther the treble clef or the bass clef. = Wilte out, and identify, the degrees of each scale. x= &€#§ © scales A scale Is a seties of notes that are arranged in a specific order from the lowest note to the highest note. The note that is lowest in pitch is the first note of a scale. This note Is also the one that sounds the strongest and is called the keynote (or tonic). The last note of the scale Is the same as the fist, but higher, nd Is known as the octave. Scales can be played ascending or descending, and notes trom scales are used for witing melodies or for improvising, major and natural minor Major and natural minor scales are constructed using a combination of whole steps (also known as whole tones) {and hatf steps (also known assemifones). = A half step (His the distance flom one note fo the closest note above (or below It, for example trom F# 10 GS. = A. whole step (W), for example from F 10G, Is double the distance of a haif stop; 60 a whole stop Is tho equivalent ‘of to hail steps.Jare constructed using the pattem of whole and half stops shown below: wWwHWWWH The C major scale, for example, is constructed in the following way: I= C to the 2nd note (D} = whole step] I= D to the 3rd note (&) = whole step] im Eto the 4th note (F)_ = half step" Im F to the Stn note (6) = whole step| l= G to the 6th note (A) = whole step} l= Ato the 7th note (8) = whole step| Js B10 whe octave (C) = haf step" * Remember, that because there are no sharps between B and C, and between & and F the gop within each of these pits of notes is only a halt step. I you memorise the major scale ‘stop. pattem’ (WW H WW W ) you wil always be able to find out which notes make up any of the major scales, Simply stort with the keynote and then use the step- pattem to find the other notes - making sure that, apart from the keynote and. octave, each letter name is only used once. For example: G major scale noles G A BC DE F#G pattem: WW oH WW WH Jare constructed Using a different step-pattem to major scales. The step-pattem for natural minor scales is: wHWWHWW (Note that this is the same step-patten {as If the major scale had started on its sith note.) The A natural minor scale, for example, Is constructed as follows: ]= A to the 2nd note (8) = whole step| mB fo the 3rd note (C) halt step] "Co the 4th note [D) = whole step =D to the 5th note (E]_ = whole step| mE to the 6th note (F) hail step| /"F to the 7th note (6) = whole step} ]"G to the octave (A) = whole step} you memorise this patter (WH W WH WW you will always be able to find out which notes make up any of the natural minor scales. simply start with the keynote and then use the step-pattern to find the other notes ~ making sure that, apart from the keynote and octave, each letter name Is only used once. For example’ E natural minor scale notes: E F# GAB CODE pattem: WOH WW OH WWscale notes Here are the names of the notes contained within the major and natural minor scales that are required for the Preliminary Grade exam. C major: CDEFGABC G maior: CABCDEHG Anatural minor A BCDEFGAI Enatural minor EGA BCD E You should try and play these scales on your Insirument so that you can hear the sound of them. Playing them will also help you to memorise the notes that make up each scale. If you forget the names of the notes in these scales, you ‘can work them out in the following way: 1. Use the 'step-pattemn! wWwHwWwH to work out the notes of any major scale. 2. Use the 'step-pattem’ wHWWHWW to work out the notes of any natural minor scale, When working out the notes in any scale, remember that because there ‘are no sharps between B and C. and between E and F the gap within each of these pairs of notes is only a half step. keys and key signatures The key that a song is in determines the song's overall sound, known as itsfonailty. The key also determines which scale [and therefore which notes) wil nowmaly bbe used fo make up the melody of that song. For example, if @ tune is written in the key of G major i Is Ikoly fo use notes from the G major scale, Because the keynote Is the strongest note many tunes will begin andor end vith A key signature tells you which key a piece of music is written in, In music notation key signatures are written, immediately after the clef, at the start of the music, and are repeated on ‘every new staff of musi. Here ate the key signatures for the scales set for the Preliminary Grade exam. [¢ major and E natural minor. These two scales share the same key| signature: one sharp, F# — [C major and A natural minor. Ithese two scales share the same key| signature: no sharps oF flats. So, in this| instance, the key signature is effectively} blank. — escale notation Here are the scales required for Preliminary Grade written out in both the ‘treble clef and the bass clef: major A natural minor Notice that, in both the G major and E atural minor scales, there is no need to put a # before the F note: as the F# is included in the key signature ail F notes automatically become Fit scale degrees In popular music, instead of using the letter names of the notes in a scale, musicians often use numbers. Each note Of the scale is given a number, referring to Its scale degree, starting with the keynote as ‘1’. For example, in the C major scale the notes are numbered «3s follows: So, rather than talking about the G note in the scale of C, pop musicians might referto it as the Sin degree of the scale. Here are all the other scales set for = © Preliminary Grace: Scale /degiee: 12345678 major: GABCDERG E natural minor Gon | SS Anotutal minor: ABCDEFGA E natural minor: E FRG ABCD Ex £:;+«; { © Below are some examples of the types of questions that candidates may be asked in this section of the exam. If you cant answer a question, then carefully fe-tead the preceding chapter and the ‘Guide To Music Notation’ at the front of the book. When answering questions that involve writing scales in notation, you can choose {0 write them in either the treble of bass clef. Either way, you need only write = = them ascending using whole notes (as oe e22 shown here) ve Q1. Which scale contains the notes GABCDEFEG? Al @2. Wiite tne notes of the A natural minor scale using letter names. A2 3. Wiite the notes of the E natural minor scale using letter names. 3 @4, Wiite the notes of the C major scale using letter names. Aa. _ 5, Name the major scale ‘that has this key signature, AS. 6. Which scale is this? \Wite one octave of the A natural minor scale in either the treble or bass clet a7 8. Which note occurs on the 6th degree of the E natural minor scale? AB. Q9. On which degree of the G major scale does the note C occur? A.ection Two — chord In this section of the exam you will be asked to wite out and identity some of the following chords: = C major = G mojor = Aminor = E minor So that the chords leamt in theory can be used effectively in a practical way, you should be able fo do the folowing: '= Use chord symbols to Identify the chords, = Wiite out, and identify, the letter names and scale degrees that make up each chord, = Write out, and identify, each chord in standard music notation. You can waite your answer in elther the treble clef of the bass clef. [the theory chords A chord Is a collection of two oF more notes that are sounded together. Chords can be used to accompany melodies or as backings for improvisation Three note chords are known as triads. The 1st note of a chord (Le. the note that gives the chord its name) is called the root note. The Ist, 3rd, and 5th notes of the major scale make up a major tad, major scale C major tad G mojor scale G major triad c > c s > 6 D A E > E 8 > B F c 6 > s D > D A E 8 Fe é GThe Ist, 316, and Sth notes of the natural minor scale make up a minor triad. ‘A natural E natural minor scale A minor tad minor scale E minor triad A > A E > E 8 * c 2 é 6 > S D A E > E 8 > 8 F c c D A E chord symbols fhe symbol for a major triad is the capital letter of the name of the chord; so the symbol for the C major tilad is C, and the symbol for the G major tiad is G. The symbol for a minor tiad is the capital letter of the name of the chord plus lower case ‘m; so the symbol for the A minor triad is Am, ond the symbol for the E minor tad Is Em. Chord name ‘Symbor © major e G major 6 Aminot Am E minor Em Minos fads can sometmes be soon wien Ike this: Ari, Emi, Or the this: A, notes in chords Here are the names of the notes Contained within each chord, These are known as chord tones. Youcan work out the names of the notes within the chords on your own by fist ‘working out the relevant major or natural minor scale with the same keynote, and. hen selecting the Ist, Srd and Sth notes of that scale to form the chord. For example, to find the notes in the C major triad, fiist work out the notes in the C mojor scale (refer to the previous ‘chapter if you are unsure how to do this) and then select the Ist, 3rd and sth notes of this scale to form the C major ‘iad, chord notation Here ate the four chords written out in bath the treble clef and the bass clef c 64Notice that, n all major and minor triads, If the root note of the chord is on a line then the remaining notes of the tad ‘occur on the two ines above, whereas if he 1001 note of the chord is in a space then the remaining notes of the triad Occur in tne two spaces above. scale degrees In the same way that pop musicians often use numbers fo talk about the notes in a scale, they sometimes use numbers fo talk about the notes in a chord. Each note in the chord is given @ number that rofers to the scale degree from which that note Is taken. For example, the C major triad is numbered as shown below because it contains the first, third and fifth notes of the C major scale, cec 136 {In this example, rather than talking about the E note in the chord of C major, pop. ‘musicians might refer fo It as “the 310 of the chord because it is the same note {as the 31d degree of the C major scale. All major and minor triads contain the 1st, 31d ond Sth notes of the major or natural minor scale with the same keynote. (C major scale 203 4 6 7 8 cDEF GAB C major tiad 3 5 S mojor scale 23 4 5 6 7 8 GAB CD ERG G major triad 3 6 ‘Annattural minor scate 234 5 67 8 A BC DEF GA Amino triad 3 8 E natural minor scale 23 4 5 6 7 8 Fé G A BC DE E minor triad 3 5 Remember that the 1st note of any scale Is known as the keynote (or tonic), whilst the 1st note of any chord (Le. the note that gives the chord its pitch name) is known as the root.x= @&©;«»°«#*° O° :O.° | Below are some examples of the types of questions that candidates may be asked in this section of the exam. If you cant answer a question, then carefully fesead the preceding chapter and the ‘Guide to Music Notation’ at the front of the book. \Wnen answering questions that involve wating chords in notation. you can choose to wite your answers in elther the treble clef or the bass clef. You should place the notes of each chord vertically on top of one another, using whole notes (as shown in the example here}. The notes of each chord should be witien in root position, that means put the root ote at the bottom, then write the third note and finally the fit. ~e) Which triad contains the notes e680 White the notes of the Am tad Using letter names. \Wiite the notes of the C triad using letter names. Which chord is this? 2 Wilte out the Em tiiad in either the ineble clef or bass clet Name the root and the fit of the E minor trad. Bis the third of which major triad, C major or G mejor?ection Three — rhythm notation In this section of the exam you will be asked to wiite out and identity some of the following note and rest values: = whole notes (semibreves) = whole rests (semibreve rests) = half notes (minims) = half rests (minim rests) = quarter notes (crotenets) = quarter rests (crotenet rests) You wil also be asked to use these notes and rests in ¢ time. So that the rhythm notation leamt in theory can be used effectively in a practical way, you should be able to do the following = Wite out, and identity, the symbols for he nole and rest values listed above. 1 Identty the values of aitferent notes and rests. = Explain how notes and rests of different values fit into bars {measures} of $time. = Group notes and rests correctly within 4 ime, = Compose simple rhythms in $ time using the note and rest values listed. [the theory note and rest values {All music has @ pulse or beat: In popular music this is usually clearly defined by the myihm section (drums, bass, hyitim guitar, percussion). The mythm of a plece ‘of music is described and wiitten down by using notes and rests. The type of note Used tells you how many beats a sound lasts for, whilst a rest tos you how many beats a silence lasts for. Below ae the names of the different types of notes and rests required for the Preliminary Grade exam, the symbols for them and how many beats each type of note and rest lasts for in ¢ time. name note rest duration quater note (or crore) =S=— SSE beat half note (or minim) 2 beats whole note (or semibreve} 4 beais‘The diagram below shows the relative value of each type of note: Whole note ° Semibrove oN “\ cuaternoies J J J Halt notes Minions Crotchets time signatures Not all beats in music sound exactly the same ~ some beats (otten the first of ‘every four) are stronger than others. This accenting of certain beats divides music Up into small sections that are known as bars (or measures} ‘A time signature, which is written once at the beginning of a piece of music, shows how many beals there are in each bat, and what type of note represents a beat. The top number shows the number of beats per bor, whilst the bottom umber shows the type of note which represents a bect, For example, a 4 time signature tells you that there are four quarter note (crotchet) beats in each bar, The 4 atthe top means that thete are four beats inthe bar. The 4 atthe bottom means that each beat i a quarter note e GE ‘time con ato be ncccted by ae ‘= When writing a time signature, the tip of the top number should touch the top line of the staff, and the base of the bottom number should fouch the bottom line of the staff, = The time signature should always be watton aftor the clof and the key signature. '= The time signature should only be written in the fist bar of a piece of music ~ It does not need to be repeated on each staf of music.grouping of notes and rests in {time each bar must add up to the equivalent of four quarter note beats, whatever the combination of note and rest values. For example: Thete are rules about how combinations of these notes can be written. At this level you should be aware of the following rule: You can write a half rest (minim rest) in the first haif of the bar {on beats one and two} oF in the second half of the bar (on beats three and four). However, you should not write a half rest in the middle of the bar (on beats two and three) ~ Instead you should use two quarter rests. This tule exists in music notation so that all four beats of the bar can be clearly Identied. Witting music this way makes it easier to read. This is conect, This is incorrecy. Take care to write the symbols for rests couecty. EE The quarter rest begins in the top space and ends in the bottom space of the staff. 16 haf rest sits on the middie line of the stat. 1@ whole rest hangs ftom the second highest line of the statx= =—<‘; ; 2 3SOt”;”*ét” Bolow are some examples of the types of questions that candidates may be ‘asked in this section of the exam. If you can't answer a question, then carefully e-fead the preceding chapter and the ‘Guide To Music Notation’ at the front of the ook, What type of note is this? Al What type of note is this? A2 o Write the symbol for a halt note (minim at a pitch of your choice. Use either the treble or bass clef. Write the symbol for a halt rest (minim rest} What type of rest is this? AB, How many of this type of note are needed to - fil a bar of f time? “oi AO, Using @ clef and note of your A7. choice, write two different bars of fyi in 4 time, using only hai ‘notes (minims) and quarter notes (crotchets) Complete the bars by inserting the appropriate rest or rests In the spaces marked *Section Fo sample answe Section One - scales and keys (Max. 45 marks) Al, G major A2 ABCDEFGA AS. EFHGABCDE Ad, CDEFGABC |A8. G major ‘Ab. C major Section Two — chords {mox. 35 marks} AL ‘G mojor a2. ACE as. CEG Aa. C maior A6. Root: E. Fifth: 8. G maiorSection Three — rhythm notation —[max. 20 marks} Al. Quarter note (or crochet) Whole note (or semibreve) e Whole rest (or somibsreve rest) Four 66s $ESExamination Entry Form — Popular Music Theory PRELIMINARY GRADE ONLY 7 PLEASE COMPLETE CLEARLY USING BLOCK CAPITAL LETTERS SESSION (SummerWinter} YEAR: Preferted Examination Cente {it known: Ifleft bionk, you wil be exorrined at he neorest examination Genie To your Home Gdross Candidate Details: Consicate Nome (a to oppecron catfcat - Postcode 1 Ne. (days - (evenings Toacher Details: Teacher Nome (aso appear on corte fe Regity Tur Code ff epplcabia)_ Tal No.eeu ec mua Ome hon ee Maca aaa Re Ce) nae RoR ea a eet SRR eR Ror o oR e : Cimento IMPORTANT NOTES 16 tethe considotesreqponsoty te have inowedge of ons comp withthe cunet sys requitements Une condidates ore enfored for esominations by teacher Ihe teacher must tae fespansbilty that Candidatos cre eteredin occordance uth ha curent slbus roqurements. I parcuIismporant te check at ne cortans of is Book match the sylabus fata vale at me ms of try «Fox conaiates wth special needs, «leer ging deals should bo atached, 12 mecry datas re the some worknlda ond oe kod cnn by LC {ond examination doles ae eblonable fom lhe Braman: Regi. rinations Ragishy. ‘© Submission ofthis ently 6 an undertaking 10 abide by the curent regulation Svlabus oh ory subsequent requurons Updates PuBINed by LCM Bars © UK ontiossnould be sent 10 the Exeminatlons Regis, Ragksty Mais, 11 to 18 Wilon Road, Bes © Cvowseas entonts shoud contact LCM Exams / Examinations Reglsy tor datas of el intematonas Examination Fee 5 Lote Entry Fee if eppcable} s CChequet ot portal orders should be made payable foThe Examinations Registry. font Io foes avaloble rom the Examinations Regist : This eniry form should be sent fo our NEW ADDRESS below: ‘The Examinations Registry Registry Mews | oo 11 f0 13 Witon Road ES Boxhil E. Sussex | NAO THY Tek: 01424 222222 Email: Mali@ExamRegisty.com..because music exams don't have to be just black and white. NOW you can take internationally recognised graded exams in: These exams are organised by London College of Music Exams, in association with Registry of Guitar Tutors, and are designed especially for pop and rock musicians. Popular music vocals + Exams focus on the skills needed to play or sing in a band, + Total beginner to advanced level available, + Study from home (using the exam handbooks) or with a local teacher. Suitable for all ages. Venues across the UK and overseas, | | boss guitar | *+ Studying for an exam will help you develop your musicianship in a comprehensive and structured way. a How good a player are you? Check out an exam mums, syllabus and see which grade is right for you. For a FREE syllabus contact: LCM Examinations keyboard Thames Valley University, St Mary's Road, London W5 SRF tel 020 8231 2364 — email: em.exams@twu ac uk inttp://elgartvu.ac.uk/lemexams popular music London College of Music has offered graded music exams in theon the UK and overseas for over 100 years. Y Certificates are awarded by Thames Valley University. rock/ pop bandPOPULAR MUSIC THEORY This book is part of an unrivalled series that is designed specifically for students of ‘popular’ music. Improve Your Musicianship ieee eks elec) Ae ee eas Sar) eeu emcee Rete eek Cee eRe eel an Peete eects oul re peda tec) Celeron etc enue uate music theory, the series wil help you improve your feo ea ear) ec) IT Rag Ieee Reo Rm eg Ia onl oA enn Patent eran vate aero ance) elie oat ca ete Regoralless of which instrument you play and Renee ean sae a aoe have any interest in ‘about the musical ote Cen tenec tai oes au a for youPOPULAR | MUSIC THEORYIVOR MAIRANTS | MUSICENTRE THE UK's #1 SPECIALIST GUITAR STORE COO nr a AAS eT CReOn tL CUERD Dae : Need Seo Ps er a wT MT aa Te eaePopular Music Theory Grade One by Camilla Sheldon & Tony SkinnerACP record for this publication is avaliable from the British Library. ISBN: 1-898466-41-6 © 2001 and 2009 Regisiry Publications Lid. All ights reserved, including the right of reproduction in whole or In part in any form or by any means without the prior waitten emission of the copyright holders. WARNING Photocopying of any part of this book is illegal and may result in both ‘a Civil claim for damages and criminal prosecution. Published in Great Britain by zZ Regisiry Mows, 11-13 Witlon Road, Bertil, E. Sussex, IN4O THY Typesetting Toke Note Publishing Limited, Lingfield, Suey Original crawings of pop performers by Chris Challinor. Insttument photographs supplied by John Homby Skewes Ltd, Plinted In Great Britain,13 17 21 26 27 Contents Introduction and guide to music notation clets notes sharps key signatures sterns musical terms Scales and keys major and natural minor scales pentatonic scales scale notes keys and key signatures scale notation scale degrees Chords chord symbols notes in chords chord notation scale degrees Rhythm notation note and rest values time signatures eighth notes grouping of notes and rests Popular music The Beatles Elvis Presley The Rolling Stones Jimi Hendrix Sample answers Examination entry formhis book covers all the new material you need to know to take the London College of Music Grade One examination in Popular Music Theory. ‘As well as helping you to pass the examination, the intention of this book is 10 Infloduce and expiain the theory behind populor music and so help you improve: your musicianship. You can benefit from wosking through the Book whether or not You intend to take on examination. You will benefit most if you try Out the information you lea in this book in'a practical music-making setting, by relating the Information fo your Instrument and by using it to create your own music. Ths book Is pait of a series thot offers a structured and progressive approach to understanding the theory of popular music and whist it can be used for Independent study, its ideally intended as a supplement to group or incividual tution The book begins with a biief guide explaining the basics of music notation. It is essential that you study this section before proceeding fo the rest of the Hook. The chapters of the book reflect the sections of the examination. Each chapter outlines the facts you need to know for the examination, together with the theory behind the facts. Each chapter is completed with some examples of the types of questions that wil appear in the examination paper. The sampie questions are Intended to give a clear guide as to the types of questions that may be asked in the examination, however the list of questions is neither exclusive nor exhaustive, ‘Once you have worked through the questions at the end of each section you ‘can check your answers by looking at the ‘Sample Answers’ in the back of the book. {As the requitements for each examination are cumulative, it is essential thet you have a knowledge of the requirements for the previous grade. If you are not already familiar with this material, it Is recommended that you also study the preceding Preliminary Grade book in this series. Examinations are held twice a year and you can only enter for an examination by completing the stamped entry form at the back of each handbook. We hope you enjoy working through this book and wish you success with the ‘examination and all your musical endeavours Ee Camilla Sheldon and Tony skinner| | | ERR remresrerrelay Music notation is normaly waten on five ines that are known os @ staff or stove. Each line, and each space between the lines, epresents a different note, When You wre music notation you have to be very careful that the noteheads ae elther dlssected by a line, of =—— are placed in the space between two lines, ——EEE clefs ‘A clef Is the symbol that tells you which notes are represented by the ciferent lines and spaces. & The tobe cl (01 G cf os you thot he second Ine fom the Bato Be, SSE the bass clef (or F clef) tells you that the second line from the top is F. All other notes progress in alphabetical order up and down each statf from these notes. Temporary extra lines, known as lager ines, are used for any notes that are elther t00 high or too low for a stat. Tobe cet When writing a treble clef ensure that it curls around the line, When wiiting a bass clef ensure that you add a dot on either side of the F tine. nofes Its useful to have a tew (mnemonic) phrases fo help you remember the names of the notes on the ciefs. Sometimes the sllier the phrases are, the easier they are to remember, Ovetleaf are a few we've rade up with a ‘wild animal theme, but you might remember the notes even better if you make up your own unique phrases.Lines in the treble clef Girattes Bathe During February] Enger Spaces in the treble clef Fast Anteiopes Con Escape Lines in the bass clef Giizay Bears Dont Feo: Anyone A Spaces in the bass clef Anaty Cheetahs Emerge Growing There Is a sharp note between most letier name notes. The only exceptions aro between E and F, and between B and C. There is only @ haf step between these two sets of notes and so no sharps fxist between them. If you look at the diagram of the piano keyboard below you will notice that there are no (sharp) notes between E and F, and between B an Therefore, the order of the notes in the ea wa musical alphabet progress like this: AA# BC C# D Dé EF F# G GF wing heres When youwie sharp notes on the stot, he # sign ‘must be written fo ihe left Of the rotehead, Depending on the rete, he mice ofthe # sign shouldbe ether dsected by the fame line as the notehead or placed in the same space as the notehead. When a shorp is writen In front of a note it ls called an accidental. Here isan exomple of F# witten In both the treble and bass cles. ~— coneeneantggenestlliccan] S| sharps key signatures Between most letter names there is a whole step (or whofe fone). For example, the distance between the notes A and Bis awhole step. However, you can also move just half step (or semitone) up from any note by using signs known as sharps (#). For example, the note a hatt step above F Is F sharp (F#). So F# is halfway between F and 6. Ita piece of music always uses an Fi# ote rather than an F, instead of writing the sharp every time the note occurs, the music is given a key signature. The sharp sign is witten across the F line at the start of every staff of music, botwoen the clef and the time signature. This means that all the F notes are now played os Fa,stems increasingly amongst pop, rock and jazz musicians in the U.K. and elsewhere) is Hatt notes (minims), quarter notes. Giiterent to that ttaaionalty used in the {erotchets), and eighth notes (quavers) U.K. and other pars of the world. ate written with a thin vertical line Sttachedto the notehead. Thisiscaled A Summary of the main alternative @ stom. tis important 10 vite in the te™Ms 1s shown below. In the correct direction. In simple melodies, mination you can use either version, stems go ‘up on the right If the note is below the middle line of the staff, and | whole note semireve ‘down on the left if the note is above | half note minim the middle line on the statt. the stems | quarter note crotehet of notes on the midale line can go either | eighth note = quaver way, depending upon the direction of the adjacent notes in the bar. Stems | whole step = whole tone should be about the height of a staff in = oon halt step semitone a staff * stove measures: bars keynote tonic i - ¢ musical terms fteble clef = 6 cet bass clef = F clef Sometimes there are two different names that can be used for the same musical elements. Also, the terminology | tag = tall that is widely used in N. America (and | leger line = _ledger tino ‘is Fi space fo wife outs some Yerinde Gbou he mnpaTon pons Of muse nslaionSection One — scales and key: In this section of the exam you wil be asked fo write out and identify some of the following scales and key signatures: = C pentatonic major = G pentatonic major = A pentatonic minor = E pentatonic minor In addition, you should also have a knowledge of the scales set for the previous grade. = maior = G major = A natural minor = E natural minor [if you are unsure about any of these requirements, please study the Preliminary Grade handbook) So that the scales leamt in theory can be used effectively in a practical way, you should be abie to do the following: = White out, and identity, the leffer names that make up each scale. = Wiite out, and identity, each scale In standard music notation (adding or Identitying the key signature where appropriate). You can write your answers in elther the treble clef oF the bass clef. = Witte out, and identiy, the degrees of each scale. x z= =—<“i‘“‘“<“<;3}3XRTCThCS c c > S D A E > E B > 8 F c 6 > 6 D > D A E B 2 8 Fe > Fe e SThe Ist, 31d, 5th and 7h notes of the natural minor scale make up a minor 7th chord, ‘A natural E natural minor scale A minor 71m minor scale & minor 7th A > A € > e 8 Fa c > ¢ 6% 6G A E > e 8 > 8 F c 6 >» «6 > > A € chord symbols notes in chords The clearest symbol for @ major 71h choid is the capital letter of the chord Pus ‘maj7’: so the symbol for the C major 7th chord is Cmoj7 and the symbol for the G maior 7th chord is Gmaj7. Major 7th chords can also be written like this: CMaj7 of Cma7. They are also sometimes seen wiltten tke this: CM7, CA of C47, but these symbols are not recommended as thelr meaning can be unclear The clearest symbol for a minor 7th chord is the capital letter of the chord plus lower case 'm' plus'7': so the symbol for the A minor 7th chord is Am7 and the symbol for the E minor 7tn chord is Em7. Minor 7th chords can also be wiitten like this: Ami7. They are also sometimes seen wiltten like this: A-7, mojor 7h ‘Cmoi7 Gmajor7ih = Gmai7 ‘Aminor 7th AT E minor 7ih Em7 Here are the namés of the notes contained within the new chords added fot Grade One, Notes within each chord ‘are known as chord fones. cma: CE G B cma: 6 B OD FF amy A Cc £ 6 Em: & G 8 OD You can work out which notes are contained within each chord by taking the relevant notes from the appropriate mojor of natural minor scale, with the same keynote, and then selecting the 1st, 31d, 6th and 7th notes of this scale to form the chord. For example: to work ‘out which notes ate in the C major 7th chord, fist work out the C major scale ‘and then select the Ist, 31d, 5th and 71h notes Of this scale to form the chord to work out which notes are in the A minor 7th chord, first work out the A natural minor scale and then select the 1st, Sid, 5th and 7th notes of this scale to form the chord.aos oor>saorFOOMOOLLIL IY The Ist note of a chord (he. the note that gives the chord its name) is called the root note. chord notation Here are the four new Grade One chords in both the treble clef ond the bass clef: emoj7 == Gmai7 Am7 Em? Notice that, in all major 7th and minor 7th chords, if the root note is on a line then the romaining notes of the chord ‘occur on the adjacent lines above on. the staff, whereas if the toot note is ina space then the remaining notes occur in the adjacent spaces above. scale degrees In the same way that pop musicians often use numbers to talk about the notes in a scale, they sometimes use numbers to talk about the notes in a chotd. Each note in the chord is given a number, which refers to the scale degree from which that note is token. For example, Cmaj7 is numbered as follows: cece 1357 In this exompie, rather than talking about the G note in the chord of Cmaj7. pop musicians might refer fo itas the Sth note of the chord — because G Is the Sth degree of the C major scale. Al major 7th and minor 7th chords are Constructed using the Ist, 31d 5th and. 7th degrees of their related scales. This is llusttated in the tables below. Bae /Degess [2 saso7s Cmajrscale ODEFGASS (mai? chord c £6 8B G maj scale GAaCOEFEG Gea chow ca De Notice how the 2nd, 4th and éth degrees of the major scale are omitted from the ‘mojor 7th chords. [Seco Tbegees Ji 2a 45675 ‘Anatualmhorscas}A BODE FOA Am chore AC EG Enatualminorscole|E FG ABCD E Em? chord Ec 5p Notice how the 2nd, 4th and éth degrees of the natural minor scale ate omitted from the minor 7th chords.x= &€=©=—Sr—“—t——T—<—S— Below are some examples of the types of questions that candidates may be asked in this section of the exam. If you can't answer a question, then carefully fe-tead the preceding chapter and the ‘Guide to Music Notation’ at the front of the book. When answering questions that Involve witing chords in notation, you can choose to walle your answers in either the treble clef or the bass clef, You should place the notes of each chord vertically on top of one another, using whole notes (as shown in the example here). The notes = ‘of each chord should be written in root position, that means put the f001 note af the bottom, then wie the third note, then the fitth and finaly the seventh, ‘Which chord contains the notes GBD F# write the notes of the Cmaj7 chord using letter names. Ville the notes of the Em? chord using letter names. Which chow Is this? ea Write out the Gmaj7 chord in either the treble or bass clef. Is the note of € the 31d or the &th of the Am7 chore? B Is the 7th of which major 7th chord - Cmaj7 or Gmaj7?ction Three ythm notation In‘this section of the exam you will be asked fo write out and identify some of the following note and rest values: whole notes (semibreves) whole rests (semibreve rests) = haif notes (minis) 1 hat rests (minim rests) = quarter notes (croichets} = quarter rests (crotchet rests) = eighth notes (quavers) = eighth rests (quaver rests) You will iso be asked to use these notes and rests in $ time, So that the rhythm notation leamt in theory can be used effectively in a practical ‘way, you should be able to do the folowing: ‘= Witte out, and identity, the symbols for the note and rest values listed above, '= Identify the values of different notes and rests, = Explain how notes and rests of different values fit Into bars (measures) of 4 time, = Group notes ana rests correctly within {1ime, = Compose simple shythms in 4 time using the note and rest values listed, xz °&=#7T7«CSCSsti‘“‘a‘ai‘“i‘i‘i‘i‘i‘C;;CC; note and rest values Below are the names of the various note types tequited for this grade, the symbols for them and how many beats each type of note and rest lasis for in 4 time, name note rest duration eighth note (orquve) SS SE beat quater note (or crotche) SS 1 beat hott note (or minim) == 2 beats hove note {or somibreve) 4 beats Toke nate of the exact shape and poston of tne symbols used for rests.{single eighth note (quaver fs witten te this: orth: 9 Tefal oriag on an eighth note ahvays witten tothe right ofthe ster, regarctess ‘of whether the stem goes Up or down, \Wnen there ore two eighth notes folowing one cnothet they are witton wih the stems joined by a beam, In time, four elghth notes can be beamed together, €s long as they are not beamed across the midcfe of the bar (Le. on beats 3 ond 4). The diagram below shows the relative value of each type of note: whole ‘note ° Semibreve Halt notes Minis Quarter notes Ctotchets comros DP DDD DDD D evcves time signatures AA time signature Is writen once at the beginning of a piece of music. It shows how many beats there are in each bar, and what type of note represents a beat. The top number shows the number of beats per bar, vihilst the bottom number shows the type of note which represents a beat. For example, this 4 time signature tells you that there are four quarter note (crotchet) beats in each bar ‘The 4 at the top tells you that there are four beats in the bar, The 4 at the bottom tells you that each beat is a quarter note, (time can also be indicated by a ¢ sign). When wilting a time signature, the tip of the top number should touch the top line of the staff, and the base of the bottom number should touch the bottom line of the staff, The time signature shouid aiways be wiltien ater the clef and the key signature. The time signature should oniy be written in the fist bar of a piece ‘of music - if does not need fo be repeated on each staff of music.| i | | | eighth notes {An eighth note lass fo hat the duration of a quarter note. It can be played when tne beat starts, and natway through the beat Eighth notes played when the beat starts. (on the beat’) are written: Eighth notes begun halfway through the beat (off the beat’) are witten: seh grouping of notes & rests In 4 time each bar must add up to the ‘equivalent of four quarter note beats, ‘whatever the combination of note and rest values. There are certain rules about how combinations of these notes can be written. These rules exist in music notation 0 that all four beats of the bar can be clearly identified, and consequently the written music is easier to read. AY this level you should be aware of the following rules in 4 time: fo Notes shorter than a quarter note are grouped together to form a beat. For example, you can beam together two eighth notes that stort on a beat, ‘but you should not beam together two eighth notes that belong to two different beats. This is conrect. This is incowrect. There Is an exception to this rule: 1), You can beam together four eighth Notes that are in the first naif of the bar (beats 1 and 2) or in the second half of the bar (beats 3 and 4). However, you should not beam together eighth notes in the middie of the bar (beats 2 and 3}, instead you should use two pats of beamed eighth notes. Ths is conect. == This is incorrect. as iE Unless there [s a whole bor rest, each quarier note beat should have a separate rest. There ls an exception to this rule: You can wite a hat rest in the fst haf of the bor (beats 1 and 2) or in the second half of the bor (beats 3 and 4). However, you should not write a half rest In the middle of the bor (beats 2 ond 3), instead you should use two quarter rests. This is conect. 7 SS $ This Is Incorrect.kx °& © © © © | Below are some examples of the types of questions that candidates moy be ‘asked in this section of the exam. If you cant answer a question, then corefuly fe-1ead the-preceding chapter and the ‘Guide To Musi¢ Notation’ at the front of the book. QI. What type of note is this? Al 22. What type of note Is this? = 3. Wiite the symbol fora quarter note {crochet} at a pitch of your choice. Use elther the treble or bass clef. 2 \Wite out the symbol for an eighth [quaver) rest. Use either the treble (or boss clet 5. What type of rest is this? 6. How many eighth notes (quavers) re there in a half note (minim)? A6. AS. @7. How many quarter notes {crotchets) are there in a whole note (semibreve}? BT @8. Complete the following bars by AB. Inserting the appropriate test or SSS = renee spe tied" She @9. Ata pitch of your choice, wiite a two bar rhythm in 4 time using quarter notes (crotchets) and eighth notes (quavers) and their equivalent rests. Use| either the trable oF bass cleSection Fo popular music So that you begin to gain a general knowledge of the groups, vocalists and instrumentalists who have had the greatest influence on the development of Popular music, in this section of the exam you will be asked questions about the following attisis and groups: = The Beotles Elvis Presley = The Rolling Sones Jimi Henciix You may be asked 1o name: = Some of their hit recordings = Some members of the group (where appropriate). = The instruments played by instrumentalists. 1 The period during which they performed or recorded, Below is a short profile giving all the information you need about each artist and ‘group for the Grade One exam. We recommend that, as well as reading their Profiles, you also listen to some recordings by them so that you can begin to develop an idea of thelr musical styles. The Beatles ‘This British group is widely recognised as being the most influential pop group of al time, The members of the group were: = John Lennon = Paul McCartney = George Harrison = Ringo Stor The group's lead singers andi songwatters were John Lennon and Paul McCariney (although sometimes George Harison and Ringo starr both sang and wiote songs). Their ability 10 wilte their own songs has inspired many other Pop musicians to do the same, rather than relying upon professional songwriters.‘All members of the group played a variety of instruments, but theirmain instruments are listed below: = John Lennon ~ guitar = Paul McCartney — bass guitar and piano: = George Harrison ~ guitar Ringo Starr — drums. The group began In 1960 and, offer various line-up changes, had their frst hit record, Love Me Do, in 1962. They achieved enormous popularity during the 1960s and had many hit records before they spit up in 1979. They recorded a range of musical styles including pop, rock, ballads and psychedelia. The Beatles remain one of the best selling groups ever. Here are some of their most famous singles: = She Loves You = A Hard Day's Night = Get Back = Hey Jude = All You Need Is Love = Strowberry Fields Forever Elvis Presley American-born Eis Presley had his fst major hit single in 1986. with Heartbreak Hotel. Elvis went on to become the most successful and inspirational vocalist ‘and performer in the history of popular music. Although he didn't write many songs himself, his career spanned three decades trom ihe fifties to ine seventies. He achieved world-wide poputatity during his lifetime, and even since his death in 1977 he remains idolised by fans all over the worid, He had success with a wide range of musical styles, from earthy 1ock ‘nl to orchestral ballads, Some of his most famous singles are: = Heartbreak Hote! = Blue Suede Shoes = Love Me Tender = Hound Dog Jatihouse Rock Suspicious Minds ESThe Rolling Stones ‘The Bish rock group, The Rolling Stones, has enjoyed the longest lasting success of any group in the history of popular music. The group was formed in 1962, Achieved tis fst UK chart success in 1963, and (at the time of wating) is stil hugely popular both as a live act and in teins of recording sales Whilst there have been some line-up ‘changes during the goup’s long career, the original members were: = Mick Jagger - vocals = Keith Richards - guitar = Chatlie Watts — drums = Bil Wyman ~ bass ® Brian Jones ~ guitar Guitarist Mick Taylor replaced Brian Jones, atter Jones died in 1969. Ron Wood repiaced Mick Taylor after he left in 1974, In 1995 bossist Bil Wyman left Although the Rolling Stones’ earliest records were cover versions of other peoples’ songs, most of the group's records since have been written by Mick Jagger and Keith Richards. Here are some of the group's most famous singles: = (1 Cant Get No} Satisfaction Paint it Black Get Off Of My Cloud Honky Tonk Woman Jumpin’ Jack Flash Start Me UpJimi Hendrix American-born Jimi Hendtix Is one of rock history's most respected and influential guitarists. Although he played in the backing groups of well-known artists, such as Little Richard and James Brown duting the early 1960s, his solo career only began in 1966 and lasted for just four years until his death in 1970. During this time however, he revolutionised electric guitar playing as well as having several nit records. The majoiity of his hits were with his band the Jimi Henarlx Experience, the members of which were: = Jimi Hendfix ~ guitar and vocals = Noel Redding ~ bass = Mitch Mitchell - drums These are some of his most famous recordings: = Hey Joo Purple Haze Little wing Al Along The Watchtower Red House The Wind Cries Mary—xkxk=z =—é“‘“‘“Cié‘CO;]}] COT! Below are some examples of the types of questions that candidates may be asked In this section of the exam. if you cant answer a question, then carefully Textead the preceding chapter, Name the drummer of The Beatties. Name one of ENvis Presley's hit records Name the vocalist of The Rolling Stones. |. In which decade did The Jimi Hendrix Experience perform and record?Section Five — sample answers Section One - scales and keys (Max. 40 marks} 1. C pentatonic major A5.G mojor ALAC DEGA A6. A.CABDEG a € o_o ag a? ° te = =| A7. Pentatonic major na. Section Two - chords — tmox. 35 marks) Al.Gmaj7 AS. CE GS — ASE GBD = # paneer a Ar cmal Section Three — rhythm nofation — {rax. 13 marks} x 3. = o AS. Half rest (or minim rest) Section Four - knowledge of popular music max. 12 marks) Al. Ringo starr 3. Mick Jagger A2. Blue Suede Shoes (a range of other A4. The 1960s ‘answers would be acceptable}Examination Entry Form for LCM Popular Music Theory examination. GRADE ONE ONLY PLEASE COMPLETE CLEARLY USING BLOCK CAPITAL LETTERS SESSION (Summenwinten YEAR: Preferred Examination Centie (if known) Ifleft blank, you wilbe examined ot the necrest examination Genito To your home address Candidate Details: Coraldate Nemo (as 1 oppear on caticate: Postoodo: —_ To. No. (devs (evering Teacher Detail: Teacher Name (a 1 appear oncetiteate: _ Regia Tutor Code (t oppicobi — | Acorse Postoooe: _ —— Tel. 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