Theory of Music Workbook Grade 4

Theory of Music Includes
sample exam
Workbook paper
for Trinity College London

written exams
Grade 4
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Contents
Theory of Music
Workbook
for Trinity College London
written exams
Grade 4
by Naomi Yandell
ISBN 978-1-80051-070-8
Published by
Trinity College London Press Ltd
trinitycollege.com
Registered in England
Company no. 09726123
Copyright © 2020 Trinity College London Press Ltd
This impression April 2021
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Contents
Introduction............................................................................................................................................................ 1 Writing a bass line ......................................................................................................................33
Alto clef.......................................................................................................................................................................... 2 Writing a tune............................................................................................................................................35
New time signatures................................................................................................................... 4 Unaccented passing notes.....................................................................................39
Writing your own tunes to a given rhythm..................... 8 4-part chords............................................................................................................................................40
Harmonic rhythm................................................................................................................................. 9 Plagal cadences................................................................................................................................. 42
Setting words to a rhythm ...................................................................................... 12 Intervals — augmented 4ths and diminished 5ths........... 43
Enharmonic equivalents ............................................................................................ 16 Transposing tunes up or down a perfect 4th or 5th....45
The chromatic scale...................................................................................................................17 The dominant 7th chord............................................................................................. 49
The circle of 5ths ......................................................................................................................... 20 More about writing a bass line..................................................................... 51
More about the new keys for Grade 4...................................... 21 More about writing a tune..................................................................................... 52
Labelling scales ................................................................................................................................ 22 More about the dominant 7th chord.........................................54
Labelling inversions of tonic triads................................................24 Musical words and symbols............................................................................... 55
Arpeggios.............................................................................................................................................................26 Analysis.................................................................................................................................................................... 56
Broken chords..........................................................................................................................................27 Sample examination paper.................................................................................. 62
Working out the key of a piece .............................................................. 28 Instrument and voice ranges.........................................................................68
Subdominant triads................................................................................................................ 30 Different words — same meaning....................................................... 69
Chord progression ......................................................................................................................32
 other
publications
video and online
resources
Please refer to the Theory Syllabus for details on all sections of the exam.
Check trinitycollege.com/theory to make sure you are using the current version.

Grade 4 Theory of Music Syllabus from 2007
Section 1 General multiple choice — 10 questions (10 marks)
Section 2 Writing scales, arpeggios, broken chords (15 marks)
Section 3 Correcting mistakes (10 marks)
Section 4 Transposition (15 marks)
Section 5 4-part chords for SATB (15 marks)
Section 6 Adding a bass line to a tune or vice versa (15 marks)
Section 7 Analysis — 10 questions (20 marks)
Questions and tasks may cover all matters specified in previous grades and also the following:
Rhythm

1. Time signatures of 5, 7 and 4 
2. Rules for grouping note and rest values within 5, 7 and 4 (including grouping indications at the beginning of bars
or scores, e.g. 2,3 or 3,2)
3. Harmonic rhythm (how fast chords change and whether regular or irregular)
4. Writing a rhythm to fit with words, writing words under a tune, and correcting mistakes in word setting (based
on the rule that important words (or syllables) should be placed on the main beats of a bar)
5. Saying how many sections there are in a piece (form)
Pitch
1. Naming and using notes in alto clef
2. Eb and A major keys (for all major keys for the grade: scales, key signatures, one-octave arpeggios, broken
chords and tonic triads (root, first or second inversion)
3. C and F# minor keys (for all minor keys for the grade: scales — natural (Aeolian mode) and harmonic and
melodic, key signatures, one-octave arpeggios, broken chords and tonic triads (root, first or second inversion)
4. Inversions of tonic triads. Labelled:
— as a chord symbol above the music (e.g. C, C/E and C/G in the key of C major or Am, Am/C and Am/E in the
key of A minor)
— as a Roman numeral below the music (e.g. I, Ib and Ic in the key of C major or i, ib and ic in the key of
A minor)
5. Identifying the key of a piece in Eb or A major and C or F# minor
6. 4th degree of the major/minor scale being known as the subdominant (and fa for major keys)
7. Subdominant triads for all keys covered so far
8. Major/minor subdominant and dominant triads labelled:
— as a chord symbol above the music (e.g. for subdominant, F in the key of C major or Dm (or D where the 6th
degree is raised) in the key of A minor)
— as a Roman numeral below the music (e.g. for subdominant IV in the key of C major or iv (or IV where the 6th
degree is raised) in the key of A minor
9. Recognising a plagal cadence in the home key (major or minor)
10. Enharmonic equivalents
11. Recognising chromatic scales or passages from chromatic scales
12. Intervals (augmented 4ths and diminished 5ths)
13. Concept of compound intervals
14. Understanding parallel 5ths and octaves
15. Dominant seventh chords of all keys covered so far
16. Dominant seventh chords labelled:
— as a chord symbol above the music (e.g. G7 in the key of C major or E7 in the key of A minor)
— as a Roman numeral below the music (e.g. V7 in the key of C major or V7 in the key of A minor)
17. Writing subdominant or dominant chords in root position in any key for the grade as well-balanced four-part
chords for SATB
18. Transposing a tune up or down a perfect 4th or 5th (within the keys for the grade) or for a transposing
instrument for the grade
19. Recognising and writing unaccented passing notes
20. Ranges (and transposing intervals where appropriate) of French horn, descant recorder, oboe, viola, double bass
and guitar as defined in the workbook
21. Knowing which families the above instruments come from (brass, woodwind, string)
Musical words and symbols
Dynamic and articulation marks
Fortepiano, sforzando (and signs and abbreviations for these where appropriate)
Tempo, expression marks and other words and signs
Accelerando, animato, assai, con moto, ben, brio, giocoso, largo, l’istesso, maestoso, pesante, primo, sempre, senza,
simile, subito, troppo, ma non troppo
Introduction Contents
Using this workbook

The writing in the boxes tells you:
• About the music that you sing, or play on your instrument
• What you need to know to pass your Trinity College London Grade 4 Theory of Music
exam. Topics from previous grades of the syllabus should also be known
Doing the tasks

• Use a pencil with a sharp point and a fairly soft lead so that you can easily rub out
what you have written if you need to
• Be careful to be accurate with musical notes and signs — this will make a difference
to your marks because the examiner must be able to read what you have written
• Read through the boxes to make sure you understand how to do the tasks and ask
for help if you need it
• The first task in each section has usually been done for you in orange to show you
what to do
• Use the picture of the piano keyboard on page 69. It is there to help you, even if you
do not play a keyboard instrument
• Always try to play, sing or tap the music you write. This is a very important part of
learning, and will help you ‘hear’ what you write in your head. It will help you in the
exam when you have to work in silence
What comes next?

When you have finished this book try some sample papers. You can purchase them from
www.trinitycollege.com/shop. You will then be ready to ask your teacher to enter you for the
Grade 4 Theory of Music exam.
1
Alto clef Contents
& Treble and bass clefs are not the only clefs that composers use when they write
music. The new clef for Grade 4 is the alto clef.
Handy tip! Remember that the treble clef is sometimes known as the G clef because the little
When you curved line in the middle of the clef curls around the line where the note G sits. The
write the alto bass clef is sometimes known as the F clef because its little dots go on either side of
clef, position the line where the note F sits.
the middle The alto clef is known as a C clef because its middle centres on Middle C:
of the clef
carefully; this
is important
because there
are other C
clefs centred on Here is Middle C written in bass, alto and treble clefs:
different lines.
Did you
know? The alto clef is used for instruments whose music tends to be written at the bottom
Open strings of the treble clef stave and the top of the bass clef; using the alto clef means that
are the notes there is no need for the composer to write lots of leger lines.
that sound Music for viola is usually written in alto clef. Here are its open strings written in bass,
when you alto and treble clefs to show why it makes sense to use the alto clef for its music.
play a string
instrument
without putting
your fingers
down to
change
the pitch.
1 Name these notes:
✎
Did you
know? 2 Write either a treble or alto clef before these notes to make the note name correct.
Composers
often change
clefs in a piece
— sometimes
in the middle
of a bar. 3 Write either a bass or alto clef before these notes to make the note name correct.
2
4 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.
5 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.
3
New time signatures Contents
& For Grade 4 you need to know the following new time signatures:
54 (5 crotchet beats in each bar)
Did you 58 (5 quaver beats in each bar)
know? 78 (7 quaver beats in each bar)
Since the 5 5
When writing in 4 or 8 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 more
common.
Did you
know?
In some pieces
the way the 7
When writing in 8 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 nearly
every bar.
Remember
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
5 œ œ œ œ
in any time
œ
(3, 2)
signature.
&8 œ
(4, 3)
7
&8 œ œ œ œ œ œ œ
7
&8 œ œ œ œ œ œ œ
(2, 2, 3)
4
✎ 1 Write the main beats in each of the following bars:
2 Write the correct time signatures.
3 Add time signatures to the music.
j j
Yandell
?5 œ œ œ œ j œ œ
8 œ œ œ œ œ œ
™
# j
Yandell
& œ œ œ ˙ œ œ œ ˙ œ œ œ œ œ œœ˙
˙
Yandell
& b œ œ œ bœ œ œ œ œ œ œ bœ œ
œ
œ
? b œ œ œ œ bœ œ œ œ #œ œ nœ œ œ œ bœ œ ™
Yandell
5
4 Look at the following music. Add bar lines to agree with the time signatures.
? # 5 œ œ œœ œ œ œ œœ œ œ ##œœ Yandell
Yandell
œ œ œ
? #85 œ œ œ œœ œœ œ œ œ œ œ œ œœ œ œœ ‰‰
8
? # œœ œœ œ ™ œœ œœ œ œ œ œœ ™™
?# œ™ œ Jœ œ œœ
J œœ ™™
bb 7 œ œ jj jj
Yandell
b 7 œ œ œ nœ b œ œ ˙ Œ œ # œ
Yandell
&
? # 5 8 œ œ œ œ œ œ
œ
Yandell
& b 88œœ œ œ œ nœœ bœ ˙œ œ Œ œ œ ˙˙œ œ nnœœ ##œœ‰
b bb œ œ œ jj œœ œŒŒ œœ œJœ œœœ™™ œ œ ™ #œ œœ œ ŒŒ ™™

&
& #b œœ œœ œ œœœ™
? œœ œ œ œ nnœœ #œ œ œ
J œ œ™
3 œ œ bœ œ r r œœ bbœœ œœ ≈ œœ ≈ œrr
Yandell
B
B bbbb8387 œ œ bœœ œœ ≈≈œ nœœrr bœ≈≈ œœr ≈≈ œœr ≈≈
Yandell
RR j ≈ R ≈ œj
Yandell
& 8œ œ ˙ Œ œ ˙ Rnœ #œ
B œ œ bœ œ œ bœ œ œœ
B bbbb œ œ œ≈≈ bœ œj ‰‰ Œœ bœœ œœ œ ™ œ nœ #œ œ œ Œ ™
& œœ œ œ œ J œ
B b 38 œ œ bœ œ ≈ r ≈ œr ≈ œr ≈ œR bœ œ ≈ œR ≈ œr
Yandell
B b œ œ ≈ bœ œ ‰ œ bœ œ œ
6
œ œ
? # 5 Œ J ‰ œJ ‰ œ ‰ œ œ Œ œ ‰ J ‰ œ œ ‰ œ
Yandell
8 J J J
?# œ œ œ ‰
œ œ œ œ œ
J
### 6 œj ‰ ‰ œj ‰ œj œj ‰ ‰ Œ ‰ j Yandell
& 8œ œ ‰ ‰ Œ ‰
œœ œ œ œœ
œ
### ‰ j j j j
& œœ ‰ ‰ œœ ‰ Œ œ Œ œ œ ∑
œœ
œ
### œj œ
j
œ
j j
œ ‰
& œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰
œœ
œ
7
Writing your own tunes to a given rhythm Contents
✎ 1 Write a tune for viola using the first five degrees of the scale of G minor to the given
rhythm. Use a key signature and finish on the tonic.
Handy tip!
See page 68
for the ranges
of violin,
viola and
cello (string
instruments)
and flute, oboe
2 Write a tune for oboe using the notes of the tonic triad in B minor to the given rhythm.
and bassoon
Use a key signature and finish on the tonic.
(woodwind
instruments).
3 Write a tune for viola using the first five degrees of the scale of D major to the given
4 Write a tune for bassoon using the notes of the tonic triad in B flat major to the given
5 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.
8
Harmonic rhythm Contents
& Harmonic rhythm describes the way a chord progression moves below the tune
in a 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
Remember
mood of a piece.
Chord
progression Here are some examples:
means the Sur le pont d’Avignon (first phrase)
order in which
Here the harmonic rhythm is regular — it changes once a bar:
chords move
from one to
another in a
piece of music.
Handy tip! Steal away to Jesus (first phrase)

The chords in Here the harmonic rhythm is static for three bars (the chord stays the same for
these examples 3 bars even though the composer builds up the tension by raising the pitch of the
have been notes in the tune):
written as
triads in root
position to
make the chord
progression
easy to see.
Composers
hardly ever
use lots of
root-position
triads because
Au clair de la lune (first phrase)
chords spaced
so closely in Here the harmonic rhythm is irregular to start with:
the bass make
the music
sound heavy.
Composers
also usually
want to avoid
parallel 5ths
(see page 33).
9
✎ 1 Describe the harmonic rhythm in the following music.
10
2 How does the rhythm of these tunes differ from the harmonic rhythm?
11
Setting words to a rhythm Contents
& People have been setting words to a rhythm or to a tune throughout history.
Usually the most important words or syllables land on strong beats in the bar. This
Did you is what you need to do for your exam. Tap and sing this music so that you can feel
the strong beats or stresses:
know?
A syllable is For example:
part of a word
(for example,
the word music
is made up of
two syllables
mu-sic).
Hyphens are
used to show 1 Underline the important words or syllables in these phrases.
which syllable
A ship there is and she sails the sea,
to sing on
She’s load – ed deep as deep can be.
which note.
Bob-by Shaf-toe’s gone to sea,
Sil-ver buck-les on his knee.
✎
A life on the hea-ving sea,
At home on the bound-ing wave!
2 Continue the rhythms to fit the following phrases. Each is set in more than one way
because it is possible to set the same words to rhythms in different time signatures.
Handy tip!
An anacruses
(up-beat) is
used if the
first word or
syllable is not
as important
as the second,
for example:
A ship there is
etc. Remember
to take this
into account in
the last bar.
12
Composers often separate the beaming like this to make each syllable clear for the singer:
13
& Writing words under a rhythm
If a word has one syllable, centre the word below the correct note. If it has more than one
syllable, put each syllable below a different note with a hyphen to link them.
If a few notes are to be sung to one syllable, add a line at ground level to show where the
sound of the syllable should end. For example:
The same applies if the note to be sung is tied:
If more than one note is to be sung within a word with more than one syllable, add only a
hyphen:
✎ 3 Write the given words below the rhythms.
14
4 The following music contains mistakes in the setting of words. Write the words out correctly in
the coloured boxes.
15
Enharmonic equivalents Contents
& Look at these notes:
If you play them one after the other on a piano keyboard you will hear that they
sound the same even though they are written differently. Notes written like this are
enharmonically equivalent.
✎ 1 Circle the pairs of notes that are enharmonically equivalent.
Handy tip!
To start with,
use the picture
of the piano
keyboard on
page 69 to help
you, and don’t
forget to look
at the clef.
2 Write the enharmonic equivalents of the following notes.
16
The chromatic scale Contents
& In a chromatic scale the distance between each degree of the scale and the next is
a semitone.
The scale is easy to find on a piano keyboard. Just play every note in the octave
Handy tip! (white and black) from C–C or B flat–B flat etc., and you will find it.
A chromatic Just as there is more than one way to write and name notes enharmonically, there
passage is a is more than one correct way to write a chromatic scale.
part of a piece Here is one way of writing a one-octave E chromatic scale going up then down.
that moves
up or down
in intervals
of a semitone
(although it
might have
more than
one note on
each degree of In reality composers tend to be inconsistent when they write chromatic passages.
the chromatic Often they are writing chromatic notes within a key signature so some accidentals
are already taken care of anyway.
scale).
For Grade 4 you do not need to be able to write out a chromatic scale but you
should be able to recognise one (whole or part) and to find chromatic passages in
a piece of music.
✎ 1 Circle the chromatic passages.
Remember
Check the
clef and key
signature
when you
look for music
moving in
semitones.
17
2 Rewrite the following music without a key signature.
3 Copy this C chromatic scale in minims going up.
4 Copy this D chromatic scale in crotchets going down.
18
5 Write two more repeats of these chromatic ostinati that move in similar motion.
Remember
Music moves
in similar
motion if
two or more
parts move
in parallel or
in the same
direction.
Remember
Music moves
in contrary
6 Write two more repeats of these chromatic ostinati that move in contrary motion.
motion if
two or more
parts move
away from
one another
or towards
one another.
Did you
know?
If there are
two different
parts on the
same stave
and both have
accidentals, put
the accidental
of the upper
part nearest
the note-head
and the lower
one a little
further away.
19
The circle of 5ths Contents
& Here is the circle of 5ths that you will recognise from Grades 1–3. The highlighted
keys are the only ones that you will need for Grade 4.
Did you
know?
There are
whole keys
that are
enharmonically
equivalent.
You do not
need to know
this for your
exam.
✎ Using the circle of 5ths above, answer these questions:
1 Which minor key has three flats in its key signature?
2 Which major key has two sharps in its key signature?
3 Which minor key has three sharps in its key signature?
4 Which major key has three sharps in its key signature?
5 Which minor key has two flats in its key signature?
6 Which minor key has one sharp in its key signature?
7 Which major key has no flats or sharps in its key signature?
20
More about the new keys for Grade 4 Contents
& The new keys for Grade 4 are A major and E flat major (and their relative minors F sharp
and C). They work like the others you have learned; the key signatures are there to make
sure that the tone-semitone pattern is the same for each key.
✎ 1 Write the key signature and the tonic triad in root position for each of the following keys.
2 Write a one-octave E flat major scale in minims going up then down. Use a key signature.
3 Write a one-octave A major scale in crotchets going down then up. Use a key signature.
4 Write a one-octave E flat major scale in minims going down then up. Do not use a key signature
but write in the necessary accidentals.
5 Write a one-octave A major scale in crotchets going up then down. Do not use a key signature
but write in the necessary accidentals.
6 Write a one-octave C harmonic minor scale in minims going up then down. Use a key signature.
21
7 Write a one-octave F sharp melodic minor scale in crotchets going up then down. Use a
key signature.
8 Write a one-octave F sharp natural minor scale in minims going down then up. Do not use
a key signature but write in the necessary accidentals.
9 Write a one-octave C melodic minor scale in crotchets going up then down. Do not use a
key signature but write in the necessary accidentals.
Labelling scales Contents
✎ 1 Label these scales.
Remember
Melodic and
natural minor
scales sound
the same
going down,
so either label
is correct.
22
2 Label these scales. Here there are no key signatures so check the accidentals instead.
23
Labelling inversions of tonic triads Contents
& 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 Ib and a second inversion triad is labelled Ic. In minor keys: i, ib or ic.
Here are the tonic triads of C major and A minor labelled this way:
Chord symbols show that the triad is in first or second inversion by giving the bass-line
note after the chord symbol, like this:
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:
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 a
piece by J S Bach (or another 18th-century composer) look out for the figured bass below the
keyboard part.
24
✎ 1 Write the key signature and the tonic triad for each of the keys shown. Then write its first
and second inversions. Label them using Roman numerals below the stave and chord
symbols above.
Handy tip!
Notice that
here there is a
C sharp written
in as the
bass-line note.
This is because
there is a
C sharp in the
key signature.
Handy tip!
You are asked
to write
both Roman
numerals and
chord symbols
for practice;
in reality
composers
use either one
or the other
(or neither).
25
Arpeggios Contents
✎ 1 Write the key signature of each key shown. Then write its one-octave arpeggio in the rhythm
given below.
2 Label these one-octave arpeggios.
26
Broken chords Contents
✎ 1 Using minims, write a broken chord using F sharp minor tonic triad (going up). Use
patterns of three notes each time. Finish on the first F sharp above the stave.
Remember
A broken
chord, like
an arpeggio,
is made by 2 Using quavers, write a broken chord using E flat major tonic triad (going up). Use patterns
‘breaking of three notes each time. Finish on the first E flat above the stave.
up’ a chord.
Sometimes
you can find
one-octave
arpeggios
within larger 3 Using triplet quavers, write a broken chord using B flat major tonic triad (going down).
broken chord Use patterns of three notes each time. Finish on the first B flat below the stave.
patterns.
4 Label these broken chords.
Did you
know?
Composers
use broken
chords to give
the music a
particular feel
or texture. You
can describe
texture in
many ways,
for example,
thick, thin,
polyphonic
(two or more
separate parts
interweaving),
homophonic
(parts moving
in the same
rhythm).
27
Working out the key of a piece Contents
& For Grade 4 you need to be able to recognise more major and minor keys (see
page 20).
Here are two examples to remind you how to work out the key each time.
• Are there flats or sharps in the key signature and, if so, how many? Yes, three sharps,
so the key could be A major or F sharp minor
• Are there any accidentals in the music that could be the raised 6th or 7th degrees in
the relative minor? No
• Are there any other reasons to think that the key is A major? Yes, the first two bars
are based on the scale of A major and the last part of the music is based around
the notes of the tonic triad in A major
Answer: The key is A major
Remember 2
The composer
may be using
the melodic
minor scale • Are there flats or sharps in the key signature and, if so, how many? Yes, three flats,
(6th and 7th so the key could be E flat major or C minor
degrees raised • Are there any accidentals in the music, that could be the raised 6th or 7th degrees in
going up and the relative minor? Yes (so the key is probably a minor)
returned to
• Are there any other reasons to think that the key is C minor? Yes, much of the music
natural minor
is based around the tonic triad of C minor and the last note is on the dominant (G)
pitch going
down). Answer: The key is C minor
✎ 1 Use the questions above to work out the keys.
28
29
Subdominant triads Contents
& In major keys

As you know, the 1st and 5th degrees of the scale are very important to the sound
Did you of any key. The triads built on the tonic and the dominant are often considered the
most important chords in a key.
know?
Chords I, IV The 4th degree (the subdominant) — and the triad built on it — is also significant
within a key. The subdominant of the scale can also be called fa.
and V are
often known Here is the scale of C major with triads built on the 1st, 4th and 5th degrees:
as primary
chords because
they are so
important to
the sound
of the key.
Many songs
Here is the subdominant triad in the key of C major. Notice that it is labelled IV or F
are composed
because the bottom interval of the triad is a major 3rd:
using only
these chords.
✎ 1 Here are some major scales. Write triads on the tonic, subdominant and dominant
degrees of the scales and label them with Roman numerals below the stave and chord
symbols above.
30
& In minor keys
Subdominant triads in minor keys are built on the subdominant of the minor scale.
Did you Here is the harmonic minor scale of A minor with triads built on the 1st, 4th and 5th
know? degrees:
Chords i, iv
(or IV) and
v (or V) are
also known as
primary chords
in minor keys.
Here is the subdominant triad in the key of A minor. Notice that it is labelled iv or
Dm because the bottom interval in the triad is a minor 3rd:
However, if a composer uses the melodic scale going up the F is raised because
F sharp is the 6th degree of A melodic minor scale:
✎ 1 Here are some minor scales. Write triads on the tonic, subdominant and dominant
degrees of the scales and label them with Roman numerals below the stave and chord
symbols above.
Handy tip!
Check whether
the scale is
harmonic or
melodic.
31
Chord progression Contents
✎ 1 Label the triads with Roman numerals below the stave and chord symbols above to show
the chord progression.
Remember
Chord
progression
means the
order in which
chords move
from one to
another in a
piece of music.
Remember
The chords in
these examples
have been
written in
root position
to make
the chord
progression
easy to see.
Composers
hardly ever do
this because
it creates
parallel 5ths
(see page 33).
32
Writing a bass line Contents
In major keys
✎ 1 Use the root of each triad shown by the Roman numerals to write a bass line.
Remember
A strong bass line often
moves in contrary motion
to the tune. Do not let
the bass line move in
similar motion in perfect
5ths or octaves with
the tune; this sounds
weak and will lose you
marks in your exam.
2 Use the root of each triad shown by the chord symbols to write a bass line.
These parallel 5ths are
compound intervals.
See page 54.
Handy tip!
Try to play the music
that you write on a
keyboard so that you
learn to imagine the
sounds you write down.
This will be useful when
it comes to your exam.
33
In minor keys
1 Use the root of each triad shown by the Roman numerals to write a bass line.
34
2 Use the root of each triad shown by the chord symbols to write a bass line.
Writing a tune Contents
In major keys
✎ 1 Use notes from the tonic, subdominant or dominant triads shown by the Roman numerals to
write a tune above the bass line.
35
Remember
A strong tune
often moves
in contrary
motion to the
bass line. Do
not let the
tune move in
similar motion
in perfect 5ths
or octaves
with the bass
line; this
sounds weak
and will lose
you marks in
your exam.
In minor keys
& When you write a tune above the bass line in a minor key, notice whether the
Roman numerals are large (I, IV, V) or small (i, iv, v). If they are large for the
subdominant and dominant chords, the composer is using the melodic minor scale
and the 6th and 7th degrees of the scale need to be raised like this (in A minor):
If the Roman numerals are small, the 6th and 7th degrees remain as for the natural
minor scale (or the melodic minor scale going down).
36
✎ 1 Use notes from the tonic, subdominant or dominant triads shown by the Roman numerals
to write a tune above the bass line.
Remember
Try to play
the music that
you write on
a keyboard so
that you learn
to imagine the
sounds you
write down.
This will be
useful when
it comes to
your exam.
37
2 Use notes from the tonic, subdominant or dominant triads shown by the chord symbols to write
a tune above the bass line.
3 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.
38
Unaccented passing notes Contents
& Tunes are most often composed using the notes of the chords that accompany them.
Unaccented passing notes are notes that link the harmony notes in a tune to make it
sound smoother to the listener. They do not appear in strong parts of the bar.
Here is an example in C major. The unaccented passing notes are circled so that
Did you they are easy to see:
know?
Harmony notes
are the notes
that you use
to write chords
below the tune
When writing unaccented passing notes in minor keys, notes from the melodic scale
in a chord
are often used to make the contour of the tune sound smooth. However, there are
progression.
many cases where composers use notes from the harmonic or natural minor scales;
it depends on whether the composer uses iv or IV, v or V.
Here is an example in the key of A minor where notes of the natural (or melodic)
minor scale have been used going down:
✎ 1 Add some crotchet unaccented passing notes below the asterisks (*).
Did you
know?
Melody is
another word
for tune; this
word will
sometimes
be used in
your exams.
2 Add some unaccented passing notes to the melodies you wrote on pages 35–38.
39
4-part chords Contents
& For Grade 4 you need to know how to write tonic, subdominant and dominant
chords for SATB (soprano, alto, tenor and bass voices) in the keys you know.
Remember Work out which triad you need to use from the Roman numeral given. Then double
Spread the the root and write out the chord, being careful not to position the notes too closely
notes of the together, especially in the tenor and bass.
chord fairly Here are some examples of the way these chords could be successfully written for
evenly across SATB:
the staves. Tonic chord in the key of G minor:
This makes the
chord sound
clear and
balanced and
gives all the
singers a note
which suits
their range.
However, it
Subdominant chord in the key of G minor:
is acceptable
to have a
distance
greater than
an octave
between the
bass and
tenor parts.
See page Dominant chord in the key of G minor:
69 for voice
ranges.
✎ 1 Circle the two roots in the following chords.
40
2 Using crotchets, write out 4-part chords for SATB using the chords shown by the Roman
numerals. Double the root in each case and make sure that each chord is in root position.
Handy tip!
Try to play the
chords that
you write on
a keyboard so
that you learn
to imagine the
sounds you
write down.
This will be
useful when
it comes to
your exam.
41
Plagal cadences Contents
& For Grade 3 you learned that cadences are chord progressions that behave like
punctuation in sentences. They give structure and meaning to the music. You
learned to recognise the perfect cadence (V-I or V-i), which acts as a musical
full stop.
Handy tip!
Play these Sometimes composers use another kind of cadence called a plagal cadence, and
cadences you will need to recognise this chord progression for Grade 4. It is rarer than the
(or ask your perfect cadence — and is occasionally called the Amen cadence because it can be
teacher if you found a lot in church music. It sounds calmer than the perfect cadence.
need help). Here is a plagal cadence in C major: Here is a plagal cadence in A minor:

✎ 1 Look at these cadences. Give the key of each cadence and say whether it is perfect or
plagal. Write in the chords in Roman numerals.
42
Intervals — augmented 4ths and
diminished 5ths Contents
& For Grade 4 you need to know the difference between perfect and augmented 4ths
and perfect and diminished 5ths.
Did you Augmented 4ths
know?
Augment in
this context
means to make
the interval
larger.
Diminish in
this context
means to make
the interval
smaller. Diminished 5ths

✎
Handy tip!
First, count
up from the
1 Name the following intervals.
bottom note to
get the interval
number. Then
imagine that
the bottom
note is the
tonic in the
major key. If
the top note
is in its major
scale the
interval will be
a perfect 4th
or 5th. If not,
check whether
it is one
semitone larger
or smaller.
43
Did you 2 Circle the augmented 4ths.
know?
If you play
these intervals
on a piano
keyboard, they
sound exactly
the same. This
is because
F sharp and
G flat are
enharmonically
equivalent (see
page 16).
This is why it 3 Is the distance between a perfect 4th larger or smaller than an augmented 4th?
is important to

count up from
the bottom 4 Circle the diminished 5ths.
note to get
the interval
number correct.
Did you
know?
Augmented
4ths and
diminished
5ths split
an octave
exactly in half
and come
halfway along Yandell
a chromatic
2
& 4 œ bœ œ nœ œ #œ bœ œ
œ œ
scale.
Augmented
4ths are also
sometimes
known as 5 Is the distance between a perfect 5th larger or smaller than a diminished 5th?
tritones.

44
1 Name the following Grade 4 intervals.
Transposing tunes up or down a

perfect 4th or 5th
Contents
& If a 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 5th 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 5th 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 you write is a perfect 4th or 5th higher (or lower) than the
original last note
45
✎ 1 Transpose the following tunes down a perfect 4th.
Remember
Use a key
signature and
add accidentals
where
necessary
to keep the
intervals a
perfect 4th or
5th apart.
2 Transpose the following tunes up a perfect 4th.
46
3 Transpose the following tunes down a perfect 5th.
Did you
know?
Some
instruments
play music
that sounds
at a higher or
lower pitch
than the music
they play.
They are called
transposing
instruments.
4 Transpose the following tunes up a perfect 5th.
b 4 œ œ bœ œ œ nœ œ œ nœ œ œ bœ œ œ œ œ œ Ó
Yandell
b
& b4 œœ
47
5 Transpose this tune up an octave so that a double bass player will be able to play it at the
Did you same pitch as the following notes.
know?
Music for
double bass
is written an
octave higher
than it sounds.
Music for 6 Transpose this tune down an octave so that a descant recorder player will be able to play
descant it at the same pitch as the following notes.
recorder is
written an
octave lower
than it sounds.
Music for 7 Transpose this tune up an octave so that a guitar player will be able to play it at the same
classical (or pitch as the following notes.
Spanish) guitar
is written an
octave higher
than it sounds.
Music for 8 Transpose this tune up a perfect 5th so that a French horn player will be able to play it at
French horn the same pitch as the following notes.
in F is written
a perfect 5th
higher than
it sounds.
See page 68
for the ranges
of these
instruments.
48
The dominant 7th chord Contents
& In major keys

As you know, the dominant triad is built on the dominant degree of the scale.
To remind you, here is the dominant triad in C major:

For the dominant 7th chord, a 7th above the root of the dominant triad is added.
Here is the scale of C major showing how this works:
Here is the dominant 7th chord in C major. Notice that the little 7 is put just after
Handy tip! the Roman numeral and the chord symbol.
Play these
examples on
the keyboard
to get a feel
for V7–I
and V7-i. In minor keys
Here is the dominant triad in A minor:
Did you
know? Here is the dominant 7th chord in A minor:
In the tonic
chords here the
composer has
chosen to leave The fascinating thing about the dominant 7th chord is that it feels as though it is
out the 5th magnetically attracted to its tonic chord and isn’t happy until it ‘resolves’ there.
of the chord.
Composers As you know, the dominant chord followed by the tonic (V-I or V-i) makes a perfect
cadence. Sometimes composers use V7-I or V7-i instead. These are still called
sometimes do
perfect cadences. Here are two examples:
this, but they
hardly ever
leave out the
3rd or root,
because this
would take
away the true
character of
the chord.
49
✎ 1 Here are some major and minor scales. Write a triad on the tonic and a dominant 7th
chord on the dominant of the scale and label them with Roman numerals below the stave,
and chord symbols above.
2 Label the triads and dominant 7th chords with Roman numerals below the stave and
chord symbols above to show the chord progression.
Remember
The chords in
these examples
have been
written in
root position
to make
the chord
progression
easy to see.
Composers
hardly ever do
this because
it creates
parallel 5ths
(see page 33).
50
More about writing a bass line Contents
In major and minor keys

✎ 1 Use the root of each chord shown by the Roman numerals to write a bass line.
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 5ths or
octaves with
the melody.
2 Use the root of each chord shown by the chord symbols to write a bass line. Then circle
the unaccented passing notes in the tune.
51
More about writing a tune Contents
In major and minor keys

✎ 1 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
are notes
that link the
harmony notes
in a tune to
make it sound
smoother to
the listener.
They appear
on the weaker
beats of
the bar.
52
2 Use notes from the chords shown by the chord symbols to write a tune above the bass line.
Add some unaccented passing notes.
3 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
More about the dominant 7th chord Contents
& There is an interval of a diminished 5th within every dominant 7th chord in root
position. This interval gives the chord an insecure feel.
Did you
know?
Intervals larger
than an octave
are called
compound
intervals. An
octave plus a
diminished 5th
can be called
a compound
diminished
5th. You can
also count the
number from 1 Resolve these diminished 5ths. Some of them are written as compound diminished 5ths.
the bottom
to the top
and call it a
diminished
12th.
2 Circle the intervals of a diminished 5th (or compound diminished 5th) and their resolutions.
54
Musical words and symbols Contents
& Form
Music is a series of sounds within a time-span. Composers help listeners make sense
of their music by sorting their ideas into contrasting sections — each with a number of
phrases. When musicians talk about these sections and the way they are put together,
they talk about the form of a piece.
For Grade 4 you need to be able to say how many sections there are in a piece. These
sections are often shown by repeat marks (usually just after a perfect cadence) or in
vocal music by the labels verse and chorus or refrain. Composers make use of repetition
in their pieces so that listeners can feel familiar with what they hear. Try to hear in your
head the music you see, so that you can feel where the sections end.
For Grade 4 you need to know the following, in addition to the words and symbols for
Grades 1–3.
Articulation marks
fp ( fortepiano) — play loudly, then immediately let the sound die away
sf or sfz (sforzando) — play the music with a heavy accent
Expression marks
animato — play in an animated way
brio — brilliantly
giocoso — playfully
largo — slow and broad
maestoso — majestically
pesante — heavily
Tempo marks and other signs

accelerando — speed up
assai — very
ben — well (ben marcato — well accented)
con moto — with movement (e.g. quite fast)
l’istesso — the same
primo — the first (tempo primo — at the first speed of the piece)
sempre — always
senza — without
simile (sim.) — play in a similar way
subito — suddenly
troppo — too much (ma non troppo) — but not too much
55
Analysis Contents
✎ 1 Look at the following piece and answer the questions on the opposite page.
56
1. In how many sections is this piece? Two, each repeated
2. In which key is this piece? C minor
3. How many times is the raised leading note to be played (treble part)?
It is
to played four times (not including repeats)
4. What is the difference between the harmonic rhythm in bars 5–7 and bars 9–12?
The harmonic rhythm in bars 5–7 is static; the harmonic rhythm in bars 9–12
changes regularly every bar
5. Write an appropriate chord symbol above the second crotchet in bar 3.
6. Which 4-bar phrase in this piece ends on the dominant chord?
The first
7. Why do you think the composer has repeated the second 4-bar phrase of the piece at the end?
It is a way of making sure that listeners finish the piece feeling that they know it well
8. Is the sequence in bars 5–6 real or tonal (treble part)?
It is tonal
9. In which bars are there examples of syncopation (treble part)? Bars 9 and 11
10. Name the notes that are unaccented passing notes in bars 1 and 2 (treble part).
The two Ds in bar 1 and the two Fs in bar 2
11. Name the interval between the two notes marked with asterisks (*) in bar 11. Minor 7th
12. What does the little line above the last note mean (treble part)?
It means ‘tenuto’ — slightly lengthen and sustain the note
13. Comment on the spacing of the notes of the chords in this piece (bass part).
The
spacing is close together which will make the chords sound rather heavy
14. Name a woodwind instrument that could play the treble part of this piece. A flute
15. Use Roman numerals to write the chord progression of the two last chords of this piece. V7–i
57
2 Look at the following piece and answer the questions on the opposite page.
58
1. In how many sections is this piece?
2. In which key is this piece?
3. Circle a place where there are four notes of a chromatic scale put one after another.
4. Name two unaccented passing notes in bar 5.
5. Is the harmonic rhythm in bars 10–11 the same or different from that used in bars 12–13?
6. Name one bar in the piece where the harmonic rhythm changes on the 3rd beat of the bar.
7. Describe the dynamic markings in this piece.
8. Write an appropriate Roman numeral below the last crotchet beat of bar 16.
9. Write an appropriate chord symbol above the first crotchet beat of bar 17.
10. Name one bar where the treble and bass parts move in similar motion for the first two beats of
the bar.
11. Name one bar where the treble and bass parts move in contrary motion for the first two beats
of the bar.
12. Name the interval between the two notes marked with asterisks (*) in bar 6.
13. Write the first note of the treble part of this piece in alto clef.
14. Comment on the spacing of the notes of the chords in bar 5 and 6 (bass part).
15. Name a woodwind instrument that could play the treble part of the first section of the piece.
59
3 Look at the following song and answer the questions on the opposite page.
Fire Down Below

Traditional (English)
Allegro arr. Yandell
## 6 j j
VERSE
œ œ™ œ™ j j
Voice & 8 œ™ œ œ™ œ œ œ™ œ ‰ œ
Fire in the gal - ley, fire down be - low; it's
#6 j j
& # 8 œœ ™™ œœ œœ œœ ™™ œ™ œœ ™™ œœ œœ œœ ™™
j
œœ ‰ ‰
{
œ™
œ œ œ™
? ## 68 œ ™ œ œ™ j
Piano
œ™ œ™ œ œ ‰ ‰
J J
# j j
5
&# œ j
œ œ œ œ œ œ œ œ œ™ œ
j
œ œ™ œ
‰
fetch a buck - et of wa - ter, boys, there's fire down be - low.
#
& # œ œj œ œ œ œ™ œœ ™™ œ™
œ™ œ œj œ™ œ
‰
{
œ™
œ™ nœ ™ œ™ œ™ œ™ j
? ## œœ™ œ œœ ™™ œœ ‰
# j
9 REFRAIN
& # œ™ Œ™ œ™ Œ™ œ™ œ œ œ™ œ
j ‰ j
œ
Fire, fire, fire down be - low; it's
# j
& # ˙˙ ™™ ˙™ œœ ™™ œœ œœ œœ ™™ œœ
j ‰ ‰
{
˙™
œ™ œ™ œ œ™
? ## œ™ œ™ œ j
œ™ J œ ‰ ‰
# j j
13
&# œ j
œ œ œ œ œ œ œ œ œ™ œ
j
œ œ™ œ
‰
fetch a buck - et of wa - ter, boys, there's fire down be - low.
##
& œ œj œ œ œ œ™ œœ ™™ œ™
œ™ œœ œj œ™ œ
‰
{
™
œ™ nœ ™ œ™ œ™ œ™ j
? ## œ œ œœ ™™ œœ
*
‰
*
œ™
60
1. Name the two sections of this song.
2. In which key is this song?
3. Name two bars where phrases finish on the tonic chord.
4. Name two bars where phrases finish on the dominant chord.
5. Name two bars where phrases start on an anacrusis.
6. Is the harmonic rhythm in bar 1 the same or different from that used in bar 2?
7. Write an appropriate Roman numeral below the last dotted crotchet beat of bar 15.
8. Write an appropriate chord symbol above the first dotted crotchet beat of bar 16.
9. Name the cadence that finishes this song.
10. Comment on bars 5–8 and 13–16 (voice part).
11. Which type of voice (SATB) is most suited to singing this song?
12. Name the notes that are unaccented passing notes in bar 5 (voice part).
13. Name the interval between the two notes marked with asterisks (*) in bar 14 (bass part).
14. Why is there a line after the word ‘below’ in bar 4 (voice part)?
15. Compare the spacing of the notes of the chords in bar 1 with that used in bar 2 (treble part).
61
Sample examination paper Contents
Section 1 (10 marks) Boxes for

examiner’s
use only
Put a tick (P) in the box next to the correct answer.
Example
Name this note:
  A * D * CR

This shows that you think C is the correct answer.
1.1 Name the circled note:
     

E * F * G *
1.2 Add the total number of quaver beats of silence in these rests.
(3, 2)

   
12 * 11 * 10 *
1.3 Which is the correct time signature?
       
  6* 5* 7*
1.4 Giocoso means: playfully * always * not too much *

1.5 Which note is the enharmonic equivalent of this note?
 
F * G * Gb *
Trinity College London reserves the right to alter the format and content of exam papers at any time. Please ensure that you consult
62 the latest syllabus andexclusively
our website — www.trinitycollege.com — before entering for an exam.
Prepared for Manoj M (manoj.m.varma@gmail.com) Order: 22160
Boxes for
examiner’s
1.6 Which note is the tonic of the minor key shown by this key signature? use only

 
Eb * Bb * C *
1.7 Here is the scale of F sharp natural minor. Which degree(s) of the scale will you change to make
the scale of F sharp harmonic minor?
    
   
6th & 7th degrees * 4th & 5th degrees * 7th degree *
1.8 Which chord symbol fits above this subdominant triad?
 

 

Gm * G * Dm *
1.9 Which Roman numeral fits below this triad?

 


 I * Ib * Ic *
1.10 Name this cadence:
 
 
 Plagal cadence in D minor *
  Full close in D minor *
   Perfect cadence in F major *
63
Boxes for
examiner’s
Section 2 (15 marks) use only
2.1 Write a one-octave C harmonic minor scale in crotchets going down then up. Do not use a key
signature but write in the necessary accidentals.
2.2 Using triplet quavers, write a broken chord using Eb major tonic triad (going down). Use patterns
of three notes each time. Finish on the first G below the stave.
 
 
Section 3 (10 marks)
3.1 Circle five different mistakes in the following music, then write it out correctly.
            
             

fp p

4.1 Transpose this tune up a perfect 5th so that a French Horn in F will be able to play it at the same
pitch as the following notes. Use a key signature.
Mahler

                       
   
64
Boxes for
examiner’s
Section 5 (15 marks) use only
5.1 Using crotchets, write out 4-part chords for SATB using the chords shown by the Roman
numerals. Double the root in each case and make sure that each chord is in root position.
 
  
  

(F# minor) V (Eb major) IV
6.1 Use notes from the chords shown by the chord symbols to write a tune above the bass line.
Add some unaccented passing notes.
Em Am B7 Em

 
    
 
Please turn over for Section 7

65
Look at the following song and answer the questions opposite.
VERSE Traditional
Vivo

1
   
mf
Voice               
The gyp - sy ro - ver came o - ver the hill, Bound through the val - ley so
 
                 
mf 
     
    
Piano
 
4
                   

sha - dy; He whist - led and he sang till the green woods rang, And he won the heart of a
             
       

       
      
CHORUS

8

f
    
           
- Ah - di - do, ah - di - do - da - day, Ah - di - do, ah - di -

la dy.
    
              
          
f
   
  
 
13
              
 
day - dee; He whist - led and he sang till the green woods rang, And
    
             

      
     
66
Boxes for
examiner’s
use only
    
16
      
he won the heart of a la - - dy.
   
       

  
      

7.1 In how many sections is this song?_______________________________________________________
7.2 In which key is this song?________________________________________________________________
7.3 Look at bars 1–2 (treble part) and bars 1–2 (voice part). Comment on the pitch.___________________
_ ______________________________________________________________________________________
7.4 In which bars is the melody syncopated (voice part)?_______________________________________
_ ______________________________________________________________________________________
7.5 Write an appropriate chord symbol above the third crotchet beat of bar 4.
7.6 Describe the harmonic rhythm in bars 10 and 11.____________________________________________
_ ______________________________________________________________________________________
7.7 Write appropriate Roman numerals below the last crotchet beat of bar 17 and the last chord of the
song.
7.8 Name the cadence that finishes this song._________________________________________________
7.9 Circle every interval of a perfect 4th in this melody in bars 1–8 (voice part).
7.10 On which degree of the scale/key does the melody finish (voice part)?________________________
_ ______________________________________________________________________________________
67
& 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.
68
Voice ranges
* Sometimes music for tenor voice is written in treble clef

an octave higher than it sounds, as you will learn in a
later grade.
Remember Different words — same meaning

You may use
In music there are often different words to describe the
American same thing. You need to know the words that are in heavy
names for type for Grade 4.
note values
in your exam, alto clef — C clef
but there is C7 (in relation to chord symbols) — Cdom7
no need to chord progression — harmony
use them at parallel (e.g. 5ths/octaves) — consecutive
all if you do plagal cadence — Amen cadence, Church cadence,
not want to. half close
strong beat — stress, down-beat
subdominant — fa
tune — melody
69
Publications available from trinitycollege.com/shop or your local music retailer Contents
Contents
NEW Introducing Theory

This book has been designed to help the beginner student to read and write commonly
used musical symbols, providing a firm grounding in notation from which to progress
onto Trinity’s Theory of Music Workbook Grade 1.
There is ample opportunity to practise each element throughout this workbook, with
symbols often explored in more than one way to build deeper understanding and to
consolidate the learning.
‘Did you know?’, ‘Handy tip’ and ‘Remember’ boxes give advice along the way,
TCL 024107
encouraging the development of good musical handwriting habits. After completing the
ISBN 978-1-80051-473-7 exercises in this book, any student is sure to feel confident when they begin studying for
their first Theory of Music exam.
By Naomi Yandell, author of Trinity’s popular Theory of Music Workbook series.
Theory of Music Workbooks Grades 1–8

Each of these ever-popular books contains all the
requirements for the grade for Trinity exams. Includes:
◗ Information for teachers

◗ Hints for candidates
◗ Tips on learning to write music accurately and clearly
◗ Information boxes to explain new concepts
◗ Diagrams to help understanding
◗ Tasks and questions expected for the grade Grade 1 TG 006509 ISBN 978-0-85736-000-7
◗ Worked examples to show how to do the tasks Grade 2 TG 006516 ISBN 978-0-85736-001-4
Grade 3 TG 006523 ISBN 978-0-85736-002-1
◗ Advice, reminders and interesting facts Grade 4 TG 006530 ISBN 978-0-85736-003-8
◗ Lists of different words with the same meaning Grade 5 TG 006547 ISBN 978-0-85736-004-5
Grade 6 TG 007476 ISBN 978-0-85736-005-2
◗ Musical words and symbols for the grade Grade 7 TG 007483 ISBN 978-0-85736-006-9
◗ Sample exam paper Grade 8 TG 007490 ISBN 978-0-85736-007-6
Theory of Music Supplementary

Exercises Grades 1–5
For use alongside the Theory of Music Workbooks.
Grade 1 TG 008787 ISBN 978-0-85736-120-2
Grade 2 TG 008794 ISBN 978-0-85736-121-9
Grade 3 TG 008800 ISBN 978-0-85736-122-6
Grade 4 TG 008817 ISBN 978-0-85736-123-3
Grade 5 TG 008824 ISBN 978-0-85736-124-0
AMusTCL Study Guide revised 2017 edition

TCL 015853 ISBN 978-0-85736-540-8
70
Publications available from trinitycollege.com/shop or your local music retailer Contents
Contents
Theory of Music past papers

Past papers and model answers are also available online at trinitycollege.com/pastpapers
Publication of the Theory of Music past papers and model answers from all 2020 sessions has been postponed.
Please note all 2014 papers and some papers between 2015 and 2019 are now out of print — all available papers are shown below.
Grade 1 Grade 5
2019 Nov TCL 019837 ISBN 978-0-85736-885-0 2019 Nov TCL 019875 ISBN 978-0-85736-889-8
2019 May TCL 019738 ISBN 978-0-85736-875-1 2019 May TCL 019776 ISBN 978-0-85736-879-9
2016 TCL016447 ISBN 978-0-85736-584-2 2016 TCL016485 ISBN 978-0-85736-588-0
2015 TCL015693 ISBN 978-0-85736-524-8 2015 TCL015730 ISBN 978-0-85736-528-6
Grade 2 Grade 6
2018 Nov TCL 018724 ISBN 978-0-85736-787-7 2017 May TCL 018472 ISBN 978-0-85736-754-9
2018 May TCL 018809 ISBN 978-0-85736-795-2 2016 TCL016492 ISBN 978-0-85736-589-7
2017 Nov TCL 018533 ISBN 978-0-85736-760-0 2015 TCL015747 ISBN 978-0-85736-529-3
2017 May TCL 018434 ISBN 978-0-85736-750-1
2016 TCL016454 ISBN 978-0-85736-585-9 Grade 7
2015 TCL015709 ISBN 978-0-85736-525-5 2018 May TCL 018854 ISBN 978-0-85736-800-3
2017 Nov TCL 018588 ISBN 978-0-85736-765-5
Grade 3 2015 TCL015754 ISBN 978-0-85736-530-9
2019 Nov TCL 019851 ISBN 978-0-85736-887-4
2019 May TCL 019752 ISBN 978-0-85736-877-5 Grade 8
2017 May TCL 018441 ISBN 978-0-85736-751-8 2018 Nov TCL 018786 ISBN 978-0-85736-793-8
2016 TCL016461 ISBN 978-0-85736-586-6 2018 May TCL 018861 ISBN 978-0-85736-801-0
2017 Nov TCL 018595 ISBN 978-0-85736-766-2
Grade 4 2017 May TCL 018496 ISBN 978-0-85736-756-3
2019 Nov TCL 019868 ISBN 978-0-85736-888-1 2016 TCL016515 ISBN 978-0-85736-591-0
2019 May TCL 019769 ISBN 978-0-85736-878-2
2018 Nov TCL 018748 ISBN 978-0-85736-789-1 AMusTCL
2018 May TCL 018823 ISBN 978-0-85736-797-6 2018 Nov TCL 019363 ISBN 978-0-85736-839-3
2017 Nov TCL 018557 ISBN 978-0-85736-762-4
2017 May TCL 018458 ISBN 978-0-85736-752-5 Other diploma past papers including LMusTCL are available online only.
2016 TCL016478 ISBN 978-0-85736-587-3
2015 TCL015723 ISBN 978-0-85736-527-9
Theory of Music Model Answers

Model answers from 2018 onwards are available online at trinitycollege.com/pastpapers
Publication of the Theory of Music past papers and model answers from all 2020 sessions has been postponed.
Please note all 2014 papers and some papers between 2015 and 201 are now out of print — all available papers are shown below.
Grade 1 Grade 5
2016 TCL 016362 ISBN 978-0-85736-576-7 2016 TCL 016409 ISBN 978-0-85736-580-4
2015 TCL 015617 ISBN 978-0-85736-516-3 2015 TCL 015655 ISBN 978-0-85736-520-0
Grade 2 Grade 6
2017 May TCL 018274 ISBN 978-0-85736-734-1 2016 TCL 016416 ISBN 978-0-85736-581-1
2016 TCL 016379 ISBN 978-0-85736-577-4 2015 TCL 015662 ISBN 978-0-85736-521-7
2015 TCL 015624 ISBN 978-0-85736-517-0
Grade 7
Grade 3 2017 Nov TCL 018403 ISBN 978-0-85736-747-1
2016 TCL 016386 ISBN 978-0-85736-578-1
Grade 8
Grade 4 2017 Nov TCL 018410 ISBN 978-0-85736-748-8
2016 TCL 016393 ISBN 978-0-85736-579-8
2015 TCL 015648 ISBN 978-0-85736-519-4
71

Theory of Music Workbook Grade 4

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Theory of Music Workbook Grade 4

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Theory of Music Includes

for Trinity College London

Prepared exclusively for Manoj M (manoj.m.varma@gmail.com) Order: 22160

Prepared exclusively for Manoj M (manoj.m.varma@gmail.com) Order: 22160

New time signatures................................................................................................................... 4 Unaccented passing notes.....................................................................................39

Writing your own tunes to a given rhythm..................... 8 4-part chords............................................................................................................................................40

Harmonic rhythm................................................................................................................................. 9 Plagal cadences................................................................................................................................. 42

Enharmonic equivalents ............................................................................................ 16 Transposing tunes up or down a perfect 4th or 5th....45

The chromatic scale...................................................................................................................17 The dominant 7th chord............................................................................................. 49

The circle of 5ths ......................................................................................................................... 20 More about writing a bass line..................................................................... 51

Labelling scales ................................................................................................................................ 22 More about the dominant 7th chord.........................................54

Labelling inversions of tonic triads................................................24 Musical words and symbols............................................................................... 55

Broken chords..........................................................................................................................................27 Sample examination paper.................................................................................. 62

Subdominant triads................................................................................................................ 30 Different words — same meaning....................................................... 69

Chord progression ......................................................................................................................32

Prepared exclusively for Manoj M (manoj.m.varma@gmail.com) Order: 22160

Using this workbook

Doing the tasks

What comes next?

2 Write the correct time signatures.

3 Add time signatures to the music.

& b 88œœ œ œ œ nœœ bœ ˙œ œ Œ œ œ ˙˙œ œ nnœœ ##œœ‰

b bb œ œ œ jj œœ œŒŒ œœ œJœ œœœ™™ œ œ ™ #œ œœ œ ŒŒ ™™

Handy tip! Steal away to Jesus (first phrase)

The same applies if the note to be sung is tied:

✎ 3 Write the given words below the rhythms.

& Look at these notes:

✎ 1 Circle the pairs of notes that are enharmonically equivalent.

2 Write the enharmonic equivalents of the following notes.

✎ 1 Circle the chromatic passages.

3 Copy this C chromatic scale in minims going up.

4 Copy this D chromatic scale in crotchets going down.

✎ Using the circle of 5ths above, answer these questions:

1 Which minor key has three flats in its key signature?

2 Which major key has two sharps in its key signature?

3 Which minor key has three sharps in its key signature?

4 Which major key has three sharps in its key signature?

5 Which minor key has two flats in its key signature?

6 Which minor key has one sharp in its key signature?

7 Which major key has no flats or sharps in its key signature?

Labelling scales Contents

✎ 1 Label these scales.

Did you know?

2 Label these one-octave arpeggios.

4 Label these broken chords.

✎ 1 Use the questions above to work out the keys.

& In major keys

Writing a tune Contents

✎ 1 Circle the two roots in the following chords.

Transposing tunes up or down a

Use the following method:

2 Transpose the following tunes up a perfect 4th.

4 Transpose the following tunes up a perfect 5th.

& In major keys

In major and minor keys

In major and minor keys

Tempo marks and other signs

2. In which key is this piece? C minor

changes regularly every bar

5. Write an appropriate chord symbol above the second crotchet in bar 3.

6. Which 4-bar phrase in this piece ends on the dominant chord?

8. Is the sequence in bars 5–6 real or tonal (treble part)?

The two Ds in bar 1 and the two Fs in bar 2

It means ‘tenuto’ — slightly lengthen and sustain the note