LC LONDON COLLEGE OF MUS LONDON COLLEGE OF MUSIC EXAMS Theory Handbook Grade 3 includes two specimen Papers Barry Draycott and Martyn Williams (ait & scanned with OKEN ScannerGrade 3 INTRODUCTION This publication is part of a progressive series of handbooks, primarily intended for candidates considering taking London College of Music graded examinations in Music Theory. However, given each handbook's content of educational material, the series Provides a solid foundation of music theory for any music student, of any age, whether they are intending to take an exam or not. Examination candidates must use this series in conjunction with the current LCM syllabus. Toenter foran examination, or for further details and syllabuses, please contact: ‘LCM Examinations ‘Thames Valley University Walpole House 18-22 Bond Street London WS SAA. tel: 020 8231 2364 fax: 020 8231 2433 e-mail: lomexams@tvuacuk (your local representative Keep this book, as you may find it useful when preparing for higher grades. ; & scanned with OKEN ScannerSyllabus. Tonality .. Major Scales Minor Scales.......... Modes... «Intervals Enharmonic Notes .... Double Flats and Double Sharps..... Transposing Instrument: Triads and Chords... Rhythm Demisemiquavers.. Terms and Signs Specimen Paper A . Specimen Paper B . a & scanned with OKEN ScannerSyllabus 1 Tonality . Major Keys: C, GF, D, A, Bb and E} Minor Keys: A, D, E, B, Ff, G and C - (both forms of the scale) The Pentatonic Scale Dorian and Acolian Modes in their Authentic form Chords 1 IV V and VI Intervals as for Grade 2 plus major and minor 3rds and 6ths . Enharmonic notes Transposing Instruments in Bh 2 Rhythm Time Signatures: Simple Time 2, 3 and 4 beats also 3 and 6 8 8 3 Questions on a given melody for two instruments in treble clef — which may introduce one modulation Identify chord symbols Use of simple dynamics and the pause Simple tempo indications Candidates should prepare all work covered in this Handbook, but questions may not be set on all topics. & scanned with OKEN ScannerTonality ‘The new keys for Grade 3 are: Major — A and E+ majors Minor ~B, Fl and C minors (both forms) The keys set for previous grades will also be included. Major Scales Amajor has 3 sharps. 2S SS Semitones occur - 3/4notes and 7/8 notes ‘The key signatures in the treble clef and bass clef are: Eb major has 3 flats, $. or oo 8 — Again, semitones occur - 3/4notes and 7/8 notes The key signature in the bass clef is: EE Minor Seales Harmonic Form: B minor has the same key signature as the major scale 3 semitones above. A semitones So the key signature of B minor is 24s (same as D major). — * Don't forget the 7th note is raised a semitone — so in this scale A becomes AL. The slurs show the semitones between 2/3, 5/6, 7/8 notes. 5 & scanned with OKEN ScannerB melodic minor has the same key signature but the 6th and 7th notes are raised a semitone ascending and then not raised a semitone descending. pt =—u—o-fo-te_ te ke —p— oe oe The slurs show the position of the semitones. C minor has the same key signature as the major scale 3 semitones above. eg. bo 1 2 3 semitones So the key signature of C minor has 3 flats, the same as Eb major. ‘The 2 forms of C minor are given below with the semitones indicated by slurs. C Harmonic Minor. C Melodic Minor. Ff minor has the same key signature as the major scale 3 semitones above, i.e. A major. ‘The two forms of Fi minor are given below, with the semitones indicated by slurs. FI Harmonic Minor. FI Melodic Minor. & scanned with OKEN ScannerModes You will recall from Grade 2 that the Dorian Mode begins on D. The Dorian Mode is given here for the purpose of revision. | Ascending: Descending: | | | The Aeolian Mode is also easy to remember as it begins on A. | Ascending: Semitones 2 - 3 SG Always remember when slurring semitones to count from the lowest note — this is especially important when the scale / mode is descending, as the lowest note will be the last note. Pentatonic Scales These were fully covered in Grade 2 and you should refer to the Grade 2 Handbook for details, A ‘nowledge of major pentatonic scales is needed for Grade 3. “he major pentatonic scale is found by missing out the 4th and 7th notes of a major scale, E.g. on Bb & scanned with OKEN ScannerExercises Write the following scales, one octave ascending in semibreves. Slur the semitones. 1. AMajor 2. Bbmajor 3. Eb Major (remember to add the key signature) 4. AMajor (remember to add the key signature) — 5. Without key signature, write one octave, descending, of the major scales which start on the given note, Remember to add the necessary accidentals. © 6. Write the following minor scales, ascending and descending, in semibreves. Slur the semitones. B harmonic minor ‘C melodic minor C harmonic minor Ft melodic minor B melodic minor ER & scanned with OKEN Scanner7. Write, without key signature, the following minor scales ascending and descending. Remember to add all necessary accidentals. Slur the semitones. Bimelodic minor Charmonic minor g - 0) C melodic minor Ft harmonic minor 8. Putin the flats to make this the scale of E flat major. Slur the semitones. eo 9. Add the necessary accidentals to make the following scale pattern represent the scale of Ft melodic minor, Slur the semitones. 10. Add the necessary accidentals to make the following scale pattern represent the scale of C melodic minor. Slur the semitones. s 11. Insert accidentals before the notes which need them so that the following melodies will be in the key named. 3 minor & scanned with OKEN Scanner12, Write the required notes from the ascending scale of; the 3rd note the 7th note (a) B harmonic minor the 6th note the 4th note the 6th note the 4th note (b) B melodic minor the 3rd note the 7th note the 6th note the 2nd note (©) Fi melodic minor the 7th note the Sth note the 3rd note the 6th note (¢) C harmonic minor the 7th note the 4th note 13, Write the modes which begin on the following notes. Mark the semitones. Ascending Ascending Descending Descending 14, Write the major pentatonic scales which begin on these notes: ‘Ascending Descending 10 & scanned with OKEN ScannerIntervals The intervals of the Perfect Unison, 4th, Sth and Octave set at Grade 2 will be required for Grade 3, oo © oe eo | Perfect Unison Perfect 4th Perfect Sth Perfect Octave | New intervals for Grade 3 are: Major 3rd and 6th } Minor 3rd and 6th ‘The Major and Minor 3rd ‘A minor interval is a semitone less than the same numbered major interval. | Ee. a] (B) (c) | | InTA] ~ Middle C is the first note of C major. & is played as E in C major therefore [A] is a i Major Third. | [B] ~ The E has been lowered a semitone reducing the size ofthe interval and this is now a | sate | ‘Minor Third. [ID[C] — Middle C has been raised a semitone thus reducing the size ofthe interval and this is also a Minor Third. |The Major and Minor 6th Aminor interval is a semitone less than the same numbered major interval, Fe 9 ») °) | Major 6th Minor 6th Minor 6th a) b) 2 | | {25) and c) of both examples these intervals have been reduced by a semitone —by either lowering P©top note a semitone in b), or inc) raising the lower note a semitone. | NB When counting up notes to form an interval Temember the lowest note is number 1! ul & scanned with OKEN ScannerExercises 15. Write the requited intervals above each of these tonic notes: minor 3rd ‘minor 3rd major 6th major 6th major 6th minor 3rd major 6th minor 3rd minor 6th major 3rd major 6th minor 3rd co minor 6th major 3rd minor 6th major 3rd perfect Sth perfect Sth perfect 4th minor 3rd major 6th perfect 4th minor 3rd perfect 4th oe major 3rd ‘minor 3rd major 6th perfect 4th major 3rd perfect 4th Perfect Sth major 3rd ‘minor 6th perfect 4th perfect Sth major 6th 16. Name these intervals, the lower note of each being taken as the tonic. 2 | & scanned with OKEN Scanner17. Name these intervals, the lower note of each being taken as the tonic. & es ite ee Name: 18. Write the required intervals above each of these notes. Minor 3rd Perfect Sth Major 6th Perfect 4th Minor 6th Perfect 4th Minor 3rd Major 6th. Perfect Sth Perfect 4th Major 6th Major 3rd Octave Minor 3rd Perfect Sth S 13 & scanned with OKEN ScannerEnharmonic Notes Some notes have different names but share the same sound. Use the piano and play the following: 0. clolelF] Sass 1 Could be Ct semitone above C OR Dea semitone below D Could be Df a semitone above D OR Eba semitone below E Could be Ft a semitone above F OR Gb a semitone below G Could be Gta semitone above G OR Aba semitone below A Could be Af a semitone above A OR Bba semitone below B Double Flats and Double Sharps ‘These are indicated thus: 5 Whereas 1 flat lowers a note a semitone, a double flat lowers a note a whole tone (2 semitones). Similarly a sharp raises a note a semitone, but a double sharp raises a note a whole tone (2 semitones). Go to the piano: A Gt TOU Play E— go down 1 semitone to Eband then down another semitone to D. This would sound as D but could be written: Now play G — go up a semitone to GH and then up another semitone to A. This would sound as A but could be written: 4 & scanned with OKEN ScannerExercises 19 Write the enharmonic equivalents of the following notes in the space marked with an *, * * & scanned with OKEN Scanner20. Write the following notes: E double sharp F double sharp A double sharp G double flat D double flat C double sharp B double flat G double sharp 21. Under each of these notes, write its full name (e.g. F double sharp). Name: Name: ‘Name: 22. After each of these notes, write two other notes which sound the same (ie. enharmonic equivalents). 16 & scanned with OKEN ScannerTransposing Instruments in Bb ‘he basic pitch of wind instruments is determined by their size and length the size and length determine the sound or timbre of the instrument which partly aecounts for the colour and particular sound of that instrument. Therefore instruments in Bb, which are a tone lower than C, would sound ‘wrong’ if playing with other instruments (like a piano) in C. Because Bb instruments are a tone lower we have to write their parts a tone higher than the instruments in C. So if a piano patti in F major we write the Bb instrument part a tone higher in G major. | Clarinet in Bb Piano Here are some Bb transposing instruments: Clarinet in Bb ‘Trumpet in Bb | ‘Tenor Saxophone in Bs Comet in Bb | Baritone in Bb } Brass Band Instruments | Bass Tuba in Bb |A good way to remember how these instruments sound is to say (and learn): ‘An instrument in Bb SOUNDS a tone LOWER than written. So if a piece of music is in C major the Bt clarinet partis written in D major. Ifthe music is in Eb major the Bs trumpet part is written in F major. Eg. Tune in Bs major For all Bb instruments the otes would be written a ‘one higher, in F major ‘he pitch at which transposing instruments sound is known as ‘Concert Pitch’. 17 & scanned with OKEN ScannerExercises 23, ‘Transpose the following melodies, written for instruments in Bt, into concert pitch (i.e. a tone 1d remember to add all performance directions, lower). Insert the new key signature if required, an Allegro S — (a) ‘Marchand Allegretto ee ©) f Moderato . Bach @ © 18 & scanned with OKEN ScannerThe following melodies are written in concert pitch (ie. as they sound). ‘Transpose them so that they are written for instruments in Bb (i.e. atone higher). Insert the new key signature if required, and remember to add all performance directins. Moderato ee ® © | Allegro assai : ® Ss = | oe Seay aa v | ny Allegro non troppo —_—— 5 pee Allegro con brio @ pv Andante, a Seb, cp 19 & scanned with OKEN ScannerTriads and Chords ‘Triads and chords f, IV and V were covered in Grade 2 and you will need them in Grade 3. ‘The new triad and chord for Grade 3 is chord VI — the chord on the 6th note of the scale (the submediant) Egg. in C major the 6th note of the scale is A. th Toot ‘3rd ing chord VI there are 2 possible ‘doublings’. 2 Chord VI with Bass Chord VI with the or Root note doubled 3rd doubled Because the Root is the lowest note, they are described as ‘Root Position Triads’ or ‘Root Position Chords’ if in 4 parts, ‘You will remember that in Grade 2 Triads and Chords based on I, IV and V were described as Primary Chords. Chord VI is one of the Secondary chords. In written harmony chord VI often follows a Primary Chord. eg. 1 VI or vovwt * Here we would generally use the version of Chord VI with the doubled 3rd. You will be asked to write the chords for a 4-part choir of Sopranos, Altos, Tenors and Basses, as shown below. To avoid confusion and for clear reading: Tails of Soprano and Tenot notes turn upwards. Tails of Alto and Bass note tum downwards. : a es VI Root doubled 3rd doubled 20 & scanned with OKEN ScannerExercises 24, Write the required chords in root position, without key signature, adding the necessary accidentals. | Amajor E flat major Fi minor C minor C minor Fi minor E flat major Amajor 25. Add sharps or flats to make these the tonic triads named: Amajor C minor E flat major Amajor G minor Fi minor B flat major C minor (a). Write the following named tonic triads, remembering to add any necessary accidentals: C major G major F major Dimajor Amajor | | | F | i G minor D major B flat major B minor BY major Eb major Aminor D minor E minor B minor Fé minor G minor 21 & scanned with OKEN Scannerowing subdominant (chord IV) triads in the keys named: a J Ft minor 26(b). Write the fol B flat major Aminor F major C major D minor B minor (©) Now re-write them as 4-part chords; the first one is given 3S 20 illustration. (@ Write the following submediant (chord VI) triads in the keys named: Gminor C major B minor Cminor Diner F major Fi minor Emi minor 2 & scanned with OKEN Scanner(©). Now re-write them as 4-part chords; the first one is given as an illustration, | | | | ! | | 2B | & scanned with OKEN ScannerRhythm All the time signatures from previous grades are required for Grade 3. The new time signature for Grade § — this is known as Compound Time. ‘¢ learnt that a Compound is a substance made from 2 or more In science lessons you may hav ‘Time consists of 2 clements ~ namely a note plus a dot, elements. In music Compound eg. J. In Grade 2 you will have used this note in § time. In § time there are 2 4. ina bar. cg. Hh J. | » » €J DJ O| « agtrii In § there are 6's in a bar but they are grouped to show 2 dotted crotchets per bar (see Ex. 3). § 2 beats per bar, each a) wereferto § time as Compound Duple Time. (Duple means 2— Sometimes there is some confusion in recognising § and } . This should not happen if you take eare to look atthe way the notes are grouped. Eg. Here the quavers are grouped in 2s — each group equals a J Here the quavers are grouped in 3s — each group equals a J. 26 4 & scanned with OKEN ScannerThe use of Rests in § time, You will remember that in} or add a Drest to make ita full beat: == An § time the beat is a dotted crotchet ~ When using rests in “and the dot separately. Eg. _ §2 eed d Seat) ‘ogiven the Ist and lasts ina bar of § rerests would be made up as follows: © § B 1 eet 6 | Jo.) The following is also acceptable, § ) 7 7 but the previous example is cst eee more usual, J J 4 the beat was a crotchet, and if ‘you are given ad) you need to -J 11 P| Here of course the dot is worth % a crotchet ab gome cases adding ress together would be wrongee. § fj 2 because it does not show the elements of the beat viz. a crotchet and a dot. +s occur the same method applies e.g is used, ict ‘in a full bar — § §ar 12 Ol cee eee 6 A) B) 8 time a full bar rest is ff or sometimes 27 although A is more usual, & scanned with OKEN ScannerDemisemiquavers You already know that aquaveris worth halfa crotchet (ora quarter ofa minim) and that asemiquaye, + is worth halfa quaver. : an eighth of a cr A demisemiquaveris worth half'a semiquaver (or a quarter of a quaver, or an cig! rotchet),, Look at the following table: J /\ ged iN IN mi IN /\_IN : SFTTHTT on the stem: i In groups of two or more they look like this. There are hree horizontal beams joining the notes together: fi fl Si - FRR Demisemiquavers can be beamed together with other quavers and semi dds ae iquavers so that the group a ‘A dotted semiquaver and one demisemiquaver add up to one quaver, g: A demisemiquaver rest looks like this: A single demisemiquaver looks like this. There are three 28 & scanned with OKEN ScannerExercises 28. Add a rest or rests at cach of the places marked with an *, (a) 29 & scanned with OKEN ScannerTerms and Signs. Questions on a given duet for 2 instruments or 2 voices, both in the treble clef, » You will need to know all the terms and signs set for Grades 1 and 2. For Grade 3 there are no new terms, but you will need to know the following words or phrases which alter or qualify the terms set for Grades | and 2, ‘The new words are: Molto - much or more Meno - less Poco - alittle Pid - more Assai - ‘enough’ or ‘very’ - Non troppo — not too much ‘ Used with other terms we find: 1) Allegro — quickly Allegro molto ~ very quick and lively 2) Meno Adagio — less slowly 3) Pit) Adagio— more slowly 4) Allegro non troppo ~ Quickly, but not too quickly 5) Allegro assai ~ Quickly enough or very quickly 6) Poco allegro—A little quick, but not as fast as Allegro ‘You will notice that these small words qualify the terms — they do in fact i 7 decrease the speed. They can also be used with dynamics, fact increase the speed or Pil crescendo —a little louder "Repeat Signs ‘Meno forte — less loud i one ; ese are shown as above, and indi tall Molto diminuendo ~ becoming much softer the bas from the beginning (or a previous such sign) are to be played again. ‘You will also be asked to recognise the trill sign (tr) ‘You may also be asked about the use and occurence of rhythmic fi . : or phrase occur again in another part or at a different pitch? Do ttke cares the en sanclodio Bae the lower part may become the higher pat, or the top part become the lower part fern Reece See Exercise 30, at (a) in the first bar. ee You may also be asked to name keys used in a given extract. 30 & scanned with OKEN ScannerExercises 29. Look at the following extract and answer the questions below. Allegro Handel Oboe I St Oboe II i) Describe the time signature ii) Name the key a iii) Describe the intervals between the two instruments at (a) iv) Explain the «sign in bar 4 a ¥) Give the meaning Ca od =e vi) Which bar contains the highest note? Name this note Vi) Whatis the shortest value in this passage? vit) What do you notice about the oboe melodies at (x) and (y)? 31 & scanned with OKEN ScannerLow. anxl answer the questions De 30. Look at the following ext Andante i) Name the key ji) Describe the time signature oO) iii) Describe the intervals at (a) iv) Explain the orsigninbar2_— v) Give the meaning of Andante . re vi) Explain the following: a) (bar 5) b) Ff (bar 1) eae vii) Describe the rests at (x) ” Oo a SS viii) What do you notice about the flute and violin melodies at the start of the extract? — 32 & scanned with OKEN Scanner31. Give the English forthe following: ‘Accelerando, ee Mezzo piano — Adagio — Allegretto Andante Forte Allegro assai i Rit. al Fine | Allegro | Rallentando Crescendo Poco allegro Pilcrescendo Meno forte Atempo 32. Give the/talian for the following: Lively Becoming gradually softer Very slow Modersety sof es Increasing the speed =; Becomingsiowg | Soft a Intime Lessslowly 0 Quicker 0 a Ata walking pace ‘Quickly, but not too quickly Holding back Short and detached, Quickly enough, * Less loud \ 33 i & scanned with OKEN ScannerSpecimen Paper A : Grade 3 1, Adda rest or rests at each of the places marked * to make complete bars. t Andante + ae 5 eae 2. Add the correct time signature to each of the following extracts from Piano Sonatas (u by Beethoven Allegro ma no troppo 22a on has Op. 101 . Allegro molto con brio SSS == i Sp Menuetto p— 3. Write the required intervals above each of these notes, (Wo) Major 3rd Octave Perfect Sth Minor 6th, Perfect 4th a4 | | & scanned with OKEN Scanner4. Write, without key signatures, the following scales in minims. Remember to add all (10) necessary accidentals, Slur the semitones, i) _Fimelodic minor, ascending and descending PE ii), _E flat major, ascending Ee= o ili) _ Pentatonic scale ascending from G (major pentatonic) mode descending from D Write the indicated chords at the places marked *. Write two notes in the treble and two (19) notes in the bass and put the root in the lowest voice, ‘The key is C major. from Purcell Vv v Vv VI After each of these notes, write two other notes which sound the same (10) (ie. their enharmonic equivalents). b) 2 4 Transpose this melody, written for clarinet in Bt, down a tone, into sounding or concert pitch. (10) Allegro, (Wagner) Pp dolce 35 & scanned with OKEN Scanner8. This is part of the 4th movement of the 2nd Brandenburg Concerto by J. S. Bach. (ela Look at it and then answer the questions below. Minuet J= 80 t—__. Oboe I — Oboe It a) b) 4) What is the key of the first four bars? ii) Describe the time signature, iii) Describe the intervals between the two instruments in bars 1 and 2. iv) Give the meaning of |] (bar). v) Identify by bar number and beat number the sign for a trill. Give the meaning of any 3 of the following Italian words. Underline any two which might be suitable for this piece. . ritardando allegretto * adagio andante staccato pit adagio allegro accelerando i) Which bar contains the highest note? Bar Name this note ii) What is the shortest note value in this passage? ie a ee iii) What is the key of the music from bars 6-87 a iv) What do you notice about the rhythm in bars 1-3? 36 & scanned with OKEN Scannerra Specimen Paper B : Grade 3 J. Adda rest or rests at each of the places marked * to make complete bars. (10) Allegro EE F = . Add the correct time signature to each of the following extracts from Piano Sonatas (10) by Mozart. oe t K576 f Allegro —- \ K283, Adagio Ka7s Soo ceiee ieee aieciee Allegro moderato aa a Be K330 ‘Write the required intervals above each of these notes. (19) ii) iii) wv) y Major 3rd Perfect Sth Minor 3rd Minor 6th Octave 37 & scanned with OKEN Scanner4. Write the following seates in semibreves, Slur the semitones. a i) Flmetodic minor ascending and descending, with key 5. Write the indicated chords at the places marked *, Write nyo notes in the treble and two eo) notes in the bass and put the root in the lowest voice. The key is F major, Labeh ~~ 6. After each of these notes, write avo other notes which sound the sane ae) (i.e. their enharmonic equivalents). a) » 7. ‘Transpose this melody, written at concert pitch, for clarinet in BS (i.e. a tone higher). (we Remember to add all performance directions and adjust the key signature as Necessaye & scanned with OKEN Scanner