Grade 4 NTRODUCTION 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 for an examination, o for further details and syllabuses, please contact: LCM Examinations ‘Thames Valley University Walpole House 18-22 Bond Street London WS SAA tel: 0208231 2364 fax: 0208231 2433 e-mail: lem exams@tvu.ac.uk in Road, ‘or your local representative useful when preparing for higher grades | f; Keep this book, as you may find i & scanned with OKEN ScannerCONTENTS Page Syllabus .. 4 Tonality 6 Major Scales / Minor Scales... 6 Modes / the Harmonic Chromatic Scale 8 Intervals .. Harmon: Transposition .. Time/ Rhythm. Omaments.... Repeat Signs. Questions on a Piece of Music..... Specimen PaperA Specimen Paper B .... & scanned with OKEN ScannerSyllabus Tonality Major Scales: C,G@F,D, A,B, Bb, Bh, Ab Minor Scales: A, D, E, B, Ff, Ch G, C, F ~ (both forms) Technical names of notes of scales Modes: Dorian, Aeolian, Phrygian — (authentic form) ‘The Pentatonic Scale from any note The Harmonic Chromatic Scale from any note Harmony Construction and use of chords I, Hl, IV, V, VI Placing these chords under a melody ~ one chord per bar Intervals {As for previous grades plus major & minor 2nd and major & minor 7th ‘ Transposition For instruments in Bb and F Rhythm Time Signatures of: Simple Time: 23 a Ci time: § 9 12 ‘ompound Ti see Ornaments Appogeiatura and Acciaccatura Repeat signs, Da Capo signs and the use of Dal Segno u 4 u & scanned with OKEN ScannerQuestions on a Trio This will be between 8 and 14 bars in length, for 2 instruments in treble clef and one in bass clef. Questions will be asked on: Phrasing and time Anacrusis (up-beat start) Chords as for this grade Rests Dynamics Use of pause and ornaments Terms and tempi indications To identify modulations To identity sequences & scanned with OKEN ScannerTonality Major Scales The new major scales for Grade 4 are: E major and Ab major. E major has 4 sharps. Ab major has 4 flats Here are the key signatures: E major Ab major 255 N.B. New sharp in E major is D sharp. New flat in Ab major is D flat Minor Scales ‘The new minor scales for Grade 4 are: Ct minor and F minor. (Ch minor has 4 sharps. F minor has 4 flats Here are the key signatures: (Same key signature as E ‘minor of E major.) F minor (Same key signature as Ab major, therefore F ‘minor is the relative x minor of Ab major.) b| eeevuyys & scanned with OKEN ScannerHere are the written forms of these scales: Ct harmonic minor = * 7th note raised a semitone both ascending and descending. Ci melodic minor * 6th and 7th notes raised a semitone ascending, * * 6th and 7th notes not raised descending. F harmonic minor * 7th note raised a semitone both ascending and descending. ris used because there is an Es in the key signature. F melodic minor Se aoe 9 = * 6th and 7th notes raised a semitone seceding * © 6th and 7th notes not raised descending. Ascending natural signs used as Dé and Es occur in the key signature ~ therefore flats are used descending, ‘Technical Names of Notes (or Degrees) of Scales Istnote Tonic Sthnote = Dominant 2nd note - Super-tonic 6th note Sud-mediant 3rdnote - Mediant Thnote ~ Leading note 4th note — Subdominant & scanned with OKEN ScannerModes ian Mode \ ‘The new mode for Grade 4 is the Phrygian Mode. You will remember in Grade 3 the Dorian ‘began on D and the Aeolian Mode on A. ‘The Phrygian Mode begins on E. 2 th notes, {In the Phrygian Mode the semitones occur between the Ist and 2nd notes and the Sth and 6t as shown above. Descenving remember to count from the lowest note. ss = | Pentatonic Seales Refer to the Handbook for Grade 2, ‘The Harmonic Chromatic Scale ‘ A chromatic scale contains every note in an octave. (On the piano every white and every black note ‘within an octave) ~ 13 notes in all if you include the top tonie note. Go tothe piano. Starting with middle C play every white and black note until you reach the next C ~ this is the Chromatic Seale on C, i. beginning on C. Cpctromatic scale may begin on any note and ends on the same note an octave above (or below). Chromatic scales have no key signature, we use accidentals and this ean cause eerge confusion — should we use Df or E}, Remember enharmonic notes (see Grade 3 Handbook) ~ notes with the ‘same ‘sound’ but a different name. Here isa simple method for writing the Harmonic Chromatic Scale: Question: Write the Harmonic Chromatic Scale on D. 8) Write out the Ist and last notes (octave), and the perfect Sth above the first note: b) Then add every other note nvice, ee = 3 eee wos 8 8 :oa & scanned with OKEN Scanner¢) Go to the piano - the 2nd note is written as E (above), but you will notice on the piano the next note is a"black’ key ~ so we must make the E a flat - the chromatic scale moves completely in nes. The descending chromatic scale needs care over the accidentals. sot * s+ 8 5 ' ‘The Cl, Gl and FF come first so we nced a natural sign for the notes following them * ‘The Bb and Eb now come 2nd — i.e. after B and E (+) s0 no natural sign is needed. Here is another example, this time starting from Ds. a) Descending seate Summary: 1) Write out notes 1, 5 and 8. 2) Add each other note twice. 3) Use accidentals to move in semitones throughout the scale remembering that some notes have the same sound (ELD). N.B. Asall the notes move by a semitone we do not slur semitones in chromatic scales, 9 & scanned with OKEN ScannerExercises in semi smitones. ‘Write the following scales, one octave ascending in semibreves. Slur the se 1. E major 2. Abmajor 3. Abmajor — remember to add the key signature 4. E major — remember to add the key signature. SSS 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 (Ct harmonic minor #ihe= v F melodic minor aS , o F harmonic minor Cl melodic minor & 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. Cl melodie minor F harmonic minor p. F melodic minor BE (Ctharmonie minor 8. Put in the flats to make this the scale of A flat major. Slur the semitones. SSS ——— 9. Add the necessary accidentals to make the following scale pattern represent the scale of Ct melodic minor. Slur the semitones. 10. Add the necessary accidentals to make the following scale pattern represent the scale of F melodic minor. Slur the semitones. 11. Insert accidentals before the notes needing them so that the following melodies shall be in the key named. F minor a Ch minor tf p_ 7 & scanned with OKEN Scanner12. Write the required notes for the ascending scale of: the 7th note (@) Ctharmonic minor the 3rd note the 6th note the 4th note (b) F melodic minor the 6th note the 4th note the 7th note the 3rd note (©) Chmelodic miner the 6th note the 2nd note the 7th note the Sth note : ‘ (@)F harmonie minor the 3rd note the 6th note the 7th note the 4ih note 1S.” Write the modes which begin onthe following notes. Mark the semitones. Ascending Ascending SSS = Descending Descending & ae = = i u 12 Cc & scanned with OKEN Scanner14. Write the harmonic chromatic scale, in semitones, ascending from the given notes below. Take care when adding the necessary accidentals. (a) () ©) @ ©) oO Write a harmonic chromatic scale, in crotchets (quarter notes), descending from the given 15, note. Add the necessary accidentals. b) a) 16. Write, in erotchets, harmonic chromatic scales beginning and ending on the given notes. Add the necessary accidentals. & scanned with OKEN ScannerIntervals id jor and Minor 21 ‘The new intervals for Grade 4 are: a loess ‘and Minor 7th The interval of Major and Minor 2nd ; .d note of F major, therefore Take the lowest note ~ Fas the tonic (Ist note) of F major. G is the 20 the interval 1s a Major 2nd. emi interval now becomes By lowering the top note a semitone or raising the bottom note a semitone the i @ Minor 2nd. This interval is easy to remember as it is a semitone. The interval of Major and Minor 7th Again take the lowest note ~ Fas the tonic (Ist note) of F major. Eis the 7th note of F major, : therefore the interval is a Major 7th. = By using accidentals to alter the size of the interval we form a minor 7th. a) b) Refer to the detailed method of writing intervals in the Handbooks for Grade 2 and Grade 3 Ses & scanned with OKEN ScannerExercises 17, Write the required intervals above each of the tonic notes: ‘major 2nd minor 2nd major 7th ‘minor 7th minor 2nd major 7th minor 2nd major 7th minor 7th major 2nd major 7th minor 2nd minor 7th major 2nd minor 7th major 2nd perfect Sth perfect 4th minor 2nd perfect Sth perfect 4th minor 2nd perfect 4th major 7th minor 3rd major 6th perfect 4th major 3rd minor 2nd perfect 4th perfect Sth major 3rd minor 7th perfect 4th perfect Sth major 7th 18, Name these intervals, the lower note of each being the tonic. Name: 1s & scanned with OKEN Scanner19, Name these intervals, the lowest note of each being taken as the tonic: Name: 20. Write the required intervals above each of these notes: ‘major 7th ‘minor 7th major 2nd minor 2nd major 2nd major 7th ‘minor 2nd major 7th be minor 7th o minor 2nd major 2nd ‘major 7th major 3rd octave minor 6th perfect Sth & scanned with OKEN ScannerHarmony The rew chord for Grade 4 is the chord on the 2nd note of the scale (or Supertonic) and is numbered Ul. For the moment this chord is only used in the major key. C major: 2 6 Triad of Chord of It With the lowest note ‘doubled’. At Grade 4 you will be asked to add Roman Numerals to a melody to indicate the chords you would use. Only one chord will be needed to harmonise each bar and the chords to be used will be taken from: Majorkeys 1 Ml IV V VI Minorkeys 1 IV V VI Here is such a melody, with the harmony indicated by Roman Numerals: », i WV. v VL m v. Hereiis the same melody with the harmony written below. * Here chord VI does not have a doubled 3rd, which occurs where VI follows V in a cadence. Here isa short melody in 3 3) © 1 Vi It Vv or & scanned with OKEN ScannerIn example 1) i. ed VI This bar suggests Chord 1 — Cian a = bet iajor. It is also best to end on {tis better to start on Chord 1s this clearly indicates the key of F major Chord 1. Take the notes of each bar and try to form a chord ice at times. In § time where only 2 notes may appear you would have a choice a However, in 2 time you may find all the notes of a chord present In Ex. 3), Bar3 ‘Clearly form a chord In Ex. 3), Bar 2 ‘Could be chord Vi anne <== However, t use the same chord for 2 bars would not prove 00d harmony: 4 5 = == Either choice would be correct. VL VL 7 OL This would prove a weak Ist bar as you need to establish the key of Gm; jor with chord I. Also, ‘sing chord VI for2 bars would bel nd lacking Variety. aor with chord I Also, 11 is always useful to try your work out atthe piano ‘when completed, ‘ & scanned with OKEN ScannerExercises 21. Name each of the indicated chords in the extracts below. a) . . O . & scanned with OKEN Scannerin bar one of each, cer bar, as shown in 22. Under the following melodies place one chord symbol per bat ia Chord: 1 ee 23. Add appropriate chords at the places marked with an *. _— ‘ . 20 & scanned with OKEN ScannerTransposition Transposition for Bb instruments was dealt with in the Grade 3 Handbuok. The new transposition for Grade 4 is the transposition required for instruments in the key of F. Such instruments are 1) ‘The French Hom 2) The Cor Anglais. Instruments in the key of F sound a perfect Sth lower than written. ‘So if the French Horn or Cor Anglais playa written = 8 the note sounded would be a Perfect Sth lower. SS oo AFrench Horn or Cor Anglais playing this tune in F major ‘would produce the same tune in the key a Perfect Sth lower ~ namely Bb major. Always remember to say: ‘The French Horn in F sounds a Perfect Sth lower than written ~ the same for the Cor Anglais. ‘Therefore, parts for French Hom in F and Cor Anglais are written a Perfect Sth higher. a & scanned with OKEN ScannerExercises ed ee 24, Transpose the following melodies, written for the instruments indicated, 40 into concert pitch. Add a new key signature for a) and b). Mozart. a) Clarinet — a b) Clarinet Stravinsky f2— ee Sealy ©) Clarinet =e ‘Transpose the following melodies, writen in concert pitch, up a major 2nd for the instruments indicated, Add a sew key signature for a) and b).. 4) Trumpet Delius 3 ) Clarinet Se Debussy ‘Shostakovich u 2 oO & scanned with OKEN Scanner25. Transpose the following melodies, wr it indi ; { , writen Forth ins ea Elgar b) Cor Anglais Rerlioz mf ©) Hom mf ‘Transpose the following melodies, written in concert pitch, up a perfect Sth for the instruments indicated, Add a new key signature for e) and 0), Beethoven 4) Hom ©) Cor Anglais mf 1) Cor Anglais a 2B & scanned with OKEN ScannerTime / Rhythm The new time signatures for Grade 4 are 2 and : You should refer to Handbooks for earlier grades for all other time signatures. Ik}. Sand ' are extensions of which has two J. beats per bar (see Grade 3 Handboo 8 has 3 doted erotchets in each ar and is known as Compound Triple Time se 8 i 24 2 3 “'Imom 3 Stee 3 ‘or a mixture of the above groups *% 81d) OD ime has 4 J beats per bar and is known as Compound Quadruple Time. ; *e lod dod " § OOD ~ €ld. m1 Notice that each group of notes adds up to the value of a J. Other groups of notes which add uptoad.may beusedin 9 and B times. Here are some such groups: Cae fITJ- 1 IN.) WR.) 1 Se — & scanned with OKEN Scanner26. Prefix the time signature to each of the following melodies. & scanned with OKEN Scannersin 8 9 gi Restsin § ana Remember that rests should show the make-up of the beat. ce dra bras 1.4.4 ‘The Broup} may be written ee. ; Blak dra dgrs a As & has J beats pertar ‘Wemay use 5 bar and full bar ests as follows A barrest 26 Oe € & scanned with OKEN ScannerExercises 27, Add a rest or rests at cach of the places marked with an * & scanned with OKEN ScannerOrnaments and Repeat Signs ‘The two omaments at Grade 4 are: the appoggiatura and the acciaccalura The appoggiaturais written: : is te~ The appoggiatura takes half the value of the following note, except where the note is a dotted note where the appoggiatura takes the value of the note and the note takes the value of the dot. Here is the above example written as it would be played. The slurs are important and if you play the above you will notice that the appoggiaturas produce an accent or emphasis on the notes. ‘The acciaccatura is written as follows. ¢ and is played as quickly as possible. This produces a sudden and heavy accent. This means using the demisemiquaver note, which is equal to halfa - Note that the actual notes (in the above example A * and D **) are tied to.) to complete the value ofal {the omament occurs on a longer note, more tied notes are needed to complete the value. would be written = 28 C & scanned with OKEN Scannerpepeat Signs 1s in bar 4 indicate all 4 ‘The dot {M4 barat tobe repeated sally the 4 bars end with dovble bar lne. ‘The Da Capo Repeat 8 Da capoal fine Here the music is played to bar 8 and then the opening 4 bars in, ending at the word Here the musi is played to pening 4 bars are played again, ending a 29 & scanned with OKEN Scanner28. Give examples of the following omaments, and then rewrite them exactly as each would be played. An appoggiatura Anacciaceatura An aceinceatura Anappoggiatura wy Be 29. Rewrite the following examples in their abbreviated form. Use the correct musical sign for each. 2), — 4 (answer) SE e u & scanned with OKEN Scanner31. Explain the following sign (marked with an *), b) Describe Da capo al fine answer: 31 & scanned with OKEN Scanner30. Rewiite the following examples in their abbreviated form. Use the correct musical sign for each. a), wo ») 31. Explain the following sign (marked with an *), 2) ; = if) Cl melodie minor, ascending, SS o iii) Aeolian mode, descending from A. _ FE = 41 & scanned with OKEN Scanneriv) Fharmonic minor, descending. ¥) An harmonic chromatic scale, in notes of equal value, from D, ascending, a) jor). s i) Write a pentatonic scale, in nates of equal value, ascending from the given note (pentatonic rm Bos ii) Rewrite the following melody, writing out the omaments in full so that itis elear precisely how ‘each should be played. (10) 6. Name cach of the numbered chords. The key is A major. ‘ 0) ® ® @ 6 Chord: | a5 3 ne 7. Under the following melody, place one chord symbol per bar, as shown in bar one. (10) The key is D major. Chord: ‘ ie = v uv a 0 alt & scanned with OKEN Scanneri an extract from Suite No. 4 by J S Bach. (0) ‘Study it and then answer the questions below. Allegro vvace Vint viol F Cello 8 & scanned with OKEN Scanner‘or quadruple, ________—— A 9) Describe thetime as simple or compound; ple, triple oF au0aTUP i) Namethekey ii) Give the meaning of Allegro vivace = ‘a iv) Whats the name of the omament in bar 2?___—— *~ anae inant triad. B i) Inbar4, circle3 notes inthe Ist violin part, which make up the Dominant i) Drewa T——1_ vera sequence. ; indicate? ii) What do the dots over the notes in bars | and 4 of the Ist violin part indicate? iv) Describe the intervals x andy. x(bar2)___——“ (bar $)_______ C i) Givethe value ofthe shortest rest i) Towhich key has the music modulated by the en¢ of the extract? ii) Name two other members ofthe string family and jv) Add signs to the score to show that the music isto be played quite loudly. ‘ ' ) u ' 44 0 4 SL oO & scanned with OKEN Scanner