TRINITY .

COLLEGE LONDON PRESS

Theory of ~ ,y.$ie · ies

Workbook ·
• • f .•

for Trinity Co.liege l:orndem

written exams\-:
Grade 6
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 Contents
Intro duct ion .. .. ..... .. . . ···-·· . . .... --···· ............ ....... -······ 1
.. 2
Note values and rests . .................... .... ··-····-·· ................... ..............
Scales and melody writi ng.........·-····--··-···--· .... ··-····· --····· ...... 12
...18
Modes .................. ······················--···· ............... ................................... ...·-···· .............
.... -19
Working out the key or mode of a piece ..................................
........... 21
The circle of 5ths................ -....... -.......... ······-······............... ·- ............_.-
..22
More about the new key signatures for Grade 6 .. ........
. 25
Arpeggios ....................................................... - ...-..........................................................-...........
...·...26
Transposing melodies .................................................................................·-·······
....... 28
Mediant, submediant and leading note triad s....._...........
............ 31
Broken chords - dom inan t 7ths...-.........................................................
.... 32
Diminished 7ths........................................·-······-·-·········.. .....................-........................
-.33
Broken chords - diminished 7ths ...... _.........................................................
.... 34
Compound i nterv a Is............................................. .........•-- -·-•··..···...·.·····...........
..... 36
Figured bass ............................·- ······..················..·· .........................................................................
....38
4-pa rt chords........................_......... ... ...... ..................................................................
40
Close and open scores ........................................................................... ·--········ ..............
······ 43
Cadences ·--··••-·····.......................................................................................................·-············
46
Writing 4-pa rt cadences for SATB.................._........................................
.... 48
Harmonic sequences.............................-...............................................................................
............ 53
Texture ...... .................................. ·--- ···· ···...............................................................
..54
Musical words and symbols ...........................................................................................
..... 59
Analysis . .....................................· - -···· ....-...........................................................................
.... 66
Sample examination pape r.........................................................................................
......... 72
Instr ume nt ranges..·-·····.........................................................................................................
...... 73
Voice ranges ..............-.........................-.......................................................................................
73
Different words - same meaning ..............................................................................
73
English and Italian words for instr ume nts............................................
►

~ INllY
COLLEGE LONDON PRESS

Theory of Music
Workbook
for Trinity College London
written exams
Grade 6

by Naomi Yandell

Published by
Trinity College London Press
trinitycollege.com
Registered in England
Company no. 09726123
Copyright © 2008 Trinity College London
Fifth impression, January 2017
Unauthorised photocopying is illegal
No part of this publication may be copied or reproduced in any
form or by any means without the prior permission of the publisher.

Designer: Natasha Witts Editor: Moira Roach

Music processed by New Notations London
Printed in England by Halstan & Co. Ltd, Amersham, Bucks.
 09
Grade 6 Theory of Music Syllabus from 20
Sect ion I l0 ques tions 00 marks )
trans posit ion
Sect ion 2 Writi ng scales, arpe ggios , brok en chor ds, US marks)
major, minor;
Sect ion 3 Writ ing an 8-ba r melo dy (usin g note s from
scales or from
pent aton ic majo r, pent aton ic mino r or blues
ume nt and tona lity
the Aeol ian mod e). Clef, t ime signa ture, instr
are presc ribed and an optio nal start is given (15 marks)

Sect ion 4 Harm onic sequ ence (15 marks )

shor t extra ct of a
Sect ion 5 4-pa rt chor ds for SATB or trans ferrin g a
score or vice versa (10 marks)
hym n/ch orale from close to open
/cho rale with Roman
Sec t ion 6 Labe lling the chor ds of a phra se of a hymn
it with an appr opria te
num erals and chor d symb ols and comp leting
(15 marks)
two-c hord cade nce (bass line given)
(20 marks)
Sec t ion 7 Anal ysis - 10 ques tions
following:
spec ified in prev ious grad es and also the
Ques tions and tasks may cove r all matt ers

Rhy thm , text ure and form

1. Dem isem iqua ver triple ts
2. Doub le dotte d note s and rests
3. Dupl ets
4 . Hemiola
d swing)
5. Swun g quavers (writ ing quav ers to be playe
or transparent)
nic. polyp honi c, imita tive, thick or dense, thin
6. Unde rstan d and iden tify textu res (hom opho
7. Understan d the term s movement and
Prelude
Baro que sona tas (da camera and da chiesa) and dance suites
8 . Bina ry form with refer ence parti cular ly to tte. Minuet and Sarabande
ch Cour ante, Italia n Giga, French Gigue, Gavo
(A llema nde, Boum ~e. Italia n Corr ente. Fren
book)
- definit ions for each as defin ed in the work
II, Gavo tte I and II and
ly to Baro que danc e suite s (Bou rree I and
9. Terna ry form wit h refer ence parti cular
Minu et and Trio)
10. Air wit h varia tions
11. Chorale
12. Folk balla d

Composers
d (appr oxim ately 1600-1750)
grad e are thos e writin g in the Baro que perio
Com pose rs of parti cular relev ance to this and Vivaldi
ello, Ram eau. A and D Scar latti, Telem ann
e.g. J S Bach. Cor elli. Coup erin, Hand el, Marc

Pitch
n chords of the domi nant
signa tures, arpe ggios , brok en chor ds, broke
1. All ma1or keys (for all m a1or keys: scales, key
inver sion)
7th, ano tonic triad s (root , first or seco nd
and melo dic minor, key
s - natu ral (Aeo lian mod e) and harm onic nd
2. ~ I m·no , keys (for all m inor keys : scale
chord s, brok en chor ds of the dom inan t 7th, and tonic triad s (root. first or seco
signa tures. arpe ggios. brok en
inversion)
n as medi ant. subm edian t and leadi ng note
3 - 3ro. 6tn and 7th degr ees of the mai or/ m inor scale bein g know
respe cth,ely nd their enharmonic
1·
.: Rec(V>n 1s1~a 0-nd wn . . .
. t · d1 chor ds (with an unde rstan ding of corre ct spel mg a
• ..,_, • - mg mm1shed 7th
€OJ ,·alen ts)

::2. 8ro~en cncr os of a1I oiminished 7t h chor ds

6. writing and labelling chords on every degree of the scale (harmonic and melodic minors) in any key as
well-balanced 4 -part chords for SATB in root. first or second inversions (plus third inversions for dominant 7ths
and diminished 7ths), using Roman numerals or chord symbols

7_ Recognising and writing figured bass for all major and minor chords for the grade in root. first or second inversion
8_ Recognising and writing augmented chords
9_ compound intervals
o.
1 Recognising pedal points on the tonic and dominant degrees of the scale
11. Recognising and writing harmonic sequences and identifying the keys that they travel through
12. Recognising and writing perfect. plagal, imperfect and interrupted cadences
13. Labelling the chords of a phrase of a chorale/hymn in Roman numerals and chord symbols, and completing it with
an appropriate two-chord cadence (bass line given)
14. Writing a short extract from close to open score for SATB (chorale/hymn phrase), or vice versa
15. Recognising and writing C, D, For G pentatonic major scales, A, B, Dor E pentatonic minor and A, B, D or E
blues scales
16. Concept of modes with reference particularly to Aeolian mode (the natural minor)
17. Identifying music written using the Aeolian mode (natural minor)
18. Writing an 8-bar melody using notes from the major, minor, pentatonic major, pentatonic minor, blues scales or
using notes from the Aeolian mode

19. Transposing a melody for any transposing instrument for the grade (transposing interval to be known for descant
recorder, clarinet in Bb, alto saxophone in Eb, tenor saxophone in Bb, trumpet in Bb, French horn in F, double bass
and classical guitar)
20. Ranges of clarinet in A. treble recorder, saxophones (tenor in Bb and baritone in Eb) as defined in the workbook
21. Identifying variation/decoration (harmonic, melodic, dynamic and textural)

General knowledge
Baroque period as defined in the workbook

Musical words and symbols

Instrument-specific words (bowed strings)
Arco, con sordino, natural harmonics, open strings, pizz. , double stopping, chords
Instrument names/terms in Italian
Basso continua (or continua), contrabasso, corno, fagotto, flauto, flauto dolce, oboe, tromba, viola, violino, violoncello
Using this workbook
You will notice a few changes in the style of the Grade 6-8 workbooks. This is because you are learning at a more
advanced level.
Here are a few points to bear in mind if you have not used a Trinity College London theory workbook before:
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 6 Theory of Music exam.
Topics from previous grades of the syllabus should also be known

Remember, when 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 blue to show you what to do
• Always try to play the music you write or input it onto a music software programme (if you have
access to a computer) so that you can hear it back. 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

Learn on your own

• Use extra manuscript paper to practise transposition
• Use extra manuscript paper to practise writing melodies; in your exam you can choose whether
you use the start that is given (though clef, time signature, instrument and tonality are prescribed)
• Composers of particular relevance to this grade are those writing in the Baroque period
(approximately 1600-1750), e.g. J S Bach, Corelli, Couperin, Handel, Marcello, Rameau,
A and D Scarlatti, Telemann and Vivaldi
• Play the music of the period and listen to recordings of the music mentioned in the Form section
(see page 54)
• Read about the composers' lives
• Find out about the differences between modern instruments and those played in the Baroque period
(today known as period instruments)
• Music of a period has a cultural context; it will help your understanding if you find out about the visual
art. drama and architecture of the time; also about the social role of composers in that period

What comes next?

When you have finished this book try some sample papers. You can download them from www.trinitycollege.com
(follow the links to Theory from the Music page). Additional sample and past papers are available for sale online
or from your local music shop. You will then be ready to ask your teacher to enter you for the Grade 6 Theory of
Music exam.
I Note values and rests : ... ,... ·•.. . ~-- ~-2:-'~'.

Demisemiquaver triplets
.
Sometimes composers w
m
ant to divide a semiquaver into three equal
.
parts. To do this they write
.
· · er · 1ets - three demisemiquavers to be played in the time of two.
t rip
dem1sem1quav

1_ _ _ 3
For example:
~ ~ - I

I
Sometimes, where two demisemiquaver triplets appear one after the other, they can be written like this (six in
the time of four): sextuplet
6

j J J J I
As with quaver and semiquaver triplets. sometimes composers want to use rests within demisemiquaver
triplet groupings. You must bracket all demisemiquaver triplets where a rest or semiquaver is included in the
triplet grouping.

D Write 2-bar rhythms. Include demisemiquaver triplets.

r.- 3---i 3 3 3

B) ;7; j J J .b 1 I )J jJJJ JJ_b II

-s-§- - - - - - - L - - - - - - ~
2
►
fJ Add correct t ime signatures to the music.
R Strauss

¥ Fff?Pf Crfr
3 J
err J
11

Till Eulensp1egels lust1ge Stre1che, op. 28 © Copyright 1932 by C F Peters. Reproduced by perm1ss1on of Peters Edition Lim ited, Londo n.

Dvorak
m _____-;;- ;----:_

o/ F £t£ Ff [ p ( [p f J J= j J j 6
I

-----
6
Cf b
-
--
E
- -
[-- -b--E
-
-
f j j J j j j II
6

rn Haydn

o/ g 1r~ fru 1p, J. .ij I Ji II

etc.

Lizogub
3 6 --= 3

JJJ iJ~~JJ II

Lizogub
rn

3
 a

Double dotted notes and rests J. 1W

As you know. a dot after a note means that half its value again is added to its length·, if another d0 t .
half the value of the first dot is also added, for example: 1s added,

Minim
Crotchet Quaver - ~ . -
Double dotted m
1n1m
+ (one crotchet beat) +
1
( /2 crotchet beat) I= (3 1!z crotchet beats)
(two crotchet beats)

Ji ~ l-----J.
Rests can be double dotted too.

D Write 2-bar rhythms. Include at least two double dotted notes and/or rests.

4
Simple TS - the beats are whole; Compound TS - the beats are dotted.

ouplets WJ
Duplets are used most commonly by composers writing in compound time who want to divide the beat into two
equal parts where the beat is usually divided into threes.

The rhythms below (shown in compound time then simple time) sound the same even though they are written
differently:

J. = 100 J = 100
2

sJ J J. II or J J II
Sometimes composers writing in simple triple time want to divide the bar into two, rather than three. To do this
they can either write:

J = 100 J = 100
, - - -- 2 - --,

J. II or J II
The rhythms shown above sound the same even though they are written differently. The duplet is often
considered clearer for the player because the time signature is in simple time.
As with triplets, you must bracket all duplets where there is a rest or several different note values in the
grouping; also where the number of beats in a bar would be unclear without one.

~
D Write duplets to agree with each time signature.

2 2

BJ J IJ J I
2 2 2 2

B~ J J J 1J J J J I

II

II

II

5
~ Add correct time signatures to the music.

rn 2
Faure

Brahms

Janacek
m r-2--, r-2--, .,--.....,_
5.
l , ~~
~ -~
- , ~~ ,~~
~ ~
~~i 1=E 1z~

'
L_2__J
L_2__j

Brahms

6
~ Add appropriate duplets in the places marked by an asterisk (*) to complete the arpeggios.

* * *
~ ~ • • ~-
m 2
1r p •-
2
• 1r p •
- 2
•
I t ~ II

* *

r r ' 11

* * * *
~&~ s ~ I f.
~

I J J) * 7. II

111h~t
*

r D ~- I r D
*
rr , 7. II
~ Write 2-bar rhythms using the note values and rests you know. Include duplets.

.b J I J. h □ cJ ~ II

II

II

II

II
7
 Hemiola mJ
Hemiola is a Greek word that describes the ratio of 3:2.
A hemiola occurs when a composer switches the ma in beat of the
bar for one (or more) bars. often on the
re and has the effect of altering the
approach to a cadence. This is done without changing the time signatu
often change s too.
stress of the beats in the bar from two to three beats. The harmon ic rhythm
d in the Baroque suite (see page 55 ).
Hemiola s are quite common in the French courant e, a dance often include
Here is an example; the coloured boxes help you see the main beats:
F Couperin
Courante
I ~
.. ..- -- -- -· -
I
.,
-'"'
-c
I '
-,
~

.; ·~-
L
--u -. ,
,
- ~

"i;
._J -d

- - -
fl-
• ~

I
,,.. L
u
..-
~

- -
- - ..c.
~

-- . ~
-
I
~
-

-
_,
- -
\
•

r r i
s.
Play or listen to as many courantes as you can to get the feel of hemiola

Did ~ou know ?

in a less formalised way.
Many composers, not only Baroque composers, use hemiolas in their music, though

For example:
Sibelius

1
¥ r· .rr r r I f E E ~
Muslkverlag, Frankfurt am Main, Germany.
Violin Concerto in D ~mor. op. 47 (t) Copyright 1905 by Robert Lienau
Reprinted by perm,ss,on of the Pvbllsher s

Note The ornaments in this section have been left out for clarity.

Notice Beamin g often shows where hemiolas are in use.

8
 two beats have been
D Bracket (r---i ) the main beats to show where they change to create a hemiola effect. The first
done for you.

m
tt .. .. _.
.. ~ b•
F Couperin

,.,-
-
- ,..- [J - - ,.,- -
j .I> r

- - " ,,
- --
.
--
u
I •. ., l' - .,_
w ~ w - II ~

-
-
I
t i I

1....•• - "
~ ,.
. -
• -- ,_
-
,-
,.,-
- --
-
I
- -- ---- -
'
.· • «
I u
1l
,,
1
' •

-
,.. -- -- -
' I I fl'
r I I I I

.
-
II .II
... ii:
-- - - - .. - .
-. - - - ...-
1
- -- ...-
-
~
I
r ~
w - ·
' .. .
'"'
~
,tt • · -
i .
,:,..

\
I
...
• • , r 11 , .

..
"
Li
u.

- -
- I
[J- ...-
-I --
- -
...
- -
....
- -
....
-
I

- -
~

I
-
I
I

r
[lJ F Couperin

r r

9
 J S Bach

r:J
JS Bach

D
... Corelli

-~2
• z I •' r ii a- I;;W r I er r I ~- -II

12 - a ,. 0 s• i ,; : Ig ; IJ J al l~- -II
 Swing music

swung quavers IWJ n

In jazz you will often see the following: =
.-J-.
J Ji ,- 1 -.

This instruction is used where composers write quavers but want the musician to play J Ji

Effect is that a SIMPLE time-signature SOUNDS like a COMPOUND time-signature.

D Write this music as a player should perform it.

, J -,

J = 100 n=J J>

., f II
~t l
J = 100
D Er
p
If f Ej -J t Il I

L- 3 _j
p
L_ 3 --J L- 3 __J

,- 3 -,
J = 100 n=J J>

~ (Jr I ~ >
~ ~
>
~:2 7. ~
> >
3 I~
-k-

mf
(Jr 7. 7. 7.
~
>
II

,- J -,
J = JOO n=J J>

~ ~ r J• 1@ f cr
>

IBt J J C f 7. p 1 J,
>
II

Notice The following rhythms sound the same even though they are written differently:

J= 100 J. = 100
,-3-, ,-J-,

i ., li O II li ~ li II g ., ., Ji~ Ji II

11
§eei ~ oo ~ mm

Pentatonic major scales [W

As you will rem ember from Grade 5, the pentatonic major scale is made up of five notes and is played like a
major sca le without the 4th and 7th degrees. For Grade 6 you need to know C, D, F and G pentatonic major scales.

D Write out the following one-octave scales in a rhythm to fit the given time signature. Use rests between some degrees of
t he sca le. Do not use key signatures but write in the necessary accidentals.

D pentaton ic major scale ascending then descending

F F r F r 11

G pentatonic major scale descending then ascending

F pentatonic major scale ascending then descending

D pentatonic major scale descending then ascending

ffl (!
C pentat onic major scale descending then ascending

Iii
Remember
A note lasting a full bar in I is called a breve: IQ
Unusually, the semibreve rest (used in every other time signature as a whole bar of silence) is not used in I;
a breve rest is used instead, filling up the whole space between the two lines of the stave: ~

12
 ~ Write 8-bar melodies using notes from pentatonic major scales. Do not use key signatures but write in the necessary
accidentals. Write at written (rather than sounding) pitch for transposing instruments.

Handy tip! Handy tip!

When wnting a melody· When writing for a specific instrument or voice:
• balance the shape • write well within its range (use the highest and lowest notes sparingly for the
of phrases and climax of o piece or for o special effect)
cadence points • be aware that it 1s usually difficult for players to ploy the highest and lowest
• consider using notes of their instruments
rests, sequences • use techniques that work well on the instrument (e.g. pizz. etc (bowed string
and repetition instruments) - see page 58)
• consider where the • think of practicalities, singers and wind players must hove time to breathe
high-point (or climax) between phrases, string players need time to change from pizz. to orco etc.
of your melody • jind out what sounds good on o particular instrument (this will help you
should be
write idiomatic music for it - that is music that ploys to the instrument's
• always pla~ or sing strengths, e.g. fast scales ond arpeggios ore generally more easily playable on
your melody to check treble instruments, brass music often uses a lot of arpeggio features etc.)
that It sounds as
• odd dynamics and articulation markings to make your music more interesting
you think it does
in your head • for o reminder of instrument ranges see page 72

For cello using F pentatonic major

tndante ~ ~ fi '!_ '!_ ;(L\,
' 'I J IrU IFFf If f r I~r FIFf f Irfr IFflr Ir I
p -==== =====--
tranquillo :::::=-
r! For alto saxophone in El, using C pentatonic major
Allegro ma non troppo

mJ espressfro

lll For trumpet in Bl, using F pentatonic maJor

Con energico > > >

I J t J t Ir r F
> >
f pesa11te

f4 For clarinet in Bl, using D pentatonic major

Allegretto

~B r1rrJC 1
ap legaw

13
 Pentatonic minor scales [W
A pentatonic minor scale is made up of five notes and is played like a natural minor scale without the 2 nd and
6th degrees.
For Grade 6 you need to know the pentatonic minor scales starting on A, B, D and E.
Here is A pentatonic minor scale:
Q
II
0
II

3 4 5 7 8(1)

Notice as with c major and A natural minor scales, the notes of the C pentatonic major and A pentatonic
minor scales are exactly the same but written in a different order; the first degree of the scale is A not c, which
gives a different focus to the music.

D Write out the following one-octave scales in a rhythm to fit the given time signature. Use rests between some degrees of
the scale. Do not use key signatures but write in the necessary accidentals.

B pentaton ic minor scale ascending then descending

r- ' -,
n =J J>

t1=2 :J Cf ~ II

A pentatonic minor scale descending then ascending

II

D pentatonic minor scale ascending then descending

E pentatonic minor scale descending then ascending

B pentatonic minor scale ascending then descending

14
f:1 Write 8-bar melodies using notes from pentatonic minor scales. Do not use key signatures but write in the necessary
accidentals. Write at written (rather than sounding) pitch for transposing instruments.

For trumpet in Bb using D pentatonic minor

Allegretto

I JJr I J l(ffi IF I gJ J IJ II
f risoluto J sub p ====--

fl For descant recorder using B pentatonic minor

Andante

&e f=Yt)$C0 1
p tranquillo

l!'J For bassoon using E pentatonic minor

Allegro

pesante
r.:I[) I

B For violin using D pentatonic minor

Largo ~

~~ E f f

Handy tip!
In your exam, you may choose whether or not you use the start that is given (though def, time signature,
instrument and tonality ore prescribed)
Use extra manuscript paper to practise writing melodies.

15
 Blues scales !WJ note shown in the coloured box
The blues scale is the same as the pentaton ic minor scale but with an extra blue
·
Here is the A blues scale:

l,,, qo a
,, Cl e

' 3 4 ~5 5

For Grade 6 you need to know the blues scales starting on A, B, D and E.
7 8 (1)

. Use rests between some degrees of

D Write out the following one-octave scales in a rhythm to fit the given time signature
the scale. Do not use key signatures but write in the necessary accidentals.

A blues scale ascending then descending

n =:: i
1182 J Ip r II

D blues scale descending then ascending

II

B blues scale ascending then descending

A blues scale descending then ascending

E blues scale descending then ascending

IBt
16
fJ write 8-bar melodies using notes from blues scales. Do not use key signatures but write in the necessary accidentals.
Write at written (rather than sounding) pitch for transposing instruments.

Handy tip!
Blues scales may jocus in different places (jor example, in E blues scale the jocus may be on E or G. The example
given jocuses on G.

For flute using E blues scale, focu sing on G

Slow swing

~B) IJ JJJ liplr J)J 1 IJ .DJ liplr ~ D IF Dqr Ji l

mf -< f

I
ll For cello using B blues scale, focusing on B
r J -,
Slow n =J J>
V .,--._

t>=~ 1f I J
f
fr C1f f I

mFor trumpet in B~ using A blues scale, focusing on C

Allegro

>
f

~-slo~rr
~ For treble recorder using D blues scale, focusing on D

~i pF pPF P I

17
 Modes·

m You have now composed melodies using scales other than major and minor sca les.
~ The major/minor system developed from the modal system - where there are many tone-semitone
patterns on which to base melody and harmony. Modes are still used in many types of mu sic today.
The easiest way to understand how some of the many modes work is to play every white note on a keyboard
starting on different notes (A-A, or F-F etc.). Notice that the tone-semitone pattern changes each time you
start a scale on a different note, for example:

A-A s
.,
~ 0 0
0
0 0
II

'
II

2 3 4 5 6 7 8(1)

F-F
s s
~
II 0
II 0
II

'
11 0

2 3 4 5 6 7 8(1)

You will recognise A-A as the natural minor scale. You now need to know that this can also be called the
Aeolian mode. Here it is transposed to start on F (F natural minor). Notice that accidentals are necessary to
keep the tone-semitone pattern correct for the Aeolian mode.
Aeolian mode starting on F
s s
~ ~
&o 1,,, 0

,, 0
fz,, o
& II
II
2 3 4 5 6 7 8(1)

D Write out the Aeolian mode starting on these notes. Mark the semitones.

G-G

D-D

II

E-E

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 " ~ Many melodies, especially folk ballads (see page 58), are written using the Aeolian
mode and for
k_~ Grade 6 you need to be able to recognise and write them.
Here is an example to show how to work out whether music is written using the
Aeolian mode:
Traditional (English)

t J

r J r Ir J J J IJ J 1J 11
• Are there flats or sharps in the key signature and if so, how many? Yes. two flats,
so the key could be
B fiat mQ_Jor or G minor, or the music could be written using Aeohan mode starting
on G (G natural minor)
• Are there any accidentals in the music that could be the raised 6th or 7th degrees
in the relative minor? No
• Are there reasons to think that the key is B flat major? No the phras£ s are focused
around G and its
dominan t D
Answer: ThtS melody lS written using Aeolian mode starting on G

~
D Use the quest ions above to work out the key or mode.
Traditional (English)

Key or mode:

Traditional (English)

'*#~r D If D f p I ~ j J J7 I J J7 J j I

'ii# ~- r p I r· r· If 0 f 0 I r· r p I r· II
Key or mode:

Traditional (English)

j J IJ. JlJ j I j J j I d J II II
Key or mode:
- - - - - - --- ----
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 fl Write 8-bar melodies using notes from the Aeol ian mode. Use key signatures. Write at written pitch (rath er than

sounding) for transposing instruments.

For violin using Aeolian mode start ing on F#

Moderato

4•l1F1n r 1r' p 1ra11quil/o

F f~ Ir
~

4'1~ eJ2r r 1r F mf
p IE
=
I

l!J For clarinet in A using Aeolian mode starting on B

~ # oo~
Andante

tvF Pl
mf cantabile

UJ For viola using Aeolian mode starting on C

Grazioso

IB1hBJi l@ ft [ 1

*~
~ For guitar using Aeolian mode starting on E

j!
B
~~•stoso _

P r· P r J 1 g

20