Eric Taylor Music Theory lee mgeleniesgrade Eric Taylor Music Theory in Practice Revised edition 2008 ABRSMSyllabus for ABRSM Grade 3 ‘As in preceding grades, with the adction of (1) Compound time signatures of § 8 ¥F,, and the grouping of notes and rests within these times. The demisemiquaver (2nd note) and its equivalent rest. Questions will include the composition of a simple four-bar hythm which may start on an up-beet (@) Extension of the stave beyond two ledger Ines. The transposition ofa simple ‘melody from the treble caf to the bass ole, or vice versa, the octave, {9) Scals end key signatures of ll major and rinor keys upto four sharps and ft, Including both harmonic end melocis forms of minor scales with thei tonic ads ((00t postion), degrees (number only, and intavals above the toni (number and type) (4) More terms end signs. The simple questions about a melody may include one on its phrase structure. Fst pubisned 1980 vod econ 2008 Ferrnted in 2008, 2008, 2010, 2011, 2012, 2019, 2014, 2018, 2017, 2018 Published by ABASM (Pubs) Lis, a whaly owned subsidy of ABRBM (© 2008 by The Aseocatad Scars of te Royal Senooe of Muse “Typeset by Baznes Muse Engraving Ltd Cover by Dee Design Insos desig by Vermlion Printed in England by Halstan & Co, Lc, Arerehun, Bucks, on matt Yom eusainable cous,Contents Demiseriquavers (82nd notes) page Major keys with four sharps or fats 6 Beyond two ledger lines 9 ‘Transposition 10 ‘Compound time " ‘Minor keys with four sharps or fats 7 Grouping notes and rests in compound time a ‘Scales and key signatures (further practice) 23 Fourcbar rhythms 268 Intervals ‘Simple phrase structure 2 Performance directions General exercises a Each chapter begins with a reference to The AB Guide to Music Theory, a book that supplies further background knowledge on each topic. Where keywords are introduced in the text, they are highiighted in bold and accompanied by a definition. Inthe quoted music examples, tempo marks without brackets occur in the original as shown. Tempo marks in brackets occur earl in the music or are ealtoral.‘Ackrowodgements Page 7: Geren, Rhapsody in Bue (© 1824 fenawed) Chappel &Co. Ic, USA. WemertCheppel Nisic Ud RHAPSODY IN BLUE™ is redematio the Gecroe Garshwe Fay Tus. Feprouoed by pemizeon of htsatoralPubicaons Lid Pear Muse Ld. Al gh rasarved Pago 7: Bar, "yma! vrtvons (Nero) (© Copyright 1888 Nove & Co. Li for Span France, Mexico, Colombia and Cote wake Alrite reserved, reratoral copy secured, Used by prison, Page 7: ila-Labos, Guirao Abuam 8 (Caramel) (© Gopyrght 1948 Fenawod) Music Salas Corporation ASCAP) ‘Alvights reserved, hleratonal copy secured, Used by permission age 8: Vater, Crown inperal (© 1957 Oxford Urveraty Press Reproduced by permission. lights sere. Page 8: Word Davies, RA.E March Past {© Copyright 1901 Boosey & Hawkes Music Publishers Lic Feprodueedby persion Page Snes, Vale Tita (© Bethopt& Hite Wesbadeon age 18: Bax Colo Concato (1st ma) {© Copy 1919 Novelo & Co. Lid for Span, France, Meo, Colaba and Cote ovate. Alright reserved nema! cong secured, Used by permission. Page 25: Sa, Synhony No (ttm) {© Copy 1503 Novo & Co, Lid tor Spa, anos, Meco, Colombia nd Cote vos. Alright reserved. nto! copii 0.78. Used by parison. Page 26: Bite, Simple Symphony ist {© Copyright 1905 by The Briton Estate Lic Poblahing rights iconsed wert to Chester Music Lid Albis rsened. nteraion copyright se5zed, Use by permission, Page 34: Oscar Stats, ‘Loves Reundabout ‘© Copytght 1950 Editors CnoutoneProrire Music Group, (Chaser Music Lis wacng as Carpal Comedy & Co. [Abn osere.ntrnatond copyright secured. Used by permission. Page 36: lord Dass, Solemn Macy {© Gopyight 1970 Novel 8 Co. Ls. Als roserved.btematinal copy secured, Use by permission. oge $0: Puroaviten, Theme rom Yeung Parson's Gude othe Orchestra Copyright 1947 Hawtes& Son fonor) Ls Feproduced by permission of Boosey & Hanes Muse Publshes LtdDemisemiquavers (32nd notes) 6 example A WY tastzaslongas 2 (he AB Gul to Musso Theang Chapters 1/1, a/1 & 61-2) InGrtee and, esr otha ou ck at was senicune (10h n Grad you slow abot demisomiquer Cond nee) A derseigane (nc te tote ‘semiquaver (16th note). This is a demisemiquaver (32nd note}: d andtisis tort: Tying nem ee Exercise 1 Complete these sentences with the right numbers. A 4 lasts as long as fe lasts as long as lasts as tong as lasts as long as Wea aaa a > > > > > 2 tests as tong as 4 4 lasts as long as Exercise 2 ‘The bar-lines are missing from these extracts. Look at the time signatures and put in the bar-tines. @ ) © Example ‘They all bogin on the first beat of the bar (legro) ‘al, The Four Seasons Autre’) ae Kary Bert, Chevalo-nprovsstons, Op. 65 (Fem Heaven above) peg (Poco allegretto) Boshoven, Pano Sonata, Op 7 (bm et ¥ 6 ie a K == =e (Adagio) Bach, Cntta 170 Molto vivace Hasso, Vln Sonata, Op. 5 No.5 (4) et == = = PERSE ow.6 | Demisemiquavers (2nd nates} Exercise 3 Example ) o ® @ 0 @ a) Each of these rhythms need one or more rests to complete the bar, Put them in at each of the places marked * * Th git) yO git Be gi OL gee dl LO A get 1 Aa ee eee ee gil) OR Major keys with four sharps or flats (The AB Guide to Musie Theory, Cheptor 4/1) At Grade 3 you wil study these new keys: » E major (four sharps), and » Ab major (four fats). You willlean about their scales, key signatures and tonic triads. tis easy to work out these new scales if you remember the patter of tones and seritones in the malor ste. ‘The patter of eomitones in the major scale le: TTS TTTS Remember that the semitones are aways between the Grd—4th ‘and 7th-8th degrees of the scale.Exercise 1 Exercise 2 Exercise 3 Example @) ° @ Major keys with four sharps or fats | 7 Write accidentals in the correct places to make these scales. (Do not use key signatures.) Draw — over each pair of notes that make a semitone. $ 7 ———— ‘Write the key signature and the tonic triad for each of these keys. Remember to look at the clef! ‘The accidentals are missing from these pieces of music. Look at the keys (labelled under each ‘stave), and then write in the accidentals before the notes that need them. ‘Andantino moderato Gahan, Rhapacdy ir Bue E major Adagio gar ‘Enigma! Veritions (Nene) ete. Eb major Allegretto) Vie-Lobos, Gua Pratico Abn 8 (Carat) Amajor (Molto lento) Wieges Past! Pre) —_—_ ete, Ab major 1 =168 (Chopin, Etude, Op. 26 No. 5 ote E major8. | Major keys with four sharps of fts Exercise 4 Look at the accidental, then name the key of each extract. Copy them out again, with key signatures instead of accidentals. Poco largamente akon, Crown imperit Example ote, Key Ab major Gavotte 1.8. Boon, Para No.8 forunaco. vain Quick J = 132 ‘Waited Denies, RAE March Past (Andantino) Sehurann, Abu othe Young (Ethmenng}) @ — etc. ‘Schubert Impromptu, D.BE5/4 be b, by (Allegretto) a Allegro moderato oharn Strauss, De Fledermaus (verte) = = etc.Beyond two ledger lines 9 In Grade 8, some of the exercises use more than two ledger lines. Exercige 1 Wiite the name of each note, = 7 6 Example g o & o & ° & 3 = | e ; 9 = = 5 = @ BE @ & o = o & = 2 ov Exercise 2 Rewrite each extract inthe new clef, but atthe same pitch (Andante) Deus, Appatanle Example Beotover, Plano Sonata, Op. 19 (Pathétque} and ‘Adagio cantabile = 100) vet, Colo Concerto (1t ) to te, (Lento) Shel, Vo Tato10 Transposition (The AB Guide to Music Theory, Chapter 7/2) You will o the easiest kind of transposition at Grade 3 — transposing notes up or down just one octave, You will do two things: > move a melody down one octave from the treble clef to the bass clef; > move a melody up one octave from the bass clet to the treble cat. Be caret to copy out the notes correcty Transposition means moving all the notes in a piece of music up or down in pitch by the same interval. ‘Thee ate two mistakes that people often make, The frst mistake Is to tranepose the melody by two ‘octaves rather than just one ~ for example: transposed an octave lower, using the bass clef, becomes tg Soe enc Nor DEG v x ‘The second mistake that people make isto write the melody at the sare pitch, but in the other clo: ‘transposed an octave hicher, using the treble clef, becomes end NOT v x Exercise 1 Write each of these melodies one octave lower in the bass clef. (Allegro moderato) Shubert, thished” Symphony (Ist) Example J: 8. Bach, 48 Preludes & Fugues, Bk Fugue No, 17) ® (Allegro vivace) ool, The Mary Wives of Wander verte) ) ete,Exercise 2 Simple time Compound time Transposition 111 Write each of these melodies one octave higher in the treble clef. JS. Bach, 48 Prludes& Fugues. Bk Fugue No.7) ee ‘Betoun, Symphony No. St mA) ©) (Andante) ‘Brahms, Concerto few & ose nd mt) Compound time (The AB Guide to Music Theory, Chapter /3-4) Grades 1 and 2 covered simple time, Ths means thet he beats cen be cided int 09, Ad boat (asin 8, 8 or}, for example, canbe dvded into Jd Simiary. ad beat esin 2, Bor canbe dvidedinto dd , anda dd beat, into Jd In compound time the beats dvde into threes, They ere writen as doted notes, for exdmale, - can anid no J) beats. n Grad the dott xtchet (quater rote): aken athe in for one boat in cornpound time signatures. These are the time signatures you will cover: § = 2cdotted crotchet (quarter-note) beets ina ber, 8 = 3 dotted crotohet (quarter-note) beats ina bas, WF = 4 dotted crotchet (quarter-note) beats in a bar. Ven a d- is cided into tree cuavers (igh nots), wo on, or beam, them togetherness: § JI) 8 TINT) ¥ ITJT ITT) ‘You wil find out move about how notes and rests are grouped together on page 2112 | Compound time Exercise 1 Example Exercise 2 Example ) @ How many beats in a bar are there? Fill the gaps in the sentences, % moans 2 -~—_beats ina bar, and the beets are ‘orotchets (quarter notes) § moans ‘beats in a bear, and the beats are. & means beats ine ber, and the beets are 3 means _______ eats in a bar, and the beats are 4 means beats in a bar, and the beats are B means beats in a bar, and the beats are White the time signature at the beginning of each of these bars, and add either ‘simple’ or ‘compound’ in the sentences below. ms fl ® Jil | Trisisin simple time This isin ______ time ITT) | © Jil JT) Thsisin Sino Tein tino MMT 1 «© JIT ITT) Ten te Tisisn ‘There are two ways of describing time signatures: 1) as simple or compound; 2) as duple, triple or quadruple. ‘These are the time signatures that you know about so far: i | ser ice ie compound pe tine a i | smo triple time compound triple time a 4 simple quadnplotine YF compeun quecrl teCompound time | 18, Exercise 3 Write the time signature at the beginning of each extract. Then describe the kind of time by ‘completing the sentences below. Trastena, "Ofek tome only with tine ees Example “his isin ‘compound duple tine Allegretto ben moderato fre, ln Sota tt mt @ 7 ee Andante Han Tangt Coat mt fo) Trisisin, —__ time. Largo ma non tanto 1.8. Bech, Conor fortwo Wat (2nd ete, Tiss in tie, (Moderato) Bar, Cato Conca (tt) : ete. This isin —_____ time, (Andantino) Schubert, Moment Masia, 7802 @ === Trisisin time, (Andante) Mendelssohn, Vln Caner 2nd vt in te. eo ore Mencelesonn Hear my prayer (0 fr the wings ofa dows) ee ie14.1 Compound time Exercise 4 Example Exercise 5 Example @ ” © @ @ } @ © Put the bar-lines in these extracts. They all begin on the first beat of the bar. Largo alla Siciliana Allegro vivace Andante Allegro) ‘Tempo marziale {Allegro maestoso) f+ anc sic forthe Roy reworks (La Paix) ote, Mensch, ‘alan’ Symphony (1 rt ete, Four. Vola Sons, Op 19 rst ‘Sietana, tava etc. Gounod, Faust Sots’ Crows) etc. Egat Organ Sonata, Op. 28st mt) fy = ‘The rests are missing. Put a rest (or rests) where there is a *. Remember to use a dot if necessary. gl eee! gFD_Dy oe eeeoeee | ee eee » g/d, "TU.Compound ime | 15 Simple or Grace 2 covered how to dhide beat in simple time ito three by wring tplet. So these examples compound sound exactly the sar: time Use simple time signatures when the beats normally divide into twos. Use compound time signetures when tha beats norraly civ into throes. Its always possible to write a piece of music and uso either a simple oF a compound time signature without altering its sound. Exercise 6 In the examples, you can see how to write out a simple-time melody using compound time (and vice versa) without changing its sound. n the same way, rewrite the melodies that follow using the new time signatures. oo te, Syme Dances Op. 64 No.1 a a. Example Allegro moderato (Andante cantabile) “enol. Symp No § rd ma) Example = = = atc. (Allegro molto) _ 2 ‘gn, Pome ari Creumstance March No.2 @ 7 7 (Allegro assai) atl, To Roman Caria (Overture) )46 | Compound me @ @ Allegro ossh, The Thing Mogae (Overture) (Cul, Canzoneta, Op. 20 No. 8 Allegro Brahms, Cello Sonata, Op. 36rd mM) © ) 0 (Molto allegro) Moncilosoh, Sg Gunes, Op. 12th mut) 7 etc. (Andante) 535. Supp, Poet and Peasant (Overt) Tt 8 ae oe (Poco agitato) ‘Schumann, Fantasy, Op. 17Minor keys with four sharps or flats 7 Exercise 1 Example (The AB Guicte to Music Theory, Chapter 4/2-8) In Grace 2 you chose either the harmonic or the reladic form of the minor scales. In Grad 3, however, yyou need to know both forms ofthe rinor scales set for the grad, including the scales for Grade 2 (A minor, E minor, D minor). You can practise the harmonic and melodic forms ofthese three Grade 2 scales in the next two exercises. Write in accidentals where they are needed to make these scales. (Do not use key signatures.) Draw r— over each pair of notes that make a semitone. Aharmonic minor = o18 | Minor keys with four sharps or fats Exercise 2 Write out these scales using the rhythms shown, Add the correct key signatures but do not use any unnecessary accidentals. ‘ee i harmonic minor (descending) (descending) =o~C6.-—"’N”N]N}}’{P}{TFP—__lO2UNUN———— E harmonic minor (ascending) (ascending) “The new minor keys for Grade 8 are: > Bminor ~—- two sharps in the key signature » FH minor - three sharps > CH minor - foursharps > @minor —- two flats »Cminor - three flats >Fminor =~ fourfiats ‘You can see the scales ofthese keys in both the harmonic and the melidic forms in Exercise 3 below. ‘The harmonic minor scale has the same notes going up and coming down. Exercise 9 In these scales, draw r—1 above any pais of notes that are a semitone apart. (The fist answer is sivon as an example) B harmonic minor B melodic minor (ascending) (descending) m7 me SS Ff harmonic minor Ff melodic minor escencing) _(dosconcing) Cae oG harmonic minor Charmonie minor SSS F harmonic minor =a Exercise 4 Example ‘Minor keys wth four sharps or fats | 19 Cf melodic (descending) G melodic minor (ascending) (descending) (melodic minor (ascending) (descending) F melodic minor (ascending) (descending) Write in accidentals where they are needed to make these scales. (Do not use key signatures.) Draw -— over each pair of notes that make a semitone, B melodic minor (Charmonic minor G harmonic minor F harmonic minor ‘melodic minor C# melodic minor20 | Minor keys with four sharps or fats Exercise 6 Exercise 6 Write the key signature and tonic triad after each clef. >: © $ o BE F# minor minor G minor o 6 » 2 GG oe of minor F minor B minor Write the key signature and the scale in the form shown, using the given rhythm. Do not use any Joe le fee ad | r Ce SSS aleidi iad 3 a of SO eo (eneconlng) ae F melodic minor ascending)Grouping notes and rests in compound time a (The AB Guide to Music Theory, Chapter §/1-2) (On page 11 you covered how notes are beamed together to make up a beat in compound time: 8J7IJTI1 8 JTIL 1 84. S01 Youcen divide asinge 4. beatinto J Der ddd oor LJ d « J Ld) Notes Nato that the notes wore writen otis: $ III IIa | roto wis: JID | = six quavers (eighth notes) beamed together ike this would imply # . However, since the beaming of the ee ed 1 ee ‘together in beats: 8 TAT & FT | 8s ITH putin $, 8 and ¥, nots lasting two tll beats er writen tke tis d+ (not dd) Anototesing atutberswatten | ded. | inBend lo | in Rests Youcanwiite @one-beat rest in 8, 8 or # as etther Y or 9 As insimple time, a new beat needs a new rest, Look at these examples: Be You can replace ¥ by } 7 Rowever, na me rst is used forthe fist to beets or forthe lest wonste #7 dd ld la Inal compound tine signatures you show 8 completly sent bar ket: | | thout a dot Wen @ 4: beatincudes ess, you can anange them ke this J TI ce N17 ow FD (44) teacceptatio but xey usec) Remember that (wth the exceptions mentioned above) @ new beat needs a new rest SI 1 Cet woud) BIER | Bde td | You use semiquaver (18th-nate) rests the same way as in simple time. In olher words, you need to put a ‘semniquaver (16th-note) rest to 'frish ofthe quaver before any other rest follows: B dy Lin B77 dL |). cookat tis exam, and see how the semiquver (oto rest so flows the genera ui that anew beat necasanewrest: 8 J) 1 4 ATT ‘You can use beams across rests. Forinstance, @ 7 @ ¢ shows cleerly that the group makes up enecompoundime beat. DY S1¢) ana JY JD avo rot 0 ober22 | Grouping notes and ests in compound tene Exercise 1 Rewrite these melodies, putting the notes and rests in the correct groups. (Moderato) Schumann, Abu forthe Young (Fundgesang) Example Swift MacDowel, Wooton Stetches (Wi othe Wisp Hook, Pastore, Op, 25, etc, ‘Allegro non troppo Hammel, gue ° (Andante maestoso) st, Les Pres Tohakosy,The Seening Beauty (ose Aaa) 2 (Adagio maestoso) @ ete,Scales and key signatures (further practice) 23 Exercise 1 Example ‘Those exercises will help you revise scales and key signatures: they are based on all the work in scales, ‘and keys (both major and minor) that you have done so far, including the ones you studied at Gradas 1 and 2. ‘Add the clefs and key signatures needed to make these scales. For minor scales, remember to ‘add any accidentals which are necessary, but do not add any which are not. B melodic minor Bb major F harmonic minor E major Ab major F# harmonic minor melodic minor E harmonic minor24 | Scales and key signatures (rte practice) Exercise 2 Example Name the key of each extract. Then rewrite each melody, using the correct key signatures. Remember to remove any accidentals that become unnecessary, and to add any that are needed. Allegro Besthoven Plene Conoeno No. (SM) etc. Key C minor Assai moderato Wisbor, Buyantno Overture) (Co, To Sonata Op. 7 No. 10 Cantabile Telemann Von Sonat cmt © ‘Adagio, ma non troppo Bectrowen, Sting Quartet, Op. 131 (tsa)@ ® @ 6 key ‘Scales and key signalres (luther practice) | 25 Andante gar Syrshony No. (st ma) —_ 4:8. Bach, Ara Magen Bact Noteock ru) key Alla breve moderato Hands Moslah Arc th is tines) Allegretto pomposo ‘ert Sens, Tho Cara of Animate The Elen)26 Anacrusis Four-bar rhythms ‘Allthe four-bar rhythms that you studied in Grade 2 started on the first beat ofthe bar. Some pieces of music start before the first complete bar. This kind of opening is called an anacrusis, Look at these places of music that start before the fst beat ofthe bar. ‘An anacrusis is a note or notes that come before the first barline of a place, section, or phrase. This Is also called an upbeat. In written music, the bar numbers start at the first complete ber. (Aero rtmica) Eten, Sino Symphony (it ma) @ Allegro marziale Sula, The Paes of Parzance (th cake wesc) © 3 =f “clone, Londoner At 1 2 2 4 @ Andante, eon moto Schubert, Syerehany No. Gnd mt) ® ‘Sousa, The Stars ard Stipes Fever ach 2 4 Minuetto Mozart, Symphony No, 28 (dm) © Andante Boathowen, Plane Sonata, OP. 26 (stm) @ Inall these examples, the number of beats In ber 4, added fo the beats before the frst bar-line, add up to ful bar A four-bar rhythm in #, tor example, contains a total of 12 beats. In the same way, 2 four-bar rhythm in 4 contains 16 beats, Although this is not a ru, ithappens very often ~ particularly in simple songs, dances and marches. Note that you must apply this knowledge in the Grade 3 exam,Four-bar rhythms | 27 FFour-ber rhythms that start before the frst baring are in all othar ways similar to the ones you studied in Grade 2, Look at the examples on page 26 again and note the ciferent features. (1) In these examples, the second half is the same as the frst hal: Seers—~—r”—:——C“RRUU eh) Nise: 0) 1 hee! (2) n this example, the second half is very nearly the same as the frst hat: FF ——~—“‘COC—s=sSC=CsSC In major scales, the interval between the key-note end the-éth and Sth degrees is the same asitis in minor scales, and these intervais are called perfect, > The key-note to its octave is also a perfect interval > The interval between the key-note and all other degrees is major: major 2nd, Sed, 6th, 7th > In minor keys, the 4th and sth degrees are the same as in the major scale, so they produce perfect Intervals. So does the octave. > The interval between the key-note and the third degree is different: itis a minor rd. » The 6th and 7th degrees af minor scales vary according to whether the harmonic or melodic minor scale is being used, and also whether It is ascending or descending, » Ifthe 6th and 7th degrees in a minor scale are the same as in a major scale they produce major intervals from the key-note, otherwise they are minor Here are all the possible intervals, with C as the key-note, Fs = 2 Saas Sones aen Snes major minor mejor perfect perfect minor major minor major perfect and Sd ath th th th 7th th Octave The name of the interval is always the same, even if the top or bottom note is played first, or the two notes are played at the same time. Write the full name of each interval (e.g, minor 3rd, perfect Sth). The lower note Is always the key-note - the 1st degree of the scale. Ab major E major F minor Amajor p » x = or Ge is piet= De f= G > Perfect th Ia = Arminor Eb major Of minor Bb major SSSExercise 2 Example Intonals | 31 Gminor D major FE minor 64 or oF eo = E minor B minor cH minor E minor F major bie fee mae = Name the intervals between each pair of notes marked in these extracts. In each case, the lower note is the key-note of the melody. 2 Handel ltr ti (At u — Major Sra Perfect sth “Tadtional, Lavenders Bue @ (Vivace) (ek, Orpheus arc Euyolce (Dance ofthe Furie!) 1 2 — fees) : nat, The Four Seasons (Spr) Largo p>. 3 = o ate, Scart, Sonata Kp. 25 8 4 (Allegro) + 2 — @ etc.82 Simple phrase structure Phrase beginnings (The AB Guide to Musie Theor, Chapter 6/1} |¥ you look carefully atthe sentence you are reading now, you wil see that it has two parts. The dision into two parts is shown by the comma. Similely, a poem is divided into verses, and the verses are divided into lines. A melody can be divided up in a similar way; it consists of sections called phrases. ‘There are meny cifferent kinds of phrase and some are quite complicated. A very common type of melody consists of four phrases, ether: > four 2-bar phrases (making an 8-bar mology), or » four 4-bar phrases (a 16-bar melody) ‘This example is a 16-bar passage consisting of four 4-bar phrases. The square brackets -—, above the stave show the 4-bar phrases, Largamente par, Pomp aro Creumstance March No. 1 — =, Regular phrase patterns can happen naturally when a verseis set to music Mody tom Eats Peale (1592) ‘Wer by Naku Tete ———— ooo Ee Whnle shepherds watoned tir forks by night, Al seated cn the gaurd. The an gd of the Lond came down, Ad gh = ny ane 8 un, ltyou look at the Elgar melody above, you can see that all tre phrases begin on the frst beat of a bar Look et ‘While shepherds watched’: you can see that all the phrases begin on a minim before the barline. Phrases can begin at any point in a bar. But wherever they begin, the phrases in a melody often start with the same rhythm, or wth rhythms that are nearly the same, For example, the Eigar phrases all begin on the first beat of a bar, and thay also start with a minim. Both ortetrsttwontrasesteon J ld d | whi votn ofthe ast wo phasesten dl) |Repetitions How does it sound? Three-bar phrases Signs Single prrose structure | 33 Repetitions lke this can give a useful clue in spotting how @ melody is divided into phrases. Also, phrases ‘often end with longer notes. The endings of all the phrases in this melody provide examples. “Tastional "The Miler of Des! In this last exemple, the frst, second and fourth phrases are elmost identical in notes as well as in rhythm, This makes it easy to see the division of the melody into phrases. The best guide, however, is not what the music feos like on peper but how it sounds, $0 try end hear the melody in your head. When you are practising, of course, you can actually ple it, or sing it aloud. In the exam room, even if you cannot hear ‘the exact pitch of the notes, try to Imagine the rhythm correctly. Fortunately, rhythm is nearly always the best single guide to phrase structure, (1) Although 2-, 4- and 8-bar phrases are by far the most common, there are others. The Minuet in Mozart's Symphony No. 40 (in G minor), for example, begins with two 8-bar phrases: ‘Allegretto otc. (2)1n all these examples, phrases have been shown by -— signs. They are deliberately used here because they are not used in real music: it is easy to see what the composer wrote and what has been cided simply for study purposes. In real music signs show how to perform a piece in deta they are not Used to show where phrases begin and end. Composers may use staccato dots (to show thet the notes are to be detached), slurs (to show that they are to be played smooth), and other such performance markings.34 | Single phrase structure Exercise 1 Here, for example, are the first eight bars of a piace for piano as the composer weots ther: Allegretto ‘Beathown, Rondo, WoO 49 Here they are again, with square brackets added to show the phrases: Allegretto 0 —- ‘That is why you should not describe slurs, staccato dots, elc. as ‘phrasing marks’, although the ‘expression is commonly used, itis better to call them articulation marks. ‘Add "—r marks to show the phrases in each extract. (The first phrase is already marked in (a), (b) and (c); other phrases are marked in the remaining extracts.) a once Stas Low Rost (Andante) Moen, The Maple ute (Da Vogeinger) ©) ete,‘Simple phrase structure | 85 Prucel "Rice inthe Lo tay Lento motto espressivo oto Davis, Soler Melody @ 48. Bac, French Suto No.6 (Gat) ae) Foiksong, ‘The Coasts of High Barbary’ © Allegro Mozart, Conca for wo panos mt) @36 Performance directions (The AB Guide to Music Theory Chepers 10 and 11) Here are some Italian wards (r addition to those in eatler grades) thet you need to learn in Grade 8. adagietto ad libitum, ad fb. egitato alla breve deciso datcato enargico forza largamento leagiero marcato, marc. marzalo. mesto pesante prima, primo ‘isoluto sirnico rubato, tempo rubato scherzand, scherz050 second, secondo sempfce sempre stingendo subito tanto tranquil triste, tristamente volta rather slow (out faster than actagio) at choice, meaning that a passage may be played frealy agitated with a minim beat, aquivalent to ¢ (8 ), implying a faster tempo than the note values might otherwise suogest love (amoroso: loving) soul, spirt (con anina can mean ‘with fecing’ or 'spirted’) arimated, Ivey (animando: becoming more lively) well vigour (con dria with vigour, vey) Convenient (tempo comade: at a comfortable speed) with determination delicate energetic, force broadiy light, nimble emphatic, accented ina military style sad heavy first bold, rong rhythmical with some freedom of time playful, joking second simple, plain always gradually getting faster suddenly ‘so much calm ‘sad, sorrowtul time (prime votta: frst time; seconcia volta: second time)General exercises or Exercise 1 ‘This melody is played by cellos at the opening of the second movement of Beethoven's Fifth ‘Symphony. Answer the questions below. ‘Andante con moto (d)= 92) © @ @ @ ‘The key is Ab major. Add the Key signature where required. ‘Add the time signature where required, Which is the loudest note? Inbar. . Inwhich bars are notes tied? Ber ‘and ber —_ ‘What do you notice about the pitch ofthe highest and the lowest note? ‘Give the meaning of: Andante con moto. @ D=s2 (i) dolce Name the interval between the last two notes in bar 6 Draw a circ round three notes next to each other that belong to the tonie triad (Remember that the reyis Ab major) ‘Trenspose the first four bars (es far as the note marked *) up an octave, writing in the treble cle. $ $98 | General exercises Exercise 2 Look at this passage, which is the opening of a Violin Sonata by Geminiani, and then answer the questions below. Largo 0 0] 1 2 (@)_ Give the meaning of Largo () What key isthe fst tne of the music in? (6) What key isthe second tine of the music in? __ (@) Tick the two boxes that describe the time signature: simple ‘compound dupe ‘ple quadruple (Give the numbers of two bars that have the same rhythm, Bar______ and bar (Name the two intervals marked () and (. ————— @ —_ (@) Draw a circe round the Sth degree ofthe scale whenever it appears in bars 1-6. (h)_ Give the number of a bar in which the melody jumps an octave. (0) What do you notice about the pitch ofthe notes that form the semiquaver (16th-note) group in bar 3? @ Wich note is hel for two full beats? _in bars. (Rewrite bars 1-5 without using a key signature. Writa in accidentals thal are needed but do not use any that are unnecessary, 4Exercise 3 General exercises | 39 Look at this melody, which is the theme (composed by Henry Purcell) of Benjamin Britten's Young Person's Guide to the Orchestra, and then answer the questions below. Allegro maestoso e largamente 1 (@) Add the time signature where required. (6) Describe the time (simple or compound; dupie, triple or quadruple), (0) Name the key in bars 1-3, (@) Draw a circle round three notes next to each other that form the tonic triad. (Remember the key you named in the last question) (@) Which isthe highest note? _ in bar _ {What do you notice about the rhythm in bars 8, 4, 6 and 6? (@ Give the mezning of the folowing: (Allegro maestoso e largamento. marc. ——— (i) — signs above or below notes. (> signs above notes --S over the test two minims. () Rewtte bars 1-3 in notes that are half as long (the frst note is giver). Remember to add the new time signature,40 | General exercises Exercise 4 ‘This is the beginning of a melody from a piano piece (‘Last Saturday Evening’) by Grieg. Look at it and then answer the questions below. @ ) o @ @ @ ) @ 8 cae 2 oO. Eareg! Wet) ‘Add the time signature where required, Tick the two boxes that describe the time signature: simple ‘compound duple triple ‘quadruple Name the two intervals marked () and (i, 0 ® ‘Give the meaning of: @) Andante__ ® Pp Give the degree of the scale of the frst note, ‘Where is the music foudest? “There are two long slurs over the notes: from the beginning to bar 4, and from bar 4 to the end. ‘What do they mean? ‘What do the two sections of the mslody, marked by these two slurs, have in common? Starting at * {in bar 4), rewrite the music in, beginning as shown,“The Musie Theory in Practice series has helped more than ane milion musicians worldwide to lear about the natation and theory of music, Nowe fully revised, this workbook remains the best way to prepare for ‘ABRSM's Grade 3 Theory of Music Exam, offering: + aclear explanation of music notation straightforward language throughout mary worked examples and practice exercises definitions of important words and concepts specimen exam questions helpful tps for students ‘As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent esource fr anyone wishing to develop general music iteracy kil Ga i Theory in Practice Model Answers Grades +5 separately) Other support material for ABRSM theory exams Supporting the teaching and learning of music eee Lense Pele y oP MOT Meru