Eric BEN Ys Music Theory | in Practice oe veg ay ie Mees Si ee cegrade Eric Taylor Music Theory in Practice Revised edition 2008 ABRSMSyllabus for ABRSM Grade 5 Asin preceding gracles, withthe adltion ot (1) regular time signatures of #4 8 B, and the grouping of notes and rests within these times. regular division of simple time values. (2) Tenor cet (C clot centred on 4th ine). The identfication of notes in the four cles in any of the keys set for this grade, and the transposition atthe octave of a simple ‘melody from any clet to enother. The writing at concert pitch of a melody notated for ‘an instrument in Bb, A or F, and vice versa (the interval of transposition up or down willbe given). The writing in open score, using treble and bass clefs, of a passage for ‘SATB written on two staves, and vice versa, (@) Scales and key signatures ofall major and minor keys uo to six sharps and flts. Al simple and compound intervals from any note, (4) The identifcation of § and $ chords on the tonic, suparcnic, subdominant and dominant in any of the keys set for this grade. The identification of the & chord and of the progression & § on the dominant note in any of the keys set for this grade, The choiee of suitable chords using any recognised method of rotation at cadential points ofa simple melody inthe mejor kays ofC, @,D oF F (6) The composition of a simple melody of not more than eight bars, using a given ‘opening and writing fora specific instrument (some choice wil be given) or (at ‘candidate's choice) the composttion of a melody to given words, Appropriate performance directions relating o tempo, dynamics and aniculation wil be required. (6) Mote terms and signs. The recognition of ornaments, Including the replacement of written-out ornamentation with the appropriate signs, but rot viee versa, Questions ‘about 2 passage of music written for voioes or instruments wil Include questions on the types of voice and names of instruments, the clefs they us, Instrument family ‘groups and the basic way by which they produce sound, as well as points of general musical observation designed to test the candidate's ability to apply theoretical nowiedge to actual music. First pubshed 1860 Revised ediion 2008 Reprinted in 2008, 2009, 2010, 2012, 2018, 2018, 2016, 2017, 2018 Published by ABRSM (Publishing Lid, @ wholy owned eubsiGiaryof ABRSM (© 2008 by The Associated Board ofthe Raya Schools of Musi: ‘Typeset by Bames Music Engraving Lie Cover by kik Design Inside design by Vermilion Printed in England by Halstan & Co. Lid, Amersham, Bucks, ‘on materials rom sustainable sourcesContents Irregular time signatures page 4 Tenor let 6 Mejor and minor keys up to six sharps and flats 8 ‘Transposition “ Voloes in score 23 More imeguiar time divisions 26 Intervals ar Naming chords 30 ‘Composing a melody 33 (Ornaments 47 (Chords at cadential points 48 Performance directions 8 Instruments and voices 52 General exercises 53 Each chapter begins with a raference 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 ere highighted in bold and accompanied by a detnition. Ih the quoted music examples, tempo marks without brackets occur in the original as shown, Tempo marks in brackets occur earker in the music or are editorial.4 Irregular time signatures (The AB Guise to Music Toons Chapters 1/2 and 6/3) An irregular bar is a bar that you cannot divide into equal groups of two or three beats. The most ‘common ireguler bars have: > five boats ~ quintuple time » seven beats — septuple time Here are some examples of ineguiar time signatures: & = fvecrotchets (quarter notes) in aber 4 seven crotchets (quarter notes) in a ber five quavers (eighth notes) inabar 8 seven quavers (eighth notes) ina bar ‘These are the only four ireguiar time signatures you wil have to identity in Grade 6. It wil not be too dificult to add bar-lines or time signatures in the exercises, so long as you count carefully Exercise 1 ‘Add bar-jines to these extracts. They all begin onthe fst beat ofthe ba. Assez vite indy, Du Rythmo, Op. 88 No. 10 Poke, Pano Sonata No.7 (xd mit Savin, Feouctia (Mascurade) effet fete, = SS Holst, he Pants (rs!) Exercise 2 ‘Add time signatures to these extracts. They all begin on the first beat of the bar [Giocoso} Cte, ioe, Op. 47 No.8 @ SS Sa f cea The Pants (Neste) DS gaa o et. dolceIreguiar ime signatures | 5 Allegretto Massorgby, The Nusory Ne. 1) @ay (2)=6.200) ci Ls Toe Pen 2 Exercise 3 ‘These extracts all contain changes of time signature. Add time signatures where they are needed. ‘Thay all begin on the first beat ofthe bar ‘Shostakowc, Sting Quartet No.2 (anc (Adagio) J=J poco accelerando @) Moderato Stewesky, Octet or Wd Ieruments 2nd rv) fo) anf lagaissino (A=0.98) CCoplnd, Duo fer Fe and Plo Prd mt) c.Tenor clef Exercise 1 Exorcise 2 Example Exercise 3 Example (The AB Guts to Music Theory, Chapter 4/7) Both the alto and tenor cles are C clefs ( [8 ): the only ciference between them is their position on the stave nthe alt ele (sich you stusied in Grade 4) mide Cis on the tiene: J=S= butin the tenor elef middle Cis on the fourth ine: $3=3= This is how key signatures of up to five sherps or flats are arranged: = ‘The tenor clef may be used by oalos, basscons and tenor trombones Write the name of each of these notes. (The first answer is given as an example.) a 2 ‘Write the key signature and tonic chord of each key. 2 — —— Emajor Db major Ab major Bb minor G# minor CH minor F minor B major Rewrite each of these passages at the same pitch, using either the treble or bass olef as shown. Remember to include the key signature, time signature and any performance directions. a inf cantabile ‘a: fe ia = ea, stn enc Lacs (ver) ree ‘if cantabeTenor cet | 7 Prestissimo ord Sting Quai ra me ® cantabile SS | 48. Boo Cantata "Woche at gay, Ctl Cercerta (esa) Adagio te © ete. ppoese. f— = —= = p =p Exercise 4 Rewrite these extracts atthe same pitch in the tenor clef. Remember to include the key signature. (Allegro con brio) Pawethome, Set Comer [Ovetue) @) 8 (Lento maestoso J = 54) (Cootnd, Blythe Ki nto: The pen pate) ete, o Sf marcato +e iB8 | Tenor let (Sehr lebhatt) Strauss, Rt Eulenspiegel @ ete, Pe ie at S— nf B Wigs, Tannhusr (Overt) Andante maestoso etc. 8 Allegro molto vivace Boatroven, Sting Quart, Op. 131 nd nt @ etc. fp ee 8 Major and minor keys up to six sharps and flats (The AB Guide to Music Theory Chapter 4/12) You studied keys with up to five sharps or las in Grade 4. In Grade 5, you will study Keys with six sharps or fas, They ee Ff major sxsnaps > Gh major ei tats Di minor—sicsharps > Eb minor aia F# mejor and Gb major are enharmonie equelents~ ther scales sound the eame but they are wren alferenty. Look et the example on the next page. ‘When two notes have the same sourd but different names, they are called enharmonics. For example, Gf is the enharmonic of Db, and vice versa.Enharmonic examples Mejor and minor keys up to sk sharps and fats | 9 F# major bee Gb major SaaS Df minor and Eb minor are also enharmonic equivalents: D# harmonic minor SS = (the descending form uses the same notes) Eb harmonic minor See {the descending form uses the same notes} DH melodic minor Baek SE peg Eb melodic minor om & — Composers sometimes wie pcos in more complcstd kee: eg. seven sharps (Cl mor All mine) cr save fats (Ob mejor / Ab mine Eu composer usualy avid hese keys and use emplr ‘enharmonic equivalents instead. CH major, for examole, is more easily written as Db major (five fats instead of seven sharps). Off miner, too, is rare: composers usually write in Eb mina‘ instead. key signatures with six sharps or fats are arranged lke this ~ notice the pattems for each clef: c2— ge R= a i10 | Major and minor keys up to si sharpe and Hats Exercise Example Exercise 2 Add accidentals where necessary to make these scales. (Do not use key signatures.) a as CS —— Ee ————— = —————— : ‘Add the clefs and accidentals to make these scales. (Do not use key signatures.) We SEES $9660 —§$—————— : . ee e 2 e..r=sr.=—_—_—_—aadré=dc=sdaédc_—dé=—sé—_—_ ——— —————Exercise 3 Exercise 4 Example Major and mince keys up to sik sharps end flats | 11 Write the key signature followed by the tonic triad, after each clef in these keys. 00 SS Oe Name the key of each extract. Then rewrite each extract using the correct key signature. Remove any accidentals that become unnecessary, but remember also to add any that may be needed. (Poco lento e grazioso) ve sbeebs voit, Humareste, Op. 101 No. 7 ote. —==. f in BP Key Gb major (Poco lento e grazioso) —=—= ‘fe dim. P J: 8. Boch, 48 Prelios & Fugues, BK Fugue No.6) @ F = ete,12 | Mejor and minor keys up to ei sharps end fats ‘Terakovey Overture 1812 - ta Allegro giusto agua Geet fe tet © etc. P crese, Key —__ Moderato Fachmarinot, igi, Op. No.1 0) $ ee Andante molto calmo ccs, Maca Bute On fe day) @ cS@ ) @ ) Major and minor keys upto sx sharps end fats | 18 Exercise 5 () Rewrite these extracts enharmonically. Use key signatures of six sharps, but do not change how ‘twill sound. (Marziale) Sousa, Te High Shoo! Cadets March AA AA ete. ff Mati, Syrohony No.2 nt) (i) Rewrite these extracts enharmonically. Use key signatures of six flats, but do not change how it. will sound, (Notice the change of clef in the second example.) Allegro ma non troppo Beethaven, Pano Sonata, Op. 78 (itt) ee —_Seheman, Frc, Op. 28 No.24 Transposition Transposition up or down an octave Exercise 1 (The AB Guide to Music Theory, Chapter 7/2) Inthe exam, you wil have to transpose a melody. You may need fo use any of these intervals: (1) up or down an octave; (2) up or down a major 2nd; (8) up or down a minor 3rd; (4) up or down a perfect Sth. “These four intervals are used by the transposing instruments in the orchestra. You can read more about them in The AB Guide to Music Theory, Parti, Chapters 19 & 20. When you transpose a melody by amajor, minor or perfect interval, the tonality will remain the same. For example, the key of C major transposed down ‘a minor 3rd will be A major, not A minor. ‘You studied transposition at the octave in Grade 3, using the treble and bass cles. In Grade 6, you will ‘also need to use the alto and tenor cles. When you are familar with these clefsit should not be too dificult — but make sure thet you do actualy transpose the passage (rather than merely rewrite it at the ‘same pitch in a cfferent clef), and also that you transpose It one octave and not two. passage an octave lower in each clef. Poco adagio; cantabile Haye Sting are, 76 No.3 nd rat) ; eto. ‘poole SSS‘Tianspostion | 15 Exorcise 2 Write this passage an octave higher in each clef. Allegro once, Mesh (He tusted in God) eto, oer -~=™™—™———— Exercise 3 ‘Write this passage an octave higher inthe treble clef, and an octave lower in the bass cle. vit Duta, Te Sores Aporentce eto.16 | Transpostion Exercise 4 Transposition up or down a major second ‘Write this passage an octave higher in the treble clef, and an octave lower in the bass clef. 4S. Bach, miner Mss ia) — ti ete, ———_ aE \When instruments ‘in 8 fat (such as clarinets in Bb, trumpets in Bb) play mice C, the note you wil hear isthe Bb below. n other words, instruments in Bb produce sounds that are a malor 2nd lower than the writien notes. For example, a melody written like this: ‘actualy sounds Ike this: ‘The pitch at which the music is actuelly heard is called concert pitch or sounding pitch, For an instrument in Bb to produce these sounds: the notes have to be written a major 2nd higher ~ this is called written pitch: ‘As you can see in the examples above, the key signatures as well as the notes are transposed. Concert pitch describes the naming of notes as they actually sound, as opposed to how they appear on the page. For example, on a Bb instrument such as trumpet or clarinet, ‘written C* is the same as ‘concert Bb’.Accidentals Exercise 5 (@) Clarinet in Bb (©) Trumpet in Bb ‘Tanspostton | 17 You also need to be careful with the accidentals that occur in a melody. Note that > An accidental may have to be changed in the transposed version: ¢.g. on page 16, the F natural the fist example becomes E flat in the transposed version, » Acchromaticaly altered note must be replaced by its exact equivalent and not by an enharmonic substitute. (ts true that, for various special reasons, composers do occasionaly use enharmonic substitutes, but these are exceptions) The F natural in the fist example (ttened 7th in G major) becomes E ft in the transposed version flattened 7th in F major} ~ not D sharp. Until the early 20th century, horn and trumpet parts were written without a key signature, whatever the key: acoldentals were added before individual notes as necessary. However, inthe folowing exercises, and in the Grade § exam, you should assume that a key signature isto be used unless there is an instruction to the contrary (asin Exercise 11, page 22). Except where a transposed partis written without a key signature (as in Exercise 11, page 22), every ‘accidental in the original recuires a corresponding accidental in the transposed version. Do not ty to ‘improve’ on the given rmusic by leaving out an accidental where one in the original was not strictly necessary. (The composer might have put I there @s a sensible precaution, e.g, something being played by another instrument might cause contusion.) Practise your transposing stil in the folowing exercises. Remember to make the necessary changes to key signatures, ‘These passages are notated for instruments in Bb. Write them out at concert pitch, 2nd lower. (The beginning of (6) has been done as an example) amajor ‘Allogro Schubert, Ota (stmt) 3 : f ao18 | Tienspositon ‘Wiebe, Carnot onosco No 1 (stm) (6) Clarinet in Bb Exorciso 6 “Transpose these passages up a major 2nd, so that they wil sound at concert pitch when played by instruments in Bb. (The beginning of (a) has beon done as an example.) Allegro amabile rah, iinet Sonata No.2 (13m) @ ote. P Allegro amabile Clarinet in Bb P Larghetto Maza, Divertinerto, K Anh 229 No. 2 “aah. ) P Clarinet in Bb (Presto J = 152) {8gar, nd Wand of Youth Sue (The Wid Bears’) @ ‘Trumpet in BbTransposition up and down a minor 3rd Exercise 7 (@}Comet in A (Clarinet in A (6) Clarinet in A Exercise 8 @ Clarinet in A ‘Tanspostton | 19 ‘The concert pitch of instruments ‘in A’ is a minor Src lower than itis written. For example, # you play a ‘writen middle C on ether a clarinet in A or on a trumpet in A, the note that you actually hear is the A below. So music that is wiltten in C major actually sounds like A major. In the seme way, you would have to write music in Eb major if you want i to have a concert pitch of C major, ‘These passages are notated for instruments in A. White them out at concert pitch, Le. a minor Sr tower. (The beginning of (a) has been done as an example.) Molto maestoso 5 and Greustance Mach No.1 =~ iar Pomp. f ee Molto maestoso f Zart und mit Ausdruck Schumann, Fatasesticke, Op. 73 No.1 ate fe _———_ Moderato J = 0.96 Biss, Chenet Quetet (str) : Se = etc. mf espressivo ————$=———— =— Transpose these passages up a minor Sr, s0 that they will sound at concert pitch when played by instruments in A. (The beginning of () has been done as an example.) Andante moderato Brahms, Syphon No.4 nd mt) etc. [Pp sempre Baa ‘Andante moderato Pp sempre legato20 | Transposition Tempo di Valse “aos, Murata Suto Vabe ds Fes) ) a — Clarinet in A. Allegretto J. = 96 ‘avel, Le Tembeau de Couperin Forlane) ° Clarinet in A Transposition —_ifyou pay a written C on an instrument ‘in F", you wil actually hear the note F (eoneert FF. The French up and down —_hom and the cor anglais are the most common instruments in F. The notes played by both these a perfect Sth instruments sound a perfect Sth lower than the written notes, their parts are written a perfect Sth above the concert notes. Exercise 9 ‘These passages are notated for instruments in . Write them out at concer pitch, Le. a perfect Sth lower. (The beginning of (a) has been done as an example) Franek 9 oes nck Symphony fad (@) Cor angiais ote. Pecantabila => Allegretto p cantabieansposiion | 21 Mahle, Koettenteder (ern dein Mute) Schwer, dumpt (0) Cor anglais d=28) Btn Wr oeiem (Oertrtrn) Be | (Horn in F eT (cress. ffe Exercise 10 Transpose these extracts up a perfect Sth, 9 that they will sound at concer pitch winen played by instruments in F Decide whether itis best to use treble or bass clefs. The beginning off) has been done as an example.) (Sehr langsam) Wagner Pars Pode) @ F f am Pp paesc. (Sehr langsam) : Cor anglais, © Hom in F Coa “Tehakovsg, The Seaping Beaty (Rose Adio} a —~ =a eo © ee ete, if22 | Trenspostion Exercise 11 ‘Transpose these extracts up a perfect Sth, so that they will sound at concert pitch when played by horns in F. Do not use Key signatures. Add accidentals sefore all notes that need them: take away ‘any unnecessary accidentals. (The beginning of (a) has been done as an example.) achmarinof, Pano Concerto No.1 (Sd mvt) a Andante ma non troppo @ x P mf Andante ma non troppo, Hom in F rasan 5 ‘Salus, Symphony No. 2 (2nd mvt) © mf f-=>> > rose. poco 2 poco Hom in F Dots, Wak toto Paacio Gardon Hom in FVoices in score 23 (The AB Guide to Music Theory, Prt, Cheptor 14/2) ‘Most choral music uses a combination of four diferent voices: soprano, alto, tenor and bass. The music ‘or these four separate parts is written on either two or four staves, > Ina two-stave layout, the upper voices — soprano and alto — are written in the treble clef on the top stave; and the two lower voices ~ tenor and! bass — are writen inthe bass clef on the bottom stave. > Ina four-stave layout, each parthas its own stave in the order of soprano, alto, tenor, bass, > When diferent voloes share a stave tf called short soore. > When each voice has a stave ofits own, is called open seore. SATB is short for: Soprano ‘Ato Tenor Bass ‘The staves ave given separate bar-lines, both in short and open score, ike this: pen scare You may be asked to transcribe into open score 2 passage written in short soore, or the other way round. “The examples above show three important points: (1) In short score the tenor partis written in the bass clef (at its true pitch); but in open score i is written in ‘the treble clef, an octave higher than it actually sounds, (tis advisable to write a smal 6 under the tenor's ‘treble clef to show that the music sounds an octave lower than written} (2) In short score the stems of soprano and tenor notes always go up, wherever they are on the stave; {and the stems of elto and bass notes always go down. Whenever two parts on the same stave share the ‘same pitch you must draw a stom for each voice. However, i the note value is a semibreve (whole note) Yyou must write two overlapping semibreves (whole note) on the stave, Ike this 0 to represent both voices. (8) When two vocal Ines share the same stave, an accidental before a note in one part must be written ‘again if the same note occurs in the other pert later in the same bar. Look at the second # (to the G) in the short-score example: its necessary here, although it would not be needed in piano music.24 | Voices in score Exercise 1 ‘Transcribe these extracts into short score ~ the words are not shown. (The be been done as an example.) inning of (a) has Pal, Ahem ccs inthe Lord vay" @ s 4.8. Bech, Chorale "Wer weiss, wie rahe mi’ Cantata 166) a | |) Voices in score | 25 Exercise 2 ‘Transcribe these extracts into open score, (The beginning of (a) has been done as an example) po t B A a B (Allegretto con spirito) Sulla, Te Mac (ace) =~ r ded Jedi (Allegretto con spirito) Beethoven, Symphony No.9 tn (Allegro assai) = = : : = |26 More irregular time divisions (The AB Guttie 10 Music Theory, Chapter 5/5) ‘You have already studied the most common tregule time duisions: triplets (in Gracie 2) and duplots fo Grade 4). The next two exeroises use some more elaborate groups. In all of them, the itegular group replaces a ‘simple time’ unit (.e. one that would normaly divide into 2, 4, 8 etc) >» Agroup of 5, 6 oF 7 uses the same time values as a group of 4, » A group of 9 uses the same valuos es a group of 8. Exercise 1 Complote these sentences by adding ) or J or d Exercise 2 ‘Ad ber ‘ FTITS isporormedintnetimeota ETTTIT. te pertrmed nthe time of a FFFFI isportormedinthetine ofa TTTIT) teperormedin te tine ota — FFF Fea te peromedin the tine ofa ih is performed in the time of a. _. lines to these extracts. They all begin on the first beat of the bar. Hele, Preuoe,p. 11910. (Allegro deciso) a tempo oo 5 A A @ & ¢ ipSoe (fdim) rte i fowto (Allegro) Vaughn Was, Sympny No.2 etm) ie - - feeteoe 4 2 BD fist . © oF = zt a (Vivace) Lit, Hurgaien Foong No.4 —= = ae @ a + “Taleo, tracker Sute (Dense habs)More breguia time chisions | 27 ey, Veritons (for per), Ho, V6 (Andante) etc, @ P F 7 ten, Saranac for tenor hom & stings Orgo}) eg SoS sassessseseen SIN ow ‘Alla marcia grave o o 3 aa ee aa = : Ppp marc. aihaaaee cen —== fo Wiaton, Symarony No.1 (stm) Intervals (he AB Guide t0 Music Theory, Chapter 7/1 & 3) In Grade 6, you must be able to describe the interval between any two notes. Sometimes the two notes. ‘may be more than one octave apart You can describe intervals of oss than an octave in the same way that you did at Grade 4, For example, this is a diminished 6th: eS whatever the key signature Gf theres one:28 | Intorvets Intervals of more then one octave are called compound intervals. You can describe compound intervals in two ways, lice thist aS = e = o s e maprsth maior 10h pvfoct 11th perfect 2m der 10h major th erfct 16th compound compound compound compound carpeund compound amour majorard mejores pectin peract Sh marth mer pate ve Musicians generally refer to a ‘Sth’ Oth’, 12th’ and "1th rather than to a ‘comoound 2c! or a ‘compound 3rd" etc. However, n the exam both forms of descriation are acceptable, Exercise 1 ‘Write inthe note that is needed to make each of these harmonic intervals. Example SESS = 4 = ES bo $e ‘augmented 6th ‘compound diminished 8ve ‘minor 10th ‘major 9th perfect Sth ¥ é 7 é = ‘augmented Sth ‘compound compound augmented 2nd compound, ‘minor 7th ‘minor 6th diminished 3rd Exercise 2 Describe each of these harmonic intervals, e.g. augmented 4th, minor 10th (or compound minor rd) etc. Look at the key signature carefully, in case it alfects either of the notes in the interval. mis gf: fic te ge ‘Augmented 5th bho jo a = — —— — = Se te = FS Pe BEE B=Intowals | 29 i Exercise 3 Describe each of the melodic intervals marked 1. te. in these extracts. Look carefully at the key signature and any accidentals in the bar. (The answers to numbers 1 and 2 in (a) have. been done as an example.) Always count an interval from the lower note, even it the higher note comes first. 1.8 Boch, #8 Prado & Fugues, Bk Fugue No. 28) 6 1. Minor 6th 38 5 2 Perfect ath 4 Allegro ben ritmico 1 a a. 2s . gate aus.) ® 1 8 5 2 4 6 7 Messen, Rds pou Pan (Un ee ars vert.) ro 2 3 i; (Mode) te ie or © 1 3 2 4 4 Mozat, Cost an tt Ac 1, Pepa) 1 5 6 Wao) 1, aS ee ete, (6)30 | Intervals Exercise 4 This extract for alto and bass soloists is taken from Purcell's Te Deum in D. Name the harmonic intervals between the bass and alto voices at the points indicated by dotted lines. (The first answer is given as an example.) 1 2 a4 56 1 LL etc, 1. Perfect sth 8 Naming chords (The AB Quite to Music Theory, Chapter 8/2) Use roman numbers to describe chords: In Grade 4 you identified these chords in root postion: » tonic (), » subdominant (M), > dominant (\). In Grade § you wil also look at the supertonic ih. In the exam, you wil need to say which note isthe lowest note ofthe chord! (too, 3rd or Bth), in other words, which inversion the chord sin, You can do ths in diferent ways, ‘A chord is called an inversion when a note other than the root isthe lowest sounding note, (1) One way Is to add « means root position, ‘means frst inversion, ‘means second inversion, +o the roman number, ike this: tonic chard inroot positon, tonic chord in frst inversion, tonic chord in second inversion. instead of ‘a 2) Another way Is to write: 8 » 3 instead of after the roman number,Noming chords | $1 “These numbers refer to intervals from the bass note, for example: Iv $ = the frst inversion ofthe subdominant chord. {@) Many people use the roman number on its own to describe @ root-postion chord, for exemple, just (without either ‘a’ or * § 9, The roman number on its own, therefore, means a root-position chord. You can use ary of the chord symbols, Just make sure that the symbol is clear and fully describes the function of the chord in the key, Exercise 1 Namo the keys ofthe folowing extracts, Identify the chords marked with * and indicate which of the notes is the lowest note ofthe chord (or which position the chord is ir). Example Key Bb major ib ov i Presto Mendelsohn, Song without Words, Op. 102 No.3 Andante Mozan, The Mage tact, Marc) — ©) oto Te el Key 4.8. Bach, Choral "Wer nur dn ben Got assay’ (Canta 8 a ? ete, falt Jy82 | Neming chords ‘Beethoven, Pano Senta, Op, 10 No, 3 Menuet) a o Pdote : ete. Hind i fom HUW a3 real 28 (ban monarchs ute) i Purcl D and anes (hen v3 play Allegretto (d. = 80) ‘Shostakovich, 24 Proludos & Fugues, No. 19 (Pred)Composing a melody 3 Instrument or voice? General advice Performance directions Listen to your melody ‘At Grade 5 you wil need to compose a short melody of no more than eight bars ‘You can decide whether to compose for an instrument, €9. violin, cello, clarinet or trumpet, oF for von, ‘You do not need to know a lot about the instrument that you choose, but you should think about its style ‘and characteristics. For exemple, you need to know the lowest note thet the instrument can play, and if ‘you are composing for @ violin, for example, you could include some pizzicato ifs suitabe forthe melody. (The AB Guide to Music Theory, Part I, Chapters 19-20 has more information about instruments.) Inthe Grade § exam you will have these options: > If you choose to compose for en instrument, you willbe given the start of the melody. > If you choose to compose for voiee, you wil be given words but not an opening, Ifyou decide to compose for voice, remember thatthe pitch range is usually much smaler than for an instrument. Ty to keep within @range ofa 12th > You do not need to write more than eight bars ~ this includes the opening for an instrumental melody. tt Is a good idea to write exactly eight bars since eight-ber melodies are very common and ave the easiest ‘to compose. Much instrumental music and mary well-known songs, new and old, are made up of ‘ight-bar melodies, » Your melody should be tnished ~ do not leave it open-ended go that the melody sounds sift needs something else to finish it oft. Include some performance directions {you will not need many in an eight-bar melody). Here are some suggestions: >» Decide how fast you want the melody to be perored and add a tempo direction, e.g. Allegro, ‘Andante or a metronome mark. > Show the dynam va that you wan, 8.0. mf. yOu want to change the speed or dam ave, he tho necessary dretions, 09, === >» Add phrasing (articulation) marks, e.g. legato slurs and staccato dots, Be careful when you draw slurs. Be clear at which note they start and fnish. If there Is only one voice or instrument on the stave, you normaly place the slur on the same side as the note-heads when these all go in the same direction, Ifthe ‘stems go up and down, the slur usually goes above the notes. Put ties and staccato marks inside or ‘below the stu, not above it. \Wting @ melody is a challenge to your inventiveness and imagination. You should always try to hearin your mind what you have watten. During the exam you wil not be able to try your melody on an instrument or sing it out loud. However, its very helpful to do this when practising, particularly in the early stages; and itis always 2 good idea to play a melody when you heve finished i, to see whether you have ‘actually writen the sounds you intended.34 | Composing a melody Rhythm The most important features in a melody are (its rhythmic organisation and (i) the melodic shapes and pitch produced by the pitch of each note. Look at the rhythm and pitch shapes in the examples that follow, In most ofthese extracts you will see a 'V" printed below tha stave, half-way through the melody. This indicates a cadence point, which you wil read more about on page 38, Esto Psat 1892 @ Vv While shep - herds watched ter tooks by night, Al seat - ec on the ground, «The . ° 7 a an + gel of the Lard came own, And go - ry shone a= round i ‘Stravney,Petroucha (The Shrove-Tde Fer) oe 2 3 ‘ . 6 7 % ete. P v = “dion Sabra Alen bh Scar-tet town, where 1 was. bom, There wes @ far mad Mace ors 'y youh cy wel a-woy! Hor remo was Gar - bre AL en «Cathe, The Prine of Donnan’ March 1 2 2 4 5 * 7 . Hay, Tampa ance cn ©Composing a melody | 95 Hans, Sore Mere 0) ‘ronal Sing @ song of sik - ponoe, A pocket = ful of Four andtwen = ty black - bide baked in 2 pla, When tho plo was 0 - pared he bids te-gan to e 7 a she: © wasnt that a con = ty deh to set bes toe 8 ng! — 2 Moxa, Piano Concerto, K. 685 rd mf) Alles — 7 ‘4 o : 2 a 4 Puscal | 0 z= Nymoha and shep-hads come a - way, come a - way, Nero and. shop - hos etc. come 8 = way come @ = ay come, come, come, come a way86 | Composing @ melody Rhythm \When you pian the rhythm of a melody, look at what was sed ebout four-bar rhythms in Grade 2 pages 23-25) end Grade S (pages 82-34) of Music Theory Practice. Those suagestons apply equally tothe ‘rythms of eight-bar melodies. Look at the folowing features inthe melodies on pages 24 and 35 ofthis, book. (Th later in brackets below refer tothe examples, but now only their hythms are shown.) (1) The thythm of bars 1-4 is repeated exactly in bars 5-8: .Lr~C~—r—r,—...CSiaRiCs gli Jd diss di ddd de | oELUITII I TUTTI de DUTT DUTTA Ids (2) The two halves are very nearly but not exactly the same: ea FL DL a dS DAI AI aA {@) The two halves start the sare but fish diferenty: @¢J J ib dlls e iid d dd li dlilldd |. I @BLTN TTI od dt SUTI_STLUST 71 STLITIN GR Di) SRITIIIT do (@) The two halves start cfferenty but nish the same, or very nearly so: eeQls J i JAIL Ti | iePitch Shape Composing a melody | 37 (6) The opening rthythim is used again in the second quarter ofthe tune: eA TT ATT IT ss i N8IGIITT as bh (6) The melody does not divide into equal sections: ‘Nymphs and shepherds’ consists of 8 + 5 bars, with the opening rhythm occurring again in ber 4: oeL bOI) Wid | dee) a) oo \When an opening rhythm occurs again later in a melody, the same notes may be played again, so the repetition of the music is exact, as in Examples (d) and {]. However, an absolutely exact repetition can sound boring. To avokd ths, the pattern ofthe notes may be modied, e.g. in Example (b) where the notes {are all moved down one degree: 1 2 5 6 Each half of tune (b) contains another rhythmic repetition: FUT FT dr TUTTO TST Here the notes in the second half (bars 6-8) are not the same as those inthe frst haf (bars 2~<); however the three descending quavers atthe start of bar 3 are matched by three descending quavers at the start of bar 7: Exact or modified repetitions of the ogering music occur most frequently atthe start of the second haif of the melody, as in Example (@). They are also cornmon at the beginning of the second quarter, es in Exampie (9) 1 3 ‘The overall shape produced by the notes is very important, {1) Amelody should have a sense of direction. In (a) While shepherds watched’, for example, the melody ‘gradually moves upwards unti it reaches the D in bar 5, and then gradually comes down again. The frst half of the melody goes up, end the second half goes down: upward movement is balanced by downward movernent, But neither half goes straight up or straight Gown. Both halves contain smaller ascents and descents. This is only one possible shape, however: the high point does not have to be half-way through a melody, There are many ways in which ascending and descenaing movement may be balanced and contrasted, But try to avoid cicing around the same few notes!88 | Composing @ melody Setting a melody to words {@) The second point concerns cadences, and the chords that they imply: Apart from some folksongs. and other spacial cases, most melodies are inseoerably connected with their supporting harmonies, particularly at the cadence points. Thus, the fal note of a melody wil belong to the tonic chord tthe Cchord that most compositions almost always end with), and wil usually be the tonic note itsef, The chord ‘most commonly found at a cadence during the course of amelody (generaly half-way through) wal be the dominant. Notice that, in most of the melodies (eto jon pages 34-35, the note at the half-way point bbelongs to the dominant chord ~ though it is not necessary the dominant note itself. (These points have been shown by a 'V’ printed below the melody} ‘Armelody set to words needs to ba shaped in the same way as a purely instrumental melody. The words themselves may suggest musical ideas ~ mood, rhythmic patterns, pitch shape, and so on. The difculty {s that the melody must ft the words, and it willbe pertly judged by ts suitability as a setting of them (gee ‘Music Theory in Practice, Grade 4, pages 29-33). For example, the charaoter ofthe melody must reflect the mood of the words: a bright and cheeriul melody would clearly be unsuitable for sad words. Similar, the shape of the melody should help to highght the importent words. Look atthe two settings below of a verse by Allan Cunningtam. its rhythmic aspect was discussed in ‘Music Theory in Practice, Grade 4 (pages 29-81). The following settings both use ‘Version 4’ from that book: i. their hythms are identical, The frst setting (below) adds emphasis to certain words (cold, snow, sleep, primiroses), by placing them at the top of each melodie curve, with ‘sleep’ as the highest note of ‘all The second setting is poor because the music does not match the words: the shape of the melody does nothing to bring out the meaning ofthe words; and its high point (tne top G) is not suitable for a week sylable. Setting 1 (good 7) Ante of —— Gore werobut the winter cok, And gone were but fo snow. coud = ee oop In he wid woods Whee pin rm - se bow, Setting 2 (poor x) Andante P Gone werebut the win-ter eck, © And=—=gone___werebut the Siam" 1 could ores ————_ seep in te whi woods = Where im ro + 988 Blom, In both of these settings each syllable has only one note, However, sylables may of course be set to two ‘oF more notes, as in Setting 3 on the next page.Exercise 1 Example Composing a melody | 39 Setting 3 (good v) Gone weebut he winter cod Anger wermbut he = eno, cout —= #« = scp in the wid woods. Where prim 0 = 05 blow, ‘Setting particular eylables to two or more notes can help to bring out the meaning of the words ~ but be ‘warned: It can also do precisely the opposite! For the best results, itis important to try and hear what you write. Only the clef and the Key signature should be shown at the beginning of the second and later staves ~ not the time signature. The only exception Is when there is a change of time signature at the start of a new stave ~ and then the new time signature should also be shown after the bar-line at the end of the previous stave. ‘Compose a melody up to eight bars in length, using the following openings. Write for one of the suggested instruments (write out your choice on the line before the first blank stave). You may substitute a different clef for the one given, provided itis appropriate to the selected instrument, Remember to include performance directions (tempo, phrasing, dynamics etc.) for vidi, oboe or trumpet @ {or violin, ute or oboe40 | Composing a melody for fute, oboe or clarinet ® for viola, latinet or hom for violin, oboe or clarinet for call, bassoon or trombone‘Composing a melody | 41 {or violin, oboe or ciarinet for oboe, horn or trumpet } {or viola, clarinet or bassoon for violin, fute or oboe42 | Composing a melody {or colle, hom or trombone 6 ® & = SA] tor voln, tte or rumpet ‘or violin, vela or rumpet DE for cello, bassoon or tromboneExercise 2 Composing a melody | 43 ‘Compose a melody of up to eight bars in length to go with the following words. Put each syllable clearly under the note or notes to which it belongs. Indicate the appropriate speed and other necessary performance directions. (@) But slumber hold me tightly till weken in the dawn, ‘And hear the thrushes singing in the liacs round the lawn, Robert Louis Stevenson (©) For Icipt into the futur, far as human eye could see, ‘Saw the Vision of the world, and all the wonder that would be. Aled Tennyson @ | shall remember while the ght lives yet, ‘And in the night time | shallot forget. Algemon Swinbume44.1 Composing a melody (The day begins to droop, its course is done: But nothing tes the piace Of the soting sun. ‘Robert Brags (Who has seen the wind? Neither you nor But when the trees bow down their heads ‘The wind is passing by. Christina Rossett! () The Camel's hump is an ugly lump Which well you may see at the Zoo; But uglier yetis the Hump we got From having too ite to do. Rudyard Kiping(@ Affoameta flyin a tue, Said the flea ot us fy, Sald the fy let us flee, So they flew through a law inthe flue. Nursery Rhyme ‘Composing a melody 1 45 {n) Young Ben he was a nice young man, A.carpenter by trade; ‘And he fal in love with Sally Brown, ‘That wes a lady's maid. Thomas Hood Apr, Apri, Laugh thy golden laughter; Then, the moment after ‘Weep thy golden tears! Willer Watson46 | Composing a melody “ ‘Only a man harrowing clods Ina siow, sient wat, With an od horse that stumbles and nods Half asieap as they stalk, Thomas Hardy Wes folk, good fot, ‘Trooping all together; Green jacket, red cap, ‘And white owls feather! Wiliam Alingham This is Where the river uns down to the sea, Listen to its music, hear this mystery! SachevarellStwelOrnaments a7 Exercise 1 Example (Prosto) | » (Allegretto) (The AB Guide to Music Theory Chapter 12/1-2) In Grade 5 you rust be able to replace writter-out ornaments with omament signs. oe SS Do not be confused by the fact that there may be other possible interpretations of the appropriate ‘ornament apart from the one given: e.g. the above tum might also be played lke this: eee (Pomeriver to add any necessary accidentals) Rewrite the following passages using ornament signs to replace the notes in brackets. For example, (Andante) Usa, Remance Oubiée etc, eye, Keyboard Sonata, Hob. X16 bey @ (Allegretto) Mozat, Vita Sonata, K 408 etc. Allegro cantabile wir, Organ Symohony No.5 @ 248, Chords at cadential points Harmonizing notes (the AB Gute to Music Theery, Chapter 2/2) In the exam, you will be asked to choose chords for a simpie melody in ©, G, D or F maj. You will oly need to know the chords on the tonic, supertonic, subdominant and dorninant (|, Il, IV and V for each of these Keys). They will be used at points in the melody wher there is @ eadlence. ‘These are the chords most commonly used at cadences: >ve perfect cadence »IV-1 plagal cadence > (any chord) -V imperfect cadence. In Grade §, therefore, an imperfect cadence may be either -V, or II-V or IV-V, ‘You may also be asked to use or identity a & § chord progression. This is a good sequence to use when preparing a perfect or imperfect cadence point on the dominant note (where $ refers to chord Io and § refers to chord W). There ere a numberof ciferent ways to indicate a chord. You can: (1)use roman numerals (1, 'V'ete) (2) show how it might appear in jazz and popular musio 9, Om) (@) add a figured bass (e.9. 8} (4) write out the notes in full on the staves. You can choose to write chords in any of these ways, just make sure itis clear! Most degrees of the major scale can be harmonized in two ways, using the chords listed above. But there are no alternative chords forthe Sr and the 7th degrees. These are the possiblities in C major: eS H Ney, Ney, lee vee, v ‘These points will help you to select your chords: (1) tis not always suitable to give every melody note one chord. A tong melody note may have two chords, lke this: voi ‘or one chord may be fitted to two oF more melody natExercise 1 Example (Che at cadntial points | 49) Generally, chords change less often than melody notes. (2) Sometimes there are notes in a melody that do not belong to the chords underneath. For example, ‘wo melody notes that belong to the chords may be linked by a note which does not ft the harmony. The: notes marked * here are examples: 1 Vv Vv ‘Such notes are called passing notes. There must not be a gap between a passing note and the harmony note on either side of. ‘A passing note is a note that makes a stepwise link between two harmony notes in a melodic tne. “The simplest kind is a single passing note between tones that ere a third apart, while harmony notes @ ‘second apart may be linked by a ‘chromatic passing note’. Two or more passing notes can be used in succession. Passing notes are found in bass and middie parts as well as in melodies; they may be used simultaneously in different paris of the texture, (@) Sometimes a harmony note in the melody is played twice, with the next note above or below it played inbetween, Again, the notes marked ¥ are examples: H v Notes ofthis kind are called auniliary notes. ‘An auxiliary note is a note that follows @ harmony note by step, either above or below, but then returns to the same harmony note. Choose suitable chords for the places marked 1 2 ete, in the following melodies, “Tradioal, Here we goreund the mubery bush?50 | Chor at cadntal pints Allegro @ Allegretto o “atone, "Bs boa beck cheap! © 1 2 3 4 6 Con moto _ —_— —_ — —_— ®Chords at cadentil points | 51 Lento Allegro moderato ® Performance directions ‘You wil need to know the meaning ofthese Italian terms in Grade 5. attacca ge streight on to the next section of music dotente a0, mourntul dolore tet (doloroso: sorrow) the clefs they use, > instrument family groups, and > the basic way by which they produce sound. Page 43 in Music Theory in Practice, Grade 4, provides some basic facts; and The AB Guide to Music Theory, Part I, Chapters 18~21, give further information, alhiough more than you will nged to know at this stage. ‘You might also be asked questions on voices and the clats they use, Page 23 of this book provides some basic facte and The AB Guide to Music Theory, Pet l, Chapter 14, has more detailed informationGeneral exercises 68 Exercise 1 ‘The following passage is the opening of Berceuse by Russian composer, liynsky. Look through it, ‘and then answer the questions bolow. Poco andante 1 2 3 spree) Peep ain {@)_ Underine the instrument that you think the music is meant to be played by: organ; harp; piano; string trio; harpsichord. Explain your reasons, (b) What key is the passage in? (@) Which degrees of the scale are not used in the melody (reble oi? (@) Tick the box (or boxes) below for any ofthe folowing intervals that can be found between adjacent notes in the melody: minor2nd major 2nd—_minor Src major Sd perfect 4th perfect 6th (@) Name the chord at the beginning of bar 3 (f) What does sie in bar 2 imaly? (@) Suggest 2 suitable metoname mark for this piece. (h) Write out bars 8 and 4 of the melody (veble clef), using a key signature of six sharps, but without ‘changing the effect of how it sounds.54 | Gonecal exercises Exercise 2 The following passage is the opening of the second movement of Beethoven's Ttio for 2 oboes and cor anglais. Look at it, and then answer the questions below. ‘Adagio cantabile , ee r ft Oboe 1 Oboe 2 Cor angiais ote. f= Pp (@ Assuming that the key is F major, ive a full description of the first chord in bar 4. (b)_ What is the harmonic interval between the two oboes on the fist beat of each of these bars? Bar2 Bar3 Bara Bar5 (@) What musical effect is implied by sf (bar 6)? (@) What is this sign @@ (bar 7) caleg? Bar 6 (@) Drawa M1 over five notes that form a rising chromatic melody, all within one instrurnent pert {f) Which bass instrument of the woodwind family is closely related to the oboe and cor anglais? (@) What do these two woodwind instruments, oboe andl cor anglais, have in contmon? (h) As printed above, the cor anglais part (lower stave) is at concert pitch ‘Transpose bars 1~4 of its music up a perfect Sth, to show the notation at written pitch, 6 = oExercise 3 po on General excorcises | 55 ‘The following passage is for 4-part choir. It comes at the end of a motet, Ave verum, by Mozart (the words are not shown). Look through it, and then answer the questions below. 1 2 a 4 oo @ {@) Explain the meaning of SATB. (b) The key of the motet is D major. Circle any notes in the passage that are not part of ths Key. (Note that some of the accidentals ere not strictly necessary) {6} What isthe interval between the highest note and the lowest note in the melody (top ine of the music)? Ss {@)_ What isthe largest harmonic interval between the two upper voices? _ {e} What is the smallest harmonic interval between the two lower voloes’ {f) Name the chords above the bass notes marked (), (i) andi 9 —____ 0 {@) Which note is sung in unison by two of the voices? a {h) Name two standard orchestra instruments that could play the bess part ofthis passage. and 4) Wite out bars 5-6 in open score, using the appropriate clefs, Remember to put in the clets and key signature,56 | Genera exercsoa Exercise 4 The following passage is from the last moverent of Ravel's String Quartet, printed here on two staves (ie. in short score). Look through it, and then answer the questions below. (if et agité) pp sf —— oo ao (@)_ What kind of time is the muske in (duple etc)? (b). What ave the four instruments that form a string quartet? © Bpln 9 vit o f — @ paz. (@ Explan what is meant oy this notion: SII ad (@) Inthe lower part of the bass stave in bar 3, name the melodic intervals between: @ — quavers 1.2 @ quavers 2&3 @) quavers 3&4 {{) Why do you think brackets have been put around thres accidentals in the upper part ofthe treble stave? ()_ Rewrite the upper part of the bass stave in bars 8 and 4 in the ato cet without changing how tt will ‘sound. Remember to put in the key signature,peasants Fe sy Oo Pra Op 6 No.0 Froscebysemasr ors Hom, Sain / Utes Ps age Potton Paro Srca No.7 me ‘Seep 00 cy kos nl PateNos Ls Br POU Bienen [ExCenas Se San Arce Fosse bysemeson! Bos & Havas We Pies Page Sno, Perms Marnie Geri 102 Hebe 8 Son Loa ‘Regecoe by pemisonf cea ce se Paes gpa so Peas) {Cao at Fas coco Le. Panerasiog Cran Sais ‘Nvapa eoved Repossession Sy ay 8 Woe by eden Page 4.88, Sah. cp 47 10.3 ' Cerra 07 ego Sov! 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