Theory of Music Workbook

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Contents
Contents
Introduction
ntroduction 1
Thestave
he stave 2
Writinghighandlownotes
riting high and low notes 3
Trebleandbassclefs
reble and b a s s clefs 4
Middl
iddleeC
C 5
Grade1notes
Grade 1 notes 6
No teva
Note lues.
values. 9
Rests
ests 11
11
Bars
Bars,,barli nesaand
bar lines ndtim esign
time atures
signatures 13
13
Tone
Tonessand
and sem itones
semitones 16
16
Accidentals
Accidentals 17
17
Keys-
eys C Cmaj or
major. 19
19
Thet onictriad
The tonic triad inth ekey
key ofC
of C majo
in the major.r_ 20
20
Oth erm
Other ajorkkeys
major eys-GGan F
anddF
22
22
Key
Key signa tures
signatures 23
23
Intervals
Intervals 28
28
Thec ircleo
T he c ir cle off5ths
5ths
30
30
Arpe ggios
Arpeggios 31
31
Groupingn
Grouping otesandb
notes eamingqu
and beaming avers
quavers 33
33
Groupingrrests
Grouping ests 36
36
Ans weringa
Answering a give
givennrhy thm
rhythm 39
39
Os tinato
Ostinato 40
40
Mus icalw
Musical ordsand
words a n d sym bols
symbols 41
41
Analysis
Analysis 43
43
Sam pleeexamination
Sample xaminationppaper
aper 47
47
Differentw
Different ords-s
words s ame
a m e meaning 53
meaning 53

TRINITY
COLLEGE LONDON PRESS

Theory of MusiC
Workbook
for Trinity College London
written exams
Grade 1

by Naomi Yandell
Search

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Published by
!
Trinity College London Press Ltd
trinitycollege.com
Registered in England
Company no . 09726123

Copyright Co 2 0 0 7 Trinity College London

Tweifth impression, December 2018B
Unauthorised photocopying is illegal
No part of this publication may be copied or reproduced in any
form or by any m e a n s i t h o u t the prior permission of the publisher

Designer and editor: Natasha Witts

Music p r o c e s s e d by New Notations London
Printed in England by Halstan, Amersham, Bucks

Introduction

Why write down music?

If you r e a d a b o o k y o u a r e reading a n o t h e r p e r s o n ' s t h o u g h t s . If you play m u s i c y o u
a r e playing a n o t h e r p er so n' s m u si ca l t ho u gh ts . P eo pl e w ri te b o ok s a n d m u s i c so t h a t

t h e y c a n s h a r e their ideas.

Learning to r e a d a n d w ri te m u si c is i m p o r t a n t b e c a u s e it helps musicians to play

w h a t is w r i t t e n d o w n quickly a n d easily. Having said that, s o m e brilliant m u s i c i a n s
h a v e n e v e r l e a r n e d t o r e a d music. They play by ear. T h at 's g r ea t , but if y ou w an t to

play in b a n d s a n d orchestras, or to write y o u r own music, you n e e d to learn to r e a d

and write music.

Using t h i s workbook
Th e writing in th e boxes tells you:
A b o u t t h e music t h a t yo u sing, or p la y o n y o u r i n s t r u m e n t

What you need to know to pass your Trinity College London Grade 1 Theory of
Music exam

Doing t h e t a s k s
.
Use a pencil with a s h a r p point a n d a fairly soft lead s o t h a t y ou c a n easily r u b

o u t w h a t you have written if you n e e d to

Be careful to be a c c u r a t e with musical n o t e s a n d s i g n s t h i s will m a k e a

difference to your marks b ec au se t h e e x am i ne r m u st be able to read what you

h a v e written
R e a d t h r o u g h t h e boxes t o m a k e s u r e you u n d e r s t a n d h o w to do t h e t a s k s a n d

a s k for help if you n e e d it

T h e first t a s k in e a c h section has usually b e e n d o n e for you in red to s h o w you

w h a t to do

Use the pictures of the piano keyboards, including the o n e o n page 53.
They are t h e r e to help you, e v e n if you do not play a keyboard i n s t r u m e n t
Always try to play, sing or tap the music you write. This is a very important
and will help you 'hear w h a t y o u write in y o u r h e a d . It will help
part of learning,
w h e n you have to work in silence
you in t h e exam

What comes next?

s o m e sample papers. You c a n purchase t h e m from
When you h a v e finished this book try
t e a c h e r to e n t e r y o u for
www.trinitycollege.com/shop. You will t h e n b e ready to ask y o u r
t h e G r a d e 1 Theory of Music e x a m .

Thestave
The s t a v e

Musicisusu allywritteno
Music is usually lines called a stave.
a set of five linescalleda
written onnasetoffive stave.

Thenote-heads(theoval-shapeddotsshownbelow)canbeputeitheronthe
The n o t e - h e a d s ( t h e oval-shaped dots s h o w n below) can be put e i t h e r on t h e

lines,likethis:
Handyytip!
lines, like this:
Hand tip
Note-heads
Note-heads
areoval,
are oval,
notround
not round

insha pe
in shape.
Orinthespacesbetweenthelines,likethis:
Or in the spaces between the lines, like this:

IWriteanote-headoneveryline.
1 Write a note-head o n every line.
shown inthee
notes a ssshown
t h e notesa above..
xamplesabove
Leaveg apsbetw
Leave gaps eenthe
between in the examples

2Writeanote-headineveryspace
2 Write a note -hea d in every space.

3 W r i t e t h rreenote-he
ElWriteth adsonthet
e e note-heads hirdlineupf
on the third romthebot
line up from tom
the bottom.

Thenwritethreenote-headsinthefirstspace
Then write three note-heads in the first space.

4Writeanote-headoneverylineandineveryspace.
4 Write a note-hea d on every line and in every space.

Writing high a n d low n o t e s

the bottom.
t h e top o f t h e s t a v e a n d l o w n o t e s
near
notes written
High are near

The lines coming from the n o t e - h e a d s a r e called s t e m s .

t h e s t e m s g o d o w n a n d if t h e n o t e s
are
As a general rule, if the notes are high
low t h e s t e m s g o up. T h e m i d d l e line
is usually the only line w h e r e a s t e m c a n
o r down. This m a k e s the m u s i c e a s y to r e a d .
go up

L Low notes
Highnotes Middle line notes

notes usually played

Keyboard players will know t h a t o n t h e keyboard high
are

with t h e right h a n d a n d low notes w i t h the left.

1 A d d a s t e m to e a c h note-head. P l a c e e a c h o n e carefully a n d k e e p t h e l e n g t h of t h e

s t e m s t h e s a m e a s s h o w n in t h e exam ples a b o v e .

Handy
tip
Put s t e m s on 2 Add a stem to each note-head.
the left of the
n o t e - h e a d for
high notes.

Put stems on
he right of the W r i t e five high notes and five low notes using note-heads and stems.
note-head for
low notes.

4 A d d a s t e m to e a c h note-head.

Did you
know?
Some
note-heads are
solid black and
s o m e a r e not.

Treble a n d b a s s clefs

To s h o w e x a c t l y w h ich h i g h o r low s o u n d t o play, e a c h s o u n d h a s a n a m e .

T h e l e t te r s u s e d t o n a m e n o t e s a r e A B C D E F G . T h e y r e p e a t t h e m s e l v e s o v e r

and over again - higher and higher.

Did you
A t r e b l e c l e f ( o r G clef) is u s e d for h i g h n o t e s . T h e little c u r v e d line in t h e
know?
middle of t h e clef curls around the second line where t h e note G sits:
People named
G
notes using
letter n a m e s
as f a r back
as t h e time of
the Ancient
Greeks
1 Write over the dotted lines to make treble clefs. Draw them as one continuous line.

2 W r i t e five treble clefs. Check that the curved line in the middle of t h e clef curls
a r o u n d t h e s e c o n d line.

A b a s s clef (or F clef) is used for low notes. (The little dots go on e i t h e r side of
t h e line where F sits):

3 Write over the dotted lines to make bass clefs.

4 Write five bass clefs. Check that the dots go on either side of the line where F sits.

Middle C

Middle C is a note like any other. It has the word middle in front of it because it
is in the middle of most keyboard instruments. In both the treble and bass clefs
Middle C sits on a little line of its own (called a leger line).

In the treble clef it is written like this:

Handy tip
Leger lines In the bass clef it is written like this:
are written

the same Both notes mean Middle C and sound the same.
distance away
from the If Middle C appears in the treble clef in music for keyboard, the player usually
stave as the plays it with the right h a n d - if in the bass clef, the player usually plays it with
stave lines the left:

Usually played with the right hand

Usually played with the left hand

W r i t e three Middle Cs in the Write three Middle Cs in

treble clef. the bass clef.

3 Write in a treble or bass clef to make these notes Middle C.

Grade 1 notes

H e r e a r e t h e t r e b l e clef n o t e s you n e e d t o know f o r G r a d e 1:

|
B Middle D E F G A B CD E F G B

Learn these first:

Treble clef lines: Treble clef spaces:

G B F C E

You may like to think of words to help you r em e mb e r t h es e (for example,

Every Green Bus Drives Fast).

1 Name these notes

Did you
know?
f two notes
have the s am e
letter name
but they are
in different
places on the

stave, they
are said to be
ot different
registers.
Listen out
for notes
a t different
registers next
2 Write two different Ds. 3 Write two different Bs.
time you

practise your
instrument.
The distonce
b et we en o ne
note and the 4Write two different Cs. 5 Write two diff erent Es.
next with the
same letter
name is called
an octave

Grade
Grade 1note
1 notess)
9

HerearethebassclefnotesyouneedtoknowforGrade
H e r e a r e t h e b a s s clef n o t e s you n e e d to know for G r a d e 1:

Handytip!
Handy tip
Testyourself
Test yoursef
E F G A B C D E F GA B MiddleC
B MiddleD
byw ritingout
by writing out
D

everyGrade1
every Grade 1
noteona
note on a Learn thesef
Learn irst:
these first:
separatesheet
separate sheet
Bass
Bass clefli nes:
clef lines: Bass
Bass clefs paces:
clef spaces:
ofpapera nd
of paper a n d
timinghow
timing how
quicklyyou
quickly you
can
c a n nam
namee
G B D F A A E G
eachone
each one.
Al
Alllnotescan
notes can
bechecked
be checked
usingtheGin
using the G in MlNameth esenote
1 Name these s:
notes:
theGclef,the
the G clef, the
FintheFclef
F in the F clef
orMiddleC.
or Middle C.

2WritetwodifferentGs.
2 Write two different Gs. ElW
W r i ritetw
t e twoodiffe rentC
different s.
Cs.

Handytip!
Handy tip
Checkthat
Check that
you put the
you put the

stemsinthe
stems in the 4W ritetw
4 Write twoodiffe rentA
different As.
s. 5w ritetw
5 Write twoodiffe rentFFs.
different s.
correctplace
correct place

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Name he n o t e s to find the hidden w o r d s .

2 Write notes to match the note names.

E D

D E
C

G E
E E

Note values

Each note lasts for a certain length of time; musicians measure this time by
t h e n u m b e r of silent regular beats within the n o t e value. The b e a t u s e d
feeling
to measure notes in Grade 1 is the crotchet.

N o t e s a r e d r a w n in d i f f e r e n t w a y s t o s h o w how m a n y b e a t s to c o u n t while t h e
Did you
note is played:
know?
Semibreve This n o t e lasts for four c r o t c h e t b e a t s
Sometimes
other names
for note values Minims These n o t e s last for two c r o t c h e t b e a t s e a c h
are used,

T h e s e n o t e s last for crotchet beat each

e s p e c i a l l y in Crotchets one

America. They
are shown at These notes last for half a c r o t c h e t beat e a c h .
Quavers
the back of always b e a m e d together for G r a d e 1
They are

his book. You (see page 33)

do not need
to know them
for Grade 1,
but you can
111 (crotchet beat)

The note that lasts for three crotchet beats is known as a dotted minim: d

learn about is a d d e d to its length,

A dot after a note me a n s t h a t half its value again
t h e m and use
for example:
them in your
exam if you Crotchet Dotted minim
Minim
w a n t to d o so.
(one c r o tc h e t b e at ) ( t hr e e c r o tc h e t beats)
(two crotchet beats)

of crotchet beats in t h e s e note values.

1 Add t h e total n u m b e r

h+ 2 t 1 +2 4 crotchet beats_

2 W r i t e six crotchet Gs.

Handy tip
Dotted
m i n i m s in

a space:

3 Write three minim Es and two semibreve Ds.

or

Dotted
minims on
4 Write three dotted minim Fs and two dotted minim Gs.
line:

or

Write eight quavers on C, beamed together in twos.

10

Rests

Each silence withina piece of music lasts for a certain length of time and is called
a r e s t . Musicians m e a s u r e r e s t s by feeling t h e n u m b e r of silent r e g u l a r b e a t s within
them. The beat used to measure rests in Grade 1 is t h e c r ot c he t .

Rests are drawn in different ways to show how many beats to count while the silence
lasts:
Semibreve rest This rest lasts for four crotchet beats
or
a whole bar of silence in any time signature
see page 36)

Minim rests These rests last for two crotchet b e at s e a ch

Crotchet rests These rests last for one crotchet beat each

(crotchet beat)

A dot after a rest means that half its value again is added to its length. But for a rest
lasting for three beats you write:

not

When you first s ee minim and semibreve rests they look rather similar. Think
'semibreve submarine' and you will remember that the semibreve rest hangs down
from the line.

1 Write over the dotted lines to make crotchet rests. Draw them as one con tinu ous line.

2 Match the following rests to the names that correctly describe their lengths.

semibreve rest

minim rest

crotchet rest

to t h e rests.
note values
Match the length
o f t h e following

in t h e s e n o t e
values and rests.
of c r o t c h e t b e a t s
Add the total n u m b e r

4 5 crotchet beats

.t

+
=

12

Bars,barlinesandtimesignatures
Bars, bar lines and time signatures

ganisedinto
Beats are organised
Beatsareor a r line at the andofeacho
b a r s with a b arlineatthe
into bars.withab ne.ForGrade
end of aach one. For &rade1
crotchetb eats.Thef irstbeato rtheharis ia aalittle
barscanholdtwothreeorfour
bars can hoid two. three or four crotchet beats. The first beat of the bar tte

strongerthantheothersandthisaddsaparticularcharactertothemus«
s t r o n g e r t h a n t h e o t h e r s a n d t h i s a d d s a p a r t i c u l a r c h a r a c t e r to t h e mUSie:

Didyou
d u d i e d a r line
Did you
ine (endofpiece'
end of Diece
know?
know? 2crotchetDars
2-crotchet bars

Barso re
Bars are
sometimes
sometimes
numberedot
numbered at
thebeginning
the beginning
3-crotc
3-crotchhetDars
et bars
ofeachline
oeach line
ofmusic(see
o m us ic ( se e
page43)so
page 43) so
thatplayers
that players
coneasilysee
c a n easi see
wheretheu
where t h e
areinapiece
a r e in a piece

ofmusic.
omusic
Thereisatimesignatureatthebeginningofthemusic.
T h e r e is a t i m e s i g n a t u r e a t t h e beginning o f t h e m us ic.

T h e top n u m b e r ofatimesignatu reshasthenum e r of b e a s n a dur

s h o w s t h e n u m bberofbeatsaat
Remember
Remember Thetoonumber of a t i m e siqnature

ForGrade1
For Grade 1
crotchetsore
crotchets are
thebeetsused
the bects used
inalltim
i n all tim ee
1ThebottomnumbershowsthetypecvDelinaher(-
T h e b o t t o m n u m b e r s h o w s t h e t y o e of b e a t in a d a r m e s r s Tthet

signatures,SO
Snatures, s o

thebottom
the bottom
numberfor
number fo r
thetime
t h e time

signatures
signatures
isah ousA
s ahways 4

(exc p t w there
e x c eep:w ere

Ciswri
C s w i ttten)
ten)
1orCissometimescalledcommontime
o r C s sometimes calied c o m m o n t i m e

ITWritethecorrecttimesignatures
W r i t e the correct time signatures

w ith c r o t c h e t s (F s a n d Cs).
clef a n d fill e a c h b a r
2Write a treble

clef a n d fill e a c h b a r with

c r o t c h e t s (Bs a n d Gs)
3 W r it e a bass

with c r o t c h e t s (two d i f f e r e n t Cs).

4 W r i t e a b a s s clef a n d fill e a c h b a r

5 C o u n t up t h e n u m b e r of c r o t c h e t b e a t s in e a c h first bar. In t h e s e c o n d b a r write o n e note

first bar.
E to s h o w t h e total value of t h e n o t e s a n d r e s t s in t h e

6 Write the correct time signatures.

7Lookatthefollowingmusic.Addbarlinestoagreewiththetimesignatures.
7 Look at the following music. Add bar lines to agree with the time signatures.

911111

te;
15

To n e ssa
T one n d se
a nd sem t o ne
miito ness

IfyouplayallthewhitenotesfromGtoConakeyboardyouwillbeplayingthe
play all
If you
C keyboard
t h e white n o t e s from
will be nlavin. .
the toC on a you

scale offCma
scaleo jor:
C major:

e 0 e O
Didyou
Did you
O e 0
e
e
kn ow?
know?
Ascal
A scaleeusual lu
usually The distance between every whiteenoteandthenextis always thesame:
notalways
movesupor
moves up or
Thedistan cebetweeneverywhit note and the next is not the same:

ne.
-ifablacknotecomesbetweenthemthedistanceiscalledato
- if a black note comes between them the distance is called a tone.
downinsteps
down in steps..
Th esessteps
tepsaare s t a n c e is c a llledasemit one
These re -ifthereis noblacknotebetweent h e m t h e d istanceisca
- if t h e r e is no black n o t e b e t w e e n themthedi led a semito ne
calleddegrees
called degrees
(me aning'h
(meaning alfa
'half a ton e).
tone'). tone(s)
semi
semitone (s)
Youwilllearn
You will learn
majorscales
major scales

onyour
on your

instrumentat
instrument a t
first,butthere
first, but there
areothertypes
are other types
ofscaletoo.
of scale too. G A B CDE
c D E F GAB
cof
cD E

semitone(s)
semitone (s) tone(t)
tone ()

Inotherwords,thereisadistanceofasemitonebetweeneverynext-doornote
In other words, there is a distance of a s em it on e b e tw e en e ve ry next-door note
onthekeyboard-blackorwhite.
o n t h e k e y b o a r d - b l a c k or w h i t e .

1Lookatthefollowingpairsofnotesandsaywhetherthedistancebetweenthemisa
1 Look at the following pairs of notes and say whether the distance between them is a
toneorasemitone.Checktheclefeachtime.
tone or a semitone. Check the clef each time.

Didyyou
Did ou e
0

know?
know?
Ifyouarea
y o u are a
Semitone
Semitonne_
stringplayer
string player
youcanfeel
you can feel
O
thedifferent
the different O
distances
distances
betwe entone
between toness
andsemitones
and semitones
withyour
with your
left-hand
left-hand e

fingers.Ask
fingers. As k

yo
your eacher
urtteacher
toshowyou
to show you.

,
6
6

Accidentals
Accidentals

Accidentalsaresignsthatareputjustbeforeanotetotellmusicianstochange
Accidentals are signs that are put just before a note to tell musicians to change
thepitch(howhighorlowasoundis).Thetypeofsignusedshowshowto
the pitch (how high or low a sound is). The type of sign used shows how to
changeit.
change it.
Handytip!
Handy tip
Til
Tilttth
theelin es
lines Theflat(b)lowersthepitchbyasemitone.
The flat (6) lowers the pitch by a semitone.
acrossthe
across the
sharpsignso
sharp signn so he pitchg
pitch goes from BtoBf
downnfrom
oesdow lat
B to B flat
thatitdoesn't
that it doesn't
qetmuddled
get muddled
upwiththe
up with the Thesharp
The s h a r p (2)raisest hepitchby
(#) raises the pitch by asemitone
a semitone..
stavelines
stave lines
pitchqoesu
pitch goes up from F to F sharp
pfromFtoF sharp
andbecome
and become
ta
difficultto
difficult to
read:
read:

Thenatural(.)cancelsanyprevioussign.
The natural (t) c a nc e ls a n y previous sign.

10.
o e s u p fromBf
pitch g oesupf
pitchg a t t o B natural
r o m B f llattoB
0 te
e
natural

X (bycancel
(by cancelling out the flat)
lingoutthe flat)

pitchgoesd
pitch goes down from F sharpto
ownfromF s h a r p to
to Fnatural(bycancellingoutthesharp)
F natural (by cancelling out th e sharp)

Didyou
Did you
know?
know? Anaccidentallastsuntilanotheroneonexactlythesamelineorspacecancels
An accidental lasts until a n o t h e r o n e on exactly the s a m e line or s p a c e cancels
it,oruntilthenextbarline.
it, o r until the next bar line.
Quaversar
Quavers e
are
sometimes
sometimes (F#) (Ba)
(Bb)

beared
beamed
togetherin
t o g e t h e r in
73be
groupsoffour.
groups of four.
Lookat
Look at
(FI)
(F)
page33to
p a g e 3 3 to (Bb)

强」江
(Bb)
findoutwhy.
find out why.

1 Writeoverthedottedlinestomakeflats,sharpsandnaturals.
Write over the dotted lines to make flats, sharps and naturals.

Handytip!
Handy tip
Writeflatand
Write flat and
naturalsig
natural ns
signs
intwoparts
in t w o parts: 2Writeafl atineverysp
2 Write a flat aceandasha
in every space rponeverylin
and a sharp e.
on every line.

17

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n o t e s . T henwritet
enotes.T h e i r n o t e names.
h e n write theirnote
3 Write a flatjustb
3Writea eforethes
flat just b e fore these names.

the
B

Handytip!
Handy tip Writeasharpjustbeforethesenotes.Thenwritetheirnotenames.
4 W r it e a sharp u s t before these notes. Then write their note names.
Besureto
Be sure to
position
position
accidentals
accidentals
carefullyso
carefully so
th atth
that ey
they #•
applyto
apply to the
the
correctnote
orrect note. F*
F t
aa

5Writeanaturaljustbeforethesenotes.Thenwritetheirnotenames.
5 Write a natural just before t h e s e notes. Then write their note names.

16Flatteneachm
6 Flatten iddlenot
each middle noteebelow.T henretur
below. Then returnnittoits
it to its originalp itch.
original pitch.

O to O

7Sh arpeneachm
7 Sharpen iddlennotebe
each middle low.Th enretu rnitto
it to itsorig
o t e below. Then return inalpit
its original ch.
pitch.

#0
O oto e
6
e

O
0 O

18
18

Keys-Cmajor
Keys - C major

IfsomeonetellsyouthatapieceofmusicisinthekeyofCmajor,itmeansthatthe
If s o m eo n e tells you that a piece of music is in the key of C major, it means that the
musicyouhearwillmostlyusethenotesfromthescaleofCmajor.
music you hear will mostly us e the notes from the scale of C major.

Withinanykey,theistdeqreeofthescale(whatevertheregister)isthetonic.
Within any key, the 1st degree of the scale (whatever the register) is the tonic.
ForGrade1youneedtoknowthatitcanalsobecalleddoh.Tunesoftenbeginand
For Grade 1 you need to know that it can also be called doh. Tunes often begin and
endonitwiththeresultthatthetonicsoundsspecial.
end on it with the result that the tonic sounds special.

Hereis
Here is thescale
the scale ofCma jorgoing
of C major up:
going up:

2 3 A 5 6 808 (1
tonic
onic tonic
tonic
ordoh
r doh ordoh
or doh

ElAns werthe
1 Answer the followin
followingqquesti
questions:
ons:

Givetwopossiblenamesforthe1stdegreeinanykey.
i v e two possible n a m e s for t h e 1st d e g r e e in any key. Tonicordoh
Tonico r doh