Grade 1 [Note values of semibreve, minim, crotchet, quaver and semiquaver, and their equivalent rests (candidates may use the terms whole nate’, ‘half note’, etc). Tied notes, Single dotted notes. Simple time signatures of 8 2. barlines and the grouping of the notes listed above within these times. The stave. Treble (G) and bass (F) clefs. Names of notes on the stave, including middle Cin both clfs. Sharp lat and natural signs, and their cancellation Construction of the major scale, including the position of the tones and semitones. Scales and key signatures of the major keys of CG, D and F in both clefs, with their tonic triads (root position), degrees (number only), and intervals above the tonic (by number only). Some frequently used terms and signs concerning tempo, dynamics, performance directions and articulation marks. ‘Simple questions will be asked about a melody written in either treble or bass clef Grade 2 As in Grade 1, withthe addition of. 4 Simple time signatures of 8 8 4 § and the grouping of notes and rests within these times. Triplets, and triplet note groups with rests, Extension of the stave to include two ledger lines below and ‘above each stave, Relative major and minor keys. Construction of the minor scale Charmonic only). Scales and key signatures of the major keys of A, Bb and Eb, and the minor keys of A, E and D, with their tonic triads (root position), degrees (number only), and intervals above the tonic (by number only). ‘More terms and signs in common use. Grade 3 As in preceding grades, withthe addition of: 1 4 Compound time signatures of 8 # and the grouping of notes and rests within these times. The demisemiquaver (32nd note) and its equivalent rest Extension of the stave beyond two ledger lines. Transposition at the octave from the treble clef to the bass clet, and vice versa. ‘Scales and key signatures of all major and minor keys up to. and including four sharps and flats, including both harmonic and melodic forms of minor scales, with their tonic triads (root position), degrees (number only), and intervals above the tonic (number and type). More terms and signs. Grade 4 As in preceding grades, with the addition of: 1 All simple and compound duple, triple and quadruple time signatures, and the grouping of notes and rests within these times. The breve and its equivalent rest. Double-dotted notes and rests. Duplets. 2 same pitch writen in different clefs (treble, alt, bass) * Three triplet demisemiquavers are played in the Did you. Bnew? same amount of time as two demisemiquavers or When triplet demisemiquavers one semiquaver: are beamed into beats with other notes or rests, a bracket = -F-h 3-1 canbeadded to - are show which notes are part of the triplet. * Triplets may include notes and rests of different values: 2 = 5 9A Exercise 3 Tick (W) the four triplet groups that have the same duration as one semiquaver. mo. WO? BO WD r34 A Oe AOS oe). oO Exercise 4 Answer each musical ‘sum’ with one note. Remember! SSS d= TTT + PPPrrr a ooo Chapter 1: Rhythm (Part 1) | 3Exercise 5 Complete the time signature for each of these melodies. Exercise 6 Adda rest or rests in each box to complete these bars, Remember to use a new rest for each new beat. BD eS 4 | Discovering Music Theory: Grade 3Exercise 7 Add the missing bar-lines to each of these melodies. Casey Fill in the gaps to complete this rhythm. Make sure you use at least one demisemiquaver note or rest, and one triplet group. rt | aa ad, ARAL) Challenge! Chapter: Rhythm (Part 1) |Si Starting on an upbeat Did you Not all music starts on the first beat of the bar. Many melodies start on know? an upbeat ~ often the last beat of a bar. When this happens, the final Avatharnamat bar of the melody is usually shortened so that the first and last bars an upbeat is an for make one whole bar when added together. anacrusis + Ifa melody in 4 starts on the fourth beat of the bar, the last bar will often have only three beats ~ the final beat has been ‘borrowed’ from the last bar and placed at the beginning, + Amelody in @ that begins on the third beat will often have only two Theory beats in its final bar, and so on. in sound Listen to Chopin's Prelude in A major to hear what an upbeat sounds like. What other pieces do you know that start with an upbeat? Look at this example from Chopin's Prelude in A major, Op. 28, No. 7: Chopin’s melody starts on the last beat of the bar, which has been ‘borrowed’ from the bar at the end of the extract. Smart tip When a melody begins with an upbeat, work out the time signature by looking at the complete bars in the middle. Exercise 8 Add the time signature to each of these melodies. Handel 6 | Discovering Music Theory: Grade 3Duple, triple and quadruple time . i - is Signatures may be described as duple, triple or i 2 ig, jabtins i nee depending on how many beats they have ina This is shown by the top number of a time signature. % 8 B = tripletime A duple time signature has two beats in a bar. A triple time signature has three beats in a bar. | 4. 4 = quadruple time A quadruple time signature has four beats in a bar. * Notice that the type of beat (crotchet, quaver, minim) does not matter here — only the number of beats in a bar. Exercise 9 Tick (W) one box to describe each time signature, Hj duple triple } quadruple EL [| dupe [| quadruple Bs [| duple [_Jtripte — [] quadruple Bi [Sl duple CO triple [| quadruple B 3 duple triple quadruple Theory in sound Listen to the following pieces, which are in duple, triple and quadruple time, and count or clap the beats as you listen Duple time Beethoven, Symphony No. 7, Op. 92 (Finale) Triple time ‘Tchaikovsky, Swan Lake, Op. 20 (‘Dance of the Swans’) Quadruple time Mozart, Serenade in B», K. 361 (opening) Write down the name of a piece you have played or sung that is in: Duple time Triple time Quadruple time Chapter 1: Rhythm (Part 1) | 7Grouping notes and rests At Grade 2 we discovered how to group notes and rests to make the music as easy to read as possible. As the rhythms get more varied at Grade 3, the grouping of notes and rests is very important. Here are a few key points to remember for the following exercises: fers can be beamed together across one middle of a bar (beats 2-3) in 4 time .ce should have its own rest. For * Beams: Quavers, semiquavers and demisemiquav: or more beats, but avoid beaming them across the * Rests: Each whole bar, half bar or whole beat of silen silences in the middle of a beat, use a new rest for each half-beat Whole bars of silence should use a whole-bar rest: =. «Ties: Avoid using ties where a single note can be written instead. © 10 Tick (7) or cross (X ) each box to show whether the notes are grouped correctly or incorrectly. Smart tip Check the time signature carefully. Remember that the bottom number of the time signature tells you whether the beat is measured in crotchets, quavers or minims, 8 | Discovering Music Theory: Grade 3Exercise 11 tick () one box for each question to show which bar is grouped correctly. Chapter 1: Rhythm (Part 1) | 9Remember! Rhythms can be rewritten in different time signatures by doubling or halving all the time values. For example, # can be rewritten in by doubling all the time values. Exercise 13 Look at thisbar of music: app eeeereee Which example shows the bar above correctly rewritten using notes of half the value? Tick ( ¥ ) one box aE 0 Exercise 14 Look at this bar of music: Clee ? Which example shows the bar above correctly rewritten using notes of twice the value? Tick ( W ) one box, ole =I oO Challenge! Try writing out a bar from a piece you know with a 3 time signature, using notes of twice the value How many duple, triple and quadruple time signatures can you name? 10 | Discovering Music Theory: Grade 3@) Simple and compound time g yy DP wai ‘the time signatures we've met so far are examples of simple time. In simple time, each beat divides into two ~ a crotchet into two quavers, a quaver into two semiquavers, and so on. Zana 4: The 4 beat divides into ) 2) B.Bana4: The d beat divides into J J 2: The 2) beat divides into 2 SN + It's time to meet some compound time signatures. In compound time, each beat is a dotted note that divides into three. At Grade 3, the compound time signatures all have a dotted-crotchet beat, which is divided into three quavers. * The top number of the time signature tells us how many quavers (shown by the bottom number ‘8') there are in a bar. No. of beats In§, 2 and %2, the d. beat divides into) J) JS Pel eae, 1 N w w wo w No. of beats. ‘Type of beat Noofbeats 1 2 3 4 123 4 1 2°3 4 1 2-3 4 aie nee ee eel ee Type of beat Did you know? Notice the dotted minims in the § and 49 examples above. In compound time, a dotted minim is equivalent to two dotted-crotchet beats: | = J J, justas |=) Jin simple time. Chapter 2: Rhythm (Part 2) | 11Exercise 1 Circle the correct answer for each of these questions. ED) Whatis the time signature for four dotted-crotchet beats in a bar? 4 TEX How many quavers are there in a bar of §? me wen wos ree TL Which of these is a compound time signature? EI How many dotted-crotchet beats are there in a bar of 7 Smart tip Each of these rhythms adds up to one dotted- o JIT ST 1 g (@) bog crotchet beat: Soe JIT) Exercise 2 Number the dotted-crotchet beats and then circle the correct time signature for each rhythm. Beats: ae JJ77d 4 l seals Beats: dr) STII B Iadd Idd ia I 6-8 4% Challenge! Can you tap the rhythms ee in Exercise 2 while counting the beats out loud? Try repeating them, Hl Z 5 5 \ g g 12 ‘over and over. Beats: a sJii J, 8 8 8 Beats: 12 | Discovering Music Theory: Grade 3Exercise 3 Add onenote at each y to complete each bar. 12 : : oe. J. 1 of mel Jd y ’ ag > | og d. wo agl isso l jy oe, J 7d Exercise 4 Add one rest at each ¥ to complete each bar. Theory in sound Listen to some of these pieces to hear the difference between simple and compound time: Simple time ‘Compound time Tchaikovsky, The Nutcracker, Op. 71, § Sousa, The Liberty Bell (Dance of the Reed Pipes’) 2 Strauss, The Blue Danube Waltz, Op. 314 2 wagner, The Ride of the Valkyries 32. Beethoven, Symphony No. 6 (‘Pastoral’), Mozart, Piano Sonata in C, K. 545 Op. 68 (2nd movement) (Ist movement) Chapter 2: Rhythm (Part 2) | 13Exercise 5 Add the time signature §, 9 or IZ to each of these melodies. Smart tip Some of these melodies begin with upbeats. Remember to look at the complete bars to work out their time signatures Grieg ‘Mendelssohn Tchaikovsky Challenge! Match up each of these rhythms with the correct time signature by drawing lines. Ws. DTI! 2 I 2) FFT FI 7 d/ (FF): | Ce) eee 14 | Discovering Music Theory: Grade 3Grouping notes and rests in compound time Notes in com, but thereane Pound time are grouped to show the beats, just as they are in simple time, small number of extra things to remember: * Beams: Notes are alway 'ys beamed to make dotted- i not beamed tonethe, lotted-crotchet beats. Multiple beats are WTI. FATA mimmi Beats: 1 2 1 2 1 4 * Ties: Ties are used to join notes that 80 across different beats, but not to join notes within a beat. Exception: two full beats are written as a dotted minim, BST ATI LS Beats: 1 2 3 Se 3 128-3 Rests in compound time follow the same rules as rests in simple time: don't use more rests than necessary, but give each new beat of silence a new rest. Exceptions: + In, use a dotted minim rest () for the first two or last two beats of the bar, but not across the middle of the bar. RJ 3 | dicta daecheasiid ool dwgennid & d, I Beats; 1 2 3 4 1 2 3 4 1 2 iy 04 + Show silent bars with a whole-bar rest (=), whatever the time signature, glo Sa TS aie 1 IT JE Beats: 1 2 3 12 9747 2 3 * If the first two quavers in a beat are silent, use a crotchet rest. If the second two are silent, use two quaver rests. adi dy Chapter 2: Rhythm (Part 2) | 15Exerci: TCIS@ 6 Add the missing bar-lines to each of these melodies. a Ee BG. Exercise 7 Tick (W) one box for each ques! a D8 EE tion to show which bar is grouped correctly. 16 | Discovering Music Theory: Grade 3») Compound time: duple, triple and quadruple We know that simple time signatures can be described as duple, triple or quadruple, depending on whether they have two, three or four beats in a bar (see p. 7). The same applies in compound time. § (two dotted-crotchet beats in a bar) compound duple time Q (three dotted-crotchet beats ina bar) = compound triple time 42 (four dotted-crotchet beats in a bar) compound quadruple time Exercise 9 For each of these bars, add the time signature and then tick (W ) one box to show if itis simple or compound, and one box to show if it is duple or triple or quadruple. _ simple o Gicgs 5 © 7 f ” duple v | compound triple [7 | quadruple - simple {| compound o duple triple C simple {| compound duple [| simple {| compound duple triple [ simple {| compound duple quadruple triple [| quadruple quadruple triple CJ quadruple Challenge! How many simple and compound time signatures can you name? Chapter 2: Rhythm (Part 2) | 17D) Sor3? ~ h The following rhythms in § (compound duple time) and 3 (simple triple time) use the same notes, but they are grouped differently to show the beats. wns 3 Beats: 12 a2 S01 Beats; 1 2 3 VAN | 3 Beats: 1 2 Exercise 10 Add the time signature # or § for each of if these melodies. Smart tip At Grade 3, triplets are used only in simple time signatures. Mendelssohn, Congratulations! You've completed all the work for Grade 3 on Rhythm. Turn to the Practice Exam Paper on page 53 if you'd like to try some sample exam questions. 18 | Discovering Music Theory: Grade 3v7 Notes on three ledger lines W . * So far, we've met notes that use one or two ledger lines. Now we're going to add a third. Here are the notes that use up to three ledger lines above and below the stave: dl 4) 4 $ => =o. 7, S25 BAM fo DE oo be UE ee GA + These notes may be sharpened or flattened by the addition of an accidental, or by a key signature. Exercise 1 Write the name of each of these notes. Chapter 3:Pitch | 19Exercise 2 tick (W) the correct clef needed to make each of these named notes. 2 é Exercise 3 rewrite these notes in the bass clef, keeping the Smart tip pitch the same. Make sure you write each note at the same octave ag the given note, Remember the position of middle cin each clef: a 20 | Discovering Music Theory: Grade 3Rewriting notes one octave higher or lower So far, we have been rewriting notes at the same pitch in a different clef. In Grade 3, you also need to know about rewriting notes one octave higher or one octave lower, either in the same clef or ina different clef. Here is a melody written at the same pitch in the treble clef and the bass clef. eee 2 Here is the melody again, this time written in the bass clef one octave lower. All the note names are the same, but they have moved down in pitch by an octave. 3: a We can also rewrite this melody one octave higher than the original, in the treble clef. Once again, the note names are the same, but they are an octave higher. SS Did you know? Rewriting a melody so that it sounds at a different pitch is called transposing or transposition. Exercise 5 Rewrite these notes one octave lower in the bass clef. Smart tip In questions [El] to i. find the note at the same pitch first, then move it down one octave. Always check the clef carefully. Chapter 3:Pitch | 217 : th Exercise 6 Tick (W) one box for each question to show which bar has been correctly rewritten one octave lower. 7 eS ———— iE == =] Ss 2S 22 | Discovering Music Theory: Grade 3Exercise 7 Tick’) one box for each question to show which bar has been correctly rewritten one octave higher. Theory in sound Think of a simple melody that you can sing or play, and try performing, it an octave higher or lower depending on the range of your voice or instrument. Your teacher can advise you on this. Chapter 3: Pitch | 23Smart tip In questions FE to Ri) may help to find the note at the same pitch first (working it out from middle C) Exercise 8 rewrite these notes one octave higher in the treble clef. Challenge! Can you rewrite these melodies in the given clefs so that they sound one octave lower? Write the rhythms exactly as in the originals, and make sure you include the accidentals. Your progress Congratulations! You've completed all the work for Grade 3 on Pitch. Turn to the Practice Exam Paper on page 53 if you'd like to try some sample exam questions. 24 | Discovering Music Theory: Grade 3| @ Two new major keys 2 mG es explored major keys and scales that include up to three sharps or three flats. At rade 3, you will meet keys and scales with upto four sharps or flats. The two new major keys and scales are E major (containing four sharps) and Ab major (containing four flats). —< FLATS SHARPS —$——_—_—$—<—<—<—<—<—— Abmajor Ebmajor Bbmajor Fmajor Cmajor Gmajor Dmajor Amajor Emajor E major scale, ascending Degrees: Tonic (ist) 2nd 3rd 4th 5th 6th 7th — Tonic (8th) Fe Gt ce De Degrees: Tonic (Ist) 2nd 3rd 4th 5th 6th 7th — Tonic (8th) Fe Ge ce De ‘Ab major scale, ascending Degrees: Tonic (Ist) 2nd 3rd 4th sth 6th 7th — Tonic (8th) Ab Db B Ab Degrees: Tonic (Ist) 2nd 3rd 4th sth 6th 7th Tonic (8th) Chapter 4: Keys & Scales (Part 1) | 25Remember! * All major scales have a semitone between the 3rd and 4th degrees and the 7th ei 8th degrees. * Major scales that include accidentals always have either sharps or flats, never bot Exercise 1 these scales have been written without key signatures. ‘Add accidentals to make the pitches correct. Ab major, ascending a ¢ SSS 7 = uo = = E major, descending at BD SS SS ©. E major, ascending a %} = S oe o = 2 Exercise 2 Circle Tue or FALSE for each statement. El Gis the 3rd degree of the scale of E major. TRUE FALSE [bis the 4th degree of the scale of Ab major. TRUE FALSE Tl There are four flats in the key signature of E major. TRUE FALSE 26 | Discovering Music Theory: Grade 3Exercise 3 write the missing degrees of each major scale as ‘semibreves. The tonic note is given each time. Smart tip Remember to add accidentals where they are needed. Tonic Sth Tonic 7th Tonic 3rd Tonic 4th Tonic 8th Tonic 4th Tonic 3rd Tonic 6th Tonic 2nd The remaining exercises in this chapter include major keys from Grades 1, 2 and 3. Exercise 4 Name the major keys that have these key signatures. DFE] a Key: major Key: major Key: major Key: major oe major Key: major Key: major Key: major Chapter 4: Keys & Scales (Part 1) | 27Exercise 5 Circle the correct key for each of these melodies. Smart tip These melodies have been written without key signat and remember that an accidental alters a pitch for a w! not all of the sharpened or flattened notes in a key may be prese' ures, Look for the accidentals, hole bar. Also bear in mind that nt in the melody. te = Amajor — Emajor G major oO Bbmajor —Ebmajor Ab major 4.5.8aeh oe ae = Ebmajor — B>major FF major Mozart Dmajor — Amajor = Emajor T Can you write the key signatures of all of the keys used in Exercise 5? Try writing them in both the treble and the bass clef. ee your pro: ea e 28 | Discovering Music Theory: Grade 3The melodic minor scale «In Grade 2, we explored the harmonic minor scale, in which the 7th degree of the scale is raised by a semitone. * Let's look at another type of minor scale: the melodic minor scale. In this scale, the 6th and 7th degrees are raised by a semitone when the scale ascends, and lowered again when it descends. + Like the harmonic minor, the melodic minor scale starts on the 6th degree of its relative major key (see page 31). ‘A melodic minor Ascending Descending raised lowered 6th 7th 7th 6th = Fe Ge GF Aharmonic minor Ascending Descending. raised raised 7th 7th oe 4 = o Gt Gt Theory in sound Play or listen to the harmonic and melodic minor scales of A, E or D. In the harmonic jinor scale, notice that the larger interval (three semitones) between the 6th and 7th degrees gives it a different character from the melodic minor scale, whose smoother sound means it is often used in melodies. Chapter 5: Keys & Scales (Part 2) | 29Exercise 1 Tick (W) or cross (X ) each box to show whether notes are correct or incorrect. A melodic minor scale, descending = 4 A 3 SS O E E melodie minor scale, ascen ae = — BSG to = 9 — D melodic minor scale, descending bo sn. o =, | | a D melodic minor scale, ascending a 2 o _ ine Remember! Challenge! In ascending melodic minor scales, Have a go at writing out one of the melodic minor scales, the 6th and 7th degrees are raised ascending or descending, on the stave below. bya semitone, 30 | Discovering Music Theory: Grade 3New minor keys In Grade 2, we learnt that: * Every major key has a rel =. minor key that shares the same key signature * The tonic (key Note) of a relative minor key is the 6th degree of its relative major — or you can count down three semitones from the tonic of ‘the major key + A, Eand D minor are the relative minors of C, G and F major respectively. In Grade 3, we'll explore the relative minor keys of all the major keys introduced in Grades 1-3. ins mi Cminor Gminor Dminor Aminor Eminor Bminor Fé C+ minor major Ebmajor Brmajor Fmajor Cmajor Gmajor Dmajor Amajor major Although these relative major and minor keys share the same key signatures, their scales start on different tonics (key notes), and they do not contain all the same notes. As we have seen, minor scales sometimes require additional accidentals to the 6th and 7th degrees. Exercise 2 Tick (W) one box to show the correctly written Remember! key signature for the named keys. The sharps or flats ina key signature are always written in the same Bminor position on the stave, and in the same order. Cminor Chapter 5: Keys & Scales (Part 2) | 31! Exercise 2 continued. Challenge! See if you can name the major keys that use the same key signatures as those in Exercise 2. Cé minor 1 }@ 3 Circle TRUE or FALSE for each statement. EX Gminoris the relative minor of B» major. TRUE FALSE Fé minor has two sharps in its key signature. TRUE FALSE TF major and F minor have the same key signature. TRUE FALSE EE major is the relative major of C# minor. TRUE FALSE Bh The tonic of a minor key is the Sth degree of its relative major. TRUE FALSE Challenge! Complete this diagram by adding the key signatures for each key in the bass clef. Cminor Gminor Dminor Aminor Eminor Bminor Fiminor C#minor Abmajor E>major B>major Fmajor Cmajor Gmajor Dmajor Amajor Emajor F minor 32 | Discovering Music Theory: Grade 3Exercise 4 Here are the minor scales of the new keys we've been exploring. Tick (W ) one box to show whether each scale is harmonic or melodic. 4 Bharmonic minor, ascending (_] —>_ fo 5 Sag oe ee B melodic minor, ascending F# harmonic minor, ascending Fémelodic minor, ascending (_} Ct harmonic minor, descending C# melodic minor, descending G harmonic minor, descending G melodic minor, descending C harmonic minor, descending C melodic minor, descending F harmonic minor, ascending, 00 F melodic minor, ascending G harmonic minor, ascending “= G melodic minor, ascending f 00 Ct harmonic minor, ascending C# melodic minor, ascending Bharmonic minor, descending [_ | B melodic minor, descending {| F harmonic minor, descending F melodic minor, descending Chapter 5: Keys & Scales (Part 2) | 33Exercise 5 Name the key of each of these melodies, which have been written without key signatures, Smart tip i ‘ill hi Notice the accidentals on the 6th and/or 7th degrees. Learning to eet = cateany you need to identify whether a melody is major or minor (see, for example, " - -# te Key: minor Key: minor Theory in sound It is a good skill to be able to hear the ‘sound’ of music in major and minor keys. Ask someone to play you some of the melodies in Exercise 5; compare how they sound to the pieces in major keys from the previous chapter (see Exercise 5, page 28). 34 | Discovering Music Theory: Grade 3smart tip he following exercises may include an minor keys introduced in Grades > and" Exercise 6 Add one semibreve at each ¥ tocomplete these scales. E melodic minor, descending a 2 = 2 fo——o + C# melodic minor, ascending D harmonic minor, descending y ’ melodic minor, descending 1 fo harmonic minor, ascending | Y B harmonic minor, descending 4 ' 1 = = = Chapter 5: Keys & Scales (Part 2) | 35Exercise 7 Circie the accidentals that are not needed in each of the following melodies. Smart tip Accidentals are not needed where notes are already covered by the key signature or if the same accidental appears earlier in the bar. A minor Eminor G minor Challenge! Can you write out the scale of C# harmonic minor, ascending and descending, from memory? Use either the treble or the bass clef. 36 | Discovering Music Theory: Grade 3Smart tip The extracts in Exercise 8 may 'y be major or minor. Remember that minor keys can include accidentals onthe 6th and 7th degrees, whereas major keys do not require accidentals outside of the key signature, Exercise 8 Circle the correct key for each of these melodies. Brahms G2E — == o SSS fare os E>major Ab major Cminor — G minor _~ Gottschalk > rs ST F major Bb major Dminor Gminor . Smart tip ED. Gi anc Hil are written without. key signatures Rameau Fmajor Bymajor minor G minor Burgmiller Cmajor — Ebmajor = Cminor ~~ D minor F major Bbmajor = Dminor — G minor 2 Schubert be eg 3 “SS 3 3 3 F major Abmajor — C minor F minor Congratulations! You've completed all the work for Grade 3 on Keys & Scales, Turn to the Practice Exam Paper on page 53 if you'd like to try some sample exam questions. Chapter 5: Keys & Scales (Part 2) | 37The perfect interval es * So far, we've learnt to number intervals by counting up the de@re Of the scale from the lower note (the tonic) to the upper 0! * As well as giving them a number, we can also describe interval: ‘major, minor or perfect. * The 4th, Sth and &th/8ve are all perfect intervals because the Notes are the same in major and minor keys. * For instance, the 4th degree of E major and E minor is A: itis Not raised or lowered in either the major or the minor scale. ~ means that the interval from the tonic (E) to the 4th degree ( is a perfect 4th ~ Is as perfect 5th Ss perfect 8th/8ve Exercise 1 write one note after each tonic to form the named interval. Your note should be higher than the given note. Use accidentals if necessary. D major F minor perfect perfect perfect perfect perfect perfect ath sth Bve 4th Sth 8ve ‘Ab major Fé minor a >: o Ss perfect perfect perfect 4th Sth 8ve perfect perfect perfect 4th Sth 8ve Emajor Remember! Count up the degrees of the scale = from the lower note until you reach perfect perfect perfect the named interval. 4th sth 8ve 38 | Discovering Music Theory: Grade 3Major and minor intervals ~~, Other intervals above the tonic can be either major or minor. Major intervals above the tonic contain notes from the major scale. Here are the major intervals found above the tonic E 5 | 6 | tes a major 2nd major 3rd major 6th major 7th Minor intervals above the tonic contain notes found in the harmonic or melodic minor scale, but not in the major scale. Here are the minor intervals above the tonic E: Z s minor 3rd minor 6th minor 7th In minor intervals, the upper note is a semitone lower than in the major interval of the. same number, Did you know? + The intervals of a 6th and 7th may be major or minor in minor keys. This is because minor scales can use the raised or lowered 6th and 7th degrees (see page 29). + The major 2nd is part of major and minor scales. The minor 2nd is not part of either scale — you will find out more about this interval at Grade 4. Exercise 2 write one note after each tonic to form the named interval. The key is E major. major minor major perfect perfect 2nd 3rd 3rd ath Sth minor major minor major perfect eth 6th 7th 7th 8ve Chapter 6: Intervals | 39Smart tip major or minor? Ifthe upper note of the interval appears in the Major scale, the interval is major. If it is a semitone lower, the interval is minor. Exercise 3 write the full name of each of these major or minor intervals above the tonic. A maj nor ajor Bmino = = 2 BH 6 =o = 43 po —— —= : a o major Ab major c# minor Remember! aths, sths and 8ves are perfect intervals. All other intervals can be major or minor. Exercise 4 Circle the type of each interval. The lower note in each is the tonic. EE G2] certect major minor El EL =] perfect major minor petect major minor] SJEGES| petet aor miner perfect major minor [fl SSS perfect major minor Ot z 2 BG] eerfect major minor fy Deze perfect major — minor oo , tee ri] @ = = perfect major minor ff) = perfect major minor © 40 | Discovering Music Theory: Grade 3exercise 5 Write one note after each tonic to form the named interval. Your note should be higher than the given note. Use accidentals if necessary, ‘Ab major Cminor major Perfect major minor major perfect 3rd Sth 7th éth 2nd Bve Fé minor | G major perfect, major major perfect minor major 4th 3rd 6th Sth 3rd 7th Bb major F minor 5 og 2 perfect major major minor perfect minor 4th 7th 2nd eth sth 7th Challenge! Identify the intervals marked by brackets (T——\) in this melody. The lower note of every he tonic, but in some cases the higher note comes first. ela ada fond Congratulations! You've completed all the work for Grade 3 on Intervals. Turn to the Practice Exam Paper on page 53 if you'd like to try some sample exam questions. Chapter 6: Intervals | 41Tonic triads in major and minor keys * As we know, a tonic triad is a chord consisting of the Ist (tonic), the 3rd and the 5th degrees of the scale. * In this chapter, we're going to meet the tonic triads of the new major and minor keys introduced in Chapters 4and5, ~. * As we discovered on page 39, the interval of a 3rd above the tonic is minor in a minor key or major in a major key. itis this interval that makes the major triad and the minor triad sound different. * At Grade 3, tonic triads are written without key signatures, and with the tonic as the lowest note. Exercise 1 tick (Wor cross (X) each box to show whether each toni ome roiror CJ 42 | Discovering Music Theory: Grade 3 Gmajortriad — G minor triag Remembe Aminor 3rd isa semitone smaller than a major 3rd. riad is correct or incorrect, 1 ==exercise 2 Circle the correct key for each tonic triad, ao 2% Céminor Fé minor A major Emajor E minor Bminor D major Dminor Fé minor Amajor E major Gminor B minor D minor Eb major Ab major F minor Exercise 3 Add accidentals to make the named tonic triads. Gminor F minor B minor Ebmajor B minor E>major D major G major B minor Fé minor E minor Cminor # minor = Fé minor Chapter 7: Tonic Triads | 43. = i ic as the Exercise 4 addone missing note to complete each triad, with the tonic a Use accidentals if necessary. Smart tip Make sure the interval between the tonic and the middle note is @ major 3rd in major keys and a minor 3rd in minor keys. a e lowest note, E major C# minor bf © @ 5 > D major G minor C minor Ab major Bb major Eb major : ts F major Fé minor Challenge! How many tonic triads can you remember? Write as many as you can on the stave below. Use either a treble or a bass clef. Congratulations! You've completed all the work for Grade 3 on Tonic Triads. ‘Turn to the Practice Exam Paper on page 53 if you'd like to try some sample exam questions. 44 | Discovering Music Theory: Grade 3