Preoui Me rem Nottie Discovering Music Theory THE ABRSM GRADE 3 WORKBOOK Global Cultural Concepts So TrDiscovering Music Theory THE ABRSM GRADE 3 WORKBOOK Design by Kete Benjamin Music origination for workbook by Mira Roach Music origination for practice exam paper by Pete Readman Cover and inside illustration by Andy Potts First published in 2020 by ABRSM (Publishing) Ltd, a wholly owned subsiiary of ABRSM {© 2020 by The Associated Board ofthe Royal Schools of Music ISBN 978 178601 3477 ABagr2 Allrights reserved. No part ofthis publication may be reproduced sored ina rtrévalsystem, ox transmitted in any form or by any means, electronic, mechanical, photocopying. recording, ‘or otherwise, without the prior permission ofthe copyright owner. Printed in England by Page Bros (Norwich) Ltd, on materials from sustainable sources PISO Global Cultural ConceptsTHE ABRSM MUSIC THEORY SYLLABUS FROM 2020: GRADES 1TO 5 Grade1 1 Note value of semibreve, minim, crotch, quaver and semiquaver, and ther equivalent rests (cancidates may use the terms ‘whole nate, half note, etc). Tied notes, Single- dotted notes. 2 Simple time signatures of #4 ba-lines and the grouping of the notes listed above within these times. 3 Thestave. Treble (G) and bass (F) cles, Names of notes on the stave, including middle Cn both cet, Sharp, at and natural sign, and their cancelation 4 Construction ofthe major scale, including the postion ofthe tones and semitones, Scales and key signatures ofthe major keys of C G, D and F inboth cles, with their tonic triads ‘toot postion), degrees (number ony), and intervals above the tonic by aumber only) 5 Some frequently used terms and signs concerning tempo, dynamics, performance directions and articulation marks. Simple questions willbe asked about a melody writen in either treble or bass cet, Grade 2 As in Grade I, withthe addition of 1. Simple time signatures of #2 § and the grouping of notes and rests within these times. Triplets, and triplet note groups with rests, 2. Extension of the stave to include two ledger lines below and above each stave, 3. Relative major and minor keys. Construction ofthe minor scale (harmonic only), Scales and key signatures of the major keys of A, Bb and Eb, and the minor keys of A, Eand D, with their tonic triads (root position), degrees (number only), and Intervals above the tonic (by number only). 4. More terms and signs in common use. Grade 3 As in preceding grades, withthe addition of 1 Compound time signatures of 8 and the grouping of notes and rests within these times. The demisemiquaver (2nd note) and its equivalent rest. 2 Extension of the stave beyond two ledger lines. Transposition atthe octave from the treble clef to the bass cle, and vice 3. Scales and key signatures of all major and minor keys up to {and including four sharps and fats, including both harmonic and melodic forms of minor scales, with their tonic triads Foot position), degrees (number only), and intervals above the tonic (number and type). 4 More terms and signs. Grade 4 As in preceding grades, withthe addition of 1. Allsimple 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-dotied notes and rests, Duplets 2 Ato cle (C clef centred on 3rd line). Notes in the alto clef in any of the keys set for this grade (see below). Notes of the same pitch written indifferent clef (treble, alto, bass) and transposition at the octave from the treble or the bass clef to the alto clef and vice versa. Double sharp and double flat signs, and thei cancellation. Enharmonic equivalents. 3 Scales and key signatures of all major and minor keys up to and including ve sharps and flats, with both forms of minor scales, Technical names for the notes ofthe diatonic scale (tonic, supertonic et.). Construction of the chromatic scale. Allintervals, not exceeding an octave, between any two diatonic notesin any of the keys set for this grade. 4 Triads (root position) onthe tonic, subdominant and dominant notes in any ofthe keys set for this grade. Chords in root position cn the tonic, subdominant and dominant notes in any of the keys set for this grade (the harmonic form of the scale will be used in minor keys) 5 More terms and signs, including the recognition and naming (ofthe til tura, upper and lower mordent, acciaccatura ‘and appoggiatura. Questions about a passage of music will include simple elated questions about standard orchestral instruments, Grade 5 As in preceding grades, withthe addition of 1. Irregular time signatures of ff § Rand the grouping of notes and rests with n these times. Irregular divisions of simple time values. 2. Tenor clef (C clef centred on Ath lin). The identification of notes in the four cles in any ofthe keys set for this grade (see below), and the transposition a the octave of a simple ‘melody from any cle to another. Transposition to concert pitch ofa short melody notated for an instrument in Be, A or F, and vice versa (the interval of transposition up or down will be given). 3 Scales and key signatures of all major and minar keys up to, and including six sharps and fats. All simple and compound intervals from any note 4 The root position (a), It inversion (6) and 2nd inversion (c) forms ofthe tenic, supertonic, subdominant and dominant chords in any of the keys set for this grade, The choice of suitable chords at cadential points ofa simple melody in the major key of CG, D or F, Perfect, plagal and imperfect cadences in the major keys of C, G, D or F 5. More terms ard signs. The recognition of ornaments, including the replacement of written-out ornamentation with the appropriate signs, but not vice versa. Questions on the types of vcice and names of instruments, the clefs they use, instrumert 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 knowledge to actual musicIntroduction Chapter 1: Rhythm (Part 1) The demisemiquaver; starting on an upbeat; duple, triple and quadruple time; grouping notes and rests Chapter 2: Rhythm (Part 2) Simple and compound time; new time signatures: § Q 12; grouping notes and rests in compound time Chapter 3: Pitch Notes on three ledger lines; transposing notes by one octave Chapter 4: Keys & Scales (Part 1) The keys and scales of E and Ab major Chapter 5: Keys & Scales (Part 2) The melodic minor scale; keys and scales of B, G, F#, C, C# and F minor Chapter 6: Intervals Perfect, major and minor intervals Chapter 7: Tonic Triads Tonic triads in major and minor keys with up to four sharps and flats Chapter 8: Terms & Signs Chapter 9: Music in Context Practice Exam Paper ‘Musi examples are written by the author unless otherwise stated. Some music examples have been adapted to sult learning requirements, u 19 25 29 38 42 45 49 53INTRODUCTION e learning a language. Understanding how it is written down will help you in all aspects of your music making, from performing and listening to composing and improvising. Discovering Music Theory is a suite of five workbooks, with answer books, that covers everything you need to know and understand for ABRSM's Music Theory exams at Grades 1 to 5. In addition, they provide lots of ideas and opportunities to help you link music theory with your wicer musical activity. Discovering Music Theory: Grade 3 will help you to build the skills, knowledge and understanding required for the ABRSM Grade 3 Music Theory exam. Each chapter focuses ona particular area, corresponding to the sections of the exam paper. Throughout the book, new topics are introduced with simple explanations, followed by progressive and varied exercises. These exercises have been carefully written to help you become familiar with the style and types of questions used in the exam, Some example answers have been provided in orange to help you along the way. Alongside the exercises, you'll find plenty of suggestions to help you apply your theory skills and link them with your other musical activities. These are presented in different ways | @ Overview of the knowledge, skills and understanding required for your exam | Did you know? Interesting additional information related to the knowledge required for your exam | smart tip Hints and suggestions on how to approach a specific exercise Remember! Reminders of information covered earlier, and relevant to a specific exercise Theory in sound Ideas for how to link theory with what you have earnt with your playing, singing and listening Challenge! Extra tasks to challenge you and extend your learning Your progress A chance to check your skills and progress at the end of each chapter At the end of the book, you'll find a practice exam paper. You can try each section of the paper as you complete the work for that topic, or use it as revision once you've completed the whole book Further practice exam papers for each grade are available from ABRSM. Note names Notes have different names in different parts of the world. In this book we will use words such as ‘semibreve' and ‘minim’, but you may be used to ‘whole note’ and ‘half note’. The following will help you to convert the note names, if you need to: semibreve | — minim crotchet quaver semiquaver | demisemiquaver ° 4 d + al whole note halfnote | quarternote | &thnote | I6thnote 32nd notePris RHYTHM San (PART 1) @ The demisemiquaver + The demisemiquaver is one of the shortest time values Used in music notation. It has three tails, or three beams when it is part of a group. : | J note J rest | * There are eight demisemiquavers in a crotchet, so each | demisemiquaver is worth an eighth of a crotchet beat, or | half a semiquaver. | * Like quavers and semiquavers, demisemiquavers can be grouped together using beams. They can also be beamed with quavers and semiquavers, and with dotted quavers 5 : and semiquavers. Here are some common groupings: Did you know? A demisemiquaver rest Ge |e | ed is positioned like this on: the stave: Exercise 1 Adda number in each box to complete these sentences. El A semiquaver is equal to demisemiquavers. Remember! <5) EA Aminimis equal to demisemiquavers. < A dot after a note adds on half its value. A dotted crotchet is equal to demisemiquavers. EI Two quavers are equal to demisemiquavers. El Three semiquavers are equal to demisemiquavers. Challenge! Practise writing demisemiquaver notes and rests here: Chapter 1: Rhythm (Part 1) 11Remember! Challenge! The bottom number of Can you make up a rhythm in # that uses some the time signature tells demisemiquaver notes and rests? Write it below. you whether the beat is measured in crotchets, quavers or minims. © 2 Number the beats and then circle the correct time signature for each melody. Cr Beats:1 2 1 2 Beats: Beats: Beats: Beats: 2 I Discovering Music Theory: Grade 3Triplet demisemiquavers + Three triplet demisemiquavers are played in the same amount of time as two demisemiquavers or one semiquaver: Did you know? When triplet demisemiquavers are beamed into beats with other notes or rests, a bracket _ 13 can be added to lee . dp =s show which notes are part : : of the triplet. + Triplets may include notes and rests of different values 2 a i170 Exercise 3 Tick (W) the four triplet groups that have the same duration as one semiquaver. a5 35 moO woO FO oO AO Fo SO Fs0 Exercise 4 Answer each musical ‘sum’ with one note. Remember! ee eererce 1 - IMieedes >. 2 A deer 3 ao? | der 4 i fe doe | | WL Chapter t: Rhythm (Part 1) | 3Exercise 5 complete the time signature for each of these melodies. Beethoven 1S.Bach Debussy Exercise 6 Adda rest or rests in each box to complete these bars. Remember to use a new rest for each new beat. 3 4 | Discovering Music Theory: Grade 3Exercise 7 Add the missing bar-lines to each of these melodies. Challenge! Fill in the gaps to complete this rhythm, Make sure you use at least one demisemiquaver note or rest, and one triplet group. a), Meer) ise Tt Chapter t: Rhythm (Part 1) | 5Starting on an upbeat Did you Not all music starts on the first beat of the bar. Many melodias start on know? an upbeat ~ often the last beat of a bar. When this happens, the final bar of the melody is usually shortened so that the first and last bars make one whole bar when added together, «Ifa melody in % 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, Another name for an upbeat is an anacrusis. + 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 Look at this example from Chopin's Prelude in A major, Op. 28, No. 7: Prelude in A major to hear what an upbeat sounds like. What other 3 12 pieces do you ; know that start. | Chopin's melody starts on the last beat of the bar, which has been with an upbeat?” | ‘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 Beethoven Mozart 6 | Discovering Music Theory: Grade 3Duple, triple and quadruple time + Time signatures may be described as duple, triple or quadruple, depending on how many beats they have ina bar. This is shown by the top number of a time signature A duple time signature has two beats in a bar. triple time signature has three beats in a bar. 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. Bi duple ey triple fe) quadruple duple fe) triple fe) quadruple duple [| triple [| quadruple duple [| triple [__] quadruple fe) duple {_} triple [-_] quadruple Ea] | [ eo duple time = triple time quadruple time Theory in sound Listen to the following pieces, which are in duple, triple and quadruple :ime, 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 8b, K. 361 (opening) Write down the name of a piece you have played or sung that isin: Duple time Triple time Quadruple time “a 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: * Beams: Quavers, semiquavers and demisemiquavers can be beamed together across one or more beats, but avoid beaming them across the middle of a bar (beats 2-3) in f time. * Rests: Each whole bar, half bar or whole beat of silence should have its own rest. For silences in the middle of a beat, use a new rest for each haif-beat. Whole bars of silence should use a whole-bar rest: = * Ties: Avoid using ties where a single note can be written irstead. Exercise 10 Tick (W) or cross ( ¥ ) each box to show whether the notes are grouped correctly or incorrectly. Smart tip Check the time signature carefully. Remember that the bottom numter of the time signature tells you whether the beat is measured in crotchets, quavers or minims. 8 vo oo 8 | Discovering Music Theory: Grade 3Exercise 11 Tick (~) one box for each question to show which bar is grouped correctly. O CO a o 44 cel GE sae G Pecee hel) Exercise 12 Tick (W) or cross (X ) each box to show whether the rests are correct or incorrect. O O O Chapter 1: Rhythm (Part) | 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 this bar of music: Which example shows the bar above correctly rewritten using notes of half the value? Tick ( ) one box. WET etre : | [| O Exercise 14 Look at this bar of music: Which example shows the bar above correctly rewritten using notes of twice the value? Tick ( W ) one box. | bE | Challenge! ‘Try writing out a bar from a piece you know with a 3 time signature, using notes of twice the value. 10 | Discovering Music Theory: Grade 3Resse Ces Sal a (PART 2) Simple and compound time * All 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 semniquavers, and so on. Rdand§: The ¢ beat divides into 2 > 3 Bana The d beat divides into J J The 2 beat divides into dS + 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. 1 2 1 In .Q and the dj beat divides into J) 4) commana! ypeotbeat a 2 d Noofbeats 1 2 3 2 | 28 1203 i Sy EEE ! . : | feet J 7 fd aid | Nactet 1 23 4 1 238 4 4 2a 4 24 weottet id oe dd Did you know? Notice the dotted minims in the § and 9 examples above. In compound time, a dotted minim is equivalent to two dotted-crotchet beats: |= J J), just as_J= J Jin simple time. Chapter 2: Rhythm (Part 2) | 11Exercise 1 Circle the correct answer for each of these questions. El What is the time signature for four dotted-crotchet beats in a bar? co oe oo os How many quavers are there in a bar of §? Ge 46 Tl Which of these is a compound time signature? Z z 3 El How many dotted-crotchet beats are there in a bar of 2 ? ee) Exercise 2 Number the dotted-crotchet beats and then circle Smart tip the correct time signature for each rhythm. Each of these rhythms STITT 8 @) | aeons Mildids Beats: aati oe [Ute se iss a hh hlrerhUVCh che Challenge! Can you tap the rhythms Beats: in Exercise 2 while counting the beats out loud? Try repeating the BSB fo] tte Ce Beats: Beats: 12 | Discovering Music Theory: Grade 3Exercise 3 Add one note at each to complete each bar. 1 av. J. 2 | ges 7 Y I eg) | 98 d. | gl ITT J | oR. 7 oo Exercise 4 Add one rest at each } to complete each bar. Y Theory in sound Listen to some of these pieces to hear the difference between simple and compound time: i Simple time ‘Compound time >. % Tchaikovsky, The Nutcracker, Op. 71, § Sousa, The Liberty Bell Dance of the Reed Pipes’) B Strauss, The Blue Danube Waltz, Op. 314 8 Wagner, Tre Ride of the Valkyries 4 Mozart, Piano Sonata in C, K. 545, 4B Beethoven, Symphony No. 6 (‘Pastoral’), (Ist movement) Op. 68 (2nd movement) Chapter 2: Rhythm (Part 2) | 13Exercise 5 Add the time signature §, 2 or 42 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 Berlioz Feld Grieg ‘Mendelssohn “Tchaikovsky Challenge! = Match up each of these rhythms with the correct time signature by drawing lines. a Jad SFTGI 2 I | Oper Oe G | 14 | Discovering Music Theory: Grade 3Grouping notes and rests in compound time Notes in compound time are grouped to show the beats, just as they are in simple time, but there are a small number of extra things to remember: + Beams: Notes are always beamed to make dotted-crotchet beats. Multiple beats are not beamed together. 07) (Perm TTI itd Id 1 Beats: 1 2 i] 2 1 2 * Ties: Ties are used to join notes that go across different beats, but not to join notes within a beat. Exception: two full beats are written as a dotted minim. 8) dT ATT oid = | Beats: 1 2 3 12 3 12 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: + Inf, use a dotted minim rest (~) for the first two or last two beats of the bar, but not across the middle of the bar. elo. Id kor ITD 77d l Beats: 1 2 3 4 1 2 3 4 1 2 304 + Show silent bars with a whole-bar rest ( , whatever the time signature. rrr le eee Beats: 1 rs 3 22 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. Toh Chapter 2: Rhythm (Part 2) | 15Exercise 6 Add the missing bar-lines to each of these melodies. Exercise 7 Tick (W) one box for each question to show which bar is grouped correctly. 0 & O O @ O i) O Exercise 8 Tick (W) or cross ( ) each box to show whether the rests are correct or incorrect. 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 ina 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 in a bar) ' (four dotted-crotchet beats ina bar) = compound quadruple time compound triple time Exercise 9 for each of these bars, add the time signature and then tick ( W ) one box to show ifit is, simple or compound, and one box to show if it is duple or triple or quadruple. simple |y/) compound duple | triple \v| quadruple simple [| compound duple triple fe] quadruple simple [| compound duple triple [| quadruple simple [~ | compound duple {~ | triple fy quadruple simple [~ | compound duple triple ae quadruple Challenge! How many simple and compound time signatures can you name? Chapter 2: Rhythm (Part 2) | 17 4@ for? The following rhythms in § (compound duple time) and ¥ (simple triple time) use the ‘same notes, but they are grouped differently to show the beats. tee Beats: 12 ee] Beats:1 2 eeeeelce Beats: 1 2 Exercise 10 Add the time signature 3 or § for each of these melodies. Smart tip At Grade 3, triplets are used only in simple time signatures, ~~ Mendelssohn 18 | Discovering Music Theory: Grade 3Reece CEs Neston eee eae Re eit % Notes on three ledger lines + 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: 4) 41 4g I I © dll $l al 4 4 4 + 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© 2 Tick (W) the correct clef needed to make each of these named notes. F go oo g0>°0 ¢0 20 go 20 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 as ‘the given note. Remember the position of middle C in 5 each clef: oe Exercise 4 Rewrite these notes in the treble clef, keeping the pitch the same. 2 fa Challeng ‘an you rewrite this phrase in the bass clef, keeping the pitches the same? 20 | Discovering Music Theory: Grade 3Rewriting notes one octave higher or lower So far, we have been rewriting notes at the same pitch ina 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 in a different clef. Here is a melody written at the same pitch in the treble clef and the bass clef. 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. 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. 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 [J to I). find the note at the same pitch first, then move it down one octave. Always check bo the clef carefully. Chapter 3: Pitch | 21Exercise 6 Tick (W) one box for each question to show which bar has been correctly rewritten one octave lower. 22 | Discovering Music Theory: Grade 3Exercise 7 Tick (W) one box for each question to show whict bar has been correctly rewritten one octave higher. =) a = eS 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Exercise 8 Rewrite these notes one octave higher in the treble clef. Smart tip In questions [EJ to I, it may help to find the note at the same pitch first (working it out from middle C). 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. Schumann 24 | Discovering Music Theory: Grade 3KEYS & SCALES~ - tsticchopteryou wi torn about Dae ee ee (PART 1) Two new major keys So far, we've explored major keys and scales that include up to three sharps or three flats. At Grade 3, you will meet keys and scales with up to four sharas or flats. The two new major keys and scales are E major (containing four sharps) and Ab major (containing four flats) FLATS ee =" Aymajor Ebmajor Bbmajor Fmajor Cmajor Gmajor Dmajor Amajor Emajor E major scale, ascending Degrees: Tonic (Ist) 2nd 3rd 4th 5th eth 7th — Tonic (8th) Fe Ge a pe Degrees: Tonic (Ist) 2nd 3rd ath sth eth 7th Tonic (8th) Ap major scale, ascending Degrees: Tonic (Ist) 2nd 3rd ath sth eth 7th — Tonic (8th) Ab ca Db B Ay 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 and 8th degrees. + Major scales that include accidentals always have either sharps or flats, never both. Exercise 1 These scales have been written without key signatures. Add accidentals to make the pitches correct. ‘A> major, ascending a = uo E major, descending = 2 oe ‘Ab major, descending E major, ascending Exercise 2 Circle TRUE or FALSE for each statement. Ell Gis the 3rd degree of the scale of E major. TRUE FALSE Db is the 4th degree of the scale of Ab major. TRUE FALSE El 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 th be Tonic 6th Tonic 2nd Tonic 3rd The remaining exercises in this chapter include major keys from Graces 1, 2 and 3. Exercise 4 Name the major keys that have these key signatures. Key: major Key: major Key: major Key: major Key: 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 signatures, Look for the accidentals, ¢ and remember that an accidental alters a pitch for a whole bar. Also bear in mind that caine not all of the sharpened or flattened notes in a key may be present ir the melody. 4.5, Bach Amajor — Emajor G major Schubert Bbmajor — Ebmajor Ab major bs 1S.Bach E>major — Bbmajor —F major Mozart Dmajor — Amajor major 28 | Discovering Music Theory: Grade 3AGH) OF 21 Fi Rico eret (PART 2) 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). [Arlo mi ‘A melodic minor | Ascending Descending | raised lowered | 6th 7th 7th 6th # pestias a2 3 = = ft Gt Gif Aharmonic minor Ascending Descending raised raised 7th 7th 2 joe pct ° = Gt Gt | am Theory in sound Play or listen to the harmonic and melodic minor scales of A, E or D. In the harmonic minor 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 (%) each box to show whether nctes are correct or incorrect. Amelodic minor scale, descending t= 2 Wo E melodic minor scale, ascending D melodic minor scale, descending = te bo oo E melodic minor scale, descending bow - fe ‘A melodic minor scale, ascending Remember! _ = "| | Challenge! In ascending melodic minor scales, .~ the 6th and 7th degrees are raised bya semitone. Have a go at writing out one of the melodic minor scales, ¢ ascending or descending, on the stave below. SS Be 30 | Discovering Music Theory: Grade 3New minor keys In Grade 2, we learnt that: = Every major key has a relative minor key that shares the same key signature + The tonic (key note) of a relative minor key is the 6th deg’ee 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. ae i Fminor Cminor Gminor Ominor Aminor €minor Bminor Féminor Céminor Abmajor Ebmajor Bbmajor Fmajor Cmajor Gmejor 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. fo key signature are always written in the same position on the stave, and in the same order. Fé minor Chapter 5: Keys & Scales (Part 2) | 31Exercise 2 Continued. C? minor Challenge! See if you can name the major keys that use the same key signatures as those in Exercise 2. Exercise 3 Circle true or FALSE for each statement. G minor is the relative minor of Bb major. TRUE FALSE Fé minor has two sharps in its key signature. TRUE FALSE 1 F major and F minor have the same key signature. TRUE FALSE EI Emajoris the relative major of C# minor. TRUE FALSE El The tonic of a minor key is the 5th degree of its relative major. TRUE FALSE Challenge! Complete this diagram by adding the key signatures for each key in the bass clef. Fminor Cminor Gminor Dminor Aminor Eminor Abmajor Ebmajor Bbmajor Fmajor Cmajor G major 32 | Discovering Music Theory: Grade 3 B minor D major Fé minor C# minor Amajor —E majorExercise 4 Here are the minor scales of the new keys we've been exploring, show whether each scale is harmonic or melodic. (W) one box to B harmonic minor, ascending B melodic minor, ascending Fé harmonic minor, ascending Fi melodic minor, ascending C# harmonic minor, descending C# melodic minor, descending, G harmonic minor, descending G melodic minor, descending, C harmonic minor, descending C melodic mi descending [| F harmonic minor, ascending F melodic minor, ascending G harmonic minor, ascending G melodic minor, ascending Ctharmonic minor, ascending Ct melodic minor, ascending B harmonic minor, descending 5 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 Notice the accidentals on the éth and/or 7th degrees. Learning to recognise these will help when you need to identify whether a melody is major or minor (see, for example, Exercise 8, page 37). a key: minor ‘Chopin b. key: minor “Tehaikovsky Key: minor Key: minor Rachmaninoff 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 The following exercises may include any of the minor keys introduced in Grades 2 and 3. Exercise 6 Add one semibreve at each } to complete these scales, E melodic minor, descending 1 ’ 2 = 2 inor, ascending, ' y D harmonic minor, descending ' 1 2 Femelodic minor descending J Y i ° Charmonic minor, ascending J Y B harmonic minor, descending Y ’ Chapter 5: Keys & Scales (Part 2) | 35Exercise 7 Circle 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. Aminor F minor Eminor C minor Gminor 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 be major or minor. Remember that minor keys can include accidentals on the 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 major Abmajor = Cminor = G minor — Gottschalk Fmajor Bb major G minor Smart tip BL. Band il are written without key signatures, Rameau Fmajor — Bomajor = Dminor == G minor Burgmaller Cmajor — Ebmajor = C minor == D minor Handel Fmajor — Bbmajor_ = Dminor == G minor 3 Schubert 3 Fmajor — Abmajor — Cminor FF minor Chapter 5: Keys & Scales (Part 2) | 37eee come Cn y Ce incian INTERVALS (\\ The perfect interval o. So far, we've learnt to number intervals by counting up the degrees = of the scale from the lower note (the tonic) to the upper note. eo = As well as giving them a number, we can also describe intervals as Dartact 4th major, minor or perfect. = The 4th, Sth and 8th/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: it is not raised or lowered in either the major or the minor scale. This means that the interval from the tonic (E) to the 4th degree (A) | isa perfect 4th, | es perfect 8th/8ve perfect Sth 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 4th sth ave 4th sth Bve ‘Ab major Fé minor j : fe i perfect perfect perfect perfect perfect perfect : 4th Sth 8ve 4th Sth 8ve : Emajor | Remember! o> Count up the degrees of the scale Se from the lower note until you reach : perfect perfect —_ perfect the named interval q 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: 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: 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 and 3rd 3rd 4th 5th minor major minor major perfect eth eth 7th 7th 8ve Chapter 6: Intervals | 39Smart tip Major or minor? If the 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. Amajor B minor 2 2 major 3rd ‘Ab major Cé minor Remember! Aths, sths and 8ves are perfect intervals. All other irtervals can be major or minor, Exercise 4 Circle the type of each interval. The lower note in each is the tonic. perfect major minor perfect major minor perfect major minor perfect major minor perfect major perfect major minor perfect major minor perfect major minor minor 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. C minor = major perfect major minor major perfect 3rd sth 7th eth 2nd 8ve Fe minor perfect major major perfect minor major 4th 3rd eth 5th 3rd 7th F minor a perfect major major minor perfect minor 4th 7th 2nd 6th Sth 7th Challenge! Identify the intervals marked by brackets (T——1) in this melody. The lower note of every interval is the tonic, but in some cases the higher note comes first. — rm eal Chapter 6: Intervals | 41TRIADS ea sea © Tonic triads in major and minor keys ~ + As.we know, a tonic triad is a chord consisting of the a Ist (tonic), the 3rd and the 5th degrees of the scale. Gmajortriad G minor triad + In this chapter, we're going to meet the tonic triads of 25 £5 the new major and minor keys introduced in Chapters = 2 4and 5 * As we discovered on page 39, the interval of a 3rd above the tonic is minor in a minor key or major in a R 1 ; * ‘ememi rt major key. It is this interval that makes the major triad si and the minor triad sound different. note semitone smaller than a major 3rd. * At Grade 3, tonic triads are written without key signatures, and with the tonic as the lowest note. Exercise 1 Tick (W) or cross ( ) each box to show whether each tonic triad is correct or incorrect. og 8 5 G major F minor |_| Emajor (_] be ol 2 5 2 Bminor [_ | Abmajor {| minor [ a tf Feminor [_ | Dmajor {_ | Ameior [_ | 42 | Discovering Music Theory: Grade 3Exercise 2 Circle the correct key for each tonic triad. C# minor Fé minor ‘Amajor D major Emajor Eminor Bminor G major D major D minor Bminor Amajor E major Céminor Fé minor G minor B minor D minor Eminor Eb major Ab major F minor C minor Exercise 3 Add accidentals to make the named tonic triads. G minor Eb major D major F minor B minor C# minor = B minor Eb major Fe minor Chapter 7: Tonic Triads | 43Exercise 4 Add one missing note to complete each triad, with the tonic as the lowest note. Use accidentals if necessary. Smart tip ‘Make sure the interval between the tonic and the middle note is a major 3rd in major keys and a minor 3rd in minor keys. F minor E major C4 minor D major G minor C minor ‘Ab major Bb major Eb major te F major D minor Fé minor Challenge! How many tonic triads can you remember? Write as many as you can on the stave below. al Use either a treble or a bass clef. 44 | Discovering Music Theory: Grade 3Th = R | A} In this chapter you will learn about genau & SIGNS eee @ Italian terms * All the terms you need to know for Grade 3 are in Italian, and some of them have abbreviations. Here are the terms you need to know in addition to the ones you encountered in Grades 1 and 2. * There are no new signs to learn, but you will need to be familiar with all those learnt so far. Italian term Meaning | Dynamics: sforzando, sforzato, sf, sf forced, accented | Tempo: andantino slightly faster than andante 1 (but may also mean slightly slower) prestissimo very fast | Expression: agitato agitated i animato animated, lively con forza with force i energico energetic i giocoso playful, merry | | leggiero light j | ‘maestoso majestic ‘marcato (marc.) emphatic, accented q pesante heavy risoluto bold, strong, i scherzando playful, joking I semplice simple, plain | sostenuto (sost.) sustained } tranquillo calm | triste, tristamente sad, serrowful i General: ben well prima, primo first sempre always ; simile inthe same way | subito (sub.) suddenly | Chapter 8: Terms & Signs | 45Smart tip These exercises include terms and signs encountered in Grades 1, 2 and 3, Exercise 1 Answer the following questions. EX What does prestissimo mean? EL What is the Italian word for ‘energetic What does sf mean? EL Whats the Italian word for ‘suddenly’? G wii is faster: presto or prestissimo? What does giocoso mean? EA What does sostenuto mean? What does sempre leggiero mean? HE Whats the Italian word for ‘joking’? ‘What does agitato, con forza mean? Tl Whats the Italian for ‘always very quiet’? Hh What does molto pesante mean? Theory in sound Play or sing a piece you like in as many different ways as you can — giocoso, pesante, agitato, prestissimo, etc. 46 | Discovering Music Theory: Grade 3Exercise 2 Tick (W) one box for each question. allegro means: triste means: [| slow { ] playful, merry | ata medium speed [| sad, sorrowful [v) auick [| heavy (| gradually getting quicker very slow, solemn means: ben marcato means: accent the note {| well accented staccato; detached alittle accented {| legato; smoothly [] very solemn pause on the note or rest always detatched poco leggiero means: means: [| very smooth repeat [| alittle graceful [| the end [| very heavy double bar-line alittle light [__| bar-tine Which is slowest? Which is fastest? andante. andantino allegro prestissimo andantino presto |] grave [_] attegro Remember! Terms describing tempo are often written in bold at the start of a piece or section of music. tranquillo means: sad slow heavy calm semplice means: suddenly always simple, plain the same way sempre f means: simply loud suddenly loud without being loud always loud risoluto means: bold, strong. held back simple, plain sweet Chapter 8: Terms & Signs | 47Challenge! Have a look at some pieces you are learning. How many Italian terms can you find? Write them down here, along with a description of what they mean, Can you play your pieces with the expression and tempos given in the music? 48 | Discovering Music Theory: Grade 3Putting it all together i The last question of the Grade 3 exam is a Music in Context question, in which you will be asked some questions about the things you can see in a passage of music. Alll of the questions will be about topics covered in this book or in previous grades. Exercise 1 study this melody and then answer the questions thet follow. Sostenuto : ail Dah pee eo te > P ere El Compare the following to bar 1 of the melody, then tick (W ) the single correct statement. Sostenuto Sostenuto ; Sostenuto a Aisanexactcopy |_| Bisanexact copy Cisanexact copy { | Theyare all different from the original EX Circle TRUE or FALSE. Al the notes in the melody are in the key of Ab major. TRUE FALSE Eh Complete the following three sentences by ticking (W ) one box for each. () The lowest note inthe melody is... E {| e(_] s[_] o Gi All three notes from the tonic triad of Ab major can be founc in. bar2[_] bara[_] taro [_] bar7 [| (iy sostenuto means... inthe style of { | sustained{ | expressive{ | held back { | Chapter 9: Music in Context | 49Exercise 2 study this melody and then answer the questions that follow. Moderato am a —, El Compare the following to bar 1 of the melody, then tick (W ) the single correct statement. 1 Moderato 1 Moderato 1 Moderato A c es ne f- af Aisanexactcopy [| Bisanexactcopy {| Cisanexactcopy | | Theyre al different from the original _| Circle TRUE or FALSE. There are two pairs of tied notes in this melody. TRUE FALSE Complete the following three sentences by ticking (W ) one box ‘or each. Gi) All the notes in the melody are in the key of ... G major D major E minor Bminor i) Bar 4 has the same rhythm as... bar 5, baré bar? bar 8. The longest note in the melody is held for ... ‘two beats four beats five beats six beats 50 | Discovering Music Theory: Grade 3Exercise 3 study this melody and then answer the questions that follow. Molto adagio Fauré —~: Po ro cee. 7] == — a 7 8 PP ED Compare the following to bar 1 of the melody, then tick (W ) the single correct statement. | Molto adagio | Molto adagio Molto adagio a ~ = ! ~, epee ep rss a= Se Dect) cc Dyce TTT ? — 2. > —— Ais an exact copy Bisanexact copy [| Cis an exact copy They are all different from the orignal [| Circle TRUE or FALSE. Bars 5, 6 and 7 have the same rhythm. TRUE FALSE Tl Complete the following three sentences by ticking (W ) one bax for each. (D The longest note in the melody is in .. bar2 ) bar 4 { bar 5 [ bar 6 Gii) The loudest note in the melody is bart ] bar3 | bar 5 { bar8 ii) The highest note in the melody F ] Bs | s| B Chapter 9: Music in Context | 51Exercise 4 study this melody and then answer the questions that follow. Vaughan Williams Lento El Compare the following to bar 1 of the melody, then tick ( ) the single correct statement, 1 Lento ¢ Lento a es Se popes A B c o Ee | | ae 2, => ee Ais an exact copy Bisanexact copy |_| Cisanexactcopy | | They are all different from the original |_| EA Circle TRUE or FALSE. ‘The melody ends on the 5th degree of D minor, TRUE FALSE Complete the following three sentences by ticking ( ) one box for each. () There are demisemiquavers in... barstand2 [| bars2and3{ | bars3and4{ | bars4and5 [| (ii) The bar that contains the first five degrees of the scale of D minor, ascending, is. bar3 { bars [_ | bare [| bar7 [_ ] (iil) A dotted quaver can be found in... bars lie bare [| bar7[_ | bars [| Congratulations! Wetec n Te sata aoe see ig : alee ome 52 | Discovering Music Theory: Grade 3EaEnEE T Total marks (out of 75): Practice Exam Paper ABRSM Grade 31 Rhythm As 1. Circle the correct time signature for each of these bars. @ «) i 2 ¢ co 2: 3 1.2 Add the one missing bar-line to each of these five melodies. 6) @) () © @ © 1.3 Complete this sentence by adding a number. o ‘A dotted minim is equal to semiquavers. 14 Tick (W) one box to describe the time signature of ¢ o compound duple [_] compound quadruple [_] simple quadruple [_] _simple duple (_] 54 | Discovering Music Theory: Grade 315 Tick (VW) one box to show which bar is grouped correctly. o a 5 el 6 Tick (VW) oF cross (%) each box to show whether the rests are correct ar incorrect, a O O el 17 Look at this bar of music: o 3 Which of the following shows the bar above correctly rewritten using 10tes of twice the value? Tick (W) one box. 2 Pitch As 24 Tick () one box to show the correct name of each note. © @) (b) be GA cL AL Practice Exam Paper | 552.2 Compare bars A, Band C, then circle TRUE or FALSE for each of the three statements, @ (a) Aand Bare at the same pitch TRUE FALSE (b) Bis one octave higher than C ‘TRUE FALSE (©) Cis one octave lower than A ‘TRUE FALSE 2.3 Tick () the correct clef needed to make each of these named notes. @ @) (b) © @) 2.4 (a) Look at this bar of music: o Which of the following shows the bar above correctly rewritten one octave lower? Tick (W) one box. O (b) Look this bar of music: ‘Which of the following shows the bar above correctly rewritten one octave higher? Tick () one box. [e} ie) 56 | Discovering Music Theory: Grade 33 Keys and Scales As 34 Tick () one box to show the correctly written key signature of Eb mejor. o i) iz) ig) ‘s) 3.2 Tick (/) one box to show the correctly written key signature of F# minor. o oth ie) (al oO (] 3.3 Here is a melody in the key of B minor. Cross (X) three accidentals wrich are not needed. @ a ee) a a 3 3.4 Circle the correct key of each of these melodies. e @ Emajor = Amajor = Eminor =~ B minor (b) Dmajor — Emajor == Amajor_ ~— C# minor © G minor F major F minor D minor Practice Exam Paper | 573.5 Cross (X) the two incorrect notes in the following scale. @ Eb major, descending = bo 3.6 Tick (@) one box for X and one box for Y to show which notes are needed Qa to complete the scale of C4 harmonic minor. xy y ele) ee) Ale) eis) YB) Ole) Ola) erie] 3.7 Tick (W) one box for each named scale, to show which scale is correctly written, @ (2) G harmonic minor, ascending (b) F melodic minor, descending 2 2 58 | Discovering Music Theory: Grade 3(© Emajor, descending 4 Intervals Ao 411 For each example, write one note to form the named interval. Your note should be higher than the given note. The key is E> major. (a) () perfect 8th/8ve major 2nd @ © perfect Sth major 6th. 4.2 Circle the type of each interval. The lower note in each is the key note. (a) perfect major ‘minor (b) perfect major minor © perfect major minor @ perfect major minor © © major 3rd a major 7th @ Practice Exam Paper | 595 Tonic Triads Ao 5.1 Circle TRUE or FALSE for each statement. @ @ This is the tonic triad of Ab major ‘TRUE FALSE (b) This is the tonic triad of D minor TRUE FALSE 5.2 Add one missing note to complete each triad, with the tonic as the lowest note. @ Use accidentals if necessary. @ (b) G minor 5.3 Circle the correct key for each tonic triad, @ C minor () B major © F# minor @ Eb major @) G major 60 | Discovering Music Theory: Grade 3 Bb major Eb major B minor C#minor ‘Ab major E minor G minor E major Amajor Bb major Aminor © Aminor o F major Eminor FE major C minor C major6 Terms and Signs Tick (VW) one box for each term/sign. giocoso means: majestic sweet graceful playful, merry SS means: slur: detached slur: perform smoothly tie: detached tie: hold for the value of |= both notes animato means! agitated animated, lively expressive emphatic, accented grave means: very slow, solemn graceful simple, plain broadening 4 con forza means: with force with movement playful, joking Aa less movement Practice Exam Paper | 617 Music in Context 4s Study this melody and then answer the questions below. Maestoso mp _— —= te = 71 Compare the following to bar 1 of the melody then tick (W) the single correct statement. oO : Maestoso | Maestoso Maestoso 1 a Sit 5 6 S| Se ISH | Tem SH St mp mp mp Ais an exact copy [_] Bis an exact copy (_] Cisanexact copy (_] They are all different from the original (__] 7.2 Circle TRUE or FALSE © Allthe notes in this melody are in the key of C#minor «TRUE —“FALSE 7.3 Complete the following three sentences by ticking one box for each. @ (a) The lowest note in the melady is c[ El ciel El (b) There is an interval of a major 3rd between two notes next to each other in ... bar 3 bar 4 [_] bars (_] bar 7 (_] (c) The 7th degree of the scale of C# minor occurs in... bar3 (] bars (_] bar7(_] bare |] End of exam 62 | Discovering Music Theory: Grade 3Pee eae MUS eer ee ee ee ges en ere eee ey all-round preparation forthe updated ABRSM Music Theory exams from 2020, including the new online papers. This full-colour workoook will equip students ofall ages with the skills, knowledge and understanding required for the ABRSM Grade 3 Music Theory exam. Written to make theory Or ee eee tare ores TE ea ae Gee once a eee cs progressive exercises to build skills and understanding, step by step ‘challenge! questions to extend learning and develop music-writing skills helpful tis for how to approach specific exercises Cece ee ees clear signposting and progress reviews throughout aa sample practice exam paper showing you what to expect in the new style of exams from 2020, Pete Metre een tees ey eee ey Cec an excellent resource for anyone wishing to develop their music literacy sills, including Pieri were aes Peers Suey ee tas Dec een Royal Academy af Music| Rayal College of Mus Royal Northern College of Music | Royal Conservatoire of Scotland: Ree gee coe ee Cent Cel et ie ne ule ted