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C8. Technical Exercises

Written by Victoria Williams LmusTCL

 
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Grade Six Music Theory General Knowledge, Lesson C8. Technical

Exercises
The technical exercises you might be asked to do in your grade six theory exam are basically the same as in grade five – the only
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difference is that you get less help (i.e. you have to work out more things for yourself), and you have to be comfortable with reading Past Papers
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In recent exam papers, the following types of question have come up – here’s how they differ from grade five music theory: 

Transposing a few bars. In grade five you are told the interval to transpose by to go to or from concert pitch, e.g. the clarinet in

Bb should be transposed “down a major 2nd”. At grade six, you need to work out the interval and direction by yourself. We have 3830 guests and

Rewriting in a new time signature. At grade six, you’ll need to locate the section of the score yourself, then work out how to online

change the time to compound/simple without changing the rhythmic effect.

 Intervals. As in grade five, you need to be able to name any interval in any key, as major, minor, perfect, augmented or
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diminished. At grade six, you might first have to transpose notes to concert pitch to work out the interval, you’ll need to know
which are the transposing instruments, and be able to read all four clefs. You might get a harmonic (vertical) interval which

encompasses two different instruments on different staves, using two different clefs, playing at two different transpositions!

 For my top tips on how to do the technical exercises more quickly, watch the video!

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Here’s an extract from the Largo from Dvorak’s “New World Symphony”.

Grade 6 Course

A1. Introduction to Harm

A2. Triads and Chords

A2. Triads and Chords E

A3. Inversions

A3. Inversions Exercises

A4. Chord Progressions

A4. Chord Progressions

0:00 / 0:21
A5. Melodic Decoration

 
A5. Melodic Decoration
How would you write out the cor Anglais part at concert pitch?

You might remember that cors Anglais are pitched in F. If you’ve forgotten that, you could look at the key signature of the cor A6. Harmonizing a Melo

Anglais (4 flats=Ab major), and then compare it to the violins (5 flats=Db major). Db is a perfect 5th lower than Ab, so we will
A7. Harmonizing a Melo
transpose the part down a perfect 5th.

Here are the first four bars: A6 & A7. Harmonising a

  A8. Figured Bass an Intr

Intervals A8. Figured Bass Introdu

How would you work out the harmonic intervals marked A-D in the same score? 
A9. Figured Bass Rules

Start by double checking the clef, key signature and transposition of each instrument. 

Mark down each note as it sounds at concert pitch on a scrap of manuscript paper.  A9. Figured Bass Rules

Be sure to write each note in the correct octave - you will need to know where middle C is for each clef.
A10. Figured Bass Work
Then work out the interval in the normal way. 

 (See the grade five music theory course if you have forgotten how to work out intervals!) A10. Realising a Figured

 
A11. Adding a Figured B

A11. Adding a Figured B

The Rules of Harmony

B0. Composition - Introd

Rewriting in a new time signature

B1. Composition - Archit

A little later in the same piece, the flutes have the following passage:
B1. Composition Archite

B2. Composition - Motif

 
B2. Composition Motifs

Sequence Exercises

0:00 / 0:13
B3. Composition - Cade

 
B3. Composition Caden
How would you write out the passage, keeping the rhythm the same but using a compound time signature?

Remember that with a simple time signature, there are X number of plain beats per bar, (X is the top number of the time signature). B4. Composition - Interp
In a compound time signature, you keep the same number of beats, but make them dotted. So instead of having four plain

crotchets (quarter notes) per bar, we need four dotted crotchets (dotted quarter notes), which means the new time signature will B4. Composition Interpo

be 12/8. (See the grade five music theory course if you need more help with this).
B5. Composition - Key a
Here is the answer: 

B5. Composition Key an

Exercises

B6. Composition - Modu

Notice the use of duplets and tuplets.

“Duplets” are used when two notes are sounded in the space of three. Duplets use the number "2". B6. Composition - Modu
“Triplets” are used when three notes are sounded in the space of two. Triplets use the number "3".

“Tuplets” can be of any number – just write the number of notes (of the same value) you’ve got, which replace whatever the B7. Composition - How t
usual number should be.
Duplets, triplets and tuplets should be beamed together, or bracketed if there are no beams. B7. Composition How to

Exercises
 

  C1a. Reading an Orches

 
C1a. Reading an Orches

     Exercises

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C1b. Reading a Chambe
Last Updated: Saturday, 06 May 2017 13:23 C1b. Reading a Chambe

Exercises

C2a. Musical Instrumen

Names

C2a. Musical Instrumen

Names - Exercises

C2b. Transposing, Reed

Instruments

C2b. Musical Instrumen

Reed and Strings - Exerc

C3. Musical Terms and

C3. Musical Terms and

C4. Commenting on Mu

C4. Commenting on Mu

C5. Key

C5. Keys - Exercises

C6a. Naming Chords

C6b. Chords in a Score

C6. Naming Chords - Ex

C7a. Ornaments

C7a. Ornaments Exercis

C7b. Melodic Decoration

C7b. Melodic Decoration

Exercises

C8. Technical Exercises

C8. Technical Exercises

C9. Periods and Compo

C9. Periods and Compo

C10. Score Reading Tips

Practice Test
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