Grade Discovering Music Theory I Workbook Discovering

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Grade Discovering Music Theory I Workbook

Discovering Music Theory

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THE ABRSM GRADE 1 WORKBOOK

Design by Kate Benjamin

Music origination for workbook by Moira Roach

Music origination for practice exam paper by Pete Readman

Cover and inside illustration by Andy Potts

'

First publ ished in 2020 by ABRSM (Publishing) Ltd, a wholly owned subsidiary of ABRSM

© 2020 by The Associated Board of the Royal Schools of Music

ISBN 978 1 78601 345 3

AB4010

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system,

or transmitted in any form or by any means, electronic, mechanical , photocopying, record ing,

or otherwise, without the prior permission of the copyright owner.

Printed in England by Page Bros (Norwich) Ltd, on materials from sustainable sources

P14810

. 1 . ..,-- - . ----

THE ABRSM MUSIC T_Hj.O~Y-SY~LABUS FROM 2020: GRADES O<>S ' ,

Grade 1

", . ~

Note values of semibreve, minim, crotchet. quaver and semiquaver, and their equivalent rests (candidates m~y use the terms 'whole note', 'half note', etc.). Tied notes. Singledotted notes.

2 Simple time signatures of i I !, bar-l ines and the grouping of the notes listed above within these times.

3 The stave. Treble (G) and bass (F) clefs. Names of notes on the stave, including middle C in both clefs. Sharp, flat and natural signs, and their cancellat ion.

4 Construction of the major scale, including the posit ion of the tones and semitones. Scales and key signatures of the major keys of C, G, D and F in both clefs, with their tonic triads (root position), degrees (number only), and intervals above the tonic (by number only).

s 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, with the addition of. Simple time signatures of~ 11 a 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 of the minor scale (harmonic only) . Scales and key signatures of the major keys of A, B~ and EP, 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) .

4 More terms and signs in common use.

Grade 3 As in preceding grades, with the addition of: 1 Compound time signatures of ff B 'i and the grouping of

notes and rests within these times. The demisemiquaver (32nd note) and its equivalent rest.

2 Extension of the stave beyond two ledger lines. Transposition at the octave from the treble clef to the bass clef, and vice versa.

3 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) .

4 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 w ith in these times. The breve and its equivalent rest. Double-dotted notes and rests . Duplets.

2 Alto clef (C clef centred on 3rd line). Notes in the alto clef in any of the keys set for this grade (see be low). Notes of the same pitch written in different clefs (treble, alto. bass) and transposi ti on at the octave from the t reble or the bass clef to t he alto clef, and vice versa. Doub le sharp and double flat signs, and their cancellation. Enharmonic equivalents.

3 Scales and key signatures of all major and minor keys up to and including five sharps and flats, wi th both forms of minor scales. Technica l names for the notes of the diatonic scale (ton ic, supertonic, etc.). Construction of the chromatic scale. All intervals, not exceed ing an octave. between any two diatonic notes in any of the keys set for thi s grade.

4 Triads (root position) on the ton ic, subdominant and dominant notes in any of the keys set for this grade. Chords in root position on the ton ic, 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 recogn ition and naming of the trill , turn, upper and lower mordent, acciaccatura and appoggiatura. Questions about a passage of music will include simple related questions about standard orchestral instruments.

Grade 5 As in preceding grades, with the addition of: Irregular time signatures of ii ft~ and the grouping of notes and rests within these times. Irregular divisions of simple time values.

2 Tenor clef (C clef centred on 4th line). The identification of notes in the four clefs in any of the keys set for this grade (see below), and the transposition at the octave of a simple melody from any clef to another. Transposition to concert pitch of a short melody notated for an instrument in B~. 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 minor keys up to and including six sharps and flats. All simple and compound intervals from any note.

4 The root position (a), 1st inversion (b) and 2nd inversion (c) forms of the ton ic, supertonic, subdominant and dominant chords in any of the keys set for this grade. The choice of suitable chords at cadential points of a simple melody in the major key of C, G, D or F. Perfect. plagal and imperfect cadences in the major keys of C, G, Dor F.

5 More terms and signs. The recognition of ornaments,_ including the replacement of written-out ornamenta!ion with the appropriate signs, but not vice versa. Questions on the types of voice and names of instruments, the clefs t_hey use, instrument family groups and the basic way by ~h,ch they produce sound, as well as points of general musical observation designed to test the cand idate 's ability to apply theoretical knowledge to actual music.

Introduction

The Basics: Rhythm & Pitch

Chapter 1: Rhythm (Part 1)

Time values (notes); bars and metre; time signatures

Chapter 2: Pitch (Part 1)

Notes in the treble clef; notes in the bass clef-, minims, crotchets and quavers on the stave


The semiquaver; grouping notes; rests

Chapter 4: Pitch (Part 2)

Accidentals; semitones and tones


Ties; dotted notes; grouping dotted notes

Chapter 6: Scales

The scale of C major; the degrees of the scale; tones and semitones in scales; the scales of G, D and F major

Chapter 7: Keys & Key Signatures

The keys of C, G, D and F major; key signatures

Chapter 8: Intervals

Intervals in C, G, D and F major

Chapter 9: Tonic Triads

The tonic triads of C, G, D and F major

Chapter 10: Terms & Signs

Chapter 11: Music in Context

Practice Exam Paper

2

8

13

19

24

29

35

40

44

46

51

55

Music examples are written by the author unless otherwise stated. Some music examples have been adapted lo sui t learning requirements.

Learning music is like 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 everyth ing you need to know and understand for ABRSM's Music Theory exams at Grades 1 to 5. In addit ion, they provide lots of ideas and opportunities to help you link music theory with your wider musical activity.

Discovering Music Theory: Grade 1 will help you to build the skills, knowledge and understanding required for the ABRSM Grade 1 Music Theory exam. Each chapter focuses on a 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 learnt 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:

semi breve minim crotchet quaver semiquaver f-- ---

0 j J ) )

---· - - ---whole note half note quarter note 8th note 16th note

, .. ______ - -- - - -- ·- -I

,,- ,~· - ~ ·., . . .': ' . \

THE BASIC~ ;,RHYTHM & PTr,:CH - .-

' . We're going to start by exploring two very important elements of music: rhythm and pitch.

Rhythm • Rhythm describes how notes of different durations (or time values) are organised over time.

• A pulse is a steady count, like a heartbeat. It provides the framework on which rhythms are built.

( Tap: • • The pulse is organised into groups of counts. These counts are known as beats.

Here, the pulse is arranged into groups of four beats:

r

Pulse: •

Beats: 1 • 2

• 3

., 4 1

• 2

., 3

• A time value shows how many counts a note lasts.

Here are three common time values:

• Minims and crotchets are made up of a vertical line

called a stem joined to a notehead. Semibreves

have a notehead but no stem.

Pitch • Pitch describes how high or low a note sounds.

• To show pitches, we place notes on a stave:

r

'-

r

V

4

0 semi breve: 4 counts

j minim: 2 counts

J crotchet: 1 count

notehead ___,. ~._ stem

• Notes can be placed on every line and in every space of the stave. Each line and each space

represents a different pitch.

• The higher the note is placed on the stave, the higher its pitch. HIGH

LOW

• All pitches are given a letter name between A and G in the alphabet.

The Basics: Rhythm & Pitch I 1

• Time values I Semi breve

• Time values show how many counts a note lasts. Four common t ime values are Minim semibreves, minims, crotchets and quavers.

Crotchet • Pa irs of quavers add up to one count.

They are joined together with a beam: Quaver

}}becomesJl

Exercise 1 Complete this table.

-.• ,.;• ~- . .

In this chapt~r;y~u -~H leam •ti.out . Time· .v~l~~s (not~s)

Bars· ~licf~etre Time sighatures

0 4 counts • • • • j 2 counts • • J 1 count • } ½ a count ~

Theory in sound

Name of note Looks like How many counts? Try clapping different time values whi le your teacher or a friend taps a steady pulse. Count the pulse out loud as you clap.

Semi breve 4

cJ I

Crotchet

½

Exercise 2 Circle the correct answer for each question.

El Which of these notes has the shortest duration? j ) J

II Which of these notes has the longest duration? 0 j )

II Which of these lasts longer than a minim? crotchet quaver semibreve

m How many counts is n worth? 2 counts 1 count 4 counts

II How many counts is d J worth? 3 counts 2 counts 1 count

2 I Discovering Music Theory: Grade 1

-

r

Exercise 3 Answer each musical 'sum' with one note. Smart tip

El

El

II

m

II

D

13

El

a

J J Use this note tree to

+ = Q help you with you r musical maths.

j + j = □ 0

~ ) ) □ + = j j

j J J □ _.............. _..............

+ + = J J J J ---- ---- ---- ----) + ) + J = □ ) )) ) ) ))

' n + J + j = □ Smart tip n + n = □ Watch out for the subtraction

sums in El and a . j n □ =

J ) = □ Bars and metre • Rhythm is the arrangement of notes of different time values over a pulse.

• The pulse is organised into bars containing a certain number of counts, or

beats. This organisation is called metre.

• We use bar-lines to make it easy to see where each bar starts and ends.

• At Grade 1, we will explore bars containing two, three and four beats.

Bar double bar- line Did you know?

~ Double bar-lines are used at

J J J J 1J J J J II the end of sections of music.

Beats: 1 2 3 4 t 1 2 3 4

bar-line

)

Chapter 1: Rhythm (Part 1) I 3

Smart tip The fo llowing rhythms are made up of bars· contain ing two, three or four beats. -.,

"'7

Exercise 4 Mark the beats in the following rhythms by add ing numbers.

El n IJ Beats: 1 2

II IJ Id Beats:

II lo Beats:

m n J 1n n Id Beats:

Challenge! Can you change the order of the notes in Exercise 411 to create your own three-bar rhythm? Write it down below, then see if you or your teacher can clap it while you count '1 , 2, 3' to the beat.

II

II

II

II

Rhythm: [ __________ .....___ ________ ....,___ _______ J

Beats: 1 2 3 1 2 3 1 2 3


Time signatures: f ! i A t ime signature tells us how many beats there are in each bar. At Grade 1 we will encounter the time signatures used for music containing two, three or four beats in a bar.

• The top number of the time signature shows you the number of beats in each bar.

• The bottom number shows you what the time value of the beat is. At Grade 1, this number is always '4', which means that the beat is always measured in crotchets CJ).

2

J 2

J 2 3

J 3

Exercise 5 Circle TRUE or FALSE for each of these statements about time signatures.

El The top number tells you how many beats there are in each bar. TRUE FALSE

El The bottom number tells you how many bars there are in each piece. TRUE FALSE

II I tells you there are three crotchet beats in each bar. TRUE FALSE

l!J The time signature is written at the end of a piece of music. TRUE FALSE

11 The number 4 at the bottom tells you to count in crotchet beats. TRUE FALSE

Common time: c f is sometimes called common time.

When you see Cat the start of a 1 piece, this means there are four ,, beats in a bar, just as there are inf.

Theory in sound Try clapping the rhythms in Exercises 4 and 6 while you count or tap the beat.

C

II

II

II 4

Chapter 1: Rhythm (Part l ) I 5

Exercise 6 Complete the time signature for each of these rhythms.

D El 4 d I .J I .J 1n .J II

D ll 4d .J .J I .J .J d Id lo II

a9 .J n 1n .J 1n n 1.J n 1.J .J Id II

D m 4 .J .J n .J 1n ~ n .J Id .J J lo II

Exercise 7 Add one note at each place marked f to complete each bar.

f f El f .J Id I ~ Id II

Beats: 1 2 1 2 2 2

f f f m ! d .J I d I .J .J I .J II

Beats: 1 2 3 1 2 3 1 2 3 1 2 3

f f f B f d n .J Id .J I .J .J I II

Beats: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

t f f m i j I .J .J .J I II

Beat: 1 2 3 4 1 2 3 4 2 3 4

6 I D iscovering Music Theory : Grade 1

Did you know? The time signature appears at the start of a piece of

music. You will only see another t ime signature if the

number of beats in each bar changes.

Remember! In all these t ime signatures,

J = 1 beat

Exercise 8 Add the missing bar-lines to each of these rhythms. The first bar-line in El is given.

El f J J 1cJ J J J j

Im CJ n cJ

II f n J

m a J n J

n J n n J

D f J J J J J

Test your progress How many new musical terms (e.g. 'ba r') can you remember? Write them here:

Draw as many new time values and time signatures as you can here:

II

II

II

II

II

II

Cll,lPt N I l~llvthm (P,11 t I) \ 7

. ~

PITCH (PART 1)

·~-··--·, . -· . _ _ In this chaptef YO':' •wl~l 'leam about

1 ' Notes in the treble clef

:, ,, Notes in the bass clef , - Minims, crotchets and quavers on the stave

\.. ;'' ,, " ,.

Notes in the treble clef: ' • Notes can be placed on all the lines and in all the spaces of t he stave. The higher

the note is

placed on the stave, the higher its pitch .

• A special symbol called a clef is placed at the beginning of t he stave. The pitch of each line

and space on the stave is determined by the clef used.

• The treble clef is used mostly to show notes from middle C <the C r ~ 1 nearest the middle of a piano keyboard) upwards. It is also called the ~ ~ G line

G clef because it circles the line on the stave used for the note G. _ _

It looks like a very elaborate G!

• M iddle C sits on its own line, just below the stave. This is called a ledger line.

Middle Con a ledger line

' ~

I I I I a

I I e ~ u e

C D E F G A B C

Exercise 1 Tick ( t/) the higher note of each of the pairs.

El II m 11 e II II

'j () u

□ □ □ □

Exercise 2 Write the name of each note in the boxes.

& El I I II

11 0 0

u

G


e a I I e

D E F G

II m u e e

□ □ □

Did you know? In the treble clef, the four notes

in the spaces between the lines

spell FACE.

' I I

I I

C I I I

F A C E

11

II

Exercise 3 Write the words spelt by the notes in these examples.

El ADD El 0 Ii 0 < I II

II i j 0

0

( j

II m

~ Notes in the bass clef: ~: ~ • The bass clef is used mostly to show notes from middle C

downwards. It is also called the F clef because it starts on the line on the stave used for the note F and has two little dots either side of this line.

- F line J • Middle C, which is above the stave in the bass clef, again has its own ledger line.

• You also need to know D above middle C in the bass clef, which sits above a ledger line.

D and middle C use ledger lines

I I ..0.. -a- a

~=- = a

' j a 1 1 I

D C B A G F E

Exercise 4 Write the name of each of these notes.

El tf a 'j

Cl

( j 0 0

F

Did you know? In the bass clef, the four notes in the spaces can be remembered using the phrase All Cows Eat _Grass.

tr 1 1 I I

11 I I I I

A C E G

a 1 1

D C

0

/

a I i a u

B A G F

'j 0

u 11

Theory in sound Try singing the notes AC E G to the phrase 'All cows eat grass' to hear how they sound.

II

II

Chapter 2: Pitch (Part 1) I g

Challenge! Exercise 5 Write the words spelt by the notes in these examples. Can you find any other musical words?

Write one on th is stave.

El

m

II

I~

~- 11 I I e II

~ : 0

II 11 e

ii

!)• II e ii

i I e II

Notes in both clefs It's now possible to show all the notes on the bass and treble staves, rising up from low F to high G.

u 0 It 0

a -eo It 0

u 0 .. 0 It 0 II t

middle C

Can you see how the notes in the bass and treble clefs relate to each other? Middle C fal ls exactly between the two clefs.

It O .. 0 (j

Exercise 6 Write the name of each of these notes. Remember to check the clefs carefully.

' ~

' II El ~: II II [2 II m ~: El e

G

II

' r II D

' I I II m ~: Ji 11 m ~ :

Which note is higher: II or 0 ? Which note is lower: II or m?


o a

' i

~

:

~

Exercise 7 Tick ( t/) the correct clef needed to make each of these named notes.

El

D

D 11 El F 11 II r II m II

E G D middle C

, □ ?= □ , □ :)= □ , □ :)= □ , □ :)= □

~

~ i 11 II 11 m r II D J II

A D B E

, □ :)= □ , □ ?: □ , □ :)= □ , □ :)= □

Notes with stems Notes other than semibreves have stems attached to their

noteheads. The length of the stem is always the same, but its

position depends on where the note is placed on the stave.

J..,_ stem notehead ~

• If the note is below the middle line, the stem

should go up from the right-hand side:

• If the note is above the middle line, the stem

should go down from the left-hand side:

• Notes on the middle line can have stems

going in either direction:

middle line -. J j 11

middle line -. ~r~§F~~~II

middle line -. ~F~~j~~~II

Exercise 8 Tick ( t/) or cross ( K) each box to show whether stems have been added

correctly or incorrectly to each note.

El

' ~ II El ;)= , II II

' r II m ~: ~ II

□ □ □ □

' ' ~ ~ ~~ II 11 II ~: II El ~f ,]

11 II D

□ □ □ □

Chapter 2: Pi t ch ( Part 1) I 11

Challenge! Rewrite the following notes, correcting the positions of any incorrect stems. Can you name the notes?

' '

8

~ II ~ : ~ II ' tj

II ~: II

' Quavers on the stave

• The stems of single quavers follow the same rules as those for

crotchets and minims.

11 ~: ~

II :>=

~

~

• The tails of single quavers always attach to the end of the stem, and

they are always on the right of the stem.

• When quavers are in pairs, their stems always go in the same

direction - even if the notes are on different sides of the middle line.

This makes it easier to join them together.

n Q- fJ1

Exercise 9 Tick ( t/) or cross ( K) each box to show whether these single quavers and pairs of

quavers have been written correctly or incorrectly.

El --\~ II m EJ II II u II m j,

□ □ □ □

Test your progress Write a note on every line and space of the stave below, using a mixture of time values,

Can you name the pitch of each note in the treble and bass clefs?


II

. ·,• ... - ··~~"' .. -·~ .-,-. .. Y.''l ~:-.· . ~ ·7 ··••··• ... ,.

-~ : ___ -- In this chapter you will learn about RHYTHM ,., .- The semiquaver :,. " Grouping notes (PART 2) ' Rests .,-

@ The semiquaver: ) • The semiquaver is the shortest time value we will meet at

Grade 1. Semiquavers have two tails.

• There are four semiquavers in a crotchet, and two semiquavers in a quaver.

• Semiquavers are often beamed in groups of four:~ .I .I .I

Exercise 1 Circle TRUE or FALSE for each statement.

El J .J .J .J has the same duration as ~

El ), lasts longer than )

II ), lasts longer than J .l .l .l

m n has the same duration as J .l .l j

II n and J .l .l .l each last for one crotchet beat

Exercise 2 Answer each musical 'sum' with one note.

El ), + ), = [E] m j + J .l .l .lJ.l.l.l = □ II ) + ) + J.l.l.l = □ m j + n + J .l .l j = □ II j + ~ + J .J .J .J = □

TRUE FALSE

TRUE FALSE

TRUE FALSE

TRUE FALSE

TRUE FALSE

Theory in sound Practise tapping semiquavers while someone else claps a steady crotchet beat.


Challenge! Match each rhythm with the correct time signature by drawing lines.

(n ~ J I J j j j j II J

(~ Jjjj1n J II J (n J j j j J J IJ nj 11 ]

Grouping notes • We use beams to group quavers and semiquavers together to

help us see the beats more easily.

• Notes are often beamed together to make one full beat.

Smart tip When beaming quavers with semiquavers, make sure they are part of the same beat.

CD 0 CD

n m

Exercise 3 Number the beats and then complete the time signature for each melody.

11 , i r r 1[fcru1 v Beats: 1 2 1 2 1 2 Beats:

11 2= Q F F ( Er F U I EJ UJ ,j II

Beat s:

Beat s: Beats:


Jffl rn

Exercise 4 Number the beats and then tick (II) one box for each question to show

which bar is grouped correctly.

V

E1 &H b(gf EJ J II &H rrrf EJ J II &H bf Mf ~ J II Beats: 1 2 3 4 1 2 3 4 1 2 3 4

II

Beats:

□ II &1 C f f E r l II

Beats:

□ □ □ 11 t>=c F Etr a[} II t>=c F EE.r Cf f r II t>=c F CT (Cf[} II

Beats:

Theory in sound Try clapping the rhythms in

Exercise 4. You will find that

the ones beamed correctly are

easiest to read, because you

can see the beats clearly.

Challenge! Rewrite this rhythm so that all the quavers and semiquavers

are grouped into beats using beams.

l J ) ))J I ))))) ))J 11

[ ! II ]


Rests Silences during music need to be counted, just like notes. We use reSt5 to do this.

Here are the most common rests:

Semibreve rest

Minim rest

Crotchet rest

Quaver rest

Semiquaver rest 7

It is worth 4 beats, or a whole bar, of silence.

It is worth 2 beats of silence.

It is worth 1 beat of silence.

It is worth a ½ beat of silence.

It is worth a ¼ beat of silence.

Notice that the semibreve rest hangs down from the fourth line up on the stave, while the minim rest sits up on the third line.

Exercise 5 Complete this table.

Name of note Note looks like Rest looks like How many beats?

Semi breve 4

-

cJ 2

I l - o_ -

Quaver

¼ I I

Exercise 6 Tick ( t/) or cross ()()each box to show whether bars add up to the correct or incorrect number of beats.

J I J J j j j J

□


-□

I I

I

_I

II

Exercise 7 Number the beats and then complete the time signature for each melody.

El :r g J z D f r r ~ II m &QJ J I 11

Beats: Beats:

II 4g ► c r c F r II m 'gj ] r f r f 11

Beats: Beats:

Exercise 8 Add one rest at each place marked t to complete each melody.

'C t

1§ ] El ~ ~I 11 m 2= I ~ ~ II r ~

,1 t t t II f 3 ~ I J ] f ~ J) ~ JI J J 1 II ,; J

t t t m !>=I F E f f f If g r r Ir ~ II

t t t a 2= i ~ ]

~ Ir I~ r ~ II

Challenge! Write out Exercise 8 El and 8 (I on the staves below, but this time add a note instead of a rest in t he gaps. Make sure your stems are in the correct positions, and beam quavers and semiquavers within a beat.

.. - ..


Exercise 9 Add the three missing bar-lines to each of these melodies.

Smart tip Marking the beat numbers above or below the music will help you to work out where the bar-lines go.

a 9: i f r r r r

., Perr J' j f

f J II

r El.! r

II $cJ.Jj t J j J JJJJ; ·

l!I :r I J F Cr D ., r:r r F ), r F s'. f D "/ F f j

II 2=1 F f F t r c r r

Test your progress Write down the rests and the equ iva lent notes in these boxes. W rite them in order, from shortest to longest.

Now write down three more rhythms containing quavers and semiquavers, each grouped into one crotchet beat.

J j j


- J tJ

II

II

II

t II

PITCH,..;_ .r-: ... ·.. ·•· ·: ·-~.:: .. · .· '" : 1~ ihl;, ~~apte; ;~·~·will ~~~rn about , ... -· . .

(PART 2) , :1 - ~ '. Accidentals t: , ~ and ~ ~ ~ · Semitones and tones

= c... • l

Accidentals

Signs called accidentals are used to change the pitch of a note.

The three main accidentals are the sharp (#), the flat (!,) and the natural (q) .

• When a sharp (#) is written in front of a

note it makes the note sound higher.

• When a flat (!,) is written in front of a note

it makes the note sound lower.

=:::;-~a:!::== ==~~-=-=_=_ sounds higher than

======= ==~~o~=== sounds lower than

• A natural ( q) changes a note with a sharp

or flat back to its normal pitch. ==,~,.:=. == sounds the same as ~~~~~~~

The distance by which these accidentals change the pitch is called a semitone.

We will learn more about semitones on page 22.

Accidentals always go in front of a note and must be written so that the stave line

or space goes through the middle of the accidental.

Exercise 1 Write the name of each of these notes. Smart tip Make sure you check the clef carefully.

"

El

' je

II m

' ~r II II ;J= ~r II m :>=

F::

tt-e-

' ~

' ~~ II ll~~ II :J= ~: D El a II D

#D II

~-I II

Chapter 4 : Pitch (Part 2) I 19

Exercise 2 Tick ( t/) the higher note of each of these pairs.

' El ;l= fte e

II m lz1 1 11

l] .,, l □ □ m ~: e ffe II II

' 11 jiu

□ □ □ □

Exercise 3 Tick< t/ > the lower note of each of these pairs.

El ~: Hu 1111 II m

' lz1 1

□ □ □ More on accidentals • An accidental changes all the notes of

the same pitch in a bar. In example El , both Fs are played as F#.

110

□

~r 0

~ II

□ 11 D

' I I

□

11 II ~~ - ff o

□

r • An accidental applies only to notes on

the same line or in the same space. In example II, the first and third notes are F#, but the high Fat the end of the bar is an Fq because it is at a different pitch. It would need its own # sign if we wanted it to be F#.

. , ........ .......................................................... ,,., ............... .

rt :n r~ r r 1f

b~

D 1,., ~

□

I I' ' ~

□

w 1 • An accidental applies only within the same bar and is cancelled by the bar-line. In example II the B~ is cancelled at the end of the first bar. ·· ··········· ·············································· ···························· ·················•···

• To cancel an accidental within a bar, we write a natural (q) in front of a note. In example l!I, the F# at the start of the bar becomes an Fq at the end of the bar.


Exercise 4 Write the names of the notes marked t in these melodies.

t t t t a ' ! .J 1JJ J f I E ; c.trJ Ir r

F;:

t t El :.r2 r C r r 6F It E E

Did you know? A natural can also be used as a reminder to cancel

an accidental that was in the previous bar. It isn't

essential, but you will often see something like this:

II

Challenge!

t r: E.r

II

j l'r

Can you rewrite these notes in order of pitch, from lowest to highest?

:J= a

~o 1,o ffo

0

Smart tip Watch out for any accidentals that last throughout the bar.

t r r r ~w 1°

u ~o ( j

II

II

Chapter 4: Pitch (Part ::!) I 2l

Semitones and tones • The words semitone and tone are used to

describe the distance between notes.

• A semitone (S) is the shortest distance we can measure between two notes - for example, from C to C#.

• A tone (T) is two semitones - for example, from C to D.

• There is a semitone between every note on a piano keyboard, whether it is white or black.

• The distance from B to C and E to F is a semitone because there are no other notes between them.

• The distance between C to D is a tone (two semitones) because there is a note between them.

• Every black note on a piano keyboard has two names: the flat of the white key above, or the sharp of the white key below.

Smart tip Find the notes on the piano keyboard opposite. If there is a note between them, the distance is a tone; if the . notes are next to each other, the distance is a semitone.

T

s s

-~ F Hp F C 0 D

Did you know? 'Semi' means 'half', so a semitone is half a tone, just as a semicircle is half a circle.

~

Tones and semitones are easy to see on a piano keyboard. Look at this diagram, which shows every note:

C# D# F# G# A# DP EP GP AP BP ...... ,..... .- - - - - -

C D E F G A B C

Exercise 5 Write S or T under each pair of notes to show whether they are a semitone (S) or a tone (T) apart.

El tJ= 1 i fle II II

' e Ho II II ~ : 11 jto ~

T

' II ~:

bo ~e I,,' ~ II II tJ= Ii m 11 D e

E1 Ii e

22 I D iscoveri ng Music Theory: Grade 1

◄

Exercise 6 Add an accidental(~, P, ~) to the note marked t in each of these pairs to make

them a semitone (S) or a tone (T) apart, as indicated .

4 • 4 t

El ~e II 11 m 11 e

T s

t

4 ~

m ~: II II e 11 ffe e

T s

~ t D ~: ii11 e

II ~: El II e

T s

Theory in sound Play or sing (or ask someone else to play) some notes followed

by their sharpened or flattened notes. For example, you could

play an F followed by an F#, or a B followed by a B,.

vour progress Congratulat ions! You 've completed all the work for Grade 1 on Pitch.

11 II t>= II

4 II e a

II a 4 ffe

Turn to the Pract ice Exam Paper on page 55 if you'd like to try some sample exam questions.

s

T

s

t e II

~ 11

II

t e

II

Chapter 4: Pitch (Part 2) I 23

1n this chapter YOll ,Wfh ~ •;~~, (PART 3)

Ties

A tie is a curved line that joins neighbouring notes of the same pitch.

o·~tted Ties Grouping dotted notes

notes

Notes joined by a tie are played as one note lasting the length ?f. the tied notes added together. For example, two crotchets tied together will sound like one minim:

~J sounds like d

Ties are useful when you want to join together notes across a bar-line, or across the middle beats of a bar inf.

~ 2 □ w l4J?I w J 11 n r cg] r 11

Exercise 1 Write the total number of crotchet beats for each of these tied notes.

El ~ ' JJ[t 1½ beat(s) II z)jj_}? beat(s)

II rs I f' beat(s) m 4£]) beat(s)

II ~~~~~ beat(s) D ~ ~ ~- beat(s)

Exercise 2 Add one note in each box to show the total value of the tied notes.

El .J .J = J m j j = □ a )) □ = - ......_..., -m ) )) = □ D cJ .J .J = □ D )) □ = --- -------- --


Writing ties

• Ties are placed above or below the notes they join, depending

on where the notes are positioned on the stave.

• Notes below the middle line have ties below the noteheads.

• Notes above the middle line have ties above the noteheads. r f v

Exercise 3 Join the boxed notes with ties and number the beats.

El

II

II

,~ r r r?Tr tf F 11 m 9: ! J) Etr ,gr £J I J 1 2 3 1 2 3

&2 J J 1~ IJ I ~ ~ II m &1 r r 11 ~ 1$F Iv

:1= I [2 I r I ~1 r [2 II D :J= c V rjr

1 rln:•rv

Dotted notes Instead of joining notes with a tie to make a longer note, it is sometimes possible to place

a dot after a note. A dot adds on half the time value of the note.

Dotted minim: J = j J 3 counts -Dotted crotchet: J = J ) - 1½ counts

Dotted quaver: }. =)) ¾ count -

II

II

J II

Exercise 4 Rewrite these tied notes as a dotted note of the same duration.

El J J = 'J7 m )J = □ II J ) = □ -- - -m j J = □ II )) = □ D )) = □ - -...._....

Chapter 5: Rhyth m (Part 3) I 25

Exercise 5 Add a dot to one note in each melody to make the bars add up to the correct number of beats.

El &1 r J f Ir Ef V I A J

II tJ= i J ~ ~ 1J ~ ~ J, ¥ Ir ~

II 'bj j J Ir r f Ir p (Jr

Exercise 6 Answer each musical 'sum' with one note.

El Ji + ). = J L.__

II cJ + J + ) = □ II J + n + ). + ) = □ Exercise 7 Rewrite these notes in order, from longest to shortest.

Challenge!

e ~

~ IJ I ~

1J j ~

Theory in sound Clap a rhythm from Exercise 5 while counting the beat. You could ask someone to count the beat for you.

Smart tip The dots for notes on lines should be placed in the space above the note:

J

Try writ ing your own rhythm in the space below. Include a time signature at the start, and make sure you include at least one tie, one dotted note and one rest!

r

26 I Discoveri ng Music Theory: Grade 1

/ Grouping dotted notes We've learnt that quavers and semiquavers can be beamed together

so that they are grouped into beats. The same is true of dotted notes:

you will often see a dotted quaver joined to a single semiquaver.

J. j II = 1 beat

u· II = 1 beat

Smart tip In the next exercise, notes that are

beamed together add up to one beat.

Remember! A dot adds on half the time value

of the note.

Exercise 8 Add the time signature to each of these bars.

,□ ,□ ~ ~ ~ ~

II I

El r· ~ r· r II ~ v· J .J--

II ,□ ~- ~ j z II m 2= □ ~- ~ ~

Exercise 9 Tick ( t/) one box for each question to show which bar is grouped correctly.

II

~ ~ II

El '.h ~- (CT d J II 2'c [r U d J II '.h ~-U E L f J II

□ □ □ &i ~- 41 r· 4ir-m f f 11 f [ D 11

II!

f r II r D r J r □ □ □

11 9=1 r er f" r r □

II :::uJ5r~1 ~E ==PJ===i· ~ip:::• ~? ":fl=.r ==1111 2= I (1 c f" I r II

a [ F J II 4t J

□

□ □ Cf [j J II =¥:-47i=t Jt:=. ~? ~gE:::::;;• ?.:=t-J-==rfl

□ □


Exercise 10 Add the three missing bar-lines to each of these melodies.

II &i J J

m 2= 1 □ .n r * u a r , Ji n P .o JS:l J Jv =1

a 2= i r r- ; r r r z ~ r a D r J * ~

m ~ ~- ~ ~ ~~ i= &c j J J. ~~ J ,_,

II &1 E • J r· ~ r c Fr r· l

~ ~f

D ~= I ~- p r F r f :t ~

Challenge! Can you rewrite this rhythm, grouping the notes into crotchet beats?

Your progress Congratulations! You've completed all the work for Grade 1 on Rhythm.

Turn to page 55 to try some practice exam quest ions.


f

i

j J J J 1

f ~- . d f l ~

~ J nJ J II

j

SCALES . _ · .-,. '~ __ i n this chapter you w;II learn a~ - --

6 · ... ~ ,~ ;_ The scale of C major .p- , ... ~ . ~ , The degrees of the scale ._.. : Tones and semitones in scales \.. : <.._ The scales of G. D and F major

'

The scale of C major • A scale is a 'ladder' of notes that move in step. It can

go up (ascending) or come down (descending).

• The scale of a key contains all of the notes that belong in that key. We will learn more about keys in Chapter 7.

• C major is a useful scale to learn first because it has no sharps or flats. Here is the scale of C major, ascending, written in the treble clef:

I I a -e- u a

C D E F G

r

I I

A

Did you know? You can play a C major scale by playing up or down the white notes on a piano, start ing and ending on C.

a 11

B C

Exercise 1 Add one semibreve at each place marked ~ to complete these scales of C major.

C major, descending

El 0

C major, ascending

m 2:"

Smart tip Make sure there is one note on every line and in every space between the first and last notes of the scale.

0

r

'

0 IJ

0

Theory in sound Play, sing or listen to a major scale and get to know how it sounds. You could also listen to 'Do-Re-Mi ' from The Sound of Music, by Rodgers and Hammerstein.

11

II

11

Chapter 6: Scates I 29

The degrees of the scale • The notes in a scale are known as degrees.

• The first and last notes of an ascending or descending major scale are the same (though they are at different pitches) and are the most important. They are called the tonic or key note.

• All the degrees in a scale are numbered in relation to the tonic, which is the 1st and 8th degree. In the scale of C major, the note D is the 2nd

degree, E is the 3rd, and so on.

• Remember that in a descending scale, the degrees will count backwards!

Ascending (going up) -+ ~ Descending (going down)

Degrees: Tonic (1st) 2nd 3rd

' ~ 0 0

Theory in sound Sing the scale of C major, ascending, to the numbers 1 to 8 (starting with '1'). Can you also sing it backwards, starting with the top note ('8') and going down?

4th 5th 6th 7th Ton ic (8th)

Ii 0 Ii 0 Ii

Exercise 2 Add the named degree of the scale of C major. The tonic, C, is given each time.

' I

' □ El II II I I I I 11 I

-e- __J -e-Tonic 4th Tonic 6th

II ~: II □ II m ~: 11 □ Tonic 2nd Tonic 7th

' □ □ II D ~: II I I -e-

Tonic 5th Tonic 3rd


1

II

~

j

Tones and semitones in scales • The distance between each note in a major

scale is either a tone or a semitone.

Here are the notes of the C major scale, shown on a piano keyboard:

• The pattern of tones and semitones is the same for all major scales.

..... - ~ ..... - - ..... ,--

• The distance between the 3rd and 4th

degrees and the 7th and 8th degrees is a semitone.

Degrees ...,. Notes...,.

1 C

2 3 D E

4 5 6 7 8 F G A B C

LJLJLJLJLJLJLJ • The distance between all other consecutive

degrees is a tone. Tones/ Semitones ...,. T T S T T T S

Exercise 3 Write T or S above each bracket ( I I ) to show whether the distance between the notes is a tone (T) or a semitone (S).

~· Smart tip _,,,

Write the degree number of each note to help you work out the pattern of tones and semitones. :·~

"7

T r-7

e 0 -e- 0 a El ~: a 11 11 a a I I 11 II

s

' m 11 a 11 e e 11

11 e a 11 u -e- u

Challenge! Can you write the scale of C major, descending, in the bass clef? Try writing it in crotchets

or minims, making sure your stems are in the correct position.

Now write the scale of C major, ascending, in the treble clef.

e

e

11

II

II

II

II

Chapter 6: Scales I 31

The scales of G major, D major and F major • The scales of G, D and F maier all follow the same pattern of tones and semi tones as C ma or

• An Ft is required in G major, to make the pattern of tones and semitones correct W thout

an Ft, t here would be a semitone between the 6th and 7th degrees. not the 7th and 8th di>grees

• In D major, two accidentals - F~ and O - are needed to keep the same pattern of

tones and semitones.

• In F major, we need a BP to keep the semitone between the 3rd and 4th degrees

G major scale, ascending

Degrees: Tonic (1st) 2nd 3rd 4th 5th 6th 7th Tonic (8th)

0 I I

0 0 I I 0 I I

II

T T S T T T S

D major scale, ascending

Degrees: Ton ic (1st) 2nd 3rd 4th 5th 6th 7th Tonic (8th)

0 I I 0

u a ffo a

T T s T T T s F major scale, ascending

Degrees: Tonic (1st) 2nd 3rd 4th 5th 6th 7th Tonic (8th)

Pe I I a 11 a

11 a I I

T T s T T T s

Exercise 4 Write the name of each scale and t ick (ti) either ascending or descending.

El

' a Hu a I I 0 ffo 0 - 0

Scale: ascending □ descending □ m !f ~o 0

., 0 Ii

0 1 1 0

Sca le: ascending D descending □

32 I D1scovenng Music Theory: Grade 1

II

]

Exercise 5 Add accidentals where needed to make these scales correct.

G major, descending

' 0 a 11

El a II

F major, descending

~: m a 11 a IJ a

D major, ascending

~: a II e II a 11

Exercise 6 Circle the correct answer for each question.

El Which note is the 5th degree of G major?

El Which note is the 3rd degree of D major?

II Which note is the 7th degree of F major?

m Which degree of F major is this?

' ~e II

a Which degree of D major is this? ~ jiu II tJ

D Which degree of G major is this? ~f 11 II

r

Remember! G major has F# D major has F# and C# F major has B~

a 11 a II

'' a u II

0 .il.

II

D C A

F# F

8~ G E

5th 4th 3rd

2nd 3rd 7th

6th 4th 2nd

Chapter 6: Scales I 33

Exercise 7 Show the semitones in each of these scales by drawing brackets ( I I ) over two pairs of

notes. The first semitone is given.

F major, descending

' e 11

EJ e

G major, ascending

~: El e i I e

D major, ascending

' II j;o u e

Theory in sound Try playing one of the major scales you 've

learnt without its sharp or flat notes. You will

hear that it doesn't sound like a major scale!

Test your progress

II

I I

e

~e

e

It

smart tip Start by working out the degrees of the scale. Can you remember which degrees are separated by

semitones?

I I e 11

la 11 11

e no e

Practise wr iting two of the sca les we've explored in th is chapter, us ing

either the treble or the bass clef. Mark the degree numbers above and add

brackets below to show the semitones.


j

II

11

\

KEYS & ~ . l---·..:~ -~ .l In this chapter you will learn about

KEV SIGN~ -~ liES • ,.;·The keys of c, G, ~e:~1g~a~~)~: ' <, : '-

• Keys

\],/ In Chapter 6, we learnt about the scales of C, G, D and F major.

Each of these scales contains all the notes that belong in that key. If you look, for example, at the scales of C major and G major, you will see that their keys contain mostly the same notes. There are two differences:

• The key of G major has F# instead of F.

• The two keys have different tonics (key notes).

A melody that is written in a particular key uses notes from the scale of that key.

Exercise 1 Name the key of each of these melodies.

41 ~

i~r IV El J. J) F t:f f

Key: major

.fJ r • 1f C r F m tf I E.2f F l F

Key: major

II 4cni J j r Hr I r ~ l-j r r I ct Key: major

m 'i r ~r I V If r f Key: major

r

Remember! C major has no sha rps or flats G major has one sharp D major has two sharps F major has one flat

j I J

If E21 j

j ffJ I u

r I f J

II

II

11

II

Chapter 7: Keys & Key Signatures I 35

Exercise 2 Circle the notes that need an accidental to create a melody in each named key.

El

El

II

e

G major

~:i ~ ~ ~ I ~ E ~ I E E I r j

F major

'C j r ~ I J ~ r I ~ ~ J I

D major ,i J J J I ~ 3 J J I ~ ~ r r I r l 11

Key signatures • A key signature tells us the key of a piece of music by showing which notes will be sharpened

or flattened. It is written at the start of the stave, after the clef and before the time signature.

• Using a key signature means we don't have to keep writing accidentals for the sharps and flats

in that key.

• A sharp or flat in a key signature applies to every note of that name, wherever it is on the stave.

C major has no sharp or flat notes, so there is nothing in its key signature.

G major has one sharp in its key signature. This tells us that every F should be played as F#.

D major has two sharps in its key signature.

This tells us that every F and C should be played as F# and C#.

~ :99E: =311

·············•··•························· ·· ··· ······················ ····· ····· ······················ ······ ·· ············· ····· ········· ···········••····· ·· ···· ···· ·· ·· ··········· ·· ·· ······················· ········· ·· ········ ·········· ·····"

F major has one flat in its key signature . This tells us that every B should be played as Bl,.

36 I Discoveri ng Music Theory: Grade 1

r

G major melody

4•1 J @] J 1Fl F#

D major melody

4•11g ~ ~ r PFl 1r F# C#

Did you know? The clef and the key signature are written

at the start of every stave, unlike the time

signature which is written only once, at the

beginning of the music.

r r

~i · I r F#

IV Fa 1P J F#

1t_UJ r ~ t2] I 0

C# C#

Smart tip Key signatures look different in the

treble and bass clefs. This is because

the sharps and flats are placed next

to the notes to which they apply.

11

11

Exercise 3 Tick (ti') one box to show the correctly written key signature for the named keys.

D major

a~ □ ~ □ ~ □ ~ □ F major

II ~J= ,. II □ ~>= ,, II □

Exercise 4 Name the major keys that have these key signatures.

a ~ m ~>=•u II II ~ m !J=# II

Key: major Key: major Key: major Key: major


Theory in sound Have you played or sung a piece with any of these key signatures? Play it again and then play the scale in the same key. Can you hear the similarity?

Exercise 5 Add the key signature needed to make each of these scales correct.

D major

El &□1 J J J 1J ~ Ir F Ir· G major

m &□1 ~ f IV l[_f ~ I~ F major

2=□2 ~ 1J ~

IJ Ir J II r r J)

G major

m 2=Q c J tj 1J ~ r E2f I "

)

l ~

l II

II

Exercise 6 Name the key of each of these melodies and then name the degree of the scale for each note marked f .

&111 i J

f f f El ~ J IJ ~ r z~ IJ ~ J J 11

Key: major D □ □ f f f

m !fl i F F Ir r r IF r f IV ~ Key: major D □ □

38 I Discovering Music Theory : Grade 1

More on accidentals • Acc identals are sometimes still needed in music with a key signature. This happens when the

music uses a note that does not belong to the key it is written in.

• Here is a melody in the key of F major. It uses two notes that don't belong to this key: G# and Bq. Because these notes are not in the key of F major, accidentals have to be added to the music.

9=~ 2 r r f 'Ir r I 9t r r 1@ [' I

a

G# B(q)

Remember! • Accidentals last until the end of the bar, unless they are cancelled by another accidental. • Accidentals apply only to notes of the same pitch within the same bar.

Exercise 7 Name each note marked f.

t t t t El ,#1 ~ J ~ Ir

~ ~ I iv] J 1J J F::

t t t t m 2=1it I r r IF

~ F j IE r EJr Ir er l11J F

f t t t II :J=~ IF f ~~ ,r F r t r F If F

Your progress Congratulations! You 've completed all the work for Grade 1 on Scales, Keys & Key Signatures. Turn to the Practice Exam Paper on page 55 if you 'd like to t ry some sample exam questions.

11

11

Ir II

r II


In this chapter you will learn about

Intervals in C, G, D and F major

• Intervals ~ • An interval measures the difference in pitch between two notes.

• We can use the degrees of the scale to measure the intervals between the tonic of a key and

every other note in that key. Here are the intervals above the tonic in C major:

& J J 11 J J II J J L__J L__J L__J

Degrees: 1 2 1 3 1

Interval: 2nd 3rd 4th

Did you know? We can use the term octave (Bve) or 8th to describe the interval from C to C.

4

11 J J II J ,J 11 J r

L._..J L..-1 l__j

1 5 6 1 7

5th 6th 7th

Exercise 1 Write the missing numbers to identify these intervals above the tonic.

F major

El ,~ II II e II 1 1 II e

II 11 11 e 'j 'j I I 11 'j

2nd 5th

G major

El !J=# II II II II I I e 11 II 'j e

0 0 0 0 0 0

3rd 4th 6th


11 J f' 11

[__J

1 8

8th/8ve

11

II e

I I

8ve

e II

1 1

0

II

II

Exercise 2 Write one note after each tonic to form the named interval. The key is D major.

D major

2nd 3rd 4th 5th

Theory in sound Sing or play (or ask someone to play) some of the intervals written above. Try to get used to how they sound - some intervals sound relaxing and others sound quite tense.

6th

r

_,, '-

Exercise 3 Write one note after each tonic to form the named interval. Remember to add accidentals where they are needed.

C major D major

□ 11 □ 11 □ 11 ' ~: El m 11 11 11

u 6th 3rd 5th

F major G major

II

' (j Q 11 'j □ II

0

Q 11 m ~:

7th 6th 2nd

Did you know? Intervals can be written in two ways. Sometimes they will be written one note after the other, as in a melody, and sometimes they will be written one note above the other, as a chord. In the Grade 1 exam, intervals are written one note after the other.

' I I

I I

II ' 0

11

3rd 3rd

II

□ 11 8ve

Q 11 3rd

7th 8ve

Smart tip In Exercises 2 and 3, your note should be higher than the given note.

□ 11 □ 11 e

u

4th 3rd

e Q II e Q II 8ve 7th

Chapter 8: Intervals I 41

~

Exercise 4 Write the missing numbers to identify these intervals above the tonic.

C major G major

' ' 11

II ije

II II e

II II II El 11 11 II e e e 11 e

-e- -e-

4th

F major D major

~: bo

II ~-e-

II fe

II II e 11

II II e

II ~ : 11 m e e e

11 u

Exercise 5 Tick ( t/) one box to show the correct number of each interval.

F major

4th 3rd 5th 7th

□ □ □ □

C major 3rd 6th 8ve 2nd

□ □ □ □

G major 6th 4th 2nd 7th

□ □ □ □

D major

m ~~ ============,===, =====ll11 ~ u

6th

□ 5th

□ 3rd

□ 4th

□


Exercise 6 Identify the intervals marked by brackets ( .-, -~, ) in these melodies.

The first note of every interval is the tonic.

Smart tip Count up the scale from the bottom note of the interval until you get to the top note. The number you reach tells you the interval.

r7 r7

II m !hiJ J 1J glF f IF 3rd

II ~ c J J J r I o- n J r 11 m

Challenge! Can you rewrite some of the intervals from Exercises 4 and 5 as 'chords' (with one note above the other)?

You'll need to add the correct clef, key signature and time signature at the start.

Your progress Congratulations! You 've completed all the work for Grade 1 on Intervals .

Turn to the Practice Exam Paper on page 55 if you'd like to try some sample exam questions.

II

II

Chapter 8: Intervals I 4 3

TONIC TRIADS

Tonic triads

~

\

A tonic triad is a chord made up

of three notes:

• The 1st degree of the scale

(the tonic)

• The 3rd degree of the scale

• The 5th degree of the scale .

,., , ,, ,, ,,,. IP ,.

Tonic (1st) l'l

-t) -e-

Exercise 1 Circle the correct key for each tonic triad.

El !f § II G major D major F major

m & t1 II D major C major G major

a ~: ti: II C major F major G major

m & nu II D major C major F major

2nd

,._.,

In this chapter you w,H lftni ~ The toni<:ltrictct5~c,f

c. G, D and F-major

3rd 4th 5th -==-.-

---

~ ~>= 11 II

r

Smart tip • The tonic is the lowest note.

• The 3rd degree is in the middle.

• The 5th degree is the highest note.

• Each note is separated by the

interval of a 3rd . ~

r '

Did you know? The tonic triad of D has an F~

because the 3rd degree of D major

scale is F# not F.

Exercise 2 Tick (ti') one box to show which of these is the tonic triad of D major.

II !J= § II & i§ II ~: I§ II

□ □ □ □


Exercise 3 Add one note to complete each triad, with the tonic as the lowest note.

r ~· Smart tip The notes of a tonic triad include the 1st, 3rd and 5th degrees of the scale. This may mean you need to add an accidental if a key signature hasn't been used.

'- ~

El ;): II II m ,~ B II II ~:I 9 II

C major F major G major

' A -e-

' m II ~ : a

II II D D g C major F major D major

Exercise 4 Name the key of each tonic triad.

El ~r II II II

' § II II ~ : I§ II

Key: major Key: major Key: major

Challenge! Match up each tonic triad with the correct key by drawing lines.

r, ~ II ] ( ~~ -fl:

II ] ( :r !: II ] (' ~ II ]

( G major J ( D major J ( C major J ( F major J

Your progress Congra tulations! You've completed all the work for Grade 1 on Ton ic Triads. Turn to the Pract ice Exam Paper on page 55 if you'd like to t ry some sample exam questions.

Chapter 9: Tonic Tria ds I 45

TERM -~ .. ,-& SIGNS ~ ..

In this chapter you ~•~ learn • ~ t The musical terms and signs ttiat

you need to know for G~adf1

' ,.

Terms and signs: dynamics • As we know, notes on the stave tell us which pitches to play and how long to play them for.

They give us all the information we need to play the pitches and rhythms in a piece of music.

• However, notes on their own do not tell us how loudly or how quickly to play, or what other

kinds of expression should be included. Terms and signs are used to add this important information to the music.

All the terms you need to know for Grade 1 are in Italian, and some of them have abbreviations and/or signs. The following terms tell us how loud or quiet to play the music - they are called dynamics.

Italian term Meaning

fortissimo (ff) very loud (-issimo means 'very')

forte (f) loud

mezzo forte (tef) moderately loud

pianissimo (pp) very quiet

piano (p) quiet

mezzo piano (mp) moderately quiet

crescendo (cresc.) gradually getting louder

decrescendo (decresc.) gradually getting quieter

diminuendo (dim.) gradually getting quieter

Notice that decrescendo and diminuendo mean the same thing.

Did you know? • Mezzo means 'half' in Italian, so mezzo forte literally

means 'half loud'.

• You might be interested to know how the piano got its name.

Its full name is pianoforte, which means 'quiet and loud' . It was so named because it was the first keyboard instrument of its

type that could play both quietly and loudly, depending on how

forcefully the player pressed the keys.

Theory in sound Find examples of

r.

l•

these Italian terms for dynamics in your music.

Can you play/sing each passage of music as directed?

-......__ _____________________ __,,,, \. _________ .,

46 I D1scovermg Music Theory: Grade 1

Exercise , Tick ( v') one box for each question.

El

m

II

m

II

D

What is the Italian word for 'very loud'? □ pianissimo □ forte □ fortissimo

What does mezzo piano mean? □ moderately loud

□ very quiet □ moderately quiet

What does p mean? □ veryquiet D quiet □ moderately quiet

What does dim. mean? □ gradually getting

□ gradually getting

D quiet

louder quieter

What Italian word does ef stand for? D mezzo forte □ forte □ fortissimo

What is the Italian word for □ forte □ crescendo □ diminuendo

'gradually getting louder'?

Tempo Here are the terms you need to know that describe tempo - the speed of the music.

Italian term

allegro

allegretto

moderato

andante

adagio

accelerando (acce/.)

rallentando (rall.)

ritardando (ritard. or rit.)

a tempo

Did you know? Terms describing tempo are often written in bold at the start of a piece or section of music.

Meaning

quick

fairly quick

at a moderate speed

at a medium speed

slow

gradually getting quicker

gradually getting slower

gradually getting slower

in time (resume the original speed)

Allegro >

:>= 1r o-p

Chapter 10: Te rms & Sig ns I 47

Exercise 2 Tick< v" > one box for each question.

El

m II

m II

D

II

What is the Italian word for 'quick'?

What does andante mean?

What does rit. mean?

What does adagio mean?

What Italian word means 'gradually getting quicker'?

What Italian word is used for 'fairly quick'?

What does a tempo mean?

More Italian terms

Italian term

cantabile

do capo (D.C.)

dolce

fine

legato

staccato (stacc.)

□ adagio □ andante

□ slow □ atamedium speed

□ gradually getting quicker

D gradually getting slower

O slow □ fairly quick

□ allegro □ rallentando

□ allegro □ allegretto

O time D get quicker

Meaning

in a singing style

repeat from the beginning

sweet

the end (al fine = 'up to the end')

smoothly

detached

□ allegro

□ quick

□ slow

D quick

□ accelerando

□ moderato

□ intime

Exercise 3 Tick< t/ > one box for each question.

El What is the Italian word for 'sweetly'? □ fine □ legato □ dolce

m What does cantabile mean? 0 smoothly 0 in a singing style □ sweetly

II What does stacc. mean? 0 detached 0 accent 0 loud

m If you see O.C. what should you do? 0 stop playing o repeat from the beginning

0 playin time


{t Signs ,,.--------------------------------

r

Italian sign

>

r.-.. I.;.)

J = 60

Meaning

gradually getting louder (the sign for crescendo)

gradually getting quieter (the sign for descrescendo or diminuendo)

accent the note (play with emphasis)

slur; perform smoothly

tie; hold for the value of both notes

staccato; detached

pause on the note or rest

metronome mark; here the number '60' tells us play at a tempo of 60 crotchet beats in a minute

repeat the section between the two signs. (If the first sign is missing, repeat from the beginning.)

Did you know? It is easy to confuse a slur sign with a tie. Slurs can be found over two different notes, or over a group of notes, while ties link together two or more notes of the same pitch. Can you find examples of ties in this book?

Challenge! Add some terms and signs of your choice to this melody.

2=1 .n u r ~ . ~ J J r F If

Can you describe how the melody should be played, based on the terms and signs you've added?

II

Chapter 10: Terms & Signs I 49

Exercise 4 Tick< t/ > one box for each question.

andante means: ef means: cantabile means:

slow □ quiet □ in a singing style

t/ at a medium speed □ moderately quiet □ at a medium speed

quick □ moderately loud □ smoothly

gradually getting quicker O ioud □ gradually getting quieter

~ means: ~ = 96 means: adagio means:

□ legato; smoothly D 96 crotchet notes 0 quick

□ staccato; detached D 96 crotchet beats □ at a medium speed

□ accent the note 0 96 crotchets in the melody O slow

□ legato; detached D 96 crotchet beats in a minute □ smoothly

dim. means: ~ means: fine means:

□ gradually getting quicker □ repeat mark D intime

□ gradually getting slower □ the end □ repeat from the beginning

□ gradually getting quieter □ double bar-line D smoothly

□ gradually getting louder □ perform an octave higher D the end

Vour nronr~c.c;

Congratulations! You've completed all the work for Grade 1 on Terms & Signs. Turn to the Practice Exam Paper on page 55 if you'd like to try some sample exam questions.


• Putting it all together l The last question of the Grade 1 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. All of the questions will be about topics covered in this book.

Exercise 1 Study this melody and then answer the questions that follow.

1 Andante

2 ,-# 2 Q J J .J =J IJ 3

J f 1r J nif ----------

Offenbach 4

f I J. 7 8

J r J If J J II

El Tick ( t/) the correct key of this melody.

Cmajor D Gmajor D Dmajor D Fmajor D m Tick ( t/) the bar number that contains an accidental.

barl □ bar3 D bars □ bar7 D II Complete the following two sentences by ticking one box for each.

The longest note in the melody is a ...

dotted crotchet D minim D dotted minim D semibreve D The highest note in the melody is ...

oO m Circle TRUE or FALSE for each statement.

The melody should be played very loudly. TRUE FALSE

The notes in bar 1 are tied. TRUE FALSE

The melody should be played at a medium speed. TRUE FALSE

The note in bar 4 should be held for three beats. TRUE FALSE

Chapter 11: Music in Context I 51

Exercise 2 Study this melody and then answer the questions that follow.

Allegro 4 Schubert 2 3

>-

;J= I r >

~ I ~

~ i j 1 [__J I f t±t I t£1 ~ > ~

p

5 6 7 8

> >- ,..--.,_ ,,-

1~ ~: r [ r I r r r I r r r t f r : etc.

f ===-p

El Tick (ti') the bar number that contains a dotted quaver.

bar 2 □ bar4 D bar6 D bar8 D

El Tick (ti') the word that best describes how the notes in bar 4 should be played.

cantabile □ dolce □ legato D staccato D

II This melody is in the key of C major. Tick (ti') the degree of the scale of ...

i) the first note of the melody.

ii) the last note of the melody.

2nd □

2nd □

3rd □

3rd □

4th □

4th □

l!J Give the number of the bar that contains the only rest in the melody. Bar:

II Tick ( t/ ) one box to complete this sentence:

The tempo of the melody is ...

quick D at a medium speed D fairly quick D

D Circle TRUE or FALSE for each statement.

The melody is written in the treble clef.

The first note of bar 1 should be played with an accent.

All the quavers should be played staccato.

All the notes in bar 6 should be played loudly.


TRUE FALSE

TRUE FALSE

TRUE FALSE

TRUE FALSE

5th □

5th □

slow □

Exercise 3 Study this melody and then answer the quest ions that follow.

J = 54 ,,-2 ( 5 2 3 4

It r ~ I J. I J J J I J p dolce

7 ,:---,___ 8 9

r r f IC' w r i'. ~ r· p If etc.

f p

El Tick (II) the sentence that is correct.

II

II

At the beginning, the music should be played quietly and in a singing style.

At the beginning, the music should be played moderately quietly and sweetly.

At the beginning, the music should be played quietly and sweetly.

Circle TRUE or FALSE.

This piece has a G major key signature. TRUE

Tick (II) the bar that applies to each of these statements.

This bar contains the key note, or tonic. barl D bar2 D This bar contains two Ds. bar2 D bar3 D This bar contains a crescendo. bar4 D bars □ This bar conta ins a dotted minim. barl D bar4 ~

I!) Complete the following sentences by t icking one box for each.

FALSE

bar6 D bar4 D bar6 D bar7 D

Ji Handel

j

□ □ □

bar8 D bar7 D bar8 D bar8 D

Bar 4 has the same rhythm as .. . bar 8 :J bar 5 D bar 2 D bar 6 D Slurs are used in ... bars 1 & 2 :] bar 2 D bars 2 & 7 D bar 1 D

Congratulations! '- , : ..-.,., . 1

··

You've completed all the work for ABRSM Grade 1 Music'Theory., ,y~ have~t_ air ady don~ so, test your knowledge and understanding with the ABRSM Practict ,Exa"1 Paper -~~~- .

~ ' . -r : - ----..-.--

Chapter 11: Music in Context I 53

Notes

54 I Dasc~ : ering Music Theory: Grade 1

Grade

1 Practice Exam Paper ABRSM Grade 1

I Total marks (out of 75): I

\

~ --.-

ti: ~ .-.. -__,,;;;;;a,,u ~ AP'~...::~•"~~ ~ Practice Exam Paper I 55

1 Rhythm

,., Circle the correct time signature for each of these bars.

(aJ' 2 4 ~ CJ- 11 r· r d 4 4

(b) ~: lff 3 F 11 C r r r (_f 4

(c) 4u [ ~ ~ 4 2 ~ II 4 4

1.2 Add the one missing bar- line to each of these five melodies.

(a) :J=I 2 J. ~ J) J j g r 11

(b) &t [2 r l Cf f J II

(c) &» i r· -f f r J7J J J II

II

J J. 11

1.3 Tick (Iii) one box to answer each question.

(a) How many minims are there in a semibreve? 2 0 (b) How many semiquavers are there in a dotted crotchet? 4 0

1.4 Tick (Iii) one box to show which bar is grouped correctly.

:>= ~ I EJ j J 3 j II

□ 56 I Discovering Music Theory : Grade 1

:>=~ I EJ JO J] II

□

3 4

2 4

3 4

aO aO

/ 15

(3)

(5)

(2)

(1)

t>=~1J J ~

□

1.5 Tick (II') or cross ()() each box to show whether the rests are correct or incorrect. (3)

,~1 ~ • i ----1(-

~ j If ~ C f r ~ 1J ~ J -· II □ □ □

1.6 Tick (II') one box which shows the four notes written in order from the longest value to the shortest. (1)

0 ) J j □

0 J ) j □ 0 j J ) □

2 Pitch /15

2.1 Tick (II') one box to show the correct name of each note. (7)

' ije ~o

11 ~ :

11 ~ : II (a) (b) (c)

e

A# G# F# C# A E F G Bl, El, GI, Al,

□ □ □ □ □ □ □ □ □ □ □ □

' 4»11 11

I I II ~=~ II (d) (e) (f) e 11

C A B G E F# C# C A G Bl, D

□ □ □ □ □ □ □ □ □ □ □ □ (g)

' 11

11

D E G B

□ □ □ □ 2.2 Tick (II') the higher note of each of the pairs of notes. (4)

(a) ~: In 1 1111 II (bl ' Uo ~e

II (c) ' ffie ~e II (d) !.J= !10 ;fo 11

□ □ □ □ □ □ □ □

Practice Exam Paper I 57

2.3 Tick (II) the correct clef needed to make each of these named notes. (4)

11

0

(a) 11 11

(d) ~ I I (b) (c) jto I I

C n A B

,□ 9:0 ,□ 9:0 , □ 9= □ , □ 9= □

3 Keys and Scales

3.1 Tick (II) one box to show the correctly written key signature of D major. (1)

~-·, 11 ~=• II t>=1n II 2=1i1 II

□ □ □ □

3.2 Tick (II) one box to show the correctly written key signature of F major. (1)

~ □

3.3 Tick (II) three boxes to show which notes need an accidental to create a melody in the key of G major. (3)

~)= i F' v r f I V r I r J J 0 11

□ □□ □ □ □ □ □ □ □

3.4 Tick (II) two boxes to show the two pairs of notes in this scale which are a semitone apart. (2)

a

0 II

□ D D □ □ □ □


3.5 Circle TRUE or FALSE for each statement. (4)

(a) There is one sharp in the key signature of F major TRUE FALSE

(b) There are no sharps or flats in the key signature of C major TRUE FALSE D

(c) :J= II This is the 5th degree of the scale of G major TRUE FALSE

(d) ~,~=====•~>c===::111 This is the 1st degree of the scale of C major TRUE FALSE

3.6 Tick (ti) one box to show the correctly written scale of F major descending. (1)

' 0 'j 0

~o II □ • j , , 0 u

' 0 11 0 ~o II □

, , < I 0 'j

' 0 11 0 I,, I

II □ 0 'j 0 I I

3.7 Circle TRUE or FALSE. (1)

0 'j 0 ( j 0 'j 0 II u

This is the scale of D major, descending, with key signature TRUE FALSE

3.8 Cross (K ) the two incorrect notes in the following scale. (2)

G major, ascending

0 'j

II :>= 0 I I

#o 0 'j 0

□ □ □ □ □ □ □

Practice Exam Paper I 59

4 Intervals /10

4.1 For each example, write one note to form the named interval. (5)

Your note should be higher than the given note. The key is C major.

' ' II ~f II II (a) (c) (b) IJ -e- -e-

6th 3rd 2nd

(dl' 11 II (e) ~: 11 II

4th 7th

4.2 Tick (ti) one box to show the correct number of each interval. The key is F major. (5)

(bl' (a) ~: a II II (c) ~r a 11

II I I 11 u

5th 6th 7th 8th/8ve 5th 6th 7th 8th/8ve 1st 2nd 3rd 4th

□ □ □ □ □ □ □ □ □ □ □ □

(d) ~~: u 11 11 (el' 11

II I I

3rd 4th 5th 6th 4th 5th 6th 7th

□ □ □ □ □ □ □ □

5 Tonic Triads /10

5.1 Circle TRUE or FALSE for each statement. (3)

' II This is the tonic triad of C major (a) TRUE FALSE

l}_

(b)

' ti 11

This is the tonic triad of G major TRUE FALSE

(c) ~r 16 II This is the tonic triad of D major TRUE FALSE


◄

5.2 Add one missing note to complete each triad, with the tonic as the lowest note. Use accidentals if necessary.

(3)

(a)

' 0 II (b) ~: : : II 8

II

F major C major G major

5.3 Circle the correct key for each tonic triad. (4)

(a)

' H

II C major F major G major D major

(b)

' nu II F major D major C major G major

(c) ;l· :§: 11

G major C major D major F major

(d) ;,: § II F major G major C major D major

6 Terms and Signs /s

Tick (~) one box for each term/sign.

Andante means: Fine means: 17\ means:

slow □ smoothly □ pause on the note or rest □ quick □ repeat from the beginning □ accent the note □ at a medium speed □ the end □ gradually getting slower □ in a singing style □ in time □ staccato: detached □

.ff means: rr means:

moderately loud □ tie: detached □ loud □

tie: hold for the value of

□ both notes

very loud □ slur: detached □ very quiet □ slur: perform smoothly □

Pract ice Exam Paper I 61

7 Music in Context

Look at this melody and then answer the questions that follow.

Allegro

tr~tr F v 1r:rcEr 3 • • •

1tttf(tf r 4

1r r r v mp cresc.

5

tr~ r f

er r 1 r E r r 7 • • • 8 ~

1tttrEtf r1 m-r -if dim.

7.1 Circle TRUE or FALSE.

The melody gets gradually louder towards the end TRUE FALSE

7.2 Tick (II) the bar number that contains all the notes of the tonic triad of F major.

barl D bar3 D bars 0 bar8 0

7.3 Complete the following three sentences by ticking one box for each.

(a) The longest note in the melody is a ...

mp

minim O semibreve D crotchet D dotted minim D

(b) Bar 3 has the same pitches as ...

bars D bar6 D bar7 D bar8 D

(c) The letter name of the lowest note in the melody is ...

oD cD


/ s

II

(1)

(1)

(3)

End of exam

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5 -Discovering Music Theory ---·-

•

1© 2020 by The Associated Board of the Royal Schools of Music

Music Theory Sample Paper 2020 Grade 1

Exam duration: 11/2 hours maximum Total marks (out of 75):

The following sample exam paper is a printed representation of how this exam will appear online. The structure of the questions, the knowledge required and the topics covered will be the same. However, in order to suit an online platform, the wording of the questions and the method of answering them may be different.

Terminology:

bar semibreve minim crotchet quaver semiquaver

measure whole note half note quarter note 8th note 16th note

2

Music Theory Sample Paper 2020 Grade 1Exam duration: 1½ hours maximum

1.1 Circle the correct time signature for each of these bars. (3)

(a)

&

&#

?

œ ‰ œJ œ œ œ œ œ

œ ™ œ œ

œ ™

œJ

œ œ

2 4 3 4 4 4

(b)

&

&#

?


œ ™ œ œ

œ ™

œJ

œ œ

3 4 2 4 4 4

(c)

&

&#

?


œ ™ œ œ

œ ™

œJ

œ œ c 2 3 4 4

1.4 Tick ( ) one box to show which bar is grouped correctly. (1)

34

34

34

&##

&##

&##

œ œœœœœ œ

œ œœœœœ œj

œ œœœœœ œ

34

34

34

&##

&##

&##

œ œœœœœ œ

œ œœœœœ œj

œ œœœœœ œ

34

34

34

&##

&##

&##

œ œœœœœ œ

œ œœœœœ œj

œ œœœœœ œ

1.3 Tick ( ) one box to answer each question. (2)

(a) How many quavers are there in a h. ? 3 4 5 6

(b) How many crotchets are there in a semibreve? 2 3 4 6

1 Rhythm ⁄15

1.2 Add the one missing bar-line to each of these five melodies. (5)

(a)

24

34

44

24

34

?

&##

&

?

?

œ œ œ œ œJ ‰ ˙

œ œ œ œ œ ™

œj œ œ

˙œ œ œ œ œ œ ˙

œ ™ œj œ œ œ œ

œ ™

œ œ œ œ œ œ œ œ œ

(b)

24

34

44

24

34

?

&##

&

?

?


œ œ œ œ œ ™

œj œ œ



œ ™


(c)

24

34

44

24

34

?

&##

&

?

?


œ œ œ œ œ ™

œj œ œ



œ ™


(d)

24

34

44

24

34

?

&##

&

?

?


œ œ œ œ œ ™

œj œ œ



œ ™

œ œ œ œ œ œ œ œ œ (e)

24

34

44

24

34

?

&##

&

?

?


œ œ œ œ œ ™

œj œ œ



œ ™


Turn the page3 ABRSM Sample Paper 2020 Grade 1

1.4 Tick ( ) one box to show which bar is grouped correctly. (1)

34

34

34

&##

&##

&##

œ œœœœœ œ

œ œœœœœ œj

œ œœœœœ œ

34

34

34

&##

&##

&##

œ œœœœœ œ

œ œœœœœ œj

œ œœœœœ œ

34

34

34

&##

&##

&##

œ œœœœœ œ

œ œœœœœ œj

œ œœœœœ œ

1.3 Tick ( ) one box to answer each question. (2)

(a) How many quavers are there in a h. ? 3 4 5 6

(b) How many crotchets are there in a semibreve? 2 3 4 6

2 Pitch ⁄15

2.1 Tick ( ) one box to show the correct name of each note. (7)

(a)

?#

&

&

?

&

?b

&

w

w

w#

w

wb

w

w

(b)

?#

&

&

?

&

?b

&

w

w

w#

w

wb

w

w

(c)

?#

&

&

?

&

?b

&

w

w

w#

w

wb

w

w

F# D# G E A B F G E# C# D# G#

(d)

?#

&

&

?

&

?b

&

w

w

w#

w

wb

w

w

(e)

?#

&

&

?

&

?b

&

w

w

w#

w

wb

w

w

(f)

?#

&

&

?

&

?b

&

w

w

w#

w

wb

w

w G F B A Eb Bb Db Ab F G C D

(g)

?#

&

&

?

&

?b

&

w

w

w#

w

wb

w

w

D E G F

1.5 Tick ( ) or cross ( ) each box to show whether the rests are correct or incorrect. (3)

44&b ∑œ œ œ ™ œ

jœ Œ œ œ ≈ œ œ œ œ œ œ œ œ ˙

2.2 Tick ( ) the lower note of each of the pairs of notes. (4)

(a)

?

?

&

&

wn w#

wn wb

wb wn

w# wn

(b)

?

?

&

&

wn w#

wn wb

wb wn

w# wn

(c)

?

?

&

&

wn w#

wn wb

wb wn

w# wn

(d)

?

?

&

&

wn w#

wn wb

wb wn

w# wn

1.6 Tick ( ) one box which shows the four notes written in order from the shortest (1) value to the longest.

x e. h w

x h e. w

x e. w h

4 ABRSM Sample Paper 2020 Grade 1

3.1 Tick ( ) one box to show the correctly written key signature of F major. (1)

?#

?b

?b

? b

?#

?b

?b

? b

?#

?b

?b

? b

?#

?b

?b

? b

3.2 Tick ( ) one box to show the correctly written key signature of D major. (1)

&##

&#

&##

&##

&##

&#

&##

&##

&##

&#

&##

&##

&##

&#

&##

&##

3 Keys and Scales ⁄15

2.3 Tick ( ) the correct clef needed to make each of these named notes. (4)

(a)

w

w

w

wb

(b)

w

w

w

wb

(c)

w

w

w

wb

(d)

w

w

w

wb

G E C B G E C Bbb

&& ??

&& ??

&& ??

&& ??

3.3 Tick ( ) three boxes to show which notes need an accidental to create a melody (3) in the key of G major.

44&

˙ ˙ ˙ ˙ œ œ œ œ œ ˙ ˙

3.4 Tick ( ) two boxes to show the two pairs of notes in this scale which are a semitone apart. (2)

& w w w w w w w w


3.1 Tick ( ) one box to show the correctly written key signature of F major. (1)

?#

?b

?b

? b

?#

?b

?b

? b

?#

?b

?b

? b

?#

?b

?b

? b

3.2 Tick ( ) one box to show the correctly written key signature of D major. (1)

&##

&#

&##

&##

&##

&#

&##

&##

&##

&#

&##

&##

&##

&#

&##

&##

2.3 Tick ( ) the correct clef needed to make each of these named notes. (4)

(a)

w

w

w

wb

(b)

w

w

w

wb

(c)

w

w

w

wb

(d)

w

w

w

wb

G E C B G E C Bbb

&& ??

&& ??

&& ??

&& ??

3.3 Tick ( ) three boxes to show which notes need an accidental to create a melody (3) in the key of G major.

44&

˙ ˙ ˙ ˙ œ œ œ œ œ ˙ ˙

3.4 Tick ( ) two boxes to show the two pairs of notes in this scale which are a semitone apart. (2)

& w w w w w w w w

3.5 Circle true or false for each statement. (4)

(a) There is one flat in the key signature of F major true false

(b) There is one sharp in the key signature of D major true false

(c)

&

?

w

w

This is the 2nd degree of the scale of G major true false

(d)

&

?

w

w This is the 4th degree of the scale of F major true false

3.6 Tick ( ) one box to show the correctly written scale of G major ascending. (1)

?3d

?3d

?

w w w w w w w# w

w w# w w w w w w

w w w w w w w# w

?3d

?3d

?

w w w w w w w# w

w w# w w w w w w

w w w w w w w# w

?3d

?3d

?

w w w w w w w# w

w w# w w w w w w

w w w w w w w# w

3.7 Circle true or false. (1)

?w wb w w w w w w

This is the scale of C major, descending true false

3.8 Cross ( ) the two incorrect notes in the following scale. (2)

D major, descending

& w w# w w w w w w#

6 ABRSM Sample Paper 2020 Grade 1

4 Intervals ⁄10

5 Tonic Triads ⁄10

4.1 For each example, write one note to form the named interval. (5) Your note should be higher than the given note. The key is D major.

(a)

? ? &

& ? ?

w ww

ww (b)

? ? &

& ? ?

w ww

ww

(c)

? ? &

& ? ?

w ww

ww

4th 2nd 8th / 8ve

(d)

? ? &

& ? ?

w ww

ww (e)

? ? &

& ? ?

w ww

ww

5th 6th


(a)

&

?

&

www

www

www#

This is the tonic triad of G major true false

(b)

&

?

&

www

www

www#

This is the tonic triad of F major true false

(c)

&

?

&

www

www

www# This is the tonic triad of D major true false

4.2 Tick ( ) one box to show the correct number of each interval. The key is C major. (5)

(a) &

&

?

?

&

w w

ww

w w

ww

w w

(b)

&

&

?

?

&

w w

ww

w w

ww

w w

(c)

&

&

?

?

&

w w

ww

w w

ww

w w

1st 2nd 3rd 4th 1st 2nd 7th 8th/8ve 2nd 4th 5th 6th

(d)

&

&

?

?

&

w w

ww

w w

ww

w w

(e)

&

&

?

?

&

w w

ww

w w

ww

w w

4th 5th 6th 7th 5th 6th 7th 8th/8ve


4.1 For each example, write one note to form the named interval. (5) Your note should be higher than the given note. The key is D major.

(a)

? ? &

& ? ?

w ww

ww (b)

? ? &

& ? ?

w ww

ww

(c)

? ? &

& ? ?

w ww

ww

4th 2nd 8th / 8ve

(d)

? ? &

& ? ?

w ww

ww (e)

? ? &

& ? ?

w ww

ww

5th 6th


(a)

&

?

&

www

www

www#

This is the tonic triad of G major true false

(b)

&

?

&

www

www

www#

This is the tonic triad of F major true false

(c)

&

?

&

www

www

www# This is the tonic triad of D major true false

4.2 Tick ( ) one box to show the correct number of each interval. The key is C major. (5)

(a) &

&

?

?

&

w w

ww

w w

ww

w w

(b)

&

&

?

?

&

w w

ww

w w

ww

w w

(c)

&

&

?

?

&

w w

ww

w w

ww

w w

1st 2nd 3rd 4th 1st 2nd 7th 8th/8ve 2nd 4th 5th 6th

(d)

&

&

?

?

&

w w

ww

w w

ww

w w

(e)

&

&

?

?

&

w w

ww

w w

ww

w w

4th 5th 6th 7th 5th 6th 7th 8th/8ve

6 Terms and Signs ⁄5

5.2 Add one missing note to complete each triad, with the tonic as the lowest note. (3) Use accidentals if necessary.

(a) ? ? &ww

ww#ww

(b) ? ? &ww

ww#ww

(c) ? ? &ww

ww#ww

F major D major C major

5.3 Circle the correct key for each tonic triad. (4)

(a)

?

?

&

&

www

www

www#

www

F major C major G major D major

(b)

?

?

&

&

www

www

www#

www

C major F major D major G major

(c)

?

?

&

&

www

www

www#

www

G major D major C major F major

(d)

?

?

&

&

www

www

www#

www C major D major F major G major

Tick ( ) one box for each term/sign. (5)

staccato means: decrescendo means: Adagio means:

accent gradually getting louder slow

fairly quick gradually getting quicker quick

loud gradually getting quieter at a medium speed

detached gradually getting slower fairly quick

mp means: q = 120 means:

moderately loud 120 crotchet beats

moderately quiet 120 crotchet beats in a bar

very quiet 120 crotchet beats in a minute

quiet 120 crotchets in the melody

8 ABRSM Sample Paper 2020 Grade 1 End of exam

7 Music in Context ⁄5

Look at this melody and then answer the questions that follow.

1Andante

2 3 4

5 6 7 8

44&

mf cresc. f

&ff mf

˙ ˙ œ œ œ œ œ œ ™ œj œ œ ˙ ™

œ

œ œ œ œ ™ œJ

œ œ œ œ œ ˙ ˙ w

7.1 Circle true or false. (1)

The melody gets gradually louder towards the end true false

7.2 Tick ( ) the bar number that contains all the notes of the tonic triad of C major. (1)

bar 1 bar 2 bar 5 bar 6

7.3 Complete the following three sentences by ticking one box for each. (3)

(a) The longest note in the melody is a …

minim semibreve crotchet dotted minim

(b) Bar 1 has the same pitches as …

bar 4 bar 5 bar 7 bar 8

(c) The letter name of the highest note in the melody is …

A F B G

1

Theory Paper Grade 1 Sample X July 2017

Duration 1½ hours

Candidates should answer ALL questions. Write your answers on this paper – no others will be accepted. Answers must be written clearly and neatly – otherwise marks may be lost.

1 (a) Add the time signature to each of these three examples. 10

(b) Add a rest at each of the two places marked * to make the bars complete.

Berlioz

* *

2 (a) Draw a circle around the lower note of each of these pairs of notes. 10

(b) Draw a circle around the higher note of each of these pairs of notes.

Grade 1XCandidates with labels: fix name label here.All other candidates: write names in full.

Candidate …………………………………………………………

Entered by …………………………………………………………

TOTAL MARKS100

© 2017 by The Associated Board of the Royal Schools of Music Grade 1X Turn the page

2

3 Above each note write a higher note to form the named harmonic interval, as shown in the first answer. The key is C major.

10

4th

8th/8ve

6th

7th 3rd

5th

7th 3rd 8th/8ve

4th

8th/8ve

6th

7th 3rd

5th 4th 5th 6th

4 Name the key of each of these scales. Also draw a bracket ( ) over each pair of notes making a semitone, as shown in the first scale.

Key …………………………………………………

Key …………………………………………………

Key …………………………………………………

5 (a) Name the degree of the scale (e.g. 2nd, 3rd, 4th) of the notes marked *, as shown in the first answer. The key is C major.

5th

* * * * * * * * * Haydn

……… ……… ……… ……… ……… ……… ……… ……… ………

(b) Give the letter name of the lowest note in the melody. ………

10

Key ...........................................

Key ...........................................

Key ...........................................

10

5th

Grade 1X

3

6 Name the key of each of these tonic triads, as shown in the first answer. 10

C major....................

.................... .................... ....................

........................................ …………………………… …………………………… ……………………………

C major....................

.................... .................... ....................

........................................

…………………………… …………………………… ……………………………

7 Write the dynamics # % ! ( ) $ in the correct order, from the loudest to the quietest. The first answer is given.

10

…………… …………… …………… …………… …………… ……………

8 Tick one box for each term/sign, as shown in the first answer. 10

Andante means: Adagio means: means:

quick held back quiet

at a medium speed fairly quick accent the note

slow gradually getting slower gradually getting quieter

gradually getting quicker slow gradually getting quicker

means: da capo (D.C.) means: # means:

tie; detached repeat from the beginning moderately quiet

slur; detached the end quiet

slur; perform smoothly repeat from the sign % moderately loud

tie; hold for the value of in time very quietboth notes

C major

............ ............ ............ ............ ............ ............

Grade 1X Turn the page

4

9 Look at this melody by Mendelssohn and then answer the questions below.

Write your answer to question (b) on the stave below. Write your answer to question (c) on the stave below.

Adagio1 2 3 4 5 6 7 8 9

Write your answer to question (c) on the stave below.

Adagio1 2 3 4 5 6 7 8 9

(a) (i) Answer TRUE or FALSE to this statement: 10

The notes in bar 8 will sound the quietest. ………………………

(ii) Give the letter name of the highest note in the melody. ………

(iii) This melody is in the key of D major. Name the degree of the scale (e.g. 2nd, 3rd, 4th) of the first note in the melody. …………

(iv) Give the number of a bar that contains all the notes of the tonic triad. Remember that the key is D major. Bar ………

(v) How many bars contain a dotted crotchet (dotted quarter-note)? ………

(b) Copy out the music from the start of the melody to the end of bar 6, exactly as it is written above. Don’t forget the clef, key signature, time signature, tempo marking , dynamic and all other details. Write the music on the blank stave above question (a).

10

Grade 1X

1

Theory Paper Grade 1 Sample Y July 2017

Duration 1½ hours

Candidates should answer ALL questions. Write your answers on this paper – no others will be accepted. Answers must be written clearly and neatly – otherwise marks may be lost.

1 Add the missing bar-lines to these two melodies. The first bar-line is given in each. 10

2 Add the correct clef to make each of these named notes, as shown in the first answer. 10

B D A C

E F middle C F

C G B C G Bb

B D A C

E F middle C F

C G B

E F# middle C F

B D A C

E F middle C F

C G B

B D A C#

Grade 1YCandidates with labels: fix name label here.All other candidates: write names in full.

Candidate …………………………………………………………

Entered by …………………………………………………………

TOTAL MARKS100

© 2017 by The Associated Board of the Royal Schools of Music Grade 1Y Turn the page

2

3 After each note write a higher note to form the named melodic interval, as shown in the first answer. The key is G major.

10

6th

5th2nd

8th/8ve3rd

4th

6th 3rd 8th/8ve

6th

5th2nd

8th/8ve3rd

4th 4th 2nd 5th

4 Add a rest at the places marked * in these two melodies to make each bar complete. 10

* *Mozart

* * *A. Sullivan

5 Name the major keys shown by these key signatures. The first answer is given. 10

.................... ...................... ......................

....................G major ...................... ...................... …………………………… …………………………… ……………………………

.................... ...................... ......................

....................G major ...................... ......................

…………………………… …………………………… ……………………………

G major

Grade 1Y

3

6 Write as semibreves (whole notes) the scales named below. Do not use key signatures but remember to add any necessary sharp or flat signs.

10

F major, descending

D major, ascending D major, ascending

F major, descending

D major, ascending

F major, descending

7 (a) Give the letter name of each of the notes marked *, including the sharp or flat sign where necessary. The first answer is given.

G

*

....... .......

*

.......

*

.......

*

.......

* *

.......

*

....... .......

*D. Scarlatti (adapted)

*

....... ……… ……… ……… ……… ……… ……… ……… ……… ………

(b) How many times does the rhythm occur in the melody? ………

8 Tick one box for each term/sign, as shown in the first answer. 10

(( means: q = 120 means: means:

moderately loud 120 crotchet beats accent the note

loud 120 crotchets in the melody staccato; detached

very loud 120 crotchet beats in a minute legato; smoothly

moderately quiet 120 crotchet notes gradually getting quieter

rall. means: Lento means: Fine means:

gradually getting quicker held back in time

gradually getting slower smoothly a little

slow slow repeat from the beginning

held back gradually getting slower the end

10

G

Grade 1Y Turn the page

4

9 Look at this folksong melody and then answer the questions below.


Allegro1 2 3 4 5 6 7 8 9rall.

cresc.

= 120

Write your answer to question (b) on the stave below.


Adagio1 2 3 4 5 6 7 8 9

(a) (i) This melody is in the key of F major. Give the number of a 10 bar that contains all the notes of the tonic triad in this key. Bar ………

(ii) Name the degree of the scale (e.g. 2nd, 3rd, 4th) of the last note in the melody. Remember that the key is F major. …………

(iii) Draw a circle around two notes next to each other that are tied together.

(iv) How many bars contain only quavers (eighth notes)? .........

(v) In which bar is the performer told to pause or hold on to the note? Bar ………

(b) Copy out the music from the start of the melody to the end of bar 4, exactly as it is written above. Don’t forget the clef, key signature, time signature, tempo marking, dynamic and all other details. Write the music on the blank stave above question (a).

10

Grade 1Y

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