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Grade

Discovering Music Theory I Workbook

Discovering

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Music Theory ....{· . '">··· 7 ... _:.

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ffe

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ffe

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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 Bfollowed by a B,.

vour progress Congratu lat ions ! You 've comp leted all the work for Grade 1 on Pitch . Turn to the Pract ice Exam Paper on page 55 if you 'd li ke to try some sample exam questions.

Chapter 4: Pitch (Part 2)

I

23

•;~~,

1n this chapter YOll ,Wfh ~

o·~tted Grouping dotted

(PART 3)

Ties notes notes

Ties A tie is a curved line that joins neighbouring notes of the same pitch . Notes joined by a tie are played as one note lasting the length th e tied notes added together. For example, two crotchets tied together will sound like one minim:

?f.

~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

nr

cg] r

11

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

El

~

II

rs

II

~~~~~

JJ[t' I

f'

z)jj_}?

beat(s)

II

beat(s)

m 4£])

beat(s)

D

1½

beat(s)

beat(s)

~ ~ ~-

beat(s)

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

-

El .J .J

=

J

--- □

m)

24

I

)) =

□ .J .J -------- □

- □ ))

m j......_...,j

=

a ))

=

D

=

D

=

Discovering Music Theory: Grade 1

cJ

--

□

Writing ties • Ties are placed above or below the notes t hey join, depending on where the notes are positioned on the stave.

r

• Notes below the m iddle line have ties below the noteheads. • Notes above the middle line have ties above the noteheads.

Exercise 3

El

II

Join the boxed notes with ties and number the beats.

,~r r r?Tr 1

2

1

3

&2 J J 1~

II :1= I [2

f v

r I

tf F 2

m 9: ! J) Etr

,gr £J I J

II

1$F Iv

II

3

IJ I ~

I

11

II

m

&1 r r ~

II

D

:J= c V

~

~1r [2

11

rjr rln:•rv

J

1

II

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 crotchet:

1½ counts

Dotted quaver:

}. =))

¾ count

Exercise 4

El

-

J= j J J= J )

Dotted minim:

--

J J

m j...._....J

3 counts

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

=

=

'J7 □

m )J

-

II

-

))

=

=

□ □

- □ ))

II

J )

=

D

-

=

□

Chapter 5: Rhyth m (Par t 3)

I

25

Exercise 5

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

El

&1 r

II

tJ= i

II

'bj

J

Ji

J

J,

¥ Ir

~ ~

=

J

+

+

Exercise 7

J

J

n

+

)

=

+

).

+

□)

IJ

I ~ ~

Theory in sound

Answer each musical 'sum' with one note.

).

~

e

p (Jr 1J j

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

L.__

II cJ II

+

1J ~ ~

~

V

IA

J Ir r f Ir

j

Exercise 6

El

~

J f Ir Ef

=

□

Rewrite these notes in order, from longest to shortest.

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

J Challenge! Try writing 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·

= 1 bea t

Smart tip

Remember!

In the next exercise, notes that are beamed together add up to one beat.

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

Exercise 8

Add the time signature to each of these bars.

El

, □ r·

II

,□

Exercise 9

r· r ~

~

J

.J--

~

~Tick (

j

z

~ ~ ~

II

II

,□

II

m

2= □ ~-

I

~

d

J

I 2'c [r U

~

~

d J

I '.h ~- U

II

~ ~

II

EL f J

I

&i~- f f r D 41 r· f r D 4ir11

□

11

?":fl=.r==1111 • ~ · ~ip::: PJ===i 1 ~E== I :::uJ5r~

□

□

a [ FJ

[

□

□

r er f" r r

□

□

□

11 9=1

v·

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

El '.h ~- (CT

m

II

I 4t

J Cf [j J

□

frr □ 2= (1 c f" I II!

J

I

I

I

r

□ J-==rfl .:=t• ? . ~?~gE:::::;; I =¥:-47i=tJt:=

□ Chap ter 5: Rhythm (Part 3)

I

27

Exercise 10

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

&i J

II

J

a

.n r * u a r , Ji n P .o JS:l J Jv =1 2= i r r- ; r r r z ~ r a D r J * ~

m

&c j ~ ~-

II

&1

EJ•

D

~= I ~-

m 2= 1 □

r·

~

~

p

J J.

rcFr r·

r Fr f

~~

J

l

~

:t

~~ ~,_,i= j

JJ J 1

~-d. f l f ~f f ~

i

~

J nJ J

~ II

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

j

Your progress Congratulations! You've completed all the work fo r Gra de 1 on Rhythm. Turn to page 55 to try some practice exam questions.

28

I

Discovering Music Theory: Grade 1

. _ · .-,. '~ ·... ~

SCA LES

,~

.p-

\..

._..

_ _ i n this chapter you w;II learn a~ ;_

, ... ~

:

:

.~ ,

one box for each question.

ef means:

cantabile means:

slow

□

quiet

□

in a singing style

at a medium speed

□

moderately quiet

□

at a medium speed

quick

□

moderately loud

□

smoothly

gradually getting quicker

O

ioud

□

gradually getting quieter

andante means:

t/

~

means:

□

legato; smoothly

□

staccato; detached

□

accent the note

□

legato; detached

~ = 96 means:

adagio means:

D D 0 D

96 crotchet notes

0

quick

96 crotchet beats

□

at a medium speed

96 crotchets in the melody

O

slow

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

□

gradually getting louder

□

perform an octave higher

D D

smoothly the end

Vour nronr~c.c; Congratulations! You've completed all t he work for Grade 1 on Terms & Signs. Turn to t he Pra ctice Exam Paper on page 55 if you'd like to try some samp le exam questions.

50

I

Discoveri ng Music Theory: Grade 1

•

l

Putti ng it all toge ther The last questio n of the Grade 1 exam is a Music in Contex t question, in which you will be asked some questio ns 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

Andan te

,-# 2Q nif

2

3

J J .J =J IJ

J

f

- - - - - - - ---

4

1r

J

7

J El

I J.

f 8

r

J If J J

II

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

D

Gmajo r

D

D

Fmajor

D

bars □

bar7

D

semibreve

D

Dmajo r

m Tick ( t/) the bar number that contains an accidental.

□

barl

II

Offenbach

bar3

D

Complete the followin g two sentences by ticking one box for each. The longest note in the melody is a ... dotted crotche t

D

minim

D

dotted minim

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

Chapte r 11: Music in Contex t

I

51

Exercise 2

Study this melody and then answer the questions that follow.

Allegro 2

>-

;J=

Ir p

[__J

5

~:

r

[

t±t

If 6

>

>

I~

~ j

~

t£1

>

7

>-

Schubert

4

3

Ii

1

~

8

,,-

,..--.,_

r I r r r I r r r t f r 1~

: etc.

f ===-p

El

Tick (ti') the bar number that contains a dotted quaver. bar 2

El

□

D

bar6

bar8

D

staccato

D

D

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

cantabile □

II

bar4

dolce

□

legato

D

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

2nd □

3rd □

4th □

5th □

ii) the last note of the melody.

2nd □

3rd □

4th □

5th □

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

D

at a medium speed

D

slow □

The melody is written in the treble clef.

TRUE

FALSE

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

TRUE

FALSE

TRUE

FALSE

TRUE

FALSE

staccato.

All the notes in bar 6 should be played loudly.

I

D

Circle TRUE or FALSE for each statement.

All the quavers should be played

52

fairly quick

Di scovering Music Theory: Grade 1

~

Exercise 3

, -2( J = 54

p dolce

r r

Study this melody and then answer the questions that follow.

2

4

3

It r ~ I J. 7 ,:---,__ _

f IC'

w

r

I

J J J IJ

8

Ji j

9

~

i'.

f

El

Handel

5

r·

p If

etc.

p

Tick (II) the sentence that is correct.

□ □ □

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.

II

Circle TRUE or FALSE . This piece has a G major key signature.

II

I!)

TRUE

FALSE

Tick (II) the bar that applies to each of these statements. This bar contains the key note, or tonic.

barl

This bar contains two Ds.

bar2

This bar contains a crescendo.

bar4

This bar conta ins a dotted minim.

barl

D D D D

D D

bar4

bars □

bar6

~

bar7

bar2 bar3

bar4

bar6

D D D D

bar8 bar7 bar8 bar8

D D D D

Complete the following sentences by t icking one box for each. Bar 4 has the same rhythm as ... Slurs are used in ...

Congratulations!

:J

bar 5

bars 1 & 2 : ]

bar 2

bar 8

'- ,

D D

bar 2 bars 2 & 7

D D

bar 6 bar 1

D D

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

No tes

54

I

D asc~ : ering Musi c Theo ry: Grad e 1

Grade

1

I Total marks (out of 75):

I

Practice Exam Paper ABRSM Grade 1 \

~

ti:

- -.-

~ .-..

-__,,;;;;;a,,u

~ AP'~...::~• " ~ ~ ~ Practice Exam Paper

I

55

1 Rhythm

,.,

/ 15

(3)

Circle the correct time signature for each of these bars.

(aJ' r· (b) ~:

lff

4u

(c)

CJ- r

~

d

r r F r (_f ~ ~ ~

[

11

2 4

4 4

3 4

11

3 4

C

2 4

II

4 4

2 4

3 4 (5)

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

(a)

(b)

(c)

:J=I 2 J.

J) J j g ~

r

&t [2 r l Cf f J &» i r· - f f r J7J J J

11

II II II

J J.

11

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

(2)

0 4 0

2

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

aO aO

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

:>= ~ I EJ j J3j II

□ 56

I

Discovering Music Theory : Grade 1

:>=~ I EJ

JO J] II □

(1)

t>=~1J J □

~

,~1

1.5 Tick (II') or cross ()() each box to show whether the rests are correct or incorrect. ----1(-

~

~

i

•

j

If

~

□

r~

Cf

□

~

1J

(3)

-·

J

I

□

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

0

)

0

0

j

□

J )

j

□

j

)

□

J J

(1)

2 Pitch

/15

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

(a)

' ' '

(b)

11

A#

C#

F#

G#

11

C

11

(e)

4»11 E

I I

F#

II El,

GI,

Al,

□ □ □ □ (f)

II C#

~o

~: Bl,

G

C

~=~ A

□ □ □ □

□ □ □ □ (g)

F

□ □ □ □

G

B

A

E

(c)

11

e

A

□ □ □ □

(d)

~:

(7)

e

G

II Bl,

D

□ □ □ □

11

11

B

G

E

D

□ □ □ □ (4)

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

(a) ~:

In 1

1111

□ □

II

(bl '

Uo

~e

□ □

II

(c) '

ffie

~e

□ □

II

(d)

!.J= !1 0

;fo

11

□ □ Pra ctic e Exa m Paper

I

57

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

I I

(b)

11

(c)

jto

,□

9:0

11

I I

11

n

C

,□

(4) 0

~

(d)

B

A

,□

9:0

,□

9= □

9= □

3 Keys and Scales

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

~-·,

~=•

11

□

II

□

(1)

t>= 1n II

2=1i 1 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.

~)=

i F' v r f

I V

r

□□ □

□

□

□

I

r

J J

□ □ □

(3)

11

0

□

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

(2)

a

II

0

□

58

I

D

D

Discovering Music Th eory : Grade 1

□

□

□

□

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

This is the 5th degree of the scale of G major

TRUE

FALSE

This is the 1st degree of the scale of C major

TRUE

FALSE

(c)

(d)

D

:J=

II

~,~=====•~>c===::11

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

0

' ' '

'j

0

0

11

0

0

11

0

• j

,,

I,,

(1)

~o

,,

0

u

~o

=

0

'j

#o

0

0

'j

I I

0

□

□

□

□

□

□

□

II

Prac tice Exam Paper I 59

4 Intervals

/10

(5)

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

II

(a)

'(dl'

-e-

(b)

~f

(c)

II

IJ

6th

3rd

11

(e)

II

~:

'

II

-e2nd

II

11

7th

4th

(5)

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

(a)

a

~: 5th

7th

6th

~~: 3rd

5th

8th/8ve

u 4th

11

11

5th

6th

(el' 4th

6th

7th

8th/8ve

(c)

~r

a

1st

2nd

11

II 3rd

□ □ □ □

11

II

I I

5th

6th

7th

/10

5 Tonic Triads

(3)

5.1 Circle TRUE or FALSE for each statement.

(a)

(b)

(c)

60

I

' '

~r

4th

□ □ □ □

□ □

□ □

II

11

□ □ □ □

□ □

□ □ (d)

(bl'

II

u

I I

l}_

ti 16

II

This is the tonic triad of C major

TRUE

FALSE

This is the tonic triad of G major

TRUE

FALSE

This is the tonic triad of D major

TRUE

FALSE

11

II

Discovering Music Theory: Grade 1

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

(3)

Use accidentals if necessary. (a)

'

II

0

(b)

~:

F major

::

8

II

C major

II

G major

5.3 Circle the correct key for each tonic triad.

(a)

(b)

(c)

(d)

' '

H

nu

;l·

;,:

II

C major

F major

G major

D major

II

F major

D major

C major

G major

G major

C major

D major

F major

F major

G major

C major

D major

:§: 11

II

§

(4)

/s

6 Terms and Signs Tick (~) one box for each term/sign .

Fine means:

Andante means: slow quick at a medium speed in a singing style

□ □ □ □

.ff means: moderately loud loud very loud very quiet

□ □ □ □

smoothly repeat from the beginning the end in time

rr

17\

□ □ □ □

means:

pause on the note or rest accent the note gradually getting slower staccato: detached

□ □ □ □

means:

tie: detached tie: hold for the value of both notes slur: detached slur: perform smoothly

□ □ □ □ Pract ice Exam Pap er I 61

/s

7 Music in Context Look at this melody and then answer the questions that follow.

Allegro

4

•

•

•

3

tr~trmp F v 1r:rcEr 1tttf(tf r 1r r r v cresc.

5

tr~

r r r 1tttrEtf r1 m-r

r er r

1 E -if

f

•

•

7

•

8~

mp

dim.

(1)

7.1 Circle TRUE or FALSE .

The melody gets gradually louder towards the end

FALSE

TRUE

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

D

bar3

II

D

bars

0

bar8

(1)

0

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

(3)

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

62

I

cD

End of exam Discovering Mus ic Theory: Grade 1

OOL-G•bli@i: t!tia'i i, t t·1fl Discovering Music Theory is a suite of workoool'

:· .".-;:···t~-

i1 I

Discovering

Discovering

ry Music Theo_

Discovering

Music Theory

Music Theory

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I I

..

.:

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