Grade
Discovering Music Theory I Workbook
Discovering
2
Music Theory
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D isc overing
Music Theory
THE ABRSM GRADE 1 WORKB OOK
'
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 published 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
.
..,--
-
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----
THE ABRSM MUSIC T_
Hj.O~ Y-SY~LABUS
FROM 202 0: GRADES O<>, S
'
",
.
~
Grade 1
2
Note values of semibrev e, minim, crotche t. quaver and
semiquaver, and their equ ivalent rests (candida te s m~y use
the terms 'whole note', ' half note', etc.). Tied notes. Singledotted notes.
Simple time signatures of
bar-l ines and the grouping of
the notes listed above within these ti mes.
i I !,
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 cancellation.
4
Construction of the major scale, includ ing 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.
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 differen t clefs (tre ble, alto. bass) and
transpositi on at t he 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 . En harmon ic equivalents.
3
Scales and key signatu res of all maj or and mi nor key s up to
and incl ud ing five sharps and flat s, wi th both form s of minor
scales. Technica l names fo r th e notes of the diatonic scale
(ton ic, supe rtonic, etc .). Constru ction of the chroma tic scale.
All intervals , not exceed ing an octa ve. between any two
diatonic notes in any of the keys set for thi s grade.
Triads (root position ) on the ton ic, subdom inant and
dominan t notes in any of the keys set for this grade. Chord s in
root position on the ton ic, subdom inant and dominant notes
in any of the keys set for this grade (the harmon ic fo rm of the
scale will be used in minor keys) .
More terms and signs, including the recogn ition and naming
of the trill, turn, upper and lower mordent, acciaccatu ra
and appoggiatura . Questions about a passage of music will
include simple related questions about standard orchestra l
instruments.
4
5
Grade 2 As in Grade 1, with the addition of.
11 a
Simple time signatures of~
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 (numbe r 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:
'i
1
Compound time signatures of ff B 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) .
More terms and signs.
4
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.
Grade 5 As in preceding grades, with the addition of:
ii ft~
Irregular time signatures of
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, instrume nt 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)
2
Time values (notes); bars and metre; time signatures
Chapter 2: Pitch (Part 1)
8
Notes in the treble clef; notes in the bass clef-,
minims, crotchets and quavers on the stave
Chapter 3: Rhythm (Part 2)
13
The semiquaver; grouping notes; rests
Chapter 4: Pitch (Part 2)
19
Accidentals; semitones and tones
Chapter 5: Rhythm (Part 3)
24
Ties; dotted notes; grouping dotted notes
Chapter 6: Scales
29
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
35
The keys of C, G, D and F major; key signatures
Chapter 8: Intervals
40
Intervals in C, G, D and F major
Chapter 9: Tonic Triads
44
The tonic triads of C, G, D and F major
Chapter 10: Terms & Signs
46
Chapter 11: Music in Context
51
Practice Exam Paper
55
Music examples are written by the author unless otherwise stated. Some music examples have been adapted lo sui t learning req uirements.
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 addition, they provide lots
of ideas and opportunities to help you link music theory with your wider musical activity.
Discovering Music Theory: Grade 1will 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:
Did you know?
Overview of the knowledge, skills and understanding required for your exam
Interesting additional information related to the knowledge required for your exam
Smart tip
Hints and suggestions on how to approach a specific exercise
•
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
Remember!
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
j
J
)
f--
0
whole note
-- -
..______ -
,
--· -
-
-
half note
--
quarter note
8th note
·-
-
semiquaver
--)
--16th note
I
- ~ ·., . ..':
,,- ,~·
'
.
\
TH E BA SIC ~ ;, RH YTH M & PTr,.:CH - .'
We're going to start by exploring two very importan t elements of music: rhyt hm 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
V
4
3
• A time value shows how many counts a note lasts.
Here are three common time values:
r
0
semi breve: 4 counts
j minim:
2 counts
J crotchet:
1 count
'-
• Minims and crotchets are made up of a vertical line
called a stem joined to a notehead. Semibreves
have a notehead but no stem.
r
~ . _ stem
notehead ___,.
Pitch
• Pitch describes how high or low a note sounds.
• To show pitches, we place notes on a stave:
• 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
-.•
,.;•
~-
.
.
In this chapt~r;y~u -~H leam •ti.out.
Time·.v~l~~s (not~s)
Bars·~licf~etre
Time sighatures
•
I
Time val ues
• Time values show how many counts a
note lasts. Four common time values are
semibreves, minims, crotchets and quavers.
• Pa irs of quavers add up to one count.
They are joined together with a beam:
Semi breve
0
4 counts
Minim
j
2 counts
Crotchet
Quaver
J
}
1 count
½ a count
••••
••
•
~
}}becomesJl
Theory
in sound
Exercise 1 Complete this table.
Name of note
Looks like
How many counts?
Semi breve
4
I
cJ
Try clapping
different time
values whi le your
teacher or a friend
taps a steady
pulse. Count the
pulse out loud as
you clap.
Crotchet
½
Exercise 2 Circle the correct answer for each question.
El Which of these notes has the shortest duration?
II Which of these notes has the longest duration?
II Which of these lasts longer than a minim?
m How many counts is n worth?
II How many counts is d Jworth?
2 I Discoveri ng Music Theory: Grade 1
j
)
J
0
j
)
crotchet
quaver
semibreve
2 counts
1 count
4 counts
3 counts
2 counts
1 count
r
Exerci se 3 Answer each musical 'sum ' with one note.
Smart tip
El J
+
J
=
Use this note tree to
help you with you r
musical maths.
El j
+
j
=
II )
+
)
=
mj
+
J
+
J
=
II )
+
)
+
J
=
+
j
n
13 n
D
J
+
El j
n
n
=
a J
)
=
+
=
Q
□
□
0
~
j
j
=
□
□
□
□
□
□
_..............
J
J
_..............
J
J
----))----) )----))----)
)
'
Smart tip
Watch out for the subtraction
and
sums in
El
a.
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.
double bar- line
Bar
~
J J J J 1J J J J II
Beats: 1
2
3
4
t1
2
3
Did you know?
Double bar-lines are used at
the end of sections of music.
4
bar-line
Cha pter 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.
n
El
Beats: 1
IJ
II
2
IJ
II
Id
I
lo
II
Beats:
II
Beats:
n
m
J
1n
n
Id
I
Beats:
Challenge!
411
Can you change the order of the notes in Exercise
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.
Rhythm:
Beats:
J
[_ _ _ _ _ _ _ _ _ _.....____ _ _ _ _ _ _ _....,____ _ _ _ _ _ _
1
2
4 I Discovering Music Theory: Grade 1
3
1
2
3
1
2
3
Time signatures:
f! i
J
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.
2
J
• 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).
II
2
II
3
J
2
II
3
4
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
Theory in sound
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
Try clapping the rhythms in
Exercises 4 and 6 while you
count or tap the beat.
inf.
C
Chapter 1: Rhythm (Par t l )
I 5
Exercise 6 Complete the time signature for each of these rhythms.
D
El 4 d
I .J
I .J
D
.J
ll 4d
I .J
.J
d
.J
1n .J
I
lo
I
Id
a9 .J n 1n .J 1n n 1.J n 1.J .J Id
I
mD
4 .J .J
J lo
I
Id
I
n .J 1n ~ n .J Id
Exercise 7 Add one note at each place marked
f to complete each bar.
f
El
f
f .J
Id
Beats: 1
~
I
2
1
2
2
f
m! d
4
3
2
1
6
3
I
2
3
2
4
.J
I .J
3
1
f
I .J
.J
1
2
4
I D iscovering Music Theory : Grade 1
1
I
3
2
f
I
I
4
3
f
mi j
1
1
.J
t
Beat:
3
f
2
f
I .J
2
n .J Id
Bfd
Beats: 1
d
1
3
2
Beats: 1
2
f
I
.J
.J
1
4
3
2
f
.J
.J
.J
2
3
4
I
I
2
3
4
Did you know?
Remem ber!
The time signature appears at the start of a piece of
music. You w ill only see another t ime signat ure if the
number of beats in each bar changes.
In all these t ime signat ures,
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
Im
J
1cJ
n
CJ
II f
II
II
cJ
n J
II
n
m aJ
n J
D
j
J J J
fJ
J J
J
II
n n
J J
J
II
II
Test your progre ss
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:
Cll,l Pt N I l~llvthm (P,11 t I) \ 7
·~-··--·,
.
PITCH
:,1
,
(PART 1)
-·
In this chaptef YO':'•wl~l 'leam about
_
_
.
~
.
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
th
e note is
placed on the stave, the higher its pitch .
• A special symbol called a clef is placed at the beginn ing of t he stave. The pitch of ea ch line
and space on the stave is determined by the clef used .
th
• The treble clef is used mostly to show notes from middle C < e C
nearest the middle of a piano keyboard) upwards. It is also called the
G clef because it circles the line on the stave used for the note G.
r~
~ ~ G line
1
_
_
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
~
'
e
a
e
e
~
u
I I
I I
I I
C
D
E
F
G
A
B
C
D
()
e
a
e
I I
11
F
E
G
Exercise 1 Tick ( t/) the higher note of each of the pairs.
El
II m
'j
u
11
e
II II
□ □
□
El
&
0
II
0
G
8 I Discovering Music Th eory: Grade 1
u
m e
□ □
Exercise 2 Write the name of each note in the boxes.
I I
II
11
u
□ □
Did you know?
In the treble clef, the four notes
in the spaces between the lines
spell FACE.
'
CI
I I
F
A
I I
C
I I
E
II
Exercise 3 Write the words spelt by the notes in these examples.
El
El
ADD
II
0
II
m
II
0
Ii
0
( j
0
i j
<I
~ 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.
J
F line
• 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 m idd le C
use ledger lines
I
..0..
I
-a-
a
a
' j
~=-I =
C
D
A
B
G
a
F
11
E
a
D
11
C
a
Ii
a
u
B
A
G
F
u
11
II
Exercise 4 Write the name of each of these notes.
El tf a
'j
( j
0
Cl
0
'j
0
0
II
F
/
Did you know?
Theory in sound
In the bass clef, the four notes in the spaces can be
remembered using the phrase All Cows Eat _Grass.
Try singing the notes AC E G to
the phrase 'All cows eat grass' to
hear how they sound .
tr
I I
A
I I
C
11
I I
11
E
G
Chapter 2: Pitch (Part 1) I g
Challenge!
Exercise 5 Write the words spelt by the notes in
these examples.
El
~-
m
~:
11
II
e
I I
Can you find any other musical word s?
Write one on th is stave.
0
11
e
ii
II !)•
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.
I~
u
0
u
0
..
0
It
0
II
o
It
0
a
0
It
It
O
(j
a
o
..
0
-e-
t
middle C
:
Can you see how the notes in the bass and trebl e clefs relate
to each oth er? Middle C fal ls exactly between the two cl efs.
Exercise 6 Write the name of each of these notes. Remember to check the clefs carefully.
El
II
El
II
D
~:
'
r
' '
e
~
G
II
Which note is higher:
II or 0 ?
10 I Discovering Music Theory: Grade 1
I I
'
[2
II
m ~:
i'
m ~:
Ji
11
m~:
~
II II
II
Which note is lower:
?
II or m
~
Exercise 7 Tick ( t/) the correct clef needed to make each of these named notes.
El
D
11
F
El
E
,□
D
r
II
,□
,□
:)= □
~
11
D
J
A
,□
II
,□
m
II
middle C
,□
:)= □
~
II
11
:)= □
r
m
,□
?: □
II
E
B
D
:)= □
II
D
G
?= □
i
11
,□
:)= □
:)= □
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.
notehead ~
J..,_
J j
stem
• If the note is below the middle line, the stem
should go up from the right-hand side:
middle line - .
• If the note is above the middle line, the stem
should go down from the left-hand side:
middle line - .
~r~§F~~~II
• Notes on the middle line can have stems
going in either direction:
middle line - .
~F~~j~~~II
11
Exercise 8 Tick ( t/) or cross ( K) each box to show whether stems have been added
correctly or incorrectly to each note.
El
II
'
'
~
II El ;)=
□
II II
□
□
~~
,
II D
'
~
□
11
II
'
~:
r
II
m ~:
□
II
□
□
~
~
II El
~f
,]
11
□
Chapter 2: Pi t c h ( Part 1)
I 11
Challenge!
Rewrite the following notes, correcting the positions of any incorrect stems. Can you name
'
'8
~
II
~:
II
~:
~
II
II
Quavers on the stave
'
'
tj
11
~:
the notes?
~
~
~
II :>=
• The stems of single quavers follow the same rules as those for
crotchets and minims.
• 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
□
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?
12 I Discovering Music Theory: Grade 1
j,
□
II
. ·,•... - · ~~"' .. -·~ .-,-...Y.''l ~:-.·
RHYTHM
,.,
.-
(PART 2)
:,.
'
.,-
-~
. ~ ·7 ··••··• . . . ,.
: ___-- In this chapter you will learn about
The semiquave r
"
Grouping notes
Rests
@ The semiquaver: )
• The semiquaver is the shortest time value we will meet at
Grade 1. Semiquave rs have two tails.
• There are four semiquave rs in a crotchet, and two
semiquave rs in a quaver.
• Semiquave rs 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 ~
TRUE
FALSE
El
TRUE
FALSE
TRUE
FALSE
TRUE
FALSE
TRUE
FALSE
), 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.
+
),
mj
+
J .l .l .lJ.l.l .l
II )
+
)
mj
+
II j
+
n
~
=
Practise tapping semiquavers
while someone else claps a
steady crotchet beat.
[E]
El ),
=
+
J.l.l.l
J .l .l j
=
+
J .J .J .J
=
+
Theory in sound
=
□
□
□
□
Chapter 3: Rhythm (Part 2)
I 13
Challenge!
Match each rhythm with the correct time signature by drawing lines.
(n ~ J I J j j j j
CD
0
CD
II J
(~ Jjjj1n J II J
(n J j j j J J IJ n j
1]
Grouping notes
n Jffl
m rn
• 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.
Exercise 3 Number the beats and then complete the time signature for each melody.
11 , i r r 1[fcru1 v
Beats:
11 2=
1
2
1
2
1
2
Beats:
QF F ( Er FU I EJ UJ ,j
Beat s:
Bea t s:
14 I Discovering Music Th eory: Grade 1
Beats:
II
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 I &H rrrf EJ J I &H bf Mf ~ J I
Beats: 1
2
3
4
1
3
2
4
1
3
2
4
I
Beats:
□
I &1 C f f E r l I
Beats:
□
11 t>=c F Etr a[} I t>=c F EE.r Cf f r I t>=c F CT (Cf[} I
□
□
Beats:
Theory in sound
Challenge!
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.
Rewrite this rhythm so that all the quavers and semiquavers
are grouped into beats using beams.
l J ) ))J
I )))))
))J
11
I]
[!
Chapter 3: Rhythm (Part 2)
I 15
Rests
Silences during music need to be counted, just like notes. We use reS t5 to do this.
Here are the most common rests:
Semibreve rest
It is worth 4 beats, or a whole bar, of silence.
Minim rest
It is worth 2 beats of silence.
Crotchet rest
It is worth 1 beat of silence.
Quaver rest
It is worth a ½ beat of silence.
Semiquaver rest
It is worth a ¼ beat of silence.
7
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
Rest looks like
Note looks like
How many beats?
I
I
4
Semi breve
-
2
cJ
I
I
l
o_
Quaver
_I
-
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 IJ
16 I Discoverin g Music Theory: Grade 1
Jj j j J
- II
□
□
Exercise 7 Number the beats and then complete the time signature for each melody.
El
:r g J z D f r r ~
m &QJ J
II
Beats:
II
4g ►
]
m
r
I
'gj
cr c F
rf r f
II
11
Beats:
Exercise 8 Add one rest at each place marked
'C
11
Beats:
Beats:
El
I
~
,1
f
,;
t
~I
3~
1§
t
r
t
t
a 2= i ~ ] ~
J) ~
t
t
Ir
~
I~
r ~
I
t
JI J J 1
t
Ir
~
~
t
gr r
f If
t
]
m 2=I ~
11
I J ] Jf ~
m !>=I F E f f
to complete each melody.
I
t
I
I
Challenge!
El
Write out Exercise 8
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 semiquave rs within a beat.
-
....
Chapter 3: Rhythm (Part 2) I 17
Exercise 9 Add the three missing bar-lines to each of these melodies.
Sma rt tip
Markin g the beat numbers above or below the music
will help you to work out where the bar-lines go.
a 9:i f
r rrr
f J II
., P err J'
j
f r El.! r
II
II
$cJ.Jj
JJ JJ ; ·
II
l!I
:r I J F Cr D., r:r r F ), r F s'. f D"/ F f j
II
II
2=1 F
t Jj J
f F t
r c r r tJ- J t II
Test your progress
Write down the rests and the equ iva lent notes in these boxes.
W rit e them in order, from shorte st to longest.
Now write down three more rhythms cont aining quave rs and semiq
uavers,
each grouped into one crotch et beat.
Jj j
18 I Discov eri ng Music Theory : Grade 1
PITCH,..;_
:1
~
(PART 2)
•
-·
;~·~·will ~~~rn about
·- ~,.::. . .. · .· '" : 1~ihl;, ~~apte;
.
,
l
·•· ·:
.r-: . . ·.
.
Accidentals t:, ~ and ~
Semitones and tones
- ~ '.
~·
= c...
Acci dentals
Signs called accidentals are used to change the pitch of a note.
The three main accidentals are the sharp (#), the fl at (!,) 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 natural ( q) changes a note with a sharp
or flat back to its normal pitch .
=:::;-~a:!::==
_ sounds higher than
_=
==~~-=-=
======= sounds lower than
==~~o~===
==,~,.:=.== 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
a
je
'
'
II m
F::
~~
'
~r
tt-e-
II D
~:
II II ;J=
~r
II D
ll~~
II
m :>=
~
'
II El
:J=
#D
II
~-
II
I
Chapter 4 : Pitch (Part 2)
I 19
Exercise 2 Tick ( t/) the higher note of each of these pairs.
El ;l=
m ~:
fte
e
l]
.,, l
e
ffe
II
II
m
II
□ □
'
'
lz1 1
11
~ II ~r
jiu
b~
□ D
□ □
11
0
11
D
□ □
I I
1,., ~
'
□ □
~~-
ff o
Exercise 3 Tick< t/ >the lower note of each of these pairs.
El
~:
Hu
1111
II
m
□ □
'
110
lz1 1
11
□ □
II
II' '
~
□ □
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#.
• An accidental applies only to notes on
the same line or in the same space. In
example
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#.
r
II,
• An accidental applies only within the
same bar and is cancelled by the bar-line.
In example
the B~ is cancelled at the
end of the first bar.
II
• To cancel an accidental within a bar, we
write a natural (q) in front of a note. In
example
the F# at the start of the bar
becomes an Fq at the end of the bar.
l!I,
20 I Discovering Music Theory: Grade 1
.,
.................................................................. ,,., ............... .
rt
:n r~ r r 1f
w
········································································································•···
1
Exercise 4 Write the names of the notes marked t in
Smart tip
these melodies.
t
t
Watch out for any
accidentals that last
throughout the bar.
t
t
a ' ! .J 1JJ J f IE; c.trJ Ir r
II
F;:
t
El
t
t
t
:.r2 r C r r 6F It E E r: E.r j l'r r r r ~w 1°
I
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 ofte n see something like this:
II
Challenge!
Can you rewrite these notes in order of pitch, from lowest to highest?
a
:J=
~o
1,o
ffo
0
u
~o
( j
Chapter 4: Pitch ( Part ::!)
II
I 2l
◄
Semitones and tones
T
• The words semitone and tone are used to
describe the d istance 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.
s
s
F
Hp
C
0
F ~
D
Did you know?
'Semi' means 'half', so a
semitone is half a tone, just
as a semicircle is half a circle.
• There is a semitone between every note on a
piano keyboard, whether it is wh ite 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.
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
- - - --
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.
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=
fle
1i
II II
'
II II
~:
T
m
'
e
11
E1
22
I D iscoveri n g Mu sic Th eory: Grade 1
e
Ho
bo
~e
II II ~ :
II D tJ=
11
jto
~
Ii
I,,'
~
Ii
e
Exercise 6 Add an accidental(~, P, ~) to the note marked
t
in each of th ese pa irs to make
them a semitone (S) or a tone (T) apart, as indicated .
El
•
4
11
~e
II
m
4
11
t
11
e
II II
4
II t>=
II
II a
4
T
~:
II
e
11
II
T
t
II El
II
~
e
s
e
e
s
e
ffe
~
11
11
~
T
D ~: ii
e
s
T
m ~:
t
t
II a
4
t
e
ffe
II
s
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 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 Ties
Grouping dotted notes
(PART 3)
notes
Ties
A tie is a curved line that joins neighbouring notes of the same pitch .
?f.
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:
~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'
II
rs
I
II
z)jj_}?
beat(s)
II
f'
beat(s)
m 4£])
beat(s)
~~~~~
beat(s)
D
~ ~ ~-
beat(s)
1½
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
-------- □
- □
))
m j......_...,j
=
a ))
=
D cJ
=
D
=
24 I Discovering Music Theory: Grade 1
--
□
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.
f v
Exercise 3 Join the boxed notes with ties and number the beats.
El
,~r r r?Tr
1
II
2
3
tf F
1
2
11
m 9: ! J) Etr
,gr £J I J II
3
&2 J J 1~ IJ ~ ~
II
m &1 r r 11 ~ 1$F Iv
r I ~1r [2
I
II
D
I
II :1= I [2
:J= c V
II
rjr rln:•rv J II
1
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:
J= j J
J= J )
1½ counts
Dotted quaver:
}. =))
¾ count
Dotted minim:
3 counts
Exercise 4 Rewrite these tied notes as a dotted note of the same duration.
--
J
=
m j...._....J
=
El J
'J7 II ))
□ m )J
=
=
□
□
- □
))
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 J
II
'bj
IA
J
e
~
1J ~ ~ J, ¥ Ir
~ ~
IJ
I ~
p (Jr 1J j
~
J f Ir Ef V
~
~
J Ir r f Ir
j
Exercise 6 Answer each musical 'sum' with one note.
Theory
in sound
El Ji
+
II cJ
+
Clap a rhythm
from Exercise 5
while counting the
beat. You could ask
someone to count
the beat for you.
II J
).
=
J
L.__
+
J
n
+
)
=
+
).
+
□)
=
□
Exercise 7 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
/
J. j II = 1 beat
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.
u· II
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.
= 1 bea t
Exercise 8 Add the time signature to each of these bars.
El
, □ r·
II
, □ ~-
~
,□
II
II
j
II
m 2= □ ~-
J
.J--
~ ~ ~ v·
r· r
~
~
z
I
~
II
~ ~ ~
~
II
Exercise 9 Tick ( t/) one box for each question to show which bar is grouped correctly.
El '.h ~- (CT
d J I 2'c [r U d J I '.h ~- U EL f J I
□
□
m
&i~- f f r D 41
11
r· f [ r D
□
□
11 9=1
r er f" r r I :::uJ5r~1~E
~?
•
· ~ip:::
PJ===i
==
□
11
□
":fl=.r==1111
4ir-
□
frr I
□
2= (1 c f" I
I
II!
J
I
r
□
a [ F J I 4t J Cf [j J I =¥:-47i=tJt:=.~?
J-==rfl
.:=t• ?
~gE:::::;;
□
□
□
Chap ter 5: Rhythm (Part 3)
I 27
Exercise 10 Add the three missing bar-lines to each of these melodies.
II
&i J
J
.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 2= 1 □
m
&c j ~ ~-
II
&1
EJ• r·
D
~= I ~-
~
~
J J.
rcFr r·
p r Fr f
~~
J
~~
~,_,i= j
JJ J 1
~
~-d. f l ~
f
~f f
:t
i
~
l
~
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
. _ · .-,. '~
_ _ i n this chapter you w;II learn a~
·... ~
;_
,~
.p-
\..
._..
, ... ~
:
:
.~ ,
<.._
- --
6
The scale of C major
The degrees of the scale
Tones and semitones in scales
The scales of G. D and F major
The scale of C major
r
Did you know?
• A scale is a 'ladder' of notes that move in step. It can
go up (ascending) or come down (descending).
You can play a C major
scale by playing up or down
the white notes on a piano,
start ing and end ing on C.
• 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:
'
u
a
I I
a
I I
a
11
-e-
C
D
E
F
G
A
B
C
11
Exercise 1 Add one semibreve at each place marked ~ to complete these scales of C major.
C major, descending
El
0
0
II
IJ
C major, ascending
m 2:"
0
0
11
r
Smart tip
Theory in sound
Make sure there is one
note on every line and
in every space between
the first and last notes
of the scale .
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.
'
Chapter 6: Scate s 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) -+
Degrees:
Tonic (1st)
'
~
~
Descending (going down)
2nd
3rd
4th
5th
6th
7th
Ton ic (8th)
0
Ii
Ii
Ii
0
0
0
1
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?
Exercise 2 Add the named degree of the scale of C major. The tonic, C, is given each time.
I
El
I
'
II ~:
I
I
-eTonic
II
Tonic
II
'
-eTonic
11
I
I
__J
II
4th
□
□
II
II
'
m ~:
2nd
5th
30 I Discovering Music Theory: Grade 1
-eTonic
11
Tonic
II
D ~:
I I
Tonic
□
□
□
I
6th
~
7th
3rd
j
Tones and semitones in scales
Here are the notes of the C major scale,
shown on a piano keyboard:
• The distance between each note in a major
scale is either a tone or a semitone.
.....
• 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
-
~
- - .....
.....
,--
Degrees ...,. 1 2 3 4 5 6 7 8
Notes...,. C D E F G A B C
a semitone.
LJLJLJLJLJLJLJ
T T
Tones/ Semitones ...,.
• The distance between all other consecutive
degrees is a tone.
Exercise 3 Write T or S above each bracket ( I
S T T T S
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
El
~:
II
a
I I
a
11
a
11
e
11
e
0
-e-
0
a
11
a
11
e
11
II
e
11
e
II
II
s
m
'
11
e
u
-e-
u
a
11
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.
II
Chapter 6: Scales
I 31
The scal es of G major, D major and F major
• The scales of G, D and F maier all follow the same pattern of tone s a nd semi tones as C ma or
• A n Ft is required in G major, to make the pattern of tones and semiton es co rrect 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 sem itones.
• In F major, we need a BPto keep t he se mitone between the 3rd and 4th degrees
G major scale, ascending
Degrees:
Tonic (1st)
2nd
3rd
4th
5th
0
I I
0
I I
0
7th
6th
Tonic (8th )
0
I I
II
T
T
S
T
T
T
S
D major scale, ascending
Degrees:
Ton ic (1st)
2nd
3rd
4th
5th
6th
u
ffo
a
I I
0
a
T
s
T
Tonic (8th)
0
s
T
T
T
7th
F major scale, ascending
Degrees:
Tonic (1st)
2nd
3rd
4th
5th
6th
7th
Tonic (8th)
a
a
I I
Pe
11
a
I I
11
s
T
T
T
s
T
T
Exercise 4 Write the name of each scale and tick (ti) either ascending or descending.
El
'
a
Hu
a
ascending
Scale:
m !f
0
0
11
Sca le:
32
I I
I D1scovenng Music Theory: Grade 1
0
□
~o
ascending
descending
Ii
D
ffo
0 -
□
0
descending
□
.,
0
0
II
]
Exercise 5 Add accidentals where needed to make these
r
Remember!
scales correct.
G major has F#
D major has F# and C#
F major has B~
G major, descending
0
El
a
11
'
a
II
IJ
a
II
e
a
11
a
II
a
u
II
F major, descending
m ~: a
11
a
''
D major, ascending
II
~: a
11
a
.il.
0
II
Exercise 6 Circle the correct answer for each question.
El Which note is the 5th degree of G major?
El
D
C
A
F#
F
8~
G
E
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?
a
Which degree of D major is this?
~e
II
5th
4th
3rd
~
jiu
II
2nd
3rd
7th
D Which degree of G major is this? ~f
11
II
6th
4th
2nd
'
tJ
Chapter 6: Scales
I 33
Exercise 7 Show the semitones in each of these scales by
I ) over two pairs of
drawing brackets ( I
is
notes. The first semitone given .
smart tip
Start by working out the degrees
of the scale. Can you remember
which degrees are sepa rated by
sem itones?
F major, descending
e
EJ
11
'
e
II
~e
I I
e
11
e
la
11
I I
11
e
e
It
e
no
e
j;o
j
G major, ascending
El
~:
e
i I
II
D major, ascending
II
'
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
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 sem itones.
34
I Discovering Music Theory : Grade 1
11
·.~
.:~
KEYS &
KEV SIGN~ -~
.-~ .ll --\
liES • keys of ~e:~1g~a~~)~:
\],/
c, G,
,.;·The
' <,:
•
In this chapter you will learn about
'-
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:
Remember!
C major has no sha rps or flats
G major has one sha rp
D major has two sha rps
F major has one flat
• The key of G major has F# instead of F.
• The two keys have different ton ics (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.
El
41 J.
Key:
J)
~
F i~r
t:f f
IV
j
IJ
I
major
• 1f C r
l
.fJ
r
m tf I
F F If E21 j
E.2f F
Key:
II
m
major
4cni J j r Hr Ir
Key:
'i
Key:
I
~ l-j
r r I ct r j ffJ I
If
r f r If
11
u
major
r ~r
IV
J
I
major
Chapter 7: Keys & Key Sig natures
I 35
Exercise 2 Circle the notes that need an accidental to create a me lody in each named key.
G major
El
~:i ~ ~ ~
I ~
E ~
IE
E
I
r
j
F major
El
'C
,i
j
r ~ IJ ~ r
I~ ~
J
I
D major
II
e
J J J I ~ 3J J I ~ ~ r r Ir
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.
~
:99E
:
=3
11
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#.
·············•··•······························································ ····································································••···························································································"
F major has one flat in its key signature .
This tells us that every B should be played as Bl,.
36
I Discoveri ng Mus ic Theory: Grade 1
G major melody
4•1 J @] J 1Fl r r
Fa 1P
IV
F#
1
J
F#
D major melody
4•11g
~ ~
r PFl 1r
F#
~i I· r 1t_UJ r ~ t2]
C#
F#
1
I0
C#
C#
r
Did you know?
Smart tip
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.
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.
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 □
I □
~>= ,
Exercise 4 Name the major keys that have these key signatures.
a~
Key:
major
m ~>=•u
Key:
II
major
II
~
Key:
major
m !J=#
Key:
II
major
Chapter 7: Keys & Key Signatures I 37
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
~
F Ir·
Ir
)
G major
m
&□1
~
f
l[_f ~ I~
IV
~
l
F major
II
2=□2 r
~
r Ir
1J
J) J IJ
~
l
I
G major
m 2=
Q cJ
tj
~
1J
r E2f I"
I
Exercise 6 Name the key of each of these melodies and then name the degree of the scale for each
note marked
El
&i J
Key:
major
1
m !fl i F
Key:
~
11
major
f.
f
J IJ ~ r
D
f
F
f
f
z~
D
38 I Discovering Music Theory : Grade 1
~
J J
□
□
r r IF
r f IV
□
□
f
Ir
IJ
11
f
~
More on accidentals
• Acc identals are sometimes still needed in music with a key signature. This happens whe n t he
mus ic 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
r r f 'Ir r I9t
G#
['
1@
I
a
11
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.
El
,#1 J
~
t
t
J ~
Ir
~ ~
t
t
Iiv]
J
1J
11
F::
m 2=1it I r
t
t
r IF j F IE r EJr Ir
t
f
II
:J=~ IF f
~~
~
t
t
,r F r t r
t
er l11J F
Ir
II
t
F If F r
I
Your progress
Congratul atio ns! You 've completed all the work for Grade 1 on Scales, Keys & Key Sign at ures .
Turn to the Practice Exam Paper on page 55 if you 'd like to t ry some sample exam questions.
Chapter 7: Keys & Key Signatures
I 39
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
J J
11
L__J
2
Degrees: 1
Interval:
2nd
J
II J
11
J J
,J
II J
L__J
L__J
L._..J
L..-1
1
1
1
5
6
3
3rd
4
J f'
11
1
7
1
11
[__J
l__j
8
8th/8ve
7th
6th
5th
4th
r
J
11
Did you know?
We can use the term octave (Bve) or 8th
to describe the interval from C to C.
Exercise 1 Write the missing numbers to identify these intervals above the tonic.
,~
F major
El
11
e
II 'j
11
II ' j
e
11
II I I
II 11
e
e
11
II ' j
II
5th
2nd
II
I I
8ve
G major
El !J=# 0
'j
II
e
0
II 0
3rd
40 I Discovering Mus ic Theory: Grade 1
I I
4th
II 0
e
II
11
0
6th
II
e
0
11
II 0
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
6th
7th
8ve
r
Theory in sound
Smart tip
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.
In Exercises 2 and 3, your
note should be higher than
the given note.
_,,
~
'-
Exercise 3 Write one note after each tonic to form the named interval.
Remember to add accidentals where they are needed.
C major
El ~: 11
D major
□1 □1
11
6th
□1 m
11
3rd
5th
F major
II
'
(j
□1 □ 1 □1
e
'
u
u
8ve
4th
3rd
G major
Q 1 'j
□
6th
7th
0
~:
Q 1 m
II
2nd
II
Q 1 e
3rd
QI
8ve
e
QI
7th
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
3rd
II
'
0
11
3rd
Chapter 8: Intervals I 41
Exercise 4 Write the missing numbers to identify these intervals above the tonic.
G major
C major
El
'
-e-
11
II
11
e
II -e-
11
II II
4th
F major
II
~:
'
~:
e
e
II
e
II
e
II e
II
D major
11
e
II u
11
II
e
bo
II m
~-e-
11
II
Exercise 5 Tick ( t/) one box to show the correct number of each interval.
F major
4th
3rd
5th
7th
□
□
□
□
3rd
6th
8ve
2nd
□
□
□
□
6th
4th
2nd
7th
□
□
□
□
6th
5th
3rd
4th
□
□
□
□
C major
G major
D major
m~
~ ============,=,=======ll1
~
ije
11
e
u
42 I Discoveri ng Music Theory: Grade 1
e
fe
II
, -~, ) in these melodies.
Exercise 6 Identify the intervals marked by brackets ( .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
I m !hiJ J 1J glF f IF
II
3rd
II
~ cJ J J r I
o- n J r 1 m
II
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 com pleted all the work for Grade 1 on Intervals .
Turn to the Practice Exam Paper on page 55 if yo u'd like to try some sample exam questions.
Chapter 8: Intervals I 4 3
TO NIC
TR IAD S
,.,
~
,,,
,,,.
,.
In this chapte r you
w,H lftni ~
The toni<:ltrictct5~c,f
c. G, D and F-major
,,
IP
\
Tonic triads
A tonic triad is a chord made up
of three notes:
l'l
Tonic (1st)
-
t)
-==-.-
-
--
,._.,
-e-
5th
4th
3rd
2nd
• The 1st degree of the scale
(the tonic)
• The 3rd degree of the scale
~
• The 5th degree of the scale .
~>= 11 II
r
Smar t tip
Exerc ise 1 Circle the correct key for each tonic triad.
El !f
m
&
a ~:
m
§
t1
II
G major
D major
F major
II
D major
C major
G major
• 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 ?
ti:
& nu
II
C major
F major
G major
II
D major
C major
F major
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
□
44
§
!J=
□
I Discove ring Music Th eory: Grade 1
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 ;):
m
'
II
m
II
,~
~
C major
F major
A
-e-
D ~:
II
C major
II ~:I 9
I
B
a
II
G major
D
I
'
F major
g
II
D major
Exercise 4 Name the key of each tonic triad.
~r
El
II
II
II
major
Key:
'
Key:
§
II
II ~ :
major
Key:
I§
II
major
Challenge!
Match up each tonic triad with the correct key by drawing lines.
r,
~
(
G major
I] (
J
~~ -
(
fl:
D major
I ] ( :r
J
(
!:
C major
I]
('
J
(
~
F major
I]
J
Your progress
Congra t ulations! You've comp leted all the work for Grade 1 on Ton ic Triads.
Turn t o the Pract ice Exam Paper on page 55 if you 'd like to t ry some sa mp le exam questions.
Chapter 9: Tonic Tria ds I 4 5
TERM -~ .., ..
& SIGNS ,.~
In this chapter you ~•~ learn • ~ t
The musical terms and signs ttiat
you need to know
forG~adf1
'
Terms and signs: dynamics
• As we know, notes on the stave tell us which pitches to play and how long to play th em 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 qu ickly to play, or what other
kinds of expression should be included. Terms and signs are used to add this importa nt
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
M eaning
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
r.
l•
Notice that decrescendo and diminuendo mean the same thing.
Did you know?
Theory in
sound
• Mezzo means 'half' in Italian, so mezzo forte literally
means 'half loud'.
Find examples of
these Italian terms for
dynamics in your music.
Can you play/sing
each passage of
music as directed?
• 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
t ype that could play both quietly and loudly, depending on how
forcefully the player pressed the keys.
_______________________,,,, _________
-......__
46 I D1scove rmg Music Theory: Grad e 1
\.
.,
Exercise , Tick ( v') one box for each question.
El
What is the Italian word for 'very loud'?
m What does
II
What does p mean?
m What does
II
mezzo piano mean?
dim. mean?
What Italian word does
ef stand for?
D What is the Italian word for
□ pianissimo
□ forte
□ fortissimo
□ moderately
loud
□ very quiet
□ moderately
quiet
□ veryquiet
D
□ gradually
getting
louder
□ gradually
getting
quieter
D mezzo
□ forte
□ fortissimo
□ crescendo
□ diminuendo
forte
□ forte
'gradually getting louder'?
quiet
□ moderately
quiet
D
quiet
Tempo
Here are the terms you need to know that describe tempo - the speed of the music.
Italian term
Meaning
allegro
quick
allegretto
fairly quick
moderato
at a moderate speed
andante
at a medium speed
adagio
slow
accelerando (acce/.)
gradually getting quicker
rallentando (rall.)
gradually getting slower
ritardando (ritard. or rit.)
gradually getting slower
a tempo
in time (resume the original speed)
Did you know?
Terms describing tempo
are often written in bold
at the start of a piece or
section of music.
Allegro
>
:>= 1r
p
oChapter 10: Te rms & Sig ns I 47
Exercise 2 Tick< v" >one box for each question.
□ adagio
□ andante
□ allegro
m What does andante mean?
□ slow
□ atamedium
speed
□ quick
II What does rit. mean?
□ gradually
gradually
getting slower
□ slow
m What does adagio mean?
O
El
What is the Italian word for 'quick'?
II What Italian word means
D
D
getting quicker
slow
□ fairly quick
D
quick
'gradually getting quicker'?
□ allegro
□ rallentando
□ accelerando
What Italian word is used for
'fairly quick'?
□ allegro
□ allegretto
□ moderato
O
D
□ intime
II What does a tempo mean?
time
get quicker
More Italian terms
Italian t erm
Meaning
cantabile
in a singing style
do capo (D.C.)
repeat from the beginning
dolce
sweet
fine
the end (al fine = 'up to the end')
legato
smoothly
staccato (stacc.)
detached
Exercise 3 Tick< t/ >one box for each question.
El
What is the Italian word for 'sweetly'?
m What does cantabile mean?
II What does stacc. mean?
m If you see O.C. what should you do?
48 I Discovering Music Th eory : Grad e 1
□ fine
□ legato
□ dolce
0
0
0
0
0
□ sweetly
smoothly
detached
stop playing
o
in a singing style
accent
repeat from
the beginning
0
0
loud
playin
time
{t Signs
,,.-------------------------------Italian sign
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
r.-..
I.;.)
J= 60
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.)
r
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
I
Can you describe how the melody should be played, based on the terms and signs you've added?
Chapter 10: Term s & Sig ns I 49
Exercise 4 Tick< t/ >one box for each question.
andante means:
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
□ gradually getting quieter
t/
ioud
~ means:
~ = 96 means:
adagio means:
□ legato; smoothly
96 crotchet notes
0
96 crotchet beats
□ at a medium speed
96 crotchets in the melody
O
□ legato; detached
D
D
0
D
96 crotchet beats in a minute
□ smoothly
dim. means:
~ means:
fine means:
□ gradually getting quicker
□ repeat mark
D
□ gradually getting slower
□ the end
□ repeat from the beginning
□ gradually getting quieter
□ double bar-line
□ gradually getting louder
□ perform an octave higher
D
D
□ staccato; detached
□ accent the note
quick
slow
intime
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 J J .J =J IJ J f 1r J f IJ.
2
nif
3
4
- - - - - - - ---
7
J
El
Offenbach
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
D
semibreve
D
Dmajo r
m Tick ( t/) the bar number that contains an accidental.
□
barl
bar3
D
II Complete the following two sentences by ticking one box for each.
The longest note in the melody is a ...
dotted crotche t
D
minim
D
dotted minim
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
□
bar4
D
bar6
bar8
D
staccato
D
D
El Tick (ti') the word that best describes how the notes in bar 4 should be played.
cantabile □
dolce □
legato
D
II This melody is in the key of C major. Tick (ti') the degree of the scale of ...
l!J
i) the first note of the melody.
2nd □
3rd □
4th □
5th □
ii) the last note of the melody.
2nd □
3rd □
4th □
5th □
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
slow □
D Circle TRUE or FALSE for each statement.
52
The melody is written in the treble clef.
TRUE
FALSE
The first note of bar 1 should be played with an accent.
TRUE
FALSE
All the quavers should be played staccato.
TRUE
FALSE
All the notes in bar 6 should be played loudly.
TRUE
FALSE
I Di scovering Music Theory: Grade 1
~
Exercise 3 Study this melody and then answer the questions that follow.
, -2(
J = 54
p dolce
2
4
3
It r ~ I J.
7 ,:---,__ _
r r f IC'
w
r
I
Handel
5
J J J IJ
8
Ji j
9
~
i'.
f
r· p If
etc.
p
El 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.
TRUE
FALSE
II Tick (II) the bar that applies to each of these statements.
I!)
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 bars □
D
~
bar2
bar6
bar3
bar4
bar4
bar6
bar7
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
3
4
CJ- r
11
r r F r (_f
11
3
4
C
2
4
II
4
4
2
4
3
4
d
4u [
(c)
4
4
2
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
11
&t [2 r l Cf f J II
&» i r· - f f r J7J J II
J
II
J J.
11
1.3 Tick (Iii) one box to answer each question.
(2)
0
(b) How many semiquavers are there in a dotted crotchet? 4 0
2
(a) How many minims are there in a semibreve?
aO
aO
1.4 Tick (Iii) one box to show which bar is grouped correctly.
:>= ~ I EJ j J3j II
:>=~ I EJ JO J] II
□
□
56
I Discovering Music Theory : Grade 1
(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
)
J
j
□
0
J )
j
□
0
j
)
□
J
(1)
2 Pitch
/15
2.1 Tick (II') one box to show the correct name of each note.
(7)
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)
~:
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
□ □
Pra ctic e Exa m Paper I 57
11
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
□
(1)
~=• II
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 JJ
□ □ □
(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
□
D
D
58 I 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
D
(c)
:J=
II This is the 5th degree of the scale of G major
TRUE
FALSE
(d)
~,~=====•~>c===::11 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.
0
'
'
'
'j
0
0
11
0
0
11
0
• j
,,
I,,
(1)
~o
,,
0
u
~o
<I
0
'j
'j
0
I I
I
0
I□
I□
I□
3.7 Circle TRUE or FALSE.
0
(1)
'j
0
( j
0
'j
TRUE
This is the scale of D major, descending, with key signature
0
u
II
FALSE
3.8 Cross (K ) the two incorrect notes in the following scale.
(2)
G major, ascending
:>=
0
'j
#o
0
0
'j
I I
0
□
□
□
□
□
□
□
II
Prac tice Exam Paper I 59
4 Intervals
/10
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.
(5)
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
11
11
4th
5th
6th
(el'
4th
6th
7th
8th/8ve
(c)
~r
a
11
1st
2nd
3rd
II
□ □ □ □
11
II
I I
5th
6th
7th
/10
5 Tonic Triads
(3)
5.1 Circle TRUE or FALSE for each statement.
(a)
(b)
(c)
'
'
~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
60 I 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.
r r r 1tttrEtf r1 m-r
5
tr~ 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
D
bar8
dotted minim
D
(b) Bar 3 has the same pitches as ...
bars
D
bar6
D
bar7
D
(c) The letter name of the lowest note in the melody is ...
oD
62
cD
I Discovering Mus ic Theory: Grade 1
End of exam
OOL-G•bli@i: t!tia'i i, t t·1fl
Discovering Music Theory is a suite of workoool<s ancl corresponaing answer cooks tliat offers
all-round !)reparation for the updated ABRSM Music Theory exams from 2020, including tlie new
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D
D
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rd explanationsillifflu
WEl!BJU,Jf!iii•G!J•lMll•ll~
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11111
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Also available:
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Discovering
---·-
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Music Theory
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
© 2020 by The Associated Board of the Royal Schools of Music
1
Music Theory Sample Paper 2020 Grade 1
Exam duration: 1 ½ hours maximum
1 Rhythm
⁄15
1.1 Circle the correct time signature for each of these bars.
(3)
œœœ ‰ œœ œ œœ œœ œœœ œœœ
‰‰ œJ œœ œ œ
&
(a) &
&
JJ
### œ ™
™™
œœœ œœ
œ
&
(b) &
œ
&
œ
2
4
4
4
3
4
c
˙
˙
?2 œ
J
˙ five melodies.
4
1.2 Add the one
missing
bar-line
toœeach‰of these
œ
œ
œ
œ
?2
J
‰ ˙
œ
4
#
œ
œ
œ
3
œ
? 2# 4 œ œ œ J ‰ ˙ j œ
(a) & #
43
œ
œj œ
& ### 43 œœ œ œ œ œ™
œj œ œ
Ϫ
œ
& # 43 œ
œ œ œ™ œj œ œ
(b) & # 4
#4# 3 œ œœ œœ œ œ™ œj œ œ
& 44 4
œ œ œœ œœ™ œ œœ ˙œ œ
&
œ
˙
œ œ œ œ œ
& 44 ˙
œ œ œ œ
˙
(c) & 4
œ
4˙
œ œ œ œ œ ˙
&
4
? 42 ˙
jœ œ œ œ œœ ˙œ
œ
4
™
&
œj œœ œœ œ œœ ˙œ
? 42 œ˙
(d)
4
œj œ œ œ œ
? 2 Ϫ
œj
? 42 œ ™
œœ œœ œœ œ
4
™
œ
œ
3
?
2 œ™ œ œ jœ œœ œœ œœ œœ œ
(e) ? 4
? 43 œœ™™ œ œ œœ
œœœœ
4
? 3 œ™ œ œ œ œ œ œ œ œ œ
43
œœœœœ
1.3 Tick (?) one
box œ
to answer
each œ
question.
œ
Ϫ
œ
43
?
œ œ areœthere inœ a h.œ#?œ3 œ œ œ 3
(a) How many
4 Ϫquavers
#
2
4
3
4
(c)
3
4
œ œ œœ œ œœ œJ œ
?
2
?
?
Ϫ
‰
? 4 Ϫ
œ
? 2 œ™œ œ œœJJJ œœ œ œJœ œœ ‰
4œ
œ
& 4 œ œœœœœ œ
2
(b) How many crotchets are there in a semibreve?
1.4 Tick ( ) one box to show which bar is grouped correctly.
# 3
& #4
# 3
œ œœœœœ œ
## 3
& 4
## 3
j
œ œœœœœ œ
2
4
4
2
4
(5)
## 3
& 4
œ œœœœœ œ
(2)
## 3 5
6
4
&
œ œ œ œj
œ
œ
œ
3
4
6
4
## 3
& 4
(1)
œ œœœœœ œ
1.5 Tick ( ) or cross ( ) each box to show whether the rests are correct or incorrect.
j
œ™ œ œ Œ
4
&b 4 œ œ ∑
œ œ ≈œœœœ œ œ œ œ ˙
1.6 Tick ( ) one box which shows the four notes written in order from the shortest
value to the longest.
# hw w
x ?e.
x
h
(3)
e.
w
&
x e. w
?#
w
&
2 Pitch
w
?#
?#
w
h
&
?#
w
&
?#
&
w
(1)
w
w
#w
w
w
⁄15
w
#w
&
w
?
&
&
2.1 Tick ( ) one box to show the correct name of each#note.
(7)
w
w
?
w
w
?
#
(a)
(b) &
(c) &
#w
w
?
bw D# G#
& D# G
&
F#
E
A
B
F
G
E#
C#
#w
bw
w
&
?
&
&
? nw #w
#w
w
?
?
bw
(d)
(e) &
(f)
b
w
?
G b F
B
A
Eb
F
G bw C
D
? Bb w Db Ab
w
&
&
#w
?b
? nw #w & ? nww bw
bw
&
w
w
w
(g) &
?b
?
bw
&
w
w
?
D
F
b E wG
? nw bw
? nw &#w
& bww nw
?b
bw
&
&
w
wnote of each of the pairs of notes.
2.2 Tick ( ) the lower
(4)
&
#w nw
?
? nw bw
w & bw nw
(a) ? nw #w
(b)
(c)
(d) &
&
b
w
w
?
& nw bw
ABRSM Sample Paper 2020 Grade 1
& bw nw
3
&
#w nw
Turn the page
w
2.3 Tick ( ) the correct clef needed to make each of these named notes.
(a)
G
&
w
E
?
&
(4)
w
w
(b)
w
?#
w?
?#
?
3 Keys and Scales ? #
w
(c)
C
&
?
?
bw
b
(d)
b
Bb
Bb
&
#
&#
?b
#
&#
?b
#
&b
?
?b
#
&#
?b
#
&b
?
& ##
##
&
?b
#
&b
?
#
&#
& ##
#
&b
?
& ##
& ##
bw
⁄15
3.1 Tick ( ) one box to show the correctly written key signature of F major.
bw
?b
?#
bw
(1)
3.2 Tick ( ) one box to show the correctly written key signature of D major.
(1)
3.3 Tick ( ) three boxes to show which notes need an accidental to create a melody
in the key of G major.
˙
#
4
#
&4
˙
˙
#
&#
˙
(3)
˙
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.
&
w
w
ABRSM Sample Paper 2020 Grade 1
w
w
w
4
w
?
w
w
(2)
3.5 Circle true or false for each statement.
(4)
true
false
true
false
This is the 2nd degree of the scale of G major
true
false
This is the 4th degree of the scale of F major
true
false
(a) There is one flat in the key signature of F major
w
w
&
(c) &
?
(d)
?
(b) There is one sharp in the key signature of D major
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
#w
#w
#w
w
w
w
#w
#w
#w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
#w
#w
#w
w
w
w
3.6 Tick ( ) one box to show the correctly written scale of G major ascending.
?
?
?
?
?
?
?
?
?
w
w
w
w
w
w
w
w
w
(1)
3.7 Circle true or false.
?
w
bw
(1)
w
w
w
w
true
This is the scale of C major, descending
w
w
false
3.8 Cross ( ) the two incorrect notes in the following scale.
(2)
D major, descending
&
w
#w
w
w
w
w
w
#w
ABRSM Sample Paper 2020 Grade 1
5
Turn the page
4 Intervals
?
?
?
w
w
&w w
4.1For each example, write one note to form the named interval.
Your note should be higher than the given note. The key is D major.
?? w w
?
(a) & w
w
&
w
&& w w
& w
(d)
&
w
(b)
4th
w
(e)
5th
?? ww w w
&
?? ww
&
??
?
&
?
w
(c)
ww w
w
w
w 6th w
w
w
(5)
&?
& ww
&& w w
&
2nd
⁄10
&
w
w8th / 8ve
??
?
w
w
4.2 Tick ( ) one box to show the correct number of each interval. The key is C major.
(a)
&
?
1st
w
w
2nd
&
?
(d)
4th
w
w
5th
w
w
w
w
?
(e) &
w
w
6th
7th5th
6th
5 Tonic Triads
w
?
&
&
(a) &
?
&
?
(b)
?
(c) &
&
&
w
w
w
4th
1st
w
w
?
&
&
?
3rd
w
w
(b)
w
w
w
w
w
w
w
w
w
w w
w
w
w
w
w
w
w
w
w
#w
w
w
#w
w
w
#w
w
w
?
&
5.1 Circle true or false for each statement.
ABRSM Sample Paper 2020 Grade 1
2nd
w
w
w
w
(c)
(5)
?
w
7th 8th/8ve
2nd
4th
w
w
?
w
&
w
7th 8th/8ve
w
w
5th
6th
w
w
⁄10
w
(3)
This is the tonic triad of G major
true
false
This is the tonic triad of F major
true
false
This is the tonic triad of D major
true
false
6
one missing note to complete each triad, with the tonic as the lowest note.
(3)
?5.2Add
w
Use accidentals if necessary. &
w ww w
?(a)?? w w w
??? #w#w#w
(b)
(c) &&&
w
w
w
w
w
ww
w
ww
w
w
?
?
w
?
w
w?
w
5.3 Circle the correct w
w
?
wkey for each tonic triad.
?
w
w
w
?
(a) ?
F major
w
w
w
?
w
(b)
C major
w
w
w
&
#w
w
?
w
w
w
w
(c) &
G major
#w
w
&
w
#w
w
(d) &
C major
&
w
#w
w
&
w
w
w
&
6 Terms and Signs
w
w
w
&
F major
D major
C major
(4)
C major
G major
D major
F major
D major
G major
D major
C major
F major
D major
F major
G major
⁄5
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
ABRSM Sample Paper 2020 Grade 1
7
Turn the page
7 Music in Context
⁄5
Look at this melody and then answer the questions that follow.
Andante
1
4
&4 ˙
˙
2
œ
œ œ œ
œ
&
œ œ œ™
ff
œ
J
6
œ
Ϫ
œ
mf
5
j
œ œ
3
œ œ œ
cresc.
œ
7
˙
œ
˙™
œ
f
˙
8
w
mf
7.1 Circle true or false.
(1)
true
The melody gets gradually louder towards the end
false
7.2 Tick ( ) the bar number that contains all the notes of the tonic triad of C major.
bar 1
4
bar 2
bar 5
(1)
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
ABRSM Sample Paper 2020 Grade 1
B
G
8
End of exam
Grade
1X
Candidates with labels: fix name label here.
All other candidates: write names in full.
Candidate …………………………………………………………
Theory Paper
Grade 1
Sample X July 2017
Entered by …………………………………………………………
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.
TOTAL MARKS
100
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.
© 2017 by The Associated Board of the Royal Schools of Music
Grade 1X1
Turn the page
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
7th
7th
7th
3rd
3rd
3rd
8th/8ve
8th/8ve
8th/8ve
4th
4th
4th
5th
5th
5th
6th
6th
6th
4 Name the key of each of these scales. Also draw a bracket (
making a semitone, as shown in the first scale.
) over each pair of notes
10
Key...........................................
…………………………………………………
Key
Key
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
5th
………
………
………
………
*
*
………
……… ………
(b) Give the letter name of the lowest note in the melody.
Grade 1X
*
2
………
10
*
*
………
………
Haydn
6 Name the key of each of these tonic triads, as shown in the first answer.
10
C major
....................
C
major
……………………………
....................
....................
……………………………
……………………………
....................
....................
....................
……………………………
……………………………
……………………………
# % ! ( ) $ in the correct order,
7 Write the dynamics
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
tie; detached
repeat from the beginning
# means:
slur; detached
the end
quiet
slur; perform smoothly
repeat from the sign %
moderately loud
means:
t ie; hold for the value of
both notes
da capo (D.C.) means:
in time
Grade 1X3
moderately quiet
very quiet
Turn the page
9 Look at this melody by Mendelssohn and then answer the questions below.
Adagio
1
2
3
4
5
6
7
8
9
Write your answer to question (b) on the stave below.
Write your answer to question (c) on the stave below.
(a) (i)Answer TRUE or FALSE to this statement:
The notes in bar 8 will sound the quietest.
10
………………………
(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).
Grade 1X
4
10
Grade
1Y
Candidates with labels: fix name label here.
All other candidates: write names in full.
Candidate …………………………………………………………
Theory Paper
Grade 1
S
ample Y July 2017
Entered by …………………………………………………………
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.
TOTAL MARKS
100
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
C
C
G
G
B
B
C
C
G
G
B
Bb
E
E
E
E
F
F
F#
F
middle C
middle C
middle C
middle C
F
F
F
F
B
B
D
D
A
A
C
C#
C
B
D
A
C
© 2017 by The Associated Board of the Royal Schools of Music
Grade 1Y1
Turn the page
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
6th
6th
3rd
3rd
3rd
8th/8ve
8th/8ve
8th/8ve
4th
4th
4th
2nd
2nd
2nd
5th
5th
5th
4 Add a rest at the places marked * in these two melodies to make each bar complete.
*
10
A. Sullivan
*
*
*
*
5 Name the major keys shown by these key signatures. The first answer is given.
Grade 1Y
Mozart
10
G major
....................
G major
major
....................
……………………………
......................
......................
......................
……………………………
......................
……………………………
....................
……………………………
......................
……………………………
......................
……………………………
....................
......................
......................
2
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
D major, ascending
D major,
major,ascending
ascending
D
major,descending
descending
FF major,
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.
10
D. Scarlatti (adapted)
* *
*
*
*
*
*
*
*
G
....... .......
G ………
………
.......
.......
.......
.......
.......
.......
.......
………
………
………
………
………
………
………
(b) How many times does the rhythm
occur in the melody?
………
(( 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
8
Tick one box for each term/sign, as shown in the first answer.
10
q = 120 means:
Grade 1Y3
means:
Turn the page
9 Look at this folksong melody and then answer the questions below.
Allegro = 120
Adagio
1
2
1
2
3
3
4
4
5
5
6
6
7
7
rall. 8
8
9
cresc.
Write your
youranswer
answertotoquestion
question(b)
(c)on
onthe
thestave
stavebelow.
below.
Write
Write your answer to question (c) on the stave below.
(a) (i)
This melody is in the key of F major. Give the number of a
bar that contains all the notes of the tonic triad in this key.
(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.
10
Bar ………
…………
(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).
Grade 1Y
4
10
9