o
I
t !$1
goar&
o$
soJ
t\e ne$l
oi rbe ot
a\
g,f.ldC
c t\xe
ot-
o
DEMISEMIQUAVERS
1
a
MORE THAN TWO LEDGER LINES
8
a
TRANSPOSITION
13
o
COMPOUND TIME
16
O
GROUPING NOTES AND RESTS IN
COMPOUND TIME
26
MAJOR KEYS WITH FOUR SHARPS
OR FLATS
34
MINOR KEYS WITH FOUR SHARPS
OR FLATS
39
FURTHER PRACTICE ON SCALES AND
KEY SIGNATURE
49
a
INTERVALS
54
a
FOUR-BAR RHYTHMS
58
a
SIMPLE PHRASE STRUCTURES
62
a
TERMS AND SIGNS
66
o
GENERAL EXERCISES
69
a
SPECIMEN TEST
72
o
GLOSSARY
76
.
O
.
1
DEMISEMIQUAVERS
1. Copy the following demisemiquavers.
a)
b)
):---
2. Copy the following demisemiquaver rests.
L
0
3. Copy the following demlsemiquavers in pairs.
4, Demisemiquavers can be grouped in the following ways. Copy them.
)
The chart shows the different note-values and their equivalents
1 semibreve
O
2 minims
)
)
4 crotchets
8 quavers
16 semiquavers
32 demisemiquavers
5. Fill in each blank with the correct number.
a)
b)
)
B
)
\
tt
S
8)
S
h)
a
.,N
)
)
S
i)
a
N
)
s
j)
e)
o
,N
S
k)
l)
)
j\
s
u
c)
d)
a
N
)
S
J
)
S
o
,N
I
I
d
J
S
)
a
l)
,N
)
,N
5
S
s
6. lilrite a note or dotted note in the blank space which equals the number of demisemiquavers.
a)
aa
--
a'N
re
b)
l-l-t-.i
J'J'
-
c)
d)
ffi
oaaaaaaa
i-''l
i-i-r
aa.aoaaaaa.a
i
-e)
f)
oaaaaa
c)
--h)
i)
iffi] a a o odiffi]
iffiir-------1
Jod.
dJo a a aa a.
a aa do c a aa a aaaa
-----4
7. Add the missing bar-lines in each of the following which begins on the first beat of the bar.
Bach, Ttvo Part Invention No,6
**{*
a)
-i
r* 3 ---.
-,
--.\
/'3
Czerny, Op.599 No. 82
J\
3
\
/--3
b)
Haydn, Adagio
*#
c)
Dvorak, Humoreske
d)
W
Mozart, Sonata in C K330
e)
*r*
-?-1
Beethoven, Pathetique Sonata
f)
*---*1
-.*
I
llaydn, Sonala in Et Hob XIV/38
8)
5
DdL Tvo-prt Invantlm No. t4
.*-
h)
----.t--.-J--
L-r-
Bartok - Contrast SZ11
i)
O Copyright 1942 by Hawkes & Son (London) Lrd.
Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.
Beethoven , Symphony No.8 (2nd movr)
i)
Srevirrty, Conccrto ia D
k)
Reprinted b.v permission of Schott Music Ltd and Chcster Music Ltd.
,'a
Stravinsky - Petrushka
/^ 3
J-1 13
0
O Copyright 1912 by Hawkes & Son (London) Ltd
Reproduced by permission of Boosey & Hawkes Music publishers Ltd
Bach. Orchestral Suite No.2 in B minor
n)
Schubcrt, Symphony No.? (2nd movr)
n)
r*-k
z1*
ld
6
8. Put a rest or rrsts in each space marked * to complete the bar.
a)
b)
*
c)
*
d)
e)
*
l)
8)
J
.l
h)
*
i)
j)
1
t
0
MORE THAN TWO LEDGER LINES
1
Using step-wise moyement and ledger lines, draw notes that fall within the range of the two notes shown
beloq then name them.
a)
U
€>
b)
ar
o
-
c)
d)
o
U
8
2.
Write the letter names of these notes, then rewrite them in the other clef at the same pitch.
a)
€>
€
a
€>
-()'
U
o
(,
I
_o
3
:
-
U
o
U
C
b)
€>
o
3. [Jsing ledger lines, write the notes named below the stave.
a)
c
A
C
F Sharp
F Natural
D
A Flat
E
F
G Sharp
B Sharp
b)
4, Using ledger lines, write the notes named aboye the stave.
c.
a)
C
E Sharp
G Sharp
B FIat
A Sharp
G
B Natural
F Flat
E Natural
D
b)
9
5. Rewrite the following at the same pitch in the given clef. Part of aJ has been done as an example.
S. Yradier, La Paloma
a)
r-3
j*)
J
Beethoven, Symphony No.5 (2nd movt)
b)
-.-.-
-5----i-----rd---
Handel, Largo
-1-
c)
e
Beethoven, Symphony No.9 (4th movt)
d)
Haydn, Surprise Symphony (2nd movt)
e)
10
Mahler, Symphony No.3 (sentimental)
o
t)
b
G
r.-f------t
Welsh Air, Ail Through the Night
8)
Mozart, Prague Symphony
h)
Neapolitan Song, Santa Lucia
i)
Tchaikovsky, March Slave
j)
11
Foster, Beautiful Dreamer
,-J.*\
k)
\*3-l
3--,
\-3-,
\\
3u
Bartok - Ballade No.13 (Peasant Songs)
t)
Reprinted b1' pernrission ol' Universal Edition (London) Lttl
Welsh Melody, I Blas Gogerdden
m)
Mozart, Don Giovanni, La Cidarem
n)
&
rl
t-
I
0
TRANSPOSITION
You will be asked to transpose notes either one octave higher or one octave lower. The following examples show
some of the common errors which students rnake.
Thanspose the following one octave lower.
Wrong
Error
Right
The melody is written at the same pitch instead of one octave lower.
Tlanspose the following one octave lower.
'ril
)i' h
--T*-T_r
Wrong
Right
Error: The melody is written two octaves lower.
I
Below are the melodies extracted from Mozart's opera "The Marriage of Figaro". Transpose them one octaye
Iower from treble to bass clef or one octave higher from bass to treble clef.
Overture
a)
---:--ltJ
Duet: Cinque dieci
b)
13
Duet: Cinque dieci
c)
Aria: Se vuol ballare
d)
Aria: La Vendetta
e)
Aria: Non so piu
f)
Canzone: Vol che sapete
8)
14
Accomp. of Esci Omai
h)
Aria: Vedro mentr'io sospiro
i)
Aria: Dove sono
i)
Wedding March
k)
ta
Aria Aprit e un po'
Que
u
15
'occhi
I
a
COMPOUNDTIME
In simple time, a beat is divided into two equal parts
l-l
J
l_lr
)-t,
aa
l\
a
Here is a table of Simple Time Signatures
Simple Tliple
Simple Duple
TJ
J
l
T, ) ) J )
3 J lerts in each bar
4 J u.r,, in each bar
)
?
2 J u"ut, in each bar
)
2) )
,rl
7,5)
r)l
2 .J Ueats in each bar
Simple Quadruple
)
L
I
)
4
3
2 )U"ut, in each bar
)
4 ) u"uttin each bar
, , beats rn each bar
a J-:
)
)
8
3 ) u.ut, in each bar
4 ) urut, in each bar
In Compound time, a beat is divided regularly ihto three parts.
J
J_I']
The 3 compound time signatures used for this grade are
6rt
8aa
J-]-l J-IJ
)
l
l.
a
I
a
Compound duple (2 dotted crotchet beats in each bar)
EJ J ]
l-:-l
)
f.
a
Compound triple (3 dotted crotchet beats in each bar)
B ) J J J lJ-l-:J-l-lJ )J )l
Compound quadruple (4 dotted cmtchet beats in eaeh bar)
10
1. Fill in the foltowing blank spaces as shown.
a)
fi
b)
I
c)
d)
e)
U
2 dotted crotchet
beats in each bar
beats in each bar
8
beats in each bar
B
I
beat-s in each bar
Z
3
I
beats in each bar
f)s
beats in each bar
c)
*
beats in each bar
h)
c
beats in each bar
n
2
beats in each bar
j)
beats in each bar
7,
17
2. At the-beginning of each bar, write the time signature and describe the kind of time as simple or compound
in the blank spaces.
a)
) nfl)
8)
) ))) )
time
b)
J
time
J-l--]
r--l-1
aaaa
h)
time
time
-
c)
i)
J-JlJ J )J-j-ll
time
time
I
d)
s
j)
I
d
time
)
o
time
e)
k)
time
f)
I
J-r: J-]-:
I
time
n)m
,
time
) ,f, rll J ,1,
tlme
18
I
3.
At the beginning of each of the following, put the time signature and describe
the kind of time used. (An example is
given.)
Old English Arr. Drink to me oniy with
thine eves
This is in
Compound dupie
time
Scottish Air, Comin thro'the Rye
a)
This is in
time
Chopin, Nofiume Op. 55 No. 2
b)
This is in
time
Tchaikovsky, Italian Song
c)
This is in
time
Kuhlau, Sonatina Op. 55 No. 2
d)
This is in
time
Clementi, Sonatina Op. 36 No. 4
(2nd movt)
e)
This is in
time
J. Bamby, Sweet and Low
1)
This is in
time
t9
Bach, Ttree-part Invention No. 2
s)
--4o-
lThis is in
time
Purcell, Colden Sonata (2nd movt)
-*-=_+e_
h)
This is in
time
Blrgmuller, Hunting Song
t)
This is in
time
Bach, Tkee-part Invention No. 6
j)
-t!-r--t-
This is in
time
Liszt, Fausr Symphony (3rd movt)
k)
This is in
time
Traditional, Good King Wenceslas
a
This is in
time
Elgar, Organ Sonata
m)
This is in
time
Schubert, Impromptu Op.142 No.3
n)
This is in
time
20
4. Fill in the missing bar-lines in the following melodies which start on the first beat of the bar.
a)
Clementi, Sonatina Op.36 No.1 (2nd
movt)
--r
Mozart, Sonata in A K331
b)
Purcell, Trumpet Tune
c)
Mozart, Polonaise
d)
Telemann, Quartet in B minor
e)
Bach, Concerto for TWo Violins (2nd
movt)
a--\
f)
h_:*r
1',|
Bach, WTC bk II Prelude No .4
>+
c)
Beethoven, Sonata Op. 49 No. 2
,-3-.
h)
*3
Mozart, Sonata in F K332 (3rd mort)
b
i)
ar
Schubert, Moment MusicalD 7802
i)
Mendelssohn, Quartet No. 3
k)
Bach, WTC bk II Prelude No. l0
a
l)
-,J
22
Triplets in simple time sound the same as 3 notes grouped in compound time.
1
J-I: fl1 rT1
\--J__-/
\-J----l
\*
J
18
sounds the same as
_---l
J-II TT TT
Hence, some pieces can be written in simple or compound time (and vice versa) without the musical effect being
changed.
e,8
e
Count: 1
2
/-3 \
/*3
1
2
Scarlatti, Sonata in F K78
3
1
2
s.r-
1
2
1
2
----r-
Countl 1
2
)
1
1,
2
5. Rewrite the following melodies in the given time signatures.
J--\
.*
3
3--\
/*
3
Czerny, Op.599 No,7
a)
Schumann, Little Study
b)
-*J-
a-3\
f-J\
Rossini, The Thieving Magpie Overlure
j-a
/-- J\
c)
-a-
)1
/-3\
Clementi, Sonatina 0p.36 No.5
r-3\
/-J\
d)
a
Cui, Canzonetla 0p.20 No.9
e)
Bach, WTC bk II Prelude No.19
l)
d*
Mendelssohn, Volin Concerto (2nd
movt)
8)
r*j
V. [.obos, l]achianas lJrasileiras No. 4
r-3
h)
L.I
3
24
\3-:
\-z
Bach, Two-part lnvention No. 10
)
*
Arensky, Trio in D minor Op.32
i)
r9_-L-*_t lr
aa-_
--'-.
- J-\
- ?-r
,--'-\
J\
u l-\
/-3-\
--=------l\
/'3-\
-?
a J)
Scarlatti, Sonata in G K.391
/-J\
.*3
-l:
k)
J
-2
0
/-3\
Tchaikovsky, Symphony No.3 (3rd
movt)
3
\!-
Mozart, Sonala in A K.331
m)
)s
GROUPING NOTES AND RESTS
I
0
IN COMPOUND TIME
In the previous chapter, we saw how notes which make up a beat in compound time are beamed together.
J-i-: IT]
6lr
8a.a
) )J .hl )
lt
In addition, the following should be known
<1> Notes for each J o"u, can be divided into. )
<2> Two-beat notes in
6
8
I8 and 128
are written
.l o, J ) bui not
)
not
rT
or
J)
<3> Shorter notes are beamed to show the grouping of beats.
r
l-t-t-t
r
) ,)),)a )
rr
lr
<4> A note for a full bar in compound time is written as:
8)
il
g
)ll
)
26
t?
I
O
il
1. Rewrite each of the following rhythms with the notes correctly grouped.
a)
b)
I
I
il
6
ti
c)
d)
E
e)
27
f)
rI
The following should be noted when grouping rests in compound time:
<1> A one-beat rest can be written as |' or i
V
or
OI
or
<2> However, in
$ a -' rest is used for the first two beats or the last two beats.
<3> When a J. U.ut includes rests, they are arranged like this
not
not
28
<4> When shorter values of rests are used, each quaver beat needs a new rest.
<5> The rest for a full bar is written as
2. Add a rest (dotted if necessary) in each place marked *
*
,i(
a)
)k
b)
*
c)
d)
e)
?9
)ii
*
,i.
,ir
f)
'*
*
't
s)
*
*
h)
*
,1.
i)
*
j)
3. Add a rest or rests in each place marked * so as to complete the bars.
a)
b)
*
c)
30
*
*
d)
*
'*
e)
i
*
rt
*
f)
*
*
8)
*
*
'*
h)
*
t(
i)
j)
31
*
4.
Rewrite the following melodies, grouping the notes and rests correctly
Bach, Cigue from French Suite No.4
a)
Mendelssohn, Songs Without Words
No .22 Op.53 No.4
b)
Chopin, Nocturne Op.9 No.2
c)
C. Paisello, Nel cor piu non mi sento
d)
Liszt,'fhe Prelude
e)
Schubert, lm Dorfe, from Winter
*a'---'-'
f)
JZ
Jo
Bach, Gigue from French Suite No.6
8)
t-
J. Field, Nocturne
h)'
Schumann, Sleeping Song
i)
+r-----r
Mozart, Sonata in AK.331
j)
Bach, WTC bk ll, Preiude No.7
+
k)
Tcirarkovsky., Sleeping Beauty (2nd
movr)
+
t)
33
MAJORKEYS WITH
I
0
FOUR SHARPS OR FLATS
Here is a table of the key signatures of keys required for this grade.
--.t
C major
F major
Bh major
G major
_t
D major
Eb maJor
A major
A[ major
---a.lr--$--
E major
1. l{ithout using key signatures, write the necessary accidentals to make the scales named. Put t--------1 over
each pair of notes forming a semitone.
a) Bb major
o
o
b) E major
o
c) E major
d) Ab major
€>
AL major
34
2. After each clef, write the given key signature, followed by the tonic triad.
a)
E major
Ab major
E major
Ab major
A major
D major
C major
G. major
Bb major
-lbp ma]or
F major
Ab major
A major
Bb major
D major
b)
c)
d)
_l
E, maJor
3
The melodies below are extracted from Bach's '48' Preludes and Fugues Book I. Write the necessary
accidentals in front of each note to put the following into the given keys.
Ab major
Prelude No.17
I
a)
-a-
D major
Fugue No.5
b)
I-
E major
c)
Prelude No.9
--+-
t-e1
-|ts
)-
35
-t
.8, maror
Prelude No.7
*t
d)
F major
Fugue No.11
e)
A major
Prelude No.19
f)
G major
Fugue No.15
t--{L
8)
Ab major
Fugue No.17
h)
-z--l-
Bb major
Fugue No.2l
i)
E major
Fugue No.9
i)
-a*-*a
36
4.
The melodies below are extracted from Bach's '48' Preludes and Fugues Book II. Name the key firsl, then
rewrite them, using key signatures instead of accidentals.
Prelude No.19
a\
a)
I
Key
Fugue No.9
.p-
b)
Key:
Fugue No.1?
c)
I
---br-
Key
Prelude No.1l
'--v7-----r-
d)
*
t
Key
Prclude No.9
e)
Key
37
Fugue No.21
n
Key:
Fugue No.15
8)
Ir
--l*-r'
::tf + .1-
Key:
Fugue No.7
h)
Key
Prelude No.17
i)
$
Key
Fugue No.5
j)
Key
38
MINORKEYS WITH
I
0
FOUR SHARPS OR FLATS
In this grade, you are required to know both the harmonic and the melodic form of the minor scaies.
Table of key signatures of minor keys
A minor
a'
D minor
E minor
G minor
B minor
C minor
_*
h f mlnor
Cfl minor
--'t-l!--t--
--"Ei
F minor
-----&-l,L
1. Write the necessary a-ccidentals where they are needed to make the scales named. Do not use key signature.
Put f-l
oyer each pair of notes formiirg a semitone.
a) D harmonic minor
b) A harmonic minor
c) E meiodic minor
d) A melodic minor
e) E harmonic minor
o
39
f) D melodic minor
il E harmonic minor
-0.
€
h) D harmonic minor
o
il
A harmonic minor
j)
E melodic minor
G
k) D melodic minor
U
€>
o
U A melodic minor
rlt) D melodic minor
n) E harmonic minor
o) A melodic minor
p) E harmonic minor
o
40
2, \Yrite the scales with key signature, using the given rhythms
a)
t l
.n
T-l
)
J
)
lr
D melodic minor,
ascending
b)
g.m
aa
)
1
)
A harmonic minor,
descending
c)
N
)
)
a
E melodic minor,
ascending
d)
$
J
,l' J-ll
I
)
a
)
il
t)
Yll
E melodic minor,
descending
e)
E ,r-l-l )
)
A melodic minor,
ascending
41
rit
aa
I
I
-
l
d
lt
f)
7,
) )rl t
NI
aa
)
t)
)
il
D harmonic minor,
descending
8)
7 Jl
J-l I J-:-l )
il
E harmonic minor,
ascending
h)
r&
,hJ ,f,l I
)
J
,h)
J
A harmonic minor,
descending
i)
0
)
I
)
d
)
D melodic minor,
ascending
j)
e
J-l )
J
E melodic minor,
descending
42
)
T-]
)
J
I
c
ll
3. Write the given key signature after each clef. Then write the tonic triad.
a)
G minor
C minor
F minor
B minor
F$ minor
Cil minor
F minor
G minor
Lfl mmor
F minor
D minor
Ff minor
Cil minor
B minor
A minor
E minor
C minor
Cil minor
b)
c)
d)
e)
l)
43
4. Put t---_- above any pair of notes, forming a semitone. (An example has been given.)
G harmonic minor
C harmonic minor
o
e
a)
F harmonic minor
b)
B harmonic minor
4
Ff harmonic minor
d)
C$ harmonic minor
€>
e)
5. Put r*--l above any pair of notes, forming a semitone. (An example has been given.)
B melodic minor
e-{f
o
Reminder: In a melodic minor scale of the semitones, the descending form is different from the ascending
44
U
Ff melodic minor
a)
Cfi melodic minor
b)
G melodic minor
c)
C melodic minor
d)
€}
€>
F melodic minor
e)
6. Without using key signatures but adding the necessary accidentals, write the given scales. Put t---t
of notes forming a semitone.
over each pair
a) Cf melodic minor
€>
b) Ffi harmonic minor
c) B harmonic minor
d) G melodic minor
45
e) F harmonic minor
j) C melodic minor
il
o
G harmonic minor
h) F harmonic minor
,
Cfl harmonic minor
{>
j) Ffi melodic minor
k) C harmonic minor
l) B rnelodic minor
U
16
7. Using the given rhythms, write the scales below. Add the key signature.
g)
a)
t)
)
J
J
l )
o.
E melodic minor,
descending
t2
8J.
I
b)
I
)
)
) rJ
)
t)
)
)
C melodic minor,
ascending
c)
B harmonic minor,
* CI
)
)
)
)
I
)
-+ti
ascending
t)
d)
F$ harmonic minor,
J-ll J-ll lJ I l
ll
-+li
descending
e)
ot
z)
ti
J
)
il
Cl harmonic minor,
ascending
"0
gJ
1
G melodic minoro
descending
47
s)
NI
aa
e
l
7,
J
l
I
)
d
)
)
)
c
r,I; t )
t)
B melodic minor,
descending
h)
)
)
J
\-
3
_-/
C harmonic minor,
descending
,
,
r--.f....1_1
aaaa
Z
F harmonic minor,
ascending
i)
l
)
c
,
$
)
T,
)
aa
-
I
l
J
lr
)
lt
F[ melodic minor,
ascending
k)
I
\
a
J
a
l
.rl
)
n
J
Cfi melodic minor,
descending
I
0
0
I
d
G harmonic minor,
ascending
48
)
J
o
il
FURTHER PRACTICE ON
SCALES AND KEY SIGNATURE
1. a! ftg beginning of each given scales, write the clef and key signature. If it is a minor scale, do not forget to
add the necessary accidentals. Mark the semitones with a r---__*1
a) C harmonic minor
b) Eb major
c). .-l
t. ii harmonlc mlnor
.
d) A major
e) F melodic minor
f) At major
il
G melodic minor
49
t
a
h) Bt major
,
Cfi melodic minor
il
E major
k) E melodic minor
U A harmonic minor
m) D melodic minor
n) F major
o) G major
50
2. Name the key of each of the following. Then rewrite them using the correct key signatures and remoying any
unnecessary accidentals.
Clementi, Sonatina Op.38 No.2
a)
**--it--5
Key:
Bach, Two Part Invention No. 11
b)
Key:
Beethoven, Piano Concerto No.l (2nd
movt)
c)
------..r...-.. ,
-r
I
Key
-l
Weber, Overture
I
d)
Key:
Rachmaninoff - Piano Concerto No. 3 in D minor
{,-")
O Copyright l9l0 by Hawkes & Son (Lrndon) Ltd.
Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.
Key
5l
Beethoven. Piano Concerlo No. 3
f,
Key:
Webel Piano Concerto No. 79
c)
Key
3.
The following passages contain four deliberate mistakes. Rewrite them correctly and answer the questions that
follow.
Chopin, Mazurkas Op. 17 No. I
a)
This music is in the key of Bb major. Draw a circle around three notes next to each other rvhich fonn the tonic triad of that
key
Old Iinglish ..\ir
b)
H-
This melody is in the ke1, of D major.
Which other key has the same kev signaturc?
52
Chopin, Mazurkas 0p. 7 No. 4
-t-
c)
\- J,/
This melody is in the key of At major. Draw a circle around three notes next to each other which form the tonic triad of that
key.
Listz, Consolation
d)
--J-:*-
This music is in the key of E major. Do you notice that the rhl,thm shown by the bracket is repeated by the other bars two
times? Can you draw a T-------1 over the bars to indicate them?
Bach, Suite No. 2
-.L-.-{
e)
)..:r+tF*
This melody is in the key of B minor. The tonic triads appear four times in this melody, the first one is shown by a circle.
Can you find out the other three tonic triads? Draw a circle to show each of them.
Haydn, Quartet Op.20 No. 5
f)
This melody is in the key of F minor.
Which other key has the same key signature?
53
I
0
INTERVALS
Below are the intervals that you are required to know for Grade 3
When you are required to name an inte rval, you have to give not only its number but also its quality
In major scales, the interval between the key note and the 4th, 5th and Bth degrees is always "Perfect". The interva]
between the key note and other degrees is "major".
C major
o
o
o
e
e
Perfect
maJor
major
Perfect
Perfect
major
maJor
/-J
3rd
4rh
5th
6th
7th
8rh
(Octave)
In minor scales, the 4th, 5th and 8th degrees are tie same as in the major scale, But the interval between the key note
and the 3rd degree is calied a "minor" 3rd. The 6th and 7th degrees vary according to the kind of minor scale being used
(melodic or harmonic) and also whether it is ascending or descending.
C harmonic minor
o
eo
major ninor
Znd
3rd
Perfect Perfect
4th
5th
O
minor major
6th
7rh
o
o
Perfect major
8th
o
minor
oo
Perfect Perfect
7th
6rh
5th
4th
o
o
minor major
3rd
2nd
Perfect Pcrfect minor
major
4th
2nd
(Octave)
C melodic minor
o
o
o
o
{}
o
major minor Perfect Perfect
maJor
maJor
Perfect
minor
minor
2nd
6rh
7th
8th
7rh
6rh
3rd
4th
o
srh
(Octave)
54
5rh
3rd
1. Write the full name of the interval for each of the following. The lower note in each case is the key note.
a)
b)
c)
d)
e)
l)
o
8)
h)
€
,
55
2. Name the intervals marked with l=-
. In each case, the Iower note is the key note.
Beethoven, Symphony No.5 (4th mo-vt)
a)
Bach, Suite No.2 in B minor for Flute
and Strings
{)*o-
b)
--*l--T'
Corelli, Concerto Grosso Op.6 No.8
(2nd movt)
c)
Purcell, Rondo from Abdelazer
d)
FF-
t/
Traditional, Lavender Blue
e)
Brahms, Cello Sonata Op.38
(3rd movt)
l-
,-J-
,'3
J-
/t 3-,
J-
/---\-J
*
l)
56
Bach, Fugue in Fl from the'48'book 2
8)
Kuhlau, Sonatina Op.55 No.1
I
h)
---13
|
Elgar, Enigma Variations Theme
,
,/
.r-f
l---r
*-a-
Beelhoven, Sonata Op.79
j)
D. Scarlatti, Sonata Kp.25
r-)
k)
Beethoven, Piano Sohata Op.57
-=zl--.+f*E
t)
57
t
a
FOUR-BARRHYTHMS
Unstressed notes which appear before the first strong beat of a musical phrase are called the "upbeat" or "anacrusis"
Schumann, Kinderscenen No.6
j-
l)
The second halfis an exact repetition ofthe first half.
Menotti, The Medium Act I
2)
The second half is similar at the beginning and ending, but modified in rhythmic patrem in the midway.
J-
Schubert, Die Nebensnnnen
3)
A rhtthmic pattern is repeated successively
Beethoven, Piano Sonata Op. 90
4)-
4)
There is no repetition at all here.
Notice, in the examples above that the number of the beats in bar 4 when added to those before the f'irst bar, adds up to a
complete bar.
58
Note that page 58 erample 3) shons a very common deviceo called the 'ready-sleadl*-go' principle. A pattern is ptayed thrice
but rvith the third continuing. Belon' are six exam;rles.
Mozarl. Minuet in F
,-
lt
Beethoven. Sonata Op. 27 No. I
2)
llal'dn. Sonata in C
.*F-
3)
2-_
Sometimes, the repetitions need not be exact. They may be modified if they can make a bett€r melodic line, as the following
examples shown.
Beethoven, Sonata Op. 49 No. 2
r.--_--__--1
1)
-1
Ha_vdn. Sonata in D
5)
V. Rebikofl Playing Soldiers
(t)
59
l.
Beginning with the following, compose four-bar rhythms. Note that these begin on an upbeat, and remember to
complete the first whole bar.
a)
zI.-Irl
4
il
b)
c)
lz l:-Tl rl.
d)
6
e)
B
.) -l-]-J-l r
-l
J= r-f3
E
i
r
.i
il
r.l -,E -l
I
I
s)
lt
h)
" J-T-l-l I .1. -l)
r
il
l
/)
\-/
r
J-T-l -l).l -ll
r
\*j#/
r
60
Composing a four-bar rhythm is often written on a single line. However, a sta\ e is sometimes used, as sholl,n in
the foilowing exercises.
2. Compose a four-bar rhythm using the given opening. Remember to complete the first bar
a)
b)
c)
+
d)
e)
J)
6l
I
0
SIMPLE PHRASE, STRUCTURES
Aphrase is a musical sentence. Each phrase normally consists of two of four bars. Athree-bar phrase is very rare
To decide the length ofthe phrases:
<l> Phrases often start with similar rhythms
Haydn, Allegro
<2>Longnotes are sometimes used at the end of the phrase.
Schubert, Impromptu Op. 142 No. 3
<3> If words are set to music, the phrases normally follow the pauses in speech rhyhm.
Scottish Song
J--.{
Should auld
auld
ac- quain -
ac-quain - tance
be
tance be
for-got, and
for-got, and
days
62
ne
ver brought to
ol auld lang
syne'}
mind?
Should
1. Mark each phrase with a
to show the phrase-structure in each of the melodies.
Tchaikovsky, Italian Song
a)
J.A. Butterfield, When You and I were
Young, Maggie
b)
Counod, Faust Act I
c)
.--*-=\
Polish Melody
d)
63
Cruger-Bach, Schmuche dich, o liebe
Seele
e)
a. r
.*-_tl_
_c
r\-H--
Traditional, Lincolnshire Poacher
*-zl---t
J)
-#
LI-
Dutch Meiody
s)
Irish Foik Tune
h)
rr-F*lr-
61
Mozart, The Magic Flute (Der
Vogelfanger)
i)
Schumann, Nachtstucke Op.23 No.4
j)
_--tz
'-4-t
-q---3-
v-
Scottish Air, Blue Bells of Scotland
k)
- *?*
Bach, Gayoile in G minor
t)
!
(a
-+
*a-
*J+r
65
t-
1=t*
I
0
TERMSAND SIGNS
The students should have a knowledge of simple Italian words, abbreviations and signs that may commonly
be found in Grade III music. Apart from the terms and signs in Gradal. & II, the following at least should
be known.
On Speed
a)
Adagietto
b)
Ad libitum, ad lib
c)
Alla breve
d)
Comodo
e)
Largamente
t)
Rubato, tempo rubato
8)
Stringendo
On Dynamics
a)
Agitato
b)
Amore
c)
Anima
d)
Animato
e)
Brio
66
./) Deciso
g.) Delicato
h) Energico
i) Leggiero
j)
Marcato, marc.
k) Marziale
l) Mesto
m) Pesante
n) Risoluto
o) Ritmico
p) Scherzando, scherzoso
q) Simplice
r) Tranquillo
s) Triste, tristamente
Single word and words used together
a) Ben
b) Ben marcato
67
c)
Prima, primo
d)
Tempo primo
e)
Seconda, secondo
n
Seconda volta
8)
Sempre
h)
Sempre p
i)
Subito
i)
Subito;f'
k)
Tanto
u
Non tanto
m)
Volta
n)
Prima volta
68
1
0
GENERAL EXERCISES
l, Look at this Irish melody "f,ondonderry Air", and thcn answer the questions below.
Moderalo
.rt
3
1
'-
___---*
--1*
p
-5
:
,|
6
8
---+L
.
a) The key is F major. Add the key signature where required.
b) Add the time signature where required.
c) The fint phrase is marked with a
, mark other phrases with
to show the phrase structurc.
d) Draw a circle around 3 notes next to each other which form the tonic tdad.
e) Name the inten'al between the last 2 notes of this melody
n
Give the meaning of:
Moderato
p
g) Transpose the first four bars (beginning on an upbeat till the note marked *) down an octave, using the bass clef.
69
2.
[,ook at this melody, which is taken from "Songs Without ]Yords" Op.102 No.6 by Mendelssohn, and then
answer the questions below.
Andante
I
2
3
4
nrf
6
5
7
.f
cresc.
dim.
a)
What key is the first line of the music in?
b)
What key is the second Iine of the music in?
c)
Describe the time. (simple or compound; duple, triple or quadruple)
d)
Give the numbers of two bars which have the same rhythm.
e)
Name the two intervals marked
o
fi
@ ano@
o
Give the meanings of:
Andante
cresc.
dim.
d
ilrf
g)
o
8
Rewrite bars 5 - 6 with a key signature, omit the unnecessary accidentals.
70
3.
Look at this passage, which is the beginning of a Sarabande by Handel, and then answer the questions
that follow.
Andante con moto
2
1
3
lltP e sostenuto
5
cresc.
6
1
f
a)
Add the time signature where required.
b)
Describe the time. (simple or compound; duple, triple or quadruple)
c)
Name the key
d)
Ihe last phrase is marked wi$ a l-.r
e)
Give the meanings of:
, can you mark other phrases with r---------r ?
Andante con moto
illp e sostenuto
cresc.
f
f)
1
Rewrite the notes in bars 1 - 4 which are half as long (the first bar is given)
Remember to add the new time signature.
71
1
0
SPECIMEN TEST
TOTALMARKS
Duration
100
lI lours.
ALL questions should be answered.
1. Add the missing bar-lines in each of the following. They begin on the lirst beat of the
10
bar,
Franck, Violin Sonala in A major
a)
Mendelssohn, Slring Quartet Op.12
(4th movt)
b)
Z. Add the correct time signatures to the following which is a passage from the Jupiter
10
Symphony by Mozart.
1st movt
a)
\-3
uJ
2nd movt
b)
-=t
72
3rd movt
c)
4th movt
d)
3. Write a four-bar rhythm in $ time using the given opening.
l0
4. Write the scales named below, adding the necessary accidentals. Use the given rhythm.
10
Note that this begins on an upbeat, and remember to complete the first whole bar.
sJ )
) ) lJ.
ll
)
-
F melodic minor (ascending)
E major (descending)
73
)
)
Describe the following intervals, giving their quality (eg. major, minor or perfect) and
number. The key is Cl minor.
5.
10
o
Interval
10
6. Name the keys of the following tonic triads.
(--1T.
Key
7. Ttanspose the following melody up an octave. Use the treble clef as shown.
10
Mendelssohn, Song Without Words
(for cello)
74
8,
This is the opening of the Nocturne, Op.9 No.2 by Chopin. Look at it and answer the questions that follow.
Andante
1
2
3
p express. dolce
4
cresc. f
10
a)
Name the key
b)
Add the time signature where required.
c)
Draw T------l over any pair of notes which make a semitone'
d)
Name the highest note.
e)
Underline one of the following metronome which you think would suit the tempo of this piece.
).=no
l)
i=Bz
).-eo
10
Give the meanings of:
Andante
P espress.
dolce
----- '--
f
10
il
Rewrite the music in simple time, beginning as shown.
/-3\
a'3\r
rH
75
Glossary
Terms
Adagietto
rather slow, but faster than adagio
Ad libitum, ad lib.
at pleasure
Alla breve
equivalent to
Alla marcia
in the style of a march
Agitato
agitated
Amore
love
Anima
soul, spirit
Animato
animated, lively
Ben
well
Ben marcato
well marked
Comodo
convenient
Deciso
with determination
Delicoto
delicate
Energica
with energy
Fine
the end
Giusto
strict, exact
Largamente
broadly
Leggiero
light
Marcato
emphatic, accented
Marziale
in military style
Mesto
sad
Pesante
heavy
Prima, Primo
first
Prima volta
first time
Risoluto
bold, strong
Ritmico
rhythmically
Rubato
robbed, stolen
Scherzando, scherzoso
playful, joking
76
! time
Seconda, secondo
second
Secondo volta
second time
Semplice
simple
Sempre
always
Sempre p
always soft
Stringendo
gradually getting faster
Subito
suddenly
Subito f
suddenly loud
Tanto
so much
Tempo
the speed
Tempo comodo
at a comfo(able speed
Tempo giusto
in strict time
Tempo primo
resume the original speed
Tempo rubato
with some freedom of time
Tranquillo
calm
Tristamente, triste
sad
Volta
time
77
Signs
Staccato Marks
Term
Mezzo-staccato
Staccato
)
Written
)
;
I
J
I
Staccatissimo
J
)
)
I
I
I
N.-l"lN.,.,
N...
t a1
.ltr .ilr,lt, j. y.lt. y.lt. I i"l,
Played
(approximately)
t
Meaning
A slight short
Short
Very short
Signs of Accentuation
Term
Accento
Sign
Meaning
Tenuto
Forzando
Sforzando
Marcato
f"
d
mate,
I
r
r
r
I
Accent
To hold
Forcing
Forcing
Marked
Signs of Direction
D.C
Da capo
II
x
Dal segno
ll'
'll
,lll,
From the beginning
From the sign g
The passage is to be repeated
Both passages are to be repeated
Signs of Speed
.f
: t:z
;. :60
132 quavers to a minute
60 dotted minims to a minute
7tt
Various uses of Curved Line
Tie: two notes become one
-?-
--{
Slur, or legato: the notes alfected by the curves are to be played smoothly
Phrase mark. see Chapter "simple Phrase Structures" for reference.
Notice that a square bracket (r------------r ) substitutes a curved line to show the phrase mark.
Syllable mark: all the notes affected by the curve are to be sung to a single syllable
Have you
seen but a white Li - ly
grow
Double phrasing: the above slur indicates that the notes within it belong to each other as a group
79