Grade Five Music Theory Revision Pack

GRADE 5 VIDEO COURSE

Lessons and Exercises Pack

2018+ Edition

MARKING FOR EXERCISES WITHIN THESE PAGES IS NOT INCLUDED!

If you would like to upgrade to the teacher-led version of this course which includes marking for all
these exercises plus continuous help via email, please email [email protected]

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NOTATION
Notation is:

• Recognising and knowing how to write all the notes, rests and other symbols used in
writing music

• Writing music clearly and neatly. You will lose points if the examiner can’t read your
notation properly!

Important! If you are asked to write what a word or symbol means, to get full marks you need
to explain in English. For example, if you are asked “what is this dot?” and you answer
“staccato”, you won’t get full marks. You need to write “short and detached” as well.

WRITING NOTES
• Note heads are not round – they are oval.

• A good stem length is about 1cm. Notes above the middle line have stems down, and vice versa.

• Stems are always completely vertical (tip – use a ruler!) Downward stems are on the left and
upward stems are on the right of the note head.

• Tails are always attached to the right hand side of a note stem, whichever way up it is.

• Accidentals are always on the left.

• Notes must be clear – don’t write big blobby notes which are hard to read!

• Ledger lines are an extension of the stave. Keep them evenly spaced, and not too wide/narrow.

• Generally, allow about 1cm between crotchets (quarter notes), less between faster notes and more
between slower notes. Always start the first note of the bar close to the left hand barline
though. (Don’t measure with a ruler – this is a rough estimate!)

THE BREVE (DOUBLE WHOLE NOTE)

A breve is worth two semibreves. To draw a breve, first write a semibreve, then add two short
vertical lines to each side of the note:

A breve rest is a black square which fills up the whole space on the stave, 2nd space from the top:

In the grade 5 exam, you often have to write a breve as an enharmonic equivalent note. This means
“the same note spelled a different way”, so C# is an enharmonic of Db for example, and B# is an
enharmonic of C (natural).

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DOTTED NOTES
Dots are placed on the opposite side of the note head to the stem. A dot makes a note 50% longer. A
double dot makes it 75% longer.

ARTICULATION SYMBOLS
Articulation marks show the player how to attack a note. You need to know:

• staccato (short and detached)

• slur (smoothly)

• accent (with force)

• tenuto (held for the full length of the beat)

Articulation marks are usually put on the opposite side to the stem (unless there isn’t enough room).

TIES
Don’t confuse a slur with a tie – they look similar!

• a slur tells you to play two (or more) notes of different pitch very smoothly

• a tie joins together two (or more) notes of the same pitch to make a longer note

DYNAMICS
The order of dynamics from quiet to loud is:

ppp-pp-p-mp-mf-f-ff-fff

When writing dynamics (in your composition), make sure that they make logical sense.

• The player always needs to know what dynamic to start on.

• If you write a hairpin, the player needs a letter dynamic at the end (like “FF”) to show how
much of a change in dynamic is needed.
• All letter dynamics must be written under a specific note. Don’t write them between notes!
Hairpins must start and end under a specific note too.

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ORNAMENTS
You need to recognise the main ornaments. You don’t need to write them out as they would sound if
played, but you might have to recognise them from their written out forms, instead of symbols.

Learn to spell them correctly!

• Acciaccatura has a small slash through its tail. It’s a “crushed note”, squashed up before the
next one very quickly.
• Appoggiatura has no slash. It’s a long ornament, usually taking half the length of the normal
sized note.
• Turn looks like one of the holes on a violin. Play the note itself, the note
above, the note itself, the note below.

• An upper mordent has NO slash, but a lower mordent does. Play the
note above (or below).
• Trill – the note itself and the note above.

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GRADE 5 REVISION HOMEWORK – NOTATION

1. Write the following on the stave below. (US terms are given below1) [15 points]
a. Dotted crotchet middle C j. Crotchet B with one ledger line,
b. Quaver D, one note higher tied to the previous note
c. Crotchet F# in a space k. Crotchet G, one third lower than
d. Crotchet G# on a line the previous note
e. Quaver D on a line l. Dotted crotchet F natural on a
f. Quaver rest line
g. Quaver A in a space m. Beamed semiquavers E (space)
h. Quaver A an octave higher, and F natural (line)
beamed to the previous note n. Semibreve E in a space
i. Crotchet B with one ledger line o. A double bar line at the end
(higher up)

2. Add dynamics to the above melody. It starts moderately quietly, crescendos from the 2nd
note until the highest note, which is FF. There is a decrescendo from first semiquaver until
the end, which is very quiet. [7 points]
3. Add a turn between the first and second notes, and a trill on the final note. [2 points]
4. Add staccato symbols to the two quaver A’s, and an accent on the following B. [2 points]
5. Write out the 4th note of the piece as a breve, using an enharmonic equivalent. [2 points]

6. Explain what effect the dot has on the first note of the piece. [2 points]
7. Name the note which is worth half a semiquaver. [1 point]
8. Draw a note with a tenuto symbol and explain what it means. [2 points]

Total /33

1
Breve=Double whole note; Semibreve=Whole note; Minim=Half note; Crotchet=Quarter note; Quaver=Eighth note; Semiquaver=16th
note.

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TIME SIGNATURES
1. THE NUMBERS
The top number tells you HOW MANY and the lower
number tells you WHAT KIND of notes make up one bar.

Lower numbers mean:

2=minims (half notes)

4=crotchets (quarter notes)

8=quavers (eighth notes)

16=semiquavers (sixteenth notes)

So 3/4 means “count three crotchets (quarter notes) per bar”, and 12/8 means “count twelve
quavers (eighth notes) per bar”.

2. BEATS
Most time signatures have 2, 3 or 4 beats per bar.

× No time signatures contain SIX, EIGHT, NINE or TWELVE beats per bar.

 Time signatures with or on top have TWO BEATS per bar

 Time signatures with or on top have THREE BEATS per bar

 Time signatures with or on top have FOUR BEATS per bar

× There are no time signatures with “1” or “8” on top.

 Time signatures which have , , or on top are IRREGULAR

2 beats per bar = DUPLE TIME

3 beats per bar = TRIPLE TIME

4 beats per bar = QUADRUPLE TIME

3. SIMPLE AND COMPOUND TIME

Regular time signatures are either SIMPLE or COMPOUND. Look at the TOP number.

= Simple time

= Compound time

In simple time, the top number tells you the number of beats per bar.

In compound time, the top number divided by three gives you the beats per bar.

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4. DIVIDING THE BEAT

In simple time, the beat is split into TWO equal notes. For example, in 3/4, the crotchet (quarter
note) beat is divided into two quavers (eighth notes).

In compound time, the beat is split into THREE equal notes. For example, in 6/8, the dotted crotchet
(dotted quarter note) beat is divided into three quavers (eighth notes).

5. BEAMING
Beats are shown by the BEAMING (grouping) of
notes. Notes are normally beamed together to make
up one whole beat. Look at the above examples in
3/4 and 6/8 again. Here is another example showing
beaming in 6/4 (duple time=2 beats per bar) and 3/2
(triple time=3 beats per bar). The brackets show the
beats.

6. RESTS
Rests also help to show the number of beats per bar. Notice why
different rests are used in these two bars:

In 6/8, the rests are used to help show that there are two beats per
bar. In 3/4, they show three beats per bar.

7. TRIPLETS AND DUPLETS

 Triplets are used in simple time signatures, when the beat is split into three instead of two.
 Duplets are used in compound time signatures, when the beat is split into two instead of three.

E.g. in 3/4 time, a triplet with quavers (eighth notes) equals one
beat. In 9/8 time, a duplet with quavers (eighth notes) equals
one beat.

Triplets and duplets can be made from other note values – as

long as they add up to the correct number. In this triplet, the
first note is worth 2/3 of a beat, and the second note is worth
1/3 of a beat.

Here’s a triplet in 2/2 time, made from crotchets (quarter notes) (three
in the time of two). Use a bracket if the triplet or duplet includes
crotchets (quarters).

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8. WORKING OUT THE TIME SIGNATURE

1. Add up the notes: count the crotchets or quavers (quarter or eighth notes) – whichever is easier.

2. If the number does NOT divide by 2, 3 or 4, it is an irregular time signature. If there are five
quavers (eighth notes), it is 5/8, if there are five crotchets (quarter notes) it is 5/4, and so on.

3. If the number divides by 2, 3 or 4 (e.g. 12 quavers (eighth notes) can be divided by all of these)
you need to work out if it is duple, triple or quadruple time – 2, 3 or 4 beats per bar?

4. Look at the beaming, long notes, ties and rests.

 Notes are usually beamed to make one whole beat.

 Longer notes and rests will fall at the start of a new beat.
 A break in a beamed group shows you where a new beat starts.
 Ties are used across beats – the 2nd tied note starts a new beat.
 It should be easy to see each complete beat in the bar. Try drawing boxes around each beat
(as below).

Example:

Total notes: 12 quavers (eighth notes). Time signatures with this number of notes: 12/8 (quadruple),
6/4 (duple) or 3/2 (triple).

The longer notes (crotchets and dotted crotchet rest) (quarter notes and dotted quarter rest) fall ON
the beat. The bar divides easily into four equal parts – we can clearly see four beats, so it’s 12/8.

9. 12/8 AND 6/4

A 12/8 AND a 6/4 bar can both be split into two equal halves, but a 6/4 bar cannot be split into four
equal quarters.

This is how to tell the difference between 12/8 and 6/4.

If you try to split this 6/4 bar in to 4, you have to break a

beamed group, and draw a line ¾ of the way through the
minim (half note). It doesn’t divide easily.

Try to split it into two, and you will have success:

 So – always try to divide the bar into 4 parts first!

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10. ADDING BAR LINES (UK VERSION)

Extracts often include very quick notes, dotted notes and/or tuplets (e.g. triplets) and ties.

• Notes are beamed • Triplets are three • Dotted notes are

in groups to help notes in the normal 50% longer than
you see the beat time of two undotted

Look at the time signature, and work out the number (4), and type (crotchets) of beats per bar.
Next, pencil in the values of the notes which are easy to see. Count beamed notes as one group.

Now look at the hard ones. The first beamed group has four demisemiquavers. Four semiquavers
make one crotchet, so eight demisemiquavers also make one crotchet. Four demisemiquavers make
half a crotchet. Pencil in any identical rhythms further on in the melody, (there are none in this
example though).

The next group of notes starts with a dotted semiquaver, which is 50% longer than a plain one.

Here’s a quick way to count dotted notes:

Two quavers=1 crotchet. If you add a dot to the first quaver and a
beam to the next one, the value of the group is still one crotchet:

If you remove one dot and one beam, the notes are easier to count. In this group of
notes, remove the dots off the first and third notes, then remove the beams off the
second and fourth notes, to end up with 4 semiquavers. Four semiquavers = 1 crotchet.

There’s only rhythm left to work out – the semiquaver triplets. Three triplet semiquavers are worth
the same as two normal semiquavers: half a crotchet. Pencil these in too.

Then simply count up until you get to 4, and draw a bar line, then continue until to get to the end.

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10. ADDING BAR LINES (USA VERSION)

Extracts often include very quick notes, dotted notes and/or tuplets (e.g. triplets) and ties.

• Notes are beamed • Triplets are three • Dotted notes are

in groups to help notes in the normal 50% longer than
you see the beat time of two undotted

Look at the time signature, and work out the number (4), and type (quarters) of beats per measure.

Next, pencil in the values of the notes which are easy to see. Count beamed notes as one group.

Now look at the hard ones. The first beamed group has four 32nds. Four 16ths make one quarter
note, so eight 32nds also make one quarter note. Four 32nds make half a quarter note. Pencil in any
identical rhythms further on in the melody, (there are none in this example though).

The next group of notes starts with a dotted 16th note, which is 50% longer than a plain one.

Here’s a quick way to count dotted notes:

Two 8ths=1 quarter. If you add a dot to the first 8th note and a beam
to the next one, the value of the group is still one quarter note:

If you remove one dot and one beam, the notes are easier to count. In this group of
notes, remove the dots off the first and third notes, then remove the beams off the
second and fourth notes, to end up with 4 16ths. Four 16ths = 1 quarter note.

There’s only rhythm left to work out – the 16th note triplets. Three triplet 16ths are worth the same
as two normal 16ths: half a quarter note. Pencil these in too.

Then simply count up until you get to 4, and draw a bar line, then continue until to get to the end.

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11. QUIZ
Answers to the Quiz are on the next page.

1. How many beats per bar are there in 9/8?

2. Draw six quavers (8th notes) beamed in the correct way for 3/4 time:

3. Draw six quavers (8th notes) beamed in the correct way for 6/8 time:

4. Which two of these numbers are not found on the top in a time signature?: 1, 2, 3, 5, 7, 8, 12

5. What does a lower number 2 in a time signature mean?

6. Which two other time signatures have the same overall number of notes per bar as 12/8?

7. Name three duple time signatures:

8. If a time signature is not duple, triple or quadruple, what is it?

9. True or false: all time signatures with a lower number 8 are compound time:

10. In compound time, is the main beat a dotted or undotted note?

11. Which lower number is used when the main beat is a dotted crotchet (dotted quarter note)?

12. A bar contains four crotchets (quarter notes). Name two possible time signatures.

13. Add the time signatures.

14. Add the missing bar lines.

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11. QUIZ ANSWERS

1. Three dotted crotchet (dotted quarter note) beats per bar.

2.

3.

4. 1 and 8
5. The beat is a minim (half note).
6. 3/2 and 6/4
7. 2/2, 2/4, 6/8 and 6/4
8. Irregular
9. False (3/8 and 4/8 are simple time signatures).
10. Dotted.
11. 8
12. 4/4 or 2/2
13.

14.

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TIME SIGNATURES – HOMEWORK

Exercise 1: How many & what type of beats per bar do these time signatures represent? [5 points]

12/8 a) 5/4 b) 3/8 c) 4/2 d) 6/8 e) 6/4

4 dotted crotchet
beats per bar

Exercise 2: Describe these time signatures as simple or compound, AND duple, triple or quadruple,
OR irregular: [5]

3/4 a) 7/8 b) 3/2 c) 12/8 d) 9/4 e) 2/2

Simple triple

Exercise 3:

a) Use a line to divide each bar into equal beats, then number them, as in the first example. [10]

• Remember that there are never 6, 9 or 12 beats: only 2, 3, 4 or irregular.

• Ties should be divided with a line, and so should two separate beamed groups.

• Each line should divide the bar up into equal parts.

b) Add the correct time signature to each bar. [10]

Exercise 4:

Add bar lines to the following melody, which begins on the first beat of the bar. [3]

Total: /33

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REWRITING IN A New TIME SIGNATURE

(UK VERSION)
A rhythm in a simple time signature can be written using a compound time signature, without
creating any change in how the rhythm sounds (and vice versa).

In 4/4, there are four crotchet beats per bar. In 12/8 there are four dotted crotchet beats per bar.

So, to the ear, these two rhythms sound exactly the same:

They sound like four notes per bar, with an accent on the first of each group of four notes.

They sound the same, because both time signatures represent quadruple time: four beats per bar.

You can’t write the same rhythm in (for example) 3/4, because it will sound different:

Although the exact same notes have been used as in the 4/4 rhythm, this time the rhythm sounds
different. It sounds like three notes per bar, with an accent on the first of each group of three notes.

 When you rewrite a rhythm without changing how it sounds, you need to keep the same
number of beats per bar in the new time signature.
 Duple time stays as duple time, triple stays as triple, and quadruple stays as quadruple.
 The only thing that changes is that simple becomes compound (or vice versa)

HOW TO CONVERT A TIME SIGNATURE

Each simple time signature has a compound equivalent. For example, 4/4 is the simple time
equivalent of 12/8.

To find out what the equivalent time signature is, start by reminding yourself what the original time
signature stands for: how many beats (duple, triple or quadruple) and what type?

• 2/4 stands for “two crotchets per bar”

• 9/8 stands for “three dotted crotchets per bar”

Next add (or take away) the word dotted, from your description. Then work out the time signature
you just described.

• “two dotted crotchets per bar” = 6/8

• “three normal crotchets per bar” = 3/4

So 2/4 and 6/8 are equivalent time signatures. They both represent duple time. 9/8 and 3/4 are
equivalent time signatures. They both represent triple time.

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Here is a table of equivalent time signatures.

Simple 2/4 2/2 3/4 3/2 4/4 4/2

Compound 6/8 6/4 9/8 9/4 12/8 12/4

• Notice how the top number “2” always converts to “6”, “3” converts to “9” and “4” converts
to “12”.
• Notice that to make compound time, you double the lower number in simple time
• You won’t be asked to rewrite any irregular time signatures.

HOW TO CONVERT A RHYTHM

When you rewrite a rhythm in a new time signature, it’s really important to remember that:

• You should NEVER change the basic note type. A crotchet is always rewritten as a crotchet, a
quaver as a quaver and so on.

The only things you need to change are:

• Adding/removing dots
• Adding/removing tied notes
• Adding/removing duplets and triplets

Compare these two melodies, which will sound exactly the same:

Look at how each note has been altered in 12/8.

• Crotchets, minims and semibreves have had dots added to them

• Normal quavers have a duplet symbol added
• Triplet quavers have the triplet symbol removed
• Dotted notes are tied to the next smallest note value

(Although it’s possible to rewrite semiquavers too, you won’t get asked to do that in the exam, as it
gets a bit complicated!)

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Let’s look at another example: this time a compound melody is rewritten in simple time.

Look at how each note has been altered in 3/4.

• Dotted crotchets and dotted minims (and dotted semibreves if there were any) have their
dots removed from them
• Normal quavers in groups of 3, have a triplet symbol added
• Crotchet + quaver patterns have a triplet symbol added (because added together they equal
one beat or three quavers)
• Duplet quavers have the duplet symbol removed
• Dotted notes which are tied to the next smallest note value, have the tied note removed

When you convert a rhythm, you will find it helpful to divide the bar into beats, before you start.
Working beat by beat is easier than working bar by bar.

In the rewritten melody, each beat must exactly match the beat in the original.

In this 6/8 example, the bars have been split into two beats, with a line. Each beat is labelled A-E.

Beat A contains a crotchet and a quaver, so the first note is worth 2/3 of a beat, and the second note
is 1/3. To rewrite this, you need to use a triplet, so that the beat can be divided into three in simple
time.

It would be a mistake to write beat A as in 2/4, because although the rhythms are very
similar, they aren’t exactly the same. Here, the G is worth 3/4 of a beat, and the A is worth 1/4.

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(US VERSION)
A rhythm in a simple time signature can be written using a compound time signature, without
creating any change in how the rhythm sounds (and vice versa).

In 4/4, there are four quarter note beats per measure. In 12/8 there are four dotted quarter note
beats per measure.

So, to the ear, these two rhythms sound exactly the same:

They sound like four notes per measure, with an accent on the first of each group of four notes.

They sound the same, because they both represent quadruple time: four beats per measure.

You can’t write the same rhythm in (for example) 3/4, because it will sound different:

Although the exact same notes have been used as in the 4/4 rhythm, the rhythm sounds different. It
sounds like three notes per measure, with an accent on the first of each group of three notes.

 When you rewrite a rhythm without changing how it sounds, you need to keep the same
number of beats per measure in the new time signature.
 Duple time stays as duple time, triple stays as triple, and quadruple stays as quadruple.
 The only thing that changes is that simple becomes compound (or vice versa)

HOW TO CONVERT A TIME SIGNATURE

Each simple time signature has a compound equivalent. For example, 4/4 is the simple time
equivalent of 12/8.

To find out what the equivalent time signature is, start by reminding yourself what the original time
signature stands for: how many beats (duple, triple or quadruple) and what type?

• 2/4 stands for “two quarter notes per measure”

• 9/8 stands for “three dotted quarter notes per measure”

Next add (or take away) the word dotted, from your description. Then work out the time signature
you just described.

• “two dotted quarter notes per measure” = 6/8

• “three normal quarter notes per measure” = 3/4

So 2/4 and 6/8 are equivalent time signatures. They both represent duple time. 9/8 and 3/4 are
equivalent time signatures. They both represent triple time.

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Here is a table of equivalent time signatures.

Simple 2/4 2/2 3/4 3/2 4/4 4/2

Compound 6/8 6/4 9/8 9/4 12/8 12/4

• Notice how the top number “2” always converts to “6”, “3” converts to “9” and “4” converts
to “12”.
• Notice that to make compound time, you double the lower number in simple time
• You won’t be asked to rewrite any irregular time signatures.

HOW TO CONVERT A RHYTHM

When you rewrite a rhythm in a new time signature, it’s really important to remember that:

• You should NEVER change the basic note type. A quarter note is always rewritten as a
quarter note, an eighth note as an eighth note, and so on.

The only things you need to change are:

• Adding/removing dots
• Adding/removing tied notes
• Adding/removing duplets and triplets

Compare these two melodies, which will sound exactly the same:

Look at how each note has been altered in 12/8.

• Quarter notes, half notes and whole notes have had dots added to them
• Normal eighth notes have a duplet symbol added
• Triplet eighth notes have the triplet symbol removed
• Dotted notes are tied to the next smallest note value

(Although it’s possible to rewrite sixteenth notes too, you won’t get asked to do that in the exam, as
it gets a bit complicated!)

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Let’s look at another example: this time a compound melody is rewritten in simple time.

Look at how each note has been altered in 3/4.

• Dotted quarter notes and dotted half notes (and dotted whole notes if there were any) have
their dots removed from them
• Normal eighth notes in groups of 3, have a triplet symbol added
• Quarter + eighth patterns have a triplet symbol added (because added together they equal
one beat or three eighth notes)
• Duplet eighth notes have the duplet symbol removed
• Dotted notes which are tied to the next smallest note value, have the tied note removed

When you convert a rhythm, you will find it helpful to divide the measure into beats, before you
start. Working beat by beat is easier than working measure by measure.

In the rewritten melody, each beat must exactly match the beat in the original.

In this 6/8 example, the measures have been split into two beats, with a line. Each beat is labelled A-
E.

Beat A contains a quarter note and an eighth note, so the first note is worth 2/3 of a beat, and the
second note is 1/3. To rewrite this, you need to use a triplet, so that the beat can be divided into
three in simple time.

It would be a mistake to write beat A as in 2/4, because although the rhythms are very
similar, they aren’t exactly the same. Here, the G is worth 3/4 of a beat, and the A is worth 1/4.

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REWRITING IN A NEW TIME SIGNATURE – HOMEWORK

Exercise 1: Write the equivalent time signatures to complete the table. [4 points]

Simple 4/4 3/4 3/2

Compound 12/8 6/4 6/8
Type Quadruple

Exercise 2: Rewrite these rhythms, changing from simple to compound time or vice versa. [18]

Include the new time signatures.

Exercise 3. Rewrite this melody in compound time. Include the new time signature. [6 points]

Exercise 4. Rewrite this melody in simple time. Include the new time signature. [6 points]

Total: /34

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KEY SIGNATURES
You need to be able to:

• recognise and write out all the major and minor key signatures up to six flats/sharps, in all
four clefs (treble, bass, alto and tenor).

• work out the related relative major and minor keys.

 There is a MyMusicTheory video about key signatures at http://youtu.be/u7vhkl_DMlg

RECOGNISING KEY SIGNATURES

1. With a sharp key signature, look at the last sharp in the group. This is always the leading note,
or 7th degree of the major scale. It is one semitone lower than the tonic, which is the key note of
the major key.

This key signature has 5 five sharps, and the last sharp is A#.
A# is one semitone lower than B, so this is the key signature for B major.

2. With a flat key signature, look at the last but one flat. This is the key note of the major key.

The last but one flat here is Eb, so this is the key signature for Eb major.

3. To find the relative minor key, count down three scale notes from the tonic. For example, in Eb
major we count down three scale notes like this: Eb-D-C. So the relative minor is C minor. If we
take B major and count down three scale notes, we count B-A#-G#, so G# minor is the relative
minor. (Notice that it is not Ab minor, although Ab and G# are “enharmonic equivalents” – they
are the same note on the piano).

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WRITING OUT KEY SIGNATURES

Learn the “5ths key table” – it’s very easy and will help you with scales as well as key signatures!

C
0 1 2 3 4 5 6
A

Draw a table with 7 columns and 3 rows.

There are 7 columns because we need to know the keys with 0-6 sharps (or flats) in them.
There are 3 rows: the top row is the major keys, the bottom row is the relative minor keys,
and the middle row tells you how many sharps (or flats) there are in the key.

Fill in the numbers 0-6 first.

Then write in C and A: hopefully you know that C major and A minor both have 0 sharps (or flats) in
the key signature!

For the sharp keys, remember that the word SHARP has five letters in it. To fill in the sharps table,
count up five notes (including the previous note) to fill in the next box. For example, starting on C we
count C-D-E-F-G (5 notes), so the letter in the next box is G. The final box needs to be F# (hopefully
you know that F major has no sharps in the key signature!)

C G D A E B F#
0 1 2 3 4 5 6
A

Do the same with the bottom row. From F# onwards all the letters will need sharps.

C G D A E B F#
0 1 2 3 4 5 6
A E B F# C# G# D#

You now have a complete list of all the sharp keys, major and minor. You can easily see that F# minor
has 3 sharps in it and is the relative minor to A, for example.

For the flat keys, make a new table and start in the same way:

C
0 1 2 3 4 5 6
A

This time remember that the word FLAT has four letters in it, so we are going to count up 4 letters to
fill out the table. Make sure that there is no overlap from your sharps table (except for C/A!) We
can’t write B (natural), because B major is a sharp key, and so are E, A, D and G. This is a table for flat
keys, so add flats to those letters!

C F Bb Eb Ab Db Gb
0 1 2 3 4 5 6
A

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Do the same for the relative minor keys on the bottom row. Remember to add flats to B and E! G, C
and F don’t need to be flattened – they weren’t in the sharp minor key row.

C F Bb Eb Ab Db Gb
0 1 2 3 4 5 6
A D G C F Bb Eb

• It’s important that you can write out all the key signatures.
You need to write the sharps and flats in the right order and in the right octave (and of
course in the right clef!)
Look carefully at the patterns for each clef:

• The sharp key signatures all follow the same pattern, except in the tenor clef which has an
opposite pattern (the others start high-low, but the tenor starts low-high)

• The flat key signatures all start low-high.

• Here are some typical mistakes that students make with key signatures:

The student has placed the G# where it would be in the

treble clef, instead of the bass clef.

The student has placed the key signature too high up (in the
wrong octave). They’ve drawn a ledger line for the G#!

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GRADE 5 REVISION COURSE HOMEWORK – KEY SIGNATURES

1. Complete the tables for sharps and flats. [6]
Major C G
Sharps 0 1
Minor A

Major C F
Flats
Minor

2. Write out the six sharps in the order they appear in a key signature: F# - [2]

3. Write out the six flats in the order they appear in a key signature: Bb - [2]

2. What is the relative minor/major key for each of these? [6]

a. G major c. Db major e. F# major

b. A minor d. C minor f. Eb minor

3. Write out the following key signatures: [5]

4. What are the major and minor keys represented by these key signatures? [12]

5. For each group of notes, say which major key they all belong to. [5]

E.g. B, D, F, A, C: C major

a. C#, E, B, G#, D:

b. D, Eb, F, A, G

c. F#, G#, D#, A:

d. A, D, F#, C, B:

e. F, Bb, Db, C, Ab:

Total /38

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INTERVALS
 Whatever method you use to work out intervals, it is important NEVER to change the letter
names. Don’t change a G# to an Ab, for example.

HOW TO WORK OUT INTERVALS

1. Count the letter names to find the interval number e.g. C-F = 4th (C-D-E-F). We use the word
“unison” instead of “1st” and “octave” instead of 8th.

2. Remove any accidentals from the lower note

3. Write out the major scale made by that note (without any accidentals) and notice the interval
which uses the same letter names.

4. Add or subtract semitones one at a time, until you arrive at the actual notes of the interval. You’ll
need to learn this list, to know the interval’s quality:

 +/- 0 = major (2nd, 3rd, 6th, 7th) or perfect unison, 4th, 5th, octave
 +1 = augmented
 -1 = minor (2nd, 3rd, 6th, 7th) or diminished (unison, 4th, 5th, octave)
 -2 = diminished

For example, the interval is G#-F##.

Count the letter names. G-A-B-C-D-E-F = 7th

Get rid of the sharp and use G natural instead. G
Write out the MAJOR scale. G-A-B-C-D-E-F#-G
Note down the scale interval with the same letter G-F#
names.
Add/subtract semitones one at a time, keep count! G-F## = +1 semitone (wider interval)
G#-F## = -1 semitone (narrower interval)
Work out the total. +1-1=0
Work out the quality. 0 for a 7th = MAJOR

To write a named interval, you can use the same process.

Let's say the question asks for an augmented 4th, and the lower note is F#.

Check your list: an augmented interval is +1 semitone.

You start with F natural and write out the scale: F-G-A-Bb-C-D-E-F.

Find the note which is a 4th: Bb. This is a perfect 4th (no semitones added or subtracted).

Add/subtract semitones until you arrive at the interval in the question (start by making the correct
lower note). The numbers in brackets are the running total:

F-Bb = +0 (0)

F#-Bb = -1 (-1)

F#-B = +1 (0)

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F#-B# = +1 (+1) = augmented 4th

< < < < < < < < < < < < getting smaller ------ getting bigger > > > > > > >

diminished minor major augmented

diminished perfect augmented

Remember: the major and perfect intervals are the ones found in the MAJOR SCALE made from the
LOWER NOTE. The minor, diminished and augmented intervals are not in the major scale made from
the lower note.

COMPOUND INTERVALS
Compound intervals are more than one octave. You can either count ALL the letter names, or count
each letter name only once and use the word “compound”.

This interval is C##-F#. Count C-D-E-F = 4th. It’s a compound 4th

Count C-D-E-F-G-A-B-C-D-E-F = 11th. It’s an 11th.

What is the interval quality? Compound intervals can be worked out in the same way as other
intervals.

1. Change C## to C and write the major scale: C-D-E-F-G-A-B-C

2. Add/subtract semitones

C-F = perfect (0) C#-F=(-1) C#-F#=(0) C##-F#=(-1) > DIMINISHED

This is a “diminished 11th” or “compound diminished 4th”.

UNISONS AND OCTAVES

Don’t forget that unisons and octaves have qualities too – perfect, diminished or augmented.

You won’t get full points if you miss out the quality.

INTERVALS IN A MELODY
Sometimes you are asked to identify intervals in a tune. Be VERY CAREFUL to note the key signature
and any accidentals in the bar, especially those on tied notes. Accidentals on tied notes still apply
even after a bar line.

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GRADE 5 REVISION HOMEWORK – INTERVALS

1. Describe these intervals as major or perfect and by number (e.g. 2nd) [6]

2. Describe these intervals as diminished, augmented or minor and by number. [6]

3. Describe these intervals in full. (Check the clefs!) [16]

4. Describe these intervals in full. Don’t forget to take notice of the key signature and accidentals. [5]

5. Write out these intervals. [5]

Total /38

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SCALES
You need to know four types of scale

 major  minor melodic

 chromatic  minor harmonic

You also need to know the technical names of the notes of the scale.

MAJOR AND MINOR SCALES

One octave of a major or minor scale must have

• 8 notes in total
• each letter name (i.e. A, B C etc.) used only once, except for the first and last notes of the scale
(which is the tonic) which should be used twice.

Read the question – sometimes you need to use a key signature, sometimes you should only write
accidentals.

Usually you should write a scale in semibreves (whole notes), but read the question carefully to
make sure.

When writing any major or minor scale, follow these steps to avoid mistakes:

1. First, put in the key signature if you have been asked to.

2. Next, write the first semibreve (whole note). Start low on the stave for ascending scales, and
high for descending scales. Let’s write the ascending scale of G# harmonic minor without a key
signature. We start by writing the note G# (with an accidental).

3. Now write seven more notes, one on each line and space. Ignore all the accidentals for now.
Leave plenty of space between each note and space them evenly.

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5. If you didn’t use a key signature, work out what the key signature should be (use your Key
Tables – see lesson 4), and then add those sharps/flats as accidentals.

6. Next add any extra accidentals that are needed.

o Major scales and minor melodic descending scales don’t need any extra accidentals.

o In a minor harmonic scale (ascending or descending) raise the 7th degree by one
semitone.

o In a minor melodic ascending scale, raise the 6th and 7th degrees of the scale by one
semitone.

How to raise a note by one semitone – keep the same letter name!

G♭ > G ♮

G ♮ > G ♯ (not A♭!)

G ♯ > G x (double sharp – not A!)

In our example, we need to add the accidentals for G# harmonic minor.

We’re not using a key signature, but the Key Table tells us we need F#, C#, G#, D# and A# as
accidentals.

This is the harmonic minor scale, so we need to raise the 7th degree of the scale by one semitone.

The 7th degree is F#. If we raise F# by a semitone, we get Fx (double sharp – see box on previous
page).

Now we can add all the accidentals we need:

The scale is now complete. (Don’t forget an accidental on the last note if necessary!)

Technical Names

Each note of the scale has a special name which you MUST learn.

1st = Tonic 2nd = Supertonic 3rd = Mediant 4th = Subdominant

5th = Dominant 6th = Submediant 7th = Leading note

The names are worked out from the ascending scale.

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CHROMATIC SCALES
A chromatic scale is a scale with ALL the available semitones, continuing for one octave. For
example, here’s the chromatic scale starting on D:

The interval between each note is one semitone.

1. Finding Chromatic Scales in a Score

You might need to find part of a chromatic scale hidden somewhere in a musical score.

Make sure you understand enharmonic equivalents and double sharps/flats.

Enharmonic equivalents are the same note spelled a different way. For example, C#=Db. With
double sharps/flats we find (for example) C##=D or Ebb=D.

Don’t forget to look at the key signature and any accidentals which might appear earlier in the bar.

Here are some examples – the bracketed notes are the same in each bar, but they are not always
chromatic. Can you see why?

In the first group, the first bracketed note is C natural. In the second and third, it is C sharp.

You normally need to find “consecutive” or “successive” notes. Both words mean “next to each
other”.

2. Writing Chromatic Scales

The ABRSM is not very fussy about how you write chromatic scales, as long as you don’t break either
of these two rules:

• The start note and end note must be the same (e.g. if the start note is Db, then the end note
must also be Db and not C#, even though they are enharmonically the same).

• Don’t write three (or more) notes with the same letter name. E.g., don’t write a scale which
has C, C# AND C## in it. Instead, write B#-C#-C## or C-C#-D.

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GRADE 5 HOMEWORK – SCALES

Exercise 1: Complete the paragraph. [6]
In a harmonic minor scale, the 1 ___th degree of the scale has to be 2 raised/lowered on the way up
AND on the way down. In a minor melodic scale, the 3 ____th and 4____th degrees of the scale have to
be raised on the way 5 up/down but not on the way 6 up/down.

Exercise 2: Write the following scales in semibreves (whole notes). Pay attention to CLEF, SCALE
DIRECTION & WITH/WITHOUT key signature, in the instructions.

1. One octave of the ascending major scale with 5 flats, with a key signature [5]

2. One octave of the descending harmonic B minor scale, with a key signature [5]

3. One octave of the ascending C# melodic minor scale, without a key signature [5]

4. One octave of the descending major scale with 6 sharps, without a key signature [5]

5. One octave of the descending G melodic minor scale, with a key signature [5]

6. Find and circle four successive notes which form part of a chromatic scale. [2]

7. Using semibreves (whole notes), write one octave of the ascending chromatic scale beginning on
Eb. [4]

8. What’s the technical name of the 3rd note of a major/minor scale? _______ and the 7th? ______
[2]
Total /39

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CLEFS
Clefs are symbols which show you the pitch of one specific note, so that you can easily work out all
the other pitches.

There are five commonly used clefs – the treble and bass, alto and tenor, and “treble octave”.

You need to be able to draw each of the clefs correctly.

You need to know where middle C is on each clef.

You need to be able to transpose between clefs.

You need to know which standard orchestral instruments (and voices) use which clefs.

1. The treble clef is also called the G clef, because it pinpoints the line where G lies.

Make sure the curly part of the clef makes a circle around the G line.

This is G above middle C.

2. The bass clef is also called the F clef, because it pinpoints F.

Make sure the two dots are placed either side of the F line.

This is F below middle C.

3. The alto and tenor clefs are both called C clefs, because they pinpoint middle C.

The alto and tenor clefs look identical, but have different positions on the stave.

The alto clef is central, with the dip in the middle centred on the
middle line.

The tenor clef is one line higher, with its middle centred on the
second line from the top.

The dip is centred on the C line. This is middle C, in both clefs.

Practise drawing all the clefs:

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4. Middle C. Here are the four instrumental clefs, all showing the note middle C.

INSTRUMENTS AND VOICES.

• High-pitched instruments use the treble clef. The standard orchestral instruments are the flute,
oboe, clarinet, violin, trumpet, horn, and women’s voices (soprano and alto).

• The viola is the only instrument which uses the alto clef. (The alto voice does not use it!)

• Low-pitched instruments use the bass clef. These are the bassoon, trombone, tuba, cello, double
bass and male bass voice.

• Instruments which can play a medium range of notes, (or a very wide range of notes) use more
than one clef. The clef can be changed even in the middle of a piece. These include the bassoon,
trombone and cello. They normally use the tenor and bass clefs, but it’s possible for them to
even use the treble clef for very high passages. Composers choose the best clef to avoid lots of
ledger lines. The piano uses the treble and bass clefs.

• The tenor voice uses either a treble clef with a small 8 underneath it, which
means all the notes should be transposed down one octave, or the bass clef. (It
is very rare to see tenor vocal music with the tenor clef.) This is the “treble
octave” clef.

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TRANSPOSING BETWEEN CLEFS.

 You need to make sure the melody is transposed to the correct octave!

Here is a melody in the treble clef. We will transpose it to the other clefs.

1. Work out where the first note is in relation to middle C.

2. In this case, it is A, below middle C.

3. Next, pinpoint middle C in the new clef:

This is the alto clef and the dip shows us that middle C is the middle
line.

4. Work out where the first note should be placed in the new clef.

5. Complete the rest of the notes carefully.

6. Now write the same melody out using the following clefs. Answers below2!

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GRADE 5 HOMEWORK - CLEFS

1. Match the following instruments/voices with the clefs they use: [5 points]

violin, flute and oboe alto clef only

tenor voice bass clef only

tuba and bass voice tenor clef or bass clef

trombone and bassoon treble clef only

viola treble clef or bass clef only

2. Write a semibreve (whole note) MIDDLE C for each clef: [5 points]

3. Transpose the following melody into the given clefs, keeping the pitch exactly the same. [6 points]

Tenor clef

Treble octave clef

Alto clef

Total /16

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STANDARD ORCHESTRAL INSTRUMENTS

• You need to know the names of all the standard orchestral instruments and their families.

• You need to know names of the standard voices.

• You need to know each instrument/voice in order of pitch within its family.

• You need to know which instruments use which clefs.

• You need to know which instruments can play from each other’s parts without a change in
pitch.

• You need to know one or two other facts about orchestral instruments.

• You need to be able to read a piano stave.

1. The Four Orchestral Families and their main instruments in order from highest to lowest:

o Strings: Violin, Viola, Cello, Double Bass

o Woodwind: Flute, Oboe, Clarinet, Bassoon

o Brass: Trumpet, French Horn, Trombone, Tuba

o Percussion: This group varies and you won’t be tested on it.

o The Piano is not an orchestral instrument.

2. The clefs used by each instrument are:

o Treble clef: Violin, Flute, Oboe, Clarinet, Trumpet, French Horn

o Alto clef: Viola

o Tenor clef: Bassoon, Trombone, Cello

o Bass clef: Bassoon, Trombone, Tuba, Cello, Double Bass,

3. Notice that a) the only instrument which uses the alto clef is the viola, and b) all instruments
which use the tenor clef also use the bass clef.

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4. Some instruments are transposing instruments. This means the notes they read are
different to the notes which sound. They cannot play another instrument’s music, even if
the clef is the same, unless they transpose at the same interval.
The following groups of instruments can play each other’s music:

• Violin, Flute and Oboe (using the treble clef, all non-transposing)

• Clarinet in Bb and Trumpet in Bb (using the treble clef, both transpose at Bb)

• Cello, Bassoon and Trombone (using the tenor clef, all non-transposing).

• Cello, Bassoon, Trombone and Tuba (using the bass clef, all non-transposing).

5. The Double Bass is a transposing instrument, because the notes sound an octave lower than
written. The Double Bass, Viola and French horn cannot read from any other standard
orchestral instrument’s part without a change in pitch.

6. The six voices in order from highest to lowest are:

o Soprano, Mezzo soprano, Alto, Tenor, Baritone and Bass

7. Other facts you need to know are:

• The clarinet is a single reed instrument. It only uses one reed to produce sound.

• The oboe and bassoon are double reed instruments. They use two reeds.

• String special words for string players include “arco” (played with the bow) and “pizzicato”
(plucked with the fingers).

• Many instruments (string and brass) can use “mutes” – which are “sordini” in Italian. These
are devices which soften the sound.

• Many instruments are very common, but they are not “standard orchestral instruments”, so
they will not be tested in the exam and should not be given as answers. These include:
saxophone, cornet, harp, piccolo, bass clarinet, guitar, recorder and cor Anglais.

• Percussion instruments are either “pitched” or “unpitched”. Pitched instruments make

definite notes which you can write on a stave, like a xylophone or marimba. Unpitched
instruments make a sound rather than a note – a crash, bang or ting, for example. The
triangle, cymbals and gong are examples of unpitched percussion, or instruments of
“indefinite pitch”.

• The timpani are also called “kettle drums” and are part of the percussion family. They can
only play one note per drum, and they are pitched instruments. They can’t play melodies.

• The piano is not an orchestral instrument. Pianos have two pedals – the right is the
sustaining or pedal and the left is the quiet or “una corda” pedal. Pedalling symbols are
written underneath the left hand stave.

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GRADE 5 REVISION COURSE HOMEWORK - INSTRUMENTS

All the answers to these questions can be found in the lesson. If you don’t know an
answer, please read the lesson again!

1. Apart from the percussion, what are the other three orchestral families? Name the four standard
instruments in each one, in order from highest to lowest pitched. [12 points]

__________________ __________________ __________________

1. 1. 1.

2. 2. 2.

3. 3. 3.

4. 4. 4.

2. Write the names of the six standard voices in order, from lowest to highest. [3]

3. Name two double-reed instruments. [2]

4. Which other two instruments can play from a flute part without a change in pitch? [2]
5. Which other 2 instruments can play from a tenor clef bassoon part without a change in pitch? [2]
6. Which other instrument can play from a trumpet part without a change in pitch? [1]
7. Which clef does the viola use? [1]
8. Which clef does the double bass use? [1]
9. Which clef does the oboe use? [1]
10. Why can’t a cello play from a double bass part without a change in pitch? [1]
11. Name an unpitched percussion instrument. [1]
12. Name a pitched percussion instrument. [1]
13. Name a transposing woodwind instrument [1]
14. True or false: The piano is not a standard orchestral instrument. [1]
15. What does “arco” mean? [1]
Total /31

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CHORDS
Chords are created when two or more notes are played at the same time. In the exam, all the chords
you need to know about will have THREE notes in them.

In any key, you can make a chord built from each note of the scale. Add the note a third higher, then
the note a third higher again. Here are the chords built from the notes of the D major scale.

As you can see, chords are numbered according to the scale, using Roman numerals. Make sure you
know how to understand numbers in Roman numerals!

There are seven different chords in each key, but for the Grade 5 Theory exam you only need to
know the most common ones, which are I, II, IV and V.

In D major, chord I is D major, chord II is E minor, chord IV is G major and chord V is A major.

The names “major” and “minor” come from the type of third between the lowest and middle notes.
If it is a major 3rd (e.g. D-F# in chord I), then the chord is major. If the third is minor (e.g. E-G in
chord II), then the chord is minor.

Here are chords I, II, IV and V in D minor:

Notice that here, the notes in the chords are taken from the harmonic minor scale. This means that
chord V is always a major chord in a minor key (here, we add C# from the harmonic minor scale).
Chord II in a minor key is a diminished chord. This is because the interval between the lowest and
highest notes is a diminished 5th. (In all the other chords, it’s a perfect 5th).

CHORD POSITIONS
In all the chords we’ve looked at so far, the notes are written as close together as possible. This is
called a “root position triad”. In root position, all the notes are in spaces (e.g. D major) or on lines
(e.g. E minor).

You can write the notes in any order without changing the name of the chord. When the lowest
sounding note in the chord is changed, we say the chord has been “inverted” (turned upside down).
When the lowest note of the chord is the middle note of the triad, the chord is in “first inversion”.
When the lowest note is the top note of the triad, the chord is in “second inversion”. It doesn’t
matter what order the other notes are in – position is decided by the lowest sounding note only.

We use the letter “a” to mean “root position”, “b” for “1st inversion” and “c” for “second inversion”.

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WORKING OUT CHORDS IN REAL MUSIC

1. To work out a chord you first need to find the chord notes. There MUST be exactly three different
letter names. If you have found more or less than three, you are looking in the wrong place!

A bracket will show you where to look. The chord might be written across one, two
or even three staves – look at all of them!

Here is a chord written across three staves: piano plus a solo instrument:

The notes in this chord starting from the bottom are: G-G-B-D.

When a note is repeated, you can ignore any repetitions. This leaves you with three
notes: G-B-D.

If you see fewer than three different notes under the bracket, look for notes which
occurred earlier in the bar but would still be sounding.

In this case, at first glance the bracket looks like it covers only
D and B in the piano part.

Look more closely, and you will see the dotted minim (half
note) G in the top part would still be sounding at this point,
so this note must also be included in the chord.

Don’t forget to check accidentals and key signatures too!

This chord contains the notes B natural-D-G.

2. Next, you have to put the chord notes into root position, which means as close together as
possible, with an interval of a third (3 letter names) between each note.

To do this, take any of the notes and write it on a stave. Let’s pick the B from the
above chord (you can pick any note to start on).

Take another chord note and write it on the stave above or below the first note. If
the first note was on a line, write the second on a line too (and the same for
spaces). Here the B is on a line, so to add the D, we need to add the D above the
B. (The D below it is in a space).

Do the same with the last note. We add G on a line, so it goes below the B.

Finally, look at the lowest note: this tells you the name of the chord. This chord is
G major.

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WORKING OUT THE ROMAN NUMERAL

The Roman numeral depends on the key the music is in. They key is C minor in the chord on the
previous page (3 flats). G is the 5th note in the scale of C minor, so G major is chord V (five).

Let’s imagine the key of the music is D major – in D major, a G major chord is IV (four). And in the key
of G major, a G major chord is I (one).

Every chord exists in several keys, with a different Roman numeral name in each key.

WORKING OUT POSITION

When you have worked out the name and Roman numeral of the chord, the last thing to do is to
work out its position: root position (a), first inversion (b), or second inversion (c).

To do this, look at the lowest sounding note of the chord.

This will usually be on the lowest stave too (but check!)

In this chord, the lowest sounding note is the B natural in the

bass clef stave.

The lowest sounding note in a chord is called the bass note.

Compare the bass note to the triad.

In this case, the bass note (B) is the middle note of the triad. This means the chord is in first
inversion. The chord’s short name is Vb, or “dominant first inversion” in full.

If the bass note is the lowest note of the triad, the chord is in root position (e.g. Va).

If the bass note is the top note of the triad, the chord is in second inversion (e.g. Vc).

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GRADE 5 HOMEWORK - CHORDS

Identify each of these chords fully (e.g. Vb). The key is given above each chord.

Exercise 1: [10]

Exercise 2: [10]

Exercise 3: [10]

Exercise 4: Identify the chords marked by the brackets.

a) [8]

b) [6]

Total /44

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WORKING OUT KEY

WHAT YOU NEED TO KNOW
• You will probably have to work out the key of a piece of music.

• You might be asked to work out the key of the beginning of a piece of music, or to say which key
the piece has modulated to (changed to) at some specific point, like in the middle, or by the end.

• You will definitely need to be able to know the correct key of the composition you will write.

HOW KEY IS FIXED AT THE BEGINNING

There are only two chords which can make a listener understand what key a piece of music is in:
they are the tonic (I) and dominant (V) chords. (Chord V is always major, even in a minor key).

Sometimes chord V7 is used instead of V: this is chord V with an added 7th above the root (root=
lowest note), e.g. G-B-D-F is V7 in C major. When I write “chord V”, I mean “chord V or chord V7”.

At the very beginning of a piece of music, the composer will usually fix the key straight away. This
means that he/she will make the melody fit with chords I and V straight away – in bar 1, and perhaps
also in bar 2, and also usually in any up-beat bar.

In a melody, it is the notes which have the strongest accent that will belong to either chord I or V.
Notes which are not accented are less important and probably won’t help you work out the key.

Accent in music is created when:

• A note falls on the strong beat of the bar (first beat). (This note has the strongest accent.)
• A note falls on a main beat of the bar (the other beats in the bar). (These are weaker
accents.) (In 4/4, beat 3 is slightly stronger than beats 2 and 4).
• A note is the highest one in the tune
• A note is repeated several times

HOW TO WORK IT OUT

1. Use the key signature to find the major and relative minor key. You will need to decide which
one it is by looking at the accented notes.
2. Use the time signature to work out how many beats per bar there are. Draw a box around the
notes which fall ON each beat of the bar.
3. Check whether the notes you circled belong to chord I and/or V in the MAJOR or MINOR key.
4. Note: sometimes either key seems to work, and sometimes an accented note will only fit with
chord IV. Keep looking for clues until you have some proof, with notes from I and V in only one
key.

Here is an example. The key signature could be E major or C# minor. The two strongest beats of bar
1 are in the boxes.

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These two notes, G# and B, are part of chord I in E major. They are not part of chord I or chord V in
C# minor. So, this piece is in E major.

Here’s another example:

This time the two strongest notes are G# and C#. These are part of chord I in C# minor. They are not
part of chord I or V in E major. This time the piece is in C# minor.

WORKING OUT A CHANGE OF KEY

If you are asked to identify a key change, this will be in the score question. You might get a piano
piece, or a piece written for a combination of instruments.

Whatever type of score you have, it’s important to look at all the staves just before the place
indicated, to make sure that you haven’t missed any important clues.

• A change of key is also created with the use of chords I and V or V7.
• When there is a key change, either accidentals will have been introduced, or there will be a
new key signature.
• If there is a key signature change, use the same method as for the beginning of a piece.
• If there are accidentals, make a careful note of which ones have been added. Look at ALL the
notes which are affected by accidentals AND the key signature, to work out the new key.

In this piece, D#s have been added. This means by bar 4, there are FOUR sharps in the piece (add the
three sharps from the key signature). The key signatures with 4 sharps are E major and C# minor.
The melody fits V and I and E major, but not C# minor, so the new key is E major. The key change
actually happens between bars 2 and 3.

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GRADE 5 REVISION COURSE HOMEWORK – WORKING OUT KEY

1.

a. Which major and minor key does this key signature represent? [2]
b. Complete the table. [4]
Major Key Minor Key
Chord I notes D-F#-A
Chord V notes

c. Does 6/8 mean there are two, three, or four beats per bar? [1]
d. Circle the notes which fall ON the beat in bars 1 and 2. [2]
e. Do the circled notes fit the major or minor key – what is the correct key? [1]

2. Use the same method to work out the key of these tunes.

a) Key: [2]

b) Key: [2]

c) Key: [2]

3. Complete the paragraph. [3]

This piece begins in the key of __________________. By letter “A” the key has changed to
______________ and by “B” it has changed to _________________.

Total /19

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TRANSPOSITION
 You need to be able to transpose a melody to or from concert pitch

 You need to be able to transpose a key signature to a different pitch.

 You need to understand intervals before you can transpose. Check lesson 4 on intervals
again if you are unsure.

• Transposing-instrument players read a note at one pitch, but their instrument plays a note
which sounds at a different pitch.

For example, when trumpet players see this note, they call it a C.
But the note which is actually heard is a Bb.

This is because the trumpet is pitched in Bb. All the notes played
on the trumpet will sound a major 2nd lower than they are written.

• This system might seem strange or confusing if you don’t play a transposing instrument. For
players of those instruments, it makes life easier however!

• The note which actually sounds is called concert pitch. The above note is a “written C”, but a
“concert pitch Bb”.

• The most common transposing instruments are the trumpet (Bb), clarinet (Bb and A), and
French horn and cor Anglais (F). The transposition question in the grade 5 exam will
probably be for one of these instruments.

• You will need to transpose either from or to concert pitch for one of these instruments.

• The question will tell you two important things:

o the interval to transpose by, and

o the direction to transpose in.

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• For example, here are the actual sounds made by a French horn in F. We will transpose the
passage as it would appear for the player to read. That is, transpose it up a perfect 5th.

• We start by transposing the key signature. (You don’t need to work out whether it’s a major
or minor key – just assume it’s major).

o This key signature is G major.

o We transpose the note G up a perfect 5th and get the note D.

o The new key signature will be D major. Put that in.

• Now transpose each note up by a perfect fifth. If there are accidentals in the original, pay
careful attention to them – you might need a different accidental in the transposition.

Notice that the B flat in the original has become F natural in the transposition.

Practice time! Transpose the following melody for clarinet in A down a minor third, as it would
sound at concert pitch. (Answer on the next page!)

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Answer:

• Sometimes the question will ask you to transpose without using a key signature. Read the
question carefully!

• When working without a key signature, be careful that you are transposing each note
correctly. Notes which don’t have any accidentals in the original might need them in the
transposition (and vice versa)!

For example – we will transpose this up a major 2nd, without using a key signature.

There are no accidentals in the original, but we need to add a sharp to the F in the
transposition:

• You might be asked to transpose a piece with a key signature, but without using one in the
transposition. As always, check each note carefully and take your time!

Practice time again! This time transpose this melody for Bb trumpet up a major 2nd, as it would be
written for the player. Don’t use a key signature! (Answer at the bottom of the page!)

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GRADE 5 REVISION COURSE HOMEWORK – TRANSPOSITION

1. Transpose these key signatures as indicated, and complete the table by adding the new key
signatures. [10 points]

Q. 1 2 3 4
Old key (major) Bb
New key (major) Ab

2. A major second is the same interval as a tone/semitone. ? [1]

3. a. There are 10 different notes used in this clarinet in Bb melody. Write the letter names (including
the accidental) in the table below, then transpose each note down a major 2nd. [4]

Original A
Transposed G

b. Now transpose the melody down a major second, as it would sound at concert pitch. Remember
to put in the new key signature. [5 points]

4. a. Transpose this melody for horn in F up a perfect fifth, as it would be written. Don’t use a key
signature. [5 points]

b. Complete the intervals. Perfect 5th: B - ____. Diminished 5th: B - ____. Perfect 5th: Bb - ____. [3]

Total /29

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CADENCES
In the grade 5 theory exam:

• You need to know three standard cadences – perfect, plagal and imperfect.

• You need to be able to suggest suitable progressions and cadences to fit a piece of music.

• You need to be able to find a Ic-V progression in a piece of music.

PROGRESSIONS AND CADENCES

• A sequence of chords is called a progression. Some progressions are much more common
than others, for example the chord sequence VI-II-V-I is very common.

• Progressions which happen at the end of a phrase or the end of a piece are called cadences.

• A cadence is a progression of two specific chords. The three cadences you need to know are:

o Perfect – V-I

o Plagal – IV-I

o Imperfect – any chord followed by V

• At the end of a piece we only find the perfect or plagal cadences. At the end of a phrase we
can find any cadence.

• Here is an example from a piano piece which is in Bb major. This is the end of a phrase. Look
at the chords in the last bar:

The phrase ends with a perfect cadence (chords V and I). The progression in the last two bars is V-I-
II-V-I. This is also a very common progression.

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HOW TO SUGGEST SUITABLE CHORDS

• In the exam, you will get a short melody. You will need to suggest chords which fit the
melody to make a good progression and cadence.

• You only need to choose from chords I, II, IV and V. (In a minor key, V is a major chord-raise
the third by a semitone).

1. First, work out the key of the piece. (Look at the first and last notes to help you work out
whether it’s the major or minor key).

2. Next, write down the notes which make up the triads of chords I, II, IV and V in that key.

3. Look at the notes under each bracket. The first note must be part of the chord you
choose.
If there is a second note inside the bracket it must also be part of the chord unless it is
just one scale step up/down, in which case it is a “non-chord” note and can be ignored.

The next note (if there is one) will be a chord note.

For any other notes included the bracket, use the same logic. Here are some examples:
the grey notes can be ignored, the others must be in the chord you pick:

4. Do the last chord of each cadence first.

Use the standard cadences, the perfect (V-I), plagal (IV-I) and imperfect. (…-V).
All cadences can only end on chord I or chord V.

5. Make sure each progression contains NO repeated chords.

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Here is an example.

First cadence: Chord A: Chord B:

Second cadence: Chord C: Chord D: Chord E:

You can see that the first progression needs two chords, and the second needs three.

This piece is in D major.

Our possible chords are I: D/F#/A, II:E/G/B, IV:G/B/D and V:A/C#/E

o Start with the last chord in the first cadence: chord B. This note must fit with chord I or V: in
fact in this case it fits with both. We need to work out chord A to see which one it can be.

o In chord A, the first note is G. The F# is a scale-step away, so we can ignore it. G is in chord II
and chord IV.

o Possible progressions are II-V (imperfect), IV-V (imperfect) or IV-I (plagal). Notice that we
can’t use II-I, even though the notes fit the chords, because this progression is not a
cadence. There are three possible answers to this question. (You only need to write one
answer!)

o Now for chord E, which must be chord I, because it doesn’t fit with chord V.

o Chord D must be chord V (perfect cadence), because it doesn’t fit with chord IV. (We can’t
end a cadence with II-I or I-I, of course).

o We are left with chord C. Should it be II or IV? What other notes are included in the bracket?
(Answer at the bottom of the page!)3

3 Chord C should be II, because the other note included in the bracket is E.

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FINDING A IC-V PROGRESSION IN A PIECE

What is a Ic-V progression? It is a simply chord Ic (second inversion tonic chord) followed by Va (root
position dominant chord).

The Ic-V progression is very common and often (but not always) found just before a perfect cadence,
making the whole progression Ic-Va-Ia.

Ic is a tonic chord in second inversion, so the lowest note on the stave is

the fifth of the triad. For example in a triad of C major, the 5th is G. If you
rearrange the notes so that the lowest note is G, it is a second inversion
(c) chord. (It doesn’t matter what order the upper notes are in).

Va is a dominant chord in root position. In the key of major, the

dominant is G major. G is the lowest note.

Notice that the lowest note is the same in both chords, in a Ic-V progression! This is very important.

You might be asked to find an example of this progression in a score like this one:

The passage above is in C major, so chord Ic is G(EC) and V is G(BD)

Look at the bass line (lowest notes) of the passage, and find two Gs next to each other. (They could
be an octave apart – be careful!) Check the rest of the notes in the chord to be sure you have found
the right place. (Answer at the bottom of the page!)

Answer:

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GRADE 5 REVISION COURSE HOMEWORK - CADENCES

1. Cadences can only end on which two chords? [2]

2. Write down the chords used in the three standard cadences (perfect, plagal and imperfect). [3]

3. How can you identify a non-chord note? [2]

4. True or false: II-I is an ok way to end a progression in the middle of a piece. [1]

5. Suggest suitable progressions for the two cadences marked A-E. Use chords I, II, IV or V. [5] (Even
if you think there is more than one possible answer, only write down one answer).

First cadence. Chord A: Chord B:

Second cadence. Chord C: Chord D: Chord E:

6. And another one. [5]

First cadence. Chord A: Chord B:

Second cadence. Chord C: Chord D: Chord E:

7. Write Ic-V below the staves under two successive chords where this progression occurs. [2]

Total /20

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