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Grade Two
Music Theory
Complete Course, Exercises & Answers
(Trinity Syllabus)

BY VICTORIA WILLIAMS LMUSTCL BA MUSIC

© Victoria Williams – www.mymusictheory.com 1
© WWW.MYMUSICTHEORY .COM
Grade 2 Course PDF TRINITY 2024-05-06

PUBLISHED: 6 MAY 2024

CONTENTS
Introduction ............................................................................................................................... 5
About the Author ................................................................................................................... 5
Video Courses......................................................................................................................... 5
Chapter 1 | Pitch ........................................................................................................................ 6
Ledger Lines............................................................................................................................ 6
Ledger Lines Exercises ............................................................................................................ 7
Chapter 2 | Rhythm ................................................................................................................... 9
Semiquavers (16th Notes) ....................................................................................................... 9
Dotted Crotchets (UK) .......................................................................................................... 10
Dotted Quarter Notes (USA) ................................................................................................ 10
Simple Time Signatures (UK) ................................................................................................ 11
Simple Time Signatures (USA) .............................................................................................. 13
Simple Time Signatures Exercises ........................................................................................ 15
Ties ....................................................................................................................................... 16
Ties Exercises ........................................................................................................................ 18
Beaming (Grouping) Notes Together ................................................................................... 19
Beaming Exercises ................................................................................................................ 20
Adding Bar Lines ................................................................................................................... 21
Adding Bar Lines Exercises ................................................................................................... 22
Adding a Time Signature ...................................................................................................... 23
Adding A Time Signature Exercises ...................................................................................... 24
Adding Rests ......................................................................................................................... 25
Adding Rests Exercises ......................................................................................................... 27
Syncopation .......................................................................................................................... 28
Syncopation Exercises .......................................................................................................... 30
Chapter 3 | Scales and Keys ..................................................................................................... 31
Major Scales ......................................................................................................................... 31
Major Scales Exercises.......................................................................................................... 32
Minor Scales and A Minor .................................................................................................... 33
E minor Scale ........................................................................................................................ 34
D Minor Scale ....................................................................................................................... 35
Minor Scales Exercises ......................................................................................................... 37

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 Degrees of the Scale ............................................................................................................. 39
Degrees of the Scale Exercises ............................................................................................. 40
Key Signatures and Identifying the Key................................................................................ 41
Identifying the Key Exercises................................................................................................ 42
Key Signatures and Accidentals............................................................................................ 43
Key Signatures and Accidentals Exercises ............................................................................ 45
Questions on Scales.............................................................................................................. 46
Questions on Scales Exercises .............................................................................................. 49
The Circle of 5ths.................................................................................................................. 51
Chapter 4 | Intervals and Transposition .................................................................................. 52
Intervals ................................................................................................................................ 52
Intervals Exercises ................................................................................................................ 56
Transposition ........................................................................................................................ 57
Transposition Exercises ........................................................................................................ 59
Chapter 5 | Harmony ............................................................................................................... 61
Tonic Triads .......................................................................................................................... 61
Broken Chords and Arpeggios .............................................................................................. 63
Root Position and First Inversion Triads .............................................................................. 64
Harmony Exercises ............................................................................................................... 65
Chapter 6 | Composition Skills ................................................................................................ 66
Composing Skills Exercises ................................................................................................... 69
Chapter 7 | Terms and Symbols .............................................................................................. 70
Terms and Symbols Exercises............................................................................................... 72
Chapter 8 | Handwriting Music ............................................................................................... 74
Handwriting Music Exercises................................................................................................ 75
Grade 2 Music Theory (Trinity) - Practice Test: 2 hours .......................................................... 76
Answer Keys ............................................................................................................................. 80
Ledger Lines Answers ........................................................................................................... 80
Simple Time Signatures Answers ......................................................................................... 81
Ties Answers ......................................................................................................................... 82
Beaming Answers ................................................................................................................. 83
Adding Bar Lines Answers .................................................................................................... 83
Adding a Time Signature Answers........................................................................................ 84

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Grade 2 Course PDF TRINITY 2024-05-06
 Adding Rests Answers .......................................................................................................... 85
Syncopation Answers ........................................................................................................... 85
Major Scales Answers........................................................................................................... 86
Minor Scales Answers .......................................................................................................... 87
Degrees of the Scale Answers .............................................................................................. 88
Identifying the Key Answers................................................................................................. 89
Key Signatures and Accidentals Answers ............................................................................. 89
Questions on Scales Answers ............................................................................................... 90
Intervals Answers ................................................................................................................. 91
Transposition Answers ......................................................................................................... 92
Harmony Answers ................................................................................................................ 93
Composing Skills Answers .................................................................................................... 94
Terms and Symbols Answers................................................................................................ 95
Practice Test Answers .......................................................................................................... 95

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Grade 2 Course PDF TRINITY 2024-05-06
INTRODUCTION
This book was written for students who are preparing to take the Trinity Grade Two Music
Theory exam. Parents of younger students will also find it helpful, as well as busy music
teachers who are trying to fit music theory teaching into a very short time during
instrumental lessons.
Each topic is broken down into digestible steps, and for best results the lessons should be
followed in the order they are presented. After each topic you will find a page or so of
practice exercises, to help you consolidate what you have learned. Answers are provided at
the end of the book.
You are welcome to photocopy the pages of this book for your own use, or to use with your
students, if you are a music teacher.

ABOUT THE AUTHOR

Victoria Williams graduated with a BA Hons degree in Music from the University of Leeds, in
1995, where she specialised in musicology.
In 2007 Victoria created www.mymusictheory.com, which has now grown to offer music
theory preparation lessons for ABRSM and Trinity exams grades 1-8 and beyond.
You can connect with Victoria Williams here:
www.mymusictheory.com
[email protected]
www.facebook.com/mymusictheory
www.twitter.com/mymusictheory
www.youtube.com/musictheoryexpert

VIDEO COURSES

An accompanying Grade Two Music Theory video course complete

with audio and demos is also available from
www.mymusictheory.com.

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Grade 2 Course PDF TRINITY 2024-05-06
CHAPTER 1 | PITCH
LEDGER LINES
Middle C has one ledger line in the treble clef:

And also in the bass clef:

We can add more ledger lines to the top or bottom of the stave to extend it. Let's add some
ledger lines to the top of the stave in the treble clef. The first note with a ledger line is A.

Let's now add below the stave:

To the top of the bass clef:

and below it:

In Grade Two Music Theory, you will need to be able to read and write notes written with
up to two ledger lines.
Make sure that any sharp, flat or natural symbols are placed on the left side of the oval part
of the note in the correct space or line.

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Grade 2 Course PDF TRINITY 2024-05-06
LEDGER LINES EXERCISES
EXERCISE 1
Give the letter name of each of these notes, including any sharp/flat sign when necessary.

EXERCISE 2
Name the highest and lowest notes in each of these melodies.

Highest: Lowest:

Highest: Lowest:

EXERCISE 3
a. Using semibreves (whole notes), write the following notes using ledger lines above
the stave. An example is given. Include sharp/flat/natural symbols where necessary.

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Grade 2 Course PDF TRINITY 2024-05-06
 b. As before, but write notes below the stave with ledger lines.

c. As before, but write notes above the stave with ledger lines.

d. As before, but write notes below the stave with ledger lines.

EXERCISE 4
a. Tick or cross these treble clef notes to show if they have been written correctly or
not.

b. Tick or cross these bass clef notes to show if they have been written correctly or not.

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CHAPTER 2 | RHYTHM
SEMIQUAVERS (16TH NOTES)

A semiquaver is worth one quarter of a crotchet.

Shape: black oval with a stem and two tails.
Semiquaver = ¼ count.
Two semiquavers = ½ count.
UK Four semiquavers = 1 count.
Semiquavers are often used in fours, or joined with quavers, to make a
group which equals one crotchet.

A 16th is worth one quarter of a quarter note.

Shape: black oval with a stem and two tails.
16th = ¼ count.
Two 16ths= ½ count.
USA Four 16ths = 1 count.
16th notes are often used in fours, or joined with 8th notes, to make a group
which equals one quarter note.

Semiquaver/16th rest:

BEAMED NOTES
Quavers and semiquavers (8th and 16th notes) can be joined (grouped) together. This is done
to make them easier to read, and to group them into whole counts.

Here are two bars with the same notes. The first bar contains the unbeamed notes, and in
the second they are beamed together.
To make a beam, remove the tail(s) and replace it/them with a straight line(s), joined to the
next quaver/semiquaver.

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Grade 2 Course PDF TRINITY 2024-05-06
DOTTED CROTCHETS (UK)
A dot on the right-hand side of a note increases its length by 50%. Or in other words, it is the
same as 1½ times that note length.
Add the note to half of itself, to find its duration.

We have already learnt that a dot next to a minim increases its

length by half as much again. It is worth one minim plus half a
minim, or 1.5 minims:

If you add a dot next to a crotchet, it is worth one crotchet plus

half a crotchet, or 1.5 crotchets:

A minim is worth two crotchets, so a dotted minim is worth 3

crotchets (2 + half of 2):

Rests can also be dotted.

Here is a dotted crotchet rest. It has the same value as 1.5
crotchet rests.

DOTTED QUARTER NOTES (USA)

A dot on the right-hand side of a note increases its length by 50%. Or in other words, it is the
same as 1½ times that note length.
Add the note to half of itself, to find its duration.

We have already learned that a dot next to a half note

increases its length by half as much again. It is worth one
half note plus half a half note, or 1.5 half notes:
If you add a dot next to a quarter note, it is worth one
quarter note plus half a quarter note, or 1.5 quarter
notes:

A half note is worth two quarter notes, so a dotted half

note is worth 3 quarter notes (2 + half of 2):

Rests can also be dotted.

Here is a dotted quarter rest. It has the same value as 1.5
quarter rests.

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Grade 2 Course PDF TRINITY 2024-05-06
SIMPLE TIME SIGNATURES (UK)
QUICK TIME SIGNATURES REVIEW
In Grade One Music Theory we learnt three time signatures: 2/4, 3/4 and 4/4. We learnt
that the lower number "4" tells us that we need to count crotchet beats and that the top
number tells us how many beats to count.
So, 2/4 means "count 2 crotchets per bar", 3/4 means "count 3 crotchets per bar" and 4/4
means "count 4 crotchets per bar".
In Grade Two Music Theory, we have some new time signatures to look at 2/2, 3/2 and 3/8.

2/2 AND 3/2

The lower number "2" tells us to count minims. 2/2 means "count two minims per bar", and
3/2 means "count three minims per bar".
Sometimes music in 2/2 is written with an old-fashioned time signature which we call “cut
common time”. It is a C with a vertical line through it:

The cut common time signature goes in the same place as a normal modern signature:

3/8
The lower number 8 tells us to count quavers, so 3/8 means "count three quavers per bar".

SIMPLE TIME SIGNATURES

All the time signatures you have learned so far (3/8, 2/4, 3/4, 4/4, 2/2, and 3/2) are simple
time signatures. All simple time signatures have 2, 3 or 4 as their top number.

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TYPES OF QUESTION
In the Grade Two Music Theory exam, you might get a question asking you something like
this:
Complete this sentence:
The time signature 2/4 means that there are two ........... beats in a bar.
The question is asking us what value of note is used for one beat.
The type of beat is shown by the lower number in the time signature. The lower number is
"4", which means "crotchet" beats. So, the correct answer is "The time signature 2/4 means
that there are two crotchet beats in a bar.

WRITING TIME SIGNATURES

Time signatures are placed at the beginning of the stave, after the clef and key signature.
The time signature is not written on any further staves (unless there is a change of time
signature in the middle of the piece somewhere).

EXAMPLES
Here are some short tunes using the new time signatures. If possible, play them through on
your instrument.
2/2 – Two minim beats per bar

3/2 – Three minim beats per bar

3/8 – Three quaver beats per bar

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Grade 2 Course PDF TRINITY 2024-05-06
SIMPLE TIME SIGNATURES (USA)
QUICK TIME SIGNATURES REVIEW
In Grade One Music Theory we learnt three time signatures: 2/4, 3/4 and 4/4. We learnt
that the lower number "4" tells us that we need to count quarter note beats and that the
top number tells us how many beats to count.
So, 2/4 means "count 2 quarter notes per measure", 3/4 means "count 3 quarter notes per
measure" and 4/4 means "count 4 quarter notes per measure".
In Grade Two Music Theory, we have some new time signatures to look at: 2/2, 3/2 and 3/8.

2/2 AND 3/2

The lower number "2" tells us to count half notes. 2/2 means "count two half notes per
measure", and 3/2 means "count three half notes per measure".
Sometimes music in 2/2 is written with an old-fashioned time signature which we call “cut
common time”. It is a C with a vertical line through it:

The cut common time signature goes in the same place as a normal modern signature:

3/8
The lower number 8 tells us to count eighth notes, so 3/8 means "count three eighth notes
per measure".
All the time signatures you have learned so far (3/8, 2/4, 3/4, 4/4, 2/2, and 3/2) are simple
time signatures. All simple time signatures have 2, 3 or 4 as their top number.

TYPES OF QUESTION
In the Grade Two Music Theory exam, you might get a question asking you something like
this:
Complete this sentence:
The time signature 2/4 means that there are two ........... beats in a bar.
We need to work out what kind of beats - so we look at the lower number. The lower
number is "4", which means "quarter note" beats. So, the correct answer is "The time
signature 2/4 means that there are two quarter note beats in a bar.

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Grade 2 Course PDF TRINITY 2024-05-06
WRITING TIME SIGNATURES
Time signatures are placed at the beginning of the stave, after the clef and key signature.
The time signature is not written on any further staves (unless there is a change of time
signature in the middle of the piece somewhere).

EXAMPLES
Here are some short tunes using the new time signatures. If possible, play them through on
your instrument.
2/2 – Two half note beats per bar

3/2 – Three half note beats per bar

3/8 – Three eighth note beats per bar

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Grade 2 Course PDF TRINITY 2024-05-06
SIMPLE TIME SIGNATURES EXERCISES

EXERCISE 1
True or False?

a. The time signature means there are four crotchet (quarter note) beats per bar.

b. The time signature means there are three minim (half note) beats per bar.

EXERCISE 2

a. The time signature means that there are four ________ beats in a bar.

b. The time signature means that there are two ________ beats in a bar.

EXERCISE 3
a. Which time signature means there are three quaver (eighth note) beats per bar?
b. Which time signature means there are two minim (half note) beats per bar?
c. Which time signature means there are three crotchet (quarter note) beats per bar?

EXERCISE 4
Which of these staves shows the correct order of symbols?

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TIES
A tie is a short, curved line which connects two adjacent notes of exactly the same pitch.
The time values of tied notes are added together to make a longer note - you only play the
note once.
Be careful not to confuse ties and slurs! A tie looks exactly like a slur - but a slur connects
two notes of a different pitch and tells the player to play the two notes smoothly.
The first example shows two tied Fs, the second example shows an F slurred to a G.

WHY TIES?
Ties are used for three reasons.

1. When a note has to be held across a bar line.

2. When the length of the note is difficult/impossible to

express with a single note value. Here, the A is worth a count
of 2 and a quarter beats.

3. To allow the beat to be clearly seen. In

4/4 for example, the third beat (which is the
secondary strong beat) should be easy to
spot.
Bar 1 is correct - by tying two quavers (8th
notes), we can see where the third beat
starts.
Bar 2 uses the same overall note values, but
it is difficult to see at first glance where the
second strong beat of the bar is.

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Grade 2 Course PDF TRINITY 2024-05-06
POSITIONING TIES
Ties are usually written on the opposite side of a musical note to its stem. In the examples
that we just looked at, the F's have their stems down, so the tie is placed above the notes.
The As and Gs are stems up, so the tie is drawn below the notes.

TIES AND ACCIDENTALS

An accidental placed on the first of two tied notes
also applies to the second tied note, even if the two
notes are separated by a bar line. The first note in bar
2 is also a G sharp.
Sometimes you might see an accidental in brackets on the second note. This is called a
"courtesy" accidental - it's only there to make it clear what the note is supposed to be.

TIES AND BEAMS

We don't normally combine ties and beams on the
same notes: break the beam over two tied notes. Bar
1 is correct: the beam is broken so that the second
tied note starts a new beamed group. Bar 2 is
incorrect.

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Grade 2 Course PDF TRINITY 2024-05-06
TIES EXERCISES

EXERCISE 1
a. What effect does a tie have?
b. How can you tell the difference between a tie and a slur?
c. When should a tie be written above a note, and when below?

EXERCISE 2
Tie together all the notes which it is possible to tie.

EXERCISE 3
Write ONE note which has the same time value as the tied notes. An example is given.

EXERCISE 4
Circle any ties which are incorrect.

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Grade 2 Course PDF TRINITY 2024-05-06
BEAMING (GROUPING) NOTES TOGETHER

In 2/2 and 3/2, beam the notes in groups which have a value of one beat. The beat in these
time signatures is a minim (half note) beat.
Never beam across the beats. Here are some examples:

In 3/8 time the beat is a quaver (8th note). We normally beam together all notes which are
worth a quaver (8th note) or less, including dotted notes. Here are some examples of
beaming in 3/8 time:

Don’t forget that tied notes should never be beamed:

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Grade 2 Course PDF TRINITY 2024-05-06
BEAMING EXERCISES

Each of the following bars contains errors in the way the notes are grouped together.
Rewrite them correctly below.

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Grade 2 Course PDF TRINITY 2024-05-06
ADDING BAR LINES
If you are asked to add bar lines to a short melody, you'll be given the time signature and
often the first bar line will be in place already.
The question could look something like this:
Add the missing bar lines to this tune. The first bar line is given.

Look at the time signature - how many beats are there per bar (top number), and what type
of beats are they (lower number)? This melody is in 3/4, so we need three crotchet (quarter
note) beats per bar.
Count out three crotchets’ worth of beats, then add a bar line.

Group together notes which are worth less that one beat. In this tune, two quavers (8th
notes) are equal to one beat.

Don’t forget to include rests when you are counting.

Here is another example. The time signature is 3/8, so we need to count three quaver (8th
note) beats per bar.

Here is the worked-out answer.

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Grade 2 Course PDF TRINITY 2024-05-06
ADDING BAR LINES EXERCISES

Add the missing bar lines to these tunes. The first bar line is given in each.
a.

b.

c.

d.

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Grade 2 Course PDF TRINITY 2024-05-06
ADDING A TIME SIGNATURE
These three bars each need a different time signature.

Count the notes in the bar and work out how many crotchets (quarter notes), minims (half
notes) or quavers (8th notes) they are equal to.
Remember that in total, there can only be 2, 3 or 4 beats in the bar (and this will be the top
number in the time signature).
In bar 1, there are a total of 4 crotchets (quarter notes), 2 minims (half notes), or 8 quavers.
We cannot have 8 beats in the bar, so the answer is either 4/4 or 2/2.
In bar 2, there are a total of 1½ crotchets, less than 1 minim, or 3 quavers. The time
signature is 3/8.
In bar 3, there are a total of 6 crotchets, 3 minims or 12 quavers. The time signature is 3/2.

Music written in any of these four time signatures will look the same:

and are counted with four crotchet (quarter note) beats per bar, and and are
counted with two minim (half note) beats per bar.

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ADDING A TIME SIGNATURE EXERCISES
Choose the correct time signature for each of these bars.

1
$ @ #
2
! L @
3
# ) c
4
L @ C
5
@ # $
6
c ! L
7
) c #
8
C @ )
9
C # )

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Grade 2 Course PDF TRINITY 2024-05-06
ADDING RESTS
RESTS REVIEW

The semibreve (whole) rest is also used as a whole bar rest in any time signature.

HOW TO ADD CORRECT RESTS TO A MELODY

1. Check the time signature.
2. Work out how many beats per bar there are, and what type of note is counted for
the beat.
3. Rests must add up correctly.
4. Rests must show the beat clearly.
5. Rests must be built up into complete beats first.
6. Rests must never start on a weaker beat than they end on.

Add the correct rest(s) at the places marked * in this tune to make each bar complete.

The time signature is 2/2, so we need 2 minim (half note) beats per bar.
Find the first bar with missing rests, and pencil in the values of the notes that you do have.
Add small values together to make complete beats, where you can.

Here we only have 1½ beats in the second half of the bar, where in fact we need 2. So we
need a quaver (eighth note) to complete the full minim (half note) beat.

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Grade 2 Course PDF TRINITY 2024-05-06
Here's the rest added to the bar:

IS THIS WRONG?
Here’s another example. In 4/4, there are four crotchet (quarter note) beats per bar. So how
should you fill up a bar like this with rests?

So far the notes in the bar make up a total of 3 beats (1½ +½+½+½). We need four in total,
so you might be tempted to write a crotchet (quarter) rest here, but this would be wrong.
The rests you choose need to show the beats clearly, especially the strong beats. If you
write a crotchet (quarter) rest, we cannot see where beat 3 (the second strongest beat in
the bar) falls.

Instead, you need to write a quaver (eighth) rest first, to finish off the second beat, then
another one to begin the third beat. The second rest aligns exactly with beat 3, making it
easy to see (and to count).

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Grade 2 Course PDF TRINITY 2024-05-06
ADDING RESTS EXERCISES
EXERCISE 1
In each of the numbered spaces add the rest named below.

[1] crotchet (quarter) rest

[2] quaver (eighth) rest
[3] whole bar (whole measure) rest

[4] semibreve (whole) rest

[5] quaver (eighth) rest
[6] quaver (eighth) rest
[7] minim (half) rest
[8] crotchet (quarter) rest

EXERCISE 2
Add the correct rest(s) at the places marked * in these tunes, to make each bar complete.

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Grade 2 Course PDF TRINITY 2024-05-06
SYNCOPATION
Usually, when a composer writes a rhythm, they fit it to a time signature so that the notes
which fall on the strong beats of the bar are given a little emphasis, or slight accent, when
they are played. This little "push" on the strong beat helps us to feel the beat and to
understand how many beats per bar there are, as we listen or play.
In all time signatures the beat which is strongest (or has the most accent) is beat 1.
In 4/4 time, the 3rd beat of the bar is also quite strong, but not as strong as beat 1. Beats 2
and 4 are called the weak beats.
In time signatures with two or three beats per bar, only beat 1 is strong.
Most rhythms are not syncopated. This means they are written so that notes that are worth
more than one beat fall on the strong beats, and not on the weak beats. Here is an example:

The notes which are worth more than one beat are the minim (half note), dotted minim
(dotted half note) and semibreve (whole note). They fall either on beat 1 or beat 3, which
are the strong beats in 4/4. Remember: “long=strong”.

In syncopated music, the long notes are moved onto the weak beat of the bar. In 4/4 this
means the long note is pushed onto beat 2. (It can also be pushed onto beat 4 and tied over
the bar line, but you don't need to understand this type of rhythm for grade 2). Syncopated
music is “long=weak”.

Rhythms can also be syncopated if a note which is worth one (or more) beats is placed
between the beats of the bar (rather than on a weak beat).
Look at this un-syncopated rhythm in 2/4 - the crotchets (quarter notes) fall squarely on the
beat.

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Grade 2 Course PDF TRINITY 2024-05-06
Now compare this syncopated rhythm, also in 2/4. This time, the crotchets (quarter notes)
fall between the beats - this "in between place" is called the offbeat. The music sounds
different because we hear a relatively "important" note (because of its length) in a normally
"unimportant" place (between the beats).

Syncopation was not used very often in melodies written in classical times, (although it was
quite common as an element of the accompaniment to a tune). In more modern times,
syncopation became more and more used throughout the 20th century, especially in popular
styles like jazz, folk and rock, as well as in modern art music.
The two syncopated rhythms to look out for in the Trinity grade 2 exam are these:

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Grade 2 Course PDF TRINITY 2024-05-06
SYNCOPATION EXERCISES
EXERCISE 1
Circle the syncopated bars in each of these melodies.

EXERCISE 2
Copy out these syncopated rhythms. Pay attention to the spacing between the notes.

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Grade 2 Course PDF TRINITY 2024-05-06
CHAPTER 3 | SCALES AND KEYS
MAJOR SCALES
There are no new major scales to learn for Trinity grade 2. Here is a reminder of the major
scales you should already know from grade 1: C, G and F major.
C major

G major

F major

The pattern of tones and semitones in all major scales is T-T-S-T-T-T-S.

Here's a summary of the degrees of the scales of C, G and F major:

1st 2nd 3rd 4th 5th 6th 7th 1st

Tonic/Doh Tonic/Doh

C Major C D E F G A B C

G Major G A B C D E F# G

F Major F G A Bb C D E F

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MAJOR SCALES EXERCISES

1. Write a bass clef, the key signature for F major, and one octave of the F major scale going
up (ascending), using crotchets (quarter notes).

2. Write a treble clef, the key signature for G major, and one octave of the G major scale
going down (descending), using minims (half notes).

3. Write a treble clef, and one octave of the C major scale going up (ascending), using
semibreves (whole notes).

4. Write a bass clef, and one octave of the G major scale going up (ascending), using
semibreves (whole notes). Do not use a key signature, but add any necessary sharps or flats.

5. Using a bracket, mark the semitones in the scales you wrote above.

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MINOR SCALES AND A MINOR
We have already learned that the major scale pattern is TTS TTTS. Here is the scale of C
major again, with the semitones marked out with brackets:

We can create a minor scale by using the same sequence of notes, but starting on the 6th
note of the major scale (A, in this case). Notice that the semitones (B-C and E-F) now fall
between notes 2-3 and 5-6.

This sequence of tones and semitones is called a natural minor scale (TST TSTT). Another
name for this scale is the “Aeolian mode” (e.g. this is “A Aeolian”).
In a natural minor scale, the gap between the 7th and 1st note is a tone. But in most music,
the 7th note of the scale actually rises by a semitone step when it moves up to the tonic
(note 1). This means we need another semitone between notes 7-1.

This sequence of tones and semitones is called a harmonic minor scale (TST TS 3S T). The
gap between the 6th and 7th notes of the scale is three semitones.
You don’t need to remember the pattern of tones and semitones in the minor scales, as long
as you can remember the pattern for major scales (TTS TTTS). To form a minor scale, count
up three notes from the minor scale tonic (e.g. A-B-C) and use the notes from the major
scale of the third note. Raise the 7th note of the minor scale with an accidental, to make the
harmonic minor.
Here are the ascending and descending A minor harmonic scales in treble and bass clefs.

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Because the keys of C major and A minor use (mostly) the same notes, we say they are
related keys. Related keys use the same key signature. This means the key signature for A
minor uses no sharps, even though the A minor harmonic scale has G# in it.
Music written in the key of A minor might use notes from the natural minor, or from the
harmonic minor scales (or both). When G# is needed, the # is written into the music as an
accidental (sharp or flat that only lasts for one bar).
Here is a tune in the key of A minor. This tune is from a Minuet by Johann Krieger. Notice
that in bar 2 there is a G (natural), and in bar 6 there is a G#.

E MINOR SCALE
The E minor scale is relative to the G major scale.
Use the notes from the G major scale, but start writing the scale at the note E.

This is the E natural minor scale.

Now raise the 7th note of the scale with an accidental, to create a semitone step to the
tonic.

This is the E minor harmonic scale. The 7th note must be D# and not Eb, because we must
use all seven of the musical alphabet letters in a scale.

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Here are the ascending and descending E minor harmonic scales in treble and bass clefs.

Because the keys of G major and E minor use (mostly) the same notes, they are related keys
and use the same key signature. Both keys use a key signature with F# in it.

Here is a tune in the key of E minor. This tune is from Mozart’s Violin Sonata no.28. Notice
the D# in bar 3, and how it rises up to the tonic.

D MINOR SCALE
To create the scale of D minor, find its relative major key by counting up three notes: D-E-F.
Now use the notes from the F major scale, but start writing the scale at the note D.

This is the D natural minor scale.

Now raise the 7th note of the scale with an accidental, to create a semitone step to the
tonic.

This is the D minor harmonic scale. The gap between Bb and C# is three semitones.
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Here are the ascending and descending D minor harmonic scales in treble and bass clefs.

F major and D minor are related keys and use the same key signature, with Bb in it.

This D minor tune is from Brahms’ Violin Sonata op.108. Notice how it includes both C
natural and C#.

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MINOR SCALES EXERCISES
EXERCISE 1
Name each of these minor scales and say whether it is the harmonic or natural type, and
whether it is ascending (going up) or descending (going down).

EXERCISE 2
1. Which degree of this scale would you need to change, to make it into a scale of D natural
minor?

2. Write a one-octave scale of A natural minor going up, using semibreves (whole notes).

3. Mark the semitones on this scale using a bracket / \ on each pair. Name the scale.

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EXERCISE 3
Add the missing notes to these minor scales.

a. E minor natural

b. D minor harmonic

c. A minor harmonic

d. E minor natural

e. D minor natural

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DEGREES OF THE SCALE
Any note of any scale can be given a number as well as a name.
The first/last note of the scale is often called the "tonic" or "keynote". In the key of C major,
C is the tonic. It's also known as the "first degree of the scale", because it is the first note.
The scale notes are numbered starting from the lowest note.

Major
1st 2nd 3rd 4th 5th 6th 7th 1st
Scales

Tonic/Doh Tonic/Doh

C Major C D E F G A B C

G Major G A B C D E F# G

F Major F G A Bb C D E F

Because there are different types of minor scale, the 7th degree of the scale has two possible
spellings. The higher note is found in the harmonic minor scale, and the lower note is found
in the natural minor scale.

1st 2nd 3rd 4th 5th 6th 7th 1st

Tonic/Doh Tonic/Doh

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

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

D minor D E F G A Bb C/C# D

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Grade 2 Course PDF TRINITY 2024-05-06
DEGREES OF THE SCALE EXERCISES
EXERCISE 1
Name the degree of the scale (e.g. 1st , 2nd ) of each of the notes marked *.
a. The key is E minor

b. The key is G major

c. The key is D minor

EXERCISE 2
a. The key is C major. What is the 6th degree of the scale?
b. The key is A minor. What are the two possible 7th degrees of the scale?
c. The key is G major. What is the 4th degree of the scale?

EXERCISE 3
a. The key is D minor. What degree of the scale is Bb?
b. The key is F major. What degree of the scale is E?
c. The key is E minor. What degree of the scale is F#?

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KEY SIGNATURES AND IDENTIFYING THE KEY

To work out what key a piece of music is in, first look at the key signature and remind
yourself which two keys it belongs to (one major, and one minor).
For example, the key signature used in this tune belongs to G major and E minor.

Now look at the last note of the piece. Usually, the tune will end on the keynote (first note
of the scale).
This tune ends on G, so G major is the most likely key.
You can also check to see how often the keynote is used, as it is often emphasised more
than any other notes in the scale.
In a minor key, you might see accidentals which belong to the harmonic minor scale. For
example, this tune is in D minor, and uses C#:

But not all minor key tunes use accidentals. This tune is in A minor, but there are no G#s in
it.

This is because minor key tunes take their notes from any type of minor scale. The notes in
the tune above belong to the scale of A natural minor.
For minor keys, we simply say the music is, (for example), “in A minor”. We don’t say that a
piece of music is in “A natural minor” or “A harmonic minor”. These words are not used for
keys, only for scales.

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IDENTIFYING THE KEY EXERCISES

EXERCISE 1
Name the key of each tune.

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KEY SIGNATURES AND ACCIDENTALS
KEYS AND KEY SIGNATURES
If a melody uses mostly the notes of the G major scale, we say that the music is "in the key
of" G major.
We don't write out the sharp symbols for the F#s every time they appear in the music -
because there would probably be rather a lot of them!
Instead, we use a key signature: at the beginning of each new line of music, we write an F#
just before the time signature, to remind us that all the Fs need to be sharpened.
The key signature also tells us very quickly that the music is in G major (or E minor).

ACCIDENTALS
Sometimes we need to add extra flats, sharps or naturals within a melody, even when we
have already got a key signature.
It might be because:
 the music changes key for a short time, or
 just because they sound nice, or
 because the music is in a minor key.

If we add sharps, flats and naturals inside the music itself, they are called "accidentals".
Special rules apply to all accidentals.

POSITION OF ACCIDENTALS
Accidentals are always written on the left side of the note they affect. They are written in
the same space/line as the note they affect.

Correct! Incorrect!

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RULES FOR ACCIDENTALS
When an accidental is written, every other note in the same position on the stave is also
affected by that accidental, but only until the next bar line.
Accidentals only affect other notes at the same position on the stave. They do not affect
notes of the same letter name in different octaves.Key signatures affect all the notes with
the same letter name, in any position on the stave.
 Note 1 is C natural.
 Note 2 is C#, because of the accidental.
 Note 3 is also C#, because it's in the same bar,
 Note 4 is C natural, because the sharp is
"cancelled" (stopped) by the bar line,

Key signatures WITH accidentals: this music is in F major, so there is a Bb in the key
signature.
 Note 1 is Bb, because of the key signature.
 Note 2 is B natural, because of the accidental.
 Note 3 is also B natural, because the
accidental on note 2 still applies.
 Note 4 is B flat, because the bar line cancels
the natural accidental.

Tied notes: the accidental applies to both (or all) of the tied notes.
 Note 1 is Bb because of the key signature.
 Note 2 is B natural because of the accidental.
 Note 3 is also B natural, because it's tied to
the previous B natural.

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Grade 2 Course PDF TRINITY 2024-05-06
KEY SIGNATURES AND ACCIDENTALS EXERCISES
EXERCISE 1
Give the letter name of each of the notes marked *, including the sharp or flat sign where
necessary.
a.

b.

c.

d.

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QUESTIONS ON SCALES

TYPES OF SCALES QUESTIONS

In Trinity Grade Two Music Theory exams there are lots of different types of questions with
scales.
Here are some things you might have to do:
 Write a major or minor scale either ascending (going up) or descending (going
down), and either with or without a key signature.
 Add clefs, key signatures or accidentals to a given scale.
 Mark out the semitones in a scale.

You will need to remember the pattern of tones and semitones (whole and half steps) for
scales, or learn at least one scale by heart so that you can work the patterns out:
 For major scales the pattern is T-T-S-T-T-T-S.
 For minor harmonic scales, the pattern is T-S-T-T-S-3S-S.
 For minor natural scales, the pattern is T-S-T-T-S-T-T

You will also need to remember the key signatures for the keys in this grade:
 C major/ A minor - no key signature
 G major / E minor - 1 sharp (F#)
 F major / D minor - 1 flat (Bb)

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WRITING SCALES IN A MUSIC THEORY EXAM
Here are two important rules for you:
1. Write ONE note per line and space
2. Use the note value you have been told to use!

Here's an example question, and the steps to follow to get full marks in your music theory
exam:

Write as semibreves (whole notes) the scale of A minor harmonic ascending, without a key
signature but adding any necessary sharp or flat signs.

1. First, put in your starting note (the tonic, or "keynote"). This will always match the
name of the scale. If you're writing an ascending scale, start low. For descending
scales, start high. Make sure you leave enough room on the left for the key
signature, if you need one.
2. Next, using semibreves (whole notes), fill up the lines and spaces - one note per
line/space, until you have eight notes. Don't draw the notes too close together!
3. Look again at the type of scale you need to write - is it major or minor? Think about
the sharps and flats you'll need for that scale - what sharps or flats appear in the key
signature?
4. Put in the key signature, if you've been asked to write one.
5. Now add any necessary extra accidentals. If there is a key signature, remember that
the only degree of the scale which could need an accidental is the 7th degree of the
harmonic minor scale.
6. If you were asked to write the scale without a key signature, add the necessary
sharps and flats next to each note of the scale.

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WORKING THROUGH A MUSIC THEORY EXAM QUESTION ON SCALES
Let's work together through the scales question at the beginning of this lesson, using the
steps we suggested above.
We write the first note: A. It's an ascending scale, so we start with an A low on the stave:

Fill up the lines and spaces, until we have 8 notes:

We don’t need a key signature because A minor has no key signature, (like its relative major
key, C major).

Minor harmonic scales have a sharpened 7th degree of the scale, so we need to add a G
sharp accidental.

That is the finished scale of A minor harmonic ascending.

MARKING THE SEMITONES (HALF STEPS)

You may be asked to mark out the places where there are semitone steps in a scale.
Remember that a semitone (or "half step") is the smallest possible distance between two
notes. It might help to sketch out a mini piano keyboard to help you see where the
semitones fall.
Let's mark the semitones in this scale:

The semitone steps are between B-C, E-F and G#-A, so we will mark them with brackets like
this:

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QUESTIONS ON SCALES EXERCISES
EXERCISE 1
Add the correct clef and any necessary sharp or flat signs to make each of the scales named
below. Do not use a key signature.
a. E harmonic minor

b. G major

c. A harmonic minor

d. D natural minor

EXERCISE 2
Write as semibreves (whole notes) the scales named below, with a key signature where
possible.
a. F major ascending

b. C major descending

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c. D harmonic minor descending

d. E natural minor ascending

EXERCISE 3
Write as semibreves (whole notes) the scales named below, without a key signature but
adding any necessary sharp or flat signs.
a. A natural minor ascending

b. G major ascending

c. E natural minor descending

d. D harmonic minor descending

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THE CIRCLE OF 5THS

The “circle of 5ths” is a tool which can help us work out many things in music theory, so it’s
a great idea to learn how to draw it.
Start with a circle and divide it into 12, like a clock face.

At the 12 o’clock position write C for C major. To the left, write F for F major and to the right
G for G major. G is a perfect 5th higher than C, and F is a perfect 5th lower than C.
Add the number zero to C. This number shows how many flats/sharps there are in the key
signature. Add the number one to F and G. This shows that they each have one flat/sharp in
the key signature.

Draw a dotted line down the middle. Flat keys go on the left, and sharp keys on the right.
We can now see that G major has one sharp, and F major has one flat.

As you learn new keys through the next few theory grades, you can add them to the circle.

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CHAPTER 4 | INTERVALS AND TRANSPOSITION
INTERVALS

HARMONIC AND MELODIC INTERVALS

A harmonic interval is the distance between two notes played at the same time. It is called
a "harmonic” interval, because the two notes together create harmony, or a chord.

A melodic interval is the distance between two notes played one after the other. It's called
a "melodic” interval, because the two notes occur as part of a melody.

WORKING OUT INTERVALS

The method of working out intervals is the same for both melodic and harmonic intervals:
count up the letter names, starting from the lower note.
Look again at the intervals above.
The lower note is D. The higher note is F. This means we count the letter names D, E and F.
Three letters, so this interval is a third.
When two notes are exactly the same pitch (the same position on the stave), the interval is
called a unison.

An interval of an 8th is normally called an octave, or "8ve" for short.

Here are the intervals from the unison to the octave in D minor, built on top of the tonic
note D:

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WRITING INTERVALS
You might be asked to write a note to make the named interval, something like this:
Add a note next to this note, to make the melodic interval of a 5th. The key is A minor.

Count the letter names, starting with the given note, A. We need to count five letters: A-B-
C-D-E. The note a 5th higher is E. Here is the answer:

If there is no key signature, you will need to remember which sharps or flats belong in the
scale of that key. In F major, there is one flat: Bb, so you would need to add a Bb accidental
to the interval of a 4th.

If the interval is a harmonic interval of a unison or harmonic 2nd, you will need to move the
top note to the side of the lower one, otherwise they will cross over each other! The two
notes should be placed right next to each other, so that they are touching.
A melodic unison or 2nd should have a clear gap between the two notes.

INTERVAL QUALITY
All intervals have a quality, which is another word to describe more precisely what they
sound like. For Trinity grade 2, you need to know about these intervals and their qualities:
 major 2nd and 3rd
 minor 2nd and 3rd
 perfect 4th, 5th and octave

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MAJOR AND MINOR 2NDS
The interval between the tonic and 2nd degree of any major or minor scale is called a major
2nd. It is also known as a tone in British English, or a whole step in USA English.
Here are some examples of major 2nds:

The minor 2nd is the same as a semitone (British English) or half step (USA English). Here
are some examples of minor 2nds:

The minor 2nd is one semitone narrower than the major 2nd. Minor 2nds are found
between degrees 3-4 and 7-1 of a major scale, and between degrees 2-3, 5-6 and 7-1 of a
harmonic minor scale.

MAJOR AND MINOR 3RDS

The interval between the tonic and the 3rd degree of the scale can be major or minor.
We find a major 3rd from the tonic of a major scale. For example, there is a major third
between G and B in this G major scale:

And there is a minor 3rd from the tonic of a minor scale. For example, there is a minor 3rd
between E and G in this E minor harmonic scale:

Count the semitones and you will see that a minor third is one semitone narrower than a
major 3rd, just like the minor 2nd was one semitone less than the major 2nd. In the major
3rd there are four semitones, but the minor 3rd has only three.

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PERFECT 4THS, 5THS AND OCTAVES
A perfect 4th is found when we count four letter names, and the distance between the
notes is two tones (whole steps) plus a semitone (half step).
For example, if we begin on C and count four letter names, we arrive at F: C-D-E-F.

C to D is a tone (whole step), and so is D to E. E to F is a semitone.

C to F is a perfect 4th. Some other perfect 4ths are D-G, E-A, F-Bb, G-C, A-D and B-E.
Perfect 4ths are found between the tonic and 4th degree of any major or minor scale.

A perfect 5th is found when we count five letter names, and the distance between the notes
is three tones (whole steps) plus a semitone (half step).

These are all perfect 5ths: C-G, D-A, E-B, F-C, G-D, A-E, B-F#.
Perfect 5ths are found between the tonic and 5th degree of any major or minor scale.

A perfect octave is simply the same note but an octave higher.

C-C is a perfect octave, and so are D-D, E-E and so on.

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INTERVALS EXERCISES
EXERCISE 1
a. Draw a circle round two notes next to each other that are a 5th apart.

b. Draw a circle round two notes next to each other that are a 4th apart.

EXERCISE 2
Name the following harmonic intervals e.g. “major 2nd”.

EXERCISE 3
Write a note above the given note to make the named harmonic interval. Use semibreves
(whole notes).

EXERCISE 4
a. Which is bigger, a major 2nd or a minor 3rd?
b. Which three interval numbers can be described with the word perfect?
c. How many tones and semitones (whole/half steps) are there in a perfect 4th?
d. What is another name for a semitone (half step)?

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TRANSPOSITION
In Trinity Grade Two Music Theory you need to be able to rewrite a melody in the same clef,
but transposing (moving) the tune up or down by one octave.

PITCH
What is pitch? The pitch of a note means how high or low it is. We have many notes called
"C", for example.
Look at these three Cs - they are all at different registers, or pitches:

On the other hand, these two Cs are at the same pitch although they are written in different
clefs:

In the same way, the notes in each of these melodies are also at the same pitch although
they are in different clefs:

TRANSPOSING AT THE OCTAVE

We can make a melody sound mostly the same, but higher or lower, if we transpose it by
one octave.
Look at this melody.

The melody begins on the note G - but which G? Is it a high or low register G? The easiest
way to explain exactly which G, is to say whether it is above or below middle C, and by how
many octaves.

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This G is the first G below middle C.

We can change it to the first G above middle C, written on the 2nd line of the stave. It's still
the same kind of note, but now it is an octave higher in pitch.

Using this is the starting point, we can copy over all the notes of the melody, so that the
whole thing is one octave higher:

Notice that we have to change the stem direction on some of the notes.
Being able to transpose by an octave is a useful skill. Let's say you have a song written for a
very high-pitched voice and want to make it singable for someone with a lower voice - you
could transpose it one octave down and the problem is solved!
In the Trinity exam, you may be asked to transpose a tune so that a different pitched voice
can sing it.
In order from high to low, the four main types of voice are the soprano, alto, tenor and
bass.

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TRANSPOSITION EXERCISES

EXERCISE 1
Transpose these melodies up one octave, so that they would be more comfortable for a
soprano to sing.

EXERCISE 2
Transpose these melodies down one octave, so that they would be more comfortable for a
bass to sing.

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EXERCISE 3
Rewrite these bass clef notes in the treble clef, keeping the pitch the same.

EXERCISE 4
Rewrite these treble clef notes in the bass clef, keeping the pitch the same.

EXERCISE 5
Rewrite these melodies in the treble clef, keeping the pitch the same. The first two notes
are given.

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CHAPTER 5 | HARMONY
TONIC TRIADS
Tonic triads are simple chords with just three notes in them. The lowest note in the triad is
the tonic (or 1st degree of the scale) of the key we are in. Let’s make a tonic triad in the key
of F major.
We start by writing the first note of the scale of F major - F:

Next, we add a note which is 2 notes higher (also known as the third degree of the scale). In
the scale of F major, the note which is 2 notes higher than F is A:

Finally, we add the note which is two notes higher than the last note - otherwise known as
the fifth degree of the scale. In the scale of F major, the fifth degree of the scale is C:

The notes F-A-C make up the tonic triad in the key of F major.
We can also build tonic triads in minor keys of course. The rules are the same, but we need
to use the minor scale. In D minor, the tonic is D, the third degree of the scale is F and the
fifth degree of the scale is A. So, the tonic triad of D minor looks like this:

Tonic triads are always built on the tonic, third and fifth degrees of the scale of the same
key.

LABELLING A TONIC TRIAD

We sometimes use Roman numerals to name chords. Because the tonic triad is built from
the 1st degree of the scale, we chord this chord I (“chord one” - capital I in Roman numerals
= 1). Minor tonic triads are sometimes written in lower case to show they are minor: i.
Roman numerals are usually written below the stave.
In modern song books it’s more common to label chords by their chord symbols. The chord
symbol is the letter of the root of the chord, plus “m” for minor chords. Chord symbols are
usually written above the stave.

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Here are some examples of tonic triads with their labels:

NAMING THE KEY OF A TONIC TRIAD

How do we find the name of a triad? Look at the lowest note of the triad. Look carefully at
the clef and the key signature too. You should also look at the middle note of the chord to
see if it's a major or a minor tonic triad.
What key is this tonic triad in?

The lowest note is E (it's in the bass clef), so it's a tonic triad in the key of E. The middle note
is G, which is the third degree of the scale in E minor. So, this tonic triad is in E minor.

GRADE TWO TONIC TRIADS

Here's a list of all the tonic triads you'll need to recognise for Trinity Grade Two, in both the
treble and bass clef.

FINDING TONIC TRIADS IN A MELODY

Sometimes you might need to find three notes in a melody which form a tonic triad when
they are put together. You will be told what key the melody is in. Here is an example:
This melody is in C major. In which bar can all three notes of the tonic triad be found?

Because the piece is in C major, the tonic triad must contain the notes C-E-G. (They could be
in any order.) Bar two contains the notes C, E and G, so that's the right answer. (Bar one
doesn't contain a G, so it's not right!)
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BROKEN CHORDS AND ARPEGGIOS
In music, chords (or triads) can appear with all the notes sounding at the same time, or with
the notes played one after another in a pattern, to make an accompaniment.
Here is an example of a chord played at the same time. It’s a tonic chord in G major (notes
G, B and D). This is also known as a block chord.

When a chord is played straight up or down with one note at a time, it’s called an arpeggio.
This time, each note of the E minor tonic triad is played one after another, starting and
finishing on the tonic note E.

A broken chord is a triad played in a pattern of three or four notes, starting on a different
chord note each time.
In a pattern of three notes, the broken chord is built on the three notes of the triad. For
example, here is a broken chord in A minor:

Each group of three notes contains the three notes of the tonic triad (A, C and E). Notice
how each group begins on the next available note from the triad, (the first notes in each bar
are A, then C, then E then A again). The three notes in each group are played in strict order –
don’t jumble them around!
In a pattern of four notes, the broken chord is built from the tonic triad, plus another tonic
note to “top off” the chord. Here is a four-note pattern in E minor. This time the pattern is
moving downwards. The first note in each bar is each note of triad, in order, starting from
the tonic note.

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ROOT POSITION AND FIRST INVERSION TRIADS
Up until now, all the triads we have written have been organised the same way – the lowest
note of the triad is the “root” or “name note” of the chord.
Here are some examples.

The C major chord has C as its lowest note. E minor has E as its lowest note, and so on.
These are called root position triads, which means that the root (or name note of the chord)
is the lowest sounding note in the chord.
For Grade 2 Trinity, you might also be asked to name or write a first inversion triad. In a first
inversion triad, the lowest note in the chord is the note which is a 3rd above the root
(name-note) of the chord. The letter-names of the chord notes are the same – it is only the
position of the lowest note that changes.
Here are the same triads as above, but this time they are in first inversion:

Now, the lowest note in each chord is the note which was in the middle of the triad, when it
was in root position.

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HARMONY EXERCISES
EXERCISE 1
Draw a circle around 3 notes next to each other that form the tonic triad. (The key is D
minor.)

EXERCISE 2
In which bar can all three notes of the tonic triad be found? (The key is A minor.)

EXERCISE 3
Write the following tonic triads as semibreves (whole notes). Use the key signature.

a. E minor root position b. D minor 1st inversion c. C major 1st inversion

d. G major root position e. A minor 1st inversion f. F major 1st inversion

EXERCISE 4
Write one octave arpeggios using crotchets (quarter notes). Use the key signature.

a. E minor, going up then down. b. A minor, going down then up. c. D minor, going up
then down.

EXERCISE 4
Write broken chords using the tonic triad. Use the key signature.

a. D minor in patterns of 3 notes, going up, finishing on A above the stave. Use quavers (8th
notes) grouped in threes.
b. E minor in patterns of 4 notes, going down, starting on E above the stave. Use
semiquavers (16th notes) grouped in fours.
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CHAPTER 6 | COMPOSITION SKILLS
COMPOSING A MELODY
In the grade two Trinity exam, you may be asked to compose a short melody to a given
rhythm. You will normally be given some guidance on the notes you need to use, for
example:

 use notes of the tonic triad

 use the first five degrees of the scale
In this question the examiner will be looking for the following:

 correct notation (stem direction, nicely drawn notes)

 accurate copying of the given rhythm
 correctly written key signature
 correct selection of notes (take notice of the clef!)

Here is an example.
Write a tune to the given rhythm using the notes of the tonic triad. Use a key signature and
finish on the tonic.
G major

First, work out which notes you are supposed to use. The key is G major, so the notes of the
tonic triad are G, B and D. The tonic is G, so that is the note we need to end on. You can use
the notes in any register – high or low, but your melody will sound better if you avoid lots of
enormous leaps!

Here is one possible answer:

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Here is a different type of question.
Write a tune to the given rhythm using the first five notes of the scale. Use a key signature
and finish on the tonic.
D minor

The first five notes in the scale of D minor are D-E-F-G-A and the tonic is D. Try to use all the
notes.
Here is one possible answer:

OSTINATO
"Ostinato" is a repeated pattern in music. Ostinatos (or "ostinati") can be built on a melody
or just a rhythm (on a drum, for example).
In the Trinity exam you may be asked to find an example of ostinato in a score, or to write
out some repeats of an ostinato pattern.
To write out repeats of an ostinato, simply copy the given bar(s) exactly as they appear.
Pay attention to the spacing of the notes, as well as things like stem direction, and how
notes are beamed (joined) together.
Here is an example question and answer:
Write out one more repeat of this ostinato.

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SEQUENCES
Look at the example below. The “original” idea is a short melody of 2 bars beginning on C.
Sequence 1 uses the same idea, but this time it begins on a D. Sequence 2 is the same idea
again, but it begins on E. A sequence can begin on any note from the scale of the key the
music is in.

The intervals between each of the notes in the melody stay the same, and the rhythm stays
the same.
Notice how the beginning of each repeat has a dotted crotchet (dotted quarter note), which
moves upwards by the interval of a 2nd to a quaver (8th note).

Next, each repeat moves downwards by the interval of a 3rd, to a crotchet (quarter note),
and so on.

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COMPOSING SKILLS EXERCISES
EXERCISE 1
a. Write a tune to the given rhythm using the notes of the tonic triad. Use a key signature
and finish on the tonic.
E minor

b. Write a tune to the given rhythm using the first five notes of the scale. Use a key
signature and finish on the tonic.
F major

EXERCISE 2
a. Write out two more repeats of this ostinato.

b. Write out one more repeat of this ostinato.

EXERCISE 3

a. Write out two sequences of this melody, each starting one note higher.

b. Write out two sequences of this melody, each starting one note lower.

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CHAPTER 7 | TERMS AND SYMBOLS
ON FROM GRADE ONE
For Grade Two Music Theory, you have to know all the foreign musical terms and symbols
which are listed for Grade One, and a few more. In each grade of the Trinity music theory
exams there are more foreign terms to learn, but you always have to know all the terms
from the earlier grades too.

METRONOME MARKINGS
A metronome is a gadget which makes a loud, regular clicking noise. You can set the speed
of the clicks. Metronomes are used so that musicians know exactly how fast to play a piece
of music, and they're also useful to practise with. Metronome markings sometimes appear
above the stave, to tell you about the tempo of the music, because the Italian tempo terms
are sometimes not very exact.
Metronome directions are made up of a note symbol and a number, joined together by the
equals sign, like this:

This means that the tempo of the music should be about 126 crotchets (quarter notes) per
minute. Metronome indications always tell you how many notes to play per minute.
Metronome markings use the note length which is the beat shown by the time signature. So
if the time signature is 3/2, the beat is a minim (half note), and there will be a minim (half
note) shown in the metronome marking. Time signatures with a lower number 4 have a
crotchet beat (quarter note), and if the lower number is 8, the beat is a quaver (eighth
note).

SYMBOLS
Pause mark – hold onto the note for slightly longer than usual

First time bar (play this bar the first time through)

Second time bar (play this bar on the repeat)

tenuto: hold the note for its full length.

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ITALIAN TERMS & VOICE RANGES
Term English Meaning
Adagio Slowly
Allegretto Quite fast
Cantabile In a singing style
Decrescendo Gradually getting quieter
Espressivo Expressively
Grazioso Gracefully
Molto Very
Tenuto Hold the note for its full value
Vivace Fast and lively
8va Play an octave higher than written
8vb Play an octave lower than written

Voice Ranges

Soprano

Alto

Tenor

Bass

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TERMS AND SYMBOLS EXERCISES

1. Which term means “with a singing style”?

a. Andante
b. Cantabile
c. Legato
d. Forte

2. Which term means “expressively”?

a. Vivace
b. Moderato
c. Espressivo
d. Grazioso

3. What does “Allegretto” mean?

a. Very fast
b. Getting slower
c. Very smoothly
d. Quite fast

4. What does “8vb” mean?

a. Play at the normal pitch
b. Play an octave lower than written
c. Play an octave higher than written
d. Play on the cello

5. Put these in order from fastest to slowest: Andante, Adagio, Vivace, Allegretto.
a. Adagio, Vivace, Allegretto, Andante
b. Vivace, Allegretto, Andante, Adagio
c. Andante, Adagio, Allegretto, Vivace
d. Vivace, Andante, Allegretto, Adagio

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6. Which word is the opposite of “piano”?
a. Ritenuto
b. Molto
c. Forte
d. Mezzo

7. Which word means “play smoothly”?

a. Pianissimo
b. Staccato
c. Mezzo
d. Legato

8. Which word is the opposite of “staccato”?

a. Mezzo
b. Molto
c. Legato
d. Ritenuto

9. Which word is the odd one out?

a. Cantabile
b. Adagio
c. Allegro
d. Vivace

10. Which word means “very”?

a. Molto
b. Decrescendo
c. Allegretto
d. Ritenuto

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CHAPTER 8 | HANDWRITING MUSIC
It is very important that you write music in a way that is easy for others to read. Practise
regularly, and look back at music you have written previously, to see if you can read it
yourself!

COMMON MISTAKES
Here are some very common mistakes that students make when writing out music - make
sure you don't make them!
 Don't forget to put the bar line at the end of the extract.
 The first note of each bar is always the same distance (about 1/2 a centimetre) from
the barline on its left.
 Accidentals are written on the left-hand side of the note head, in the line/space of
the note they affect.
 Try to keep the same distance between the notes as you see in the original.
 Make sure the note stems are pointing in the right direction.
 Black note-heads must be a good solid colour - make sure you can see no white
space at all inside the notehead.
 Don't make the note heads too big.
 Don't forget ties!
 Ledger lines are an extension of the stave and should be the same
height apart, and slightly wider than the note heads. In this
example, the B ledger line is too high, and the A ledger line is not
wide enough!

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HANDWRITING MUSIC EXERCISES
Copy these extracts including all details.

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GRADE 2 MUSIC THEORY (TRINITY) - PRACTICE TEST: 2 HOURS
SECTION 1 (10 MARKS)

1.1 Name this note: D sharp ⃝ C sharp ⃝ E sharp ⃝

1.2 What is the time signature of this bar?

C⃝ #⃝ )⃝
1.3 How many crotchets (quarter notes) is this note worth?

2½ ⃝ 3⃝ 4⃝

1.4 How many crotchet (quarter note) beats of silence are there in total, in these bars?

3½ ⃝ 4½ ⃝ 5½ ⃝

1.5 What key is the relative major of D minor? C major F major G major
⃝ ⃝ ⃝
1.6 Tick the correct sentence. D minor has one flat in its key signature ⃝
A minor does not have a relative major key ⃝
G major has two sharps in its key signature ⃝
1.7 What is this scale?

E natural minor going down ⃝

E harmonic minor going down ⃝
C major going down ⃝
1.8 Which chord symbol is correct for this tonic triad?

C⃝ G⃝ Em ⃝

1.9 What is this interval?

Perfect 4th Major 3rd Minor 3rd
⃝ ⃝ ⃝

1.10 Name this chord: C major in root position ⃝

A minor in root position ⃝

A minor in 1st inversion ⃝

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SECTION 2 (20 MARKS)
2.1 Write one octave of the scale of A minor harmonic going up, using semibreves (whole
notes).

2.2 Write a one-octave arpeggio of the D minor tonic triad, going up and then down. Write
the arpeggio in crotchets (quarter notes) but end on a note worth one full bar. Add the bar
lines.

SECTION 3 (10 MARKS)

3.1 Circle five notation mistakes in this melody, then rewrite it without the mistakes.

SECTION 4 (10 MARKS)

4.1 Write two repeats of this bar, starting one note lower each time you write it, to make a
sequence.

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SECTION 5 (15 MARKS)
5.1 Transpose this melody down an octave, so that it is more comfortable for an alto voice
to sing.

SECTION 6 (15 MARKS)

6.1 Write a melody to fit this rhythm, using the first five degrees of the D minor scale. Use a
key signature and finish on the tonic.

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SECTION 7 (20 MARKS)
Look at this melody and then answer the questions below.

7.1 What speed should this music be played?

7.2 What does grazioso mean?

7.3 In what key is this melody?

7.4 Which bar is the loudest?

7.5 Give the full name of the interval in the box in the box in bar 4.

7.6 What does this symbol mean?

7.7 What pitch are the tied notes in this melody?

7.8 Write a chord symbol above the last note to show it fits with a tonic triad.

7.9 How many notes are marked tenuto?

7.10 What is the pitch of the lowest note in the melody?

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ANSWER KEYS

LEDGER LINES ANSWERS

EXERCISE 1
a. C i. E
b. G flat j. D
c. A sharp k. C
d. B l. E flat
e. D flat m. C sharp
f. B flat n. F sharp
g. A o. D sharp
h. C sharp p. B
q.

EXERCISE 2
Highest: F sharp; Lowest: E
Highest: B flat; Lowest: A

EXERCISE 3

a.

b.

c.

d.

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EXERCISE 4

     

     

SIMPLE TIME SIGNATURES ANSWERS

EXERCISE 1
a. False
b. True

EXERCISE 2

a. The time signature means that there are four crotchet (quarter note) beats in a
bar.

b. The time signature means that there are two minim (half note) beats in a bar.

EXERCISE 3
a. 3/8 b. 2/2 c. 3/4

EXERCISE 4
The correct stave is b.

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TIES ANSWERS

EXERCISE 1
a. It adds the time values of the two notes together.
b. Only notes of the same pitch can be tied. Notes of different pitches can only be slurred.
c. Ties are written above notes with downward pointing stems, and below notes with
upward pointing stems.

EXERCISE 2

EXERCISE 3

EXERCISE 4

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BEAMING ANSWERS

ADDING BAR LINES ANSWERS

a.

b.

c.

d.

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ADDING A TIME SIGNATURE ANSWERS

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ADDING RESTS ANSWERS

EXERCISE 1

EXERCISE 2

SYNCOPATION ANSWERS
EXERCISE 1

EXERCISE 2
Compare your answers with the originals.

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MAJOR SCALES ANSWERS
Check that the direction of your stems is correct!

5. The semitones are marked above.

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MINOR SCALES ANSWERS
EXERCISE 1
a. A minor harmonic ascending d. E minor natural descending
b. E minor harmonic descending e. D minor harmonic ascending
c. D minor natural descending f. A minor natural descending

EXERCISE 2
1. The 7th degree of the scale (C# becomes C natural).
2.

3. E minor harmonic

EXERCISE 3

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DEGREES OF THE SCALE ANSWERS
EXERCISE 1
a.

b.

c.

EXERCISE 2
a. A
b. G or G#
c. C

EXERCISE 3
a. 6th
b. 7th
c. 2nd

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IDENTIFYING THE KEY ANSWERS

EXERCISE 1
a. C major e. D minor
b. F major f. G major
c. E minor g. D minor
d. A minor

KEY SIGNATURES AND ACCIDENTALS ANSWERS

EXERCISE 1
a.

b.

c.

d.

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QUESTIONS ON SCALES ANSWERS
EXERCISE 1

EXERCISE 2

EXERCISE 3

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INTERVALS ANSWERS

EXERCISE 1
a.

b.

EXERCISE 2
a. Major 3rd
b. Perfect 4th
c. Perfect octave
d. Major 2nd
e. Perfect 5th
f. Minor 3rd

EXERCISE 3

EXERCISE 4
a. Minor 3rd
b. The 4th, 5th and octave (8ve)
c. Two and a half / two tones (whole steps) and a semitone (half step)/ 5 semitones (half
steps)
d. Minor 2nd

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TRANSPOSITION ANSWERS

EXERCISE 1

EXERCISE 2

EXERCISE 3

EXERCISE 4

EXERCISE 5

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HARMONY ANSWERS

EXERCISE 1

EXERCISE 2

EXERCISE 3

EXERCISE 4
Check the stem directions!

EXERCISE 5
Check the stem directions!

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COMPOSING SKILLS ANSWERS
EXERCISE 1
a. (Example answer – many answers are possible)

b. (Example answer – many answers are possible)

EXERCISE 2
a.

b.

EXERCISE 3
a.

b.

The answers given on this page are suggested answers only, many different answers are
possible.
Check you have put the right number of beats in each bar, that you have a "question"
phrase followed by an "answer" phrase, and that you have reycled some of the rhythms
from the first bar.
Email [email protected] if you would like your answers marked.
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TERMS AND SYMBOLS ANSWERS

1. b 6. c
2. c 7. d
3. d 8. c
4. b 9. a
5. b 10. a

PRACTICE TEST ANSWERS

Pass: 60/100 Merit: 75/100 Distinction: 87/100

1.1 C sharp
1.2 3
8
1.3 3
1.4 3½
1.5 F major
1.6 D minor has one flat in its key signature
1.7 E natural minor going down
1.8 Em
1.9 Perfect 4th
1.10 A minor 1st inversion

2.1

2.2

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3.2

4.1

5.1

Example answer (many answers are possible).

6.1

7.1 Slowly
7.2 Gracefully
7.3 D minor
7.4 Bar 6
7.5 Perfect 4th
7.6 Repeat from the beginning
7.7 E

7.8

7.9 7
7.10 A

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