Grade 1. Improve your theory! Paul Harris. Model answers

Transcription

1 Grade 1 Improve your theory! Paul Harris Model ansers

2 201 by Faber Music Ltd Bloomsbury House 7 77 Great Russell Street London WC1B DA Music setting by MacMusic Cover and page design by Susan Clarke Illustrations from Thinkstockhotos.co.uk Audio tracks recorded and produced by Oliver Wedgood, performed by Paul Harris Printed in England by Caligraving Ltd All rights reserved ISBN10: EAN1: To buy Faber Music publications or to find out about the full range of titles available please contact your local music retailer or Faber Music sales enquiries: Faber Music Ltd, Burnt Mill, Elizabeth Way, Harlo CM20 2HX Tel: + (0) Fax: (0) sales@fabermusic.com fabermusicstore.com

3 Contents Stage 1 Notes, h, q and e, rests,, Î and Stage 2 Time signatures: 2 and ; bars and bar-lines; the stave 7 Stage Semiquavers x, rests Å and grouping notes 10 Stage Ties and dotted notes 1 Stage 5 The stave; treble and bass clefs; the note G (treble clef) and F (bass clef) 16 Stage 6 All notes on the stave 19 Stage 7 Constructing the C major scale; degrees of the scale; tones and semitones 22 Stage 8 G and F major; sharps (#) and flats (b); key signatures 25 Stage 9 D major; tonic triads 28 Stage 10 Intervals; the natural sign ( ) 1 Stage 11 Terms and signs Stage 12 Revision 7 Ansers ith this label sho one possible response to the question.

4 Stage 1 Notes and rests h q e Facts box NAME COUNTS NOTES RESTS Semibreve (hole note) Minim (half note) 2 h Crotchet (quarter note) 1 q Quaver (eighth note) ½* e * To quavers iq fit into one q count. 1 Write the correct name under each note. q e q h crotchet/quarter note quaver/eighth note crotchet/quarter note semibreve/hole note minim/half note semibreve/hole note 2 Dra the correct note over each name. h e q Minim Quaver Semibreve Crotchet Whole note Dra the correct rest over each name. Œ Ó Crotchet Quaver Minim Semibreve Eighth note Write the total number of counts under each of these. e iq h

5 Stage Let s do some musical maths! Work out the note-values to complete the sums in the balloons. Each crotchet is orth 1. q + iq + = 6 h + + iq = 6 Have a look at this rhythm, then complete the puzzle questions belo. Theory isn t dreary œ œ œ œ œ œ œ œ œ œ œ œ Remembering that each crotchet is orth one count, hat is the total number of counts made up from: all of the qs? all of the hs? 8 6 all of the qs and iqs combined? 10 7 All ords have rhythm. Let s explore names: Here s my name in notes: œ Paul œ œ Har -ris Your turn: e q q h Re-bec-ca Smith Theory box of fun The ord theory comes from a very old Greek ord meaning to look at things. That s hat theory is all about: looking at things and understanding them. Alays ask yourself, Do I understand that?

6 6 Stage 1 Making connections to your pieces Look at any pieces you kno and find examples of a semibreve, minim, crotchet and quaver, filling in the box belo. No find examples of semibreve, minim, crotchet and quaver rests. (The first one is an example.) Name Sign Piece name and bar number Crotchet (quarter note) q Popcorn, bar More connections Tap qs ith your foot, then clap this rhythm. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ No try singing it to la or your favourite sound. Can you sing the rhythm back to front? Get creative! Play this rhythm and improvise a melody using some notes from a piece you are learning. œ œ œ œ œ œ œ œ œ œ œ œ track 1 Aural/listening 2nd You ll hear a rhythm made up of groups of semibreves, minims, crotchets and quavers in turn. Put them in order of appearance by riting 1st, 2nd, rd or th in the boxes. You ll hear a crotchet beat first. So if minims are first, put 1st next to h. h q e th 1st rd

7 7 Stage 2 Time signatures: 2 and Bars and bar-lines The stave Facts box time signature bar-line bar All time signatures are made up of to numbers: The top one tells you ho many beats there are per bar. The bottom one tells you the type of beat you are counting. final bar-line Time signature code numbers 1 = beat 2 = h beat = q beat 8 = e beat 2 q q q q q q q q q q q q Time signatures ith: 2 beats in a bar are in duple time beats in a bar are in triple time beats in a bar are in quadruple time can also be ritten as c 1 Fill in the missing time signatures for these three rhythms. Choose from 2 and. 2 œ œœœ Œ œœ œ œ j œ œ j œ œœ œ œ 2 Fill in the missing bar-lines in these to-bar rhythms. 2 œ j œœ œ œœœœœ Œ œ œ œœœœœ Add in the missing notes and rests to complete the bars. * * * * * * œ œ œ Ó 2 œ œ œ œ j œ œ Œ œ œ œ (note) (rest) (note) (rest) (note) (rest)

8 8 Stage 2 Work your ay through this rhythm maze by selecting the correct time signature at the junctions. Colour in the correct arros to sho the journey. Start here œ œ œ œ Œ œ œ j œ œ Try again! You in! Œ 5 Have a look at this short piece and then anser the puzzle questions belo. Hucbald s one-legged dance œ œ œ œ œ œ œ œ œ Ho many bars are there in Hucbald s one-legged dance? The at the beginning is called a time signature Ho many beats are there in each bar? crotchet (quarter note) What type of beat is used? Tap the pulse and clap the rhythm, then play the rhythm to your on tune, using notes from one of your favourite scales. Theory box of fun Hucbald the One-legged (ho lived from about 80 90) as possibly the first musician to rite music don. Here s an example of early music; play or sing hat you think this might have sounded like.

9 Stage 2 9 Making connections to your pieces Find a piece or song you are currently learning that is either in 2 or and rite out the first fe bars on the staves belo. Make sure you include all of the information and rite clearly and accurately, ith good spacing beteen notes. No try this quiz: What does the top number of the time signature mean? What does the bottom number mean? Are there any repeated rhythms? Write them out in the orkspace belo. No rite don any rests. Workspace More connections Using the same piece, tap the pulse ith your foot and clap the rhythm. Alternatively, use home percussion (saucepan lid and spoon, for example!) Play or sing the piece using the same note-values but changing all the pitches. Make up (improvise) your on short piece using the time signature. Give it a title. tracks 2 5 Aural/listening Listen to the four excerpts and decide hether the time signature is 2 or. Fill your ansers in the boxes. Excerpt 1 Excerpt 2 Excerpt Excerpt 2 2 When you ve finished all the ork in Stage 2, sign your signature in the box:

10 10 Stage Semiquavers and rests x Å Ho to group notes Facts box This is a semiquaver (sixteenth note) x xxxx fit in the time of a q: Parts of a note stem note-head x tail jq beam q = e e = x x x A rest that lasts for one x is ritten as When to or more e and x are used in a ro, they are beamed together. This makes rhythms easier to read by grouping notes into complete beats. x œ r œ r œ r œ r becomes œ œ œ œ œ j œ j becomes œ œ œ j œ r œ r becomes œ œ œ 1 Rerite this rhythm, grouping the quavers and semiquavers ith beams and marking the counts (beat numbers) underneath. Anser œ r œ r œ j œ j œ j œ r œ r œ r œ r œ j œ r œ r œ œ œ œ œ œ œ œ œ œ œ œ 2 Add in the missing semiquavers to this rhythm. * * * * * œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fill in the missing rests in this 2 rhythm. 2 * * * * œ œ j œ j œ r œ œ Œ œ œ œ œ j œ True or false? q = semiquavers true / false h = 10 semiquavers true / false e = 2 semiquavers true / false = 18 semiquavers true / false

11 Stage 11 5 Test your knoledge by completing this crossord. ACROSS 2 A moment of silence 6 Found at the beginning of a piece (,9) 7 Found in old houses or used to join notes together 8 The note ith a hole in the middle. Has the same duration as 16 semiquavers. 9 What you might do hen faced ith playing too many semiquavers (to of these fit in a crotchet) S 2 1 DOWN 1 Four of these fit in a semibreve The shortest note-value e ve met so far A note that rhymes ith linen (and can be split into to crotchets) 5 A line found at the end of a bar C R O R E S T E M H M I E B T I M E S I G N A T U R E B E A M Q I R U M L S E M I B R E V E N Q U A V E R R A E C 6 Look carefully at this piece. Tap a pulse ith your foot and clap the rhythm (or use home percussion). Then anser the questions belo. Hum-drum œ œœœœœ œœœœ œ œœœœ œ œ œ œœœœœ œœœœœ œ œœœœœ Put the correct time signature at the start of this piece. Crotchets (q) and ( ) appear in every bar of Hum-drum. In hich bars does this rhythmic pattern appear and ho many times? œ œœœœ Bar Bar semiquavers times times Tap a pulse ith your foot and clap the rhythm backards beginning at the end! Make up (improvise) your on four-bar rhythm, using the rhythm of the first to bars of Hum-drum and then creating a ne rhythm for the next to bars. x

12 12 Stage Making connections to your pieces Find a piece or song you are currently learning that is either in 2 or (not the piece you chose last time!) and rite out the first fe bars on the staves belo. Make sure you include all of the information and rite clearly and accurately, ith correct beaming for quavers and semiquavers. No take this quiz: What is the total number of bars in the piece? Ho many bars have you ritten out? Do any of the bars have exactly the same rhythm? Write details here: Is the time signature: duple triple quadruple (circle) What does the bottom (code) number of the time signature sho? Choose a to-bar rhythm from your piece and rite it belo. Can you extend this by creating to more bars that anser the rhythm? Workspace More connections Tap the pulse ith your foot and clap the note-values of your piece. No play or sing the rhythm, changing all the pitches. Improvise your on short piece using the same time signature. Give it a title that reflects the character. tracks 6 9 Aural/listening Listen to the four extracts and circle the note-value that appears the most in each example. You ill be given a q count. Extract 1 Extract 2 h q e x h q e x Extract Extract h q e x h q e x

13 1 Stage Ties and dotted notes Facts box A tie joins notes of the same pitch to form a longer note (hich adds up to the to note-values combined). q( q = h h( h = e( e = q A dot placed after a note-head adds half as much again to the original note-value to form a longer note. h + q = h. or h( q = h. q + e = q. or q( e = q. h. = h( q = beats q. = q( e = 1½ beats e. = e( x = ¾ of a beat 1 Join all the notes across the bar-lines ith a tie, then clap and sing the ne rhythms. 2 œ œœ œœœ œ œ j œ œ œœœ œ œ j œ œœ 2 Join the notes ith a tie and fill in the number of crotchet beats they add up to. q ( h = beats h ( = 6 beats q ( e = 1½ beats h ( e = 2½ beats True or false? q. = beats true / false e. x = 1 beat true / false h. = 5 beats true / false q. e = 2 beats true / false e = x x x true / false h. = q q q true / false Theory box of fun Add a dot to complete the bars ith the correct number of beats. Bar-lines are so called because they look like bars (an iron bar, for example). They ere first used around the beginning of the 1600s. 2 œ œ j œ œ œ j œ œ œ

14 1 Stage 5 Transform this rhythm to reach the goal, clapping each rhythm as you go along. Add tie beteen notes 1 and 2 œ œ œ œj œ œ œ œ œ j œ Replace the first quaver ith semiquavers GOAL! œ œ œ œ j Œ Replace the tie ith the correct dotted note Replace the crotchet ith a rest œ œ j œ j Œ œ œ j œ j œ 6 Clap, play or sing these to rhythms, then take the quiz. I m all tied up œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Beare of the dot œ œ œ œ œ j œ œ œ œ œ œ j œ œ œ œ Ho similar are these to rhythms? exactly the same slightly different very different (circle) Ho many bars are there in each piece? What is the technical name for the to lines at the end of both pieces? In the second piece, hat effect does the dot have on the fourth note in bar 1? It lengthens the note by half again. Make up (improvise) a tune to either of these rhythms using the first three notes of your favourite scale or song. final bar-line (or double bar-line)

15 Stage 15 Making connections to your pieces Look through all the pieces you are currently learning and see if you can find some passages that contain ties and dotted notes. Write them don on the staves belo, ensuring you include all of the information clearly and accurately. Choose one of the pieces that you found and, ith a pencil, add in some more ties. Remember that a tie only connects together to notes of the same pitch. Try playing your piece ith the extra ties; ho does it compare to the original? Look again at the piece you chose. Can any of the tied notes that you added in be reritten as single notes ith dots? If so, rite them don belo. No erase the ties you added in. Workspace More connections Clap, play or sing the rhythm of your piece, then try doing it back-to-front! Create a musical bank using ingredients from your piece. Add them in the bubbles and then try improvising some music using them. time key dotted rhythm 2 note 1 note 2 note signature signature rhythm 1 tracks 10 1 Aural/listening To of the folloing five pieces have ties or dotted notes (you can t be certain if they are ritten as ties or dotted notes as they sound the same). Circle the pieces that do have ties or dotted notes. piece 1 piece 2 piece piece piece 5

16 16 Stage 5 The stave Treble clef + G Bass clef + F Facts box The ord pitch is used to describe ho high or lo a note is. In music, notes are placed in different positions on a five-lined stave to sho their pitch. Each pitch is given a letter name from A to G of the alphabet: Higher pitch Loer pitch A stave that has a treble clef shos a range of notes of higher pitches. The centre of the treble clef raps around the second line of the stave (the G line). A stave that has a bass clef shos a range of notes of loer pitches. The to dots are placed either side of the fourth line of the stave (the F line). G? F 1 Fill in a semibreve on each line and in each space beteen those given. Can you find the note G in the treble stave and F in the bass stave? Mark these ith a *.? * * Ho many semibreves in total are there: on lines? 5 in spaces? 2 Trace over the treble clef and then dra four more. Make sure they all rap around the second (G) line. Dra a box around the best one. Do the same for the bass clef, making sure the to dots are either side of the fourth line.?????? Dra four more semibreves on the G line on the treble-clef stave and four more semibreves on the F line on the bass-clef stave. Try to dra the notes the same size as in the examples.?

17 Stage 5 17 Test your musical terms ith this ord search. r e t c r o c t h s d d h y i r q u a f e r o l y r v t e a e m t h t a r o m a t l i i r y t b h e h h c q i e e t e b m h v s u q d e b h d a t t s a t c i n l m n r e a v l u a b m e l o l b e n i m q v a c t t i r m i n i m n e l s e n s e m i b r e v e d o e semiquaver dotted note treble clef semibreve crotchet bass clef hucbald bar-line quaver theory rhythm minim stave tie c r o t c h e t f r d h 5 Have a look at this little piece and then anser the questions belo. Four bars of chocolate please œ œ {? Ho many lines make up each stave? Ho many spaces are there in each stave? Write a treble clef before the time signature on the top stave and a bass clef before the time signature on the bottom stave. Write a semibreve on a line in the first bar of the treble-clef stave. Write a semibreve in a space in the second bar of the bass-clef stave. Write any notes you like in the final to bars (but they must add up to the correct number of beats). 5

18 18 Stage 5 Making connections to your pieces Find a piece or song you are currently learning and rite out the first fe bars on the staves belo. Make sure you include all of the information and rite clearly and accurately, taking particular care over your clefs. No try this quiz: Does your piece use: treble clef bass clef both clefs (circle) Ho many times can you find: (a) the note G in the treble clef and/or (b) the note F in the bass clef? Look at the bars you rote out above. Can you rite the note names under the notes? More connections Sing the rhythm of your piece on either a G or an F. Write out the first fe bars of your piece using the same rhythm, but ith every note ritten at a different pitch. Can you or your teacher play or sing it? Ho does it sound? track 15 Aural/listening High-pitched notes are usually ritten on the treble clef and lo-pitches notes on the bass clef. Listen to these notes and rite don the name of the clef you think they are probably ritten on Bass Treble Treble Bass Bass Treble Theory box of fun The symbol for the treble clef comes from from the letter G, hich curled around the G line on the stave. Here s ho it developed: Try draing a treble clef in the air and then find some clear space and alk a treble clef! No make up a piece or song that suggests the shape of a treble clef in sound. Try this for the bass clef too, then design a music bag ith a treble clef on one side and a bass clef on the other.

19 19 Stage 6 All notes on the stave Facts box Where the treble and bass clef meet is the note called Middle C. { Ä? F G A B C D E F G A B C Let s start ith the first letter in the alphabet A. In the treble clef, A lives in the second space up. If e fill in the other notes that live in spaces e can spell FACE! In the bass clef A lives in the first space. All Cos Eat Grass helps us remember the notes that live in the spaces of the bass-clef stave. Note stems go up or don depending on the position of the note on the stave: MIDDLE C D E F G A B C D E F G œ œ œ œ œ œ œ œ œ œ œ œ up don 1 Here are the notes ritten over the lines of the treble-clef stave. Write out the notes again, this time in q s. Anser œ œ œ œ œ Make up your on ords to help you remember them. 2 Here are the notes ritten over the lines of the bass-clef stave. Write them out again, this time alternating beteen q s and hs. Anser?? Make up your on ords to help you remember them. Name these notes. œ œ œ? E D A D F B F C D B E A

20 20 Stage 6 Name these notes to spell out the ords. C A G E D A D F E E D B A G G A G E? B E A D F A D E B A G C A B B A G E 5 Play or sing one or both lines of this little piece and then anser the quiz questions belo. { Song of the humble bumble bee that sat on a little lettuce leaf? œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ Œ {? œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ Œ Œ True or false? In bars 1, both staves have the same melody. true / false What is the name of the highest note in the treble-clef stave? What is the name of the loest note in the bass-clef stave? Ho many times is the note E played in the treble-clef stave? and the bass-clef stave? A C 9

21 Stage 6 21 Making connections to your pieces Find a piece or song you are currently learning and rite out the first fe bars on the staves belo. Make sure you include all of the information and rite clearly and accurately. No try this quiz: Which clef (or clefs) does your chosen piece use? Can you find an example of every note name? Circle the letters of the notes that you find: A B C D E F G Which note appears most often? Play or sing it. What is the name of the first and the last notes in the piece? and Which of these sounds is higher? More connections Sing a fe bars of your piece to the letter names of the notes. Using the same notes, no sing or play them to a completely ne rhythm. Ask your teacher or a friend to play from your hand-ritten score above. Ho accurately did they play? Ask them hat they found easy and difficult about playing from your music, and then see if you need to make the music clearer for them to read. tracks Aural/listening Listen to the three excerpts and rite don the name of the second note in each. Excerpt 1 Excerpt 2 Excerpt No rite don the name of the third note in each excerpt. Excerpt 1 Excerpt 2 Excerpt D E B B A G Theory box of fun The idea of calling musical notes ith the letter names of the alphabet as probably first introduced by a French abbot ho had the onderful name of Pseudo-Odo of Cluny. He introduced this idea in about the year 1000.

22 22 Stage 7 C major scale Degrees of the scale Tones and semitones Facts box We often use ords to help us measure things. We might use the ords small, medium, and large to measure our favourite drink. To measure the distance beteen sounds (or pitch), e use tone and semitone. The smallest distance is a semitone; to semitones make a tone. The ord semi means half like a semi-detached house or a semicircle. All major scales are made up of the same pattern of tones and semitones. Here are the note names and measurements of the C major scale: C D E F G A B C tone tone semitone tone tone tone semitone Every note in the scale is given a degree, from 1 (the loest note) up to 8 (the highest note). For example, in C major, G is the fifth degree. 1 Label these examples as either a tone or a semitone.? T T S T T S 2 Add the second note in each of these examples to create a tone or semitone.? tone semitone tone semitone semitone tone Number the degrees of the C major scale. The first one has been filled in for you. Degree: 1 C D E F G A B C No mark the semitones of the scale above using a bracket ( ). Theory box of fun The ord scale comes from the Latin ord scala, meaning a ladder or a flight of stairs. Ho does a scale resemble a ladder or stairs?

23 ( beneath Stage Here s a musical journey for you. Start on the note C and then follo the instructions. Instruction Go don a semitone Go don a tone Go don to more tones Go don a semitone Go up a semitone Go up three tones Go up a semitone Ne note You have no reached your destination! Which note is it? C B A F E F B C Theory box of fun The history of scales is very complicated! The first-knon scales ere invented by the Chinese around 000BC. Like ours, their scales ere made up of eight notes, but each as related to a time of day! So you had an early morning scale, a scale for lunch, a different one for tea, and so on! Can you relate the scales you kno to a time of day? Once you ve filled in the note names, try playing or singing the pattern and then rite it on the stave belo. (You can change the title if you don t like this one!) Tone right at the next corner 6 Play or sing this little piece and then try the quiz. What goes up must come don œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Join up the notes that are a tone apart ith this shape the notes and notes a semitone apart ith this shape above the notes. The first three are done for you. No play or sing this piece, listening very carefully to the distance beteen the notes. Really try to notice the tones and the semitones.

24 2 Stage 7 Making connections to your pieces and scales Find a piece or song that you re learning (or have learnt) in C major and rite out the first fe bars on the staves belo. Make sure you include all of the information and rite clearly and accurately. No try this quiz: Play the scale of C major and enjoy it! Think of the TTSTTTS pattern as you move from one note to the next. Look through the piece and circle any scale patterns that you can find. (Three- or four-note patterns count.) Choose one of the scale patterns you found and improvise a tune using these notes. Play and sing one of the tones that you found and listen to it very carefully. Do the same ith a semitone and see if you can hear the difference (this ill help you prepare for Aural/listening, belo). More connections Looking at your piece again, choose one scale pattern and one repeated rhythm. Can you combine them to make a little tune? Try riting it don on the stave belo. No try playing your tune ith some of the folloing ingredients: forte, piano, staccato, legato, Andante, Allegro. track 18 Aural/listening On track 18, you ill hear some tones and some semitones. Listen to each example and rite don hether it as a tone (T) or a semitone (S). T T S T S S Theory box of fun The ord tone comes from the Greek tonos, hich originally meant a taut string that made a sound if you plucked it. A French ord, ton, then evolved, hich meant any musical sound. We still use the ord tone to mean the kind of sound e make. Do you play or sing ith a good tone?

25 25 Stage 8 G and F major Sharp and flat signs Key signatures Facts box Sharp signs (#) raise notes by a semitone. Flat signs (b) loer notes by a semitone. A key signature is the sharps or flats at the start of a piece that tell you the key. For example, G major is the key ith one sharp. Any sharps and flats you might find during a piece are called accidentals. To make a major scale beginning on G fit the TTSTTTS pattern, e have to sharpen the F to raise it by a semitone, making it F#, so the key signature is: #?# To make a major scale beginning on F fit the TTSTTTS pattern, e have to flatten the B by a semitone, making it Bb, so the key signature is: b? b 1 Dra sharp signs in front of all the Fs and flat signs in front of the Bs. # b #? # b b # 2 Write out the scale of G major using a key signature (the first note has been given). No number the degrees of the scale and mark in the tones and semitones ith a T or an S beteen the notes (it ill be the usual pattern!) # T T S T T T S Add in the missing notes and accidentals to complete the F major scale. Number the degrees of the scale and mark the tones T and semitones S ? b b T T S T T T S S T T T S T T Write out the key signature and the first note for these keys. #?? b G major C major F major (Other octaves are acceptable.)

26 26 Stage 8 5 Complete this crossord Play or sing these to pieces and then anser the quiz questions belo. Giant giraffes go gliding # * * * œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # * * œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Five famous fellos fidget fiendishly b * * œ œ œ œ œ œ œ œ œ œ œ œ b * * * œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ What are the keys of each piece? and Circle the notes in each piece that are affected by the key signature. Which piece has more affected notes? 1 S 2 ACROSS: S H U C B A L D T E A O C M A J O R N I P S C A L E T O F L A T N K E Y S I G N A T U R E DOWN: Play the scales of F and G major. Ho do they differ? Ho are they the same? 7 The man ho first rote music don 5 The key ith no sharps or flats (1,5) 6 The five lines on hich e rite music 7 The sign that loers a note by a semitone 8 Made up of sharps or flats and found at the start of a piece (,9) 1 The sign that raises a note by a semitone 2 The smallest distance beteen to notes The distance beteen F and G 6 A delightful pattern of notes that go up and come don Name the degree of the scales for the notes marked * on the lines belo the stave. 6 T V G major F major Five famous fellos fidget fiendishly Both have the same pattern of tones and semitones but G major sounded higher hen I played it.

27 Stage 8 27 Making connections to your pieces Find a piece you are learning or have learnt in G or F major and rite out the first fe bars on the staves belo. Make sure you include all of the information and rite clearly and accurately. Play it through and then anser the questions belo. Circle all of the notes that are affected by the key signature. Can you find any scale patterns? They could be as short as just to or three notes. Write one or to out in the orkspace. Find examples of semitones and circle them in the music. Workspace track 19 More connections Play the scale of your piece (either G major or F major) and then improvise your on tune using the folloing ingredients: The notes of G major One of the scale patterns that you rote don time signature Crotchets and quavers Aural/listening Theory box of fun The origin of the flat sign is very interesting. In very early music only one note, the note B, had a loer (or flat) version. Normal B as ritten using a square-shaped. The loer (or flatter) version as ritten in a more rounded ay and has become our flat sign: b. Listen to these three extracts and match them up ith the correct description. Extract 1 Extract 2 major scale going up major scale going don Extract not a major scale

28 28 Stage 9 D major Tonic triads Facts box The key of D major has to sharps: F# and C#: # #?# # A key is made up of the notes of its scale. There s another pattern connected ith each key. It s made up of three notes, so it is called a triad (like triangle or tricycle). A triad is made up of the first, third and fifth degrees of the scale. The first note in a scale is also called the tonic note. So, in D major, a tonic triad looks like this: # # # # Write out the scale of D major and label the degrees. Remember to include the key signature. # # No circle the three notes from the scale that create the tonic triad. 2 Fill in the missing notes:? 5th degree 2nd degree rd degree 7th degree 1st degree 6th degree of C major of F major of D major of F major of G major of C major (Other octaves are acceptable.) This scale has been ritten ithout a key signature. Add accidentals to the correct note(s) and then name the scale. Circle the notes that make up the tonic triad.? # Scale G major Name the key on hich these patterns and triads are built.? #?# b # œ œ œ œ œ œ C major F major G major D major

29 Stage Have a look (or play) through these to triangular pieces and anser the quiz questions. { I tried a triad hile tricycling round a triangle? C major F major D major G major œ œ œ œ œ œ œ œ œ œ œ# œ œ œ nœ œ œ # {? œ œ œ œ œ œ œ œ œ œ œ œ œ œ Name the tonic triads in bars 1. The first one is done for you. Which is the only tonic triad not repeated in this piece? What are the notes in the tonic triad of D major? D major D, F#, A Make up (improvise) your on piece using the notes of one triad of your choice. { Triads and treacle? œ œ œ œ œ œ œ Œ œ # œ œ œ # {? œ œ œ œ œ œ œ œ œ œ œ œ Circle the notes in bars 1, 2,, 5, 6, 7 that form a tonic triad in the top stave. No describe the key of each triad: C major F major D major C major F major G major Bar 1 Bar 2 Bar Bar 5 Bar 6 Bar 7 It is also acceptable to circle all notes in these bars.

30 0 Stage 9 Making connections to your pieces Find a piece you are learning that contains triad patterns. Write out a fe bars that contain these patterns on the stave belo. Make sure you include all of the information and rite clearly and accurately. No play your piece through and anser these questions: Ho many different triads can you find? What is the full name of the tonic triad of your piece? Choose one triad from your piece and see ho many different ays you can play it. Experiment ith different rhythms, dynamics, articulation and the order of the notes. Workspace More connections Create a four-bar tune from the notes of the tonic triad and using some of the folloing ingredients. Write it in the orkspace. Remember to add the key signature at the start. œ œ œ œ œ œ œ œ œ œ œ œ j f p > Can you play or sing your tune? Give it a title that fits ith the character of the music. tracks 20 2 Aural/listening Find the note C (from a piano or your instrument) and then sing it. No sing the notes of the C major tonic triad. Sing the first note (C), hear the next note in your head (D), then sing the rd note (E), and so on: œ œ œ œ œ C E G No sing the notes of the D, F and G major triads in the same ay.

31 1 Stage 10 Intervals Natural sign Facts box An interval is the distance beteen to notes: Unison 2nd rd th 5th 6th 7th 8th (Octave) These are knon as harmonic intervals. If the notes are next-door neighbours, they are knon as melodic intervals. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ * 2nd rd th 5th 6th 7th 8th (octave) A natural sign cancels a # or b. * There s no official label for this. Can you think of your on? 1 Name these harmonic intervals. # # 5th 2nd rd th th 2 Name these melodic intervals.?# # œ œ?# # œ?#??# œ œ œ œ œ œ # œ rd th th 6th 5th Write a note above each of these notes to make the interval described.? rd th Octave 2nd 5th 6th Add natural signs to cancel the previous accidentals. œ œ œ # œ œ nœ œ œ œ bœ œ nœ œ Œ? b œ œ œ bœ œ œ nœ œ œ bœ nœ œ Œ

32 2 Stage 10 5 Match up these ell-knon tunes ith the interval that they contain at the start. (If you don t kno any of them, see if you can find a recording on the eb.) Frère Jacques (2nd) Oh hen the saints (rd) Bridal March (th) Tinkle, tinkle, little star (5th) My bonnie lies over the ocean (6th) Bali Hai (7th) Somehere over the rainbo (8th or octave)??? 6 Play or sing either part (treble or bass) of this little tune and then anser the quiz questions. Is it the interval already? Ice cream, please. { {? œ Œ? œ œ œ œ œ œ œ 7th œ 2nd rd th 5th 6th 8th œ œ œ œ œ œ 5th 2nd œ œ rd Ó Ó œ In the treble-clef part, circle and label one example of each of the folloing melodic intervals: 2nd rd th 5th 6th 7th 8th (or octave) In the bass-clef part, circle and label one example of each of the folloing melodic intervals: 2nd rd 5th What s your favourite interval? Make up a piece that uses that interval as many times as possible.

33 Stage 10 Making connections to your pieces Choose a piece you are learning and then try to find an example of each interval you kno (they could be melodic or harmonic intervals). Write them out in the space belo. No play your piece through and try this quiz: What is the key of your piece? Circle any natural signs you can find. Why are they there? What is the first melodic interval in your piece? What is the last? Circle any of the folloing ingredients that you can find in your piece: a melodic triad accidentals a descending melodic interval a harmonic interval More connections Play the scale of your piece using some or all of these ingredients: œ œ j œ œ p solemnly < > No play just the notes of the tonic triad in the same ay. Finally, take some rhythms and dynamics from your piece and use them to play your scale. track 2 Aural/listening Listen to the melodic intervals on track 2 and ork out hich is hich. The first one has been done for you. extract extract extract extract extract extract extract extract nd rd th 5th 6th 7th Theory box of fun 8th (Octave) The natural sign e use today developed originally from the square, hich as used to return the flattened note back to the higher one. Instead of the square, music printers began using a sign that looked like the letter h, hich eventually gre into our natural sign.

34 Stage 11 Terms and signs Facts box Dynamics (range of loudness) pp (pianissimo) = very soft p (piano) = soft f (forte) = loud ff (fortissimo) = very loud m (mezzo) = moderately crescendo (or cresc.) = gradually get louder = < diminuendo (or dim.) decrescendo (or decresc.) = gradually get softer = > Speed or tempo Adagio = slo Lento = slo Andante = alking pace Allegretto = fairly fast Moderato = at a moderate pace Allegro = fast Accelerando (or accel.) = becoming faster Rallentando (or rall.) Ritardanto (or rit.) = becoming sloer a tempo = in time 1 Number these dynamic markings in order, from soft to loud (softest = 1). mf p ff mp f pp Put these tempo directions in order of speed, from slo to fast (sloest = 1). adagio andante allegro lento allegretto moderato Name these performance markings. q = 92 œ œ > U metronome slur accent formata/pause octave higher repeat mark Write these instructions as performance markings. Styles of playing or singing Cantabile = like singing Legato = smoothly Leggiero (or legg.) = lightly Staccato (or stacc.) = short or Q. detached = > = accent the note Structure da capo (or D.C.) = repeat from the beginning dal segno (or D.S.) = repeat from the sign % = repeat the section beteen the dots % U U = pause on the note play an octave higher slur crescendo staccato <. œ œ œ = slur the notes together œ = tie œ > œ. q = 92 h = 120 U = play an octave higher = metronome marks (ho many beats per minute) % U Either lento or adagio may be considered sloest.

35 Stage Can you find the 1 Italian musical terms hidden in this ord search? Write them out belo and describe each one to a friend or teacher. D W G O D N E C S E R C S E P I O R A L L E N T A N D O O P M E T N A D N A Y O M D C S I I M E Z Z O N A I P N O C S Z N F R C L L S E F A T C S T A U U C A S C K B R A F I F I N E O I R R W P E D O T A G E L N W O T N E L A R R P L L A G D R O O U E G T O E W I L L I O N T S C I E F O P E L I B A T N A C O R I T A R D A N D O I P A Term Adagio Forte Ritardando Rallentando Crescendo Andante Fine Poco Lento Mezzo Pianissimo Diminuendo Fortissimo Piano 6 Play or sing either part (or both lines if you re a pianist) of this little tune and then complete the sentences belo. { { Waltz of the happy theory teachers # #?# # # #?# # Allegretto f Œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ. œ. mf œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ crotchets D major F# and C# D tie The time signature is, hich means there are in a bar. The key is and the key signature is made up of. The highest note (treble clef) is and the loest note (bass clef) is. The sign joining the A in bar 1 to the A in bar 2 is called a. rit. A

36 6 Stage 11 Making connections to your pieces Choose a piece that you are learning that includes lots of different terms and signs. Write out the first fe bars on the staves belo, ensuring you include all of the information clearly and accurately. Write don all of the musical ords and signs that are used in the orkspace and then give their meanings. In the extract you have ritten out, replace or add the folloing types of ingredients: a tempo marking a dynamic marking a style of playing What terms and signs have you used? No try playing this extract ith the ne ingredients and then ith the original ones. Ho has the character and mood of the music changed? Workspace More connections Play the scale of your piece in the folloing ays: Piano Forte <> Legato Staccato Andante Allegro tracks 25 7 Aural/listening Listen to the three excerpts on tracks 25 7 and match them up ith the correct ingredients. Excerpt 1 Excerpt, rall., pianissimo Excerpt 2, Allegretto, cantabile 2, accel., staccato Theory box of fun The first ever composer to use dynamic markings as the 16th-century Italian Giovanni Gabrielli. A 20th-century Rumanian composer, György Ligeti, used the markings ffffffff and pppppppp in some piano pieces!

37 7 Stage 12 Revision 1 Fill in the missing note or notes to complete these bars. * * œ œ j œ œ œ œ œ œ Ó œ œ œ œ œ J œ œ œ * * (note: F) (rest) (rest) (note: G) # * * * * œ œ J œ œ œ j œ œ œ œ œ œ œ œ œ Œ (note: C) (note: B) (note: D) (rest) 2 Fill in the missing bar-lines. # œ œ j œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ Write these scales using semibreves. Don t use a key signature but add all the necessary accidentals. Dra a circle around the 5th and 7th degrees of each scale. F major, ascending b D major, descending? # # This scale may also be ritten an octave higher.

38 8 Stage 12 Write the key signature and tonic triad for these keys in both the treble and bass clef. C major G major F major D major # b # #??#? b?# # 5 Name the degrees of the scale marked ith a * and give the letter name of the notes. The first anser is given. * # * * * œ œ œ œ œ œ œ œ œ œ j œ œ œ j œ œ œ œ œ Œ œ * (B) 5 (D) 2 (A) (C) 6 (E) 6 Rerite the music on the stave belo using correct beaming, ties and dots; then create a to-bar ansering rhythm. 2 œ j œ r œ r œ r œ r œ j j œ œ r œ j œ j 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 7 Next to each note, rite a rest that has the same time value. The first anser is given for you. h.. x q. UŒ. h Ó e.. U Theory box of fun Triads also form the first three notes of another musical pattern the arpeggio. The ord arpeggio comes from the Italian arpeggiare, hich means to play on a harp.

39 Stage Have a look at this piece and then anser the quiz questions. Take them sheep off my field Allegro q = 120 b > œ œ œ œœ. œ œ œ œœœ.. œ. f Traditional North West Buckinghamshire folk song œœœ. œ. œœœ. œ. œ œ œ mf œ> œ œ œœ. œ. œ œ œ œœ. œ. b œ œ œ œœœœ œ œnœœœ. œ. œ œ œœœ. bœ. œœœ œ.. œ œ œœœ œ œ f dim. b œ œ œ œ œ. œ œ œ œ œ œ.. œ. œ œ œ œ œ œ U œ œ > cresc. f rit. Explain the folloing terms and signs: Allegro q = 120 f œœœ. œ. dim. > fast (quick) 120 crotchet beats per minute loud getting quieter play ith an accent Dots over and under notes mf cresc. Add the missing ords in these sentences: The time signature is. It means crotchet beats in a bar. No insert the time signature at the correct place. The music begins in the key of. The music is ritten in the The tune in bar 1 reappears in bar. moderately loud getting louder staccato short detached notes F treble clef. Give the letter names of the loest and highest notes in the piece. Name a note that occurs but doesn t belong to the key of the music. Circle one example of each of the folloing here they appear in the music: A semitone An ascending 6th An ascending rd A tone A descending 5th A descending 2nd A descending th 7 F Circle the instruments you think ould give an effective performance of this tune: Violin Organ Tuba Recorder Triangle Clarinet Serpent F B

40 ) e 0 Stage 12 Ho many signs and symbols can you find in Theoryman? Write them here > q < U > U e Œ. Î e... Congratulations on completing Improve your theory! Grade 1. See you again for Grade 2! qq