Eric Taylor Music Theory in Practice Revised edition 2008 ABRSMContents Demisemiquavers (32nd notes) page 5 Major keys with four sharps or fats 6 Beyond two ledger lines 8 Transposition 10 ‘Compound time " Minor keys with four sharps or fats 7 Grouping notes and rests in compound time Fa Scales and key signatures (urther practice) 2 Four-bar rhythms 26 Intervals ‘Simple phrase structure Performance directions 36 General exercises a7 Each chapter begins with a reference to The AB Guide to Music Theory, a book that supplies further background knowledge on each topic. Where keywords are introduced in the text, they are highlighted in bold and accompanied by a definition, In the quoted music examples, tempo marks without brackets ocour in the original as shown. Tempo marks in brackets occur earlier in the music or are editorialAcknowedgements Page 7: Gershwn, Rhapsody n Be {© 1926 fenewed} Chappel & Co. rc, USA. Wamer/Cheppet Music Li RHAPSODY IN BLUE™ is radar of the George Gers Family Ts Reproduced by permission o nemationl Publications LisFaber Nui id. Aight eserves. Page 7: Baa, ‘Enigma’ Varations (Nod) ‘© Copyright 1898 Novel & Co. Lic fr Spain, France, Mexco, Color and Cote cle A ight fesere Intemational copyright secured. Use by pemisin, Page 7: Vila Lobes, Gua Prato Abu 8 (Caramboi) ‘© Copyright 1948 (Renewed) Musc Sales Coporaton(ASCAP) A hs reser tematonalcopyrint secured. Used by pemision, Page 8: Walton, Gown Imperial (© 1987 Oxord Uiversy Pree Reproduced by permission Al ightsraserved, Page 8: Watord Davies, BALE March Past (© Copyright 1921 Boosey & Hawkes Muse Publishers Ltd produced by pemission, Page 9: Sbelus, Vabe Triste © Brotiopt & Hértel Wiesbaden Page 13: Eta, Calo Concerto (itr) (© Copy 1919 Novelo & Co. Lid or Sai. France, Mesco, Colombia act Cote hoi. Alright reserved. ntertonal copyright secure, Used by permission, age 25: par, Symphony No.1 (1st mt) (© Copyrert 1908 Novelo & Co, Lid or Span, France, Meco, Colombia and Cote hove. Alright reserved. nteratonal copyright secured, Used by permission, age 26: Bren, Soe Syphony (ist mt) (© Copyright 1985 by Tho Baten Estate Lid Publishing rots icensed workdwideto ester Music Lis ‘Alright reseed. International copyright secured, Used by persion. Page 34: Oscar Straus, "Low's Roundabout” (© Copyright 1960 Ecttons ChoudensPremiore Music Gecup. Chester Must Lid racing as Cartel Conaly& Co. Allis resoved.Iteatoral copyright eec.red. Used by permission, age 35: Willers Davies, Solemn Melody {© Copyright 1810 Novel & Co. Lt, Aight reseved.Irtenatenal copyright secured. Use by permission, Page 99: Pucel/riten, Teme rom Young Persa's Gude othe Orchestra (© Copyright 1947 Hawkes & Son (Loon) 1s Reproduced by permission of Boosey & Hawkes Music Publishers LidDemisemiquavers (32nd notes) 5 {the AB Guido fo Music Theory, Capers 11, 01 & 11-2) In Grades 1 and 2, the shortest note that you looked at was the seriquaver (16th not). In Grade 8 you wil eam about the demisemiquaver (32nd note). A demisemiquaver (22nd note) sha the lath of a ssemiquaver (16th note). This is a demisemiquaver (32nd note): d adtiesiset J ‘Try writing them here: ease carta eel Exercise 1 ‘Complete these sentences with the right numbers. came A Niue 2 Ad testashogss hee ee Ree) ee eee) Ad tesserae —__ feeee cee) Exercise 2 ‘The bar-lines are missing from these extracts. Look at the time signatures and put in the bar-lines. ‘no eee 7 poh heros onasittali Gs erreieer cat feet =~ (Poco allegretto) Boothoven, Pano Sonata, Op. 7 (th ma) Molto vivace Hesse, Vin Sonata, Op. 5 No.6 (th mt “= ete, ae6 | Dorisemiquavers (2nd notes) Exercise 3 Example f@ ©) ©) ) Each of these rhythms need one or more rests to complete the bar. Put them in at each of the places marked * pT) FL PUrseBEvil;-----10BEY ply Ry pe NFO gid) Oo Au. gb ba poy g4 DSO A gil) OJ eo Major keys with four sharps or flats (The AB Guide to Muse Theory, Chapter 4/1) ‘At Grade 8 you wil study these new keys: > E major (four sharps), and 1» Ab major (four flats). ‘You wil earn about their scales, key signatures and tonic triads. Its easy to work out these new scales if you remember the patter of tones and semitones in the major scale. The patter of semitones in the major scale is: TTS TTS. emember that the semitones are always between the 3rd—ath and 7th-8th degrees of the scale.Exercise 1 Exercise 2 Exercise 3 Example @ @ ) (©) Mejor koys with fou sharps or fats | 7 ‘Write accidentals in the correct places to make these scales. (Do not use key signatures.) Draw ™— over each pair of notes that make a semitone. = e Ab maior Sass SS a SSS ‘Write the key signature and the tonic triad for each of these keys. Remember to look at the clef! — =. : Ab major E major Ab major ‘The accidentals are missing from these pieces of music. Look at the keys (labelled under each stave), and then write in the accidentals before the notes that need them. ‘Andantino moderato Gershwin, Rraasody Be E major Adagio gar. ‘Enigma Varatons (Nerroo) etc. Eb major (Allegretto) ‘Wie-.0b08, Guia Pratco Abum 8 (Carano) Amajor (Motto lento) Wagner, Pasi Prluy etc. ‘Ab major 1 = 168 (Chopin Etude, Op. 25 No. 5 ete. E major8 | Major keys with four sharps oF fats Exercise 4 [J Look at the accidentals, then name the key of each extract. Copy them out again, with Key signatures instead of accidentals. Poco largamente ‘Waten, Crown ine Example ete, Key Ab major Gavotte 48. Bach, PartNo 3 for unace, vil ete, Quick J = 132 (0) Key (Andantino) ‘Schurann, Abu forthe Young (Einnensna)Beyond two ledger lines 9 In Grade 3, some of the exercises use more than two ledger lines, Exercise [J Wiite the name ofeach note. io 11d Example «a & w 2 o & io Ib 1p o & © 6 7 0 2 @ € 3s Exercise 2 Rewrite each extract inthe new cet, but atthe same pitch. (Andante) ees, Arpatchia Example Besthowen, Pano Sorata, Op. 13 (Patnique) nd mt) ‘Adagio cantabile @ ete. = 100) Dror, Ceo Concerto (1st) (o) (Lento) ‘Solus, Valse isto10 Exercise 1 Example © Transposition (The AB Guide to Music Theory, Chapter 7/2) ‘You will do the easiest kind of transposition at Grade 3 ~ transposing notes up or down just one cctave. You wll do two things: > move a melody down one octave from the treble clef to the bass clef; > move a melody up one octave fom the bass clef tothe treble cet. Be careful to copy out the notes correctly! ‘Transposition means moving all the notes in a Piece of music up or down in pitch by the same interval. ‘Thete are two mistakes that people often make. The first mistake is to transpose the melody by two ‘octaves rather than just one - for example: - = ‘lef, becomes: PERS vent mccne neta tn ct Y Ret = $e a onor # 7 x ‘The second mistake that people make is to write the melody at the same pitch, but in the other clef: 2 transposed an octave higher, using the treble clef, becomes andnot . Write each of these melodies one octave lower in the bass clef. (Allegro moderato) ‘Schubert, Unies Symphony (1st mt) ort thet ert tte et. = = i (Allegro vivace) [Neil The Mery Wives of Windsor (Overture) etc,Trenspostion | 11 Exercise 2 ‘Write each of these melodies one octave higher in the treble clef. 4.8. och 48 Pree 8 Fugues, BK Fuge No.7) @ a Boutnren,Srehony No. (4 mt 2 2 o = (orcas) Bats, Conc fr in 8 oo mt o Compound time The AB Gude to Music Thay, Chapter 13-8) Simple time Grades 1 and 2 covered simple time. This means that the beats can be divided into twos. Ad eat asin 8, 8 or, tor example, can be didedino JJ Similar 2 d best asin 8, or 8) can be ddedinto dd anda a) boat (Bin Fd Compound In compound time the beats divide into threes. They are written as dotted notes, for example, a can time oso 4 J 4 eas. nGeade9 tre cot othe quarter note) dis taken asthe sign for one ‘beat in compound time signatures. These are the time signatures you will cover: $§ = 2 dotted crotchet (quarter-note) beats in a bar, 8 = 3dotted crotchet(quarter-note) beats ina bar, B= 4 dotted crotcnet (quarter-note) beats ina bar. When a di didedino tree quaves lth note), we on, or bean, them together tres: § JJ) &§ NTI) ¥ NINN ‘You wilfind out more about how notes and rests are grouped together on page 2112 | Compound time Exercise 1 Example Exercise 2 Example ©) (a How many beats in a bar % means 2 8 means & means 8 means 4 means W means are there? Fill the gaps in the sentences. beats ina bar, and the beats are crotchets (quarter notes) beals in a bar, and the beats are beats in aber, and the beats are beats ina bar, and the beats are beats in aber, and the beats are beats in a bar, and the beats are Write the time signature at the beginning of each of these bars, and add either ‘simple’ or ‘compound’ in the sentences below. a) DI oe Thisisin simple time This isin J71IT) This isin | en! time This isin time time TdT | 6 ITTV | Thisisin time This isin There are two ways of describing time signatures: 1) as simple or compound; 2) as duple, triple or quadruple. ‘These are the time signatures that you know about so far: i J | simple trite time a H | simple quadruple time § compound dunle ime 8 compound tiple tme ¥F compound quadruple time timeCompound time | 13 Exercise 3 [Z Write the time signature at the beginning of each extract. Then describe the kind of time by completing the sentences below. “action, ‘rek 1 me ony wh tne ees" Example ‘This is in. compound duple- time. Allegretto ben moderato Franck, Violin Sonata (1st met) @ = Thisis in tire Andante Hoya, Trumpet Concerto dm) ) Tse tine. Largo ma non tanto 4S. Bach, Concerto for two walns 2m © HE etc. This isin : ane oe) ‘Bigar, Cello Concerto (1st mut) @ = EE = etc. This isin tine. (Andantino) Schubert, Moment Musa, D. 78072 @ Thsisin _ te, (Andante) “Mendelssonn, Viciin Concerto (2nd mt) Thisisin a tie endetsotn Hear my rae (0 rte wings ota dove) @ = tie ee = — time,14 | Compound time Exercise 4 Example ) © @ @ Exercise 5 Example ) @ © ty) Put the bar-lines in these extracts. They all begin on the first beat of the bar. sc fre yal Feewors (La Pa) Largo alla Siciana, once Ms Po: x ete Monson, talan Senay st Allegro vivace . aoe fe t t 2 st z etc. Andante Fauré, Vioin Sonata, Op. 13 (2nd mvt) eS Tempo marziale Ccounod, Fest (Solis! Chon) (Allegro maestoso) ‘Eiger, Organ Sonata, Op. 28 (1st mt) tS aes The rests are missing, Put a rest (or rests) where there is a *. Remember to use a dot if necessary. @ g TT dud. . ge D4 . bom gee dT « gL‘Compound time | 15 Grade 2 covered how to divide a beatin simple time into three by writing a triplet. So these examples ‘sound exactly the same: aid) sms | Use simple time signatures when the beats normally divide into twos. Use compound time signatures when the beats normally divide into threes. Itis always possible to write a piece of music and use either a simple or a compound time signature without altering its sound. Exercise 6 [J _ Inthe examples, you can see how to write out a simple-time melody using compound time (and vice versa) without changing its sound. In the same way, rewrite the melodies that follow using the new time signatures. Allegro moderato _ (Greg, Symphonic Dances, Op. 64 No, 1 aa ma SO Example ‘Allegro moderato (Andante cantabile) “ehakowsa, Symphony No. § rd aut) Example = etc. (Andante cantabile) ea {Allegro molto) _g 3 gar, Pomp and Greumstance March No. 2 (a) (Allegro assai) area, Te Roman Carnival Overte)16 | Compound tine Allegro Brahms, Calo Sonata, Op. 98 cmt) (Motto allegro) Mendalsotn, Sting Quartet, Op. 12 (4h ma) i) : ete. (Andante) 35 ‘supp, Poot and Peasant (Overture) 535 ig)Minor keys with four sharps or flats 7 sic Theory, Chapter 4/2-3) In Grade 2 you chose either the harmonic or the melodic form of the minor scales. In Grade 3, however, ‘you need to know both forms of the minor scales set for the grade, including the scales for Grade 2 (A ‘minor, E minor, D minor). You can practise the harmonic and melodic forms of these three Grade 2 scales in the next two exercises. Exercise 1 Write in accidentals where they are needed to make these scales. (Do not use key signatures.) Draw — over each pair of notes that make a semitone. Example harmonic minor E melodic minor D melodic minor intone FSS D melodic minor 518 | Minor keys with four sharps or flats Exercise 2 ‘Write out these scales using the rhythms shown. Add the correct key signatures, but do not use eee ee any unnecessary accidentals. ‘Aharmonic minor (descending) : ‘I D melodic minor (descending) E harmonic minor — ——— (ascending) el cel dee) eb | al Ts wl es ‘Amelodic minor (ascending) ‘The new minor keys for Grade 3 are: > Bminor —- two shapps in the key signature » FH minor — three sharps »C# minor - four sharps > Grminor - twofals > Cminor three tats > Fminor —- four fats You can see the scales of these keys in both the harmonic and the melodic forms in Exercise 3 below. The harmonic minor scale has the same notes going up and coming down. Exercise 3 In these scales, draw ‘— above any pairs of notes that are a semitone apart. (The first answer is. ven as an example. B harmonic minor B melodic minor (ascending) (descending) eeseal eee Es r= jofo eo of 5 — of oe o Po Ff harmonic minor F# melodic minor (ascending) (descending)CH harmonic minor G harmonic minor ‘C harmonic minor F harmonic minor Exercise 4 Minor keys wit four sharps or fats | 19 CH melodic minor (ascending) (descending) G melodic minor (ascending) (descending) C melodie minor ascending) (descending) F melodic minor (ascending) (descending) Write in accidentals where they are needed to make these scales. (Do not use key signatures.) Draw -— over each pair of notes that make a semitone. Example B melodic minor C harmonic minor G harmonic minor F harmonic minor ‘C melodic minor C# melodic minor20 | Minor keys with four sharps or flats Saas Ss) Write the key signature and tonic triad after each clef. , = , ee .=_= FE minor minor G minor p. fh @ oe « 2—— _ 4 SS CE minor F minor B minor Exercise 6 ‘Write the key signature and the scale in the form shown, using the given rhythm. Do not use any unnecessary accidentals. aSTTId old odd G melodic minor eae (escencng SS (descending) ed SE ———————————— 22 2 Willd J (descending) es Bi Ld dll doe ‘C melodic minor SaSSSSSSa—a (descending) BL Fis is od F melodic minor (ascending)Notes Rests fe to Music Theory, Chapter 5/1-2) ‘On page 11 you covered how notes are beamed together to make up a beat in compound tie: $0) $i) §l JT! Yovoanchideo sige destino J Dodd nx [Jd « ST) Nooettt teraeswowvniten kets: § STI ITI | name is: SIT II | ~ six quavers (eighth notes) beamed together ike this would imply #, However, since the beaming ofthe nots shove wher thebeats bog tes cartines eve tobe sec: $ de JT) | rates J FI vecause tat sugess tat th yt is & ‘Semiquavers (16th notes) as well as quavers (eighth notes) ~ and mixtures of the two are also beamed together in beats: SST sim. | al 77 autin 8, B ond ¥, noteslasing two fleas re wrt ke tis: di rot od) Anotolesingatutbariswriten | ded. | inB.and lo. | in’ You can write a one-beat rest in 8, 8 or as ether f or 2 1 ‘As in simple time, a new beat needs a new rest. Look at these examples: Bler] ere dll Bleed You can replace * by ¢ 1 however, in MF a a rest is used forthe first two beats or forthe last worst: F~ dled | Inall compound time signatures, you show a completely sient barike tis: | = | (without acon When a: beat nctdes ress, you can anange them ie this bot td oe Bt we BOD 049} renee Remember that (with the exceptions mentioned above) a new beat needs a new rest: Ht | (ltteer: GTP E | OF dee} DL | ‘You use semiquaver (16th-note) rests the same way as in simple time. In other words, you need to put a ssemiquaver (16th-note) rest to ‘frish of the quaver before any other rest folows: By LL AY 7 J. |). cosas empl and see how the somiquaer (1m nots also flows the generale that anew beat needs arew rest § JJ” ¥ Ad dadI You can use beams across sts. Foristance, 7 0.d shows clay that the group makes up enecompound ime beat. M74) ana ob £1 arene 0 cer22 |, Grouping notes and rests in compound time Exercise 1 Rewrite these melodies, putting the notes and rests in the correct groups. (Moderato) ‘Schumann, Album forth Young Rundgesang) Example Swift MacDowel, Weodtnd Sketches (Wilothe Wisp) Hook, Pastorae, Op. 25 o ‘Alegronon troppo ee, gn © (Andante maestoso) Uszt, Les Prétudes = (d) fe a i - Tchakousy, The Spin Beauty (Rose Aclago) 2 (Adagio maestoso) @ ete,Scales and key signatures (further practice) 2 Exercise 1 Example ‘These exercises will help you revise scales and key signatures: they are based on al the work in scales and keys (both major and minor) that you have done so far, including the ones you studied at Grades 1 and 2. ‘Add the clefs and key signatures needed to make these scales. For minor scales, remember to ‘add any accidentals which are necessary, but do not add any which are not. B melodic minor Bb major F harmonic minor E major Ab major Ff harmonic minor G melodic minor E harmonic minor24 | Scales and key signatures (futher practice) Exercise 2 Example Name the key of each extract. Then rewrite each melody, using the correct key signatures. Remember to remove any accidentals that become unnecessary, and to add any that are needed. Allegro ‘Boathove, Pano Concerto No 2 (el tc. Key C minor Assai moderato @ Coral, Ho Sonata Op. 1 No. 10 2 ©) 3 Cantabile TEdomann, Vion Sorat rd vt) ‘Adagio, ma non troppo Beethoven, Sting Quartet, Op. 131 (Ist mt @‘Scales and key signatures further practice) | 25 JS. Boch, Passacagia er organ © tc ae Bar, Symphony No.1 (stent) 0 : — etc. Key 4.8. Bach Anna Magda Bach Notebook Mint @ Go Mtdeleeee) Honeel Messan (Ang wins sigs) " = Key Allegretto pomposo Sart Sais, The Carnal of Anal (The Eesha) 0 KeyFour-bar rhythms. Anacrusis —_Allthe four-bar rhythms that you studied in Grade 2 started on the fist beat of the bar. Some pieces of music start before the frst complete bar, This kind of opening is called an anacru Look at these pieces of music that start before the fst beat ofthe bar. ‘An anacrusis is a note or notes that come before ‘the first bar-line of a piece, section, or phrase. This is also called an upbeat. In written music, the bar ‘numbers start at the first complete bar. (Agr mio) Baten, Siete Sonar sma @ = ‘Allegro marziale ‘Susan, The rates of Penance (With cate beac) ‘Andante, con moto ‘Schubert, Symphony No.5 (2nd Sousa, The Stars and Stripes Forever March 2 @ Minuetto Mozart. Symphony No. 29 mat) i) ‘Andante ‘Beatnoven, Pino Sonat, Op 26 1s mt) 3 @) Inall these examples, the number of beats in bar 4, added to the beats before the fst bar-line, add up to full bar. A four-bar rhythm in # for example, contains a total of 12 beats. In the same way, a four-bar rhythm in 4 contains 16 beats. Although this is not a rule, it happens very often — particulary in simple ‘songs, dances and marches, Note that you must apply this knowledge in the Grade 3 exarn.Four-bar rhythms | 27 Four-bar rhythms that start before the first bar-ine are in ll other ways similar to the ones you studied in Grade 2. Look at the examples on page 26 again and note the diferent features, (1) In these examples, the second half is the same as the fist haf =F es id di LiL ddd ld ddd lk bd Pes J. MOT ddd SITLL (2)|n this example, the second half is very nearly the same as the fist half: eT MTN TAL (8) In this example, the two halves startin the same way: OSMITTI1 DI FB DIT OR Abe (4) In these examples, rhythmic repetitions are used in other ways: ee ee eee oT 6 TN + ITI bb (6) This example has no repetitions at all o Bd ITT WIT os 1D Example (f) shows a rhythm that is used very often. Sometimes itis called the ready-steady-go principle: the pattern is played once, then it is repeated, then itis played again a tied ime; on the thi ne it Continues into a longer rhythm. Here is another example fom the slow movement of Beethoven's Violin Concerto: Larghetto In Exercises 1 and 2, pages 28-9, you can compose a variety of four-bar rhythms, Try to include rhythms that use different kinds of repetition — remember that you can also write something that has no recurring pattern,28 | Four-bar myths Exercise 1 [7] Compose four-bar rhythms with these beginnings. » AL fb ___ o #23) goody)Exercise 2 Four-bar rhythms | 29 Include each of these rhythms in a four-bar rhythm. You can put the rhythm where you choose, it does not have to be at the beginning. a FT 4 + : o 4fTis30 Major keys Minor keys Exercise 1 Example Intervals (mea8 6 f0 Music Thoory, Chapter 7/1) To1name an interval, you néed to give its number and also its type (quality). In Grade 3, the lower note of the interval is always the key-note (tonic) of one of the major or minor scales you have learnt sofa, > In major scales, the interval between the key-note and the 4th and Sth degrees is the same as itis in ‘minor scales, and these intervals are called perfect. >» The key-note to its octave is also a perfec interval >» The interval between the key-note and all other degrees is major: major 2nd, Sd, 6th, 7th, » Inminr keys, the 4th and Sth degrees are the same as in the major scale, 80 they produce perect intervals. So does the octave. >» The interval between the key-note and the third degree is different: itis a minor 3rd, > The 6th and 7th degrees of minor scales vary according to whether the harmonic or melodic minor Scale is being used, and also whether itis ascending or descending » Ifthe 6th and 7th degrees in a minor scale are the same asin @ major scale, they produce major intervals from the key-note, otherwise they are minor. Here are all the possible intervals, with C as the key-note, SS 3 33 minor major perfect perfect minor major minor major perfect 2d 3d aed ath Shh Bh 7th Octave ‘The name of the interval is always the same, even, if the top or bottom note is played first, or the two notes are played at the same time, Write the full name of each interval ( key-note - the 1st degree of the scale. | minor 3rd, perfect Sth). The lower note is always the ‘Ab major D minor —. — GS = pe 7 ay So ee G minorIntonals | 31 Gminor B minor D major FH minor C major : = o = 2 B minor CH minor E minor F major HS Gir ours es 5 Exercise 2 [J Name the intervals between each pair of notes marked in these extracts. In each case, the lower note is the key-note of the melody. 2 Hand, ter Asi) — Example Major Sra Perfect Sth 1 7 “rire, "Lavender Bus — @ (Vivace) (Gc Oppeus ana Euro (Dance of he Fuses) o (Allegro) 1 2 3 — @32 Phrase beginnings Simple phrase structure (The AB Guide to Muse Theor, Chapter 9/1) | you look carefully at the sentence you are reading now, you will see that it has two parts. The division into two parts is shown by the comma. Similarly, a poemis divided into verses, and the verses are chides into lines. A melody can be divided up ina similar way; it consists of sections caled phrases, ‘There are many diferent kinds of phrase and some are quite complicated. A very Common tybe of melo, Consists of four phrases, either: > four 2-bar phrases (making an 8-bar melody), oF > four 4-bar phrases (a 16-bar melods) ‘This example is a 16-bar passage consisting of four 4-bar phrases. The square brackets "1 above the stave show the 4-bar phrases. oo gar Pomp and Crcumstance March N+ Reguiar phrase patterns can happen naturally when a verse is set to music. Meloy tom Estes Petr (159 Words by Nahum Tae —_— While shep -erds watched ther flocks ty night, Al seated on the ground The on + gd of the Lod came down, And go ty shone a - ound, If you look at the Elgar melody above, you can see that all the phrases begin on the first beat of a bar. Look at ‘While shepherds watched’: you can see that all the phrases begin on a minim before the bartjne, Phrases can begin at any point ina bar. But wherever they begin the phrases in a melody often ‘start with the same rhythm, or with rhythms that are nearly the same. For example, the Elgar phrases all begin on the first beat of a bar, and they also start with a minim, Both atresctwoprasstegn d 1). | wiiobothotthonstivoptrasesteon J lad |Repetitions How does it sound? Three-bar Phrases ‘Simple phrase structure | 33 FRepetitions tke this can give a useful clue in spotting how a melody is divided into phrases. Also, phrases coften end with longer notes. The endings of all the phrases in this melody provide examples. “Transl, "The Mil of Dee! In this last example, the frst, second and fourth phrases are almost identical in notes as well as in rhythm. ‘This makes it easy to see the division of the melody into phrases. The best guide, however, is not what the music looks lke on paper but how it sounds, so try and hear the melody in your head. When you are Practising, of course, you can actually play i, or sing it aloud. In the exam room, even if you cannot hear the exact pitch of the notes, try to imagine the rhythm correct. Fortunately rhythm is nearly always the best single guide to phrase structure. (1) Although 2-, 4- and 8-bar phrases are by far the most common, there are others, The Minuet in Mozart's Symphony No. 40 (n G minor, for example, begins with two 3-bar phrases: ‘Allegretto ete, (2)inall these examples, phrases have been shown by -—1 signs. They are deliberately used here because they are not used in real musi: iis easy to see what the composer wrote and what has been ‘added simply fr study purposes. In real music signs show how to perform a piece in deta they are not used to show where phrases begin and end. Composers may use staccato dots (to show that the notes are to be detached, slurs (to show that they are to be played smooth), and other such performance markings.34 | Smpie phrase stricture Se them: Her, for example, ae te fist eight ars ofa pecs for piano as the composer wrot Boxter Ro Atego ; 0 ae Sage - Here they are again, with square brackets added to show the phrases: Allegretto ‘That is why you should not describe slurs, staccato dots, ete. as ‘phrasing marks’, although the ‘expression is commonly used. Its better to call them articulation marks. Exercise 1 ‘Add ‘1 marks to show the phrases in each extract. (The first phrase is already marked in (a,b) and (c}; other phrases are marked in the remaining extracts.) Waltz tempo a Oscar Straus, Love's Rownsbout (@) Mozart, The Mage Fite (Der Vogstinge' © 2‘Semple phrase structure | 35, we, Salar Lento molto espressivo veeed De ale 4:5. Bach, Ferch Sut No.6 (Gavote) {allegro) Foksong, "The Coast of High Barbary 0 Allegro ‘Mozart, Concerto fortwo pianos (rd mv) @)Performance directions (The AB Guido to Muse Theory, Chaper Here are some taan words fn addition to those in ear grades) that you adagietto ad fbitum, ad ib, agitato alla breve amore anima animato ben brio comodo deciso delicato energico forza largamente leggiero ‘marcato, marc. marzele esto pesante ‘prima, primo fisoluto rimico rubato, tempo rubato ‘scherzandi, scherzoso second, secondo semplice sempre stingendo subito tanto tranquito triste, tstamente volta need to learn in Grade 3 rather slow (but faster than adagio) atchoice, meaning that a passage may be played freely agitated vith a minim beat, equivalent to @ (2 ), implying a faster tempo than the note values might otherwise suggest love (amoroso: loving) sou, spit (con anima can mean ‘with feng’ orspirted) animated, lively (animando: becoming more lively) wel ‘igour (con brio: wth vigour, lively) ‘convenient (tempo comodo: at a comfortable speed) with determination delicate energetic force broadly light, nimble emphatic, accented ina mitary stye sad heavy fist bold, strong rhythmically with some freedom of ime playful, joking second ‘simple, plain aways radualy geting faster ‘suddenly so much calm sad, sorowtul time (prima vota: fst time; seconda votta: second time)Exercise 1 General exercises a ‘This melody is played by cellos at the opening of the second movement of Beethoven's Fifth ‘Symphony. Answer the questions below. ‘Andante con moto (d= 92) eae ee (a) The key is Ab major. Add the key signature where required. (©) Add the time signature where required (©) Which isthe loudest note? inbar — (@) In wich bars are notes ted? Bar (©) What do you notice about the pitch of the highest and the lowest note? (f) Give the meaning of: Andante con moto ___ @ des @ a... _ (@)_ Name the interval between the last two notes in bar 6. (h)_ Draw a cicleround three notes next to each other that belong to the tonic triad, Remember that the key is Ab major) {)Trangpose the frst four bars (as far as the note marked *) up an octave, writing inthe treble lf. $ —38 | General exercises Exercise 2 Look at this passage, which is the opening of a Violin Sonata by Geminiani, and then answer the questions below. 0 a Largo os 1 2 (@) Give the meaning of Largo : = — (b) What key is the frst line ofthe music in? —— - = (©) What key is the second tne of the music in? —— (A) Tick the two boxes that describe the time signature: simple ‘compound dupe triple quadruple Oo (@) Give the numbers of two bars that have the same rhythm. Bar (Name the two intervals marked () and (i) o oo a - - ae (@) Draw a circle round the Sth degree of the scale whenever it appears in bers 1-5. (h)_ Give the number of a bar in which the melody jumps an octave. — (What do you notice about the pitch of the notes that form the semiquaver(16th-note) group in bar 3? J Which note is held for two full beats? in bars — () Rewrite bars 1-5 without using a key signature. Write in accidentals that are needed but do not use any that are unnecessary, . Od ————————Exercise 3 General exercises | 39 Look at this melody, which is the theme (composed by Henry Purcell) of Benjamin Britten's Young Person's Guide to the Orchestra, and then answer the questions below. Allegro maestoso e largamente (@) Add the time signature where required. (b)_ Describe the time (simple or compound; dunle, triple or quadruple). (@) Name the key in bars 1-3, ane (@) Draw a circle round three notes next to each other that form the tonic triad. (Remember the key you ‘named in the last question) (©) Which is the highest note? inbar - (What do you notice about the rhythm in bars 3, 4, 5 and 6? (@)_ Give the meaning ofthe folowing: Allegro maestoso e argamente - @ marc, __ (i) — signs above or below notes —_ - (6) Scns eos Nhs = ence scree EEE EE EERE (--S over the ast two minims - oe (h)_ Rewrite bars 1-3 in notes that are half as long (the fist note is given). Remember to add the new time signature. See40 | General exercises Exercise 4 “Tis isthe begining ofa melody trom a piano place (Last Saturday Evening) By Greg, Look at, and then answer the questions below. A Andante: (2) What isthe key? — a (0) Add the time signature where reauired. (©) Tick the two boxes that describe the time signature: simple ‘compound duoie triple (@)_ Name the two intervals marked () and (i ) —___ @ — (©) Give the meaning of @ — Andante__ @ p—— (Give the degree ofthe scale of the frst note, Phe 7 {h). There are two long slurs over the notes: from the beginning to bar 4, and from bar 4 to the end. What do they mean? What do the two sections of the melody, marked by these two slurs, have in common? @ Starting at * (in bar 4), rewrite the music in , beginning as shown.