Music Theory in Practice

Grade 1

ERIC TAYLOR

The Associated Board of the Royal Schools of Music

Syllabus for Grade 1

(1) Note values of semibreve, minim, crotchet, quaver and semiquaver, and their equivalent
rests (candidates may use the terms ‘whole note’, ‘half note’ etc.). Tied notes. Single-dotted
notes and rests.
(2) Simple time signatures of , bar-lines, and the grouping of the notes
listed above within these times. Composition of a two-bar rhythm in answer to a given
rhythm starting on the first beat of a bar.

(3) The stave. Treble (G) and bass (F) clefs. Names of notes on the stave, including middle
C in both clefs. Sharp, flat and natural signs, and their cancellation.

(4) Construction of the major scale, including the position of tones and semitones. Scales
and key signatures of the major keys of C, G, D and F in both clefs, with their tonic triads
(root position), degrees (number only), and intervals above the tonic (by number only).

(5) Some frequently used terms and signs concerning tempo, dynamics, performance
directions and articulation marks. Simple questions will be asked about a melody written in
either treble or bass clef.

First published in 1990 by

The Associated Board of the Royal Schools of Music (Publishing)
Ltd 14 Bedford Square, London WC1B 3JG
@ 1990 by The Associated Board of the Royal Schools of Music
ISBN 1 85472 490 8
All rights reserved. No part of thts publication may be reproduced,
stored in a retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of the copyright owner.
Typesetting and music processing by Halstan & Co. Ltd, Amersham,
Bucks Printed in Great Britain by Headley Brothers Ltd, Ashford, Kent
Contents

Section A Elementary time values page 4

SecdonB Bar-lines and time signatures 5
SecCtion Notes on the stave
Sectiozt D The treble (G) clef 8

Section E The bass (F) clef 8

Section F More on time values 10
SecGtion Rests 11

Section H Ties 12
Section I Dots 12
Section J Accidentals 14
Section K Semitones and tones 15
Section L The scales and key signatures
of C, G, D and F major
Section M Cancelling an accidental 19

Section N Degrees of the scale and Intervals 20

Section O The tonic triad 22
Section P Composing an answering rhythm 22
Sectiozt @ Performance directions 27
Section R General exercises 29

The music on the cover is the opening of an arrangement

for trumpet in D and piano by Philip Cranmer of the aria,
‘The trumpet shall sound’, from Handel’s Messiah
(Handel and Bar:h Arias, published by the Associated Board)
4

Introduction

In the theory examinations you may write your answers either with a pencil or with a pen.
Most people use a pencil, but the choice is yours. The important thing is that the answers
should be clearly written. If you use a pencil, choose one that is not too faint, and make
sure that it is sharp. If you use a pen (of whatever kind), choose one that does not make too
thick a stroke: some of the lines you will need to draw will have to be thin.

The advantage of using a pencil is that you can make corrections easily and neatly. But this
needs care — and also a good-quality, clean rubber if you are to avoid smudges (and perhaps
a crumpled page as well!).

Right from the beginning, it is important to learn to write down music clearly. Badly
written work may be misunderstood, so it could lose you marks in an examination. And
quite apart from examinations, bad writing leads to mistakes or to waste of time when
musicians have to sing or play from manuscript. Some hints about writing will be given in
these work-books, and any printed music which you are learning will provide a good model.
Look closely to see how the notes and signs are written, and where they are placed. Practise
copying out music carefully. To do it well may take time at first, but speed will come with
practice. In the examination marks will be lost for inaccurate copying and untidy work.

A Elementary time values

(see The AB Guide to basic Theory, 1/1)

Exercise What are these notes

1
called? Name Name ..............
.............. I Name ..............
Name ..............

Exercise 2 Complete the following sentences by adding the right number on each of the dotted lines.
(As an example, the answer to the first one is given.)
A lasts as long as 2 s.
A lasts as long as .... s.
0
A lasts as long as .... s.
0
A lasts as long as .... I s.
A lasts as long as ....I s.
 B Bar-lines and time signatures
(see The AB Cruide to Music Theary, 1/2)

Exercise 3 What are these lines called?

that is this pair of lines called? .....................

Exercise 4 At the beginning of a piece of music you will usually find two numbers: for example,

, or . What are these called3 ......... ... . ........

Exercise S In directions such as , and , what does the top number tell you?

And what does the bottom number tell you? .......................................

So what is the full meaning of g ? ............... . .............................

And what is the full meaning of ? ..............................................

Exercise 6 Write the sign which is sometimes used instead of . ...

Exercise 7 Add ONE note at each of the places marked * to make the bar complete.

Exercise 8 Add the time signature at the beginning of each of the following.

11
 Notes on the stave
(see The AB Guide to Music Theory, I/ I & 2/1)

The easiest note to draw is the semibreve: it is simply an oval,

If it is meant to be on a line, the line should run exactly through the middle,
and the semibreve should cover only half the space on either side. For example,

If it is meant to be in a space, it should fill the space (not overlap a line):

not or

It is not clear where the notes marked x are meant to be.

Exercise 9 Draw a semibreve on every line and in every space between the given notes.

Notes higher or lower than those provided for by the stave can be shown by drawing
an additional line or lines when required. For example,

Notice that each note then has its own hne:

not

A line should not be drawn over the note immediately above the stave, nor underneath
the note immediately below it:

not and not

When you draw extra lines, they must not slope up or down. They should be the same
distance apart as the stave lines:

not Or

As many lines as are needed may be drawn, but in Grade 1 we shall go no further than one
above or below the stave:

Exercise 10 What are these additional lines called? .............

 Like semibreves, the note-heads of minims and shorter notes are also oval (not round),
though drawn a little smaller. (Some people draw black note-heads as single slanting strokes,
thus: but these are not easy to read and can lead to mistakes.)

The stem of a note goes down on the left | and up on the right .

The stems of notes on the top two lines go down.

The stems of notes on the bottom two lines go up.
The stems of notes on the middle line may go up or down.

Notice how long the stems are, and do not draw them too long or too short.
Also, they should stand up straight. Here are some good and bad examples:

Good Bad Good Bad Good Bad Good Bad Good Bad

Exercise 11 Draw a crotchet on every line.

Draw a minim in every space.

Quavers (and shorter notes) are shown with curved fails in printed music,
but you may draw them with suaight tails J if it is easier. Notice that
the tail is always on the right-hand side of the stem.

Exercise 12 Turn each of these notes into a quaver.

 (see The AB isuide to Music Theary, 2/1)

The treble clef is not easy to draw at first. The most important part is the loop
around the second line (G) of the stave: start (from left to right) like this —

— and then follow through. The top of the clef should be just above the stave,
the bottom just below it. Practice by copying this treble clef:

In Grade 1, only one ledger line will be used in the treble clef: the one below
the stave. A note on this line is miétdle C:

Exercise 1 3 Under each of these notes write its letter name.

Name .......................................................................

E The bass (F) clef

(see The AB Guide to Music Theory, 2/1)

The bass clef can be drawn in two ways:

Notice that they both have two dots: one on either side of the F line.
Try drawing both ways here:

In Grade 1, only one ledger line will be used in the bass clef: the one above the stave.
A note on this line is middle C:
Exercise 1 4 Under each of these notes write its letter name.

Name.......................................................................

Exercise 1 5 Under each of these notes write its letter name.

Name

Name .......................................................................

Exercise 1 6 Before each of these notes draw the clef which will make the letter name correct.

E A F D G

C F B G C

A G D C

G A D F E
10

F More on time values

(see The AB Guide to Music Theory, UI—2)

Exercise 1 7 What is this note called: I ? ....................

Complete the following sentences by adding the right number on each of the dotted hues.

A I lasts as long as ....

A lasts as long as ....

A lasts as long as ....

A 0 lasts as long as ....

Exercise 18 Add ONE note at each of the places marked * to make the bar complete.

Notes with tails are often joined (‘beamed’) together. For example,

I I may be written ;I I I as ; and I I I as

Exercise 1 9 Rewrite the following, joining up the quavers and semiquavers.

(a) (d)

(b) (e)

(c) (f)
 G Rests
(see The AB Guide to Musir Theary, 3/1)

The semibreve rest hangs below a line, normally the fourth line if there is only one melody
on the stave:

The minim rest sits on a line, normally the third:

A crotchet rest may be drawn in two ways:

or

The first is a little harder to draw, but try to use it. (It is used in printed music,
and even in manuscript music most composers now write the rest this way.)
It is drawn this way — a sideways z on top joined to a sloping c below:

Practise by copying several crotchet rests after the one printed here:

Normally, the crotchet rest is placed in the middle of the stave, and so are the quaver
and semiquaver rests:

Exercise 20 Add ONE rest at each of the places marked * so as to make the bars complete. Remember
that a completely silent bar will always take a rest - not only in but also in and $.

(b)

(d)
"t
„ 12

Ties
(see The AB Cruide to Music Theory, 3Z2)

A tie ( or ) joins notes which sound the same. It turns them into one sound
( I, for example, sounds like ). Any number of notes can be joined in this way,
but they must be the same notes, and they must be next to each other. The tie goes
from the head of the first note to the head of the next, on the outside:

not and not

Exercise 21 Add ties wherever possible in the following. Underneath each, write the total number of
crotchet beats made by the tie (as shown in the first example).

(a)

1J2 beats . beats

(b) (e)
. beats . beats

(c (f)
. beats . beats

Dots
(see The AB Guide to Musié Theory, 3/2)

A dot after a note makes it half as long again.

Exercise 22 Complete the following sentences by adding the right number on each of the dotted lines.

A $- lasts as long as .... s. A lasts as long as................s.

A 1. lasts as long as .... I s. AI lasts as long as .... I

s. A lasts as long as .... I s. A $. lasts as long as .... I

s.
 13

The dot must be placed immediately to the right of the note or rest to which it refers.
If the note-head is in a space, the dot goes in the same space; if the note-head is on a line,

the dot normally goes in the space above:

Exercise 23 Add dots where they are needed to make complete bars.

(a) (b) (c)

Exercise 24 Add the missing bar-lines in the following.

Handel, Serve (‘Ombra mai fu’)

(a)

Franck, The Doll’s f omsnr

(b)

Foster, ‘The Old Folks at Home’

(c)

(d)(d)

(e)

Mendelssohn, The Hebrides (Overture)

(f)

Ravel, Bolero

(h)
 J Accidentals
(see The AB Guide to Music Theary, 2/1)

Exercise 25 What is this sign called: ? ..... ...... .... How does it affect the note which follows it?

What is this sign called: F ? .... ....... .... How does it affect the note which follows it*

Look closely to see how the three signs are formed, and note how they are placed on a line
or in a space:

DjD§ CtC§BF
If they are not carefully drawn, it can be difficult to tell which note each belongs to.

Exercise 26 Draw a sharp in front of each of these notes.

Draw a flat in front of each of these notes.

Draw a natural in front of each of these notes.

The signs for sharps, flats and naturals are all called 'accidentals’.
Exercise 27 Give the name of each of the notes marked with a number. The letter name alone is
enough if there is no accidental (e.g. C). If there ir an accidental, it must be shown (e.g. F§).
(As examples, the first two answers are given.)

1 Gf 2G 3 ... 4... 5...

 (b)

2... 3 ... 4 ... 5 ... 6...

(c)

1... 2... 4 ..
.

K Semitones and tones

(see TM' AB Guide to Music Theory, 2/1)

Exercise 28 Draw (as in the first example) above any two notes making a semitone.

Exercise 29 Add an accidental (if needed) to the second note in each of these pairs, to make it
a semitone ab‹nie the first. Put a tick underneath if no accidental is needed.

Exercise 30 Add an accidental (if needed) to the second note in each of these pairs, to make it
a semitone below the first. Put a tick underneath if no accidental is needed.
 L The scales and key signatures
of C, G, D and F major
(see The AB Cruide to Music Theory, 2/2—3)
Exercise 31 In this scale of C major, two notes a semitone apart are marked by .
Mark the other two notes which are a semitone apart in the same way.

Exercise 32 Add accidentals before any notes that need them to make the scales named below.
Then add above each pair of notes making a semitone.

G major
(ascending)

F major
(descending)

D major
(ascending)

F major
(descending)

G major
(ascending)

Exercise 33 Name the major keys which have the following key signatures.

Key..........major Key..........major Key........major Key...........major

Key...........major Key........major Key...........major Key...........major

Exercise 34 Add the clefs and key signatures needed to make the scales named. (Remember that the key
signature comes after the clef but before the time signature.)

F major

C major

D major

G major

Exercise 35 Write the scales named below, using the given rhythm. Add the correct key signatures
but do not use any unnecessary accidentals.

G major
(descending)

F major
(ascending)

C major
(ascending)

Exercise 36 Name the key of each of the following. Then write them out again, using key signatures
instead of accidentals.
Beethoven, Violin Concerto (1st mvt)

(a)
Key........major
Exercise 36
(continued)

(b)
Key..........major

]. S. Bach, Anna Magdalen a Bacli Notebook (Minuet)

Key...........major

(d)
Key..........major

Tchaikovsky, Serenade /or S wings (Waltz)

(e)

Key...........major

Elgar, Pump and Circum.-iance March No.4

Key...........major
 M Cancelling an accidental
(see T/ze AB Guide to ñfusir Theory, 2/4)

An accidental lasts until the end of the bar. For example, the note marked * here is F§:

To change the note back to F§, a § sign is added; similarly, if F§ is in the key signature:

Notice, too:

note 1 is Ff, note 2 F§, note 3 F\, note 4 Ft (the § here cancels the earlier § ).

Exercise 37 Before each note marked *, add the accidental needed to cancel the previous accidental:

(a)

(b)

(d)

Exercise 38 Give the name of each of the notes marked with a number. The letter name alone is
enough if there is no accidental — but keep in mind the key signature and any accidentals
which may have been added earlier in the bar. Remember, too, that an accidental
only affects later notes in the bar when they are on the same line or in the same
space.
1 2 3 4 5 6

(a) 4...

1... 2... S...

4... 5...
(b)

1... 2... S...

6...
 Degrees of the scale and Intervals
(see The AB Crutde to Music Theary, 2/2 & 7/1)

Exercise 39 In each of the following, the ‘first degree’ of the scale (the key-note) is in brackets. After it,
write the note whose degree is given below (as shown in the first example).

4th 2nd 3rd

6th

7th 5th 8th

The distance in pitch between two different notes is called an interval.

It is a ‘melodic’ interval if the two notes am played one after the other —

or a ‘harmonic’ interval if they are played together -

The size of an interval is measured by the number of degrees of the scale it includes:

2nd 3rd 4th 5th

The number of degrees is the ‘number’ of the interval. It is not changed by a key signature,
or by any accidentals in front of the notes. In Grade I we shall use only the intervals
which have the key-note as the lower note. These, for example, are the intervals from the
key-note in G major:

2nd 3rd 4th 5th 6th 8ve

Exercise 40 Give the number of each of these melodic intervals (2nd, 3rd, 4th etc.).

F major ......

G major ......
Exercise 41 Above each of these notes, write a semibreve which makes the named harmonic interval.

D major 3rd 7th 5th 2nd 4th 6th

C major 5th 8ve 6th 4th 3rd 7th

Exercise 42 Give the number of the melodic intervals marked

the key-note in every case. in the following. The first note is
Haydn, Symphony No.94 (‘Surprise’) (2nd mvt)
Ravel, Mother loose (‘The Enchanted Garden’)

(a) (b)

Carol, ‘The Holly and the Ivy’

(c)

Purcell, Sonata of 4 Patts, No.9 (‘Golden’) (1st mvt)

(d)

(e)

Schubert, Rosamunde (Ballet No 2)

(f)

(g)

(h)
 O The tonic triad
(see The AB Guide to Music Theory, 8Zl)

The key-note, or first degree of the scale, has yet another name: the ‘tonic’.
The tonic triad is a group of three notes: the key-note plus the 3rd and 5th degrees
above it. These are all tonic triads in C major:

Exercise 43 After each of these major key signatures, write its key-note followed by its tonic triad
(as shown in the first example).

Composing an answering rhythm

(see The AB Guide to Music Theory, 5/1—2)

A two-bar rhythm will be given. It will start on the first beat of a bar, and it will use
one of the time signatures you have already studied ($, , ). You will be asked
to write another two-bar rhythm to follow it.

Notice that a melody is not required: only a rhythm — something which could be played on
a drum or on one note of the piano, or which could be tapped out on a table. Therefore,
a clef and a key signature are unnecessary. You can write a rhythm on any one line of
the stave, or just on a single line, or without a line at all:

There are two different problems in this test. The first is how the rhythm is written down:
which notes should be joined (‘beamed’) together, and where ties and dots may be used.
This is just a matter of remembering a few simple rules.

The second problem is what else the examiner will be looking for, apart from correct
notation. What matters most here is whether you can make up an interesting two-bar rhythm
of your own. Only general advice can be given about this.

We will tackle these two problems separately on the next page, starting with the rules.
 (1) Beam together
(a) two quavers which could be replaced by a crotchet:

(b) four quavers which could be replaced by a minim:

(c) six quavers filling a complete bar in :

In printed music you may sometimes find groups of four or six quavers beamed together
in twos. Nevertheless, in this test you should keep to the rules above. Note that in
quavers should nez'er be beamed across the middle of a bar between the 2nd and 3rd beats:

(2) Beam semiquavers together in single beats, and also any group including a semiquaver:

(3) Avoid ties wherever possible:

is better than ( ; J is better than .

You may have noticed that in these rules nothing has been said about rests. There are
special problems about the arrangement of rests, and they will be explained in Grade 2.
You will not need to use rests when writing an answering rhythm in Grade 1.

The next exercise will give you some preliminary practice in writing rhythms correctly.

Exercise 44 Rewrite the following bars without changing their effect, but making any necessary
corrections in the use of beams, ties and dots.
(a) (b) (c)

(d)

(g)
Now for some general advice about your two-bar rhythm itself. The first and most important
point is this: try to imagine how the notes which you are writing would actually sound.
If you can accurately ‘hear’ them in your head, most of the advice below will be unnecessary.
When you are practising, always tap out your rhythms. Even in the examination room
you need not disturb anyone if you do this really quietly with your finger-tips on the desk.

It is very important to keep in strict time, which means having a clear speed in mind.
Probably somewhere between = 76 and = 100 will be suitable. (For an explanation of
speed directions see page 28.) Normally it does not make the test any easier to imagine it at
a very slow speed.
Remember that the examiner will want to see that you can invent an interesting rhythm.
Imagine, for example, that you have been asked to add a two-bar rhythm to follow this:

. You could write just $. I $1, and

that would be correct. But it is very dull. Another solution would be to repeat the two
bars you have been given. This often happens, as in this example:
j. S. Bach, Anun Megdalena Bach Notebook (Minuet)

However, if in the examination you merely copy out again the two bars you have been
given, you still have not shown that you can invent anything.

Your rhythm, therefore, should be a little different to the one you have been given.
But it should be similar, and parts of it may even be exactly the same. Bars 1 and 3
of this melody, for example, have the same rhythm (though not the same notes):
Beethoven, Symphony No.9 (4th mvt)

In the next example, bars 2 and 3 have the same rhythm:

And in this example, bars 2 and 4 have the same rhythm:

Stanford, Si SAetchei (Minuet)
 25

Patterns such as these can help to bind the four bars together, but you do not have to
use them. Here, for esample, are four bars which all have different rhythms:
Dvorâk, 'New World' Symphony (1st mvt)

But although they are all different, bars 3 and 4 seem to belong to bars 1 and 2.
The last two bars seem to balance the first two. Or you could say that the last two
‘answer’ the first two - they make an ‘answering’ rhythm.

The ending of your rhythm will need particular care. It is not usually a good idea
to finish with a semiquaver, because this may make the rhythm feel unfinished.
If you tap these rhythms, for example, you will see that they both feel as though
they want to be followed by something in the next bar:

In other words, they are not really two-bar rhythms at all, but merely two bars
out of longer rhythmic patterns. They cannot be ‘answering’ rhythms because
they themselves are not complete.

Exercise 45 Add an answering two-bar rhythm to each of the following.

(a)

(b)

(c)

(d)

(e)

(f)
Exercise 45
(continued)

(h)

(1)

(n)

(s)
a Performance directions
(see The AB Guide to Music Theory, 10)
Many words which are not English, and many special signs are used to explain how music
is to be performed. The best way of getting to know them is to look them up as you come
across them in your pieces, and then to remember them. (There is a Glossary of such words
on pages 106-114 of The AB Crutde to Music Theory, Part I.) Below are some very common
words — all Italian — which you should know in Grade I.

accelerando (or gradually getting quicker

accel.) adagio slow
allegretto fairly quick (but not as quick as allegro)
allegro quick (literally ‘cheerful’)
andante
at a medium (‘walking’) speed
cantabile
in a singing style
crescendo (or cresc.) gradually getting louder
da capo (or D. C.) repeat from the beginning
dal seno (or D.S.) repeat from the sign
decrescendo (oz decresc.) gradually getting quieter
diminuendo {or dim.) gradually getting quieter
fine the end
/ (= /orie) loud
// (= /oriiiéina)
very loud
legato smoothly
lento slow
mezzo
half
mf (= messo forte)
moderately loud (literally ‘half loud)
mp {-- mezzo
moderately quiet (literally ‘half quiet)
piano) moderato
moderately (allegro moderato: moderately quick)
p (- piano)
quiet
pp (-- pianissimo)
very quiet
poco
a little
rallentando (or rall.) getting gradually
rìtardando (or rìtard. or slower getting
rit.) ritenuto (or rìten. or gradually slower held
rit.) staccato (or stacc.) back
tempo
detached
speed, time (n tempo: in time)
 Below are some signs and other directions which you should know in Grade 1.

-- crescendo (gradually getting louder)

- diminuendo (gradually getting quieter)
over two different notes (not to be confused with a tie)
or over a group of notes is called a ‘slur’:
perform the notes smoothly
8v = ottava (octave)
(over a note or notes): perform an octave higher
a8
8za (under a note or notes): perform an octave lower
8.- - - - - - - - - - . - .

a dot over or under a note = staccato

over or under a note I = accent
over a note

under a note pause on the note

repeat marks — at the second sign, go back to the first sign

and repeat the music from there (the first sign is left out
if the music is repeated from the beginning)
M.M. I = 72 72 crotchet beats in a minute
(or just I = 72) (M.M. is short for Maelzel’s Metronome)
 R General exercises

Exercise 46 This is the beginning of a melody. Look at it, and then answer the questions below.
Andante Tchaikovsky, Album for the Young ('Morning Prayer’)

(a) What does Andante mean?.................................................

(b) What is the time signature of the melody? .....

Explain what it means. .................................................... - .

(c) Why is there a dot after the notes in bars 4 and 8?

(d) What is p short for? ............

What does it mean? ............

(e) The key of the meloGdy is major. Which degree of the scale does it stari on? ........

(f) What is the letter name of the highest note? .....

What is the letter name of the lowest note? .....

(g) What is the value of the shortest note? ............

(h) How many times is this rhythm 1 . I I used? .....

(i)
In bar 7, what does the » above the note mean? ................................
(()
Copy out the first four bars. Remember to put in the clef, key signature and time signature.
30

Exercise 47 This is the beginning of a melody. Look at it, and then answer the questions below.
Allegro Hummel, Allegro, Op.52 No.2

(a) What does Allegro mean? ......................

) What key is the melody in? ..........

(c) Show another way of writing the time signature. ....

(d) What are the curved lines over the melody called? ........
What do they tell the performer?

(e) What does a dot over a note (in bars 2 and 4) mean?

(f) How many times does the note F appear? .....

(g) Which bar contains all the notes of the tonic triad but no others? .....

(h) What does the sign I mean? ...............

(i) What do you notice about the rhythm of bars 3—4 compared to the rhythm of bars 1—2?

(j) Copy out the first two bars. Remember to put in the clef and time signature.
Exercise 48 Look at the following melody, and then answer the questions below.
Poeo adagio, M.M.J - 56 Dvorak, Symphony No.7 (2nd mvt)
4

(a) Poco means ‘a little’. What does adagio mean? .................................

) What is ditn. short for? ....................

What does it mean? ........................................................

(c) The key of the melody is F major. In which bars is the key-note nor used? ...........

(d) What does ‘M.M. d = 56’ tell you? ..........................................

(e) Give the meaning of /egaio. ..................................................

(f) Which is the quieter: p or pps .....

(g) Which bars contain the first four notes of the scale of F major? ....................
(h) Which bar has the same rhythm as bar 1? .....
(i) What do the signs and mean?

(j) Give the full name of the first note in bar 3.............

/) Copy out the melody from the beginning of bar 5 to the end. Put in the clef, key
signature and time signature.
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Exe seise 49 This is the beginning of a melody. Look at it, and then answer the questions below.
I = 54 Ravel, Poran /or a dead /n/onta

(a) Add the missing word in this sentence:

The melody is written in the.................clef.

(b) What is the key of the melody? .......
(c) Draw i › above any pairs of notes which are a semitone apart.
(d) What degree of the scale is the first note in bar 3? .......
(e) Give the full name of the last note.............
(f) How many crotchet beats are there in a bar? .....

(g) Which bars contain tied notes? ................

(h) Underline any of the following descriptions which you think suit the music:

smooth loud quiet slow fast merry sad

(j) Copy out the melody from the beginning of bar 3 to the end. Put in the clef, key signature
and time signature.

7.97