Theory of Music Workbook Grade 1 (Part 1)

 

TRINITY COLLEGE LONDON PRESS

Theory o f Music

Workbook f o r Trinity College London w r iitt tte en exam s

Grade 1

Includes

sample exam paper

 

C o n ten ts ntroduction

1

h e stave

2

riting high high and low notes

3

reble and b a ss clefs

4

id dle C

5

Grade 1 notes

6

Note values.

9

ests

11

Bars, bar lines and time signatures

Tones and semitones

16

Accidentals eyss C ey

17

major ajor..

19

The tonic triad in the key of C major. Other major keys G

and F

Key signatures

20 22

23

Intervals

28

T he h e c iirr c cll e o f 5 t h s

30

Arpeggios Grouping

13

31

notes and

Grouping rests

beaming quavers

Answ An swer erin ing gag giv iven en rhythm Ostinato

36 39 40

Musical words and

Analysis

33

symbols

41

43

Sample examination paper

47

Different words

53

same

meaning

 

TRINITY

COLL CO LLEG EGE E LO LOND NDON ON PRESS

Theory of MusiC

Workbook

for

Trinity College London

written exams Grade 1

b y Naomi Yandell

Published by

Trinity College London P re ss Ltd

trinitycollege.com Registered in England C ompa ny no . 09726123 Copyright Co 2 0 0 7 Trinity College London

Twei Tweift fth h impression impression,, December 2018B Un au th o ris ed p h o to co p y in g is illegal

No part of this publication publication may be copied or reproduced in any form or by a ny m e a n s i t h o u t t he prior permission of t he publisher Designer an d editor: Na t a sha Witts Music p r o c e s s e d by N ew N o tatio n s Lo n d o n

Printed in E n g l an d by Halstan, Amersham, Bucks

 

Introduction Why write down music? If you r e a d a b o o k y o u a r e read in g a n o t h e r p e r s o n ' s t h o u g h t s . If you play m u s i c y o u

a r e playing a n o t h e r p er e r sso o n' n ' s m u ssii c ca a l t ho ho u g gh h ts ts . P e eo o pl p l e w rrii tte e b o ok ok s a n d m u s i c s o t h a t t h e y c a n s h a r e th eir ideas . e m u si si c is i m p o r t a n t b e c a u s e it he l ps mu sician s t o play L earn in g to r e a d a n d w rrii tte

w h a t is w r i t t e n d o w n quickly a n d easily. Having sa i d th at, s o m e brilliant m u s i c i a n s a t 's 's g r e ea a t , but if y o u w an an t t o h a v e n e v e r l e a r n e d t o r e a d m us ic. The y play by ear. T h at

play

in b a n d s a n d orchestras,

or

to write y o u r

own

music, you n e e d t o l e a rn to r e a d

and write music.

Using th is workbook tellss you: tell you:

Th e writing in th e boxes

A b o u t t h e m usi c t h a t yo u sing, o r p la la y o n y o u r i n s t r u m e n t

What you need to know to pass your Trin Trinity ity College London Grade 1 Theory of Music exam

Doing t h e t a s k s .

U se a pencil with a s h a r p poi nt a n d a fairly so ft lead s o t h a t y o u c a n easily r u b

o u t w h a t you h av e wri t t e n if you n e e d to B e c a re ful t o b e a c c u r a t e with m us ical n o t e s a n d s i g n s t h i s will m a k e a

difference to your marks b e ec c au au se se t h e ex am am iner iner m u sstt be able to read what you h a v e wri t t e n R e a d t h r o u g h t h e boxe s t o m a k e s u r e you u n d e r s t a n d h o w t o d o t h e t a s k s a n d

a s k for he l p if you n e e d it T h e first t a s k in e a c h sectio n h as usually b e e n d o n e for you in red t o s h o w you

wha t to do

pictures of the piano keyboards, including the o n e o n page 53. d o not play a keyboard i n s t r u m e n t They a r e t h e r e to help you, e v e n if you Use the

Always try t o play, sing o r tap the music you write. This is a very important

part of learning, you in t h e

exam

It will you 'hear w h a t y o u write in y o u r h e a d . w h e n you h av e to work in si l e nc e

and will

help

help

What comes next? s o m e sample p ap ers. You c a n purchase t h e m from you h a v e finished t hi s book try a sk y o u r t e a c h e r t o e n t e r y o u for www.trinitycollege.com/shop. You will t h e n b e ready to t h e G r a d e 1 Theory of Music e x a m .

W he n

 

The s t a v e

Music is usually written on a set of five lines called a stave.

The n o t e - h e a d s ( t h e o v al-sh ap ed d o ts s h o w n below) c a n be put e i t h e r o n t h e lines, like this :

Handy tip Note-heads are oval, not round

in shape.

Or in the spaces between the lines, like this:

1

2

e ve ry line. Leave ga ps be t we e n t h e notes a s shown in th e

Write

a

note-head

on

examples

above.

Wr Writ itee a note -hea d in every space.

3 W r i t e t h r e e not e -he a ds o n th e third line up from th e bottom. Then write th ree not e -he a ds in t he first space.

4

2  

Wr Writ itee a note-hea d on every line line and in every space.

Writing high High

a n d low n o t e s

notes

Th e lines

are

w r itten

coming

near

the

top

o f t h e s t a v e a n d l ow n o t e s

near

the bottom.

f r o m t h e n o t e - h e a d s a r e c a lle d s t e m s .

are t h e s t e m s g o d o w n a n d if t h e n o t e s the only line w h e r e a s t e m c a n low t h e s t e m s g o up. T h e m i d d l e line is usually m a k e s the m u s i c e a s y to r e a d . u p o r d o w n . This go

As a

general rule, if

the notes

Highnotes

are

high

Middle

L L o w not e s

line notes

Keyboard players will k n o w t h a t o n t h e keyboard high with t h e right h a n d a n d low notes w i t h the left.

notes

are

usually played

1 A d d a s t e m to e a c h n o te -h e a d . Pl a c e e a c h o n e carefully a n d k e e p t h e l e n g t h of t h e s t e m s t h e s a m e a s s h o w n in t h e e x a m p le s a bove .

Handy tip Put stem s on

2

Add a stem to each note-head.

the left of the not e - he a d fo r

high notes. Put stems on

he right of the

note-head for

W r i t e five high notes and five low notes using note-heads and stems.

low notes.

4 A d d a s t e m to e a c h n o te -h e a d .

Did you know? Some note-heads are solid black and s o m e a r e not.

3  

Treble a n d b a s s clefs

To s h o w e x a c t l y w h ic h hi gh o r low s o u n d t o play, e a c h s o u n d h a s a n a m e . T h e l e t tte ers use ed d t o n a m e n o t e s are A B C DEF G. T h e y r e p e a t t h em s e l ve s o v e r and over again -

Did you

higher and

higher.

A t r e b l e c l e f ( or G clef) is u s e d fo r hi gh n o t e s . T h e little c u r v e d line in t h e

know?

middle of th e clef curls around the second line where th e note G sits:

People named

G

notes using letter na m e s as f a r back as t he time of

the Ancient

Greeks

1

Write

over

the dotted lines to make treble clefs. Draw them

as one

continuous line.

2 W r i t e five treble clefs. Check that the curved line in the middle of t h e clef curls a r o u n d t h e s e c o n d line.

A b a ss clef (or F clef) is used for low notes. (The little dots go o n eith er side of t h e line where F sits):

4  

Middle C

3

Write over the dotted lines to make bass clefs.

4

Write five bass clefs. Check that the dots go on either sid sidee of the line where F sits.

Middle C is a note like any other. It has the word middle in front of it because it is in the middle of most keyboard instruments. In both the treble and bass clefs Middle C sits on a little line of its own (cal (calle led d a leger line). In the treble clef it is written like this:

Handy tip

In the bass clef it is written like this:

Leger lines

are written

the same

Both notes mean Middle C and sound the same.

di dista stance nce away away from the stave as the

If Middle C appears in the treble clef in music for keyboard, the player usually plays it with the right h a n d - if in the bass clef, the player usu usuall ally y plays plays it with

stave lines

the left:

Usually

played with

the

right hand

Usua Usuall lly y played played wi with th the left hand

W r i t e three Middle Cs in the treble clef.

3

Write

three Middle Cs in

the bass clef.

Write in a treble or bass clef to make these notes Middle C.

5  

Grade 1 notes note s

H e r e a r e t h e t r e b l e clef n o t e s you n e e d t o know f o r G r a d e 1:

B Middle D E

F

G A

B

D

E F

C

| G

B

Learn these first:

Treble clef spaces:

Treble clef lin lines: es:

G

B

C

F

You may like to think of words to help you r e em m e mb mb e r t h es es e (for example,

Every Green Bus Drives Fast).

Did you

1

Name t he se

2

Wri Write te two differ different ent Ds.

notes

know? f two notes have the sa m e letter name but they are

in different places on the

stave, they are said to be

ot different registers. Listen out fo r notes

a t different registers next

3 Write two different Bs.

time you

practise your instrument.

The distonce be ett we w e en en o n ne e note a nd the

4Write two different Cs.

5

Wri Write te two diff eren erentt Es Es..

next with the

same letter

nam e is called an octave

6  

Grade 1 notes 9 H e r e a r e t h e b a s s clef n o t e s you n e e d t o k n o w for G r a d e 1:

E

Handy tip Test yoursef

D

by writing out every Grade 1

F

E

G

A

B C

D

GA

E F

B MiddleD

Learn these first:

note on a

separate sheet

Bass clef spaces:

Bass clef lines:

of p a p e r a n d

timing how

quickly you can name

G

each one.

B

D

F

A

A

E

All notes can

be checked using the G in the G clef, the

1

Name these notes:

F in the F clef or Middle C.

A

2

Write two different Gs.

W r i t e two different Cs.

4

Write two different As.

5

Handy tip

Check that

you put the

stems in the correct place

 

Name he n o t e s

B

t o find t he h id d e n w or ds .

Write two different Fs.

G

2

Write notes to match the note names.

D

E

D

G

E

C

E

E

8  

Note values Each note lasts for a certain length of time; musicians measure this time by t h e n u m b e r of silent regular beats within the n o t e value. The b e a t u s e d t o measure notes in Grade 1 is the crotchet.

feeling

Did you know?

N o t e s a r e d r a w n in d i f f e r e n t w a y s t o s h o w how m a n y b e a t s to c o u n t while t h e

note is played:

E

Sometimes

Semibreve

This n o t e l a st s for four c r o t c h e t b e a t s

Minims

These n o t e s las t for tw o c r o t c h e t b e a t s e a c h

Crotchets

T h e s e n o t e s last for

Quavers

Thes e notes last

other nam es

for note values are used, e s p e c i a l l y in

one

Ameri Ame rica ca.. They They are shown a t the back of his book. You do not need

to know them for Grade 1, but you can

They

111

are

always

for half

crotchet beat each a c r o t c h e t beat e a c h .

b e a m e d together for G r a d e 1

(see page 33)

( cr otchet beat)

The note that lasts for three crotchet beats is known as a dotted minim: d

learn about

A d o t after

t h e m a nd use

a

note

means

t h a t half its va l ue

again

is a d d e d t o its

length,

for example:

them in your

exam if you

Minim

C rot c he t

Dotted minim

(two crotchet be a t s)

(one c r o tc tc h e t b e at at )

( t hr hr e e c r o ttc c h e t be a t s)

w a n t to d o so.

1

Add t h e total n u m b e r

h+

2 t

1

of c rot c he t be a t s in t h e s e not e

+2

values.

4 crotchet beats_

+

9  

+

+

+

2 W ri t e six crotchet Gs.

Hand Ha ndyy tip

Dotted

m i n i m s in a

space:

3

Write three mini minim m Es and two semibreve Ds.

4

Write three dotted minim

or

Dotted minims on

line:

Fs and

two dotted minim Gs.

or

Write eight quavers

on

C, beamed

together

in twos.

10  

Rests

Each silence withina piece of music lasts for a certain length of time and is called a r e s t . M usi c i a ns m e a s u r e r e s t s by feeling t h e n u m b e r of silent r e g u l a r b e a t s within

them. The beat used to measure rests in Gr Grad adee 1 is t h e c r ot ot c he he t . Rests are drawn in different ways to show how many beats to count while the silence

lasts: Semibreve rest This rest lasts for four crotchet beats or

a whole bar of silence in any time signature

s ee page 36)

Minim rests

Crotchet

These rests last for two crotchet b e at at s e a c ch h

rests These rests last for one crotchet beat each

(crotchet beat)

A d o t after a rest means that half its value again is added to its length. But for a rest lasting for three beats you write: not

When you first see minim and semibreve rests they look rather sim simila ilar. r. Think Think

'semibreve submarine' and you will remember that the semibreve rest hangs down from the line.

1

Write over the dotted lines to make crotchet rests. rests. Draw them as one con continu tinu ous line line..

2

Match the following rests to the names that cor correc rectly tly describe describe their their length lengths. s. semibreve rest

minim rest

crotchet rest

 

Match

to t h e rests. note values following the t h e l e ngt h of

in t h e s e n o t e v a l u e s a n d r e s t s . of c r o t c h e t b e a t s

Add

the total n u m b e r e

5 crotchet beats

4

.t

+ =

t

12  

Bars, bar lines and time signatures

Beats are organised into b a r s with a ba r line a t the end of aach one. For &rade1

bars can hoid two. three o r four crotchet beats. The first beat of t he bar ia a t t e s t r o n g e r t h a n t h e o t h e r s a n d t h i s a d d s a p a r t i c u l a r c h a r a c t e r to t h e mUSie:

Did you know?

d u d i e d a r line

2-crotchet bars

Bars are sometimes numbered at the beginning

3-crotchet bars

oeach o m us u s ic icline ( se se e page 43) so

that players

ine

end of Diece

c a n easi s ee

where t h e a r e in a piece

omusic

T h e r e is a t i m e s i g n a t u r e a t t h e be gi nni ng o f t h e m u sic .

Remember

T h e to p n u m b e r of a t i m e siqnature

shows

the

number

of

b e a s na d

For Grade 1 crotchets are the bects used

T h e b o t t o m n u m b e r s h o w s t h e t y o e of b e a t in a d a r

i n all tim e

mesrs Tthet

Snatures, s o

the bottom

number fo r t h e time

signatures

s ahways 4

except wtere

o r C s sometimes calied c o m m o n t i m e

C s witten)

W r i t e the correct time signatures

 

2Write

a

3 W r it e

a bass

treble

w ith c r o t c h e t s ( F s a n d clef a n d fill e a c h b a r

c r o t c h e t s ( Bs a n d clef a n d fill e a c h b a r with

Cs).

Gs)

d i f f e r e n t Cs). with c r o t c h e t s (two 4 W r i t e a b a s s clef a n d fill e a c h b a r

5

C o u n t u p t h e n u m b e r of c r o t c h e t b e a t s in e a c h first bar. In t h e s e c o n d b a r w r ite o n e note first bar. E t o s h o w t h e total value of t h e n o t e s a n d r e s t s in t h e

6

Write the correct time signatures.

 

7

Look at the following music. Add bar lines to agree with the time signatures.

15  

Tones a n d s em itones

n o tes from C t o C If you play all t h e white

on a

keyboard you will be

nlavin. .

the

scale of C major:

Did you

e

0

e

know? A scale usually moves up or

down in steps.

These step stepss are

The d iiss tan tan c e b e etw tw e ee en eve err y white note and the next is not always the same: - if a black n o te te c o m e ess b e ttw w e en en them the distance is called a tone. - if t h e r e is n o black n o t e b e t w e e n t h e m t h e d i st a n c e is c a l l e d a s e m i t o n e

called degrees You will learn

(meaning 'h 'half alf a ttone') one')..

semitone (s)

major scales on

your

instrument a t

first, but there are other types of scale too.

c D EF GA B c D E

semitone (s)

tone ()

In other words, there is a distance of a s em em iitt on on e b e tw tw e en en e ve ve rry y next-door note o n the k e y b o a r d -

1

b l a c k or w h i t e .

Look at the following pairs of notes and say say whether whether the distance betwee between n them is a tone or a semitone. Check the clef each time.

Did you

0

know?

Semitonne_

y o u are a

string player you can feel

the different

O

distances be betw twee een n tone toness and semitones with your

left-hand

e

fingers. As k

your teacher

to show you.

, 6  

Accidentals

Accidentals are signs that are put just before a note to tell musicians to change

the pitch (how high or low a sound is). The type of sign used shows how to

Handy tip

Tilt the lines

across the

change it. The flat (6) lowers the pitch by a semitone.

pitch goes down from B to B flat

sharp signn so that it doesn't get muddled up with the

The s ha r p (#) raises the pitch by a semitone.

stave lines

pitch goes up from F to F s ha r p

and become difficult to read:

The natural (t) c a nc nc e llss a n y previous sign.

0

X

e

pitch g o e s u p f r o m B f l a t t o B n a t u r a l

(by cancelling out the flat)

pitch goes down from F s h a r p to

F natural (by cancelling out t h e sharp)

Did you know?

An accidental lasts until a n o t h e r o n e on exactly the s a m e line o r s pa c e cancels it, o r until the next bar line.

Quav Qu aver erss are are

(Bb)

(F#)

sometimes

beamed t o g e t h e r in

groups of four. Look at

(F)

p a g e 3 3 to

find out why.

1

Write over the dotted lines to make flats, sharps and naturals.

2

Write a flat in every space and a sharp on every line.

(Bb)

Handy

Write flat tip and natural nat ural si sign gnss in t w o parts:

17

 

3

Write

a

T h e n w r ite t h e i r n o t e n a m e s . flat just b e f o r e t h e s e n o t e s .

B Handy tip

Be sure to

4 W r it e a s h a r p u s t before these notes. Then write their note names.

position accidentals

carefully so that they apply to the orrect note.

Ft 5

Write a natural just before th es e notes notes.. Then writ write e their note names.

D 6

Flatten each middle note below. Then return it to it itss

7

Sharpen each middle

original pitch.

n o t e below. Then return it t o its

o

O

original pitch.

6

e

O

18  

Keys -

C

major

If som eone tells you that a piece of music is in th e key of C major, it means that the music you hear will mostly us e the notes from the scale of C major.

Within any key, t h e 1st degree of the scale (whatever the register) is the tonic. For Grade 1 you need to know that it can also be called doh. Tunes often begin and end on it with the result that the tonic sounds special. Here is the scale of C major going up:

2

3

A

5

6

tonic

onic

r doh

1

8 (1 or doh

Answer the following questions: i v e t wo pos s ible n a m e s for t h e 1st d e g r e e in a ny key.

Tonico r doh

W h i c h note is the tonic in the key of C major? .If

you write a piece in the key of C major, from which scale will you take most of the notes?

.If

you listen to a piece in the key of C major, on which note will the music often begin and

end?

Write the sca le of C major going up. up. Use semibreves and number the degrees of the scale.

C i r c t e t h e C s in t h e sc a l e you ha ve wri t t e n a b bo o ve ve a n nd d label t h e m doh.

2 M a r k the semitones in the following music with a bra bracke ckett ( A or V ) and an S for semito n e.

19  

The tonic triad i n t h e

key o f C major

t he s a m e time. A c h o r d is two o r m o r e n o t e s played a t A tonic triad is a chord made up of t h e 1st, 3r d a nd 5 th d e g r e e s of a scale,

Here is the scale of C major: 0 6 6

6

2

Handy tip

8 (1)

Here is the tonic triad in the key of C major:

Play this triad so t h a t you

O

know how it sounds.

It is called a tonic triad in the key of C major because it is built o n th e

1st degree (the tonic) of the C major scale.

andy tip

Often you will find a Roma Roman n numer numeral al written written be belo low w it (I), showing that the chord is built

Write Roman numerais

below the

stavels)

I

on

the 1st

degree

of the scale.

Composers (people who invent music) sometimes label C major a s C especially if they a r e writing chord In

fact any chord that

an have this label:

uses

just the notes of

the tonic triad in

symbols for quitar. this triad (whatever the register)

C

Handy tip

Write chord symbols obove the stavel).

Chords and tunes that only u s e C, E and G fit hords o r tunes a r e in the treble o r the bass

together

clef.

well

-

whether the

20  

1 A d d Es and Gs to make tonic triads in the key of C major.

A d d either E or G to make tonic triads in the key of C major.

8

id you

B

Look a t t h e music below. It is all w r it it t en en u si si ng ng t he not e s of t h e tonic tr iad in t h e key of

C major. Label t h e pa rt t h a t has t h e t u n e a n d t h e pa rt t h a t plays t h e chor ds .

know? The brace

shows that

Tune

the two staves of music should

be played at the s a m e time.

Handy tip

Stems ona high chord:

8

Chords

( Stems o n a low chord

4

Using Using minims, minims, write out the tonic triad in the key of C major Choos e which t on on ic ic t o s t a r t on.

21  

Other

major keys

- G and F

w h i t e n o t e s o f the using just t h e T h e key o f C major is t h e only major key a d d e d to make the fl a t s n e e d t o b e a n d ke yboa rd. In o t h e r keys sharps major s c a l e y o u will find a n d s e m i t o n e s . In a n y t o n e s o f majo r-scale pattern 8 t h d e g r e e s o f the scale. 4th and 7th b e t w e e n the 3rd semitones

only

1

Look a t th e

an d 7 th

following

scales

an d

put

a bra c ke t

 A

or

V)

Then add a ny sharps 8 t h degrees of th e scale.

between

or

t h e 3 rd

4th

f l a t s n e c e s s a r y to

make

t h e s e major scales.

Scale of G major e

2

Did you know?

egrees of

Scale of F major

e

0

the scale g0

87654321 if th e scale goes dowwn.

 

3

1) 8

7

e

8 (1)

Scale of G major

8 (1)

Scale of F major

0 2

5

8 (1)

Scale of G major e-

(1) 8

22

3

2

1