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ryderll carol

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• This book is intended for instrumental/voice teachers who wish to train their

students in beginning music theory as part of their music lesson.

• Each unit is intended to last no longer than 5 minutes and can be done at

any suitable point during the music lesson.

photocopying or printing. We know that preparation costs time and money!

• Use this course to make sure that your students have no gaps in their

knowledge and to give them a solid grounding in theory which will last them

a lifetime. This course follows the “little but often” approach to teaching,

and helps students to link “theory” with “practice” by using the music which

they are actually playing.

• For best results, the units should be followed in order. Units may be skipped

if the student is already familiar with the material.

• The best way to be sure that your students understand each point is to ask

them to explain it back to you. If they can’t explain it, they probably don’t

really understand it!

• Parents often appreciate being given the music theory syllabus so that they

can follow their children’s progress.

• Ask your student to buy a music manuscript notebook and to label it “Music

Theory”. They will need it to record their answers. For best results, be strict

about little things like recording the lesson number and date of each

exercise. Loose-leaf pads are less effective, because invariably students lose

pages out of them!

• The first number refers to the lesson number. Steps of the lesson are then

tagged on to the end, e.g. 1.2 is the second step of the first lesson.

• One or two foreign terms are included in each unit, so that students can

build up their knowledge slowly but surely. A list of terms, in the order that

they appear in the units, is available in the appendix. Use this for regular

revision.

© www.mymusictheory.com 2011

Page 1 of 16

Theory Survival Kit – Grade One

2. Clefs – the Bass Clef

3. Notes – the Crotchet and Minim

4. Notes – the Semibreve and Quaver

5. Rests – the Crotchet, Minim, Semibreve and Quaver

6. Notes and Rests – the Semiquaver

7. Dotted Notes

8. Sharps, Flats and Naturals

9. Barlines

10. Time Signatures – 4/4

11. Time Signatures – 2/4 and 3/4

12. Key Signatures – G major

13. Key Signatures – D major

14. Key Signatures – F major

15. Scales – C major

16. Scales – G major

17. Scales – D major

18. Scales – F major

19. Scales – Degrees of the Scale

20. Intervals –Above the Tonic by Number Only

21. Ties and Slurs

22. Rhythm – Finding Patterns

23. Rhythm – Syncopated or On the Beat

24. Rhythm – How Pieces End

25. Rhythm – Writing a 2-bar Rhythm

For reference, these are the USA equivalents:

Semibreve= whole note

Minim= half note

Crotchet= quarter note

Quaver= eighth note

Semiquaver= sixteenth note

Demisemiquaver=32nd note

© www.mymusictheory.com 2011

Page 2 of 16

Theory Survival Kit – Grade One

1. Ask your students for the two names of the clef (treble/G clef).

2. Ask why it is called the G clef, and get student to name various notes

as you point to the lines and spaces.

3. Show students how to draw the clef in their notebook. Show them

where to start and demonstrate slowly.

4. Ask students to draw some clefs on their own. Check for errors and

explain.

5. HW: Draw ten treble clefs. Write a row of notes for the student and

ask them to write the letter names.

6. Today’s Term: tempo = time.

1. Ask your students for the two names of the clef (bass/F clef).

2. Ask why it is called the F clef, and get student to name various notes

as you point to the lines and spaces.

3. Show students how to draw the clef in their notebook. Show them

where to start and demonstrate slowly.

4. Ask students to draw some clefs on their own. Check for errors and

explain.

5. HW: Draw ten bass clefs. Write a row of notes for the student and ask

them to write the letter names.

6. Today’s Term: forte = loud.

1. Find examples of crotchets and minims in some printed music and ask

student to name them.

2. Ask students how many crotchets will fit into a minim, how long does

each note last (1 beat, 2 beats).

3. Ask student which side of the crotchet they think they should write its

stem (depends which way up!)

4. Show students correct way to draw note-heads. They should be egg-

shaped, not round.

5. Ask students to write a few notes out.

6. HW: Students write a treble clef, then write crotchets on every

line/space starting from the bottom, and label the notes. Then on the

next stave, write a bass clef, write minims starting from the top, and

label the notes.

7. Today’s Term: andante = at a walking pace.

© www.mymusictheory.com 2011

Page 3 of 16

Theory Survival Kit – Grade One

1. Find e.g.s of semibreves and quavers and ask students to name them.

2. Ask students how long the notes last (4 beats, ½ a beat).

3. Test student with some simple sums – crotchet+crotchet=minim, etc.

4. Show students how to write the notes, and let them try. Note-heads

should be oval.

5. Show students how quavers can be “beamed” (joined) together.

6. Find some music your student hasn’t seen before, and ask them to

find semibreves, minims, crotchets and quavers in the piece.

7. HW: Students write out the four note values in order, starting with

the shortest (quaver, crotchet, minim, semibreve). Then write out

quavers in groups of 2, 3 and 4, and beam them together.

8. Today’s Term: allegro = quick.

1. Ask students to find an example of a rest in some printed music, and

to tell you the length of it.

2. Draw the four rests (quaver, crotchet, minim, semibreve) in your

students note book and ask them to copy.

3. Tell students an easy way to learn the difference between the

minim/semibreve rests position is to think “2 is lower than 4”,

therefore the minim rest sits lower on the stave than the semibreve.

4. Ask students where a whole bar rest is positioned (centred in the

middle of the bar)

5. HW: Draw barlines in your student’s notebook, to make 4 bars on one

stave. Students must fill each bar with the correct number of rests, so

that there are four beats in each bar. The first bar should contain

quavers (8), second bar crotchets (4), third bar minims (2) and last

bar one semibreve (centred).

6. Today’s Term: adagio = slow.

1. Ask students to describe a semiquaver to you (like quaver with 2

tails).

2. See if students can draw a semiquaver rest, based on their knowledge

of a quaver rest.

3. Ask students how many semiquavers are there in a crotchet (4), minim

(8) and so on.

4. Draw groups of 2, 3 and 4 notes in your student’s notebook and ask

them to beam them as semiquavers.

5. HW: draw the following INCORRECT notes in your students notebook,

and ask them to correct the mistakes; a) semiquaver with stem up,

which should be down (i.e. above the middle line of the stave); b)

semiquaver rest written too low on the stave, c) a semiquaver with its

tails pointing left instead of right, d) a semiquaver with a white head,

instead of black.

6. Today’s Term: ritenuto (rit.) = held back.

© www.mymusictheory.com 2011

Page 4 of 16

Theory Survival Kit – Grade One

7. Dotted Notes

1. Ask your student if they can explain how a dot affects a note’s length.

If they can’t tell you, tell them. (Increases the length by 50%)

2. Ask student where the dot is written (right hand side of note – not

above!)

3. Find some printed music with dotted notes and ask student to name

the value of each note in the bar, and to add them together.

4. Find some music pre-1900 with dotted rhythms, and ask students to

say whether a dotted note generally falls on or off the beat (on).

5. HW: Draw the following notes in your student’s notebook, and ask

them to re-write them in order, starting with the shortest note:

minim, dotted quaver, semibreve, dotted minim, dotted crotchet,

quaver, semiquaver, crotchet. (Semiquaver, quaver, dotted quaver,

crotchet, dotted crotchet, minim, dotted minim, semibreve).

6. Today’s Term: mezzo = half.

1. Ask student to name notes with sharps, flats and naturals that you

find in printed music.

2. Ask student to explain how the accidental affects the note

(raise/lower by semitone).

3. Ask student which side of the note an accidental is drawn (left).

4. Write a bar with crotchets: C, C sharp, C, C natural. Ask student to

name each note (the 3rd C should be sharpened). Explain rule if

necessary (accidentals affect all notes of that pitch in that bar, also

tied notes).

5. Ask student which is lower/higher: C/C sharp, D/ D flat etc.

6. Write 5 pairs of notes (as in 8.5) in student’s notebook. Ask student to

label each note of the pair as higher/lower.

7. Today’s Term: accelerando = getting faster.

9. Barlines

1. Ask student what the main use of barline is (divide music up to make

it easier to read, according to time signature.)

2. Ask student how many types of barlines they can describe. (Single,

double thin, double thick/thin, double with dots).

3. Ask student to explain when each type is used. (Single: divide music as

per time signature; Double thin: new section of music or new key/time

signature; Double thick/thin: the end of the piece; Double with dots:

repeat section).

4. HW: Write a 4-bar rhythm in 4/4 without barlines. Students use a ruler

to put barlines in where needed, including a thick/thin barline at the

end.

5. Today’s Term: diminuendo = getting quieter.

© www.mymusictheory.com 2011

Page 5 of 16

Theory Survival Kit – Grade One

1. Ask student to explain to you what the two 4s represent (top

4=number of beats in the bar, bottom 4=count crotchet beats.)

2. Point out that the correct way to write time signatures is without

a horizontal line (i.e. not like a fraction!)

3. Ask one or two simple note-value questions, e.g. how many minims

are there in a 4/4 bar.

4. Write out a 4/4 bar with only 3.5 beats (use a variety of note

lengths) and ask students to tell you what value the rest/s should

be to complete the bar.

5. HW: Write out four more bars as in 10.4 in the student’s notebook.

Bar one: 2 beats; Bar two: 1.5 beats; Bar three: 3 beats; Bar four:

2.5 beats. Students should calculate how many beats are missing.

6. Today’s Term: decrescendo = getting quieter.

1. Ask students to tell you what 2/4, 3/4 and 4/4 have in common

(crotchet beats), and what is different (the number of crotchet

beats in the bar).

2. Find printed music using these time signatures, and cover the time

signature with your hand. Ask students what time signature each

piece is in.

3. Students often don’t see the “point” of 2/4, as it seems just like

4/4 cut in half. Ask them if they can explain or even feel a

difference. Help students by getting them to tap or clap crotchets

with a strong beat at roughly crotchet=100. Get them to make a

huge emphasis on the strong (first) beat in 2/4 and then 4/4. Try

to get them keeping a steady beat while you clap/tap a more

complicated rhythm at the same time.

4. If possible, play some 2/4 and 4/4 pieces for your students and ask

them to identify the time signature.

5. HW: Students write three 4-bar melodies in C major using

crotchets only, one in 2/4, one in 3/4 and one in 4/4.

6. Today’s Term: da capo = repeat from the start.

© www.mymusictheory.com 2011

Page 6 of 16

Theory Survival Kit – Grade One

1. Show some printed music in G major to your student and ask them to

show you where the key signature is located (at the start of every line,

after the clef)

2. Ask students what key is denoted by a key signature containing just F# (G

major).

3. Ask students what they need to remember when playing a piece in G

major (that every written F should be played as F#).

4. In student’s notebook, write out the key signature of G major in the

treble and bass clefs and label them. Point out the fixed position of the

F# in each clef.

5. HW: Students write the clef and key signature for G major in their

notebooks, in treble and bass clef.

6. Today’s Term: dal segno = repeat from the sign.

1. Ask students if they know which sharps or flats are used in D major (F#

and C#).

2. Find some printed music in D major (preferably with F#s and C#s in

different octaves) and ask the student to find examples of F# and C# on

the page.

3. Show students the beginning of the cycle of 5ths. They now know the

keys of C, G and D. Ask them how many notes apart are C-G and G-D (5 –

C,D,E,F,G: G,A,B,C,D). G major has F# and D major has C#. Ask students

how many notes apart F# and C# are (5). Tell students that this is the

beginning of a series. See if they can work out the next key signature (A

major) and the next sharp (G#).

4. In student’s notebook, write out the key signature of D major in the

treble and bass clefs and label them. Point out the fixed position of the

C# in each clef.

5. HW: Students write the clef and key signature for D major in their

notebooks, in treble and bass clef.

6. Today’s Term: cantabile = in a singing style.

© www.mymusictheory.com 2011

Page 7 of 16

Theory Survival Kit – Grade One

1. Ask students if they know which sharps or flats are used in F major (Bb).

2. In student’s notebook, write out the key signature of F major in the

treble and bass clefs and label them. Point out the fixed position of the

Bb in each clef.

3. Draw a circle in the student’s notebook and label the first part of the

cycle of 5ths like so:

Tell students that F major fits in the circle before C major, and that all

keys with flats will go on the left hand side of the circle.

4. Ask students to calculate how many notes apart are F-C (5). Now ask

them to calculate C-F (4). Show students that if you count 5 notes in one

direction, it’s the same result as counting 4 notes in the other direction.

Try it with different notes.

5. Fill in the circle of 5ths with F major in the student’s notebook.

© www.mymusictheory.com 2011

Page 8 of 16

Theory Survival Kit – Grade One

1. Your student should be able to play a scale of C without difficulty. Ask

them to name the notes in the scale, then to name the notes in the

descending scale.

2. Ask students to write a treble clef in their notebook, then write out the

notes of C major ascending and descending in semibreves. Make sure

their note heads are oval and not round.

3. Using a piano keyboard if necessary, get students to work out the

distance between each adjacent note of the scale. In their note books

they should write whether the distance is a semitone or a tone between

each adjacent note. (TTSTTTS)

this book.)

4. Tell students that this pattern (TTSTTTS) is how all major scales are

constructed, in all keys, and that they need to learn it.

5. HW: Students memorise the pattern TTSTTTS.

6. Today’s Term: legato = smoothly.

7. Your student can probably already play the scale of G major. Ask them to

name the notes in the scale, ascending and descending.

8. Tell students that we can write scales with or without a key signature.

9. Ask students to write out the scale of G major, treble clef, ascending and

descending, in semitones without a key signature, in their notebooks.

10. HW: As 16.3 but using the bass clef.

11. Today’s Term: fine = end.

© www.mymusictheory.com 2011

Page 9 of 16

Theory Survival Kit – Grade One

1. Ask your student to name the notes in D major, ascending and

descending. Make sure they remember both sharps!

2. In your student’s notebook, write out an ascending scale in semitones,

starting on low D treble clef. Don’t write a clef, key signature or any

accidentals. Ask your student to complete the scale of D major with the

clef and key signature OR accidentals.

3. Repeat 17.2 with different scales – vary the clef, the direction, the key

and whether to use a key signature or not.

4. HW: Set four scales for your students to write out in one octave:

a) Treble clef ascending, G major, with key signature - semibreves

b) Treble clef descending, D major, without key signature - minims

c) Bass clef ascending, D major, with key signature - crotchets

d) Bass clef descending, G major, without key signature – quavers in fours

5. Today’s Term: fortissimo = very loud.

1. Ask students to name the notes of F major ascending and descending.

2. Ask students if they think it’s ok to use A# instead of Bb in the F major

scale (no – because each letter name must only be used once in a scale,

and we already have A natural).

3. Ask students to write out F major ascending and descending, treble and

bass clef, in semibreves, with a key signature.

4. HW: As 18.3, but without a key signature, and using quavers in fours.

5. Today’s Term: moderato = at a moderate speed.

1. Ask students if they can remember the pattern of tones and semitones in

a major scale (TTSTTTS).

2. Ask students how many individual notes there are in one octave of a scale

(7 – the top note and bottom note are the same).

3. Ask students to write out a scale of C major ascending in their notebooks.

4. Explain to students that we can refer to each note of the scale by

number instead of by using a letter. Ask students to label the notes of

the scale from 1-7, and then 1 again on the top C.

5. Tell students that these are called the “degrees of the scale”, and we say

“first, second, third” etc. when we talk about them. Ask students

“What’s the 5th degree of the scale of C major?” (G) Ask students “Which

degree of the C major scale is D?” (Second).

6. Test the students by asking them questions as in 19.5, but changing the

scales. Use G major, D major and F major. Ask a couple of questions for

each scale. Try to make the students calculate in their heads. They can

use paper if they find it impossible.

7. HW: Use a piece of music your student is currently working on. (Make

sure it is in C, G, D or F major!) Ask students to a) name the key of the

piece and then b) name the degree of the scale for the first ten notes in

the piece. You could also ask them to write out the associated scale, in

whichever clef is less familiar to them.

8. Today’s Term: pianissimo = very quiet.

© www.mymusictheory.com 2011

Page 10 of 16

Theory Survival Kit – Grade One

1. Ask students if they can remember the circle diagram in their notebooks

(14.3). Ask them what the word “5th” refers to, in that diagram (the

distance between two notes e.g. C-G or G-D).

2. Tell students that we call the distance between two notes an “interval”.

“The distance between C and G is called an interval of a 5th” because we

count five notes from C to G”.

3. Sometimes intervals confuse students because they don’t want to count

the first AND last note. Ask students to write out the notes C-D-E-F-G-A-

B-C in their notebooks, using crotchets. Then write the numbers 1, 2, 3,

4, 5 under the notes C-G, and then bracket them together. Label the

bracket “INTERVAL=5th”.

4. Explain to students that we always work out an interval by starting on the

lower note.

5. Explain that we use special words for the intervals of “1” and “8” i.e. C-C

and C-C1. When it is the same note, we say the interval is “a unison”, and

when the interval is eight notes higher it is “an octave”.

6. Take some music your student is studying, and ask them to calculate the

interval between each adjacent note in the first couple of bars. (Don’t

worry that they are not tonic based intervals, it doesn’t matter; but

avoid accidentals which are not part of the key signature and intervals

greater than an octave.) Make sure to include some melodic intervals

which have a higher first note. Test in both clefs.

7. HW: As 20.6 but choose two different bars of music.

8. Today’s Term: staccato = short and detached.

© www.mymusictheory.com 2011

Page 11 of 16

Theory Survival Kit – Grade One

1. If possible, find examples of ties or 2-note slurs in some printed music

you are currently using. If not, in your student’s notebook, draw a pair of

tied Gs and a G-A slur.

2. Tell students that a tie and slur basically use the same symbol (a short

curved line) but it has a different meaning. A tie is used to add together

the value of two notes of the same pitch, whereas a slur connects two

notes of a different pitch but tells the player to play them smoothly (or

in one breath/movement of a bow).

3. In your student’s notebook, write out the following tied notes, then ask

the student to tell you the total value: a) minim + crotchet (3

beats/dotted minim); b) quaver + quaver (1 beat/crotchet); c) minim +

minim (4 beats/semibreve).

4. Explain that ties are often found across barlines too. Draw some

examples: a) minim + barline + crotchet etc.

5. Explain that when a tied note crosses a barline, any accidentals will also

apply to the next note. For example:

6. Test students by asking them to say whether the following is a tie or a

slur:

(It’s a slur, because the notes are not the same pitch – G and G#).

7. Explain that we can tie together many notes – it doesn’t have to be only

two.

8. HW: Students look through a piece they are studying and write down the

bar numbers each time they see a tie/slur. Say whether it’s a tie or slur

in each case.

9. Today’s Term: piano = quiet.

© www.mymusictheory.com 2011

Page 12 of 16

Theory Survival Kit – Grade One

1. Explain to students that music usually contains blocks of rhythms which

are repeated throughout the piece, and/or which are varied slightly.

Music which is not like this would sound more like random notes than

music, and would be more difficult to remember or understand aurally.

2. Take a look at one or two piece your student has been working on

recently, and try to identify the principal rhythmic blocks in use. Look for

repeated patterns.

3. Help your student describe the character of those rhythmic blocks, by

naming the type of note values used, noticing whether dotted rhythms

occur, and thinking of an adjective or too to describe the musical effect

(spiky, smooth, lyrical, military, bouncy etc).

4. If possible, find minor variations of the rhythmic blocks (e.g. one or two

note values altered, but the basic feel is the same) and point them out to

your student. Explain that minor variations mean the character is the

same, but the rhythm can be a bit more interesting.

5. HW: Write down a rhythmic block which occurs in a piece your student is

playing, and ask them to count how many times it occurs in the piece.

You could also ask them to try to alter it, in a way which preserves its

character (this is a hard task for grade 1, however).

6. Today’s Term: poco = a little.

(Note: this is not something which is explicitly tested at grade 1, but we include

it here because a common fault in the rhythm-writing section is that students

(especially those who listen to a lot of pop music) add syncopation where it is

not appropriate.

1. Take a piece in 2/4, 3/4 or 4/4 and ask your student to mark short

vertical lines above the bar, where each crotchet beat occurs. Do this for

about four bars.

2. Then ask your student to decide whether the music mainly falls “on the

beat” or “off the beat”. Most classical music will fall on the beat – with a

sounded note on the first beat of most bars, and other notes falling

where the vertical lines were written. Explain that until the 20th century,

this was the “norm”.

3. Find some syncopated music. (If you don’t have any to hand, you can use

“Knowing Me, Knowing You”, by Abba from here

http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0071117.)

Repeat 23.1 and point out which notes are played/sounded off the beat.

Tell students that this technique is very common in music (of many

genres) since the 20th century and is called “syncopation”.

4. Make clear to your students that syncopation is a very stylistic feature.

Usually a piece either employs a lot of syncopation, or none at all. It’s

rare to find a piece which just uses the odd bar here and there. Tell

students that this is something they should remember when they

compose their own rhythms/pieces.

© www.mymusictheory.com 2011

Page 13 of 16

Theory Survival Kit – Grade One

5. HW: Find a section of about ten bars in a piece your student is studying,

and ask students to mark the beats with short vertical lines above the

stave, and to say whether the music is syncopated or not.

6. Today’s Term: mezzo-forte = moderately loud.

1. Without looking at any pieces of music, ask students what sort of note

values they think are common in the last bar of a piece. (Longer note

values – usually at least a crotchet and often a minim or semibreve in

length.)

2. Find an album of pieces and explore the final bar of each piece together.

Make a note of what note values occur.

3. Explain to your student that when they compose, they need to make sure

the last bar follows the same kind of pattern – i.e. has a suitably long

ending note value.

4. HW: 2-bar rhythms. Write out the first bar of three 2-bar rhythms, in 2/4,

3/4 and 4/4. You could use these, for example:

Tell students that these are very short pieces, and they need to write the

final bar. (In all cases, a single note in the last bar would work fine.)

5. Today’s Term: mezzo-piano = moderately soft (quiet).

1. Explain to students that in writing a 4-bar rhythm they need to remember

the points from the previous lessons about a) using rhythmic blocks with

minor variations, b) avoiding syncopation unless it is a feature of the

piece as a whole and c) finishing on a reasonably long note. In grade 1,

students write a 2-bar answering rhythm to a 2-bar opening.

2. Find any music to hand which is unfamiliar to your student (in 2/4, 3/4 or

4/4) and ask students to tap/clap out the rhythm of two bars you have

picked (pick bars which start a phrase). See if they can improvise an

answering phrase of two more bars, without repeating it exactly, and

without changing it too much. Discuss their attempts – point out what

works and what doesn’t, and why. (Never say “it just sounds wrong” –

students will need concrete reasons).

3. HW: Choose a piece which your student knows well, and ask them to

write a 2-bar answering phrase to the first two bars which is different to

the original piece. It is worth repeating this exercise frequently with

different piece of music. (Note: if your student produces terrible

attempts at rhythm writing, try to get them to self-assess by reviewing

points 22, 23 and 24 together.)

4. Today’s Term: a tempo = in time.

© www.mymusictheory.com 2011

Page 14 of 16

Theory Survival Kit – Grade One

© www.mymusictheory.com 2011

Page 15 of 16

Theory Survival Kit – Grade One

1. Tempo

2. Forte

3. Andante

4. Allegro

5. Adagio

6. Ritenuto

7. Mezzo

8. Accelerando

9. Diminuendo

10. Decrescendo

11. Da Capo

12. Dal Segno

13. Cantabile

14. Crescendo

15. Legato

16. Fine

17. Fortissimo

18. Moderato

19. Pianissimo

20. Staccato

21. Piano

22. Poco

23. Mezzo-forte

24. Mezzo-piano

25. A Tempo

© www.mymusictheory.com 2011

Page 16 of 16

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