Discovering Music Theory 5

Grade Discovering Music Theory I Workbook
Discovering
Music Theory
THE ABRSM GRADE 5 WORKBOOK
Simon Rushby
Discov ering
Music Theo ry
THE ABRSM GRADE 5 WORKBOOK
Design by Kate Benjamin

Music origination for workbook by Moira Roach
Music origination for practice exam paper by Pete Readman
Cover and inside illustration by Andy Potts
First publ ished in 2020 by ABRSM (Publishing) Ltd, a wholly owned subsidiary of ABRSM
© 2020 by The Associated Board of the Royal Schools of Music
ISBN 978 1 78601 349 1
AB4014
All rights reserved. No part of this 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.
Printed in England by Page Bros (Norwich) Ltd, on materials from sustainable sources
P14813
THE ABRSM MUSIC THEORY SYLLABUS
FROM 2020: GRADES 1 TO 5
Grade 1 2 Alto clef (C cle f cent red on 3rd line) N t .

. o es in the alto I f
Note values of semibreve, minim, crotchet, quaver and any of t he keys set for th is grade (see b 1 ) c e in
·t h . . . e ow . Notes of th
semiquaver, and their equivalent rests (candidates may use sam e p1 ct· wri tten in different clefs (treble, alto bass) ed
the terms 'whole note', 'half note', etc. ) . Tied notes. Single- t ran spos1 I0n at th e octave from the treble or th~ b an
dotted notes. to the alto clef, and vice versa Double sh ass clef
nd
signs, and the ir can cellatio n. Enharmon·icaerp ~ i double flat
2 i
Simple ti me signatures of j 2, bar-lines and the grouping of quIva ents
the notes listed above within these times. 3 Scales and key signatures of all major and . k ·
• d. minor eysup t0
3 The stave. Treble (G) and bass (F) clefs. Names of notes on an d inc 1u ing five sharps and flats, with both f .
. arms of mino
the stave, including middle C in both clefs. Sharp, fla t and sea Ies. liec hmeal names for the notes of the d. t . r
. . ia onic scale
( tome, supertomc, etc.). Construction of the chro t·
natural signs, and their cancellation. · I . ma Ic scale
A ll Interva s, not exceeding an octave, between a t ·
4 Construction of the major scale, including the position of the d" t · . ny wo
Ia omc notes In any of the keys set for this grade.
tones and semitones. Scales and key signatures of the major
4 Triads ( root position) on the ton ic, subdominant and
keys of C, G, D and F in both clefs, with their ton ic t riads
(root position), degrees (number only), and intervals above dominant notes in any of the keys set for this grade Ch d .
t T h . • or s in
the tonic (by number only). ~oo posI I0n on t e toni c, subdominant and dominant notes
in any of the keys set for th is grade (the harmonic form of th
5 Some frequently used terms and signs concerning tempo, scale will be used in minor keys). e
dynamics, performance directions and articulation marks.
5 More terms and signs, incl uding the recognition and naming
Simple questions will be asked about a melody wri tten in
of the trill, turn, upper and lower mordent, acciaccatura
either treble or bass clef.
and appoggiatura. Questions about a passage of music will
include simple rel ated questions about standard orchestral
Grade 2 As in Grade 1, with the addition of:
instruments.
1 i
Simple time signatures of~ ~~and the grouping of notes
and rests within these times. Triplets, and triplet note grou ps Grade 5 As in preceding grades, with the addition of:
with rests. 1 Irregular time signatures of i I ii
and the grouping of notes
2 Extension of the stave to include two ledger li nes below and and rests within these times. Irregular divisions of simple
above each stave. time values.
3 Relative major and minor keys. Construction of the minor 2 Tenor clef (C clef centred on 4th line). The identification of
scale (harmon ic only). Scales and key signatures of the major notes in the four clefs in any of the keys set for this grade
keys of A, Bl, and El,, and the minor keys of A, E and D, with (see below), and the t ransposition at the octave of a simple
their tonic triads (root position), degrees (number only), and melody from any clef to another. Transposition to concert
intervals above the tonic (by number only) . pitch of a short melody notated for an instrument in B~. A or
F, and vice versa (the interval of transposition up or down will
4 More terms and signs in common use.
be given).
Grade 3 As in preceding grades, with the addition of: 3 Scales and key signatures of all major and minor keys up to
and including six sharps and flats. All simple and compound
1 1i
Compound time signatures of ff ff and the grouping of
notes and rests within these times. The demisemiquaver intervals from any note.
(32nd note) and its equivalent rest. 4 The root position (a), 1st inversion (b) ~nd 2nd invers~on (~)
forms of the tonic, supertonic, subdominant and dominan
2 Extension of the stave beyond two ledger lines. Transposition
chords in any of the keys set for this grade. The cho ice _of
at the octave from the treble clef to the bass clef, and vice
suitable chords at cadential points of a simple m_elody in
versa. the major key of C, G, Dor F. Perfect, plagal and imperfect
3 Scales and key signatures of all major and minor keys up to cadences in the major keys of C, G, Dor F.
and including four sharps and flats, including both harmonic
More terms and signs. The recognition of ornaments,_
and melodic forms of minor scales, with their tonic triads 5
including the replacement of written-out ornamentat~ion on
(root position), degrees (number only), and intervals above . t • rsa Ques ions
with the appropriate signs, but no vice ve . h I fs they
the types of voice and names of instrume~ts, t e ~ ewhich
the tonic (number and type).
4 More terms and signs.
Grade 4 As in preceding grades, with the addition of: they produce sound, as well as point~-~f
observation designed to test the can_ I a es
r
use, instrument family groups and_the bas1~::r m~sical
ability to apply
1 All simple and compound duple, triple and quadruple time theoretical knowledge to actual music.
signatures, and the grouping of notes and rests within these
times. The breve and its equivalent rest. Double-dotted notes
and rests. Duplets.
CONTENTS
Introduction
Chapter 1: Rhythm
Rewriting in simple and compound time (revision);
irregular time signatures: &l
~ i;
grouping in irregular time signatures; quintuplets and sextuplets
Chapter 2: Pitch (Part 1) 10
The tenor clef; octave transposition between clefs
Chapter 3: Pitch (Part 2) 17
Transposing by a major 2nd, minor 3rd and perfect 5th;
finding the new key signature; transposing melodies with accidentals;
transposing instruments
Chapter 4: Keys & Scales 27
F~/GI, major and D~/ EI, minor; all keys and scales for Grade 5;
helpful patterns: the circle of Sths
Chapter 5: Intervals 35
Intervals with or without a key signature;
chromatic intervals; compound intervals
Chapter 6: Chords 44
The supertonic chord (11); cadences; choosing suitable
chords for a melody; inversions
Chapter 7: Terms, Signs & Instruments (Part 1) 61
New instruments at Grade 5; transposing instruments;
voice types and their ranges
Chapter 8: Terms, Signs & Instruments (Part 2) 68
Written-out ornaments; new Italian terms and German terms;
the piano: terms and signs
Chapter 9: Music in Context 76
Practice Exam Paper 85
Music examples are written by the author unless otherwise stated. Some music examples have been adapted to suit learning requirements.
INTRODUCTION
Learning music is like learning a language. Understanding how it is written down will hel .
1
aspects of your music making, from performing and listening to composing and improvi! : t rn all
Discovering Music Theory is a suite of five workbooks, with answer books, that covers everythin
to know and understand for ABRSM's Music Theory exams at Grades 1to 5. In addition the gYou need
of ideas and opportunities to help you link music theory with your wider musical activit~. Yprovide lots
Discovering Music Theory: Grade 5 will help you to build the skills, knowledge and understanding required
.
. .
f or t he ABRSM Grade 5 Music Theory exam. Each chapter focuses on a particular area, corres O d'
to the sections of the exam paper. Throughout the book, new topics are introduced with simpl~ n rng
explanations, followed by progressive and varied exercises. These exercises have been carefully writ
to help you become familiar with the style and types of questions used in the exam. Some example ten
answers have been provided in orange to help you along the way.
Alongside the exercises, you'll find plenty of suggestions to help you apply your theory skills and link
them with your other musical activities. These are presented in different ways:
Q) Overview of the knowledge, skills and understanding required for your exam
Did you know? Interesting additional information related to the knowledge required for your exam
Smart tip Hints and suggestions on how to approach a specific exercise
Remember! Reminders of information covered earlier, and relevant to a specific exercise
Theory in sound Ideas for how to link theory with what you have learnt with your playing,
singing and listening
Challenge! Extra tasks to challenge you and extend your learning
Your progress A chance to check your skills and progress at the end of each chapter
At the end of the book, you'll find a practice exam paper. You can try each section of the paper as you
complete the work for that topic, or use it as revision once you've completed the whole book.
Further practice exam papers for each grade are available from ABRSM.
Note names
Notes have different names in different parts of the world. In this book we will use words such as
'semibreve' and 'minim', but you may be used to 'whole note' and 'half note'.
The following will help you to convert the note names if you need to:
I
---
breve
IOI
semi breve
0
minim
j
crotchet
J
quaver
}
semiquaver
)
) ---
demisemiquaver
___
double 16th note 32nd note
whole note half note quarter note 8th note
whole note
~ . ! ~. . ;.-.., ~ - -~ ~
In thls:c-ha'p teriyou will learn about
Rewriting in ·simpl~ and com~oun d time (revision)
RHYTHM · Irregular time signature s:
Grouping in irregular time signature s
2Z I i
Quintuple ts and sextuplet s
• Rewriting in simple and

l compound time Remem ber!
• We know that the beat is d ivided Simple t ime Compound t ime
into two in simple time, and three in
compoun d time. J .. :Ill J
• When rewriting a rhythm , we change the
type of beat, but we keep the number of
m
3
.. :Ill
m
beats the same.
n .. :Ill n
2
Exercise 1 Tick ( V ) or cross ( )() each box to show whether each bar has been correctly or
incorrectly rewritten in compound time.
El 41 r rrrf 3
II &er· rr r ~-
II □
El
''iJ j j JJ II &•w; j Ja J. II
□
II ~J i
r c r 11
2= g
C r -t= --j r- II
□
m 2= 1 I ~ ~ E~ ~ 2= 1I ~ r- E ~ ~
L__ 3 __J
II
2 2
II
□
II 2= 1ff I l g ~ ~=•ff el" g ~-
~
L--3__J
II ~ II
□
Challenge!
Can you write out any incorrectly written bars from Exercise 1 correctly? Use the staves below.
Chapter 1: Rhythm I 1
tly rewritte n
que stio n to sho w wh ich bar has been correc
Exercise 2 Tic k ( V) one box for eac h
. .
in sim ple tim e.
a aP Pr vr·
:]= ~" I 11
2=~1,1 P z Pr r r 2=~1, 1 ~ z ~ r vr 11 L J _J
11
L _ 3 __J
L._ 3 ___J
□ □
II ,~rJ pffiJ, II
4 c :P R J J II &c:P.ffiw l ' cJr' •~ f!' J J: §

□ D
□
a &ti# H pU l J. I
I ,~ H H S-;J I 'N# H pE f';d j
L 3 -.J 3
□ D
2
m 2=~ gp 7 g t fJ 11
2=~ I r ,
2
2=~ p 1 p P fJ d7 I_, J ®
2=~ I r c f £J I 11
1 11 L- -1_ __ J
l__ 3__ j
L__3 __J
D
□ □
Th eo ry in sound
com pou nd- t ime versions of
Play or cla p the sim ple - and
nd the sam e?
Exe rcise2E1. Can you hea r how the y sou
id c 5
ove rim1 Mu sic The or y: Gr.:
• Irregular time signatures
Quintuple time
l • So far we've encount ered ti m e sig natures t hat
divide into two, three or fou r equal groups. Bars I= five crotche t beats in a bar
in these time signatur es are in duple, triple or 3= five quaver beats in a bar
quadrup le t ime.
Septuple time
• Bars that cannot be divided into equal groups of two
or three beats are describe d as irregular. The most
i = seven crotche t beats in a bar
common irregula r time signatur es contain five beats i = seven quaver beats in a bar
(quintuple time) or seven beats (septuple time) .
number
Exercise 3 Add the time signature for each of these rhythms. The first four have the bottom
included to help you get started.
Smart tip
or
All the time signatures in Exercise 3 are irregular. Work out whether they use a crotchet
the first two.
quaver beat, then write the beats over the bar. This has been done for you in
1 2 3 4 5 1 2 3 4 5 6 7
m9 nn J J nJ II m 9 J J J J J 9J J 1
J mn 11 n J j J II
aOnnJ nJ Jl 1 D DJ .l J J J J II
n J II 111 OnJ n nJ n11
Theor y in sound
Clap or count the beat while someone taps or claps rhythm El
or m
from
Exercise 3, and then swap! Can you think of different ways to count?
\
Theory in sound
Listen to examples of irregular time signatures in well -known pieces, and see if you can
count or tap the beats. Here are a few ideas; the first two are used in Exercise 5, opposite.
• Tchaikovsky, Symphony No. 6, Op. 74 (2nd movement) (inf)
• Holst, The Planets, Op. 32 ('Mars') (in f)
• Schifrin, Theme from Mission: Impossible (in f)
• Britten, Peter Grimes, Op. 33 ('Old Joe has gone fishing') (in 4)
• Prokofiev, Piano Sonata No. 7, Op. 83 (final movement) (in i) ..
Grouping in irregular time signatures

• As irregular time signatures contain an odd number of beats, bars are divided into unequal
Parts.
• The principles for grouping notes and rests in irregular time are similar to those for duple t .
, ripe
1
and quadruple time:
Beams are used to group together notes shorter than a crotchet within each part of an
irregular bar.
Ties are used to join notes across different parts of an irregular bar, or across a bar-line.
Rest s should show each beat, part-bar or whole bar, depending on how the bars are divided.
• However, in irregular time, it is possible to divide bars in more than one way. For instance, in
quintuple time, a bar can be divided into 3+2 beats or 2+3 beats.
Here are some examples of bars in irregular time signatures,

grouped in different ways. Did you know?
3 + 2 2 + 3 In septuple time, bars can als_o
1
I or l I be divided into three parts:
J J J J; 3J 11 J ; 3 J J JJ J II
3+2+2 or 2+2+3
3 +2 3 +2 2+ 3 2 +3
.-,- - , 1 1 ---~ 17 or 17 - - - 11
&RJ 1'.Jl±)JWWJ IIJ JJfflJJJ'J II

3 + 4 4 + 3
or
I Jj
I
J J J JJ II j I F3 j J j
J JJ II
3 + 4 4 + 3
3 + 4 4 + 3
r-7 I I or I I i-----7
,. •
&z J i'. J J J. j I .J i'. J J 11 J II J i'. J J J. j I ) i'. J J j~
4 I Discoverin g Music Theory : Grade 5

, d .
Exercise 4 Study th ·
IS me o Y and then circle TRUE or FAL SE for each sta
tement.
t" ~ r g Er CJ I j J J ] J IJ J #J J J I
a Each bar contains seven cro

tchets. TRUE FALSE
o 3+4 beats. FALSE

IJ Bars 1 and 3 are divided int TRUE
same groups of beats. TRUE FALSE

II Every bar is divided into the
to each of these melodies.

Exercise 5 Add the missing bar-lines
t of the bar.
They all begin on the first bea Tchaikovsky
f1'E rpfr f'11
& ~ 'V § tf f~ ( V tf f@ g J r@&er· I

II
a tHtt zJ r r r ru rrr zz Ji J r · J JrF r · 11
Chap ter 1: Rh yth m I 5

◄
r:
Exercise 6 Tick ( V ) one box for each quest ion

t o show which bar is grouped correctly.
Smart tip
Before doing th is exercise, revise how
notes are grouped in regular simple
and compound t ime signatures.
Exercise 7 Tick ( V) or cross ()()each box to show whether rests are correct or incorrect.
Ff f 1 IE 'r
2
p i'. ~~)
Is
- [-r:-
[- E
--
r,~ ,
□ □ □
1 1 r J#3 J j J I I J -· !
□ □ □
n ~l H~ g nl J 9 #J g j' j
~
□ □ □
Challenge!
This melody has an irregular ti me signature. Can you show how each bar is divided
by drawing brackets r--i?
P c FJ 1 r r ~r r II
6 I Di scovering Mu sic Theory: Grade 5

• Quintuplets and sextuplets
l • At Grade 2, we discovered t hat a tripl et is a group of t hree notes played in the same amount
of time as two non -triplet notes of the same time value .
• Quintuplets and sextuplets are groups of five and six notes that are played in t he same
amount of time as a group of four notes of the same time value.
• Just like dupl ets and t riplet s, quintu plets and sextuplets can be any time value, and they can
also cont ain a combinati on of t ime va lues.
5
Did you know?
Jj j j j is equal in time value to Jj j j or ~ The word 'tuplet' is often used
as a general word to describe
6
notes like duplets, quintuplets ,.
Jj j j j j is equal in time value to Jffl or ~ and sextuplets.
Exercise 8 Number the beats and then complete the time signature for each of these rhythms.
[I]
El 4 n J:J:J:J:J:Jn ~ 6
II El II
Beats: 1 2 3 4 Beats:
5 5
J JJJ J ~ ~ II j J J J J II
Beats: Beats:
.------6-----, 5
a ~ j JJJJJJJ J :J II JJJJJ~ ~ II
Beats: Beats:
Challenge!
Write a two-bar rhythm inf that conta ins either quintuplets or sextuplets in the space below.
' ' - - - - - - - - - - - - - - - - - - - - - - - - - - ------_..,,

' - - - - - - - - - - - - - - -- - - - - - - - - - - - - ---------'
Exercise 9 Add the missing bar-lines to each of these melodies.
El v rrrrro □
5
1
;n r"crFFf ~ 6
El 2=1tt# I r CF f r:r rf ff rfl F J, S'CCEfC~

5 6
II &2 f f r rrrrrrrJ J □ □ J J JJJ11i] ~

l!I IIH 1N· I j j .J fF rr [ ff f FFErEf r ; j ~
6
11 thl• r r r rr rf
1,~~ LLJ r .J ce rH[; r - ~ 5
The next two exercises draw together the t ime signatures learnt so far.
Exercise 10 Complete these sentences by adding a number to each .
El In f there are crotchet beats in a bar.
El In i there are quaver beats in a bar.
II In }i there are dotted-qu aver beats in a bar.
m g In there are dotted-cr otchet beats in a bar.
D ! In there are minim beats in a bar.
8 I Discoverin g Music Theory : Grade S

Exercise 11 Circle the correct time signature for each of these bars.
smart tip
Look at how the notes and rests are grouped; this will
help you work out the type and number of beats.
Qj Qi II
3
4 t 5
8
6 12 3
8 16 4
II ~h f7':f §ECf} f II 6
8
3
4
m ~)=~ r------F
2
r J
ii!
r 11
6
8
3
4
5
8
a &~ r , u JJJ B ill 4

8
6
4
m ~-hb r· ~ r r r r , ,
L-2_.J
11
9
4
4
2
12
8
Your progress
Congratulations! You've completed all the work for Grade 5 on Rhythm.
Turn to the Practice Exam Paper on page 85 if you'd like to try some sample exam qi,Jestions.
"of
Chapter 1: Rhythm I g
In this chapt er You\vill I
PI TC H Octav e transp
-
ositio n
earn ab
The te
bet nor
0
C
11t
lef
(PA RT 1) Ween Clefs
• The teno r clef

l • The C clef shows where the note C is on the stave . At Grade
4
tenor clef
called
JI
we learnt that when it is centred on the middle line, it is
the alto clef.
19 e ~~ middleC
t op, it
• When t he C clef is centred on the second line from the
is ca lled the tenor clef.
Here are the same seven pitches around middl e C, writte

n in all fou r clefs: Did You
_a_
know?
_a_ ~ -
- " -e-
The tenor clef
I " is used most
commonly by the
.,..,.
-- - . " cello, bassoon
and trombone. In
earl ier centuries
... .. it was used by the

-,
. -- - tenor singers in a
choir - hence its
name.
l'l
-e-
-
tJ -u- -e- u-
'-J
middle C
Exercise 1 Name the follow ing notes in each of the four clefs.
..0..
0
0 0
0 j
'' 11 0 0
Treble : D
Alto: E
Tenor: C
Bass: F
10 I Discovering Music Theor y: Grade 5

I
smart tip
There are lots of ways you can be co me fam iliar with the ten or clef.
Here are two to try:
1. Make up phrases from the letter names of the notes on the lines and spaces in the tenor clef,
and write them below.
Lines: D ...... ...... .. ...... F .... ...... .......... A .. .................. C .. .................. E .................. ..
Spaces: E .. .......... ........ G .. .... .......... .... B .. .......... .. .. .... D ................... .
2. If you remember that middle C is on the 2nd line from the top in the tenor clef, you can count up or
down from th is note to find any other pitch .
Exercise 2 Tick (ti') one box for each question to show the clef needed to make each
of the named notes.
-. Smart tip
El ,)l 11 El e
II
Look carefully at the alto and tenor clefs -
E A it is easy to confuse them ! Remember that
- □ - □ -□
the clef sign is centred on the note C.
~□ \. ~
II r II m ~
II II ,, II D
i II
A C G D
~□ -□ -□ -□ ~□ -□ ~□ -□
Exercise 3 Rewrite these notes in the given clefs, keeping the pitch the same.
El
D IIB~ El 1; I II ~: IJ
D
1; I
'
e
'
u
G G
m 1eQ 4 D
~:
e
II II
e
IIB I D IIB u
D
II! II
IIB D D 4D
-e- ~..il.
D Ill II El IIH ~: I D IIR I

#:a:
Chapter 2: Pitch (Part 1) I 11

. ·
Rem emb er! nharm onic equiva lents.
differe ntly are ca 11 ed e
Notes that sound at the same pitch but are writte n
Here are three enharmonic equivalents:
I! 110 118 Cl
118 ~e
B C flat
A double sharp
th ese notes.
Exercise 4 Write an enharmonic equivalent of each of
4 D 4 D [)
!b-e-
El le II El II II IIB XII
□~
!b-e-
m ~:
D II! ii
-a-
II II
#a
I D IIB
II :>=
D IIB
D
~e
II El lE0
II II Ill 12, >
D ~
The ory in sound

These notes have been writte n witho ut clefs.
Try giving them differe nt clefs and then playing
or working out their pitch.
• Mid dle C
l rewritten (or transposed) one octave
In previous grades we encountered music that had been
s helpful to remember where
higher or lower. When different clefs are involved, it is alway
middle C is positioned on the stave.
I/ff 0 IIB 0
Middl e C
12 I Discovering Music Theor y: Grade 5

Exercise 5 Tick (~)one box to show whether the second note is one octave higher, at the
same pitch, or one octave lower than the first.
,, IIH □
higher
a e
~ □
Smart tip
'
same
Start by finding the note in the
□
lower
new clef at the same pitch.
~
,, II □
higher
□
higher
m ~: ,, II same
□ a IE
-0-
□
same
II
m e
IIH
-e-
I
lower
higher
same
□
□
□
'
a IIH u IIH
"U"
lower
higher
□
□
□
' '' I
same
□
lower
□
lower
-0-
□
higher
□
higher
D IIH IIH ,, I same
□ II II! ~: ij-e-
I □
same
ffu
□
lower
□
lower
Smart tip
You will need to know key signatures in the tenor clef. To practise this, here are some key signatures
and tonic triads for you to name. '
1s 11 § I II! 12~~ n I II! 1•n § I II! 12

fl:
II!
I 13 1 # lt
I
D major
- ff I II!
12
12~~ 12
fl:
I II! 12~
lt
I II! ,1tt#1 lt I II! l2~~l2
ff
I

Exercis e 6 Tick (ti') one box to show whether melody 2 is correctly or incorrectly written
one octave lower than melody 1.
1. 2.
a 4i F .Q J J J I IIB H cr .J J J 1 correct □ incorrect [J
1. 2. ~
II &•R JJJJ -)II ~ngr t EC p 1 correct □ incorrect o
incorrect o
1. 2.
m IIB I, I (j JJ t1f F II 9: ~ ! i] .r. ~ _ffi~ r II correct □ incorrect 0
1. 2.
a IIRtta g F ~fFr~J 11 IIR,1 gL~f@Grr· 11 correct D incorrect O
Challe nge!
Can you rewrite these melodies one octave lower in the tenor clef? Rewrite the rhythms exactly
as in the originals, and make sure you include any accidentals.
El f E r Fme r 11
II
1181,0 II
14 I Discoverin g Music Theory: Grade 5

.
Exercise 7 Tick c11 >one box to show whether melody 2 .1s correctly or incorrectly written
one octave higher than melody 1.
1. 2.
a :ll11tt I r EF Fr 1 &1## 1r ff [ E 11 correct □ incorrect □
1. 2.
m:2= I JJJ .J#(F P z 11 IU jJ J:li[fp , 11 correct □ incorrect D
incorrect D
1. 2.
l!I th' 1,E gJJ

1
DJ I IIK 1h E-JJ J tf r I ,orrect O incorrect □
1. 2.
a , ~gJ 1 IIR~ gr V Et [ I correct □ incorrect □

JJ JJ
Challenge!
clef? Rewrite the rhythms exactly
Can you rewrite these melodies one octave higher in the tenor
as in the originals, and make sure you include any accidentals.
a 2:1 gj ~ ~ r ~ II II 1181, ! J F nJ II
IIH1, !
111 1g II II
Chapte r 2: Pitch (Part 1) I 15

Exercise 8 In each question, compare bars A, Band C and then circle TRUE or FALSE
for each statement.
A is one octave higher than B. TRUE FALSE
C is two octaves lower than A. TRUE FALSE
B is two octaves lower than C. TRUE FALSE
C is one octave lower than A. TRUE FALSE
A and Bare at the same pitch. TRUE FALSE
B is two octaves higher than C. TRUE FALSE
. 1•
Test your progress

Write down five notes of your choice in all four clefs, keeping the pitch the same ...
for each of the five notes. Now write enharmonic equivalents of each note. °'"'k
- z
IIB
g

PITCH
. ·-, "' . \ ~' - " " - ~
·.,
i
. a,
.
· ·
~ -~ ~-l::i
•
.;i;·:.'.·_ Jn'ttils:chapter;you will learn about

~•
Tran sposingiby a ~ ~ib~' 2nd, minor 3rd and perfect 5th

' · Finding the new key signature
. '
,
i..~:._~ t:--~:·,~·_,.(r_ ..~ ~. -; .. ;,,-
.
..
3
..• ,.. "''7-<'~
Transpo sing melodies with accidentals

(PART 2) Transposing instruments
• Transposi ng by a major 2nd, minor 3rd and perfect 5th

l At Grade 3 we learnt how to transpose music up or down an octave. Let's explore
how to transpose notes so that they soun d:
• a major 2nd higher or lower • a minor 3rd higher or lower • a perfect 5th higher or lower
This diagram show s how t o tran spose the not e C up or down by the intervals shown .
perfect 5th minor 3rd major 2nd original note major 2nd minor 3rd perfect 5th
(7 semitones) (3 semitones) (2 semitones) (2 semitones) (3 semitones) (7 semitones)
~ . 111
II .. 11~ 0 11 .. 11° 11 j
11
4--------- ---LOWE R HIGHER - - - - -- - - - ~
Smart tip
You can work out intervals by count ing up or
,.... ... ... ,.... ,.... - -- ,.....
down in sem itones from the sta rting note.
• major 2nd = 2 semitones (1 tone)

• minor 3rd = 3 semitones C
• perfect 5t h = 7 semitones
Exercise 1 Transpose these notes by the named intervals.
[ill □ □ □ □
0 0 II #o
:& 0
II II II 0 II
major 2nd minor 3rd perfect 5th perfect 5th
major 2nd
lower higher lower
lower higher
~
..0..
□ □ □
0
□
~: ,, II
0
II II 0 II II
minor 3rd perfect 5th perfect 5th
major 2nd minor 3rd
higher higher lower
higher lower

• Finding the new key signature
l Did you know?
• If we transpose the note C up a major 2nd, it
The major or minor tonalit
becomes the note D. stays the same when a Y
• In the same way, if we transpose notes in the melody is transposed.
key of C major up a major 2nd, t hey become notes
in the key of D major.
• The key signature of D m ajor - t he new key - is used
so that we do not have t o write lots of accidentals.
t ra nsposed up a
II major 2nd becomes
Similarly:
4 I J r r r 1••
~#tt II
transposed up a
minor 3rd becomes
II
transposed up a ij
perfect 5th becomes
Exercise 2 Circle TRU E or FALSE for each statement.
The key of C major transposed up a major 2nd becomes the key of D major. TRUE FALSE
El
The key of C minor transposed down a minor 3rd becomes the key of A minor. TRUE FALSE
El
TRUE FALSE
The key of C major transposed up a perfect 5th becomes the key of F major.
II
FALSE
m The key of C major transposed down a major 2nd becomes the key of B major. TRUE
TRUE FALSE
II The key of C major transposed up a minor 3rd becomes the key of EP major.
FALSE
TRUE
D The key of C minor transposed down a perfect 5th becomes the key of G minor.
18 I Discovering Music Theory: Grade 5

Exercise 3 Complete these sentences.
El The key of D major transposed up a major 2nd becomes the key of E major.
(I The key of G major transposed up a major 2nd becomes the key of major.
II The key of A major transposed up a minor 3rd becomes the key of maj or.
IJ The key of E minor transposed up a minor 3rd becomes the key of minor.
II The key of D major transposed up a perfect 5th becomes the key of major.
D The key of G major transposed up a minor 3rd becomes major.
D The key of E minor transposed down a major 2nd becomes the key of minor.
El The key of D minor transposed down a minor 3rd becomes the key of m inor.
D The key of G major transposed down a minor 3rd becomes the key of major.
D The key of G minor transposed down a perfect 5th becomes the key of minor.
II The key of E minor transposed down a minor 3rd becomes minor.
Challenge!
Here is the beginning of 'Happy Birthday', w ritten in C major. Ca n you si ng or pl ay it up a major 2nd, in
D major? Transposing at sight is a t ricky but va luable skill - you might w ant to write it out in D major first.
(See page 21 for more on transposing melodies.)
P. Mill/M. Mill
~! l ~ I J J F Ir ~- ~ IJ J r IF I

Exercise 4 Tick< ti') one box to show the correct key signature.
Smart tip
First, identify the key and tonic note of the original key signature (you can use either the major
or the relative minor key). To find the new key, work out the what the new tonic not e would be.
For example, if the tonic note C transposed up a m inor 3rd becomes El,, then the key of C major
transposed up a minor 3rd becomes El, major.
El ~ transposed up a ~ □
~ major 2nd becomes ¥=31
transposed up a
perfect 5th becomes
transposed up a
II minor 3rd becomes
m ~1~ v □
transposed up a
II perfect 5th becomes
1
11
transposed down a
major 2nd becomes
transposed down a
minor 3rd becomes
II
transposed down a
major 2nd becomes I □ ~ o
:J: sl,'.:jl~,=::!lII
El ::::=~P' transposed down a
perfect 5th becomes I □ ~ o
-
• How to transpose a melod y
l
Let's imagine we have to tra nspose this melody down a major 2nd: ' 2r fj J J II
• First, we work out the new key by t ranspos ing the tonic down a major 2nd.
No sharps or flats means the key is C major or A minor, so the new key wil l
be a major 2nd lower - 81, major or G minor.
• Of course, 81, major and G minor have the same key signature, wh ich will be: ~
• Now we write every note a major 2nd (or a t one) lower:
&1r BJ w11
Exercise 5 Transpose this melody by the named intervals.

The key signatur e and first note are given in El. Smart tip
&IF
As wel l as making sure each note
.Q .l .l II is transposed correctly, check

that t he interval between each
consecut ive not e is the same as
the origi nal.
El Up a major 2nd ~,~-~# ~r==========111

!=!
El Up a mino r 3rd = ==
j,~~~~=== ==-
========-
==== =-=-
=-=- ==-
=-=- =======::!l:IEI
==-==-==-=======
II Down a minor 3rd j,~~~~~~~~~~~~~~~~~~~~~~11

31
m Up a perfect 5th :~:;,§jE =~======
::::~ 1
:::::=:::::=:::::================31
========
Q Down a perfect 5th ~,~~========~~~~~~~~~~~~jl l

EiJ~
Exercise 6 These bars have been transposed by the intervals shown. There are som e rnistak
Put a tick ( v') or cross ( )() underneath the key signature and each note t o sho;s,
whether each is correct or incorrect.
Down a major 2nd Up a major 2nd
El I J J J J El &# ~ r ~
~
',~1,
11
&'ntt a r r
J
I
J J J II ~
~
□ □ □ □ □ □ □ □ □ D
II ,~
Down a minor 3rd
I J f7J A 11 m
Up a minor 3rd
&'2 J. ) J j ~
'#ff 2 J J
f
J J 11 ,~2 r· ffJl
l
J r 1
□ □ □□□ □□ □□ □
II ,~
Down a perfect 5th
I J Cf r J 11 D
Up a perfect 5th
'# I r r J II ~
,~I, I
J J
F
J J J II 4u«tt 2 ~ t rI a
§
□ □ □□□ □ □ □ □□ □
Theory in sound
Play the phrases above on your instrument or ask someone to play them to you .
Can you hear where the mistakes are? You can also check your transpositions in
Exercise 5 by playing the original phrase followed by the transposed ones.
22 I Discovering Music Theo ry : Grade 5

Transposing melodies with accidentals
Some melodies, such as those in minor keys, contain notes with accidentals outsi de of
the key signatu re. Let's explore how to t ranspose a melody that contains accidentals .
Th is melody needs to be trans posed up a majo r 2nd : ,~ ! J§t!r F II

• First, we need to wo rk out the new key and key signature. Th e key signat ure of the
original melody tells us that the key is F major or D m inor, so t he new key w ill be a
major 2nd higher - G major or E minor.
• Next, we write each note a major 2nd higher than t he original.
• In order to make every interval a major 2nd, every note with an acc idental will
need one in the transposed version . However, the transposed notes might need
a different accidental. In the original melody, the B~ in the key signature has been
ra ised by a semitone - to Bq. The equivalent note in the transposed melody also
needs to be raised by a semitone - from C to C#.
II 11
Did you know?

In the transposed version of this melody, the second note is written as a C~ not a m, even
though these are enharmon ic equivalents. This is because we are transpos ing by a major
2nd rather than a dimin ished 3rd . For more information on intervals, see Chapter 5.
Exercise 7 Transpose each key and note by the named interval.
El ffo II Up a major 2nd

' i# ~n II
m
''i# ~-e-
II Down a major 2nd II
D ffo II Up a minor 3rd

' II
m ~:~ ' go
II
Down a perfect 5th
'
~:
II

l
. als shown. T here are some mistak es
• d b the interv d h
Exerc ise 8 These bars have been transpose Y h the key signature an eac note to show ·
Put a t ick ( t/ ) or cross ( K ) u nd erneat
whether each is correct or incorrect.
Up a major 2nd
El ,.## ¢
J
Reme mber!
Every note w ith an acc idental in th
original melody w ill need one in th:
4u# ## ¢ J
t ranspose d melody - but the type of
accidenta l needed may be different.
□ □ □□□ Up a major 2nd

Down a minor 3rd
g E •r r ••
4" I J ~ ~
m 4" I II II : #J
II 4u11tt i J j !iJ F~
□ □□□□ □ □ □ □□
Down a m inor 3rd
Up a minor 3rd
Ill ' 3r E E I• p II II ,~,~. i E r gJ

r II I
,~•g r-• Ef ~ p I J: J J ~
□ □ □□ □ □
II
'"D D □ D !iJ
□ I
Up a perfect 5th Down a perfect 5th
D ,~'•,,~ gJ J)
~
l\J J ~ II 4«11#1 g
r p itJ ~
,~,, rI, g ~ Et r ] 4"i1g w Jl
I:
f~
□ □ □□□□ D □ □□ 0
24 I Di scovering Music Theory : Grade 5
Challenge!
Can you transpose these melodies b th .
new key signature and an y e_intervals shown? Don't forget to include the
Y necessary accidentals.
Up a major 2nd
r r II
Down a minor 3rd
11 :r II
Up a perfect 5th
II
Transposing instruments
S~me ins~ru~ents are transposing instruments. This means that the sound they make is
different in pitch from the notes written in their music.
When a written C is played:

• Instruments in BP will sound the note BP - a major 2nd lower: I I
•
~o
'
11
This includes the clarinet in BP and the trumpet.
___.
• Instruments in A will sound the note A - a minor 3rd lower: IJ
'
This includes the clarinet in A.
I I
II
___.
• Instruments in F will sound the note F - a perfect 5th lower: II
'
This includes the horn in Fand the car anglais. I I II
Did you know? Theory in sound

There are many examples of well-known
The written music for transposing
pieces of music that have been arranged for
instruments is called written pitch, but
transposing instruments like the clarinet or
the notes t hese instruments produce are,
trumpet. Search online for a clarinet or trumpet '
said to be at sounding pitch (or concert
arrangement of one of your favourite pieces
pitch). Turn to page 64 for more on
and listen to how it sounds.
t ransposing inst ruments. ..
Chapter 3: Pitch (Part 2) I 2S

· 9
Exerc1se . h xample, adding accidentals where
Write the sounding or written note m eac e necessary.
Remember!
· • . Cl rinet in A sounds a minor 3rd lo
Clarinet in Bl> and trumpet in Bl> sound a maJor 2nd lower. a Wer.
Cor anglais and horn in F sound a perfect 5th lower.
Clarinet in Bb Horn in F
a ()
~o l
written sounds written sounds
Cor anglais Clarinet in A

Trumpet in Bl>
D #o
written
D
sounds
II
written sounds
Clarinet in Bl> Clarinet in A
I,, 1
ffo II I
Challenge!
Here is a bar written for a clarinet in Bli. Can you rewrite it a major 2nd lower to be at concert pitch?
II
Your progress
' ,,
A"1!' ..
Congratulations! You've completed all the work for Grade 5 on Pitch. -<
Turn to the Practice Exam Paper on page 85 if you'd like to try some sample exam questions.
•

KEYS& In this chapter you will learn about
F:/G!, major and o:/Et, minor
SCALES All the keys and scales for Grade 5

Helpful patterns: the circle of Sths
Keys with six sharps or six flats r
Did you know?

Let's explore keys that contain si x sharps or six flats.
Sharps and flats always
• The two new major keys are F# major (containing six sharps) follow the same sequence
and GI, major (containing six flats) . These two scales sound in key signatures. This is
the same, as they are enharmonic equ ivalents (notes that are the order in which they
written differently but sound at the same pitch). were introduced, from
keys with one sharp or flat
• D # minor and El, minor are the relative minors of F# major and to keys with six.
GI, major: they share the same key signatures as their relative
majors. They are also enharmonic equivalents.
Here are the key signatu res for all the keys, major and minor, in the treble, bass, alto and tenor clefs:
FLATS SHARPS
##
&~'v~1z 11~'lI, ~~ 11~'ll,~ 11~1,I, 11~1, 11~ II 11" 11"11 11"tt# 11"11#u 1111 '11 11 tt11ttu#11 II
1s1z~~,\~ 11,,~~l,I, 11,,~~I, 111z~~ 11,,~ 11,, II 11tt 111!1 111!1# II n1tt11 11tt1#ll3 11t11tt111u II
GI, major DI, major Al, major H major Bl, major F major C major G major D major A major E major B major F# major
El, minor Bi, minor F minor C minor G minor D minor A minor E minor Bminor F# minor C# minor G# minor D# minor
IIKh1z,,~
1 111z~~,,I, ,,,,~~I, 111z~~ 111z~ II lz II llu 111'
1 1 11 1
111"# llu #tt II u tt 1 llu ffttl# 11
11 111 1tt 11 11 111ttu 11 111111 11 111#1 # 11

~:~I,
/ I,~,~I 11~ lI, ~~ 11~ lI, ~ 11~ llz 11~1, 11~
1 1 1
II 111 11 ff 11
Notice t hat t he pat tern of sharps in the tenor clef is different from the other clefs.
Smart tip
Make up phrases to help you remember the order that sharps and flats are added, and write them below:
Sharps: C .. ............. .. G ................. D ................. A................. E ................ .

F ............... ..
Flats: E .. ............... A................. D ................. G ................. C ............... ..

B ................ .
Chapter 4: Keys & Sca les I 27

Exercis e 1 Tick (II") one box for each question t o show the cor rectly written key signature
for each named key.
Smart tip
Check t hat the sharps or flats are written in the
correct order, and on the correct line or space.
F# major
El ,-tt,,ff I □ :}=lg#I ~ff I

□
118 tt,ttgttn II □ IIB 11~tt1ff 11
□
El:> minor
11
II II! lz~b 1,b II
□
,~I, ~t,
I, I1 II □ 115 1,bbl,b1, II □
~=~!,I,~ ~ ~ II
□
B major
$»ttttn# □ IIS»'tt~ff II □
II :}= lg##I II □ 115 tt1•tt1 II □ II
B1:> minor
m IIR l,~b1t I □ IE 1zbb111, I □

!J= ~l,~~I, 11
□
,~'i,"I, II □
Exercis e 2 Circle one clef for each question that will make each key signature correct.
GI:> major
G# minor
E1 jff#I ff
I w• a
-
~ El 1,~bl'1,b II
w JI a
-
~
D # minor D I:> major
II 1ff#@nff II
w• a
-
~ m l,~~1,1, II
wJI a
-
~
El:> minor
F# major
II 11fftt1• II
wB a-
~ D ~l,l,~~lz II
'
JI •
-
~
28 I Discoverin g Music Th eory : Grade 5

i The scales of F~ major, Gl, major, D~ minor and E~ minor
F~major, ascending
~-ll#ln# 0 I I 0 II 0 11 0
'' 11
G~major, ascending
11 0 a
~1h,l>l> 1
' 0 I I 0 I I 0
11
D#harmonic minor, ascending
The leading note in this scale needs a double sharp accidental, as it already has a sharp.
·•11#1## u 0 II 0 II 0 311 0
11
EP harmonic minor, ascending
.l>i'!,Pl>i, I I 0 II qo I I
ii 0 11
0
D# melodic minor, ascending and descending

In this scale, the Cx is cancelled by a C#.
&*tt#nffll II 0 II fo XII 0
ffo qo II 0 II 0 11
u 0 u
H melodic minor, ascending and descending
110 qo I I l>o lzc, 0

~l>i'!,Pl>i, Ii 0 ii 0 ii 0 Cl 0 11
0
Theory in sound
Play or list en to these new scales. Can you hea r that the two
major and t he two minor keys sound the sa me as each 0th er? ·,
This is because they are enharmonic equivalents.
Chapt er 4 : f<eys & Scales I 29

Exercise 3 Th ese scales have been written without
key signatures. Add accidentals to make smart tip
the pitches correct. Check each clef carefully.
Is the melodic minor scale
ascending or descending?
GI, major
II
El ~: e
e ,, e II e II
II
Eli melodic minor
-e- ..0..
0 e
m II
II
'
D# harmonic minor
-e- ..0.. -e- 0 e
II IB II e II
II
F# major
Did you know?

In music, you might occasionally encounter keys with seven sharps or flats, but these will
be rare as they have far simpler enharmonic equivalents. For example, the key of C# major
will have seven sharps in its key signature, but its enharmonic equivalent, m major, has five
flats and is therefore easier to read.
I
Challenge!
Can you add accidentals before notes that need them to create a melody in the key indicated?
F# major
Beethoven
&c .a I r □ J J I r· J J r I rr rrr I 11

Exercise 4 Add one note above each tonic to show t he named degree of each major scale.
Use accidentals where necessary.
Smart tip
First, put a note on the correct line or space. Then add an accidental if one is needed.
Here's a reminder of the technical names for the degrees of the scale:
1st tonic 5th dominant
2nd supertonic 6th submediant
3rd mediant 7th leading note
4th subdominant
F# major Bli melodic minor
El
'
ffo
tonic
8
subdominant
II m
' u-
&
tonic
D
mediant
II
Eli harmonic minor Gli major
II ~ :
~-e-
tonic
□
leading note
I m ~:
~"'CJ"
tonic
□
submediant
II
F#major
□
D# melodic minor
D IIB #u
tonic
D
dominant
II D IIB #<>
tonic lead ing note
II
D# harmonic minor Eli melodic minor
□
~e
a IIR ffe
tonic
D
supertonic
II El IIH
ton ic subdominant
II
Chapter 4 : Keys & Scales I 31

i Helpful patterns: the circle of Sths
There are some clear patterns between
down by a 5th: +P up by a 5th· +-
. -
the keys as you rise up through the
~ ~
sharps and flats .
• If you add sharps to the key of C major,
you get G major, then D major, A
major, and so on. This pattern rises in
perfect Sths. C
F G
f1'\inor key.s
• If you add flats to th e key of C major, A
D E
you get F major, then BP major, EP B~
major, and so o n. This pattern falls in G B
perfect Sths. Circle
• The minor keys follow the same
C
of Sths
F: A
~
q
pattern. For examp le, by adding a
B~ G~ E
sharp, A minor becomes E minor; D~
E~
E m ino r becomes B mino r, and so on. B
• Amazingly, so do the key signatures!
The first sharp to appear in key
signatures is F#, then C#, G#, and so on.
T he sharps rise by a 5th and the fl ats
fa ll by a 5th, in exactly the same way as
t he keys.
The rema ining exerc ises in this chapt er will cover t he scales you need t o kn ow at Grade 5.
Exercise 5 Name the key and degree of the scale for each of these not es.
B minor major
a
II 4 »tt#1ff#
El
'"ff g.o.
II mediant 11 II ················································
minor major
II ~:jjlz jj
lz II ·················································· m ~= lff II ············•·····•······························
-e-
minor major
D 4111#1
e
D 118 lzjjjj1,1,
a
II ··················································
II ·································
minor major
Ill IIH lzpjj
0
118 lzppl,fzjj II ..... , .................. ..........
m ················•·································
II
II

Exercise 6 Add one note at each t t o comple te these scales. Use accidentals if necessary.
Gli major
t t e ~o
~e
El ~e lzo ~e II
'
F melod ic minor
...0.. ~-e- ~o n e
m ~: II
F~major
#-e- #-e-
ije #...o..
#<> II
II IIB
Eli harmonic minor
() Pe Pe
m 118 ~e e l,,, II
C~ melodic minor
#e
ffe '' II
Remember!
In chromatic scales:
than two
. and spaces h ou Id have at least one note on it, and no more
• Every lrne
• There should be no enharm onic equivalents
• There should be 13 notes in t otal
• The sca le should start and end on the same note.
f f
Chrom atic scale beginning on C
a
#<' e
II
D JIB e ffe
(j
Chapte r 4: Keys & Scales I 33

Exerc1se
· 7 Circle TRUE or FALSE for each statement.
El ;1=
-e- ~u- u- -e- u- qu- ~-e- q-e-
&
o ~o
& qo 1,.. ~
This is a correctly written ch romatic scale beginning on A. TRUE FALSE
#11 a #a -e--
II 11 II
ff«> 0 lo II 0 lo II
0
~
Th is is a correctly written chromatic scale beginning on G. TRUE FALSE
II IS #«> lo jto !10 lo ijo II lo ij o ffo !io #o qo ~
This is a correctly written chromatic scale beginning on F#. TRUE FALSE
Exercise 8 Circle the correct key for each melody. These melodies have been written without
key signatures.
a &t 1r 1.l.J 1,:m r t r II Bmajor G minor G#minor Bminor
m 2= a•r •v ~r c r I c #rn ttr· 11 Bmajor F#minor C#minor F#major
11 &, J&J J.a~n J J 4 I II B>major F minor Bli minor Fmajor
m 2= g~J. ~JEfilr I~ffl1,J ~n. 11 u mi••· D major Eli major Bl, minor
Your progress
,, /-
t.
Congratulations! You've completed all the work for Grade 5 on Keys & Scales.
Turn to the Practice Exam Paper on page 85 if you'd like to try some sample exam questions.
•

In this chapter you will learn about
INTERVALS Intervals with or without a key signature

Chromatic intervals
Compound intervals
• Interva ls w ith or without a key signature

l Interva ls are named by number and t ype: major, minor, perfect, augmented or diminished.
Here is a reminder of how to identify them:
• First, identify the number of the interval by counting up from the lower note as if it is the tonic.
• Next, identify the type of interval. In Interval A, the Chas been raised by a semitone, making it an
augmented 4th. In Interval B, the D has been lowered by a semitone, making it a diminished 5th.
At Grade 5 intervals may be written with or without a key signature.
Interval A Interval B Smart tip

Check whether a key signature has
~ ~o been used. If it has, will th is affect

0 II any of the notes in the interval?
Exercise 1 Circle the type of each interval.
El I perfect major minor diminished augmented
'
e
u
m ~: ~n
I perfect major minor diminished augmented
''
ijo
II 118 •'ff 0 II perfect major minor diminished augmented
-e- ..0..
m IIB I perfect major minor diminished augmented
go minor diminished augmented

I ~: ~lz 0
II perfect major
, ~1·1N•
0
~
II major minor diminished augmented
Q perfect
Chapter 5: Intervals I 35
Smart tip Remember!
+ semitone
• Al~ ays work out the interval number first, then check the • ·:.. ~
accidentals or key signature to identify the type of interval. .;- Augmented
• Count up from the lower note, even if it comes second. Major
. I
Perfect
M inor
Diminished
- semitone
Exercise 2 •
Name these intervals. Some have been wn·uen w,·th key signatures and some without·
#o #o
El m ~ II 119
~
'
ii II 1111
II
'
0
augmented 4th
.0.. l>..o.
lz,,
m 2· II II 118
II
II D II 0 lzn
1
II t)=~lzI,
-e-
ii
II El 118 #1•tt,• ii
u II a ,~#tt 0 #..o.
11
• Chromatic intervals
l Some intervals above the tonic contain notes that are not part of the major or minor scales.
These can be described as chromatic intervals.
It is a semitone smaller than a minor 3rd

Look at this interval: because the higher note is E double flat,
~o 11
not Eflat. This makes it a diminished 3rd.
Did you know?

If the higher note of the interval above were written as D instead - the enharmonic
equivalent of Efh - the interval would be a major 2nd rather than a diminished 3rd.
This is why it is important to work out the interval number before its type.
36 I Discoveri ng Music Theory: Grade 5

Exercise 3 Here are t he chrom at ic intervals found at Gra des written with C as the lower note.
Fill in the blank spaces to complete their descripti~ns.
El ' -e- W, 0 II Diminished 3,d (a mino, 3,d that has been lowe,ed by a semitone)
m ffo II Augmented 3rd (a
'
that has been raised by a semitone)
-e-
II l~n1 II
'
(a minor 6th that has been lowered by a semitone)
-e-
II tlu II
'
(a major 6th that has been raised by a semitone)
-e-
II lo II Augmented 7th (a that has been
' -e-
by a semitone)
D ' Im II
(a that has been
-e-
by a semitone)
8ve (a perfect 8ve that has been

D 11
' -e- ff II
by a semitone)
Chapter 5: Interval s I 37
Smart t ip
If t~e lower note of an interval is a sharp or flat, it can be
easier to change it to a natural to work out the interval.
For ~xample, this interval is a type of 3rd. If we change the C# to C, it becomes a minor 3rd. This means that
the interval from C# to E~ must be a diminished 3rd because the lower note has been raised by one semitone
to make the interval smaller.
Remember!
In .augmented and diminished intervals, one note is raised or lowered by a semitone from major,
minor or perfect intervals.
• In El below, you could start by writing a major 7th (the note G) and then raise it by adding a sharp.
• In II below, a minor 6th above D would be a Bil, so what note would you write to make it diminished?
Exercise 4 Write one note to form the named intervals. Your note should be higher than
the given note.
□~
#-e-
El ~:~I,~
I, De
I El II I II 'pl, e
'
augmented 7th augmented 8ve diminished 6th
m ~:-~~- D D II
augmented 4th
I D ~: e
diminished 8ve
I D II!
II
D
diminished 7th
I
augmented 3rd augmented 6th diminished 3rd
diminished 6th augmented 2nd augmented 6th

Exercise 5 Write the name of each of these interva ls. The interva l numbe
r is given
in El , m
and a.
ba
El M,,o
II m II B 2· 0
llO
II
' '
0 0
3rd 8ve 3rd
tt.o.. XO M,,o
m ~: ije
II II IIB ,, II D IIB I,~ 11 II
II D IIB Uu, II
XI > II II
''
I) II
• Com pou nd intervals Did you know?

l Compound intervals are intervals greater than an By lowering the upper note of a
octave . There are two ways to name them. compound interval by an octave, you
can find the equivalent interval within an
This is a compound major 3rd octave . For instance, here is a compo und
~
..o.
0 II or a major 10th. major 3rd followed by a major 3rd.
This is a compound perfect 5th

0
II
9· ,, II or a perfec t 12th .
Theory in sound
) ·nterva ls within an octave followed
Play (or ask someo ne to play to you
1
erfect 4th fo llowed by a
1
by th eir compo und equivalent - for ~; ~:~~·il: ~ty in their sound?
compo und perfec t 4th. Can you hea
Chapte r 5. lntervu ls I 39
Exercise 6 Complete the names of these intervals.
smart tip
Compound intervals can be major, minor
perfect, augmented or diminished. '
major 9th or perfect 11th or Or
compound major 2nd compound compound perfect 5th
or or or
compound diminished 6th
Exercise 7 Circle the type of each compound interval.
~.o.
El
4 II
#.o.
II
perfect major minor diminished augmented
m 9: 0 II perfect major minor diminished augmented
g.o.
II 119t1,# 0 II
~~
m II 0
11 perfect major minor diminished augmented
#.o.
m 9:~ 0 II perfect major minor diminished augmented

Exercise 8 Name these compound intervals.
Smart tip
• First, check the clef and key signature.
• Now work out the interval number. You can write the higher note an octave lower if it helps.
• Next, work out the type of interval - is it major, minor or perfect, or has one note been raised
or lowered a further semitone (making it augmented or diminished) ?
\
-e-
a compound perfect 4th or perfect 11th
'
0 II
II
II ~: compound or
II
&u-
e
II IIH II
compound or
&u-
~-e-
m IIB It II compound or
ko or
compound
II II
D '
~:
-e-
-e-
-e-
II compound or
x-e-
or
II 'j## e II compound
#.o..
or
El 119,,~ 0
II compound
-e-
or
D ~=~I,I,~ 0 II compound
D 119 tt-°-
or
compound
ffu II
Chapter 5: Intervals I 41
Th~ final two exercises in this chapter include the new intervals you need to know at Grade 5,
written in any of the four clefs we have encountered.
Exercise 9 Write one note to form the named intervals. Your note should be higher th an th e given note.
El 2=~lll ~
--e- ,
II
D ,~, II II DJ]
'
It 11 u
0
compound perfect 5th augmented 7th compound major 6th
II :J=luHn 0
perfect 11th □ D 11 II
□~2= 0
compound diminished 5th

11
D IIK II
major 10th
II IIR1l II
D D a &»bn -..- D
El fo ~
'
11 11
minor 9th compound minor 6th augmented 14th
D 2=•~ II
~
compound diminished 3rd
D D
I II IIR lln
augmented 9th
11 D IIH
U'
I
diminished 15th
Exercise 10 Tick< t/) one box to name each interval.
II II o ==~f,.~.==ll~
::tiu:IIH====
□ major12th □ diminished 6th D major2nd

□ diminished 12th □ augmented 5th D diminished 3rd
□ compound perfect 4th D minor6th D minor 2nd
D augmented 11th D augmented 6th D augmented 2nd

Challenge!
Can you identify the intervals marked by brackets ( r---,) in these melodies?
3 4 Rachman inoff
r7 r-i
"flt) "Elf ~fy If)

1
2
3 4
II
1 2
3 4
' ,, -,, ~)!

Your progress ....-1"~ --
Congratulations! You 've completed all the work for Grade 5 on Intervals. -.:.
Turn to the Practice Exam Paper on page 85 if you 'd like to try some sample exa m qu~stions. fl.:j.
'i1"llt..
Chapter 5: Interval s I 43
·---.--.-,_~
In this chapter you Will learn ab
6 CHORDS
Ollt
The supertonic chord (II)
. Cadences
Choosing suitable chords for a rnelody
Inversions
• The supertonic chord (II)

l • At Grade 4, we explored primary chords: chords bu ilt on the 1st, 4th •
and 5th degrees of major and minor scales.
• The supertonic chord (11) is built on the 2nd degree of the scale.
C major
e II
6
' u
:§_ e II ii
II IV V
tonic supertonic subdominant dominant
·····························•··••·················-•··· ···••·•••o1-••·······"'''"'"'""''""' ' ""'' ""' ''"'"'''"""'""'"''''''''''"""'"''""""""'"'""
C minor
u e II I I ~e
II IV V
tonic supertonic subdominant dominant
In chord II of C minor, the top note is an Al> because it is made up of

notes from the harmonic minor scale.
Exercise 1 Add one note to complete each supertonic chord. Remember!
,~I,
• We use roman numerals
E minor Bil major
to identify chords.
'I
Each chord is built on
El u II m _g_ II a degree of the scale,
which gives us the
number of the chord.
II II • The note that a chord is
built on is called its root
,~IV
F minor F~major
- when this note is at
the bottom of the
II 9 II m &•n#nff# 9 ~ chord, it is said to be • ..!'
~ ..
in root position. "
II II

Theory in sound
Play (or ask someone to play to you) chords I, 11, IV and V in C major and C minor.
Listen carefully to how they sound .
• Chords I, IV and V in the major key are major chords, but chord II is m inor.
• Chords I and IV in the minor key are minor chords, but chord Vis major as it
contains the raised leading note. Chord II in minor keys is diminished - it contains
a diminished 5th between the root and the upper note.
Exercise 2 Describe each chord using roman numerals (I, II, IV or V).
El
Al, major
4,1v
ff l II ,.fl
B minor
§
II II ,.~
G minor
u II
II
E major C major D I, major
m 41fl#I ff II D II D 4,1v, §
' H 11
m
D minor
,. jiu II El
G# minor
41fl#lfl
:!
II a ,,
G major
ti
II
Challenge! Try writing some of the chords in Exercise 2 in the alto, tenor and bass clefs.
Chapter 6: Chords I 45
• Ca de nc es t ence. Cad ences are seq uence s o1
l •
a bit like a mus
•
1ca
•
1 sen •
• A phrase 1s a por tion of a mel ody,
cho rds that com plet e a phrase. · hed dep end ing on wh ich cad enc ·
sou nd finis hed or un f .inis ' .
n ma
e is
k
• A cad enc e can mak e a phra se . ch as ful l stop s and que stio r s
to pun ctua tion - su
used. Cad enc es are sim ilar in effe ct
- in writ ten sen tenc es.
need to kno w at Gra de S.

Re me mb er, .
The re are thre e type s of cadences you Cho rds can be
IV or V: .
The y are all mad e usin g cho rds I, 11, made up of more
than thre e notes.
In these cadences
we have used '
Per fect V - 1 for exa mpl e:
four -not e chor ds·
these are crea ted
by incl uding one
V of the notes of
......................... .......... . · ···•• · ..... . ···············
the triad at two
.... ········· ··••······ ···········•············
diffe rent octaves.
Plag al IV - I for exa mpl e: J
IV
1- V
or
Imp erfe ct II - V for example:
or
IV - V
II V
Th eo ry in so un d
the three cadences - ,
Play (or ask someone to play to you) \
sound?
writ ten above. Can you hear how they
on chord I and sound • . -•
• The perfect and plagal cadences end like a
a section of mus ic,
finished - they 're suitable for the end of
mus ical full stop.
rd V and sounds unfinished.
• The imperfect cadence ends on cho
section of music, but is
It wou ld sound weaker at the end of a
like a musical comma or
goo d for end ing phrases in the middle,
que stio n mark.
de 5
46 I Disc ove ring Music The ory: Gra
Exercise 3 Describe the two chords in each question using roman numerals (I, 11, IV or V)
and then identify the cadence.
r
smart tip
• Start by working out the key from the key signature - in this exercise it will be C, G, Dor F major.
• Then work out the two chords by looking at their root notes (which are at the bottom) .
• If the final chord is V, the cadence is imperfect (1 - V, 11-V or IV-V). If it's I, the cadence is
perfect (V - 1) or plagal (IV - I).
Cadence: Cadence:
El imperfect m
IV V
Cadence: Cadence:
Cadence: Cadence:
II D r
Cadence: Cadence:
D r El
Chapter 6: Chords I 47
Cadence s in minor keys
When we write cadences in minor keys, chord V will contain the raised lead ing note.
Here are examples of the three cadences we have learnt, written in Eminor.
The raised leading note is 0#:
Perfect Plagal Imperfect
V IV 11 V
Exercise 4 includes cadences in major or minor keys, with up to four sharps or flats in the key signature
Exercise 4 Tick one box to name each cadence .
.
Smart tip
Start by identifying whether cliords
are I, II, IV or V in the given key. -
D major
El perfect D plagal D imperfect D
BP major
II perfect D plagal D imperfect D

►
Exercise 4 Cont inued .
A major
r,
perfe ct D plaga l D impe rfect t_J
D minor
II perfect O plaga l 0 impe rfect 0
C:minor
a perfect D plagal D impe rfect 0
Challenge!
Rewrite Exercise 4 El
in D minor. You'll need to change t he key
shou ld be raised.
signature, and reme mbe r that the leadi ng note
~
,
I
_-..: v
t)
'
_.. '
_I
...
Chap ter 6: Chor ds I 49

Choosing suitable chords for a melody
In the Grades exam you will be given a melody and asked to choose suitable chords to
harmonis e it. You will need to choose from chords I, 11, IV or V.
Look at this exam p le:
j I
F F le J cr If
□ □
You are being asked to choose one chord for each set of bracketed notes. The two chords
should make a cadence, as they are the last chords in the phrase. H ere is a step-by-step
guide to choosing suitable chords :
1. Identify the key. In this exam ple, the key is D major as there are t w o sha rps in the key
signature. It is not B minor as the leading note, A , has not been ra ised .
2 . Work out chords I, II, IV and Vin the key. Here they are for D major:
,-ff () § § II I
II IV V
3. Name the notes in the melody. The notes in bar 3 of this melody are C#, D, E and Ct
4. Choose a suitable chord for each box. Compare each chord with the notes of the
melody. The most suitable chord will contain all or most of the notes from the melody.
i. In bar 3, the best chord to use is V because it contains two of the notes of the
melody: C# and E.
ii. If you do the same for the second chord (bar 4), you will find that chord I works best
as it contains both the notes D and A.
5 . Identify the cadence. Check that the two chords make a perfect, imperfect or plaga l
cadence. In this case they make a perfect cadence.
Smart tip
Very often you will find that not all the melody notes w ill fit in w ith '""t
a chord. If this is the case, find a chord that fits the majority of the
notes, particularly those that fall on the main beats of the bar. ""
so I Di scovering Music Theory: Grade 5

Exercise 5 ln~i~ate suit able chords for each of the followin g melodies in major keys
by
writing I, 11, IV or V in each box, and then circle the correct cadence .
smar t t ip
, Choose chords that contain the majority of t he melody notes within each
bracket.
, Make sure that the two chords you choose form a perfect, plagal or imperfe
ct cadence .
a ~ •iJ J I f r f I J F Et I d JI perfect plagal imperfect
IV V
II ~~ C ,] f' I r· Ji .lJ I J J r I J j I perfect plagal imperfect
Smart tip
□□
The final bar in II only contains one note. Make sure you choose t he chord that will belong to a cadence.
11 &~·u r r Ir r Ir r J Ir· I perfect plagal imperfect
a
□□
m t>= ng#n i F If C Ir· f [] 1F J 11 perfect plagal imperfect
L__]
□□
r In JJI J JI perfect plagal imperfect
□□
Chapte r 6: Chords I 51
Exercise 5 Continued.
D t.J:111# r f f If H EIf Ef f IJ F 1 perfect

plagal imperfect
L--1
m ,~Iv J I
□□
J I jJ J 13 rF Er I JJ J II perfect
plagal imperfect
□ □
•
l Choosing suitable chords for a minor key melody
Let's work through an example of a melody in a minor key, following the same steps as earlier.
11
□ □ □
1. Identify the key. From the key signature we can see that it's either B~major or G minor,
but the raised leading note (F#) shows us that it is G minor.
2. Work out chords I, II, IV and Vin the key.
Here they are for G minor. Note that chord V &~'· 6 II m II
has the raised leading note, F#:
II IV V
3. Name the notes in the melody.
4 . Choose a suitable chord for each box.
1. The first chord (bar 2) needs to fit with the notes EP, C and G - and chord IV fits
the bill here.
ii. Bar 3 contains the notes A, G, F#and D. Al l of these except the G can be found in
chord V.
ii i. As the fina l bar contains only the note G, either chord I or chord IV could fit .
However, in order to make a cadence, we have to choose chord I.
5. Identify the cadence. Check that the two chords make a perfect, imperfect or plagal
cadence. The final two chords (V and I) make a perfect cadence.

Sma rt tip
Look out for t he ra ised leading note
• Exercise 6 conta ins melod ies in major and minor keys.
key at the sta rt if that helps.
to identi fy melod ies in m inor keys. You cou ld write t he
• Each melod y conta ins two differe nt cadences.
ies by writ ing

Exercise 6 Indica te suitab le chord s for each of the follow ing melod
I, 11, IV or V in each box, and then name each cadence.
El , ~I, ; f r J j IJ J ,~g Caden ce 1
f Ir ~
□ □
,~b j j
r 3 IJ j J F IJ. Jl•
Cadence 2
F If r II
□ □ □
Cadence 2:
Cadence 1:
Cadence 1
m 4untt I d V If F r J 'r F f ~ IJ r
□ □
,-ff# j
V
,~ F J J I~ J
~
Cadence 2
J IJ
j II
□ □ □
Cadence 2:
Cadence 1:
Chapt er 6. Chord s I 53
Cadence 1
j
p iJ j J
J I~J
I _j
□ □ Cadence 2
&~'v r .1 u Ir J Iq] £ J IJ I
Cadence 1:
□ □ □
Cadence 2:
Cadence 1
l!I , .##I H r C r 11u f J Ii J J F I'F j
□ Cadence 2 □
,1##1 rr F r Ir J j I J~ ~
~ ~ IJ F I
□ Cadence 2:
□ □
Cadence 1:

Inversions
• The note that a t riad is built on is called its root. When this note is at the bottom of
the chord it is said to be in root position.
• When the lowest note of the cho rd is not the root, the chord is called an inversion.
Here is chord I in C major, written as a

triad in root position.
la
Here is the same chord, now written in its

1st inversion. The note E - the 3rd of the
triad - is now the lowest note.
lb
Here is the same chord in its 2nd inversion.

The note G - the 5th of the triad - is now
the lowest note.
le
• We use letters after the chord numbers to indicate inversions:

'a' for root position
Did you know?
For root-position chords,
'b' for 1st inversion the 'a' is often omitted.
'c' for 2nd inversion 'Chord I' means the same
as 'Chord la'.
You can see that the three chords above are labelled la, lb and le.
Theory in sound
Play or listen to triads in root position, 1st inversion and 2nd inversion.
Can you hear the difference in how they sound?
Challenge!
Write these chords in their 1st and 2nd inversions:
'ti § II II II :f~ § II II II
Chapt er 6: Cho rds I 55

h ther the chord is in 1st or 2nd Inve rs Ion.
Exe re .I Se 7 Write b or c after each chord number to show w e
Smart tip
El .,. f th interval of a perfect
Th e chords .In · to 1:1 are written as triads. By looking out or e . . .
4th,
. .
at the top, the triad will be in 1st inversion (b),
you can identify the inversion. If the 4th is
if the 4th is at the bottom it will be in 2nd inversion (c).
D major
C major
~
El o o 8 m ~•1 0 II 8 II II §
'
11 § 11 11 11
II IV V
IV b V II V
Eli major F#minor :8:

..0..
..0.. -e-
# #
II 2=~1,I, 8 11
g II 11 11
m 2=1#11 § II 8 II ff# II ]
V IV II IV II V
Remember!
In the case of four-note chords, one of the notes will appear twice. \
You might find it helpful to rewrite the notes in each chord as a triad.
D minor E major
.
11
.. ..
,1 a
.
.+
..- ~
-
-
M
''t .,J
~
--
-
~-
u u
~
M
~ ~
7 "I
-
~
u- ~-e- tJ -e-
a ' D '
-e-
'~
..... ::-
. n
~-
--- .-. ·-
. ·-
-.
■o M
M
..
- n
-
~
~
,.
-
II IV V IV V II

rsions
An alte rna t ive way to iden tify chords and inve
ions as a grid.
You may find it helpf ul to wri te chords and thei r invers
in D majo r.
Here is a grid show ing the chord s and invers ions
a b C ~ Each colum n show s

I D F# A the botto m note of the
II E G B chord in root positi on (a),
IV G B D 1st invers ion (b) and
V A C# E 2nd invers ion (c).
identify these chords.

Exercise 8 Write the chord number and inversion in the boxes to
Sm art tip
can write the
Work out the chord first, and then its inversion. You
above.
chords out on a stave or use a 'grid' version as shown
Eli major .il.
El II g u 8 f 11 8 :tt II II
11 11 11 11
''
1t
IVb
A minor .il.
ft 1t
II II ff8 II
-e-
0
II
0
II :>= o 11 f II #g II 11
ff
F minor
G major
.. -- ..- ,
Ii I
" ... ..
I
I ,.tJ J,I
~
..- :::_
- u
" -1-e-
- ..
-e-
-
'LI'
••
u
m
~
'-'
u
' V
<
D .. .
-- ..
••
.---
....--
£
-A- -
.. .. \
~
"
:.- ~
- --
I
Chap ter 6: Chord s I 57

Exerc·1se g . . h of the three marked chords.
Tick ( t/ ) one box for each question to name eac
Smart tip
• First, check the key by looking at the key signature and any raised leading notes that
would indicate the relative minor. The key is given in El
and Ill·
• When naming each chord, make sure that all three notes of that chord are present.
Remember that the bass note will not always be the root of the chord.
• In a minor key, if the raised leading note is in a chord, it will be chord V.
Emajor 5. Foster
A B C
/
Il
7i
JJ, l+ I
.,
--
u
'
El
r '•
-.·•- 1'1"1~:-.
I
I
I
Chord A: lb □ Va □ IVb □ Va □
Chord B: lb □ le □ lib □ Vb □
Chord C: le □ Ila □ IVb □ Va □
Bl, major
A C Trad.
Chord A: la
□ le
□ Vb
□ Va
□
Chord B: llb
□ IVb
□ IVa
□ Ila
□
□ □ □ □
Chord C: lb le Vb Va

Key:
A B C Tchaikovsky
Chord A: lb
□ la
□ Va
□ Vb
□
□ □ □ □
Chord B: Vb Va IVb IVc
□ □ □ □
Chord C: Ila IVb IVa llb
Key:
A B C Clement i
Chord A: lb
□ IVb
□ Vb
□ llb
□
Chord B: Ila
□ lib
□ IVb
□ lie
□
Chord C: Va
□
IVb
□
le
□ lb
□
Key:
A B C J. S. Bach
Ila □ □
Chord A: IVa
□
IVb
□ llb
Ila □ lib □
Chord B: Va
□
IVb
□
□ IVa □
Chord C: Va
□
Vb
□ lb
Chaptor 6: Chords I 59
A chord challenge!
smart tip
We've now completed all the work required for
Grade 5 on chords, but the final challenge brings
The first chord in El below c_ontains
the notes Eand C, but there 1s also a
together all the things we have learnt about
. i•m G, held from the beat before.
min
chords, cadences and inversions.
Challenge!
Name t he chords and their inversions marked l, , and .1dent'fI Yth e cadences indicated.
Cadence 1 Cadence 2
f f J S. Bach
El
Cadence 1:
B□ □□
Cadence 2:
f Cadence 1
Hayne
El rr
□ □ □□
Cadence 1: I
Your progress
·onsl You've completed all the work for Grade 5 on Chords.
t I t1 •
Congra u a ' ·t 'd l'k t t I t·
Turn to the Practice Exam Paper on page 85 1 you I e o ry some samp e exam_q,1..1; s ions.
·-
60 I · Th eory·. Grade 5
Discovering Music
TERMS, SIGNS & In this chapter you will learn about
New instruments at Grade 5
INST RUM ENTS (PARTl) Voice types and their ranges
• New instruments at Grade 5

l At Grade 4 we met instruments in the four fam ilies of t he orchestra: strings, woodwind,
brass and percussion.
Strings: Instruments with stri ngs that are

played with a bow or plucked
Woodwind: Instruments that are blown using
a reed or a hole in a mouthpiece
Brass: Instruments that are blown by
vibrating the lips in a mouthpiece
Percussion: Instruments that are struck
Here are all the instruments you need to know at Grade 5, including some new ones (in red):
Strings Woodwind Brass Percussion

Violin Piccolo Trumpet Timpani Side drum
Viola Flute Horn Tubular bells Bass drum
Cello Oboe Trombone Xylophone Cymbals
Double bass Cor anglais Tuba Marimba Tambourine
Harp Clarinet Glockenspiel Castanets
Bassoon Vibraphone Tam-tam
Celesta Triangle
Theory in sound
Listen to recordings of pieces that contain some of these new instruments, then describe the quality
of the sound they produce (sharp, soft, high, smooth, sharp, etc.) Here are some suggestions:
• Mozart, Flute and Harp Concerto in C major, K. 299/297c: 2nd movement (harp)
• Saint-Saens, Carnival of the Animals: 'Fossils' (xylophone), 'Aquarium' (glockenspiel)
• Dvorak, Symphony No. 9 ('From the New World'), Op. 95: 2nd movement (cor anglais)
• Tchaikovsky, The Nutcracker, Op. 71, 'Chinese Dance' (piccolo)
Chapt er 7: Terms, Signs & Instruments (Part 1) I 61

•
l More about the new instruments
Strings
Harp Plays from music arranged on two staves, like piano music.
The strings on the harp are plucked and pedals or levers are
used to change the pitch of the strings
Woodwind
Piccolo A small type of flute. It uses the treble clef and sounds an octave higher than its
written notes
Cor anglais Also known as the English horn, it is closely related to the obo~. I~ uses the
treble clef and is a transposing instrument - we will look at this in more detail
later in this chapter
Percussion
Along with the timpani, the following instruments play notes of definite pitch. This means that
they can play specific pitches (e.g. C, D, etc.).
Tubular bells Vertical metal bars struck with one or two small hammers
Xylophone Horizontal wooden bars arranged like a piano keyboard and usually struck
with hard beaters
Marimba Like the xylophone but larger with a more mellow sound - usually struck with
softer beaters
Glockenspiel Horizontal metal bars arranged like a piano and struck by beaters
Vibraphone Similar to a glockenspiel, it produces a softer sound when the metal bars are
struck. It contains a motor to add vibration to the sound
Celesta Looks like a piano but contains metal bars rather than strings. It produces a
bell-like sound
Along with the side drum, bass drum and cymbals, the following instruments play notes of
indefinite pitch. This means they make sounds that are not at a specific pitch.
Tambourine Hit or shaken by the hand, with small cymbal -like discs around its outer edge.
Sometimes has a 'skin' or membrane
Castanets Two small discs of wood hit together with the fingers. Originates from Spain
Tam-tam A large gong hit with a beater
Triangle Triangular metal instrument hit with a metal beater

Single and double reed instruments
E
e
With the exception of the flute and piccolo, woodwind instruments use
reeds to make their sound. I
'5
.c
V,
• The clarinet uses a single reed, which is a very thin piece of wood that ~
0
C:
vibrates against its mouthpiece. :l

~
j
• The oboe, cor anglais and bassoon use a double reed: two thin pieces of if.
wood, bound together, that vibrate against each other to create the sound.
Exercise 1 Circle the correct answer for each question.
El Which instrument is a smaller

oboe cor anglais piccolo harp
relative of the flute?
El To which instrument is the

flute oboe clarinet piccolo
cor anglais related?
II To which orchestral family does

strings woodwind brass percussion
the harp belong?
m uses
Which woodwind instrument
a single reed?
flute oboe clarinet bassoon
Exercise 2 For each instrument listed below, write D (definite pitch)

or I (indefinite pitch) to describe their sound.
bass drum side drum
triangle xylophone
celesta tambourine
castanets timpani
marimba tam-tam
Chapter 7: Terms, Sig ns & Inst ruments (Part 1) I 63

We discovered in Chapter 3 that some instrument s are transposing inSt ruments. This means
that the sound they make is different in pitch from the notes w ri tten in their music.
The notes written in their music are described as the written pitch and the notes that are
produced when they are played are described as the sounding pitch or concert pitch.
• The trumpet and clarinet are usually in 81,.

They sound a major 2nd lower than written . ~
11
~ sounds
~ ~e j
• Another type of clarinet is the clarinet in A.

It sounds a minor 3rd lower than written. ~
11
II sounds
~ II
l
• The horn and cor anglais are in F. 11
II sounds
~ l
'
II
They sound a perfect 5th lower than written.
• The piccolo sounds an octave higher than written, and the double bass sounds
an octave lower than written. All other instruments that we have met so fa r are
non-transposing.
Exercise 3 For each instrument, tick ( t/) one box to indicate whether
it is a transposing or a non-transposing instrument.
Instrument Transposing Non-transposing
vi olin
□ □
cello
□ □
flute
□ □
clarinet
□ □
cor anglais
□ □
bassoon
□ □
horn
□ □
trumpet
□ □
timpani
□ □

Voice types and their ranges
· ten for up to four different types of vo ice - soprano, alto, tenor an d
· ·1s writ
Most choral m us1c
bass, sometimes abbreviate d to SATB. This choral extract shows these four t ypes of voices.
They are ar ranged across t he st aves in order of range, from highest (soprano) to lowest (bass).
Sullivan/Taylor
SOPRANO
ALTO
Sink and scat - ter, clouds of war, Sun of peace, shine full and far.
TENOR
J J J J J. J -e- J J J J J J -e-
BASS
Add it ionally, there are vo ices called mezzo-soprano and

baritone that are often used in solo vocal music. Here are HIGHEST Soprano
all six voice types, arranged from highest to lowest: Mezzo-soprano
Alto
Theory in sound 1
LOW EST
Tenor
Baritone
Bass
Listen to music written for different voice types, such · J
as an operatic solo for a soprano or baritone. Mozart's
aria, 'Der Holle rache' (For the Queen of the Night) from
The Magic Flute, K. 620, is an example of a soprano solo;
listen out for t he repeated high Cs and the top F.
Exercise 4 Circle TRUE or FALSE for each statement.
TRUE FALSE
El The voice with the highest range is the alto.
TRUE FALSE
El The mezzo-soprano is lower in range than the soprano.
a The baritone is the voice with the lowest range.

TRUE FALSE
m The bass is lower in range than the tenor. TRUE FALSE
TRUE FALSE
D The tenor is higher in range than the alto.
TRUE FALSE
D The baritone is higher in range than the bass.
Chapter 7: Terms, Signs & Instruments (Part 1) I 65

Did you know?
SATB choral music can be written in two ways:
• On four staves (called open score), with each part written on its own stave.
• On two staves (called short score), where the soprano an d aItO Parts share a treble stave and the tenor
and bass parts share a bass stave.
v
,ou can see an example of short score on page 65, and here ·is the same piece . written in open score ·
Notice that the tenor part is written in the treble clef, but the tenors should sing an octave lower th an Written.
(A small '8' is sometimes attached to the clef to show this.)
Sullivan/ Taylor
~ )
SOPRANO •
IJ I I I I
Sink and Sun of peace, shine full and far.

scat - ter, clouds of war,
I I I I
ALTO
t
I
TENOR 71
-,,
-,,
I J I I I
' ' ' ' :J!
I I I I
' ' I I
BASS
Challenge!
So far, we've focused on the new instruments encountered at Grade 5. In the exam, you may be tested on
instruments introduced at previous grades.
Have a look at the instrument list on page 61, and then see how many facts you can remember about each
instrument. If you can, write out the instruments in each fam ily in order of range, from highest to lowest.

Exercise 5 Circle t h e correct answer for each question .
fl Which clef is most common ly

treble alto tenor bass
used by the viola?
m Which of these is a
percussion instrume nt?
viola harp cor anglais castanets
II To which family does the

strings woodwind percussion brass
piccolo belong?
m Which is the lowest sounding

string instrume nt?
violin viola double bass cello
a Which of these instrume nts

might be played pizzicato?
cello clarinet trombone timpani
D Which of these voices is higher

soprano tenor baritone bass
in range than the alto?
'
..::
,. ~~
".#.
Test your progress ~ 4
-
:><
Create a table of all the new instruments at Grade 5.
Ask your teacher or a friend to test you on all of the details. ~~
Instrument name Family Clef(s) used - Interesting facts
Chapter 7: Terms, Signs & Instrum ents ( P0 1t I) I 67

In this chapter you wlll learn about
TERMS, SIGNS & Written-out ornament 5
New Italian and German term
INSTRUMENTS (PART 2) The piano: terms and sign!
• Written-out ornaments Did you know?

l • Ornaments are ways of decorating not es in a melody. Ornamentation has been a feature of
There are lots of types of ornament s, and each one music since the sixteenth century.
has a unique shape. To begin with, performers decorated
• Ornaments are often written as signs over a note, the melody freely, but in the
seventeenth and eighteenth centuries,
but they can also be written out 'in fu ll' to show what
more precise instructions were
they sound like when played.
included in the music. By the
• Here are the ornament s you need to be fam iliar with nineteenth century, ornaments
at Grade 5. You 'll need t o be able to identify each were often written out in full.
ornament's sign and its written-out 'shape'.
Trill Upper mordent
-ror Itr tr-

sounds like _.C,.._.b..._..C,fl'Lr_.c'-l'r.__.c.....,r~
I
sounds like
sign written out sign written out
Lower mordent Turn (or upper turn)

N
I
♦
sounds like
I sounds like
rrr r
N
r rcrr
sounds like
sign written out
I
sign written out
Acciaccatura (or grace note) Appoggiatura
soundslike ~
~
~ sounds like
sign written out sign written out
Theory in sound
Listen to recordings of the following works. Can you identify the ornaments used in each from how they sound?
Bach, Toccata and Fugue in D minor, BWV 565 (opening bars)
Mozart, Oboe Quartet in F, K. 370 (1st movement)
Chopin, Mazurka in G, Op. 67, No. 1

r
Smart tip
Orna ments can be added to notes of different time values, and in different time signatures.
W hile the shape of the ornament stays the same, the time values used when they are written
out may be different from the examples opposite.
Exercise 1 Tick (~)one box to name each of the written-out ornaments, which are marked
with brackets.
1
2 3
r-3--, I I I
El &•tt i J J j JJJ j lfiJ. fj J. J I

1 tr-
□ N
□ ♦
□
2 tr-
□ ♦
□ *
□
□ □ □
), N ♦
3
--
1 2 3
El 2=~ 1
, gr f f Cf~f~rcrr IcEr ff fFrf IF w ttr In W· I
, tr- □ e □ ND
2
□ N □ * □
3 □ tr- 0 • □
1 2 3
I I I
B &~1@ J Jj J II
□ □
),
1 ♦
--
2 tr-
□ * □
tr- □
3 ♦
□
Chapter 8: Terms, Signs & Instruments (Part 2) I 69
Theory in sound Smart tip
Have you played any pieces containing ornaments? Trills often end with a closing pattern that
If so, try playing them now; can you hear how uses the notes below the main note:
the different types of ornaments create different
decorative shapes? rrrirrrcr
L -5 __.J
Exercise 2 Write the names for the written-out ornaments, which are marked with brackets.
4
1 2
fi J Jffl]Jjj] J
3 ,--5 ----,
r-7
El 7l2 r Ffrf J IJ J f I I
1 turn 2
3 4
1 3
2 4
I I I
,i g1
r-7 I
m 4,1 F IE r lJ iJ J JJJJ i@r

1 2
3 4
Challenge!
Can you rewrite the music in parts El
and m
above, using the appropriate signs in place of the written-out
ornaments? The first bar of each is given to get you started.
El :>= 2r r J
m ,~I,§ ,1'.f F j

New Italian terms
Here are some new Italian terms you need to know at Grade 5:
Italian term Meaning

Dynamics: a niente to nothing
morendo dying away
perdendosi dying away
rinforzando (rinf., if, ifz) reinforcing
smorzando (smorz.) dying away
sotto voce in an undertone (literally 'under the voice')
Tempo: /argamente broadly
Expression: cantando singing
con do/ore with grief
con spirito with spirit
doloroso sorrowful
sonoro resonant, with rich tone (like the word 'sonorous')
General: ad libitum (ad lib.) at choice
attacca go straight on (to the next part of the music)
quasi as if, resembling
Challenge!
We encountered lots of Italian terms at Grades 1-4. How many of them can you remember?
Write some of them down below, or make a larger table of your own.
Term I Meaning
Chapter 8: Terms, Signs & Instruments (P21rt 2) I 71

The following exercises include some terms and signs encountered in Grades 1, 2, 3, 4 a nd 5·
Exercise 3 Answer the following questions.
El What does attacca mean?
l!I What is the Italian term for 'in an undertone'?
II What is the Italian word for 'broadly'?
m What does perdendosi mean?

D What does allegro con spirito mean?
D What does largo e sonoro mean?
m What does sempre cantando mean?
El What is the Italian term for 'at choice'?
a What does morendo a niente mean?
D What does quasi mean?
Give another Italian word that has a similar

II meaning to smorzando.
D What does ifz mean?
liD What is the Italian for 'singing'?
m What does /argamente con do/ore mean?
m What Italian word means sorrowful?

German terms
Composers often use German terms in their music. Here are the ones you need to know
for Grade S, along with s im ilar Ital ian and French terms we've already encountered:
German term Meaning Similar French

Similar Italian
langsam slow lent
adagio/lento
lebhaft lively vivace
mi:issig at a moderate speed moderato modere
ruhig peaceful tranquil/a
schne/1 fast allegro/presto vite
traurig sad mesto
Theory in sound
Listen to a recording of Schubert's Wiegenlied, D. 498, for an example of a song with
the marking, langsam. Schubert (1797-1828) wrote over 600 songs (or Lieder) in his
lifetime, and is well known for his expressive and lyrical style.
Exercise 4 Answer the following questions.
El What does langsam mean?
EJI What is the German word for 'sad'?
II What does lebhaft mean?
l!I What is the German word for 'fa sf?
. ?
II What is a similar German word to vivace.
. ?
D What is a similar Italian word to ru h,g ·
... ?
D What is a similar French word to massi9 ·
El What is a similar German word to vite?
Chapte, 8: Term s, Signs & lnst,um0nts (Part 2) I 73

The piano: terms and signs
In addition to the terms and signs covered so far, there are a smal l number
relating to piano music that you need to learn at Grade 5. These are:
Ped.
Ped._ ~ * press the right pedal (the sustain pedal);
release it at* or the vertical line
con pedole with the right pedal
senzo pedo/e without the right pedal
uno cordo press the left pedal
tre corde release the left pedal
mono sinistro (m.s.) with the left hand
mono destro (m.d.) with the right hand
II Spread the chord from the bottom.
Played ' !] jJ.)7 2

•
Also appears in harp music
Exercise 5 Tick< v') one box for each question.
/ongsom means: ruhig means: morendo means:

111 slow
__J
□ tenderly □ agitated
_....., light □ simple □ playful, merry

moderately □ peaceful O calm
~ J lively D slow D dying away
~, :::::::;:::li
::::===..11 means: tranquillo con do/ore means: attacca means:
□ spread the chord from the bottom □ calm and slow □ at choice
□ press the left pedal D sad and slow D with determination
□ spread the chord from the top □ sad, with grief D go straight on
□ press the right pedal □ calm, with grief D repeat from the beginning

Exercise 5 Cont inued.
vite means: m.d. means:

lebhaft is similar to:
□ quick □ vivace □ wit h pedal
□ playful, joking
□ allegretto □ an octave higher
D gradually getting quicker □ andante □ wit h the right hand
O slow
□ lento □ with the left hand
Which is fast est? Which is slowest? tre corde means:
□ andante □ modere □ press the right pedal
□ allegro □ schnell □ press the left pedal
□ miissig □ langsam □ release the right pedal
□ lent □ allegro □ release t he left pedal
Which word means 'sad'? sonoro means: Which word means 'without'?
□ largamente □ resonant, with rich tone □ con

□ lebhaft □ with passion □ schnell
□ traurig □ singing □ sotto

□ morendo □ simple, plain □ senza
Your progress
Congratulations! You've completed all the work for Grade 5 on Terms, Signs & lnstrum; nt s.
Turn t o the Practice Exam Paper on page 85 if you'd like to try some sample exam-questions.
Chapter 8 : Terms, Signs & Instruments ( Part 2) I 75

I \
9 MUSIC IN
CONTEXT ·
Putting it all together

The last question of the Grade 5 exam is a Music in Context question, in which you
will be asked some questions about the things you can see in a passage of music.
All of the questions will be about topics covered in this book or in previous grades.
Exercise 1 Study this music for piano and then answer the questions that follow.
I
1
-- ..
'
t)
fl
V
~
I
II
Andante sostenuto
~
,,,---
-· -
~ -
I
-
~
2
-
I
~
-
-
...
,-
-·
~
---.}_____
-,
~
~
- - - I"""-· - -
~
L3--'
~
I
- -
~
Chopin
.
....
p
.. . . .. ... . .. .... .-- - .
,- ,- ~ ,- - - ,-
~
..
-
..
~
.. . .
I=- ~
Ill.
-
~
I
.
~
,. ,. ~
- -
~
~
- - -- -
I I
r Ped._J Ped.__J sim.
Ped. _ __.
- -= = = ==+======== f
poco rit.
etc.

El Compare the following bars to bar 1 of the right-hand part, then tick ( v') the one correct statement.
Andante sostenuto
Andante sostenuto 1 Andante sostenuto
A B 1181,~ CJ f)J J I C
------=------
□
A, B and C are correctly written one octave lower.
□
Only A is correctly written one octave lower.
□
Only A and Care correctly written one octave lower.
□
Only C is correctly written one octave lower.
El Circle TRUE or FALSE for each statement.
The music begins in the key of Eli major. TRUE FALSE
The pedal should only be used in bar 1. TRUE FALSE
The leading note of D minor is played in bar 5. TRUE FALSE
The music gets a little slower in bar 7. TRUE FALSE
Bar 7 contains a sextuplet. TRUE FALSE
11 Which instrument is best suited to play the right-hand phrase in bars 7-8 (marked )
so that it sounds at the same octave? Tick ( v') one box.
trombone D cello D timpani D oboe O
II How many times does the leading note of 811 major appear in the right-hand part? Tick ( v') one box.
,□
II Complete the following two sentences by adding a number to each.
There is an upper mordent in bar
The left-hand part of bar 4 has the same notes and rhythm as bar
Chapter 9: Music in Conte>.t I 77

Exercise 2 Study this music for piano and then answer the questions t hat follow.
Debussy
Lent
El Compare the following bars to the right-hand part of bar 5, then tick ( t/) the one correct statement.
5 5
A B
IIB1•tttt p ~ J'JJ I C 2:1ttttl 19 j Jj JI
~ --..;
::.__/ ~
A, B and C are correctly written two octaves lower.

□
Only A is correctly written two octaves lower.
□
Only B and C are correctly written two octaves lower.
□
Only C is correctly written two octaves lower.
□

-
II Circle TRUE or FALSE for each statement.
TRUE FALSE
The music should be played slowly.
apart. TRUE FALSE

In bar 5, the hands play the same notes two octaves
TRUE FALSE
The music gets loude r in bar 7.
TRUE FALSE
The final chord in bar 8 is chord IV in E major.
)
and phrase in bar 5 (marked
II Whic h instru ment is best suited to playing the left-h
so that it sounds at the same octave? Tick ( t/) one
box.
oboe O trump et D cello D flute D

of C# minor appear in the right- hand
II How many times does the dominant note in the key
part of bar 5? Tick ( t/) one box.
,□
number to each.
II Comp lete the follow ing two sentences by adding a
There are 'spread' chords in bar 2 and bar
.
Bar begins with the interval of a perfect 5th in both hands
Chap ter 9 : Music in Conte xt I 79

Exercise 3 Study this music for violin and piano and then answer the questions that follow.
Alben 1z
Andantino 2
4
,_
Violin
mp
Piano
p
etc.

El Compare the following bars to the violin part in bars 7- 8, then tick ( t/) the one correct stat ement.
.-..._ *....--::::::,. ~
B IIB 1• EfJt r r I ct7r g 1
A, B and C are correctly written two octaves lower.
Only A is correctly written two octaves lower.
Only B and C are correctly written two octaves lower.
Only C is correctly written two octaves lower.
II Circle TRUE or FALSE for each statement.
The tempo should be faster than allegro. TRUE FALSE
The violin begins with three down-bows. TRUE FALSE
The right-hand piano part in bar 7 is made up entirely of major 3rds. TRUE FALSE
The left-hand piano part contains acciaccaturas. TRUE FALSE
The highest note in the violin part is a G. TRUE FALSE
II Which instrument is best suited to play the violin part so that it sounds at the same pitch?
Tick ( t/ ) one box.
horn □ bassoon □ flute D cello D

l!J How many times does the submediant note in the key of D major appear in the violin part?
Tick ( t/ ) one box.
,□
D Complete the following two sentences by adding a number to each.
There are upper mordents in bar
There is an augmented 4th in the violin part in bar
Chapter 9: Music in Contex t I 81

Exercise 4 Study this music for piano and t hen answer t he questions t hat fo llow.
Allegro moderato Schubert

4 >
-- .--,,-
I 2 3 >
I _1 r""'::I.
/) I
. > > ., '
--
-- -- -- -; -
., '
~ ~
II
,,
'""'
V
e ■
,.
~
-
~
., - . - = '"~
-
- -- - - I I
t) I I
p
'
:: qs: qs: ~ ::
L
I
.. ~
V ,,V
- -
~
IT.
staccato sempre
-
~ ...
' ' '
-
,- ~
-- '
- '
-
El Compare the following bars to the left-hand part of bar 1, then tick ( t/) the one correct statement.
A
'&•"1,•i JgJJ I
B
staccato sempre
C
staccato sempre
staccato sempre
A, B and C are correctly written at the same pitch. D

Only A and Bare correctly written at the same pitch. D
Only Band Care correctly written at the same pitch. D
Only A and C are correctly written at the same pitch. D
(I Circle TRUE or FALSE for each statement.
The music should be repeated from the beginning. TRUE FALSE
The left-hand part should always be played detached. TRUE FALSE
The right-hand part contains major 6ths in bar 4. TRUE FALSE
The right-hand part contains appoggiaturas. TRUE FALSE
The key of the music is C minor. TRUE FALSE

II Which instrument is best suited to play the right-hand phrase in bar 1 so that it sou nds at the
same octave? Tick (II) one box.
bassoon D oboe D cello □ tuba D

I) How many times does the subdominant note in the key of F minor appear in the left-hand part ?
Tick ( II) one box.
,□
II Complete the following two sentences by adding a number to each.
There are accented notes in bar 2 and bar
Bar 3 has the same rhythm and articulation as bar 1 and bar
Congratulations!
You've completed all the work for ABRSM Grade 5 Music Theory. If you haver 'already done so,
test your knowledge and understanding with the ABRSM Practic~ Exam Pape on page 85.
Chapt er 9 : Music in Context I 83

Notes

Grade
I
5 Total marks (out of 75)
Practice
Exam Paper
ABRSM Grade 5
•I
Prac tice Exam P.:iper I 85

1 Rhythm
1.1 Circle the correct time signature for each of these bars. (3)
6
4 5
(a) :>=~ JJJJJJ)7 uDF II 6
4 4 4
(b) 2= #J p f[ [ y f 6 7 4
11 8 8 4
(c) J JJ E1f!r vr - 12 7 5
'
II 8 4 4
3 L3_l
1.2 Here is a bar in simple time: 'j#i Qr l'

t_3_.J
-!~3
II (1)
Which of the following shows the bar above correctly rewritten in compound time? Tick (II) one box.
'j#ff Cr I i 7 II □
&"ff 3Qr 7 7 i 7 11 □
'ti# ff Qr 7 7 i 7 11 □
1.3 Complete the following two sentences by adding a number to each. (2)
(a) In {i there are ............ dotted-quaver beats in a bar.
(b) A dotted-semibreve is equal to ............ minim(s).

1.4 Tick (.,;') one box to show which bar is grouped correctly. (1)
&a §f f f C-( r Pf II
i'
□
&a §f f ~~-l Pf II
i'
□
&a ~E B5J Pf II
~
i' ;;;I::
□
1.5 Tick (II) or cross (,C) each box to show whether the rests are correct or incorrect. (3)
1 r * * r· I- rA J II
□ □ □
Practice Exan, Paper I 87

-
2 Pitch ;
- - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - 10
2.1 Tick (.-') one box to show the name of this note. (1)
118 II cO so
2.2 Tick (.-') one box to show to show the correct enharmonic equivalent of this note .. (1)
xU
II
2.3 Here is a bar at sounding pitch for the trumpet in B!i. (5)
) r ~r II
This bar has been transposed up a major 2nd to be at written pitch. There are some mistakes.
Put a tick (.-') or cross (,C) underneath the key signature and each note to show whether each is
correct or incorrect.
□ □ □□□
2.4 Compare bars A, Band C, then circle TRUE or FALSE for each of the three statements. (3)
pt
A :nf E~~ II B 118 iW ~a Jpg II C
4H ~f r,J II
(a) A and Bare at the same pitch TRUE FALSE
(b) B is one octave lower than C TRUE FALSE
(c) C is one octave higher than A TRUE FALSE

3 Keys and Scales /1s
major.
3.1 Tick (II) one box to show the correctly written key signature of DI, (1)
- □ □
IIB l,~~1,1' II
□
IIB ,,~~
□
1, ,
1
1
3.2 Tick (II) one box to show the correc tly written key signature of F# major.
(1)
:>= 1tt## #1 11 IIB ###l11U 11 IIB U1##11 I

□ □ □
(3)
3.3 Circle the correc t key of each of these three melodies.
(a)
~lH F v p#f 1•r#r rttr· I Eminor 8 major A major D major
(b)
&2~r· ~r r 1,J11~J. ,,c~er~r· II Bl, minor GI, major Di, major Al, major
(c) :J=c r j
F Ir !r rJ J II A minor G major D major D minor
needed (2)
3.4 Tick (II) one box for X and one box for Y to show which notes are
to comple te the scale of B major.
Xi Yi
:.>= #o 0 II
#-rr ffu
"CJ" #-e-
X FD Ex □ E# □ ED
y
A# □ A□ FD F# □
Practic e E'<am Puper I 89

-..........
3.5 Circle one clef for each scale, to fo rm minor scales. o,
p~ P.o.. P-e-
(a)
bo ~a 1211 a lz11
II t ~ ~
-~
(b) e II a II a II .a 0
II t ~ ~ ~
t
.0.. -e-
~
0
~ ~
.a II a
(c) ff I I a
11
3.6 Circle TRUE or FALSE for each statement. (2)
(a) This is the correctly written chromatic scale beginning on F# TRUE FALSE
lo ffo o lo I I
118 ffo I I ffo 0 lo II ff,> (j

II
(b) This is the correctly written chromatic scale beginn ing on A TRUE FALSE
-e- t o go .0 ~o ttn ~lU a ffu ~l" ije ~o II

II
'
3.7 Circle TRUE or FALSE for each statement. (3)
(a) II Th is is the supertonic in E!I major TRUE FALSE
'
~o
(b) ~: II Th is is the tonic in F# major TRUE FALSE

ffu
0
(c) ~: II This is t he dominant in E minor TRUE FALSE
90 I Discovering Mu sic Th eo ry: Grade 5

4 Intervals /10
4.1 Tick (II) one box to name each interval. (3)
(a) ~: lzn
..0..
II
(b) ~=In~ u
0
II (c) ,~ -e-
0
II
major 10th
□ augmented 11th
□
minor 7th
□
compound major 2nd
□ compound perfect 5th
□
major 7th
□
minor 9th
□ perfect 11th
□
compound major 7th
□
augmented 2nd
□
major 11th
□
major 6th
□
4.2 Circle the type of each interval. (3)
(a) ' 0 II
II
(b) 4uff#fl II perfect major minor diminished augmented
-u- -u-
lz11
(c) 2· -e-
II
4.3 Write notes to form the named intervals. Your note should be higher than the given note. (4)
(a)
II (b) 2= II .
' ~-e-
compound perfect 5th
-e-
augmented 7th
(c) 2=~!2!2
-e-
II
(d) ,~ "lY
II
minor 13th major 3rd
Pruct1ce Exam Pape, I 91

5 Chords
5.1 Indicate suitable chords for the two cadences in the follow ing melody by writ ing either I, 11, IV or V (5)
in each of the five boxes underneath t he staves.
&•1~~ ~ ILJ rr -
~ I~
~ rr ~ IJ J
□ □
,, j r
r-3~
If rJr 1J rr If G- r I
5.2 Tick (II) one box to name each cadence.

□ □ □ (2)
D major C major
(a) (b)
plagal O perfect O imperfect D imperfect O plagal O perfect 0
5.3 Tick (II) one box to name each of the three marked chords. The key is G major. (3)
(a) Chord A vcO le □ lb □ Vb □

( b) Chord B Ila □ llbD IVcO Va D
(c) Chord C la □ le O Va D IVcO

6 Terms, Signs and Instruments /10
6.1 Tick (II) one box for each t erm/ sign. (3)
doloroso means: a niente means: cantando means:
□ □ □
calm to nothing resonant
□ □ □
pleasant less singing
tenderly
□ at choice
□ dying away
□
□ □ □
sorrowful more rhyt hmically
6.2 Tick (II) one box to name each of the two written-out ornaments, which are marked with bracket s. (2)
(a) ~J= i r~[ r7 II
trill 0 upper mordent 0 acciaccatura 0 appoggiatura 0
(b) 2=i E~f Er

5
rr II
trill 0 acciaccatura 0 appoggiatura 0 upper turn 0
6.3 Circle TRUE or FALSE for each of the following five statement s. (5)
(a) The oboe uses a double reed TRUE FALSE
(b) The xylophone produces sounds of definite pitch TRUE FALSE
(c) The clarinet has a higher range than the bassoon TRUE FALSE
(d) The cello is the lowest-sounding string instrument TRUE FALSE
(e) A flute might be played 'con sord.' TRUE FALSE
Practi ce Exam Paper I 93

7 Music in Context
Study this music for flute and piano and then answer the questions that follow.
Allegro scherzando
I ,,..--::; 4
3
Flute
p subito
Piano
ti 5 tr
....... . 6
- pii'- 7 • ,.., 8
. ·-
/","\
-
.- -
-
- -· - ~ ~
t.J p
I
f
,,, tr
I •
. ti
--- ,_ *,_ -
~
- -
;"' -
,_ - -
- - -
~
,- ~
- I
t.J I I l I l
' f
-~. -· -- -
~
~.
-. - - ii'- , I
- " -· ~- -
'• -
- -
- -·
~
- ---- -·-
~ ~ ~
- ~
7.1 Compare the following bars to bar 1 of the flute part, then tick (v') (1)
the one correct statement.
Only A is correctly rewritten two octaves lower 0

Only B and C are correctly rewritten two octaves lower 0
A, B and Care correctly rewritten one octave lower 0
Only B and C are correctly rewritten one octave lower 0
94 I Discovering Music Theory: Grade S

7.2 Circle TRUE or FALSE for each of the following five statements about the music. ( 5)
(a) The music should be performed playfully TRUE FALSE
(b) All the notes in bar 1 should be played slightly separated TRUE FALSE
(c) The highest note in the extract is an E TRUE FALSE
(d) The first four notes in the left-hand part of bar 7 form part of a chromatic scale TRUE FALSE
(e) The flute plays an appoggiatura in bar 7 TRUE FALSE
7.3 Which other instrument is best suited to play the flute part so that it sounds at the same pitch? (1)
Tick (II) one box.
double bass 0 violin 0 horn 0 tuba 0
7.4 How many times does the supertonic note in the key of C major appear in the flute part? (1)
Tick (II) one box.
sO
7.5 Complete the following two sentences by adding a number to each. (2)
(a) The note in the flute part of bar 4 is worth ............ demisemiquavers.
(b) There is an instruction to play suddenly quiet in bar ............ .
End of exam
Practi ce Exam Paper I 95

Discovering Music Theory 5

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Grade Discovering Music Theory I Workbook

Design by Kate Benjamin

Grade 1 2 Alto clef (C cle f cent red on 3rd line) N t .

• Rewriting in simple and

4 c :P R J J II &c:P.ffiw l ' cJr' •~ f!' J J: §

n J II 111 OnJ n nJ n11

Grouping in irregular time signatures

Here are some examples of bars in irregular time signatures,

&RJ 1'.Jl±)JWWJ IIJ JJfflJJJ'J II

4 I Discoverin g Music Theory : Grade 5

a Each bar contains seven cro

o 3+4 beats. FALSE

same groups of beats. TRUE FALSE

to each of these melodies.

f1'E rpfr f'11

& ~ 'V § tf f~ ( V tf f@ g J r@&er· I

a tHtt zJ r r r ru rrr zz Ji J r · J JrF r · 11

Chap ter 1: Rh yth m I 5

Exercise 6 Tick ( V ) one box for each quest ion

6 I Di scovering Mu sic Theory: Grade 5

' ' - - - - - - - - - - - - - - - - - - - - - - - - - - ------_..,,

El 2=1tt# I r CF f r:r rf ff rfl F J, S'CCEfC~

II &2 f f r rrrrrrrJ J □ □ J J JJJ11i] ~

Exercise 10 Complete these sentences by adding a number to each .

El In f there are crotchet beats in a bar.

El In i there are quaver beats in a bar.

II In }i there are dotted-qu aver beats in a bar.

m g In there are dotted-cr otchet beats in a bar.

D ! In there are minim beats in a bar.

8 I Discoverin g Music Theory : Grade S

a &~ r , u JJJ B ill 4

• The teno r clef

Here are the same seven pitches around middl e C, writte

... .. it was used by the

10 I Discovering Music Theor y: Grade 5

Spaces: E .. .......... ........ G .. .... .......... .... B .. .......... .. .. .... D ................... .

D Ill II El IIH ~: I D IIR I

Chapter 2: Pitch (Part 1) I 11

The ory in sound

12 I Discovering Music Theor y: Grade 5

1s 11 § I II! 12~~ n I II! 1•n § I II! 12

Chapter 2: Pitch (Part 1) I 13

a 4i F .Q J J J I IIB H cr .J J J 1 correct □ incorrect [J

II &•R JJJJ -)II ~ngr t EC p 1 correct □ incorrect o

m IIB I, I (j JJ t1f F II 9: ~ ! i] .r. ~ _ffi~ r II correct □ incorrect 0

a IIRtta g F ~fFr~J 11 IIR,1 gL~f@Grr· 11 correct D incorrect O

14 I Discoverin g Music Theory: Grade 5

a :ll11tt I r EF Fr 1 &1## 1r ff [ E 11 correct □ incorrect □

m:2= I JJJ .J#(F P z 11 IU jJ J:li[fp , 11 correct □ incorrect D

l!I th' 1,E gJJ

a , ~gJ 1 IIR~ gr V Et [ I correct □ incorrect □

Chapte r 2: Pitch (Part 1) I 15

A is one octave higher than B. TRUE FALSE

C is two octaves lower than A. TRUE FALSE

B is two octaves lower than C. TRUE FALSE

C is one octave lower than A. TRUE FALSE

A and Bare at the same pitch. TRUE FALSE

B is two octaves higher than C. TRUE FALSE

Test your progress

16 I Discoverin g Music Theory: Grade 5

.;i;·:.'.·_ Jn'ttils:chapter;you will learn about

Tran sposingiby a ~ ~ib~' 2nd, minor 3rd and perfect 5th

Transpo sing melodies with accidentals

• Transposi ng by a major 2nd, minor 3rd and perfect 5th

Q Down a perfect 5th ~,========~~~~~~~~~~jl l