Theory of Music

See General Information in the first section of the Manual for pre- Spearritt, G.D. Essential Music Theory Grades 5 and 6 (All Music paratory information. Publishing). Steele, J.A. Free Counterpoint in Two Parts (EMI Music Publishing). Recommended reference books Steele, J.A. Handbook of Musical Form (EMI Music Publishing). GRADE 1, GRADE 2, GRADE 3 & GRADE 4 Steele, J.A. Harmony for Students (EMI Music Publishing). Baker, T. Dictionary of Musical Terms (Schirmer). Thiman, E. A Guide to Elementary Harmony (Faber). Bishop, J. Master Melodies (EMI Music Publishing). Thiman, E. Practical Free Counterpoint (Faber). Chambers, H.A. Musical Manuscript (Curwen). (In addition, the previously recommended books on the Rudiments Chambers, H.A. Practical Transposition (Allans). of Music, and Melody Construction). Evans, E. and Hind, H.C. The Instruments of the Orchestra (Boosey The following is a list of terms required in the grades. The & Hawkes). meanings given are those which the Board considers to be Greenish, A. Dictionary of Musical Terms (Williams). satisfactory English equivalents. Hyde, M. Examples in Binary, Ternary and Rondo Form Melodies (EMI Music Publishing). Terms required for Grade 1 Johnstone, J. Alfred. Questions and Exercises on Rudiments of Music SPEED (EMI Music Publishing). Adagio, slowly. Johnstone, J. Alfred. Rudiments (EMI Music Publishing). Andante, at an easy walking pace. Leckie, A.J. A Hundred Melodic Tests (EMI Music Publishing). Moderato, at a moderate speed. Leckie, A.J. Melodies and their Treatment (EMI Music Publishing). Allegro, lively and fast. Long, N. Harmony and Style, Book l (Faber). Presto, very fast. Loughlin, G. Diatonic Harmony (EMI Music Publishing). MODIFICATIONS OF SPEED Lovelock, W. Hints on Working Rudiments Questions (Elkin). Accelerando (accel.), gradually becoming faster. Lovelock, W. Melody Writing, Imperial Ed. 974 (EMI Music Rallentando (rall.), gradually becoming slower. Publishing). Ritardando (ritard.) (rit.), gradually becoming slower. Lovelock, W. The Rudiments of Music (Bell). Ritenuto (riten.) (rit.), immediately slower, or held back. Macpherson, S. Rudiments of Music (Williams). A tempo, return to former speed. Morris, R.O. The Structure of Music (OUP). INTENSITY OF SOUND Peter Pan Series. Tests in Theory (J. Albert). Crescendo (cres.) (cresc.), gradually becoming louder. Spearritt, G.D. Essential Music Theory, Grades 1, 2, 3 and 4 (All Music Decrescendo (decres.) (decresc.), gradually becoming softer. Publishing). Diminuendo (dim.), gradually becoming softer. Stanford and Shaw. The New National Song Book (Boosey & Forte ( ), loud. Hawkes). Piano (f), soft. Steele, J.A. Handbook of Musical Form (EMI Music Publishing). OTHERp TERMS Steele, J.A. Harmony for Students (EMI Music Publishing). Legato, smoothly, well connected. Thiman, E. Musical Form for Examination Students (Faber). Staccato, detached, short. GRADE 5, GRADE 6 & GRADE 7 Bach, J.S. Two-part Inventions. Additional Terms for Grade 2 Colles, H. The Growth of Music (OUP). SPEED Evans, E. and Hind, H.C. The Instruments of the Orchestra (Boosey Lento, slowly. & Hawkes). Largo, broadly. Jacob, G. Orchestral Technique (OUP). Allegretto, moderately fast. Long, N. Harmony and Style, Book II (Faber and Faber). Vivace, lively, spirited. Lovelock, W. 108 Exercises in Harmonisation (Elkin). Vivo, lively, spirited. Lovelock, W. Elementary Accompaniment Writing (Bell). MODIFICATIONS OF SPEED Lovelock, W. First Year Harmony (Elkin). Allargando, becoming broader. Lovelock, W. Second Year Harmony (Elkin). Più mosso, quicker. Lovelock, W. Two-part Writing, Imperial Ed. 1093 (EMI Music Meno mosso, slower. Publishing). INTENSITY OF SOUND Morris, R.O. Foundations of Practical Harmony and Counterpoint Pianissimo ( ), very soft. (Macmillan). Fortissimo ( pp), very loud. Morris, R.O. Introduction to Counterpoint (OUP). Mezzo forte (ff ), moderately loud. Morris, R.O. The Structure of Music (OUP). Mezzo piano F( ), moderately soft. Robson, E.M. Students’ Harmony and Counterpoint (Nicholsons). OTHER TERMSP Scholes, P. The Oxford Companion to Music (OUP). Maestoso, majestic. Sostenuto, sustained. Sempre, always.

1 Theory ● Theory of Music grade 1

Poco, a little. Grazioso, gracefully. Molto, very. Assai, very. Senza, without. Quasi, as if, as it were. Cantabile, in a singing style. Scherzando, playfully. Leggiero, lightly. Subito, (sub.) suddenly. Dal segno, from the sign. TERMS REFERRING TO STRING PLAYING Da capo al fine, from the beginning to the word fine. Sul ponticello, (sul. pont.) bow on or near the bridge. Mezzo staccato, moderately short and detached. Sul tasto, bow on or near the finger board. Tremolo, bowing very rapidly (usually on one note at a time), to Additional Terms for Grade 3 produce a shimmering or wavering effect. SPEED Pizzicato, (pizz.) pluck the string with the finger (instead of bowing Largamente, broadly. it). Larghetto, rather broadly. Arco, with the bow (used after a pizz. sign). Prestissimo, extremely fast, or as fast as possible. Con moto, with movement. INTENSITY OF SOUND GRADE 1 0001 Calando, getting softer and slower. The paper may comprise questions on: Morendo, dying away. Forte-piano ( ), loud then immediately soft. Pitch and Tonality Sforzando ( fp) ( ), a strong accent. The treble and bass clefs, the names of the lines and spaces, includ- OTHER TERMSsf sfz ing two leger lines above and below each stave. The sharp, flat and Agitato, with agitation. natural. Attacca, go on at once. Keys and Scales Animato, with animation. (i) The recognition and writing of the scales of C, G and F major Tranquillo, calmly. over one octave only; their key signatures; and the positioning Con anima, with feeling. of their tones and semitones. Con brio, with spirit. (ii) The writing of scale degree numbers under the notes of a tune. Con grazia, with grace. Con forza, with force. Intervals Dolce, soft and sweet. Recognition and writing of all diatonic intervals above the tonic Risoluto, with resolution. in the keys specified for the grade, in the treble clef (by number Ben marcato, well marked. only, not quality). Main droite (M.D.), right hand. Main gauche (M.G.), left hand. Chords Una corda, with the soft pedal. Writing the tonic triad in root position in the keys specified for the Tre corde, release the soft pedal. grade, in the treble clef. Ad libitum, at pleasure, quite freely. Time and Rhythm Opus, a work or group of works. Loco, at normal pitch (after an sign). The following note values and rests: Additional Terms for Grade 4 √ SPEED w ˙. ˙ œœœ Ó Œ The following time signatures , , ,( ) with or without one beat Tempo commodo, at a comfortable speed. 2 3 4 c Tempo giusto, at a consistent speed. before the first bar-line (anacrusis).4 4 4 L’istesso tempo, at the same speed. Transposition3 Non troppo, not too much. j j Candidatesœ œ œ , œ. œœ, willœ œ œbe, œ givenœ œœ, œ a, short‰ melody without accidentals and Grave, slow and solemn. not more than four bars in length, which they will be asked to MODIFICATIONS OF SPEED transpose into one of the required keys for this grade. Note values Rubato, with some freedom in the time. will be those specified for the grade. Stringendo, pressing on faster. j INTENSITY OF SOUND Terminologyœ œ œ , œ œ , œ., ˙. , ‰ Perdendosi, fading away. The English meanings of the following terms, together with their Smorzando, dying away. abbreviations and signs where applicable. Rinforzando, ( ),( ) reinforcing the tone. SPEED Pesante, heavily.rfz rf Adagio, andante, moderato, allegro, presto. OTHER TERMS MODIFICATIONS OF SPEED Cantando, in a singing style. Accelerando, rallentando, ritardando, ritenuto, a tempo. Tenuto, (ten.) held. INTENSITY OF SOUND Piacevole, pleasant, agreeable. Crescendo, decrescendo, diminuendo, forte, piano. Portamento, a smooth gliding from one note to another (as in sing- OTHER TERMS RELATING TO PERFORMANCE ing or string playing). Legato, staccato. Dolente, sadly, plaintively. SIGNS Doloroso, sadly, plaintively. Tie, slur, bar line, double-bar line. Sotto voce, softly in an undertone. Giocoso, gay, merry.

35 2 Theory ● Theory of Music grades 2 & 3

GRADE 2 0002 GRADE 3 0003 Questions on: Questions on: Pitch and Tonality Pitch and Tonality Keys and Scales Keys and Scales The recognition and writing of scales and their key signatures as The recognition and writing of scales and their key signatures for Grade 1, with the addition of D and A major, and of A, E, and as for the previous grades with the addition of E, B , E and A D minor (harmonic form), through one or two octaves; including major, and of G and C minor (harmonic form), throughb b one orb the positioning of their tones and semitones. two octaves. To show a knowledge of tones and semitones, and the technical names of the degrees of the scales. Intervals Recognition and writing of all diatonic intervals above the tonic in Intervals the keys specified for the grade, in the treble clef (both quality and Recognition and writing of all diatonic intervals above the tonic in numerical value required). the keys specified for the grade, in the treble or bass clef. Chords Chords Writingw ˙. the˙ tonicœœ triadœ inÓ rootŒ position in the keys specified for the (a) The writing on treble or bass stave of the three primary triads grade, in the treble or bass clef. in close position in the keys specified for this and the previous w ˙. ˙ œœœ ÓŒ grades, in root position and in their first inversions. Time3 and Rhythm (b) The writing and recognition of the perfect and plagal cadences To the note-valuesj and restsj in the previous grade add: in these same keys, in four-part vocal styles. œ œ œ , œ. œœ, œ œ œ , œœ œœ, œ , ‰ 3 Time and Rhythm j j in simple time; œ œ œ , œ. œœ, œ œ œ , œœ œœ, œ , ‰ To the note values and rests in the previous grades add: j ˚ ˚ , , , , ‰ in compound time; j j œ œ œ œ œ œ. ˙. œ œœœ, œœœœ,œœ, œœ.œ, œœ., œ.œ,œœ.œ ,œœ2, œœ, 2œœ,, Œœ.,, (Œ‰.).,,(‰.), , ‰≈., ≈ j as it occurs as an anacrusis before the bar line. The semibreve (orœ∑ whole jbar) rest is to be added: To the time signatures of the previous grades add: 3, 2, C, 3, 9 œ œ œ , œ œ , œ., ˙. , ‰ j 2 2 8 8 To the time signaturesœ∑ of the previous grade, add 6 with or without Transposition anacrusis. 8 Candidates will be given a short melody involving note values specified for this grade, and not more than eight bars in length Transposition which they will be asked to transpose into one of the required Candidates will be given a short melody in one of the keys and keys for the grade. Simple accidentals may be involved. involving note values specified for this grade, and not more than eight bars in length, which they will be asked to transpose into Terminology another of the required keys for the grade. Only accidentals In addition to the terms set for the previous grades, the English involving the leading note of the minor key will be introduced. meanings of the following terms, together with their abbreviations and signs where applicable. Terminology SPEED In addition to the terms set for the previous grade, the English Largamente, larghetto, prestissimo, con moto. meanings of the following terms, together with their abbreviations INTENSITY OF SOUND and signs where applicable. Calando, morendo, forte-piano, sforzando. SPEED OTHER TERMS RELATING TO PERFORMANCE Lento, largo, allegretto, vivace, vivo. Agitato, attacca, animato, tranquillo, con anima, con brio, con grazia, MODIFICATIONS OF SPEED con forza, dolce, risoluto, ben marcato, main droite (M.D.), main gauche Allargando, più mosso, meno mosso (M.G.), una corda, tre corde, ad libitum. INTENSITY OF SOUND MISCELLANEOUS Pianissimo, fortissimo, mezzo forte, mezzo piano. Opus, loco. OTHER TERMS RELATING TO PERFORMANCE SIGNS Maestoso, sostenuto, sempre, poco, molto, senza, cantabile, leggiero, dal As required for the previous grades with the addition of MM., . segno, da capo al fine, mezzo staccato. General Knowledge √ SIGNS In addition to the requirements set for the previous grades in this As required for Grade 1 with the addition of the pause, repeat sign section. and signs for accent. (a) To show an understanding of compound triple time, acciden- General Knowledge tals, sequence and anacrusis. (a) To show an understanding of simple duple, triple and quadru- (b) To recognise Binary, Ternary and Rondo forms, and to mark ple time; and compound duple time. their main divisions, using the letters AB, ABA, ABAC, etc. (b) To recognise the form of a tune as binary or ternary, and to (c) To show on treble and bass staves, the approximate compass of mark its main divisions, using the letters AB or ABA. soprano, alto, tenor and bass voices as used in normal choral writing. Creative To mark the accentuation in a simple couplet of words by placing Creative an upright line before each accented syllable or word. (a) To write a suitable rhythmic pattern to a simple couplet of words. OR (b) To write a melody of four bars in any major key up to two sharps or two flats, on a given rhythmic pattern. Phrasing should be included. 3 Theory ● Theory of Music grades 4 & 5

GRADE 4 0004 SIGNS As required for the previous grades with the addition of the rec- Questions on: ognition and writing of the signs of the upper mordent , lower m Pitch and Tonality mordent , turn , trill tr, acciaccatura …Q and appoggiatura eQ. CandidatesM will notT be required to write out the interpretation of Keys and Scales these ornaments. The recognition and writing of scales and their key signatures as for the previous grades, with the addition of B, F , D , and G General Knowledge # b b In addition to the requirements set for the previous grades in this major, and B, F#, C#, F and B minor (harmonic form), through one or two octaves. Use of doubleb sharps and double flats, tones and section. semitones and the technical names of the degrees of the scales. (a) To define and to recognise the following: compound quadruple time, diatonic and chromatic (as applied to semitones and to Intervals scales), counterpoint. Recognition and writing of all diatonic intervals and their inver- (b) To show a general knowledge of the form, time and charac- sions in the keys specified for the grade, in the treble or bass clef. ter of dances included in the keyboard suites of Purcell, Bach Modulation and Handel: Allemande, Courante, Sarabande, Gigue, Minuet, Gavotte. Recognition in melodies of modulation to the dominant or relative (c) To show a knowledge of the stringed instruments of the sym- major or minor. phony orchestra, and their tunings, using the appropriate clefs Time and Rhythm – violin, viola, violoncello and double bass. Note values and rests as in the previous grades. Syncopation (crotchet and quaver values only). Barring an unbarred phrase. GRADE 5 0005 To the time signatures in the previous grades add and . 6 12 Questions on: Harmony 4 8 (a) The recognition of chords on Pitch and Tonality I, II, IV, V, VI Major Ib, IIb, IVb, Vb, VIb keys Keys and Scales I, IV, V, VI Minor The recognition and writing of all the major and minor scales Ib, IVb, Vb, Vlb keys (both forms), and their key signatures. in keys up to four sharps or four flats, in four-part vocal style. Intervals (b) The writing and recognition of the four principal cadences in The recognition and writing of all diatonic and chromatic intervals the same keys, in four-part vocal style. and their inversions, in treble and bass clefs, with or without key (c) The harmonisation of a simple melody of not more than six signatures. bars, in a major or minor key up to four sharps or four flats, in four-part vocal style using the above vocabulary. Modulation Recognition in melodies of modulation to the dominant, subdomi- Creative Work nant, or relative major or minor. To write a melody to a simple verse couplet, the words to be correctly written below the notes, or to write a balanced melody to a Harmony given rhythm of not more than eight bars. Major and minor keys (a) To harmonise a melody of no more than eight bars in four-part up to two sharps and two flats are required, and modulation is not vocal style using the following vocabulary: expected. Phrasing should be included. I II* IV V VI (*Major key only) Transposition Ib IIb IVb Vb VIb VIIb Candidates will be given a short melody in one of the keys and Ic (cadential) involving note values specified for this grade, and not more than unaccented passing and auxiliary notes. eight bars in length, which they will be asked to transpose into (b) In a given melody or unfigured bass, which may modulate another of the keys required for the grade. Accidentals will be to closely related keys, to harmonise cadences in pianoforte involved. or four-part vocal style, preceding each cadence by a suitable chord. First inversions may be included in cadential Terminology progressions. In addition to the terms set for the previous grades, the English Creative Work meanings of the following terms, together with their abbreviations (a) To write a melody in a major or minor key up to three sharps and signs where applicable: or three flats, to a four-line stanza of poetry. The words to SPEED be correctly written below the notes. Phrase marks are to be Tempo commodo, tempo giusto, l’istesso tempo, non troppo, grave. included. Modulation is optional. MODIFICATIONS OF SPEED OR Rubato, stringendo. (b) To write a balanced melody of eight bars in a major or minor INTENSITY OF SOUND key up to three sharps or three flats, the first few notes being Perdendosi, smorzando, rinforzando, pesante. given. Modulation is optional. Phrasing should be included. OTHER TERMS RELATING TO PERFORMANCE Cantando, tenuto, piacevole, portamento, dolente, doloroso, sotto voce, General Knowledge giocoso, grazioso, sul ponticello, sul tasto, tremolo, pizzicato, arco, assai, (a) To show a general knowledge of the following forms, and an quasi, scherzando, subito. acquaintance with examples by the great composers: Minuet

4 Theory ● Theory of Music grade 6

and Trio, Scherzo, Air with variations, Recitative and Aria as in Handel or Mozart. (b) To show a knowledge of the woodwind instruments of the symphony orchestra (flute, oboe, clarinet in B , clarinet in A, bassoon). b A knowledge of the ranges of these instruments and the clefs used by these instruments in orchestral playing is also expected. Auxiliary instruments and instruments pitched in other keys – e.g. piccolo, cor anglais, bass clarinet, clarinet in E and contrabassoon will not be examined. b

GRADE 6 0006 Harmony The following vocabulary is to be used: I II III* IV V VI (*Major key only) Ib IIb IIIb IVb Vb VIb VIIb Ic IVc Vc V7 V7b V7c V7d accented and unaccented passing notes and auxiliary notes, single suspensions, Tierce de Picardie. Modulation within the six related keys. (a) To harmonise a melody or an unfigured bass in four vocal parts. (b) To write a part above or below a given part in simple two-part contrapuntal keyboard style.

Creative Work (a) To write a balanced melody in a major or minor key up to four sharps or flats, to a four-line stanza, with modulation. The words to be correctly written below the notes. Phrasing should be included. OR (b) To complete a four-phrase vocal melody of which the first phrase is given, including modulation (a maximum of sixteen bars in all). Phrasing should be included.

General Knowledge (a) To answer general questions on the Sonata, Symphony, Concerto, and Overture, and to refer to examples by great composers, based on the type and range of material in such reference books as the New Harvard Dictionary of Music or publi- cations of similar scope. (b) To show a knowledge of First Movement or Sonata form, and to refer to a standard movement in this form in the Pianoforte Sonatas of Mozart or early Beethoven. A detailed analysis will not be required but candidates should be able to show their acquaintance with the score and with the musical effect. (c) To show a knowledge of the brass instruments of the symphony orchestra (horn in F, trumpet in B , tenor trombone, tuba in F). b A knowledge of the ranges of these instruments and the clefs used by these instruments in orchestral playing is also expected. Auxiliary instruments and instruments pitched in other keys – e.g. horn in B , trumpet in D, bass trombone and Wagnerian tuba will not be examined.b Set Work The first and one other movement from a symphony by Haydn, Mozart, Beethoven or Schubert will be set for study. Candidates will be asked general questions about the music, and should be able to quote main themes and indicate their orchestration.

Work set BEETHOVEN, Symphony No 3, in E major Op. 55, first and second movements. b