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.