Note
Studied by 141 peopleGRADE 4 MUSIC THEORY
The longest note previously encountered in earlier music theory grades is the semibreve (whole note), written as an open note-head without a stem1. The breve (or double whole note in the USA) is a note that is twice as long as a semibreve1. The breve is written like a semibreve, but with two short, vertical lines on each side of the note head1. The words "Breve" and "brief" are related; in the 13th century, the note currently called a breve was the shortest note available to composers, while longer notes called "longa" and "maxima" existed2. Rests can also be brevés, such as a breve (double whole) rest3. Breves (Double Whole Notes) are covered in ABRSM Grade 4 and Trinity Grade 5 music theory1....
Double dotted notes increase the value of a note by 75% (the note plus three quarters of itself)5.... A single dot to the right of a note head increases its length by 50% (the note plus half of itself)5.... For example, a dotted minim equals a minim plus a crotchet, while a double dotted minim equals a minim plus a crotchet plus a quaver5. Rests can also have dots and double dots added to them7. To calculate the value of a double dotted note in smaller units (like quavers or semiquavers), you can first find the number of smaller units in the undotted note, then add half of that number (for the first dot), and then add half of the second number (for the second dot), and sum them all together7.... For example, a double dotted semibreve is worth 14 quavers (8 + 4 + 2 = 14)7. A double dotted breve is worth 56 semiquavers (32 + 16 + 8 = 56)8. In a music theory exam, you might be asked about note value equivalents or to explain how dots and double dots affect notes6.... A dotted note lasts 1.5 times longer than an undotted one, or a dot increases length by 50%6. A double dotted note lasts 1.75 times longer than an undotted one, or a double dot increases length by 75%6. Double Dotted Notes are covered in ABRSM Grade 4 and Trinity Grade 6 music theory9.
Chromatic scales use ALL 12 different notes available in one octave, unlike diatonic scales (like major and minor scales) which contain only 7 notes and are based on a key with a tonic keynote10. The word "chromatic" means "colourful"10. The distance between each note in a chromatic scale is one semitone11. In the Trinity or ABRSM grade 4 exam, you might be asked to find a part of a chromatic scale in a musical score11. To do this, scan the piece for sections where a few notes move in step (not leaping) and have accidentals11. Then, check if these notes are all one semitone apart12. If some notes are a tone or more apart, it's not the right section12. It helps to write out the letter names, including accidentals, and note the distance between notes (semitone or tone) to check carefully12.... Remember to account for the key signature and any accidentals earlier in the bar that are still valid12. If there are double sharps or flats, writing the enharmonic equivalent can help check12. A mini piano keyboard sketch can also help visualise the notes12. For example, in an excerpt, four consecutive notes forming part of a chromatic scale might be D-Eb-E-F, where the distance between each pair is a semitone13.
In ABRSM grade 4 exams, you may also be asked to identify a correctly written chromatic scale14. Common errors include using three versions of the same letter name (e.g., Gb, G, G#), not cancelling an accidental (e.g., a flat on the first note carrying over to the second), ending on a different enharmonic spelling than the start (e.g., starting on Eb and ending on D#), or not having a semitone between each note14. Writing out one octave of ascending or descending chromatic scales starting on various notes is also an exercise type15. Chromatic Scales are covered in ABRSM Grade 4 and Trinity Grade 4 music theory9....
Duplets are used in compound time signatures when the composer wants to split the main dotted beat into two instead of three17. You might see duplets or triplets in composing questions in Trinity exams or be asked to rewrite music between compound and simple time which involves triplets and duplets in ABRSM exams17. For duplets, you play 2 notes in the time of 3, and for triplets, you play 3 notes in the time of 217. Triplets are used when three notes are played in the space where there would normally be two18. Three quavers (eighth notes) in a triplet take the same time as two normal ones18. Triplets are common in simple time signatures to split the beat into three instead of two18. When changing from compound to simple time to keep the rhythmic effect, duplets become "normal" notes (nothing added) and quavers grouped in 3s become triplets19.... Duplets are covered in ABRSM Grade 4 and Trinity Grade 6 music theory9....
In the ABRSM Grade 4 Music Theory Test, there are typically seven questions to answer21. The maximum score is 100, with 66-79 for a pass, 80-89 for a merit, and 90+ for a distinction21. Question types include naming notes (such as double sharps and flats)22, looking at a melody and answering questions about rhythm, technical names of notes, intervals, rewriting bars with different note values or in different clefs, identifying instruments, and finding parts of chromatic scales22. You might also be asked to describe time signatures as simple or compound, and duple, triple, or quadruple, or find how many times a specific rhythm appears22. Identifying tonic triads in a given key might also be required22. Other questions include putting accidentals to create scales (like G# melodic minor) or chromatic scales, naming numbered chords (tonic, subdominant, dominant) in a key, and writing key signatures and triads23.
Intervals can be identified and written between any two notes of the scale, in keys up to 5 flats/sharps24. Previously, intervals were only studied between the tonic (lower note) and another note in the major or minor scale built on the tonic24. To find an interval between any two notes, it can help to write out the major scale starting from the lower note using the T-T-S-T-T-T-S pattern25. Ensure each letter name (A-G) is used only once, except for the start and end notes25. If the upper note is in the major scale formed by the lower note, the interval will be major (2nd, 3rd, 6th, 7th) or perfect (unison, 4th, 5th, octave)25. If the upper note is not in the major scale formed by the lower, the interval will be minor, augmented, or diminished25.
When writing intervals, use the same method26. For example, to write a diminished 7th above a note like F#, first count 7 letter names from F: F-G-A-B-C-D-E, and write an E (without accidentals)26. Work out the major scale from the lower note (F major: F-G-A-Bb-C-D-E-F)26. E is in the F major scale, so F-E is a major 7th26. If the lower note is F#, F#-E is one semitone smaller, a minor 7th26. To make it a diminished 7th (one semitone smaller than a minor 7th), change E natural to Eb, resulting in F#-Eb27. Intervals Between Any Two Notes are covered in ABRSM Grade 4 and Trinity Grade 4 music theory9....
Compound time signatures with 6, 9, or 12 at the top and 4 below (6/4, 9/4, 12/4) have dotted minim (dotted half note) beats28. 6/4 has two dotted minim beats per bar (Compound Duple), 9/4 has three (Compound Triple), and 12/4 has four (Compound Quadruple)28. Compound time signatures with 6, 9, or 12 on top and 16 below (6/16, 9/16, 12/16) work similarly but have a dotted quaver (dotted 8th) beat29. Each beat in these /16 time signatures can be divided into three semiquavers (16ths), which can then be divided into two demisemiquavers (32nds)29. 6/16 has two dotted quaver beats (Compound Duple), 9/16 has three (Compound Triple), and 12/16 has four (Compound Quadruple)29. When grouping notes with beams in compound time, the total value of the group should be kept to one beat at most28.... More Compound Time Signatures are covered in ABRSM Grade 4 music theory9....
Ornaments are symbols that instruct a player to change the written note in a specific way30. Some are written on the stave, while others are written above it; they are never written below the stave30. In the ABRSM grade four exam, you need to recognise and name ornaments like acciaccatura, trill, turn, appoggiatura, lower mordent, and upper mordent30.... Ornaments (Symbols) are covered in ABRSM Grade 4 and Trinity Grade 5 music theory9....
Rewriting a rhythm in a new time signature while keeping the rhythmic effect can be done in three basic ways4. One way is to make all note values twice as long4.... Another is to make all note values half as long4.... The third is to change the time signature from simple to compound or vice versa4.... When changing from simple to compound time, undotted notes often become dotted notes, and notes grouped in twos might become triplets19. When changing from compound to simple time, dotted beats become undotted notes, duplets become "normal" notes, and quavers grouped in 3s become triplets19.... Rhythm Rewriting (ABRSM Grade 4) is covered in ABRSM Grade 4 music theory9....
Scales and keys with five sharps or flats in the key signature include B major (5 sharps), G# minor (5 sharps), Db major (5 flats), and Bb minor (5 flats)33. The order of sharps is F#, C#, G#, D#, A#33. The order of flats is Bb, Eb, Ab, Db, Gb33. The major scale pattern is T-T-S-T-T-T-S (tone/whole step, semitone/half step)34. The G# minor scale uses a double sharp for the leading note (7th degree), which is F##34. The enharmonic equivalent of F## is G natural, but you must use F## in the G# minor scale because each letter name can only be used once34. Scales and Keys with 5 Sharps/Flats are covered in ABRSM Grade 4 and Trinity Grade 5 music theory9....
You need to know about standard orchestral instruments for music theory exams, including the instrument families, the highest and lowest members of each family, the clefs they normally use, and whether they are transposing instruments35. The four families are strings, woodwind, brass, and percussion22.... Standard Orchestral Instruments are covered in ABRSM Grade 4 music theory9.... The horn is a member of the brass family, and the lowest sounding member of this family is the tuba22.
The technical names of scale degrees refer to the name given to each note of a scale from 1-737. The technical names are tonic (1st degree), supertonic (2nd), mediant (3rd), subdominant (4th), dominant (5th), submediant (6th), and leading note (7th)37. The dominant is the most important note after the tonic and is 5 notes higher38. The subdominant is the next most important and is 5 notes lower than the tonic ("sub" means "lower")38. The mediant is midway between the tonic and dominant, 3 notes higher than the tonic38. The submediant is midway between the tonic and subdominant, 3 notes lower than the tonic ("sub" means "lower")38. The supertonic is "one more than" the tonic, one note higher38. The leading note is one note below the tonic and often "leads to the tonic" in melodies38. The tonic is the keynote, the note a piece feels like it's heading home to38. Technical Names of Scale Degrees are covered in ABRSM Grade 4 music theory9.... You might be asked to give the technical name of a specific note in a particular key39.
The alto clef is a type of C clef, indicating where middle C is located on the stave40. It is drawn with one vertical line and another with two arms that go either side of the middle line of the stave, where middle C is found41. The tenor clef is another C clef, introduced at Grade 540. Notes, intervals, and triads in the alto clef are worked out similarly to the treble and bass clefs; you can locate the middle line (middle C) and count up or down42. When transposing into the alto clef, remember the position of middle C in all clefs you are working with and understand how many octaves each note is above or below middle C43. The pattern of sharps and flats in key signatures is consistent across clefs44. The viola uses the alto clef to write its notes with a minimum of ledger lines, as its range is midway between the bass and treble clefs45. The Alto Clef is covered in ABRSM Grade 4 and Trinity Grade 4 music theory9....
Triads are simple three-note chords, often built on degrees of the scale46. A tonic triad is built on the tonic of the key46. For example, the tonic triad in C major is C-E-G46. Triads are normally written with notes as closely together as possible and are used in music theory for harmony analysis47.... Chords are used in real music and can have notes doubled up (by writing an existing note in a higher or lower octave) or new notes added47.... At Grade 4, you won't be tested on chords with added notes but might see them in scores47. Chords are written in whatever order they sound best48. The lowest note of a chord has special significance48. The other notes can be written in any order, close together or with large gaps48. For an A minor triad, A is the lowest note, followed by C above, then E above that48. For an A minor chord, the bass note (lowest note) is A, but other notes (which can include doubled notes from the triad) can be anywhere they sound best48. You might be asked to identify triads in the alto clef as tonic (I), subdominant (IV), or dominant (V)49. Triads and Chords are covered in ABRSM Grade 4 music theory9.... The tonic, subdominant, and dominant chords are built on the 1st (I), 4th (IV), and 5th (V) degrees of the scale respectively23....