Music Theory Notes, ABRSM Grades 1-5
Time Values
Note durations are fundamental to music theory. Here's a breakdown of common note values:
Semibreve (Whole Note): Represented by "w", it lasts for 4 beats.
Dotted Minim (Dotted Half Note): Denoted as "h k", it sustains for 3 beats.
Minim (Half Note): Shown as "h", its duration is 2 beats.
Crotchet (Quarter Note): Indicated by "q", it has a duration of 1 beat.
Quaver (Eighth Note): Represented by "e", it lasts for ½ beat.
Bar Lines and Time Signatures
Music is organized into bars using bar lines. A double bar line signifies the end of a piece or a section. The time signature, located at the beginning of a piece, indicates the number of beats per bar (top number) and the type of beat (bottom number).
2/4 Time Signature: Two crotchet beats per bar. (\frac{2}{4}) would have two crotchet beats per bar, like "q q".
3/4 Time Signature: Three crotchet beats per bar.
4/4 Time Signature: Four crotchet beats per bar. Often represented by the symbol \mathbb{C}, also known as "Common Time."
Notes on the Stave
Notes are placed on a stave (staff) using oval note heads. Note head placement is crucial:
Space: Note head should not overhang the lines.
Line: The line must pass through the middle of the note head.
Notes extending beyond the stave are written on ledger lines, maintaining consistent spacing. Stem direction depends on the note's position:
Above the middle line: Stems point down.
Below the middle line: Stems point up.
On the middle line: Stems can point either up or down.
Stem lengths should be uniform. Always use a sharpened, soft (2B) pencil for manuscript to allow easy erasures. Neatness is essential for clear communication; unclear answers may result in lost marks.
The Treble (G) Clef
The treble clef, also known as the G clef, denotes higher pitch ranges. The swirl of the clef should center around the "G" line.
The Bass (F) Clef
The bass clef, or F clef, signifies lower pitch ranges. Its hook should encircle the "F" line, with careful dot placement.
More on Time Values
Reviewing Note Durations:
Semibreve (Whole Note): "w", 4 beats.
Dotted Minim (Dotted Half Note): "h k", 3 beats.
Minim (Half Note): "h", 2 beats.
Crotchet (Quarter Note): "q", 1 beat.
Quaver (Eighth Note): "e", ½ beat.
Semiquaver (Sixteenth Note): "x", ¼ beat.
Beaming Quavers and Semiquavers
Quavers and semiquavers are typically beamed together in units equivalent to one crotchet beat. This rule applies to combinations of quavers and semiquavers in the time signatures covered in this grade.
Example: Two individual quavers (e e) become beamed together as (q).
Example: A semiquaver combination (xx) beamed together as (q).
Four quavers, equaling a minim's value, can also be beamed together.
Rests
Rests indicate silence. Different rests correspond to different note durations:
Semibreve (Whole Note) Rest: "Ó==Ó", 4 beats.
Minim (Half Note) Rest: "g", 2 beats
Crotchet (Quarter Note) Rest: "‰", 1 beat
Quaver (Eighth Note) Rest: , ½ beat
Semiquaver (Sixteenth Note) Rest: ‰‰, ¼ beat
A semibreve rest also represents a full bar of rest, irrespective of the time signature.
Ties
A tie connects note heads of the same pitch, adding their time values together. Avoid confusing ties with slurs, which curve over notes of varying pitches, indicating 'legato' or smooth, connected playing.
Dots
A dot placed after a note extends its duration by half its original value. The added value depends on the preceding note:
Dotted Minim: h k = h + q = 2 + 1 = 3 beats
Dotted Crotchet: q k = q + e = 1 + \frac{1}{2} = 1 \frac{1}{2} beats
Dotted Quaver: e k = e + x = \frac{1}{2} + \frac{1}{4} = \frac{3}{4} beats
Accidentals
Accidentals alter a note's pitch:
Sharp (a): Raises a note by a semitone.
Flat (b): Lowers a note by a semitone.
Natural (n): Cancels a sharp or flat.
An accidental affects only the specific pitch in the bar in which it appears, not other octaves. When writing accidentals, center them on the line or space of the note. Enharmonic notes are notes with the same pitch but different names.
Tones and Semitones
Tones and semitones define the intervals between notes. A semitone is the smallest interval in Western music, representing a half step. A tone consists of two semitones, forming a whole step.
E to F is a semitone.
C to D is a tone.
C to C sharp (or D flat) is a semitone.
C sharp (D flat) to D sharp (E flat) is a tone.
Major Scales
Major scales follow a specific pattern of tones (T) and semitones (S):
T - T - S - T - T - T - S
C Major: Contains no sharps or flats.
G Major: Requires an F sharp.
D Major: Requires F sharp and C sharp.
F Major: Requires a B flat.
These accidentals can be indicated in the key signature or as accidentals. Key signatures apply throughout the piece, affecting all octaves, unless cancelled by accidentals.
Cancelling an Accidental
A key signature remains in effect throughout a piece and impacts all octaves. An accidental, however, only lasts until the end of the bar in which it appears, affecting only notes of the same pitch within that bar, not other octaves. After the bar ends, the music reverts to the key signature, cancelling any prior accidentals.
Degrees of the Scale and Intervals
Degrees of the scale refer to the steps of the notes of the scale. Intervals measure the distance between two notes.
Melodic Interval: Notes played one after the other.
Harmonic Interval: Notes played together.
The Tonic Triad
The tonic is the first note of a scale. A triad is composed of three notes. A tonic triad is a three-note chord built on the first, third, and fifth notes of the scale.
Composing an Answering Rhythm
Follow these rules when composing an answering rhythm:
Beam quavers to create one crotchet beat.
Beam four quavers to create one minim beat.
Beam semiquavers and quaver/semiquaver combinations into crotchet-beat groups.
Never beam more than four quavers in 4/4 time.
Avoid beaming notes across the bar's midpoint (between beats 2 and 3).
Minimize the use of ties.
Make sure each bar has the correct number of beats, and that rhythms are grouped and beamed correctly. The rhythm should end with nothing less than a crotchet.
A complete four-bar phrase has a 'question' and 'answer' section. The answer needs to show a musical link to the first section keeping the same rhythm for a couple of beats and then carry on to finish with slightly new rhythms. Count strict time and listen to what is given and your response.
Performance Directions
Memorize Italian terms and musical direction symbols by grouping them thematically:
Slow: Adagio, Lento, Rallentando, Ritardando, Ritenuto, Andante.
Quick: Accelerando, Allegro, Allegretto.
Loud: Forte, Fortissimo, Crescendo.
Grade 2 Music Theory
Ledger Lines
Ledger lines extend the stave. They should only be drawn when needed with consistent spacing. When converting notes between treble and bass clefs, refer back to middle C to maintain the correct octave to avoid using too many ledger lines.
Time Signatures
Time signatures with a bottom number of 2 indicate minim beats, while 8 signifies quaver beats.
Alla Breve: \cancel{\mathbb{C}}, (Split Common Time) is another way of writing 2/2.
Duple time: Top number is 2.
Triple time: Top number is 3.
Quadruple time: Top number is 4.
Major Key Signatures
Grade 2 covers scales with up to three flats/sharps:
C Major: No sharps or flats.
G Major: F sharp.
D Major: F & C sharp.
F Major: B flat.
B Flat Major: B & E flat.
E Flat Major: B E & A flat.
Key signatures are placed in a specific position on the stave.
Triplets
Triplets are three equal beats played in the time of two, indicated by a bracket or beam with a number three. Triplets can have different combinations of notes that are equal.
Don't forget that rests still count in triplets.
Minor Keys
Minor scales share key signatures with major scales; these are related keys.
A minor: Related to C major.
E minor: Related to G major.
D minor: Related to F major.
Harmonic Minor Scale
Writing a scale in Harmonic Minor Form:
Use the key signature from the relative major.
Raise the 7th degree by a semitone (as an accidental).
Grouping Notes and Rests
Remember that each new beat requires beaming and a new rest. In 3/8 time, quavers and semiquavers can be beamed throughout the whole bar. Complete each crotchet beat without carrying over into the next beat.
Intervals
Although intervals may be given in either Major or Minor keys. The lowest note will be the tonic, and the degrees of the scale count in step as usual.
Composing Simple Four Bar Rhythms
The principle of creating a two-bar "question" and a two-bar "answer" phrase remains the same as in grade 1. Make sure each bar has the correct number of beats with corrected grouped and beamed rhythms.
Rests
Make sure to include the new time signatures included in this grade.
Performance Directions
Performance terms and signs outlined in the Grade 2 Theory in Practice Workbook are in addition to those learned in grade 1. Add these to your groups of thematically related terms rather than revising them in alphabetical order.
Articulation marks expressing more subtle directions
Although legato and staccato look like conflicting direction when combined, as shown here, it comes to mean “semi-staccato.” This is less pronounced than staccato.
Grade 3 Music Theory
Demisemiquavers
Classical Name: Demisemiquaver
American/Pop Name: (32nd note)
Duration: ⅛ beat
Major Keys with Four Flats or Sharps
Ledger Lines
In grade 3 the number of ledger lines has increased beyond two lines:
Count an octave above or below to a pitch you are more familiar with.
Count the steps up or down from a note you are familiar with.
Transposition
When converting from one clef to another AND transposing octaves, keep referring to middle C as an anchor point then transpose the octave up or down accordingly. Keep relating back to middle C to ensure you don’t jump too many octaves:
Compound Time
Simple Time: Beats are divisible by 2.
Compound Time: Beats are divisible by 3.
Compound time signatures within this grade are written in quaver beats (eighth notes) but are counted in dotted crotchet beats
6/8: two dotted crotchet beats per bar (duple time).
9/8: three dotted crotchet beats per bar (triple time).
12/8: four dotted crotchet beats per bar (quadruple time).
Converting from Compound Time and Simple Time
Compound to simple time: add a triplet sign to each group of three quaver beats and removing the dot.
Simple to compound time: remove the triplet sign from each group of three and adding a dot
Harmonic and Melodic Minor Scales
Harmonic minor scales have the same notes ascending and descending.
Melodic minor scales ascend and descend using different tone and semitone intervals.
Harmonic Minor Scale
Because the harmonic minor uses the key signature of the relative major and adds a raised 7th degree of the scale. The arrangement of semitones falls: 2-3 , 5-6 & 7-8.
Melodic Minor Scale
Use the key signature (or add accidentals) according to the relative major.
Ascending: Raise the 6th and 7th degrees by a semitone
Descending: Use the notes of the relative major only.
Grouping Notes and Rests in Compound Time
The principle that each new beat needs a new rest and beams should clearly show each beat remains. This must now also reflect the dotted crotchet beat (dotted quarter note).
Further Practise in Scales and Key Signatures
It is better to make mistakes and learn from them than to never make any mistakes but never thoroughly learn!
Harmonic Minor Scales Use the key signature of the relative major. Raise the 7th degree of the scale.
Melodic Minor Scales Use the key signature of the relative major. Raise the 6th & 7th degree of the scale as an accidental ascending. Descend using notes belonging to the major key.
Four Bar Rhythms
The same concept of Question and Answer phrases still applies. However, although the phrases will still be of two equal bars the exercise may not begin on the first beat of the bar.
Make sure that each bar has the correct number of beats.
Intervals
The method of counting intervals has not changed, but it is now necessary to consider whether the interval is part of the major scale or the minor scale.
Useful steps to follow
The given interval is a 7th.
Consider whether the upper note is appropriate to F major key signature (B flat) or F minor key signature (B E A & D flat).
Follow the steps given in your book as there is no other way to accurately determine the interval other in the way mentioned.
Simple Phrase Structure
If a given phrase has two complete bars with two incomplete bars (which in total add up to the time signature) then this pattern is likely to continue. Just be careful to make sure the maths follows suit each time.
Performance Directions
It is really important at this stage to make sure you build a thematic index of all the terms and directions so far. All of the previous grades still need to be included.
Grade 4 Music Theory
Time Signatures
Now includes an extensive range of simple and compound time signatures. Compound time signatures in this grade are in both quaver beats (eighth notes) and also semiquaver beats (sixteenth notes).
Simple Time
Refer to time signatures where beats are divisible by 2.
Alto Clef
The alto clef represents notes that occupy the middle of the register and avoids the necessity for too many ledger lines. It is chiefly associated with the viola. In the alto clef middle C is positioned on the middle line of the stave. This is also where the curves of the alto clef meet.
Double Sharps and Double Flats
The double sharp literally means to sharpen the note and then sharpen it again. This means raising the note by two semitones (a whole tone).
The double flat literally means to flatten the note and then flatten it again. This means lowering the note by two semitones (a whole tone).
Breves, Double Dots and Duplets
Triplets squeezes three beats into the time of two beats. Duplets stretches two beats into the time of three beats.
Major & Minor Keys with Five Sharps or Flats
The degrees of the scale have given names:
1st TONIC
2nd SUPERTONIC
3rd MEDIANT
4th SUBDOMINANT
5th DOMINANT
6th SUBMEDIANT
7th LEADING NOTE
Four Bar Rhythms
No new material is introduced in this section. However, the opening anacrusis may be made up of more complicated rhythms and the time signatures covered grades in one, two, three and four may be called upon.
If the exercise begins with an anacrusis ensure that the answering phrase reflects this same anacrusis rhythm.
If an anacrusis is given make sure that the opening bar and the closing bar add up to make a complete bar of the given time signature.
Consider whether the exercise is in simple or compound time and make sure that the beaming of notes and grouping of rests reflects this.
Triads on chords I IV & V
A triad can now be placed on the first, fourth and fifth degree of the scale. When referring to the degrees of the scale numbers 1, 4 and 5 refer to the single degrees of the scale. When roman numerals are used this refers to the triad built upon that degree of the scale.
The Roman numerals Triads can be spread over two clefs, and certain notes may be doubled.
Intervals
Intervals can be made larger or smaller by the addition of an accidental. Being a part of either a major or a minor key is no indication of what a specific interval between two notes might be.
Handy Rules to naming an interval
Treat the lower note as the key note/tonic.
Observer the key signature and how this affects the given notes, but ignore any accidentals for now.
Would the upper note be part of the named key note’s major or minor scale?
Does the accidental make the interval smaller or larger?
Be aware that a flat on the lower note makes the interval bigger and a sharp on the lower note makes the interval smaller. It is helpful to visualise this on a piano keyboard.
Writing a Rhythm to Words
Writing along to words involves the principles of completing a four bar rhythm but requires the following points to be addressed:
The natural accent of the given words must correspond to their placement within the structure of the bar.
An appropriate time signature must be chosen to suit the rhythms of the words.
The basic rhythm which fits the words must then be embellished to form an interesting musical whole.
The Chromatic Scale
Although there are a variety of ways in which a chromatic scale can be written it really is just a matter of adding accidentals so that every semitone is represented.
Make sure that every line and space on the stave is represented at least once, but not more than twice.
The 1st, 4th and 5th degrees of the given key should be represented unaltered.
Ornaments
Ornaments are embellishments around the written notation involving more notes than written in accepted patterns determined by the symbol given.
Look carefully where the ornament is placed. If it is placed after a note then that note must be written (played) before the ornament is realised.
Instruments
Review instruments, in the String, Woodwind, Brass and Percussion family.
Performance Directions
In addition to learning Italian performance directions, building on those learned in previous grades, you also now need to understand some French musical terms. Include all of these in your thematically grouped terms and directions.
More specifically these are related to
Brass - mutes
Strings - bowing instructions - specific strings and performance directions on strings/areas of the bridge
Piano - use of pedals - specific directions for hands - specific directions for performance of chords.
Grade 5 Music Theory
Irregular Time Signatures
Irregular time signatures can't be classed as either but are a mixture of both.
The Tenor Clef
The principle of reading the tenor clef is the same as with the alto clef but middle C is now positioned on the fourth line of the stave.
Also memorize, the required key signatures for grade 5.
Major and Minor Keys
Review the required key signatures for grade 5.
Note that in the minor scale if the 7th is a flat in the key signature it will become raised to a natural. If the 7th is a sharp in the key signature it will become raised to a double sharp.
Transposing
When transposing an octave the key signature obviously remains the same. Use middle C as a reference point so as to transpose to the correct octave.
When transposing up or down any other interval the key signature will change accordingly.
Voices in Score
Short Score
Soprano and Alto voices share the treble clef. Soprano is the upper treble part, and note stems always point up. Alto is the lower treble part, and note stems always point down.
Tenor and Bass voices share the bass clef. Tenor is the upper bass part, and note stems always point up. Bass is the lower bass part, and note stems always point down.
Open Score
Each voice has its score on the stave.
The Soprano part is written in the treble clef and obeys the normal rules for stems pointing up or down.
The Alto part is written in the treble clef and obeys the normal rules for stems pointing up or down.
The Tenor part is written in the treble clef and obeys the normal rules for stems. A figure 8 under the treble clef indicates this.
The bass part is written in the bass clef and obeys the normal rules for stems pointing up or down.
Irregular Time Divisions
In addition to triplets and duplets, these include groups of 5, 6, 7, and 9.
Groups of 5, 6, or 7 occupy the same time value as a group of 4.
Groups of 9 occupy the same time value as a group of 8.
Intervals
Intervals can only be described using the terms described in Grade 4
However, intervals given in grade 5 may now exceed an octave.
One method of describing such intervals is to continue counting numerically. However, it is then necessary to reallocate which intervals are perfect to these new extended intervals.
Naming Chords
Chords can be rearranged into a different order, other than root position, so that any part of the chord can be in the bass.
Use the labels a, b or c after the chord symbol to label the difference chord positions.
Composing an 8 Bar Melody
When composing a melody the opening bar should establish the key, the half way point should imply an imperfect cadence and the final bar should close with a perfect cadence.
Use the following guidelines to help compose a musically cohesive and balanced melody.
Choose your instrument, making sure you know its general range.
These motifs can be developed by doubling or halving note values, or they can be turned upside down (inverted).
Make sure the melody and pitch follow the appropriate chords to the key of the extract.
A melody consisting of notes only belonging to these basic chords will be too simplistic.
Chord Structure
There should be awareness of Chord structure:
Chord I - Establishes the key at the start of each phrase and a good chord to end the piece.
Chord II - a good chord approaching chord V before a cadence.
Chord IV - a good chord approaching chord V before a cadence.
Chord V - Is needed to form an imperfect cadence to end the first phrase.
Ornaments
replace full notation with the appropriate melody notes and ornament signs.
The most important points to remember are:
Notes which are not highlighted in the exercises, or affected by the ornament should remain unchanged.
Don’t forget to consider placement after dots and where accidentals need addressing.
Remember that a trill alternates up from the given melody not, so your written melody note should reflect that.
Cadence Points
A cadence is a music ending, or ‘mini ending.’
Chords V - I = a Perfect Cadence. A perfect cadence sounds finished. It sounds like a “Ta Daaa” ending.
Chords IV - I = a Plagal Cadence. A plagal cadence sounds finished. It is a softer ending and sounds like an “Amen” type finish.
Chords ? - V = an Imperfect Cadence. An imperfect cadence doesn’t sound finished but leaves the music hanging.
Read the notes in the workbook through carefully.
Instruments and Voices
You are required to know instrument and voice groups and the respective ranges. Listening to music and following musical scores gives extensive practise on broadening your knowledge.
Performance Directions
You will need to know all of the French and Italian terms from Grades 1, 2, 3 and 4 in addition to the Italian and German terms now included in Grade 5.