gut! How To Pass Grade 5 Theory Answer Book Samantha Coates Published By BlitzBooks PO Box 1510 MAROUBRA NSW 2035 AUSTRALIA All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information retrieval system without written permission from the publisher, except for the inclusion of a brief quotation in a review. Copyright © 2002 Samantha Coates http://www. blitzbooks.com.au/ ISBN 1-877011-24-xX Introduction This answer book is designed to aid students, parents and teachers in completing and checking the Blitz workbooks. You may find that your answers are not exactly the same as those printed in this book. As with all answer books, there are many instances in which more than one answer is correct, however only one possibility is shown. The variations in correct answers can range from different octaves to different note or rhythm combinations to subtle differences in translation from Italian to English. This is particularly true of the harmony section, in which there could be hundreds of variations of a correct answer. The melodies contained in this answer book may or may not be given full marks by an examiner, as the assessment of melodies is such a subjective thing. The answers written here should be used as a guide rather than an actual answer. The answers given in the history section are of sufficient quality to achieve full marks in an exam. This does not mean, however, that every possible fact is included! Students are encouraged to research this topic widely. For students marking their own work, it may be necessary to check with a teacher from time to time to see if your answers are simply a variation of a correct answer.Contents - fejs and Scales (inclding melodie minor) — Page d Tntenals - Page 10 Hodslatin ~ Page Harmony — Page 22 Chord I in second inversion — Page 2 Parle — Page 30 Passing/Ausiliay notes ~ Page 32 Voice Exchange — Page 33 Revision — Page 8 Nedslating cadences — Page 4] — Nelody writing — Page 46 Continvng a Notif - Page 48 Nedolating is fay - Page 00 Meodsnds — Page 4 Fors ~ Page 60 Tiny Test - Page 6 Lesuord ~ Page 61 Nad Multiple Choice — Page £8 Test Paper. ready for marking! - Page 1 4 Scales... ALL of Them! For Grade 5 we have to know how to write all major and minor scales (wow). This means there are quite a few new key signatures to learn! By now you know of course that there are a maximum of seven sharps or seven flats in any one key signature, Write the key signatures for the following keys, all of which have seven sharps/flats in their key signatures: lich of cf ng) ee a ‘There are three other new key signatures for this grade. Write them here in both treble and bass clefs: E flat minor G sharp minor D sharp minor The most common mistake made in scale writing is: ‘A: Not using the correct key signature 8: Not using the correct note values CC: Writing the scale in the wrong direction D: Marking the tones/semitones incorrectly (e.g. in a descending scale) E: Not raising the leading note in harmonic minor scales Fi Writing the wrong time signature G Misreading the clef A,B,C,D.E, and 6 The mistakes listed above occur mainly becouse: A; Scales oppear at the begining of the exam paper when people are extra nervous Some people just don't read the question properly €: Some people fall asleep while writing scales 5Double Sharps in Scales — Tn minor scales we always have to naise the seuernth ole Up until now we've used a nadeuaal or a_sharp _ sign te do this, but what if the 7th note is already a sharp??? luk! The Ti lead a Fh Have a look at this scale oe NPORTANT TACT: Even though F doable sharp i the same a5 a6, you may NOT wi Gas the Th note in your scale ~ ths val nade Dy sik Se land “iatonic™ scale, Datonic means each note mst have @ Write the scale of G sharp harmonic minor * Use accidentals # Use minims + Write one octave going up * Mark each tone with a slur * Put a cross over the supertonic note 4 = x =] Write the scale of D sharp harmonic minor # Use a key signature # In semibreves 4 Write one octave going down and then back up again Ud sad ih evil) + Mark the semitones * Complete the scale with a double bar line eo px ae a J The Melodic Minor Scale You've probably played a melodic minor scale on your instrument lots of times, so you know that you must raise the _6#* and 7" degrees of the scale on the way up, ‘and you must them both on the way down, The reason for doing this is to get rid of the augmented 2nd between scale degrees 6 and 7, as it is a very awkward interval to sing, We'll discuss this further when we do melody writing later on, ‘Try adding the correct accidentals to this scale: These ioe notes il ned te be raed vith nasual ign Ths a aed ee red on hay de sth Qt sigs ‘Sometimes your melodic minor scale will need a double sharp on the way up, which can make things a bit more tricky. eee PS oll key A_shasp se cts ale shrgs oe Re usd ets tn? A ingle shaae— ti, thy wed tobe aed sg fr a's Ices th dele wihdouble ep. ag! AE HOT TIP: When flattening a dbl sharp, sore peopl like to puta natural sign before the sharp sign like this DEH You can do this f You uant to, ut sharp on its un vorks just as vel... the natural sign is optional, iw’ ts Write the melodic minor scale for one octave up and down starting on the given note using accidentals mark the semitones with slurs les ~ th sein fl in fen ss nib dul GeO Neal Can you think of the three minor scales that use double sharps??? Gt at 5 pt minor 7More Keys and Scales 1. Write the scale of A sharp melodic minor ¢ * Use accidentals - not a key signature FH * Use crotchets ‘® Write one octave going down and then going up list val + tefatsine- ae S24 Tg ‘# Mark each semitone with a slur * Complete the scale with a double bar line GON at at Bap ty eet Even More Keys And Scales Write the following key signatures Pe eb Bary ae ey E flat minor sharp minor € Flat major A sharp minor Name the key of this melody: B major Gye tees, 2, Write the melodic minor scale that starts on the given note * For one octave going up and then one octave going down again + Use accidentals # Mark the tones with slurs Se + Complete the scale with a double bar line 3. Write the harmonic minor scale with the key signature of seven flats * Use a key signature and write in semibreves 4 For to octaves gop 4 + Mork the semitones 7 # complete the cle ith debe ba ne 1H Lain your he signatures easly with the Dla Hay Signatre Table! te 8 ote == Write the scale of D sharp melodie minor: + Use accidentals ~ not the key signature Use minims For one octave going down and then back up ld ord ihe ail) Put a circle around the submediant note in the descending octave eee ‘Mark the semitones in the descending octave only Guick Question: would you ever find a double flat in a melodic minor seale? vesigyMaybe i ett ne Write a 6 flat major scale * Incrotchets For two octaves going down * 4% Using a key signature * ‘Mark the semitones with slursIntervals Have a look at the two different ‘species of intervals. As the fish or spider ‘grows’ it is becoming one semitone larger. Use them to help you fill in the grid below. Quality of Intenal One Sentene Lager One Seritone Swaller Major os. 2 34 fh ad 1A) Augmented Minor Minor oad ad Major Diminished Defect ing win. th Shadtad | Auugrnenteot Diminished Intervals can be made larger or smaller by adding accidentals to the top or bottom note, or even both! For example: ee -¢ 23Qj00_6¢h, con became en augmented 6th ike this G2 é INTERESTING FACT: Tf you add a sharp to the top note the interval becomes one semitone [anger but if you add a sharp to the bottom note the interval becomes one semitone-sna/lor! Now have a think about what flats do. = Was ene How ony way any find of making tis == (0 minaret on ‘augmented 3rd? When you've done that, see how many different ways you can make. it into a diminished 3rd! 10 Naming Intervals ———— ,; Grade 5 intervals are trickier then before because we are row dealing with intervals from all major, minar AND chromatic scales. There are lots of accidentals which make ‘the question harder. So the solution is. ignore the accidentals! ee sf) Imagine you've been asked to name this interval be ‘Most people have a complete fit when they see the double sharp. But if you take the ‘accidentals away, you get. Easy! Now all we have to do is put the accidentals back in, mh tepid iv seins Yo Tieletion ut hae eid a sei The accidentals make the interval one semitone(rgeysmaller il et Se this transforms it from a major 6th into an auigmended 6th. Good! Interesting Fact: When you write ntenalsuithot accidentals, they wll AAS be najr, minor or perfect, except for these tuor Q-3 and > (name these) augmenkot 4% diminished 5 Seda old bi atalle Goa 2 And hou about this 6 “S? parfect +4 wom And shat boat this ee ee? 2 (vid eh) dihiaished ¢ Quick Question: Would the quality of an interval change if you added the same accidental to both top and bottom notes? Quick Answer: NO! na 4 rawing Intervals peat [Paitatlet | ioe ty | fee dot | Nona, Drawing Tntenal | aec#entaly | “naked” | the acidenta | the intenalt th the exam you wil be asked to drow ntervls above complicated notes lite this oe: Aindeess i) | interval oto it esse Tones: a “an | eaten ester | “ein Major 3rd longer Don't panic! Follow these steps: . Ininor | Makes it a tone | hugmenkd Step 1: Toke away the accidental 8 Be | bigger Srol Step 2: Draw a major 3rd above 6. — ‘Step 3: Put the accidental back, but now onto the top note as welll ~ eo erbect |Makes it a Augmented . = —— retase |semifone bigger | ave Here's a trickier one: S[S——= Minor 6th it n = [Augmented Makes (* a pinisnedt Step 1: Take away the accidental 2 yh |tone smalier | & Step 2: raw a minor 6th above D (hmm. interesting. it involves an accidental) Step 3: You con put the sharp back against the bottom note (do this now). BUT. you | Perfact |makes a iminished Pe an't simply put the sharp back against the top note because it lready has — ; \dental. That accidental wil need to be raised one semitone foo ; P= | gh | semitone smatien an acini hot acetal wil rtd ob eed oe eit ao 2 . Perfect | Ht stays the — | Perfect BRS | FEES | ge | sane 5 4 Siep l: Take axy | Step 2:Drau the | Step 2: Re-appy vestion | the accidental intenal th aida ges - Perfect |mates it a augmented cde nie Ube ato) oo yh tone bi th es semitone bigger | y j= te — | Perfect |makes i# a — |Hugmenkd) aie ih — . a DPBS | Fe | yh ee atone bigger | ¥ oe | ner rates ta (reer a Se G ge 7% semitone bigger | 74 he j major |makes 4a | mnor Po. REMEMBER: In Sip 2, the kop note ay eed an acetal. Ths aces | —— | ard semitone smalloy ang FP ll peed to be changed in Step 3! 12 = 13Diminished and Augmented Intervals When you remove the accidentals in any given interval question, most of the time you end up with a major, minor or pertect interval (see the ‘Interesting Fact’ on page 11) You are now pretty good at drawing these intervals, so you only need to go one step further to draw a diminished or augmented interval Imagine you have been asked to draw a diminished 5th above this note: Since we have been practising drawing major, minor and perfect intervals, let's draw a perfect 5th first (which is the next one in its ‘species’ - see pege 10), Then we'll do our usual steps Step 1: Take away the accidental. Step 2: Draw a perfect 5th. Step 3: Put the accidental back against both notes ‘And now. Step 4: Lower the top note one semitone to make it diminished! Now try this interval Augmented 3rd We know it's actually easier to draw a majer 3rd first, so follow steps 1-3 above for a major 3rd, then Step 4: Raise the top note one semitone to make it augmented! QO Pi. bd rt at ep adel den eng for sep Diesep 2) QED) Here's some more to practise - write these intervals above the given notes: Dim 5th Dim 74h ‘Aug 4th Alay keep the right distance beeen the actual nates ~ let the accidentals change the quality. aE cong ee 4 Intervals With Key Signatures This is easy. All you have to do is think of the interval with accidentals instead of a key signature, then you can work out the name of the interval in just the way we've been talking about over the last few pages, ) ES GE Macc ll ot into clang ens ne be For instance, simply convert lela Then you can name the interval by removing the accidentals first and so on - you know the drilll ‘The same goes for writing intervals. Just convert the question into one with ‘accidentals instead of a key signature. e.g becomes a Diminished 5th Diminished 5th Follow steps 1-4 on page 14 to get your answer. (eis) Now that you have drown your interval with accidentals you can re-write it with a key signature, for instance thy Ae lea mal This e3= will become this Ge as bv sof ly . . o Ligaive HOT TIP: If a hey signatve i gen, jst esp in vind thatthe otter note is mot necesaily the tonic! Lock at the hep signatore vey cael, w aly Nome these intervals Write these intervals a ‘Minor 6th Aug 3rd Dim 5th ‘Aug 5th Dim 8ve 15Inversions —_________- Let's revise what happens to inverted intervals Wh yas # Major intervals become fniagr_ and vice versa, is * Augmented intervals become diminished and vice versa Perfect intervals remain ecfeed. 4 Anvinterva plus its inversion always adds up to _@ Write and name the inversions of these intervals. Remember you MUST include all accidentals or key signatures when inverting: borho “be Augmented Pugeneniea carson a —— ys to =e y # e #e riaoe 6 Dieaiaushed 2rd DID YOU KNOW.. that last interval, the augmented 7th (and its inversion the diminished 2nd), does not actually exist in any type of scale! Can you work out why not??? (Plus it was fun to try it, don't you think?) Compound Intervals Any interval that spans more than one octave is called a compound interval, It has the. same name and quality as if it were one octave smaller, so 1f tae is 0 maior dnd then ge is « compound ragiar nd! Name these intervals, remembering to put the word ‘compound’ before each t= compound "compound Compound © conipaund —_cormpouundl, augmented ord mayer 6 oF Ghiouaashed §— mybe tool cs Sr Drawing Intervals BELOW The Note When drawing intervals below the given note, you must remember to work out the quality from the BOTTOM UP e.g Major 6th below ‘The reason many people draw a D sharp by mistake is that they are thinking of a descending 8 major scale, This is WRONG... what you need to do is draw the note below, then treat the bottom note as the tonic. For example, if we were to write an sugmurted Ten blow this rote oe FA Step Remove the eccidental Step 2) Drow a 7th blow what quality is this inter? Mage Th tiny Step 3: Apply he some eccidenta o bath ntes- the quality remeins The some Step 4: Adjust the bottom accidental to make it an augmented 7th |x ne de Donn Now complete these intervals, referring to the four steps above. Gein [Simpl | Sip? | Sup} | Sy es — —— = a= Teil Bb el 5 mma th mm th bi 6h == | 5S Taj Sb a Fee Th bles inthe | NIA 63 [HOT TIP Te inet a engl neva, noe ene the ois 2 eae | Died ele fer Sth Dim th atals : :& 1. Name these intervals by number and quality a € ee - e “ fun, ded Mai_tha Qin Bue Foo Interesting Intervals oD oy panies | ae “ ay oy Ith —_Dim “Tt fia dna — Fig, tanison 2, Write these intervals above the given notes a . Perfect 5th Perfect Yih sj Dim 4th Major 6th Minor 2nd 3. Write these intervals BELOW the given nates, — Sq Oe eo Minor 3rd Aug 6th Mejor 3rd Aug 5th = Dim 4th 4, Write the inversions of the fallawing intervols and name the inversion, 5, Add accidentals (10 top or bottom note) to make the following intervals correct. The Tonic Key Family Tree In order to spot modulations to related keys (as you are about to do), you need to know that each key has ___closely related keys {in Grade 4 we only got used to two!), Here is the "family tree 1 \ 1 17 Now try filling in these ‘mini’ family trees. It's also a great idea to write in each tree the new accidentals you would expect to find when modulating to that key. BO Fans Cy Chaceady Eno Bm t oy Ke te cae, cae TO Ai ily? No de oe fail ffl rj, Fn, jer ad Bin! spot ot leat two modulation inthe folowing melody in 8 minor (hint ~@ LACK of accidentals indicates a modulation to the relative major!) be =m Major 2nd Dim 6th ‘Aug 6th Diminished 5th Perfect ave scale! There are 8 different chromatic intervals ~ can you vrk thers 01222 8 g DUD YOU INOW. ha a erential one that des NOT exc in a dateni 8More Modulations << See if you can figure out the modulation in these melodies Original key: F4minne New key: Pmiane Relationship, Dominant Sepa raes Original key: Demgyar_ New key’ jor_ Relator Quick Quiz 1. Write the scale of E flat melodic minor: G —) * Complete the scale with a double bar line é 2. Insert the correct clef, key signature and accidentals to make this a D sharp harmonic minor scale. — OO = te (ee Original key: A minor New key:_Cmajor Relationship: Relative major 2S pis S| Grooy Guidelines . 1f the tonic key is major, then the dominant and subdominant “B= tre alee mae” end al the ‘younger relotives are minor. If the tonic key is minor, then the dominant and subdominant are also puinac..and their ‘younger’ relatives are Gor: is OE Dimiatshed 7” b wish ADD Wey flether opal? OED 4. Name the key these melodies modulate to, then name the relationship to the tonic. 2 — sete * sper 98eE ee Original key: Fnincc New key: A.ma.jor_ Relationship: Relate (Nayar Se apne et Die tue ete Peet pie Coo Original key: G#minge_New key: O* minor Relationship: Dominant 2Harmony Revision: Tonality of Chords Before filling in this grid, get ready to play some chords on the piano, or ask someone else to play them for you, Play or listen to a major scale in triads and decide on the tonality of each chord - major, minor, diminished or augmented. Then do the same for the natural minor scale. (ie. no raised 7th) and the harmonic minor scale, Oh er alae oe t | major | Minor | minor Ir | Minor | Diminished bimini shea & rt | minor | major | Augm Iv Minor *Primary Chords mayor | Minor Vv | mayor | minor | mayor vt [minor | mayor | major Vir drminisheg major mmr Reasons for Competing the Grid * We are about to start the harmony section in this book ‘It's important to know the tonality of chords when deciding which note to double + 11's hondy tose how chord TTT werk inthe fable even though me won be using it st now lick Wvestions: uick Questions mecause the * Why is chord V major in minor keys (except for the natural minor)? leacting fote is Why do we have to be careful when using chords TT and VET? They mary be dined + Compare the primary chords in a major scale 10 those in @ minor scale, What do you notice? They Are MBjOr iin the mAjor scale Ana Mmiror in the NaFurat minde sca, Harmony Revision: 4-Part Writing Tt may have been o while since you completed an example in 4-part vecal style. You should probably revise the following things with your Teacher befare going on: + Rules for writing in vocal style: vocal ranges and spacing of voices # Guidelines for which note to double 4% Basic cadence rules (lal Te lisbon lel os elegy ed te sae pL '! v ye "5. P Complete the following example in 4-part vocal style. It's quite short.. about Grade 4 standard in fact, so try to remember all the things you learnt in Grade 4, especially 1, Do the cadences FIRST (i.e. last two notes of each phrase) 2. Choose a good bass line for the rest of the melody) 3. Add the alto and tenor ports to the rest after the bass line is in Repeat: Do NOT just start harmonising each note from the beginning! i j yi ging. CHECKLIST: Cadences done fis Dass line added next a7 Dassing notes NOT harmonised 1 Contrary motion ased as ruch as possible betueen soprane and bass (Z Tnner parts added last. Clonsecatve Dths and Bres avoided 2 3Choose bass notes for each of the following melody notes. Each bass note should represent a different chord/inversion of a chord, and you must write the correct chord number underneath the bass note, Use only root position ard first inversion chords on this worksheet, and remember to write the figure '6" for first inversion chords. (Also, don’t use chord ITI) All of the following examples are in major keys, and the given melody note is not always the tonic! Yor cate ced I hes ly not? Because you can't double @ major 3ro © | | | | | Chord I (or Ic) This is a very special chord as it is in_nd inversion, which means the S™* of the chord is on the bottom, TN Se anit hed odie he eae ares beef hea le be bettors note Write a € major chord in 4-part vocal style in the following positions: r 16 i Adel th rot) {Geable the root) (deabl the fIITH shih isthe bass note) Interestingly, chord I is not actually supposed to exist on its own at alll Tt is known as the ‘Cadential §* because the main function of chord Ti is to lead to chord _I_, forming an impedect cadence. This sounds great because chord Tf and chord V have the same bass note! Play this cadence or get someone to play it for you ti v Notice how chord 14 sounds like it ‘needs’ to goto chord V,. 06 though it's creating suspense by having the some bass note but delaying the sound of the dominant chord For this reason, chord 14 MUST fall ona strong beat (or of least a stronger beat than chord VD, to give a Sense of leaning towards chord V Other Things to Notice Inchord 1% above, the S*” _ is doubled, but in chord V the mot is doubled, ac 4 Inthe tenor part, the domie_ is going to the Shoe (as usual) + The alo _ part is doubling the bass part, but since both parts are staying on ‘the Same note this is NOT regarded as consecutive -ocdaues. 25Here's another example of the 'Cadential §° progression. The bass notes here are an cetave epart - this sounds REALLY good, Yer gg oa auch ced bein a rene! i v I * Which note is doubled in chord 122 _5#* + Which note is doubled in chord V?_rao# % There are two ‘parts’ staying on F in each chord. Is this OK? Ves 4% Is the tonic going to the leading note? Yes _ * Does chord 1% fall on a strong beat? Yes (OK, now it's time for you to add chord T in the last bar, to make ¢ perfect cadence APNE The pp bos apne ef en levi yr gad 4) Write 12. V cadences in vocal style under these melody notes (all major except no.1) Work out whether the following cadential $ progressions are for major or minor keys (also in vocal style): vor movovw movoovr DID YOU KNOW... There are other functions for chord Ti - that's right! But for now we're only using it at cadence points i.e, when following it with chord VI 26 * Cadential § Checklist ——— “Cadential’ means at a_c@dlonce point. A chord with '$" after itis in root position/irst inversion GEcond iversToD (ile th cre a 14 MUST be followed by chord VIT AU) 116 lel erect ant ‘The: sh of the chord must be doubled, not the act Draw chord T4 of € major here (in bar 2). Chord 14 must fall on a stronger/weaker beat than chord V (ile crt! ave The Tonic must go the leading ole True or False cis cortet nave: 1. One ofthe upperparts will double the bess part (ra) Flee 2. This doubling creates consecutive octaves True/€aise) Now drow chord Vinmediately after chor 18 above, then chord Tat the end TS sounds great when approached by step in the bass, This could be done with chords 1i€ iv, ivéor Ui, but it's actually chord IT® that sounds the best Now draw chord II® in the first bar (before chord Ti) - be sure to avoid consecutive 5ths and Byes, You should now have the chord progression _i/®- I§- <7 -_I_ tmagine this is the ’best chord progression in the world and use it whenever you can You could also have chord VI on the end instead of chord I, forming an inlerrupledcadence. Try this here in F major —. . ‘These melodies MAY or MAY NOT have opportunities for T2 - V. You will need to ar Let's Practise analyse the melody notes and decide which chords will sound good. And remember. SO you can't use chord 14 ona weak beat. In the following two examples there are opportunities to use Ti - V at the cadence points, indicated by brackets, Harmonise the notes under the brackets in four parts Handy Hint I: at the middle cadence, you will probably use IZ® - 22 - V or I? - V- VI. Hondy Hint IT the final cadence will usuelly be 18 = VT but watch out fora L ervone-toneendig L f Now, just for fun, harmonise the rest of each example. Don’t forget that if there isan anacrusis, you will often need to harmonise it with chord V er V° ~ check the melody note! 28 29.Puzzle —_— Find the answers to each clue onthe opposite page, Once you have completed the puzzle, read down the midale column to discover the thin You must always do when Using chord Tf ir s wl ele) tla «lela y a e s|elalel7 2 t x [ale rls ee "ilela wlélwiolrle . D [7 [wlala[r é "A [mle|w|t| «lo fu elslwiale z elels ale io tlalels ris wivlele|s|rlolw wlolele Felalo tlifale [e[x[slol mals "rlelelal 7 elmlalziole "rlele <|T arlelc c[alole|w|c eet The Ansuerisy ALwnys Douce THE FieTH 30 Clues « —__—- — 1. Ina melodic minor scale, you must rarse the sixth and seventh notes on the way up. 2, Inamelodic minor scale, you must _lowee them both on the way down! 3. Before naming any interval, the best thing to do is to 4ake quay the accidentals (ie. ‘undress’ the interval!) When using Ti-V, you'll find that one part will double the Lass art. When writing a melody (as we'll do later on), if the given words are quite sad or ominous, you should probably choose a_minar__ hey The key signature of D sharp minor has _six __ shares You must always take care to ‘protect’ this note in melody writing os Melodies often modulate to this key, especially $ way through. wene One semitone larger than major or perfect. 10.6 sharp, D sharp and A sharp minor all require this sign to raise the 7th, 11, In four-part harmony, avoid voice-crossing and voice overlapriag — 12, Always look for these when trying to work out modulations. 13. In minor keys, it is best to use chords II and VII in first _iaversian ka ot ot pest 14, Great composer of opera in the Baroque period. 15. When using chord 1 at a cadence point, its called the cadenti/t 16. We don't have to memorise any of these in 5th grade! 17. Tf the leading note is not raised ina minor melody, it may have modulated to the relative mayor 18. These intervals can be augmented or diminished, but never major or minor. 19. Avoid having one of these in the middle of your harmony example. 20.Name this — interval: © ‘ 31Passing Notes ‘These add interest when there is a leap of a 3rd from one note of a chord to another, e.g. ‘Avoid an augmented 2nd if using a passing note between scale é degrees 5-7 in a minor key (use the melodic form of the scale) e.g 2 tf aN Add passing notes after you have completed the main chord structure, and don't harmonise passing notes ma given melody If a passing note creates an interval of a 2nd with another voice, make sure those ‘two parts then move in contrary motion e.g, Alternatively, give the second voice a passing note too, eg. fix this Code ge by doing this OF course you can’t actually de ths if the melody is given, so in that case you would avoid a passing note in the oto part, Passing notes con sometimes create problems, — especially with consecutive 5ths, so be very careful to avoid this: Gro Auxiliary Notes Passing notes CANNOT get rid of consecutive 5ths or Bves, ie, will not work! These are also called ‘neighbour’ notes Auxiliary notes add interest to a part that has repeated notes or a long note. They are the perfect way to make the alto and tenor parts more interesting to sing. fat "were Choose carefully between an upper or lower auxiliary note - wetch the other parts. A lower auxiliary note should generally be raised a semitone, especially if the main note is the root of the chord in use, or if it is the dominant ncte of the key, aoe ] 32 Voice Exchange (use of VII®) In the harmony question, the given part of ten ascends or descends by step - for instance, a treble line may begin with scale degrees 1-2-3, This is a great opportunity ‘to.use ‘voice exchange’. Voice exchange is the fancy term for two parts mirroring each other, lke this Geet = ree ‘The best way to harmonise this passage is with T®-VIT®-T, Normally we would make sure the fifth of a diminished chord falls, but in voice exchange we can suspend this rule for the sake of smooth part writing, (To ¥-poi hanes cgay gd bate bs and ep) major Aviner 5 Ala fle i pie: = = : 5 ese x Hot teepaigen ae 2 One pa es DOM ec Tae gc LOW ihn UP SA wom 4 rove 1 OS, ee ig a ati i nd in eee bt el ee cn pe ARTET 2th. eed Sit oa put SO Now you can harmonise all of these examples using either 15.VITS-T or I-VITS-Ts! The First three are major, the next three are minor. is: sibs ed dene wl = 4 2 One| tt he WEE TFHarmony Hints —_—_—_____- + When using chord TT in minor Keys, you need to take special care because tis a disunishad chord. If fallowin if with chord V make sure you ovoid thot olovord interval of an guamented 2nd. The 5th of chord IE MUST FALL to the root of chord Veg NoT ur = Oi © ‘Aug 2nd, yt * Avoid using the same type of chord from a weak beat to a strong beat, and always change the harmony over a bar line. Keep the tenor and bass parts well apart, especially if the bass part is low. * Chord If is new on the syllabus and the aim is to show how clever you are at using it, but ONLY if you can follow it with chord VI ‘* Think carefully before choosing I-V or Tb-V... if you are using these chord Progressions you might be missing an opportunity to use Tc - v. * Don't forget: you must use chord Ic on a Stronger beat than chord V: GE ops I oe . — Cowrect Lortet Incorrect! * Hidden/exposed consecutives occur when the outer parts approach an interval of 5th or Bve by leap and in similar motion, e.g Blyth orgs The cen i ad Bs id fn the gs, bt hy ape othe ea! + To avoid consecutives, try not to have more than 2 parts moving in similar motion, * Be patient and use a ‘trial and error’ approach - sometimes ycur initial choice of ‘chords will not work so well and you'll have to change it # Passing notes and auxiliary notes are also called 'unessential’ notes. Circle the correct answers to these questions 1 They ust fll ono stronatGegmedam beat 2. They shouldbe eed eferelGfe) daria the nla harmonisation 3. They can sonchneeGetaVge Fi of coneccehfthoond oes 34 Harmony Examples se(bs? - a aS pe? Jt, ‘See if you can pick the mistakes in these. Bees nag aT roles oe FT Tnberraped cadence! sea Jee % pha massed Good work! And now for another typical harmony example for you to complete:Revision of Things We've Done So Far eee 1. The following melody has two modulations before returning to the tonic key. 4. Write the following intervals either above or below the notes as directed ‘Major 2nd above ‘Augmented 4th below Compound min 3rd above Now invert those three intervals and rename them: Tonic key:_Gmajor Ist Modulation: _O major Relationship: _ominant 2nd Modulation: A mavnor Relationship: Relative of subctominant id 3. Write three different types of cadences in vocal style, using If wherever possible (either for the approach chord or the cadence) 2. Write an F sharp major scale Use accidentals + Use crotchets % For two octaves going down * Mark the tones NA) Key: Bminne key: Ammiaoe key: Prmaiyor (major) Cadence: Interrupled Cadence: Perfect Cadence: Imperfect 38 Deke nor “1th Diminished 54 5. Harmonise the following example in four-part vocal style Allegretto 6. Name the two keys represented by these key signatures 1B major 2. GH enor —— 1 major DH = 2A nor _Harmonising Cadences —<— Compared to all the harmony you've just been doing, this stuff will seem like a cinch! First of all, let's revise the four principal cadences: $ Name of Cadence Chords Used L] © perfect D-t 2 Imperfect anything ~V 4 Plaga! w-T | (4 Interrupea v-vi | In the following exercise in 4-part vocal style, see if you can use one of each of the four cadences. The whole example is in A major. oe fie —t Now do the same with this example in G minor, but use pianoforte style. Remember, don’t use the same cadence twice! wot vow v i Here's something a bit trickier... this one starts in C major, but then it modulates to related keys! (ch de ~ yl diac fh atts doe’ ep vo 4 i Fa 7 C major © Ahinor major F major 7 Imperfect Interrupted Perfect Plagal 40 Harmonising Cadences...that Modulate! In this question there will be a given melody or bass line consisting of four 2-bor phrases. Each phrase will have brackets indicating the cadence points, You will be asked to use one example of each of the four cadences (we practised this on ‘the previous page), as well as write a suitable chord to precede each cadence (an ‘approach’ chord). But here's the catch... not all of the phrases are in the tonic key! Have « look at this pianoforte style example Guick questions: 4 How many notes are under each bracket? 3. * Which two notes will form the cadence? ‘The Jast 2 * Which note will be the ‘approach chord?’ “Ths. first eo Step 1: Work out the tonic key, and on some spare poper draw a family tree based an thot key (see p19) This will cover all possibilities for modulations Step 2 Work out the key of each 2-bar phrase. and write the key cbove the cadence, The fst al la has a el tole 9 te ic a) Make a note that you may need fo include extra accidentals for cadences in related keys Step 3: Decide which cadences ore indicated by the notes under the brackets. Be very coreful to remember which key the phrase is in, and remember that you may ony use ech pe of cadence once otra Th Fal calc cn be Pai ce Dlaal Step 4: Decide on the approach chord for each cadence - if you can't use 1%, remember that first inversion chords work really well before cadences. alSq TOP TID T: You have quite abit of feedor with th approach cher, There cold be seal corel ast, TOP TED 1: Ty te cher TE sewer thee ay epertn, Le el er part of an imperfect cadence or it could be the approach chord to an intercuptel cadence or @ peefect cadence, This next example is in vocal style, and consists of a melody line rather than o bass line, Tt can be a little trickier to work aut which cadences are indicated when the melody is given, Once you've worked out the key of each phrase, it helps to keep in mind that the LAST nate under the bracket can only belong to chord I, V or VI! ch ete Step 1: Decide the key and draw a family tree Step 2: Work out where the modulation/s are Step 3: Allocate the cadences (use each type of cadence only once) Step 4: Decide on the approach chords RENENBER to include accidentals for the cadencts in different hey! Now try the examples on the next two pages. Watch out for no.4 - it’s the only one in pianoforte style! 42 Practice Makes Perfect \. AllegrettoAndante All About Harmony ————— - ‘There may be more than one correct answer to some of these questions + Chord 18 should aways be A. Ona weaker beat than chord V 8 Preceded by chord V © Onasstronger beat thon chord V The best way te epreach ohormeny example i be the cadences and bose ln fst C. Put 12 chords everywhere because the examiners love them il 4 Inminor keys, use chords I and VIE mostly in od ‘A. Root positon © First inversion © Second inversion + Passing and auxiliary notes ore useful because: ‘A. They get rid of consecutive 5ths ond Bves 8. They keep Altos and Tenors happy © They create interest Hidden or exposed octaves occur when the outer parts approach a th or ve © By leap and in similar motion BB step and in similar motion ©. By leap and in contrary motion When doing harmony examples in minor keys, be careful to © Raise all the leading notes @® Avoid a leap of an augmented 2nd in any one part © Use the melodie form of the scale where necessary * When you write a cadence in « modulating phrase, you must A. Panic ‘Add the necessary accidentals €.Transpose it back to the tonic key 45Melody Writing Ih Grade 4 you got pretty good at writing four bar melodies either to a given rhythm ‘or to.arhythm you composed for a couplet. In Grade 5 you will need to use those same skills .. but for a longer melody. Most of the time it will be 8 bars, very occasionally 16 bars (only if the poetry has really long lines) but ALWAYS four phrases. Here is a balanced 8-bar melody with four phrases to a stanza of poetry: bike ltrs rates tl ; SSeS Sew © = SS later e. tean ster drove a-crots And whittled ll the way Which phrases use a dotted chythm? Phaases 1, 2 ¥3 __ Are there any rhythmic ideas that occur only once? No. Which 2 phrases have the ending + 2? Phrases WZ Which 2 phrases finish on long notes? Phrases 2¥ 4 (Ges Fe ns 1B ae pi and pha 2&2 ap aaa Before composing a melody, the best thing to do is invent a balanced rhythm on which your melody will be based. “Balanced” there should be just two or three main rhythmic ideas that form the basis of the whole rhythm. Here's verse to try: (Over the hills we went one day Far away where we could play ‘Mother was not impressed they say She's not tao pleased when we're far away ‘Try making up an 8 bar rhythm based on this opening phrase, then write your melody on spare manuscript, Phrases 2 and 4 should end with a similar raythm to get a mostly good balance. ee gli eggs Far a-waysher ie coutd play O- verthe hills we went one day BAL Pea tho Wer was nk itn — prea ty ya’ gg Hepes far - way ‘Skip ahead to page 53 and read up on melody writing hints, Then come back and write melodies for each of the following verses, Remember to. 4 Compose a balanced rhythm first ond make sure it suts the words 4 Choose a suitable key 4 Try to keep within a particular vocal range e.g. soprano etn i ~ the at wel 1. As T wos going up the stair Tmet a man who wasn't there He wasnt there agein today Gee, T wish he'd go away. Aron 2. When your money is low and your luck has gone down There's no place so lone as the streets of a town, “There's nothing but worry and dread and unrest So well over the ranges and into the West Heng lain 3. Green and amber and god it rows When the sun sinks late in the west ‘And the breeze sweeps over the rippling rows Where the quail and the skylark nest Ab Dalen 4. Not a sound disturbs the air, There is quiet everywhere: Over plans and over woods What a mighty stillness broods! Chas Hap 5, Youre off away to London now, Where no one dare ignore you, With Southern laurels on your brow And all the world before you Mey lan 6 The chorus frags in the big lagoon Would sing their songs to the silvery moon Tenor singers were out of place For every frog was a double bass. a Ab Patsae Continuing A Motif The exam question gives you a choice between setting a verse te music OR continuing ‘a given motif. The advantages of continuing a motif aver setting poetry to music are: * You are not restricted by words/mood of poetry # Its not necessary to keep within a particular vocal range * The first phrase is all done for you! The rhythmic and melodic idea hes been established and it's up to you to continue in the same style. ‘A good way to approach this is to think of the motif as a “question’. So now we need ‘an ‘answer’ - something that will contrast nicely, perhaps introducing a new idea, but one that fits in with the style of the ‘question’ Here are 3 possible ‘answers’. Comment on why each one is not really suitable: ROSIE: Here is a ‘question’ in B minor: 4 _=—= = S Comment: Tnapomariale chyba — ° fe late fr tase Hermpo, fara bocirg chyshen 3 Comment: Nice chord pmgressinn, = bat boring crotehets. . Now see if you can write a better one! ‘The question (Q) and answer (A) can form the basis of your meledy. You could bring back a slightly varied question in phrase 3 (Q2) and use ideas from the answer to form phrase 4 (A2). This makes Q - A - Q2 - A2, Now try composing the whele melody based on this "formula'! Here are some different combinations... try them on some spare paper! #Q-QZ-A-A2H #Q-A-AZ-Q2e #Q- QZ-A- QUE 48 Go to page 53 and read up on some great melody writing hints, then come back and continue each of these openings to make a balanced 8-bar melody. Mark all the phrasing, and don't forget to think in ‘questions’ and ‘answers’!Modulating is Easy ———— Tn the exam, the melody writing question will say ‘modulation is optional’. There is nothing wrang wth using an ber chord progression inthe Tonic key, but modulations make melodies more interesting. ond i's easy to do. Tt sounds good to modulate to any of the keys on the ‘family tree’ for your chosen tonic key (see p.19) Thinking about modulations in a melody works much better if you imagine your melody is to be accompanied, When a piece of music modulates, two things happen: 1. There are often accidentals to show a new key has been entered. 2. There is a PERFECT CADENCE in the new key. (No, 2's inoedlyinpetant Here is a modulating 8-bar melody in G minor: ey Phrase 1: This establishes the tonic key of @ minor _ It has $ bar on chord I, $ bar on chord V, then back to chord T. Phrase 2: This phrase modulates to C minoc, using chords ond V_ of this key Phrase 3: This modulates to 8” majoc_which is the felative major All of bar 5 ig based on chord _V_ of this new key; bar 6 is based on chord | Phrase 4: The return of the F sharp brings it back to the tonic. key. Now write the chord indications under the notes of the melody - perhaps try playing ‘them or get someone else to play the chords on the piano while you play the melody! Doing our oun rmodilations ‘As mentioned above, a modulation occurs when there is. a_pecfect_ cadence in the rnew key. This means using the notes from chords Vand “|_ of the new key in your melody. BUT... there is an even better way to get good modulations. Instead of using plain old chord V, use the notes from. Ya Tvs dod Foy CHORD V7 tessing) PW ed athe ri Ho ie. La! | 50 There are two good things about using V7 os opposed to chord V: 1. Tt gives you four notes to choose from instead of just three 2. Chord v7 will always contain the accidental that belongs to the new key (see example on previous page) As long as you modulate to a related key, there will be no problem launching straight into the notes from chords V7 and I of the new key. For instance: a Phas Lele de tielyef Maw Deby tte gf C maja sng be pts fds Td [Us eel i eed E saaine y io sh bat bs oblate Lets soy you wanted to modulate te the subdominant oe Ss ~ to ote ee SS Se ai fn od VT nd 6 fla ae How about the relative minor? The same applies: Quick Questions: Which are the best phrases in which to modulate? Phrases 2 or 3 Which are the best keys to modulate to? Close. celadvts .e anyuihere on fartily What must appear in the melody to show it has modulated?_Acc identals — MODULATION < Use notes of herds V7 and F of rev he, nd ald ap accidentals that may be needed! 51