THE ABRSM GRADE 3 WORKBOOK · THE ABRSM GRADE 3 WORKBOOK Discovering Design by Kate Benjamin Music origination for workbook by Moira Roach Music origination for practice exam paper

Music TheoryTHE ABRSM GRADE 3 WORKBOOK

Discovering

Design by Kate BenjaminMusic origination for workbook by Moira RoachMusic origination for practice exam paper by Pete ReadmanCover and inside illustration by Andy Potts

First published in 2020 by ABRSM (Publishing) Ltd, a wholly owned subsidiary of ABRSM© 2020 by The Associated Board of the Royal Schools of MusicISBN 978 1 78601 347 7AB 4012

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owner.

Printed in England by Page Bros (Norwich) Ltd, on materials from sustainable sourcesP14809

Discovering Music Theory G3 pages.indd 1Discovering Music Theory G3 pages.indd 1 17/07/2020 15:5717/07/2020 15:57

CONTENTS

Introduction

Chapter 1: Rhythm (Part 1) 1

The demisemiquaver; starting on an upbeat; duple, triple and quadruple time; grouping notes and rests

Chapter 2: Rhythm (Part 2) 11

Simple and compound time; new time signatures: ; grouping notes and rests in compound time

Chapter 3: Pitch 19

Notes on three ledger lines; transposing notes by one octave

Chapter 4: Keys & Scales (Part 1) 25

The keys and scales of E and Ab majorChapter 5: Keys & Scales (Part 2) 29

The melodic minor scale; keys and scales of B, G, F#, C, C# and F minorChapter 6: Intervals 38

Perfect, major and minor intervals

Chapter 7: Tonic Triads 42

Tonic triads in major and minor keys with up to four sharps and fl ats

Chapter 8: Terms & Signs 45

Chapter 9: Music in Context 49

Practice Exam Paper 53

Music examples are written by the author unless otherwise stated. Some music examples have been adapted to suit learning requirements.


6 | Discovering Music Theory: Grade 3

Exercise 8 Add the time signature to each of these melodies.

Starting on an upbeatNot all music starts on the fi rst beat of the bar. Many melodies start on an upbeat – often the last beat of a bar. When this happens, the fi nal bar of the melody is usually shortened so that the fi rst and last bars make one whole bar when added together.

• If a melody in starts on the fourth beat of the bar, the last bar will often have only three beats – the fi nal beat has been ‘borrowed’ from the last bar and placed at the beginning.

• A melody in that begins on the third beat will often have only two beats in its fi nal bar, and so on.

Smart tipWhen a melody begins with an upbeat, work out the time signature by looking at the complete bars in the middle.

Did you know? Another name for an upbeat is an anacrusis.

3 1 2

Theory in soundListen to Chopin’s Prelude in A major to hear what an upbeat sounds like. What other pieces do you know that start with an upbeat?

a

Handel

&

##

œ

jœ œ œ œ œ œ

œ œ œ œ œœ œ œ œ œ œ

œ œ œ

J

b

Beethoven

&

œ œ# œ œ# œœ

œn œœ

j

≈

œœ

œ œ

J

≈

œœ#

œ œ

J

‰

c

Mozart

&

œ œœ

J‰

œ œœ

J‰ œ

œ œ œœ œ

œ œ# œœ œ œ œn œ œ œ

d

Trad.

?

bb

b œ™ œ

j

˙ ˙˙ w

œ ™ œ

j

˙ ˙

˙ w

Look at this example from Chopin’s Prelude in A major, Op. 28, No. 7:

3

4&

##

#

œ

œ ™ œ œ œ ˙

œœ# ™ œ

œ œ ˙

Chopin’s melody starts on the last beat of the bar, which has been ‘borrowed’ from the bar at the end of the extract.


Chapter 1: Rhythm (Part 1) | 7

Exercise 9 Tick ( ) one box to describe each time signature.

Duple, triple and quadruple time• Time signatures may be described as duple, triple or

quadruple, depending on how many beats they have in a bar. This is shown by the top number of a time signature.

A duple time signature has two beats in a bar.

A triple time signature has three beats in a bar.

A quadruple time signature has four beats in a bar.

• Notice that the type of beat (crotchet, quaver, minim) does not matter here – only the number of beats in a bar.

= duple time

= triple time

= quadruple time

duple triple quadruple





a

b

c

d

e

Theory in soundListen to the following pieces, which are in duple, triple and quadruple time, and count or clap the beats as you listen.

Duple time Beethoven, Symphony No. 7, Op. 92 (Finale)Triple time Tchaikovsky, Swan Lake, Op. 20 (‘Dance of the Swans’)Quadruple time Mozart, Serenade in Bb, K. 361 (opening)Write down the name of a piece you have played or sung that is in:

Duple time

Triple time

Quadruple time


Chapter 1: Rhythm (Part 1) | 9

Exercise 11 Tick ( ) one box for each question to show which bar is grouped correctly.

3

4

? œ ™

J

œ œœ œ œ œ œ

3

4

? œ ™

J

œ œœ œ œ œ œ

3

4

? œ ™ œ œœ œ œ œ œa

4

4&

# 3

œ œœœœœœœœ

œœ

4

4&

# 3

œ œœœœœœœœ

œœ

4

4&

# 3

œ œœœœœœœœ

œœ

b

3

2&bb

œ œœœ œœœ

œœ3

2&bb

œ ™ œ

J

œ œ œ œœ œ

3

2&bb

œ ™ œ

J

œ œ œ œœ œc

Exercise 12 Tick ( ) or cross ( ) each box to show whether the rests are correct or incorrect.

a

b

4

4&b

œ ™‰ œ œ œ œ œ

Ó œ œ œœ œ œ

®

˙

3

8

?##

#œ

J

‰ œ

j

œ

J

≈œ œ

œœ ™

Œ ™

c 24&# œ ™ œ œ

œ œ œ œ œ œ

JŒ œ

J

œ

œ ™

j®

˙ œŒ

d4

2

?

w

Œ Œ

œ œ w#Œ

œ œ™

œ

J

w ˙ ∑



Challenge!Try writing out a bar from a piece you know with a time signature, using notes of twice the value.

3

2&

Test your progressHow many duple, triple and quadruple time signatures can you name?

Exercise 13 Look at this bar of music: 22?##3

œœœœ ™

œœ œ œ ‰

2

4

?##

3

œœœœ ™

œ œ œ œ

J

‰2

4

?##

3

œ œœ œ

œ œ œ œ ≈2

4

?##

3

œœœœ ™

œœ œ œ ≈

Which example shows the bar above correctly rewritten using notes of half the value? Tick ( ) one box.

Exercise 14 Look at this bar of music: 38& œ œ œ œœ

≈ œ

J

Which example shows the bar above correctly rewritten using notes of twice the value? Tick ( ) one box.

3

4& œœ œ

œ œ

J≈ œ

3

4& œœ œ

œ œ

J‰ œ

3

4& œœ œ

œ œ

R≈ œ

J

Remember!Rhythms can be rewritten in different time signatures by doubling or halving all the time values. For example, can be rewritten in by doubling all the time values.


Chapter 4: Keys & Scales (Part 1) | 27

The remaining exercises in this chapter include major keys from Grades 1, 2 and 3.

Exercise 3 Write the missing degrees of each major scale as semibreves. The tonic note is given each time.

Exercise 4 Name the major keys that have these key signatures.

?#

Key: major

a

&

##

#

Key: major

e

&b

Key: major

b

&bb

Key: major

f

?##

##

Key: major

c

?

bb

b

Key: major

g

?

bb

bb

Key: major

d

&

##

Key: major

h

Smart tipRemember to add accidentals where they are needed.

a & wbwb ? w

c&w

b

Tonic 5th Tonic 7th Tonic 3rd

d?

wb & wf

?

w

e

Tonic 4th Tonic 8th Tonic 4th

g &wb

& wbi?

wb

h

Tonic 6th Tonic 2nd Tonic 3rd



Exercise 5 Circle the correct key for each of these melodies.

a

b

c

d

B b major E b major A b major

4

4

?

œb

œb ™œb

J

œ œ ˙ œb œbœ ˙ œb œb w

Schubert

D major A major E major

4

4&

˙˙# œ

™

œ#

J œœ

œ#œ œ œ# œ# œ œ ™

œ# œ# œ

Mozart

A major E major G major

4

4&œ œ œ#

œ# œœ# œ# œ

œœ Œ œ œ œ#

œ# œœ# œ#

œ œ œ œ œ

J. S. Bach

E b major B b major F major

C?

œb

J

œb œ œ œb œb œ œœ œ œ œ œb œ œ œb œ

œb œœ œb œ œ œ œ œ

œœœb

j

J. S. Bach

Test your progressCan you write the key signatures of all of the keys used in Exercise 5? Try writing them in both the treble and the bass clef.

&

?

a &

?

b &

?

c &

?

d

Smart tipThese melodies have been written without key signatures. Look for the accidentals, and remember that an accidental alters a pitch for a whole bar. Also bear in mind that not all of the sharpened or flattened notes in a key may be present in the melody.


Documents

THE ABRSM GRADE 3 WORKBOOK · THE ABRSM GRADE 3 WORKBOOK Discovering Design by Kate Benjamin Music origination for workbook by Moira Roach Music origination for practice exam paper