Music Theory Grade 5 Overview

hi welcome to Grammophone Music Studio YouTube channel This video will be a quick guide to learning ABRSM grade 5 theory part three keys and scales This video will only cover the ABRSM grade 5 music theory syllabus If you have completed the learning and looking to sharpen your skills on answering the exam questions check out our video for the breakdown of each questions step by step how to solve the questions and answering tips You can find the link in the description box You may refer to our other videos for the technical setup troubleshooting exam booking and requesting refund if you didn't manage to complete the exam due to system issue All the links will be in the description box as well The video will be separated into seven parts according to the exam questions for part one rhythm and part two pitch You may find the links from the description box This video will be only on the keys and scales which is part three Firstly major and minor scales which is a very big part in music theory The major scale is formed according to this formula which is the third and fourth note and seventh and eighth note are semmitones and the rest are tones You can construct a major scale from any note following the formula Here's an example of C major And we can see that E F the third and fourth note is a semmit tone And B and C seventh and eighth note is also a semmit tones The rest are tones A scale has total of eight notes and it should start and end on the tonic which is the first note of the scale We should follow the key signatures We can write the scale with or without key signatures The first example with key signature is written beside the clav and without key signatures we write all the accidentals next to the note As for the minor scale we have three types The harmonic minor which we raise the seventh note both ascending and descending The melodic minor we raise sixth and seventh in ascending form and no raise notes in descending And also we have natural minor which is not asked in the exam The natural minor is only according to key signatures without any raise notes In harmonic minor we raise the seventh note in both ascending and descending In harmonic minor scale 2 3 5 6 and 78 are semmit tones and the rest are tones except for the six and seven will be an augmented second interval This is a key feature for harmonic minor In this example we see a harmonic vital which has no key signatures and we raise the seven note G to G sharp In melodic minor we raise the six and seven in ascending form The 2 3 and 78 are semmit tones and the rest are tones In this example we see E melodic minor ascending The key signature is F# written beside the cliff and we raise the six and seven notes into C sharp and D sharp As for the melodic minor descending we don't raise any notes 2 three and 5 six are still semmitones and the rest are tones The melodic minor descending is equivalent to the natural minor which we only follow the key signatures In this example we see E melodic minor descending The key signature F sharp is written beside the cliff and we don't grace any notes to write a harmonic minor scale For step one we have to note the key signatures And step two we write down every notes in the octave start and end on tonic which is the first note And step three we raise the seventh note in both ascending and descending Natural will be raised to a sharp and flat is raised to a natural and sharp will be raised to a double sharp Why do we need a double sharp in the scale if you're interested we'll make another video on the fun facts In this example a harmonic minor ascending there is no key signatures and we should raise the seventh note G to G sharp In this next example C harmonic minor ascending without key signatures there should be three flats B flat E flat and A flat And a seven note B flat is raised to a B natural Another example G# sharp harmonic minor descending with key signatures The seven note is F sharp After raising it it becomes F double sharp Now let's talk about the melodic minor First step also we should note the key signatures Step two write down the scale start and end on tonic which is the first note For ascending we should raise the sixth and seventh notes The natural will be turned into sharp flat turns into natural and sharp turns into double sharp and step forward for descending There is no need to raise any notes In this example is E melodic minor ascending with key signatures The sixth note is a C raised to C sharp and seven note D raised to a D sharp The next example will be E melodic minor descending with key signatures And as you can see we don't raise any notes Now we see F melodic minor ascending with key signatures There are four flats B E A D flat The sixth note D flat is raised to D natural and seven note E flat raised to E natural And lastly D sharp melodic minor ascending without key signatures We see that the sixth note B is raised to a B sharp and the seven note C# is raised to a C double sharp And next the relationship between the major and minor Every major has a relative minor and vice versa They share the same key signatures The raised notes in the minor key do not count as key signature From major to minor the interval will be a minor third below or the sixth note of the scale Which means we go down three notes from the scale For example C major's relative minor is A minor A minor third below C is A or the sixth note of C major scale is an A That's how we find the relative minor Whereas from minor to major the interval is a minor third above or the third note of the scale which means we go up three notes from the tonic For example G minor relative major is B flat major A minor third above G is B flat And the third note of G minor scale is a B flat That's how we find out the relative major Here is the circle of fifths which consists of total 12 major and minor You can work out all the major of minor through circle of fifths Learn how to write this from scratch and you can use the circle of fifths as reference in the exam Now I'll share how to construct the circle of fifths from scratch and also how does the major and minor work and how to work out the key signatures First of all everything start from C major which has no sharp and flat When we go up a fifth it adds a sharp C goes up a fifth we will find a G major The key signature is F# which you need to remember G goes up a fifth we get a D major The F# is copied and we add another fifth and find the second sharp C# D goes up a fifth we'll get A major The sharps are copied F# and C# And we add another fifth and find the third sharp Gsharp And A goes up a fifth we'll get E major Again the sharps are copied F# Csharp Gsharp and G goes up a fifth we'll find the fourth sharp D#sharp E goes up a fifth is B major Again the sharps are copied F# C# Gsharp Dsharp and D goes up a fifth is A That's our fifth sharp B goes up a fifth is F but we say it's F# because of the key signature So we have the same sharps F# C# G# D#sharp A and we add another fifth So that's E sharp That's all for the sharp keys And next we'll go down a fifth to add a flat C goes down a fifth we find F major which has one flat B flat We have to remember the first flat in order to find the others F goes down a fifth we will find a B but it's B flat According to the key signature the B flat is copied And then we go down a fifth and find E flat The next B flat go down a fifth We'll find E flat major which has three flats B flat E flat and E flat Go down a fifth A flat The next major E flat goes down a fifth We'll get A flat major The flats are copied B flat E flat A flat And we go down a fifth and find D flat And A flat goes down a fifth again D flat major Again the flats are copied B flat E flat A flat D flat and G flat which we go down a fifth from D And we go down the fifth from D flat we find G flat major which has B flat E flat A flat D flat G flat And go down the fifth we get C flat And then G flat major and F sharp major is nharmonic So the circle is completed So now we'll see the total of 12 majors and all their key signatures For the minor key we'll start with the relative minor of C major which is A minor And similarly we go up a fifth we'll get E minor which has one sharp That is the relative minor of G major And then we go up a fifth from E minor we'll get B minor which has two sharps F# and C# And go another fifth is F# minor as we follow the key signature which has three sharps Then we go up another fifth we get C# minor which has four sharps And go another fifth is G# sharp minor that has five sharps And finally go up another fifth is D# sharp minor that has six sharps And there we have completed all the sharp keys for minor For flat keys we go down a fifth from A minor And we'll get D minor which has one flat Go down another fifth is G minor which has two flats And go down another fifth is C minor which has three flats and then F minor which has four flats And go down another fifth it will be a B flat minor as we follow the key signatures which has five flats And then we go down another fifth we'll get E flat minor which has six flats E flat minor is inharmonic to D# sharp minor So it closes the circle And with that we have completed the 12 minors And let's talk about key signatures The sharp key has to be in this particular order starting from F# C# G# D# A sharp and E And the flat key also has to be in this particular order starting from B flat E flat A flat D flat G flat and C flat And here are the key signatures of all 12 majors and minors They have to be written according to the specific order and it has to be written at the particular lines or spaces For tenner clef the F# is written at the second line instead of top space Here are some sample questions involving the major minor and key signatures You may refer to our video ABRSM grade 5 theory exam explained for a step-by-step how to solve the questions and answering tips The video link can be found in the description box The next part will be technical name The technical name refers to the particular degree of the scale The first note is called tonic Second note supertononic third note median fourth note subdominant fifth note dominant sixth note submedian and the seventh note leading note So for example in C major C is the first note that's tonic D is a super tonic E a median F subdominant G dominant A submedian B leading note and lastly is C again So that's tonic For the minor key we follow the harmonic minor which the seven note must be raised So we see that the leading note is always being raised And these are some sample questions in the exam involving the technical name Again you may refer to our video for a step by step how to solve the questions and some answering tips And moving on to the next part chromatic scale Chromatic scale is made up of all semmitones and there are 13 notes in total It can be formed on any note as long as it's all semmitones It must start and end on the same note Each pitch clause is not used more than twice This is an example of a chromatic scale beginning on B correctly written Firstly they have to be made up of all semmitones start and end on the same note The same pitch class is not used more than twice Here is a tip You can draw the piano keyboard on your draft papers to check if the notes are all semmitones And I'll show you how to draw the piano keyboard from scratch Draw two black keys and then lines in between them And then three black keys also line in between them and followed by another two black keys and three black keys And at the end you can draw a box around them And there you have a piano keyboard for your reference Now we'll talk about some errors in the chromatic scale Error one the notes are not semmitone In this example E sharp and F they are the same note which is not semmitone So this chromatic scale is wrongly written In error two the chromatic scale doesn't start and end on the same note In this case it starts on A flat and end on G sharp Although there are all semmitones this is still considered wrong Error three the same pitch class is used more than twice As we can see here the pitch class B is used three times So although they start and end on the same note and they're all semmitone this is still wrongly written Some sample questions are if the chromatic scale is correctly written true or false Here are some learning resources if you need more exercises from ABRSM Discovering Music Theory Pocu Studios Music Theory for Young Chip Musicians Grade 5 and also Avrsm's music theory practice papers The links will be in the description box We do provide online music theory lessons as well Contact us at gramophone music [email protected] Coming soon we will have part four intervals Make sure to subscribe our channel so you don't miss our future contents Also like and comment if this video helps you And that's the end of the video See you next time

hi welcome to Grammophone Music Studio YouTube channel This video will be a quick guide to learning ABRSM grade 5 theory part three keys and scales This video will only cover the ABRSM grade 5 music theory syllabus If you have completed the learning and looking to sharpen your skills on answering the exam questions check out our video for the breakdown of each questions step by step how to solve the questions and answering tips You can find the link in the description box You may refer to our other videos for the technical setup troubleshooting exam booking and requesting refund if you didn't manage to complete the exam due to system issue All the links will be in the description box as well The video will be separated into seven parts according to the exam questions for part one rhythm and part two pitch You may find the links from the description box This video will be only on the keys and scales which is part three Firstly major and minor scales which is a very big part in music theory The major scale is formed according to this formula which is the third and fourth note and seventh and eighth note are semmitones and the rest are tones You can construct a major scale from any note following the formula Here's an example of C major And we can see that E F the third and fourth note is a semmit tone And B and C seventh and eighth note is also a semmit tones The rest are tones A scale has total of eight notes and it should start and end on the tonic which is the first note of the scale We should follow the key signatures We can write the scale with or without key signatures The first example with key signature is written beside the clav and without key signatures we write all the accidentals next to the note As for the minor scale we have three types The harmonic minor which we raise the seventh note both ascending and descending The melodic minor we raise sixth and seventh in ascending form and no raise notes in descending And also we have natural minor which is not asked in the exam The natural minor is only according to key signatures without any raise notes In harmonic minor we raise the seventh note in both ascending and descending In harmonic minor scale 2 3 5 6 and 78 are semmit tones and the rest are tones except for the six and seven will be an augmented second interval This is a key feature for harmonic minor In this example we see a harmonic vital which has no key signatures and we raise the seven note G to G sharp In melodic minor we raise the six and seven in ascending form The 2 3 and 78 are semmit tones and the rest are tones In this example we see E melodic minor ascending The key signature is F# written beside the cliff and we raise the six and seven notes into C sharp and D sharp As for the melodic minor descending we don't raise any notes 2 three and 5 six are still semmitones and the rest are tones The melodic minor descending is equivalent to the natural minor which we only follow the key signatures In this example we see E melodic minor descending The key signature F sharp is written beside the cliff and we don't grace any notes to write a harmonic minor scale For step one we have to note the key signatures And step two we write down every notes in the octave start and end on tonic which is the first note And step three we raise the seventh note in both ascending and descending Natural will be raised to a sharp and flat is raised to a natural and sharp will be raised to a double sharp Why do we need a double sharp in the scale if you're interested we'll make another video on the fun facts In this example a harmonic minor ascending there is no key signatures and we should raise the seventh note G to G sharp In this next example C harmonic minor ascending without key signatures there should be three flats B flat E flat and A flat And a seven note B flat is raised to a B natural Another example G# sharp harmonic minor descending with key signatures The seven note is F sharp After raising it it becomes F double sharp Now let's talk about the melodic minor First step also we should note the key signatures Step two write down the scale start and end on tonic which is the first note For ascending we should raise the sixth and seventh notes The natural will be turned into sharp flat turns into natural and sharp turns into double sharp and step forward for descending There is no need to raise any notes In this example is E melodic minor ascending with key signatures The sixth note is a C raised to C sharp and seven note D raised to a D sharp The next example will be E melodic minor descending with key signatures And as you can see we don't raise any notes Now we see F melodic minor ascending with key signatures There are four flats B E A D flat The sixth note D flat is raised to D natural and seven note E flat raised to E natural And lastly D sharp melodic minor ascending without key signatures We see that the sixth note B is raised to a B sharp and the seven note C# is raised to a C double sharp And next the relationship between the major and minor Every major has a relative minor and vice versa They share the same key signatures The raised notes in the minor key do not count as key signature From major to minor the interval will be a minor third below or the sixth note of the scale Which means we go down three notes from the scale For example C major's relative minor is A minor A minor third below C is A or the sixth note of C major scale is an A That's how we find the relative minor Whereas from minor to major the interval is a minor third above or the third note of the scale which means we go up three notes from the tonic For example G minor relative major is B flat major A minor third above G is B flat And the third note of G minor scale is a B flat That's how we find out the relative major Here is the circle of fifths which consists of total 12 major and minor You can work out all the major of minor through circle of fifths Learn how to write this from scratch and you can use the circle of fifths as reference in the exam Now I'll share how to construct the circle of fifths from scratch and also how does the major and minor work and how to work out the key signatures First of all everything start from C major which has no sharp and flat When we go up a fifth it adds a sharp C goes up a fifth we will find a G major The key signature is F# which you need to remember G goes up a fifth we get a D major The F# is copied and we add another fifth and find the second sharp C# D goes up a fifth we'll get A major The sharps are copied F# and C# And we add another fifth and find the third sharp Gsharp And A goes up a fifth we'll get E major Again the sharps are copied F# Csharp Gsharp and G goes up a fifth we'll find the fourth sharp D#sharp E goes up a fifth is B major Again the sharps are copied F# C# Gsharp Dsharp and D goes up a fifth is A That's our fifth sharp B goes up a fifth is F but we say it's F# because of the key signature So we have the same sharps F# C# G# D#sharp A and we add another fifth So that's E sharp That's all for the sharp keys And next we'll go down a fifth to add a flat C goes down a fifth we find F major which has one flat B flat We have to remember the first flat in order to find the others F goes down a fifth we will find a B but it's B flat According to the key signature the B flat is copied And then we go down a fifth and find E flat The next B flat go down a fifth We'll find E flat major which has three flats B flat E flat and E flat Go down a fifth A flat The next major E flat goes down a fifth We'll get A flat major The flats are copied B flat E flat A flat And we go down a fifth and find D flat And A flat goes down a fifth again D flat major Again the flats are copied B flat E flat A flat D flat and G flat which we go down a fifth from D And we go down the fifth from D flat we find G flat major which has B flat E flat A flat D flat G flat And go down the fifth we get C flat And then G flat major and F sharp major is nharmonic So the circle is completed So now we'll see the total of 12 majors and all their key signatures For the minor key we'll start with the relative minor of C major which is A minor And similarly we go up a fifth we'll get E minor which has one sharp That is the relative minor of G major And then we go up a fifth from E minor we'll get B minor which has two sharps F# and C# And go another fifth is F# minor as we follow the key signature which has three sharps Then we go up another fifth we get C# minor which has four sharps And go another fifth is G# sharp minor that has five sharps And finally go up another fifth is D# sharp minor that has six sharps And there we have completed all the sharp keys for minor For flat keys we go down a fifth from A minor And we'll get D minor which has one flat Go down another fifth is G minor which has two flats And go down another fifth is C minor which has three flats and then F minor which has four flats And go down another fifth it will be a B flat minor as we follow the key signatures which has five flats And then we go down another fifth we'll get E flat minor which has six flats E flat minor is inharmonic to D# sharp minor So it closes the circle And with that we have completed the 12 minors And let's talk about key signatures The sharp key has to be in this particular order starting from F# C# G# D# A sharp and E And the flat key also has to be in this particular order starting from B flat E flat A flat D flat G flat and C flat And here are the key signatures of all 12 majors and minors They have to be written according to the specific order and it has to be written at the particular lines or spaces For tenner clef the F# is written at the second line instead of top space Here are some sample questions involving the major minor and key signatures You may refer to our video ABRSM grade 5 theory exam explained for a step-by-step how to solve the questions and answering tips The video link can be found in the description box The next part will be technical name The technical name refers to the particular degree of the scale The first note is called tonic Second note supertononic third note median fourth note subdominant fifth note dominant sixth note submedian and the seventh note leading note So for example in C major C is the first note that's tonic D is a super tonic E a median F subdominant G dominant A submedian B leading note and lastly is C again So that's tonic For the minor key we follow the harmonic minor which the seven note must be raised So we see that the leading note is always being raised And these are some sample questions in the exam involving the technical name Again you may refer to our video for a step by step how to solve the questions and some answering tips And moving on to the next part chromatic scale Chromatic scale is made up of all semmitones and there are 13 notes in total It can be formed on any note as long as it's all semmitones It must start and end on the same note Each pitch clause is not used more than twice This is an example of a chromatic scale beginning on B correctly written Firstly they have to be made up of all semmitones start and end on the same note The same pitch class is not used more than twice Here is a tip You can draw the piano keyboard on your draft papers to check if the notes are all semmitones And I'll show you how to draw the piano keyboard from scratch Draw two black keys and then lines in between them And then three black keys also line in between them and followed by another two black keys and three black keys And at the end you can draw a box around them And there you have a piano keyboard for your reference Now we'll talk about some errors in the chromatic scale Error one the notes are not semmitone In this example E sharp and F they are the same note which is not semmitone So this chromatic scale is wrongly written In error two the chromatic scale doesn't start and end on the same note In this case it starts on A flat and end on G sharp Although there are all semmitones this is still considered wrong Error three the same pitch class is used more than twice As we can see here the pitch class B is used three times So although they start and end on the same note and they're all semmitone this is still wrongly written Some sample questions are if the chromatic scale is correctly written true or false Here are some learning resources if you need more exercises from ABRSM Discovering Music Theory Pocu Studios Music Theory for Young Chip Musicians Grade 5 and also Avrsm's music theory practice papers The links will be in the description box We do provide online music theory lessons as well Contact us at gramophone music studio@gmail.com Coming soon we will have part four intervals Make sure to subscribe our channel so you don't miss our future contents Also like and comment if this video helps you And that's the end of the video See you next time

Transcript for:Music Theory Grade 5 Overview

Transcript for:
Music Theory Grade 5 Overview