Overview
This lecture is a complete walkthrough of an ABRSM Grade 5 Theory paper, covering rhythm, pitch, keys/scales, intervals, chords, terms, and orchestral knowledge with step-by-step solutions and explanations.
Section 1: Rhythm and Time Signatures
- Time signature options are matched to note groupings (e.g., 4/4 for four crotchet beats).
- Compound time translates simple time using triplets (e.g., 2/4 becomes 6/8).
- 12/16 time has four dotted quaver beats per bar.
- Dotted notes add half their value (e.g., dotted semibreve = 3 minims).
- Notes/rests must be grouped according to the time signature's beat structure.
Section 2: Pitch, Clefs, and Transposition
- Alto clef's middle line is middle C; used mostly by violas.
- Enharmonic equivalents are notes sounding the same but named differently (e.g., F# = Gb).
- Some instruments (like trumpet in B♭) transpose; pitches must be adjusted accordingly.
- Visual pitch relationships across clefs (bass, alto, treble) are tested with true/false questions.
Section 3: Keys, Scales, and Key Signatures
- The order of sharps (F,C,G,D,A,E,B) and flats (B,E,A,D,G,C,F) is essential.
- Key signature identification involves counting sharps/flats and matching to keys.
- Completing major/minor scales requires correct accidentals, with special handling for harmonic and melodic minors.
- Chromatic and technical scale terms: tonic, supertonic, mediant, subdominant, dominant, submediant, and leading note.
Section 4: Intervals
- Intervals measured from the lower note; compound intervals exceed an octave.
- Intervals include perfect, major, minor, diminished, and augmented forms.
- Naming is based on both the number (e.g., third, ninth) and quality (e.g., major, diminished).
Section 5: Chords and Cadences
- Cadences often use chords I, II, IV, and V (e.g., I–V = imperfect, V–I = perfect).
- Chord inversions change the bass note (root, first, second inversion).
- Chord identification is based on notes present and their arrangement.
Section 6: Terms, Ornaments, and Instrumentation
- Italian terms: doloroso (sadly), niente (nothing), cantando (singing).
- Ornaments: mordent (rapid up-down), turn (above-main-below-main), acciaccatura (quick note), appoggiatura (longer grace note).
- Instrument questions include reed types, pitch range, and playing techniques.
- Knowledge of orchestral families and which instruments can double others is required.
Section 7: Score Reading and Musical Directions
- Interpretation of musical extracts: pitch, dynamics (e.g., subito piano = suddenly quiet), and ornaments.
- Instrument suitability for melody depends on range.
- Scale degree counting and note-value conversions (e.g., number of demi-semiquavers in a minim).
Key Terms & Definitions
- Enharmonic — Notes sounding the same but written differently (e.g., F# and Gb).
- Compound interval — Interval greater than an octave (e.g., 9th, 10th).
- Cadence — Harmonic progression at the end of a musical phrase.
- Mordent — Rapid alternation of a note with the one below or above.
- Turn — Ornament involving the note above, the note, the note below, and back to the note.
- Root/First/Second inversion — Different bass notes for a given chord.
Action Items / Next Steps
- Review key signature orders and their relative majors/minors.
- Practice identifying intervals and their qualities.
- Memorize Italian terms, ornaments, and orchestral instrument ranges.
- Complete any assigned Grade 5 theory practice papers for further reinforcement.