hello and welcome to this video where i'm going to be doing a walkthrough of an abrsm grade 5 theory paper i have not seen this before i've never seen any of these questions so i'm going to go through a step-by-step process of how i would work it out and how i'd answer the questions i'll try and break it down as simply as i can but i'm going to assume a little bit of general theory knowledge on your side if you have never studied theory before then i might suggest you uh start off with grade one um if you have randomly stumbled across this uh video on the internet then i hope you enjoy it but i also really hope it's useful for any of you that are studying grade 5 theory if you're taking an exam soon then good luck hope this video helps so i'm going to do a walkthrough of the new abrsm system it's all multiple choice now and it's all online but i've got a paper here which i'm going to share my screen right now hopefully you can see this i'm drawing the pen on the screen and i will break down my workings uh as i go so you can see hopefully what i'm talking about if any of you are watching this and are from the states then i'm going to be using british british terminology so a crotchet i'll talk about crotchets rather than quarter notes etc um so hopefully it all makes sense let me know if you have any questions in the comments and let's crack on and see how quickly we can do this i'm not going to say that we need to rush but uh let's see yeah how quickly we can get through these questions i do have a piano in front of me as well which you won't have in the exam you are allowed paper and pen but um i may refer to this a couple of times so question one the section there's seven sections in the paper the first section is on rhythm we're talking about time signatures and how many beats in a bar so we have three options for question 1.1 a and they are um for the time signature six four four four and five four okay so all of these are going to be encounter gonna be counting in some kind of crotchet beat okay so let's take a look and see if we can break down the grouping here so the first thing we see here is a sextuplet okay so sextuplet is a group of six notes played in the time of four so we have six semiquavers played in the time of four semiquavers so uh just for ease of looking at it we've got four uh semiquavers here and um that is essentially two quavers or crotchets so that is one crotchet beat there and as the three choices we have are in crotchet beats there's no point thinking about if it's in a group of three um so we're going to be counting in quavers or crotches so that's one that is one group of uh sorry that's one crotchet the next we have two quavers next to each other that's another crotchet so i can count them out here one two the next one we have uh two crotches again so that's a third sorry two quavers so that's the third crotchet and here we have what we could probably assume is a fourth crotchet we have four demi semicuevas lovely word attached to a quaver four demi semi quavers is like two semiquavers which is one quaver so that is actually just four four okay so i'm going to answer that one as four four obviously when you do it on a computer you just click on the option uh some of the questions have drop down options some of them are just click on the right one some of them are drag and drop especially if it's filling in the interval for example okay so the next uh question we have here is either going to be six eight seven eight or four four so if it's in six eight we'll be counting in two groups of three quavers or you could say two dotted crotchet beats if we're in seven eight then that's an irregular time signature so that will be grouped like this so group of three in a group of four or a group of four in a group of three okay so um let's take a look at the example here so we have a group of three already so that's one two three uh and then we have uh three three semiquavers and a semiquaver rest okay so that is one quaver that's a second quaver and that's a third quaver so that's another group of three which means we have a dotted crotch here that's a really bad delta project uh two dots and quarter beats which is six eight so let's answer that one here we go i'm gonna make a really big rubber by the way the app that i'm using is called four score which is very useful okay now we have some interesting options for uh answers we have 12 8 7 4 and 5 4. now 12 8 is called um compound quadruple time because we would have four dotted crotchet beats in a bar uh seven four and five four are both irregular time signatures but we're counting crotches okay so let's move straight on to the example the first thing we can see is a minim so immediately we know this is not going to be in 12 8 and why is that the reason is because if it was in 12 8 we would still be grouping the quavers in groups of three and here this clearly like runs over it goes over the group of three so it has to be counted in crotches so first of all we have two crotchets so i'll just uh i'll draw the crotchets underneath we have a third crotchet so that's one two three okay we have a triplet which is three in the time of two so that's another crotchet so that's four uh we have another triplet which is five uh and then we have a minim rest there which is worth two crotches so that's actually seven four okay so hopefully that all makes sense in the exam you have quite a while to do this i'm just going through it relatively quickly so if you want to pause at any moment and you want to go over your notes or if you want to um just ask me a question in the comments do let me know and i'll try and answer it for you as well okay next up we have a bar and simple time and we want to try and convert simple time to compound time so essentially what this means is that we are turning a 2-4 bar with two crotchet beats into a 6-8 bar which has two dotted crotchet beads okay so we're turning two four into six eight uh but it's gonna sound the same so that is duple time com uh sim simple duple into uh compound duple time if it was in triple time like that we'd be turning 3 4 into 9 8 like that okay so let's take a look we have an example here two four in with triplets so that means if you have a simple time example with triplets that's gonna easily translate into compound time in the groups of three that it's that they're in which uh makes it a little bit easier actually uh so we have um a triplet there and a triplet here which means that well let's take a look at the examples that we have here ones in six eight one's in four eight and one's in six set again so we know immediately it's not gonna be in four eight because two four doesn't go into uh four eight we're not doing we're not doing fractions it's not it's nothing to do with fractions as a very quick reminder hopefully you know this by grade five but the the bottom number refers to the note value so if it's a four on the bottom then that refers to a crotchet if it's an eight on the bottom it refers to a quaver if it's a 16 on the bottom it refers to a semiquaver okay so we know immediately it's not four four and let's take a look at how these other options are different from each other so i'll just get rid of this so it's not so messy we know it's not the middle the middle one though uh we have a group of two quavers a group of two quavers and a group of two quavers we actually if you know how to do time signatures you know that's actually not going to be right anyway because the grouping is wrong so the bottom example is correct because we have a group of three and a group of three and that sorry it's getting very messy now that directly links into uh what we have up here because that's a group of three in a triplet that's a group of three in a triplet hooray okay so the answer is the bottom one okay so just a very a couple of quick file questions here 12 16. i just mentioned that 16 is semiquavers uh in 1216 there are how many dotted quaver beats in a bar so what is a dotted quaver how many semiquavers semi quavers are in a dotted quaver so dotted quaver is three semi-quavers okay dotted quaver three semiquavers uh so in 1216 uh there are 12 semiquavers which and how many threes go into 12 so we've got four uh so that means that in 1216 there are four dotted quaver beats in a bar okay so i'll just kind of try and write this out for it to uh so you can visualize it so this is one dotted quaver worth that's another dotted quaver worth that's another dotted quaver worth and that's another dotted quaver worth one two three four five six seven eight nine ten eleven twelve uh twelve dots of quavers f sorry twelve semiquavers four dotted quavers okay so that's the answer for that one and a dotted semibreve is equal to how many minims okay so if you put a dot after a note that adds half of the original values so for example if you have a dotted crotchet then that is a crotchet plus half of its original value if we have a dotted semi-brief that is a semi-breathe which is four crotchets plus half of its original value which is a minimum so that's six crotchets all together so the answer here is how many so six crotchets how many minims it's three because uh there are six crotchets in three minutes okay let's quickly move on so which of these is grouped correctly so we are in four eight okay so um this is an interesting time signature 4 8 it's gonna look like that so we need to group it like that it's not grouped in threes because the top number isn't like a multiple of three so first of all um we know that the bottom one is wrong and why is that i'm going to use a different color for the wrong things i should probably have done um there we go let's use blue for wrong so this one is we immediately know is wrong and the reason for that is here that is not grouped correctly because that is not a quaver because we have to be we have to group these into quavers or groups of two quavers so uh immediately we can get rid of that so process of elimination let's look at the first two options that's the same that's the same as that okay so these are all grouped together and the ones underneath it are grouped differently so again that is not a quaver or some kind of multiple of a quaver so that is also wrong uh let's get rid of that so the top one is correct i believe um by the way if i get any of this wrong then apologies i'm only human i'm i've never seen these questions before so uh i will go through my thought process and feel free to call me uh call me out in the comments as well 1.5 let's look at these rests okay so we also apart from grouping notes we also have to group rests so do these make sense here we have six four so we're going to be grouping these in groups of four quavers um so that was that looks right and that looks right so that's that's correct there so the reason that's correct is that would not be a crotchet rest because essentially that would um go over the two beats so that's a group of four uh and that's a group of four there are four quavers if you had a crotchet that would be bang in the middle of these groups and it would just wouldn't make sense okay so that is correct for this next one we have two crotchets next to each other uh which means that's a group of three and that's a group of three so if we're in six four we want to group it into two groups of uh three crotches okay so that one also makes sense that is right and the last one is also right i believe because we have a group of three and a group of three so yeah do come to correct me if i'm wrong here but uh six four is in um two groups of three crotchets as opposed to three two which is uh three groups of two crutches okay makes sense hopefully all right let's move on let's move on so we're going on to uh section two which is all about pitch so we're talking about names of notes we're talking about scales we're talking about um pitches all the pictures uh all that kind of stuff so let's go the first thing we're going to take a look at is the alto clef so the autoclave for those who you that don't know is also sometimes referred to as the viola clef which is the um it's the clef that viola players use they don't use the treble clef or the bass clef and the reason for that is the the pitch that the viola plays at is a little bit too low when you write it out because the lowest note is a c below middle c it's a little bit too low for the treble clef um but it's also it goes way too high for the bass clef so that's why we have the autoclave so anyway just a quick recap the middle line of the alto clef is middle c okay so if you want to go through if you want to do this by counting up you can say if this is middle c you've got c d e f g a on top and then so that will be a b there so another way of working that out is you can also flip that down an octave and that would be here which is one below the middle line which is middle c okay so if you also there's another kind of trick way of doing this which is if you imagine this is the treble clef then if that uh the top would be f sorry imagine this i mentioned uh this is the treble clef so that that note will be an a and you just go up one note that's one way of working it out but i think the best thing to do is just to to realize that um the middle line is a middle c so you can just kind of count up from there all right so next one take one box to show the correct n harmonic equivalent of this note if you don't know what an n harmonic equivalent is then basically it's the same note but written differently okay so an f sharp could also be written as a g-flat it would sound the same but it's got a different function okay so uh just just to let you know uh orally so this is an f sharp but if it was written as a g that has sound exactly the same um so we need to think about how the flats and sharps correspond to each other so if you have a a b natural it could also be written as a c flat because if you take a c you'd be going down a semitone on the um on the keyboard which would sound the same as would be natural but written differently it just depends what the function is within the chord or the key signature okay so f double sharp so double sharp we're going up two semitones from an f um and that would sound the same as a g okay so that's the answer for that one so if we're looking at this one a g flat will sound the same as an f sharp etcetera so uh next question here is the bar at sounding pitch for the trumpet in b flat so in the orchestra we have a number of transposing instruments uh this question is is basically just saying um it gives you an example of something that has been transposed up a major second and we have to figure out whether that is correct or not so the first thing that we need to look at is the key signature so the key signature here is in g major and because we have one sharp and it goes to a major a is one tone or a major second above a g so that is correct okay so uh the next note we have here is i don't know why i'm doing these in blue and red it's just kind of random uh so that's correct so here we have an a and we're going up a tone to a b here so that is correct that is a major second above it okay so here we it looks like an f but it's actually an f sharp don't forget to check the key signature whenever you refer back on this question so we're going from an f sharp to a g sharp below it again we know it's a g sharp because we've got it in the key signature so that's also correct okay so this next one here i'll get rid of these things uh this next one here is a c natural and we're going to a d sharp that is three semitones so it is not a major second so that is incorrect okay next one is a b flat and that goes to a c-sharp so again that one is incorrect that is not a major second all right so um some people would get this wrong just because they haven't taken into account the key signature which has three sharps in it they might think that's a c natural but it's not okay quickly going on to the next one 2.4 um this is where we are relating the pictures to each other uh the best thing i've i find for this question is to imagine where middle c is okay so middle c in the bass clef is here middle c in the uh outer clef is here middle c in the treble clef is here so we can see visually whether they're higher or lower than it okay the first question the first um these are all true or false so 50 50 chance of getting it right basically a and b are the same pitch is that correct well let's take a look so a the pitch is higher than middle c b the pitch is lower than middle c so immediately we know this is false and b is actually an octave below a okay so the next question is b is one octave lower than c b is one octave lower than c so uh let's relate everything to where middle c is so in b uh this is a fifth below middle c that's the fifth blue middle c and here this is actually one and a half octaves above middle c here um so one octave above b would be there in blue that's one octave above b so this is actually two octaves above b um so that means so going back to the question b is one octave lower than c that is incorrect there's actually two octaves lower than c okay and last one annoyingly they they uh label these as a b c the questions so um that doesn't help c is one one octave higher than a okay let's get rid of all of these workings you can have your own paper and pen with this so you can just rub out your workings out uh if you write it down obviously the actual paper itself is no longer physical it's on on the screen so 2.4 we have um so c is one octave 2.4 c c is one octave higher than a is that correct well let's take a look so this is the f above middle c which would be written here and that is the f above that so that is actually correct that one c is one octave higher than a okay let's move on next page keys and scales hopefully i haven't missed out anything there no uh keys and scales so we're looking at uh key signatures and we're looking at um basically adding in notes that are missing from key signatures we're looking at melodies without a key signature we have to add the key signature in we're looking at minor scales again i'm hoping you have worked a little bit towards grade five and you're not jumping in the defend um because if you are then good luck okay so uh the first one we have we have multiple choice in all all of these uh online papers now take correctly the written key signature of d flat major so the order of the flats is always going to be this b e a d g c f that's the flats okay i refer to i can work this out by um sorry i can remember this by saying blanket explodes and dad gets cold feet and then if you want to know okay that that doesn't make sense sorry okay so this example okay so we're looking at keys and scales so we're talking about the order of flats the order of sharps uh we want to fill in um if we don't have a key signature we want to fill that in we want to fill in missing notes from scales and looking at chromatic notes and what position uh talking the technical terms of what position the notes are in a scale so let me break it down if you want to remember the order of sharps in a key signature we have a little saying which is a bit weird but there we go father christmas gives dad an electric blanket okay that's the sharps the flats are blanket explodes and dad gets cold feet bit of a weird uh saying but that's a good way of just remembering the order of the sharps and the flats here we are in d flat major all of these samples have five flats in them uh in various in various clefs we need to figure out which one's right quite often you can do a process of elimination by looking at them so the first one immediately kind of looks wrong because it's not in the standard order um but if we just kind of break it down and go into it we have we actually start with an a flat so that's wrong because we want to start with the b flat okay next one we have b e a d g okay that looks right so we have the right notes but are they in the right order uh let's take a look so we have b f so immediately that's wrong and here it doesn't start with the b flat so that is wrong as well so that's the right answer 3.2 we have six sharps very scary uh so we're looking at the order of the sharps f c g d a f c g d a e let's go through it f yes f c g that's not a d that's so that's wrong okay so here we have um we're in the tenor clef which is sometimes used by trombones and cellos probably more cellos than trombones but it's not really used that commonly anymore uh the first one we have here is an e middle c in the tenor clef is on that line so that means that's an e okay here we have a very interesting example because we have an f c g d a e technically but we never ever use ledger lines in key signatures never so that's wrong that should be down there um and then that one should be down here i think so that is wrong so as a process of elimination it has to be this one let's just double check it that's an f uh that's a c that's a g that's a d uh that's an a and that is an e so that is correct okay so now we are looking at a piece of music with no key signature and we have to figure out what the uh key signature is so we have three uh we have let's go through what the sharps are we've got a c sharp got an f sharp a g sharp and a c sharp so let's write them out in order f c g so if we have three sharps we could be an a major or the relative minor would be f sharp minor um let's take a look is it are there any other notes that stand out as being weird or accidentals no so i'm gonna say that is a major okay so yeah if you have if you had for example f c and d sharps in there then you would assume that and there wasn't a g in it you would assume that it was um that it had four sharps in the key signatures so that would be e major or c sharp minor okay so we've got a lot of flats coming up now let's count them out b let's try and do it in order actually so b e a d g what comes after g we have a c do we have a c flat here uh yes we do we we generally for grade 5 we don't need to know six sharps and six flats so we have one two three four five six flats here what key signature has six flats well uh that is g flat major i'm not gonna go through necessarily all the tips and tricks about how to remember the key signatures uh i might mention a couple but with key signatures that is one that you really just have to sit down and try and memorize relative minors also um i'm hoping that you would have you would know how those work but just a quick tip if you get the relative major if you get a major key and you go down three semitones not including the original note that will give you the relative minor so if you're in c major and you go down three semitones that'll be a minor so six flats this could be g flat major um the relative minor is not an option here so we can we don't even need to think about it but if it was the relative minor we would have to raise the seventh note so we'd have a uh if it's e flat minor we'd have a raised uh seventh note there so let's go on to the last one we actually only have one sharp here normally if it's one sharp and a major key it would be g major but the sharp that we have is not an f sharp it's actually a g sharp now that's kind of weird because g sharp would be the third sharp so if you had a g sharp uh you could and it's in a major key you could also have an f and a c but uh the c here is a c natural and the uh the f is a an f natural as well so this g sharp has to be a raised seventh and what minor key signature has a raised seventh that is a g now the seventh note of a minor is a g so that is a g sharp so this answer is a minor okay this next one we have a major scale which is b major and we want to add in the missing notes so b major has five sharps and the five sharps if we refer back to this are f c g d a okay so i'm just going to write these out f c g d a and we're starting off here there with a b so you've got a c sharp there a d sharp there and this needs to be an e because we're doing it in order there is no e sharp in the key signatures so that's just an e natural next we have a b sorry an f sharp uh g sharp so now we have we've done the c we've done the d we've done the f we've done the g and so that means the next note in the scale is going to be an a and that needs to be an a sharp because that's in the key signature there okay let's move on so now on to the minor scales now this is a little bit tricky because they could be melodic or harmonic so just to recap on the minor scales if you have a harmonics minor then you raise the seventh note ascending and descending it doesn't change if you're going up or going down if you have a melodic minor then you raise the sixth and the seventh note going up and you lower them back down again going down descending okay now this is a doubly hard question because we don't have a clef here so we don't know what notes these are starting on so this takes a fair bit of working out also we have an absolute ton of flats here so we have one two let's just count them out one two three four five six uh oh it's not seven flats because the seventh flat is the same as the first flat because of the scale so we have six flats we just i just mentioned what six flat minor scale is and that is a e flat minor scale so we want to find the clef in which this is an e flat so in the if this was a treble clef that would be a c-flat so that's wrong if this was the bass clef then that would be an e flat okay so just one thing to mention as well uh it's not always the case that by counting out the sharps and the flats that will give you the right uh key signature because you might have an accidental of a raised array sharp or a raised note on the seventh so here this is a melodic minor scale going down because we have b uh we have we have the six flats basically and if that was going up then the c would have been raised to a c natural let's play it out and then d would be raised to a d natural uh and then coming down it's loaded again to a c flat [Music] that's right a d flat and a c natural sorry d flat and a c flat going down if this was in a harmonic minor we'd have that raised note there uh so that would be a d sharp but that would be the same going down so very tricky question this one so this is a uh a bass clef again apologies if some of the things i say don't make sense or you're unsure about my kind of workings out as i'm going through it um yeah as i said i'm just i've not seen this paper before so hopefully most of these things make sense that i'm i'm saying and as ever if you want to ask me a question about this or correct me then just put a comment underneath and you can correct me to your heart's content this next one 3.5 b has only got one sharp in it now if this was a major scale with one sharp it would be a um a g major scale which means the relative minor would be e minor so this could be an e minor scale however uh in e minor we would also have to raise the seventh note okay so immediately we know this is not going to be e minor because we have only got one note that's been raised which means that it has to be a minor which in the key signature has no sharps and no flats but we raised the seventh going up and also we know that this is a harmonic minor not melodic because we've only only one note has been raised because if we're in the melodic the sixth and the seventh would be raised okay so this is the ray seventh i mentioned before about the the a minor scale has a raised seventh which is a g so now we have to work out uh which clef we're in which of these cliffs means that this would be an a if we're in treble that would be a g so that's wrong if we're in bass that would be a b that referring to that note i mean um if we're in the auto clef that would be an a so outer clef is the correct answer here okay this next example has got two sharps in it um and it's descending so the sixth and seventh notes are here so they've been lowered already um so okay so the sixth note could be a sharp uh the seventh note would be raised out of the keys not it wouldn't be included in the key signature so this one uh we have to have a think about what notes they start on so if this was in the treble clef that would be a b and that's a b so in b minor we have two sharps and they are c sharp and f sharp if this was in the b sorry if this was in the treble clef uh this is a c sharp so that's one and that's an f sharp the sixth and seventh note would have been raised going up but they've been lowered back to their original natural state which here would be an a and a g so the correct answer here is actually the treble clef because we're in b minor so just to recap b minor has two sharps f sharp and c sharp um and these are in the correct positions for those if you're in trouble that's a b that's a b um and it's a it's a b minor melodic descending scale because these two have been lowered back to their original natural states nice and easy this question okay oh dear they make you work for it don't they true or false hopefully this will be a bit easier this is a chromatic scale starting on f sharp in the outer clef so let's go through it note by note so we have an f sharp then a g i'll play i'll play it to you as i go through on the piano f sharp g g sharp a a sharp b c sharp sorry b sharp which is a c sounds like a c uh c sharp d natural d sharp e e sharp but oh no that's just an f that is not right the last note failed us unfortunately that is false that needs to be an f sharp at the end unless they're calling that an f sharp in the same if it's in the same bar which i don't think they are obviously if you're in a bar and you have an f sharp followed by an f later on it would still be an f sharp but i don't think that's right so i think this is false because the last note should still have the sharp sign on it i believe i might be wrong with that but i'll say that's first so next one correctly written chromatic scale beginning on a let's go down so this is uh this is an a g sharp watch out for n harmonic equivalence in this question by the way um g natural f sharp and again obviously you won't have a piano with you but i'm just doing it for dramatic effect f natural okay here this is an e sharp so that e sharp is the an harmonic equivalent of the f natural so we know immediately this is also false okay next one we have technical terms questions so in the technical terms the first note of the scale is tonic the second note of the scale is supertonic um really bad writing here the third note of the scale is the mediant then we have uh the subdominant i'm just going to put a slub dom five is dominant six is submediant because it's the middle note of the um it's the middle note of the subdominant chord and number seven is the leading note i haven't left myself much room here there we go so we can use that to refer back to if we need to so in e flat major the first question this is the supertonic of e flat major that means that it'd be the second of e flat major but we have an e flat so that's wrong that is the tonic okay the next question is this is the tonic and f sharp major well that's an f sharp so that's true and last one this is the dominant in e minor what note is this it's an a so the a is the fourth note of the scale so e f g a so four would be the subdominant so that is also false okay intervals uh section four so uh hopefully you've done some work on intervals and you know vaguely about major intervals minor intervals augmented um compound intervals is a new thing for grade five so compound intervals is anything over an octave so for example a ninth would be a compound second tenth would be a compound third so here we are we're basing everything off the the bottom note very exciting uh intervals so that's the an interval is the gap between two notes the first notes the first gap sounds like this e flat it's over an octave so it's either going to be a compound or a larger than eight interval so it's actually either a compound second or a ninth so we know immediately that it's not going to be this one the tenth so what i do with these questions with compound intervals is i take the second note and i flip it down the octave so here that's an f above middle c i'll put it down here just to make it easier to work out e flat to f natural is just a major second so that means it's not minus that means it's not augmented that means it has to be a compound major second this is another uh compound interval we can see immediately it's bigger than an octave going f sharp to b so let's flip the b down the octave um and that is just a perfect fourth but we don't actually have a compound perfect fourth as a as a as an option so it's definitely not compound perfect fifth if it's not called a compound fourth it would be called an 11th it's not augmented it's perfect so it's a perfect 11th here last one here this is within an octave so c to b flat um a b flat is two semitones lower than an octave which means it's a minor seventh if it's a semitone lower than an octave it's a major seventh always look out for the key signatures as well so that is just a minor seventh okay now uh we don't have to answer these with numbers we just have to say what kind of interval is so what notes do we have we've got a b to a c uh that's just one semitone so that means it's going to be a minor second you might ask well if it's a semitone it could also be an augmented first which kind of yes but you don't really have augmented first um unison or whatever you would call it so next question we have a g sharp to b natural which is three semitones so that's a minor third um so that's just mine you just have to put mine it's got two minor ones so far uh last question is an e again we've got a compound compound interval here so i'd put this down an octave to a g flat just so it's easier to work out e to g sharp is a major third because that's the major uh that's the third in the major key e to e to g natural is a minor third that means we still have the third but it's a flat so it would actually sound exactly the same as a major second but it's written as a minor third because it's the third is some form of g which means it's the third note of the scale so that is actually a diminished third so just to recap the difference between a major second and a diminished third even though they sound the same they're written differently um let's say we're in c major i'm sorry let's say we're in uh well e minor here so the minor third would be a g and it has to be some form of g for it to be a third it's flattened again so it's diminished uh even though it sounds the same as an f sharp it's written differently so here in the exam you would actually drag and drop these notes onto the screen here we're just going to write them in compound perfect fifth okay we've got a c flat to make it easier let's just put it up a semitone so a c to a g would be a perfect fifth uh so that means a c flat to a g flat would be a perfect fifth as well because you're still going down semitone and it would be up here because it's compound next one okay augmented seventh an augmented seventh um it sounds the same as an octave so it's the end harmonic equivalent of the octave basically because if you think about it an octave down a semitone is a major seventh what's higher what's one semitone higher than a major seventh and augmented so that means an octave sounds the same it's an n harmonic equivalent so we've got a c down here uh an octave from a c is a c and all the n harmonic equivalent uh is a b sharp so this is a b sharp above it which would be written here so any form of b would be a seventh it just so happens that that is the augmented seventh okay what note do we have here that's an f so we want to go up a a minor thirteenth okay so what's a minor thirteenth it could also be known as a compound sixth because you have an octave compound second is the ninth compound third is a tenth compound fourth is an eleventh compound fifth is a twelve compound sixth is a thirteenth it's so it's not uh like eight plus five or eight plus six it is yeah that is the compound sixth from an um an f so it has to be if it's a sixth it has to be some kind of d and it'll be up here uh f to d natural would just be a major six um so it has to go down another semitone uh last question here we have major third book b flat that is just a d hopefully it won't take you too long to work that one out so d is the third note of the major scale of b flat major right so let's go on to chords we have we're on to section five of seven so with this question we have to write a suitable chord for the two cadences up in this melody so we have um four options we have uh a one chord two four or five and the first thing we can do is look at the key signature we're in f major which means uh i i find it quite useful when you have these questions to write out the chords so fac would be called one chord two would be g b flat d chord four would be b flat d f chord five would be uh c e and g okay so we have these notes here we want f a c f a so that is just called one because that fits in with these notes so we basically the whole point of this we're trying to harmonize this melody [Music] so that fits nicely in the next one we have an e and a g and that fits in with this chord chord five so that's called one to five and that cadence would be imperfect because you're finishing on the five next here we have d b-flat and g which is called two and then here we have g e c should be called five and last up we have f c a f which is called one so finishing on a lovely perfect cadence and get get rid of all of that so you can see a bit easier right uh next we are looking at this chord progression i'll play it to you so you can oh well first of all it won't play it too then i'll put it to you afterwards so you can hear what it sounds like obviously you won't have a piano so you won't be able to play it in the exam so you have to be able to work it out from reading the notes this one i actually find relatively easy just because you can judge this off looking at the bass notes we're in d major which means that chord one will be d chord four will be g chord five will be a so you can base everything off that here we have a d which is called one going to a five which is called i would go into an a which is five so one to five is an imperfect cadence because we're finishing on a five and it would sound like this doesn't feel finished imperfect next we have c major so c is one f is uh four and g is five we have a five a g there g going to a c so we've got a five going to one which is perfect it sounds like this sounds nice it feels finished now this is talking about inversions so an inversion is taking a chord like c major changing what the the bottom note is the root note um the bass note i mean so that's changing so that's with c major with a c on the bottom which be referred to as 1a b which has the middle note on the bottom one c which has the top note on the bottom okay so that is a very quick description of what inversions are so again i'm going to write out what these are so we're in g major it tells us there which is very handy so called one is g b d i like writing out this little graph hopefully this this will be useful for you as well so equal to we have a c e chord four we have c e g chord five we have d f sharp and a and hit here the inversions you can refer to so you're kind of using it as a graph um if this note is on the bottom for example and the other three notes are included it's 1b okay so we're going to be looking at this chord here which has an f sharp an a and a d which is called five because we have all of these three notes uh the f sharp is on the bottom so that means uh it's five and f sharps on the bottom so that's in the middle row so that's five b okay so uh let's take a look at this one now so what are the notes we have an a an a c and an e which is called two a c e there and the bottom note is an a so it's just the bottom line which is 2a so that's root position supertonic chord if you're getting fancy and lastly we have this chord here which is a uh g major chord so we have g uh g b g which is one and g is on the bottom there so that's just one a hopefully that all makes sense i'll play you uh chord c which is this if it was one b it would have b on the bottom if it was one c it would have c on the bottom so changing the bass note it just changes how it feels how it sounds and it can also change the function of the chord as well because it could lead to something else okay now section six is terms signs and instruments you have to learn quite a few italian terms german terms and french terms uh plus also the um like accents and um dynamic markings and things like that articulation dynamic markings with the there's lots of different ways of work of remembering the italian french and german terms i'm not going to go into all of them because that's a very long process and thankfully you don't have to remember as many as you used to you you used to have to remember the lows and lows and those um also they have changed this uh they have made it slightly easier so that you don't have as many doubling up let's get straight into it because we're nearly nearly at an hour and i wanted to try and do it in an hour if possible doloroso okay this links to um the italian word for um sad or sorrowful uh the way that i remember this one is the laws umbridge from harry potter uh her first name well she makes everyone very sad and sorrowful so i remember this one dolores doloroso um the lord's umbridge makes people sad and sorrowful okay i don't know if that will help at all um in italian and niente is nothing so um i was trying to i would for some reason i remember like nada is nothing right and kind of links in all like nyx in german is nothing as well so two nothing in italian uh cantando so cantare is to sing in italian cantabele is in a singing style in a singing way canter is can be like a song or sings or whatever anyway it's singing so this next one is talking about ornaments so an ornament is something that makes the [Music] uh melody fancy you're adding in extra notes um but instead of writing out like tr for trill or um this for the grace note these are written out as music musically so a mordent looks like this a morden looks like this a little more than looks like this a turn looks like that turn looks like that um so that's an upper tone without the line through it so just to should make you um aware of what it sounds like a mordent you take the original notes you go up one and you go down one quite quickly so this is a mordent upper mordent the reverse is for a lower mordant you go down one note back up again a turn you start on the note above the note go back to the original one down one and back up again a trill you're going up and down very quickly ikea katura also known as a grey smoke it's very quick um so you start on the notes above it and you go down to the note you want to finish on a pochitura is the same thing but slower i think podgy is you could be fat and it takes longer to get somewhere um probably not the most politically correct uh way of remembering it but there we go um so what do we have here we have a tree going up a note and back to the g so we've got the original going original note going up one and down one again so that is another mordent that's not an akiekatura because if it was you wouldn't have that first one it would just go but this one sounds like this here uh you are turning around this g [Music] so g is the focal point and you're going up back down down again and back up again so that one is a upper turn now we have a few questions about the orchestra these are kind of general knowledge questions that you need to know uh the yobo uses a double read uh now does it or does it use a single read that's something you just need to remember the yobo just uses a single read the double reader is used by the clarinet so that's false the xylophone produces sounds of definite pitch so percussion instruments are grouped into definite which means it makes a note it can make a note um of definite pitch so uh indefinite it's just a bang or a crash or a loud sound so some examples of definite are xylophone which means this is true glockenspiel um marimba indefinite you'd have a snare drum a symbol or something along those lines the clarinet has a higher range than the bassoon you need to know the general families of orchestral instruments so and the order in which they are so there's four that you need to four uh main ones you need to know for each one strings violin then viola then cello then double bass at the bottom a woodwind you have uh flute at the top then uh clarinet then over then um [Music] bassoon at the bottom clarinet clarinet and oboe ranges are quite similar brass you have trumpet at the top then french horn then trombone then tuber so that's something you just kind of need to remember really the clarinet does does have a higher range than the bassoon the bassoon is in the bass clef clarinets in the treble clef cello is the lowest sounding string instrument is false it's a double bass a flute might be played consoled what does that mean with mute can you mute a flute unfortunately not so that is false a flute might be played consort you can't mute it i'm going to try and like have this excerpt on the screen at the same time as going through the questions so here similar to something we had before we had to look at the pitch and how they relate to each other we got to refer back to bar one of the flute part the flute is an a not the a above middle c but it's the above that these are rewritten so only a is rewritten two octaves lower a is actually rewritten uh one octave lower b and c are correctly written taut is lower so b is towards us lower and so c because middle c would be here uh middle c would be here and the example we have is uh two octaves above these examples here um okay that's it only tick one i believe yeah take one correct statement right so true or false questions hopefully we can do this quite quick fire the music should be performed playfully it says sando which means uh in a joking joking style playfully um that's true allegro is quick all the notes in bar one should be slightly separated not necessarily the uh first beat is not staccato the other one's last ducati the highest note at the extract is an e so that means you have to go through the whole extract and look to see if it's an e um from what i can see it is just a c the top notes i see so that's false the first four notes in the left hand part of bar 7 form a chromatic scale so g a a sharp b that is not a chromatic scale so we don't have a g sharp the first four notes g at the left hand bar yes so g to a is not a chromatic scale lots of false ones here and then finally the flute plays in a podcature in bar seven that's not an apology tour it's a mordent uh we're referring to this by the way i believe so quite a lot of false ones there which other instrument is best suited to play the flute part so it sounds at the same pitch double bass violin horn tuba violin is the only one of those that can play as high as a flute okay and two more questions nearly there supertonic in c major is a d how many times does it appear in the flute part okay this is a where's wally accounting game we're looking for d's hunt the d all right uh one okay i haven't missed one so a c b a g f e yeah that's one two three one two three i don't think i've missed one uh okay i'll put three and final question nearly there smashed it um you do have a lot longer to do this i'm just talking my way through it 7.5 the note in the flute part of bar four is worth how many demi semi quavers so the flute part in bar four is a minim how many demi say microwaves go into a minimum let's work it out so that is two crutches that is four semi quick uh four quavers which is eight i don't need to write it out which is eight semi quavers and then that's 16 demi semi quavers there is an instruction to play quite to play suddenly quietly in which bar okay which bar do you think it is it is in bar four because we have piano supito subito suddenly p is quiet and path four is the answer that's the end of the exam congratulations hopefully you understood most of what i was talking about some of my reasonings might have been a bit complicated but they work for me uh if you want to talk through any of this then let's get a conversation going in the comments tell me your favorite um ways of remembering some of the italian terms for example or remembering the key signatures or the order of the notes i'd love to hear uh your ways of working i teach music theories so any new ways of working these out would be much appreciated there's a few things that i didn't really get into for example the order of the sharks and the flats and how that's all worked out but maybe if this video is popular enough i'll go into some of those things and again if this is popular enough and you want it i can always do a grade four walkthrough grade three walkthrough grade two grade one but for now that's it that's an hour hope you've stayed with me um and it's been a pleasure and a privilege to work through this exam paper with you hope it's been useful and good luck if you're taking the grade 5 exam anytime soon i shall see you later have a great rest of your day