THE ABRSM GRADE 5 WORKBOOK

DiscoveringMusic TheoryTHE ABRSM GRADE 5 WORKBOOKDesign by Kate BenjaminMusic origination for workbook by Moira RoachMusic origination for practice exam paper by Pete ReadmanCover and inside illustration by Andy PottsFirst 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 349 1AB 4014All 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 sourcesP14813

CONTENTSIntroductionChapter 1: Rhythm1Rewriting in simple and compound time (revision);irregular time signatures: ;grouping in irregular time signatures; quintuplets and sextupletsChapter 2: Pitch (Part 1)10The tenor clef; octave transposition between clefsChapter 3: Pitch (Part 2)17Transposing by a major 2nd, minor 3rd and perfect 5th;finding the new key signature; transposing melodies with accidentals;transposing instrumentsChapter 4: Keys & Scales27F#/Gb major and D#/Eb minor; all keys and scales for Grade 5;helpful patterns: the circle of 5thsChapter 5: Intervals35Intervals with or without a key signature;chromatic intervals; compound intervalsChapter 6: Chords44The supertonic chord (II); cadences; choosing suitablechords for a melody; inversionsChapter 7: Terms, Signs & Instruments (Part 1)61New instruments at Grade 5; transposing instruments;voice types and their rangesChapter 8: Terms, Signs & Instruments (Part 2)68Written-out ornaments; new Italian terms and German terms;the piano: terms and signsChapter 9: Music in Context76Practice Exam Paper85Music examples are written by the author unless otherwise stated. Some music examples have been adapted to suit learning requirements.

Quintuplets and sextuplets At Grade 2, we discovered that a triplet is a group of three notes played in the same amountof time as two non-triplet notes of the same time value. Quintuplets and sextuplets are groups of five and six notes that are played in the sameamount of time as a group of four notes of the same time value. Just like duplets and triplets, quintuplets and sextuplets can be any time value, and they canalso contain a combination of time values.Did you know?is equal in time value toThe word ‘tuplet’ is often usedas a general word to describenotes like duplets, quintupletsand sextuplets.oris equal in time value toorExercise 9Add the missing bar-lines to each of these melodies.œœ œœœœœ œbj3œœœœœœ œ œ ‰ œ œ œ nœœ bœ& b 4 œ nœ œ œ J3a5b? ### 43 6œ œ œ œ œ œ œ œœœœœ œ œ jœœœŒœœ ‰ œœœ563 œ œ œ œ œœœœœœ œ œ œ œ&8œœ œœœœœœ œ œ5c6Exercise 86ad5œ œ œœœœœœœ œ ŒBeats: 1 œ œ œ œ œ œœ4bœ œbBb b 2 œ œœ Ó5Number the beats and then complete the time signature for each of these rhythms.23jœ œ œœœœœœ ‰bBeats:46e? bb b C œ œ œ œ œ œ bb3c œœœœœœ œdBeats:œ5œ œ œ œ œThe next two exercises draw together the time signatures learnt so far.Beats:Exercise 106ef œœœœœœ œBeats:Challenge!Write a two-bar rhythm inComplete these sentences by adding a number to each.5œ œœœœœœœ œ œBeats:œ œ œ œ œ œ œ œ œ Óœ55that contains either quintuplets or sextuplets in the space below.Chapter 1: Rhythm 7jœaInthere arecrotchet beats in a bar.bInthere arequaver beats in a bar.cIndInthere aredotted-crotchet beats in a bar.eInthere areminim beats in a bar.there aredotted-quaver beats in a bar.8 Discovering Music Theory: Grade 5

PITCHIn this chapter you will learn aboutTransposing by a major 2nd, minor 3rd and perfect 5thFinding the new key signatureTransposing melodies with accidentalsTransposing instruments(PART 2)3Finding the new key signature If we transpose the note C up a major 2nd, itbecomes the note D.Transposing by a major 2nd, minor 3rd and perfect 5th In the same way, if we transpose notes in thekey of C major up a major 2nd, they become notesin the key of D major.At Grade 3 we learnt how to transpose music up or down an octave. Let’s explorehow to transpose notes so that they sound: The key signature of D major – the new key – is usedso that we do not have to write lots of accidentals. a major 2nd higher or lower a minor 3rd higher or lower a perfect 5th higher or lowerperfect 5thminor 3rdmajor 2nd(7 semitones) (3 semitones) (2 semitones)& wwbwworiginal noteLOWERmajor 2ndminor 3rd(2 semitones) (3 semitones) (7 semitones)bwwwHIGHERSmart tip major 2nd 2 semitones (1 tone) minor 3rd 3 semitones perfect 5th 7 semitones& wmajor 2ndlower?CTranspose these notes by the named intervals.wwmajor 2ndhigher##4w&# 4œœœœtransposed up aminor 3rd becomesœ œ w4&4 œ œ#4w& 4œ œ œ œtransposed up aperfect 5th becomes## 4 œ œ œ œ w& 4Exercise 2You can work out intervals by counting up ordown in semitones from the starting note.Exercise 1## 4 œ œ œ œ w& 4Similarly:perfect 5thwwmajor 2ndhigherminor 3rdlowerwwminor 3rdlowerminor 3rdhigherwperfect 5thhigher#wperfect 5thlowerCircle TRUE or FALSE for each statement.aThe key of C major transposed up a major 2nd becomes the key of D major.truefalsebThe key of C minor transposed down a minor 3rd becomes the key of A minor.truefalsecThe key of C major transposed up a perfect 5th becomes the key of F major.truefalsedThe key of C major transposed down a major 2nd becomes the key of B major.truefalseeThe key of C major transposed up a minor 3rd becomes the key of E b major.truefalsefThe key of C minor transposed down a perfect 5th becomes the key of G minor.truefalsewwperfect 5thhigherperfect 5thlowerChapter 3: Pitch (Part 2) 17The major or minor tonalitystays the same when amelody is transposed.transposed up amajor 2nd becomes4œ œ œ œ w&4This diagram shows how to transpose the note C up or down by the intervals shown.Did you know?18 Discovering Music Theory: Grade 5

TERMS, SIGNS &INSTRUMENTS (PART 1)In this chapter you will learn aboutNew instruments at Grade 5Transposing instrumentsVoice types and their ranges7More about the new instrumentsStringsHarpNew instruments at Grade 5At Grade 4 we met instruments in the four families of the orchestra: strings, woodwind,brass and percussion.&{?WoodwindStrings: Instruments with strings that areplayed with a bow or pluckedPercussionWoodwind: Instruments that are blown usinga reed or a hole in a mouthpieceWoodwindBrass: Instruments that are blown byvibrating the lips in a mouthpiecePlays from music arranged on two staves, like piano music.The strings on the harp are plucked and pedals or levers areused to change the pitch of the stringsPiccoloA small type of flute. It uses the treble clef and sounds an octave higher than itswritten notesCor anglaisAlso known as the English horn, it is closely related to the oboe. It uses thetreble clef and is a transposing instrument – we will look at this in more detaillater in this chapterBrassStringsPercussion: Instruments that are struckPercussionHere are all the instruments you need to know at Grade 5, including some new ones (in red):Along with the timpani, the following instruments play notes of definite pitch. This means thatthey can play specific pitches (e.g. C, D, etc.).StringsWoodwindBrassPercussionTubular bellsVertical metal bars struck with one or two small hammersViolinViolaCelloDouble bassHarpPiccoloFluteOboeCor niTubular XylophoneHorizontal wooden bars arranged like a piano keyboard and usually struckwith hard beatersMarimbaLike the xylophone but larger with a more mellow sound – usually struck withsofter beatersGlockenspielHorizontal metal bars arranged like a piano and struck by beatersVibraphoneSimilar to a glockenspiel, it produces a softer sound when the metal bars arestruck. It contains a motor to add vibration to the soundCelestaLooks like a piano but contains metal bars rather than strings. It produces abell-like soundSide drumBass y in soundListen to recordings of pieces that contain some of these new instruments, then describe the qualityof the sound they produce (sharp, soft, high, smooth, sharp, etc.) Here are some suggestions:Along with the side drum, bass drum and cymbals, the following instruments play notes ofindefinite pitch. This means they make sounds that are not at a specific pitch. Mozart, Flute and Harp Concerto in C major, K. 299/297c: 2nd movement (harp) Saint-Saëns, Carnival of the Animals: ‘Fossils’ (xylophone), ‘Aquarium’ (glockenspiel) Dvořák, Symphony No. 9 (‘From the New World’), Op. 95: 2nd movement (cor anglais) Tchaikovsky, The Nutcracker, Op. 71, ‘Chinese Dance’ (piccolo)TambourineHit or shaken by the hand, with small cymbal-like discs around its outer edge.Sometimes has a ‘skin’ or membraneCastanetsTwo small discs of wood hit together with the fingers. Originates from SpainTam-tamA large gong hit with a beaterTriangleTriangular metal instrument hit with a metal beaterChapter 7: Terms, Signs & Instruments (Part 1) 6162 Discovering Music Theory: Grade 5

Discovering Music Theory G5 pages.indd 7 17/07/2020 16:35 8 Discovering Music Theory: Grade 5 Exercise 9 Add the missing bar-lines to each of these melodies. The next two exercises draw together the time signatures learnt so far. Exercise 10 Complete these sentences by adding a number to each. In there are crotchet beats in a bar.