aS VE UN TOY Cordon SpearrittPREFACE Four books of Essential Music Theory (Grades 1 to 4) were recently published to update three books which T wrote many years ago. Now Sth and éth grade books are being added to the series, ‘The content of eich book has been set out in a succession of units, each of which ‘might constitute an appropriate weekly lesson in music theory. Each presentation is followed by exercises to ensure thatthe student has a firm grasp of the subject matter, and there are revision units every so often to consolidate the material dealt with, ‘While the contert of each book correlates with the respective grade of the theory syllabus of the Australian Music Examinations Board, these books can be used quite independently n the teaching of music theory in classrooms or private studios. However, itis stressed that whenever possible, the written symbol should be accompanied by the sound of the example, and both teachers and students are encouraged to see to this. ‘The author particularly wishes to thank Peter Ryan and Petra Sitsky of Allans Publishing for many useful and constructive suggestions in the preparation of these books, especially with regard to the layout and visual appeal of the material. Gordon Spearrtt AM B Mus (Melb), AM (Hrv), Ph D (Q'land), FOCMCONTENTS unr 10 u RB 6 “ 15 16 v7 18 9 » 2 24 Tne “Major Scales and Keys Harmonie Minor Seales and Keys “Melodie MinorScales (Part 1) ‘Melodie MinorSeales (Part I) Revision of Units 1—4 Diatonic Intervals ‘Chromatic Intevals ‘Simple and Compound Intervals; Conconds and Diseords Revision of Units 1-8 (Chord Ib Chord Vib Second Inversions of Chords Cadentil § Revision of Units 12-13, Revision of Unts 10-13 Revision of Unts 1-13, Harmonisation~ the Anacrasis Harmonisation Planning the Bass Harmonisation ‘Completing the Inner Voices Revision of Units 17-19 ‘Unaccented Passing Notes and Auxi ry Notes Revision of Units 17 21 ‘Passing Notes in Other Voices (Part) Passing Notes in Other Voices (Patt ID a a Tme Revision of Units 23 -24 Harmonisation of Cadences ‘in Related Keys (Part) Harmonisation of Cadences sin Related Keys (Part I) Harmonisation of Cadences in Related Keys (Part II) Rovision of Units 25 28 ‘Check List Points to Watch in Harmonisation Revision of Units 1-30 Rhythmic Invention Writing a Melody with Modulation Melody to a Stanza Revision of Units 32-34 Revision of Units 1-34 Minuet and Trio Scherzo Revision of Units 1-38 ‘Ait with Variations Recitative and Aria Revision of Units 1-41 ‘Woodwind Instruments (Part 1) ‘Woodwind Instruments (Part I) ‘Comprehensive Test No. 1 ‘Comprehensive Test No.2 ‘Woodwind Instruments (Part I)Una Major Scales and Keys ee] Adalitional major scales for study are Key signatures Chesigyit sceatcpe, Is 3 Sepeerents Gite autge (Chmajor with seven flats — Bb. Ebe ab, Db. Gb, Chand Fb Students are ceminded ofthe Cirle of Sths diagram in Unit § ofthe Grade 4 book of Essential Music Theory. tis important to memorize the order of scales and keys foroth major and minor sales, so that instant recognition is possible. 1 Using acidentas writs the scale ofC sharp major in minims in the bas staff two octaves descending: 2 In the treble staff write the key signature of six flats, and then write the major scale with that key signature in rotchets, one octave ascending, and one descending? 3. Write the scale of € fet major in minims in the treble staff Do not use a key signature, but insert the ‘necessary accidentals Write two octaves asoending, and indicat the semitones with slurs: 4. Write two octaves descending ofthe scale of flat malor inthe bass staff sing accidentals. Write fn :minims and mark the fones with sur: ocental Music Theory Grade 1Harmonic Minor Scales and Keys ‘Gap minor vith Faleading noe has ive sharps —F4, CH, Df and A ‘D sharp minor (with Cx leading note) has six sharps -F#, Cf, GH, Df, Aft and Ef 'A sharp minor (vith Gx leading note) has seven sharps Hf, Ch, GH, D8, At EH BH deepens gilts otis, flat sine (ith Db leading not) has six lats~ Bb, Eb, Ab, Db, Gb and Ch Jase GE TE ‘A flat minor (with GH leading note) has seven flats ~ Bb, Eb, Ab, Db, Gb, Cb, Fo 1 Inthe bass staf write the harmonic minor scale with seven sharps. Do not use a key signature, Dut insert any necessary accidentals. Write in crotchets one cctave ascending and one descending, and show the semitones by means of slurs: NIT 2. Write the harmonie minor scale with ix flats in the treble staff using ake signature. Write two octaves ascending in minis, andl indicate the tones with surs 3. Using croichels, write the harmonic minor scale beginning on the given note. Write two octaves escenaling, inserting any necestory accidentals, and use slur to show the semitones: a 2 Essential Musi Theory Grade 5Tin Melodic Minor Scales (Part |) ‘A melodic minor scale is similar to its harmonic minor form, except that it avoid the augmented second interval (the tone-and-s-half between the 6th and 7th degrees of the scale. It was thought that this interval was awlward in Singing mealies. “The ascending form of the melodic minor scale dfs from its descending form. ‘Whereas both the 6th and 7th degrees of the sale ate raised a semitone in the ascending scale they are both lowered a semitone in the descending scale, The scale of A melodic minor (which has no sharps or flasin its key signature) looks Tike this: Tae ai gigi ni ee Melodic Minor Scale of A (ascending and descending) {tcan be seen that semitones occur between the 2nd and 3d degrees of the scale andthe than 8th degres in its ascending form, and between the éth and Sth land the 3rd and 2nd init descending form. Between all other adjacent notes there ae tenes. In scales with Key signatures, the ascending form of a melodic minar scale will always recuire two accidentals, The descending scale adheres strictly to its key, but will also need two accidentals when it occurs stright after an ascending scale: ee “Melodic Minor Scale of C (wich has three flats) "Name each ofthe fliowing scales, specifying harmonic minor or melodic minor: 7 Se sential Music Theory Grate 5 3DZ Melodic Minor Scales (Part Il) ‘When writing melodic minor scales without key signatures, think carefully ‘what accidentals will beneeded. Fo instance, Cmelodic minor (which has the fats) would only need one acidenta nits ascending form, but would need two more accidental in its descending form: ee |C Melodic Minor Scale (without key signature) (On the other hand, B melodic minor (which has two sharps) would need four sharps in its ascending form, and two naturals and two sharps in i descending form: 'B Melodic Minor Seale (without key signature) ‘The only guide isthe one set out in Unit 3. Rais the 6th and 7th notes in the ascending form ofthe scale, and lower them inthe descending scale. 1. Name each ofthe following scales, specifying harmonic minor or melodic minor == 5 ee Sa 2. Write one octave ascending and one octave descending ofthe scale of G melodic minor in the bass staff ‘in minims without key signature. Insert any necessary accidentals, and mark the semitones with lus: 3. Write one octave ascending ofthe scale of D melodic minor in crochetson the tebe stall using # key signature Indicate the tones with slurs: 4 Essential Muse Thory Grad 5Revision of Units 1-4 1. Write two octaves ascending ofthe sale of B melodic minor in the bass staf, Write in ‘rotchets and use accidentals (no key signature). Mark the semitones with slurs: 2. Insert the key signatur of the major scale which begins onthe given note. Then complete fone octave ascending and one octave descending of this scale, marking the tones swith slurs: —_—————_—_—_ 3. In the bass staff write two octaves descending ofthe scale of F melodic minor. Use a key ‘signature and write in emubreves, marking the tones with slurs 4. Wate one octave descending and one octave ascending of the scale of B flat harmonic ‘minor in minims onthe treble staf. Do not use a key signature, but insert any necessary Accidental, Mark the semitones with slurs: 5. Using a Key signature, write one octave ascending and one octave descending ofthe scale ‘of Cat major in crotchetson the bass staff Indicate the semitones with slurs 6. Write one octave descending and one octave ascending ofthe melodic minor scale which ‘begins on the given nee. Use accidentals and mark the tones with slurs: SSS SS Essential Musie Theory GradeEEE: SSS Tin Diatonic Intervals DDiatonic intervals are those which occur within diatonic scales. Most of the ‘Gatonic intervals have been explained in earlier books. A restatement of the ‘Ginciples determining the assessment of intervals i all that is necessary here. ‘FO tact ith think cf the major scale Deginnung on the lower uf te wo notes, and count the letter-names othe other note: Then Tana aie] [2 Maoe wnerae | |e) minor and pr | [C0 jor nd pe ] Taped gah | | asenea by a | [fect intervals | | fect intervals we eSeia| | Stomaicecme | | lessened by a | | increased by 2 Gaprintenals | | tone are de Gromatc imi | | chromatic See sk || Serbd’Ss St: || tones cated | | Semitone sre tnd fve asper-| | tor, Sinise falled a tinea | erica 1 the lower of two mes is not one for which there is a major scale, think ofthe ‘pote nex toi with the same lttr-name, and assess i from that, For instance, Tappose the interval given was A sharp toD. There sno sale of A sharp major; {HEI intend of A raj, and of the interval A to D fla lowering both notes semitone): _Similacy, if the interval given wos G double sharp toE sharp, convert ittoG to fat (ower both a tone) DES FSS ae ‘Describe each ofthe flowing intervals by number anl quality: Diminished 4th Augmented Sth Major7th Perfect th Minor 6th Diminished Sth \Weite these intervals below the given notes: % — a —— . Minor” -Mar7th Minor 2nd Augmented dth Major 6th Major Essential Music Theory Grade 5Dia Chromatic Intervals: (Chromatic intervals are thse found only in chromatic ales. They are: 6 the, Augmented 2 (8 he Augmented Sind ts iverson, the tand its inversion, Diminished st the Diminished Sed: “Augmented ih ea Aigennded (Chromatic Scale ascending on © ‘Augmented 6th [Aagneretrt 1 Augmented (es (Chromatic Scale descending on C “To calculate the inversion ofan interval, remember the six steps se out in Ath Grade: (@. Whenadded together, the two intervals come to9, So a 3rd becomes ath, and s0 on; (Gi). A major interval always becomes a minor interval when inverted; (Gi) A minor intrval always becomes major when inverted; (Gv) perfect interval always remains perfect ()Anaugmented interval always becomes diminished; (i) diminished interval always becomes an augmented interval 1 Describe each ofthe following intervals by number and quality, and say whether itis a diatonic of lvomaticinterval. an example is giver: Diminished 4th _ Diatonic 2 Invert each ofthe fllowing intervals in the space provided, and describe the inversion by number and quality: Essential Music Theory Grae 5 7Simple and Compound Intervals; Concords and Discords Intervals can be describedas either simple intervals, where the twomnote are within an actave of etch cther, of compound intervals, whora the distance between the te notes entendo over more than anociave: and ath 247=9h 447=11th Simpleintervals Add 7 to formcorresponding Compound Intervals Intervals can also be classified as concords ~ those which sound satisfying in themselves - oF as discord ~ those which require another interval or chord to fllow them. Concords can be further divided into (1) perfect cancords, such as the perfect unison or cctave, the perfect dth and perfect Sth: and @2) imperfect concords~ the major or minor ed, and the major or minor sth, All nds and 7ths, finda atigmented and diminished intervals, are discord 1. Inthe text above, describe exch interval by number and quality 2 Describe each ofthe following intervals by number and quality. Then say whether itis simple or ‘compound, and a concord or discord An example is giver me Diminished 6th Simple Discord 8 Essential Masi Theory GraeRevision of Units 1-8 1. _Inverteach ofthe following intervals in the space provided, and describe each inversion by ‘number and qualty 2. Describe each of the following intervals by number and quality. Then say whether it is simple or compound, and a concord ot discord: 3. Write a bass clefand then the melodic minor scale which has Fas it dominant Write in sminims using accidentals (not key signature), and write one octave ascending and one ‘octave descending, Mark the semitones with slurs: 4, Inthetreble stafforitethekey signature of sx sharps. Now write the harmonic minor sale with that key signature in crotchets beginning on the subdominant. Write ane octave descending and ascending: 5, The given note isthe supertonic of a major sale. Write two octaves descending ofthat scale, using any necessary acccentals. Indicate the tones with slurs: 6. _ Name each ofthe following intervals, then invert tin the space provided, rename it and ‘say whether the inversion is simple or compound interval! Essential Muse Thory Grade 5Tha Chord Ib 0 Both the root postion and he fist inerson ofthe cord on the nmajor keys (chord), have already been Colca iparicipea pea prayer me | book ‘na minor key, chord In oot postions a diminished tried (the Sth above the bass note isa diminished Sth), and it ‘needs special care. Its best not to use it fr the present: “The first inversion ofthis chord, however canbe very useful {nether a major or a minor key, and goes well just belore chord V. The bes note to double in chord Tbs usually the ‘bass note. Beethoven uses itn a cadence in the Trio ofthe Scherzo of his Sonata Op 2 No 2. Play this either in Beethoven's setting, or in a simplified version, and listen carefully to the effect of: eI bw 1 1 tee Insert the key and the chord indications in the following example: ot ton 16 cot) ee ir a ‘Complete the following chord progressions in four vocal parts. Fist of all work out the key of exch txampleand the cherds implied, and insert the chord indications. Be careful to avoid consecutive ves lor Sths between any 30 voces Essent Music Theory GraeDh Chord Vilb 4, (Chord VIL-thechord on the leading note— diminished chord in both major and minor keys, and therefore best avoided for the time being. But its fist inversion, chord Vill, is another useful chord. I is often used when the melody has the leading note going tothe tonic. The best note to double in VI isthe Sd from the bass. The bass itself could also be doubled, but not the leading note Listen to the ue of Vib inthis harmonisation of few bars of Golden Stumbere' ng J often) used in place of such a cadence. Be Vo Tm om OM mb om vm ‘The progression VIlb~1 almost sounds lke a perfect cadence, and itis sometimes (but not 1 Insert the key and the chord indications in these bars from ‘© come, al ye faithful’: 2. Complete the following chord progressions in four vocal parts. Insert the key and the chord indicatons, including the use of VIIb in each example Essential Music Theory Grade 5 nDa Second Inversions of Chords Jn Unit 18 of the 4th Grade book, it was explained that ‘when the tied of a chord isin ‘the bass instead ofthe 100%), itissaidtobeinfestinversion, ‘Taking that one step further, ‘when t chord hast fith ag Cmajr Root position Ist inversion 2nd inversion the bass note itis described tonicchord T S - asa second invession chord Just as first inversion chords are differentiated by adding the small eter‘, second inversions have the letter ‘cto reler specifically to them. ‘ Another way to refer to second inversion chords ist cll them chords, because the Intervals above the bass note are now 26th and a th. ‘The best note to double in a second inversion chord isthe bass note. As was the case with first inversion chords, there can be many different ways of arranging the voices ina second inversion chord, Study the disposition ofthe voices in these second inversion chords onthe tonic in the keys of C major and D minor: 1. Underneath each of he following examples, use chord indications to show the positon of each chor, Aare toni chords oftheir keys 2. In our part vocal tye, write tonic chord in second inversion in each ofthe keys named In each eae. inert the appropriate key signature. Remember that ajacent voices must be within an cclave of och ‘other, except pethaps tenor and bass: Amine Gmaor——Cminor_— flat major Fino Emajor 2 sential Musi Thory GradePPethaps the commonest use of the tonic second inversion chord, Ic is immediately before a Perfect cadence. The progression KV 1 hs been used a cadences of ‘thousands of Westen musical compesitions ‘over the past fosr hundred years. Tbs ie Vt Play this except from the Rondo of Hayda’s anofrte sonal in Hb XVI, No 48 where the ‘usc goest9 Gao, and listen caret ‘he cadet § chordie most fective when it al con th strong Bat of the bo sna ced on he Stongest beat eat shouldbe on a stoner beat thanchord V which follows . G bbe Vv 1 “The § chord can equally well be used at an Imperfect cadence simply as le V, where again it must fll on a stronger beat than the dominant chord that follows Play and listen to this harmonisation ofthe end ofthe third phrase of ‘Drink to me only ovith thine eyes’ Note that the upper voices almost always move by step, the 6th above the bas going to the Sth, and the 4h to the Sed. a: 6 ky ‘Thebest way toapproach the 4 chord is by step in the bass, so good chords to precode le are Ib, IV, IVE oF VI. However, I and tb are also possible, as can be seen fram the ‘ample above Inger the chord indications in the following excerpts from a hymn harmonisation: Essential Music Theory Grade 5Revision of Units 12 and 13 ‘When writing Ic to V progressions, remember that the upper voices should chow the 6th above the bass going to the Sth, and the 4th to the 3 1. In fourspart vocal style, write in minims the progression Ie to V in each ofthe following ‘major keys. An exampleis given: J 2 Complete each of the following cadences in four-part vocal style, and say whether itis perfect or imperfect 3. Write the progressionIlb Je V Tin four-part vocal style each ofthe named keys Write in ff time in each ease, An example is given. Remember the leading note accidental in minor key examples: Eminor minor E flat major 4 Complete the following cadences in pianoforte style, and write below whether the cadence Is perfect or imperfect An example s given: Perfect 1 Essential Muse Theory GradeRevision of Units 10 - 13 ‘The best note to double in most root position and first inversion chords is that one which is the first, fourth or fifth degree of the scale (see Unit 20, 4th Grade). However, in second inversion chords, the bass note is the best to double. 1. In our vocal parts; harmonise each ofthese progressions twice, using diferentharmenies for the middle chord each time. An examples given: 2, Harmonise the edencss in the following passage in four-part vocal styl, preceding each ‘aclence by a suitable chord. Include a second inversion chord in each cadence, and insert the chord indications below: eee [a]Revision of Units 1 - 13 ‘On completion of the writing of a melody or a progression of chords, try to ‘hear’ how it sounds. Pianists should play over their work, listening intently to the effect, before handing it in for assessment. 1. Write i minim inthe bass staff the harmonic minor scale that has five sharps. Write two p-—— cetaves ascending, begiming and ending onthe dominant. Donotusea key signature, Dut insert any necessary accidentals Finally, mark the semitones with slurs: 2 Name these intervals ar "Now invert each ofthe above and rename it, and say whether the inversion sa diatonic or ‘chromatic interval {3 Insert key and chord indications in the following cadential progressions then complete them in pianoforte ste » 16 Essential Muse Theory Grade 54 Pedtnndtermcicleniierbtetetercomyotd Aocmpnigiss — [ Now () invert each of them (Gi) daseribe each inversion by number and quality: and (li) define each as being diatonic or womatie. An examples given. ech cadence by asutable chor ae a ‘5. _Harmonise the three cadences in the following passage in four-part vocal style, preceding, 6 Using a key signature, write the melodic minor scale beginning on the given note, one ‘eciave ascending and ane octave descending. Mark the semitones with sats: ations, capital letters usually ignify major keys, and small letters show minor keys: major Essential Music Theory Grade v7Did Harmonisation - the Anacrusis ‘Some melodies for harmonisation begin with an anacrusis. This is usually a note of ‘dominant harmony (V), followed by a note of tonic harmony (I) on the strong beat of the frst main bar. Some possiblities of harmonising such a beginning are as follows: Ttisalso possible to choose two diferent post ‘harmony, for example Ito Ib or Tb to. to harmonise an “anacrusis opening, if the melody seems to invite such a beginning, asin this case: 1 bay ‘The main principle to be observed is the need to establish tonic harmony firmly at the beni utully on the fst song bet ofthe fst bar, ori hats ot posable, on the anacrusis (Choose suitable chords to harmonise these examples Insert the key and chord indications and provide ‘bass part for each 6 Essential Music Theory GradeDO Harmonisation - Planning the Bass Here isthe best way to proceed in the harmonisation ofa melody in four vocal parts 1 Chek the Ey sigan and fie fit td tot of he Papert son Findain tise g I bVBI Nek Vb | ewe ee Be sure to include a second inversion chord in one of the dence: Essential Muse Theory Grade 5 »wth ints on harmonisation, the writing of parts for alto and tenor should only proceed ‘once a good bassline has box devise! Polit to wats ee: rein a complete harmonisation ofthe melody begun in Unit 18 Harmonisation - Completing the Inner Voices ‘Sublet ending nt, 1. Groom good doubling notes lout tbe ‘SoxSs Recap at bn told never Se art me ee) gL BVI Mb eV b IVI — 2 Avoid consecutive caves and ithe. This 4 Trott ladng not ofa micor hey 2am Avoid oman eps expec when is ies tothe ering of part evel. Pine ‘may nace chosing nother non of ‘Schament nee tele err parts Sreachanging nts beween them Oly Sop tee ec latneort peed ‘soaugmented 2dr stn appescingo Eeeorierse Sees 5. Moay beta ath sage, oe ofthe inaer ‘oe hw aater dilate ate TRetnor oa lessr exe doin the sbove Hover Seer tetera ‘ve pene cna» cow mgetan faber Here isthe melody se for ha-monisation in Unit 18. Add the bas line and chord indications (corected ‘Mnecessary), and complete the harmonisation by adding voices fr alto and tenor -Excential Music Theory Grade 5Revision of Units 17 - 19 Read again Units 29 and 30 of the 4th Grade book to guard against possible faults in part writing. 1. _Inthis example, harmonise each of the cadences in pianoforte style, preceding each one a suitablechord. Insert chord indications for each cadence vo 2 Harmonise this melody in four vocal parts, inserting chord indications throughout ‘Underneath each endence name the type of cadence chosen: Essential Musi Theory Gnd 5 PaUnaccented Passing Notes and Auxiliary Notes ‘Play these few bars ftom the beginning ofa Minuet by ]S Bach, and listen carefully z a — Gleb 1 Vv MW ob wv ‘The chord indications show that nota ofthe melody notes have been harmonised. Ioften ‘happens in music thet harmonies are provided only forthe main beats ofthe bar ~ in this ‘ase three beats ~ and that other notes ofthe melody go urharmonised. These ‘ther’ notes ‘may be alle unessential notes, as they donot belong to the essential harmonic progresion. When these extra notes pass by step ina short ascending or descending scale pattern fom ‘one harmony note toanother, they are called unessential passing notes. [Now play these few bars from a Minuet by Henry Purcell me oa Saree et 1 % Ww Mh MV WY ‘This time, the extra quavers in bars and 5 do not pass on up or down the scale as passing ‘notes do, but return i the notes from which they came. In other words they ‘decorate’ of “help” the main harmony notes, and for this reason they are called auxiliary notes. Notice that ausiary notes can be lower auxiliaries, such a the G sharp in the frst bar, or upper ‘aunalianes Ike the Bin the frst bar ‘Music would be much less interesting without these ways of decorating melodies. Try playing the above examples without the passing or anliary notes, to verity this fact. In these four bars fom the Tio ofthe Minuet of Beethoven's piano sonata, Op-2No 1, there are several sing and awaliary notes. Mark de passing notes With the leer P, the Upper ausibary notes WHEN Ua, and the lower ausilares with LA, the letters being placed above the notes concerned: Essential Muse Theory GradeRevision of Units 17 - 21 1. Add passing notes or auuillary notes in appropriate places to the melody of this s ng sppropriate iy ong a ar r pp 2. Harmonise this melody in four vocal part, inserting chord indications. Do not attempt to hharmonise passing notes or awxiliary nots » a ae Play the above harmonisations at the piano before handing, them in for assessment, and listen critically to the harmony. Esental Music Theory Grade 5 BTz Passing Notes in Other Voices (Part I) ‘The use of passing and auxiliary notes isnot restricted to the soprano voice; they may be found in other voices, even in the bass part. JS Bach favoured using them liberally in his chorale harmonisation, asthe last phrases of his chorale Wachet auf, ruft uns die Stimme’ (Wake, arse, a voles calling) show: bVM bYMWI bRaNW ww ‘Needless to say, passing notes must genuinely ‘pass thats, there can beno leaps either to or ‘rom them ‘A possible danger In using them is that they may cause E zi | ‘consecutive cctaves or fifths where none occurred before they were inserted, asin tis instance: I aire Even worse, the use of passing notes will notelimina’e consect- tive octaves or filths that were already there: ‘Add at least five passing notes (a least one in each ofthe four vocal parts) in appropriate places inthis Inarmonisation. inser the chord indications frst fal: a d- Py Essential Muse Thory Grade 5Dz Passing Notes in Other Voices (Part Il) ere moon cone enlace ene eee eee 4d] ean feo ou ene ‘Special care needs tobe taken when using passing note in minor keys, where a part moves, {rom the dominant tothe leading not, oF vie versa. In such case, the melodie minor form of ‘thescale will ned tobe used to avoid the augmented 2nd, ax may bescen from these examples dd Another means of enriching harmonic textures through the use of added harmony notes, Once ‘again study Bach's chorale harmonisationin Unit 23. On the second beatof the middle bar, Bach ‘has the alto part moving in quavers from B flat toG, and th bass part moving from to flat, “while the soprano and tenor parts remain steady. Obviously these quavers inthe alto and bass ‘Pars are not passing notes, ut added harmony notes. [tis quite permissible for one oe more ‘Voices to move to another not of the same harmony within the best like this, but once again it ‘Is necessary to check that this does not cause errors such as consecutive Sths or Ses, Decide whether te following progressions are corrector incorrect. Fincorrst, sketch in dotted lines to indicate the eroe Essential Music Theory Gude 5 2‘Revision of Units 23 and 24 In Bach’s harmonisation ofthe final phrases of ‘Wachet auf" indicate the use of passing notes bythe leter “A, and added harmony notes by the 30 notes by the eter‘, eusiary Teter Fr: a aaa ‘Add atleast five passing notes (atleast one in each ofthe four vocal pars) in appropriate 2 placesin this harmonisation. Inset the chord indications is ofall be] 3. Decide whether the following progressions are correct o incorrect. If incorrect, skelch in doted lines to indicate the errorHarmonisation of Cadences in Related Keys (Part |) Any major or minor key has five closely related keys, viz, (0) the map or minor key | | Gi) the major and minor | [ (i) the major and minor | ‘with the same key Signature, that i, ts | sebtivemajoror minor keys that have one Keeye that have one sharp of one at os harp or one ft more | teniteorg | | thane orga ‘The keys releted to E major (with four sharps in its key signature), fr instance, are C sharp ‘minor (also with four sharps), A major and F sharp minor (each with three sharps), and! B major and G sharp minor (each with fve sharps). In stalf notation, here are the keys related to G minor ‘Keys with one lat les" Keys with one flat more G minor ‘Dminor Cminor Bilat major Fimajor flat major In Units 37 and 38 of the dth Grade book, it was shown how melodies can modulate othe slominant or relative major or miner keys, and examples were given of the harmonisation of such melodies: Glivu p a Iv bt DMYv 1 CME ib Vv 1 [Read these Units in the sth Grade book again. In harmonising cadences that modulate, the first important thing sto recognise the key to which the melody modulates, ‘The following melodies modulate to two related keys before returning to the original key. Underneath teach cadence, name the key at that pont Essential Music Theory Grade 5 2Harmonisation of Cadences in Related Keys (Part Il) ‘Once the kes of thecadences have been correctly identified, the next step isto insert chord indications that willead from one key tothe next. I is essential to Find one ofthe chords ‘Whichis common tothe two keys that is, which exists in both keys, to link them together. In the G major example set out i the eat of Uni 2, for sta Hae cll eae an be, ‘common to both G major and D major is the frst inversion of the chord of GBD, whichis > inG major and IVb in D major. Study this chordal analysis of the frst ofthe melodies set for ‘working in Unit 252 ———— —— GW NbGS 1 OWES al eT bag [Note the consecutive Sths between soprane and alto voices, bas 1 ton the above example. ‘A perfect Sth may alvays be followed by a diminished Sth, ora diminished Sth by a perfect 5th, except that in the latter case the bas should not be one ofthe Voices involved, Plan an appropriate bas: line and insert chord indications in the second melody set in Unit 26. Hiarmonise the four cadences in four vocal parts (two of which modulate to related keys), Also amon the preceding hard each cadence 2 Essential Msc Theory Grade S