Syllabus for Grade 1 (1) Note values of semibreve, minim, crotchet, quaver and semiquaver, and their equivalent rests (candidates may use the terms ‘whole note’, ‘half note’ etc.). Tied notes. Single-dotted notes and rests. (2) Simple time signatures of ¥ } 4, bar-ines, and the grouping of the notes listed above within these times. Composition of a two-bar rhythm in answer to a given rhythm starting on the first beat of a bar. (3) The stave. Treble (G) and bass (F) clefs. Names of notes on the stave, including middle C in both clefs. Sharp, flat and natural signs, and their cancellation. (4) Construction of the major scale, including the position of tones and semitones. Scales and key signatures of the major keys of C, G, D and F in both clefs, with their tonic triads (root position), degrees (number only), and intervals above the tonic (by number only). (5) Some frequently used terms and signs concerning tempo, dynamics, performance directions and articulation marks. Simple questions will be asked about a melody written in either treble or bass clef. First published in 1990 by ‘The Associated Board of the Royal Schools of Music (Publishing) Led Reprinted in 1991, 1992, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, © 1990 by The Associated Board of the Royal Schools of Music ISBN 1 85472 4908 All 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. ‘Typesetting and music processing by Halstan & Co. Lid, Amersham, Bucks Printed in Great Britain by Headley Brothers Ltd, Ashford, KentIntroduction In the theory examinations you may write your answers either with a pencil or with a pen. Most people use a pencil, but the choice is yours. The important thing is that the answers should be clearly written. If you use a pencil, choose one that is not too faint, and make sure that it is sharp. If you use a pen (of whatever kind), choose one that does not make too thick a stroke: some of the lines you will need to draw will have to be thin. ‘The advantage of using a pencil is that you can make corrections easily and neatly. But this needs care - and also a good-quality, clean rubber if you are to avoid smudges (and perhaps a crumpled page as well!). Right from the beginning, it is important to learn to write down music clearly. Badly written work may be misunderstood, so it could lose you marks in an examination. And quite apart from examinations, bad writing leads to mistakes or to waste of time when musicians have to sing or play from manuscript. Some hints about writing will be given in these work-books, and any printed music which you are learning will provide a good model. Look closely to see how the notes and signs are written, and where they are placed. Practise copying out music carefully. To do it well may take time at first, but speed will come with practice. In the examination marks will be lost for inaccurate copying and untidy work. A Elementary time values Exercise 1 Exercise 2 (see The AB Guide to Music Theory, 1/1) What are these notes called? OName ccc 0d Name... J Name ... PD Name eee ‘Complete the following sentences by adding the right number on each of the dotted lines. (As an example, the answer to the first one is given.) A J lasts aslongas 2 Js. Js. A o lasts aslongas.... Js. A. o lasts as long as. . Ad lasts as long as... 2) s. Ad lasts as long as .Bar-lines and time signatures Exercise 3 Exercise 4 Exercise 5 Exercise 6 Exercise 7 (a) © @ Exercise 8 (a) b) (©) (d) (see The AB Guide to Music Theory, 1/2) ‘What are these lines called? . wee TT ‘ 7 a2 302 I 21s i see What is this pair of lines called? ............. At the beginning of a piece of music you will usually find two numbers: for example, 4%. Yor 4. What are these called? 6.6.6... cccceeeeeeeeeeee In directions such as 3, } and 4, what does the top number tell you? And what does the bottom number tell you? So what is the full meaning of 3? And what is the full meaning of 9? 0.2.00. .ccseceeeeeeeeseessseeseecsenseeaee Write the sign which is sometimes used instead of 4 Add ONE note at each of the places marked * to make the bar complete. J 0 I) d'ld Load | te eee ee ad A el ae My eel el a) Nel) EI ‘Add the time signature at the beginning of each of the following, JJld Idd dd J eee eee 2ddD III d1d Ji 24 IddS DOI | “Jd |c Exercise 9 Exercise 10 Notes on the stave (see The AB Guide to Music Theory, 1/1 & 2/1) ‘The easiest note to draw is the semibreve: it is simply an oval, o . If it is meant to be on a line, the line should run exactly through the middle, and the semibreve should cover only half the space on either side. For example, It is not clear where the notes marked x are meant to be. Draw a semibreve on every line and in every space between the given notes. 7 € ‘Notes higher or lower than those provided for by the stave can be shown by drawing an additional line or lines when required. For example, < Notice that each note then has its own line: A line should not be drawn over the note immediately above the stave, nor underneath the note immediately below SS = ‘When you draw extra lines, they must not slope up or down. They should be the same distance apart as the stave lines: ‘As many lines as are needed may be drawn, but in Grade 1 we shall go no further than one above or below the stave: ‘What are these additional lines called? .Exercise 11 Exercise 12 Like semibreves, the note-heads of minims and shorter notes are also oval (not round), though drawn a little smaller. (Some people draw black note-heads as single slanting strokes, thus: J) ) but these are not easy to read and can lead to mistakes.) ‘The stem of a note goes down on the left {and up on the right J. ‘The stems of notes on the top two lines go down. ‘The stems of notes on the bottom two lines go up. The stems of notes on the middle line may go up or down. Pa po == = t — ae Notice how long the stems are, and do not draw them too long or too short. Also, they should stand up straight. Here are some good and bad examples: : Pa=p —- eae — Good Bad Good Bad Good Bad Good Bad Good Bad Draw a crotchet on every line. Draw a minim in every space. Quavers (and shorter notes) are shown with curved tails J) Fin printed music, but you may draw them with straight tails J’ ( if it is easier. Notice that the tail is always on the right-hand side of the stem. ‘Tur each of these notes into a quaver. ee8 a D The treble (G) clef (see The AB Guide t0 Music Theory, 2/1) ‘The treble clef is not easy to draw at first. The most important part is the loop around the second line (G) of the stave: start (from left to right) like this ~ = and then follow through. The top of the clef should be just above the stave, the bottom just below it. Practise by copying this treble clef: & In Grade 1, only one ledger line will be used in the treble clef: the one below the stave, A note on this line is middle C: = Exercise 13 Under each of these notes write its letter name. E The bass (F) clef (see The AB Guide to Music Theory, 2/1) ‘The bass clef can be drawn in two ways: Notice that they both have two dots: one on either side of the F line. ‘Try drawing both ways here: In Grade 1, only one ledger line will be used in the bass clef: the one above the stave. ‘A note on this line is middle C:Exercise 14 Exercise 15 Exercise 16 Under each of these notes write its letter name. © Name .....-.+ Under each of these notes write its letter name. Name ..... Name .. Before each of these notes draw the clef which will make the letter name correct.F More on time values (see The AB Guide t0 Music Theory, 1/1-2) Exercise 17 What is this note called: 2)? ........cseeeeeeseee Complete the following sentences by adding the right number on each of the dotted lines. AD lasts as long as... os. A @ lasts as long as.... os. Ad laseastongas.... Ds, Ao lasts as longas.... ds. Exercise 18 Add ONE note at each of the places marked * to make the bar complete. oid IFlL oO 4Ad HS HDS oi tS J 1 wAddos JSS Notes with tails are often joined (‘beamed’) together. For example, DD may be written TOs) DH as TT; ond HD Dos SI. Exercise 19 Rewrite the following, joining up the quavers and semiquavers. (a) (da)" G Rests Exercise 20 @ (b) © (@) (ee The AB Guide to Music Theory, 3/1) ‘The semibreve rest hangs below a line, normally the fourth line if there is only one melody on the stave: ‘The minim rest sits on a line, normally the third: A crotchet rest may be drawn in two ways: for “The first is a little harder to draw, but try to use it. (It is used in printed music, and even in manuscript music most composers now write the rest this way.) It is drawn this way - a sideways z on top joined to a sloping c below: 2 a Practise by copying several crotchet rests after the one printed here: g - Normally, the crotchet rest is placed in the middle of the stave, and so are the quaver and semiquaver rests: Add ONE rest at each of the places marked * so as to make the bars complete. Remember that a completely silent bar will always take a [===] rest - not only in 4 but also in jf and 4.H Ties (see The AB Guide to Music Theory, 3/2) A tie (— or — ) joins notes which sound the same. It turns them into one sound (d_d, for example, sounds like -! ), Any number of notes can be joined in this way, but they must be the same notes, and they must be next to each other. The tie goes from the head of the first note to the head of the next, on the outside: = not and 7 jot = not SS Exercise 21 Add ties wherever possible in the following. Underneath each, write the total number of crotchet beats made by the tie (as shown in the first example). (a) (d) ip beats ++ beats beats sss beats () beats oss Beats | Dots (see The AB Guide 10 Music Theory, 3/2) A dot after a note makes it half as long again, Exercise 22 Complete the following sentences by adding the right number on each of the dotted lines. ‘A. 2. lasts as long as .. s. Ad. tastsaslongas.... J s. Ad. lasts as longas.... 2s. A 2 tasts as iongas.... ds, ds. Ad. tases as long as... ds. Ad. lasts as long as13 “The dot must be placed immediately to the right of the note or rest to which it refers. If the note-head is in a space, the dot goes in the same space; if the note-head is on a line, the dot normally goes in the space above: SSS Exercise 23 Add dots where they are needed to make complete bars. ® ot ES} & © DS = (@) ® = — (8) Exercise 24 andl, Soe COmbra mai fi) @ 4 SS Franch, The Doll’ Lament () Foster, ‘The Old Fos at Home’ © = J. S. Bach, No. 4 of Six Preludes, BWV 936, (d) suid, Puree Sarabands 2.0219 © Mendelssohn, The Hebrides (Overture) ert S Sa ‘Negeo Spiritual, “Swing low, sweet chariot o Die = Ravel, Bolero (h) Reproduced by permission of ations Durand S.A., Paris, Ricordi & Co. (London) Lid14 J Accidentals (see The AB Guide to Music Theory, 2/1) Exercise 25 What is this sign called: #?............... How does it affect the note which follows it? ‘What is this sign called: b ? ‘What is this sign called: Look closely to see how the three signs are formed, and note how they are placed on a line or in a space: — Di Di CH Ch Bb Ab If they are not carefully drawn, it can be difficult to tell which note each belongs to. Exercise 26 Draw a sharp in front of each of these notes. => o —e Draw a flat in front of each of these notes. Draw a natural in front of each of these notes. 2 —— 2 = a eeeel a ‘The signs for sharps, flats and naturals are all called ‘accidentals’, Exe Give the name of each of the notes marked with a number. The letter name alone is enough if there is no accidental (e.g. C). If there is an accidental, it must be shown (eg. F#). (As examples, the first two answers are given.) A 3 4 5 (a) 1G# 2G. 3... deter ole15 (b) K Semitones and tones (see The AB Guide to Music Theory, 2/1) Exercise 28 = Draw -— (as in the first example) above any two notes making a semitone. oon $5 oer Ger d Exercise 29 Add an accidental (if needed) to the second note in each of these pairs, to make it a semitone above the first. Put a tick underneath if no accidental is needed. SS Exercise 30 Add an accidental (if needed) to the second note in each of these pairs, to make it a semitone below the first. Put a tick undemeath if no accidental is needed.16 L The scales and key signatures of C, G, D and F major (See The AB Guide 10 Music Theory, 2/2-3) Exercise 31 In this scale of C major, two notes a semitone apart are marked by —: Mark the other two notes which are a semitone apart in the same way. ‘Add accidentals before any notes that need them to make the scales named below. ‘Then add -— above each pair of notes making a semitone. G major (ascending) oe F major (descending) D major (ascending) F major (descending) G major a FO SO (ascending) ae Exercise 33 Name the major keys which have the following key signatures — Key... major Key... major —S= f= Key... .major Key... majorExercise 34 Exercise 35 Exercise 36 @ 7 Add the clefs and key signatures needed to make the scales named. (Remember that the key signature comes after the clef but before the time signature.) F major C major D major G major ‘Write the scales named below, using the given rhythm. Add the correct key signatures but do not use any unnecessary accidentals. Aero aeeeaer eran aera G major (descending) —_—————————————————— (ascending) C major (ascending) Name the key of each of the following. Then write them out again, using key signatures instead of accidentals. Beethoven, Violin Concerto (Ist mvt) Key... major18 Exercise 36 (continued) (b) (d) © ©) Mozart, The Magic Flue (O Isis and Ositis’) Key....major J.S. Boch, Anna Magdalena Bach Notebook (Minuet) ‘Traditional, “arly one morning’ Key. ...major Tehaikovsky, Serenade for Strings (Waltz) Key... .major Elgar, Pomp and Circumstance March No.4 : © Coprtisht 1907 by Boosey & Ca, Lad Key... major Reproduced by permision of Boosey & Hawkes Music Publishers Lid.19 M Cancelling an accidental (see The AB Guide to Music Theory, 2/4) ‘An accidental lasts until the end of the bar. For example, the note marked * here is F#: note 1 is F#, note 2 Ft, note 3 Ft, note 4 F# (the # here cancels the earlier 4 ). Exercise 37 Before cach note marked *, add the accidental needed to cancel the previous accidental: $a (a) (b) (©) (@) Exercise 38 Give the name of cach of the notes marked with a number. The letter name alone is ‘enough if there is no accidental ~ but keep in mind the key signature and any accidentals which may have been added earlier in the bar. Remember, too, that an accidental only affects later notes in the bar when they are on the same line or in the same space. 1 2 Seca es: 6N Degrees of the scale and Intervals (see The AB Guide to Music Theory, 2/2 & 7/1) Exercise 39 In cach of the following, the ‘first degree’ of the scale (the key-note) is in brackets. After it, write the note whose degree is given below (as shown in the first example). 4th 4th =i it g Th Sth 6th (8th) The distance in pitch between two different notes is called an interval. Ik is a ‘melodic’ interval if the two notes are played one after the other - =F or a ‘harmonic’ interval if they are played together - =—S= ‘The size of an interval is measured by the number of degrees of the scale it includes: and 3rd 4th 5th ‘The number of degrees is the ‘number’ of the interval. It is not changed by a key signature, or by any accidentals in front of the notes. In Grade 1 we shall use only the intervals which have the key-note as the lower note. These, for example, are the intervals from the key-note in G major: oe see : e oo aed and 3rd 4th 5th 6th 7th Bve Exercise 40 Give the number of each of these melodic intervals (2nd, 3rd, 4th ete.). —_— ee fe a o F major ...... [oe es cn A - ee G major ..Exercise 41 Exercise 42 (a) © d) ©) a4 Above each of these notes, write a semibreve which makes the named harmonic interval. D major 3rd 7th 5th and 4th 6th => = = = = C major 5th 8ve 6th 4th 3rd th Give the number of the melodic intervals marked —— in the following. The first note is the key-note in every case. Haydn, Symphony No.94 (Surprise) 2nd mvt) Ravel, Morhor Goose (“The Enchanted Garden’) etc, (b) Reproduced by permission of Editions Durand S.A. aro, “The Holiy and the wy’ PAG Rico & Ce London) La. Purcell, Sonata of 4 Parts, No.9 (‘Golden’) (Ist mvt) — Elgar, Salur d'amour © 1919 B. Schow’s Shoe, Maine Reproduced by permission of Schott & Co, Ltd, London Schubert, Rosamunde (Ballet No.2) = ‘Wagner, Siegfried (Act I, Scene 3) et Beethoven, Missa Solennis (Glocia)22 O The tonic triad (see The AB Guide 10 Music Theory, 8/1) ‘The key-note, or first degree of the scale, has yet another name: the ‘tonic’ ‘The tonic triad is a group of three notes: the key-note plus the 3rd and 5th degrees above it. These are all tonic triads in C major: Exercise 43 After cach of these major key signatures, write its key-note followed by its tonic triad (as shown in the first example). e e o =e = a P Composing an answering rhythm (ee The AB Guide to Music Theory, 5/1-2) A two-bar rhythm will be given. It will start on the first beat of @ bar, and it will use one of the time signatures you have already studied (3, 3, 4). You will be asked to write another two-bar rhythm to follow it. Notice that a melody is not required: only a rhythm - something which could be played on a drum or on one note of the piano, or which could be tapped out on a table. Therefore, a clef and a key signature are unnecessary. You can write a rhythm on any one line of the stave, or just on a single line, or without a line at all: OLY ga mis ‘There are two different problems in this test. The first is how the rhythm is written down: which notes should be joined (‘beamed’) together, and where ties and dots may be used. ‘This is just a matter of remembering a few simple rules. ‘The second problem is what else the examiner will be looking for, apart from correct notation, What matters most here is whether you can make up an interesting two-bar rhythm of your own. Only general advice can be given about this. ‘We will tackle these two problems separately on the next page, starting with the rules.Exercise 44 (1) Beam together (@) two quavers which could be replaced by a crotchet: PFIVaL TAs Dsl ad on (b) four quavers which could be replaced by a minim: tITTN ATTN as am (©) six quavers filling a complete bar in }: i QT In printed music you may sometimes find groups of four or six quavers beamed together in twos. Nevertheless, in this test you should keep to the rules above. Note that in 4 quavers should never be beamed across the middle of a bar between the 2nd and 3rd beats: 44 STII! Vis wrongs 4 J SD SD S| is righ, (2) Beam semiquavers together in single beats, and also any group including a semiquaver: 4 STAT 4 TT) i Al (3) Avoid ties wherever possible: 4d Minvenertnan tL TIs4 1 Jd listener tant J Ld dL You may have noticed that in these rules nothing has been said about rests. There are Special problems about the arrangement of rests, and they will be explained in Grade 2. You will not need to use rests when writing an answering rhythm in Grade 1. ‘The next exercise will give you some preliminary practice in writing rhythms correctly. Rewrite the following bars without changing their effect, but making any necessary corrections in the use of beams, ties and dots. @ebaty mgthhay wo grorrrny 4 4 4 @PPddo1 og ddodt jo gl ororndy @) 3 + 4 PPA w ALAA gL 3 4 424 Now for some general advice about your two-bar rhythm itself. The first and most important Point is this: try to imagine how the notes which you are writing would actually sound. If you can accurately ‘hear’ them in your head, most of the advice below will be unnecessary, When you are practising, always tap out your rhythms. Even in the examination room you need not disturb anyone if you do this really quietly with your finger-tips on the desk. It is very important to keep in strict time, which means having a clear speed in mind. Probably somewhere between J = 76 and J = 100 will be suitable. (For an explanation of speed directions see page 28.) Normally it does not make the test any casier to imagine it at a very slow speed. Remember that the examiner will want to see that you can invent an interesting rhythm. Imagine, for example, that you have been asked to add a two-bar rhythm to follow this: Se dana that would be correct. But it is very dull. Another solution would be to repeat the two bars you have been given. This often happens, as in this example: J. 8. Bach, Anna Magdalena Back Notebook (Minuet) 3 4 1 2 ayant) ITT J J Tis si However, if in the examination you merely copy out again the two bars you have been given, you still have not shown that you can invent anything. Your rhythm, therefore, should be a little different to the one you have been given, But it should be similar, and parts of it may even be exactly the same. Bars 1 and 3 of this melody, for example, have the same rhythm (though not the same notes): Beethoven, Symphony No. (Ath mt) 1 2 3 4 er eee eee er eee In the next example, bars 2 and 3 have the same rhythm: 4 Hook, Guida di Musica, No.2 1 2 3 eeeegeeegeeeee 2 oid ie oases ea cell And in this example, bars 2 and 4 have the same rhythm: Stanford, Six Sketches (Minuet) 1 2 3 4 fe eter ee eee ee eemeeh |Exercise 45 (a) >) © (d) © @ ®) 25 Patterns such as these can help to bind the four bars together, but you do not have to use them. Here, for example, are four bars which all have different rhythms: Dvoidk, “New World’ Symphony (Ist mvt) 2 3 4 cereale acre ears ere ea enaacal But although they are all different, bars 3 and 4 seem to belong to bars 1 and 2. ‘The last two bars seem to balance the first two. Or you could say that the last two ‘answer’ the first two - they make an ‘answering’ rhythm. ‘The ending of your rhythm will need particular care. It is not usually a good idea to finish with a semiquaver, because this may make the rhythm feel unfinished. If you tap these rhythms, for example, you will see that they both feel as though they want to be followed by something in the next bar: eee er er eae In other words, they are not really two-bar rhythms at all, but merely two bars out of longer rhythmic patterns. They cannot be ‘answering’ rhythms because they themselves are not complete. Add an answering two-bar rhythm to each of the following. 304 4 Ei [i gi iy i git 44 oe26 Exercise 45 (continued) ee a oe » 44 42 1 o 34 TIL 4 odin o #4 4 (eyes erage o #t- 114 Id eee » $4 FT @ 4/4/14 D4 11 4 » ARO » F114 JAQ o FR27 Q Performance directions (see The AB Guide to Music Theory, 10) ‘Many words which are not English, and many special signs are used to explain how music is to be performed. The best way of getting to know them is to look them up as you come across them in your pieces, and then to remember them. (There is a Glossary of such words ‘on pages 106-114 of The AB Guide 10 Music Theory, Part I.) Below are some very common words ~ all Italian - which you should know in Grade I. accelerando (or accel.) gradually getting quicker adagio slow allegretio fairly quick (but not as quick as allegro) allegro quick (literally ‘cheerful’) andante at a medium (‘walking’) speed cantabile ina singing style crescendo (or cresc.) gradually getting louder da capo (or D.C.) repeat from the beginning dal segno (or D.S.) repeat from the sign $5 decrescendo (or decresc.) gradually getting quieter diminuendo (or dim.) gradually getting quieter fine the end S (= forte) loud Af (= fortissimo) very loud legato smoothly lento slow mezzo half mf (= meszo forte) moderately loud (literally ‘hal? loud) imp (= mezzo piano) moderately quiet (literally ‘hal? quiet) ‘moderato moderately (allegro moderato: moderately quick) (= piano) quiet pp (= pianissimo) very quiet ‘poco a little rallentando (or rall.) getting gradually slower ritardando (or ritard. or rit.) _ getting gradually slower ritenuto (or riten. oF rit.) held back staccato (or stacc.) detached tempo speed, time (a tempo: in time)28 Below are some signs and other directions which you should know in Grade 1. =———_ e-aace rare a y aa MM. J =72 (or just. J = 72) = crescendo (gradually getting louder) diminuendo (gradually getting quieter) over two different notes (not to be confused with a tie) or over a group of notes is called a ‘slur’: perform the notes smoothly = ottava (octave) (over a note or notes): perform an octave higher (under a note or notes): perform an octave lower a dot over or under a note [ g = staccato over or under a note f J = accent over a note pause on the note under a note repeat marks ~ at the second sign, go back to the first sign and repeat the music from there (the first sign is left out if the music is repeated from the beginning) 72 crotchet beats in a minute (M.M. is short for Maelze?’s Metronome)R_ General exercises Exercise 46 This is the beginning of a melody. Look at it, and then answer the questions below. Andante Tehaikovsky, Album for the Young (‘Morning Prayer’) 4 5 6 (a) What does Andante mean? (b) What is the time signature of the melody? Explain what it means. ....... +++ (©) Why is there a dot after the notes in bars 4 and 8? (d) What is p short for?.......... a What does it mean? (©) The key of the melody is G major. Which degree of the scale does it start on? . . ‘What is the letter name of the lowest note? (g) What is the value of the shortest note? (h) How many times is this rhythm [2 J. | usea? (@ In bar 7, what does the > above the note mean? .......... @) Copy out the first four bars. Remember to put in the clef, key signature and time signature.30 Exercise 47 This is the beginning of a melody. Look at it, and then answer the questions below. Allegro Hummel, Allegro, Op.52 No.2 1 2s 3 4 (@) What does Allegro mean? (©) What key is the melody in? (©) Show another way of writing the time signature. .... (d) What are the curved lines over the melody called? ....... . What do they tell the performer? (©) What does a dot over a note (in bars 2 and 4) mean? (f) How many times does the note F appear? . . (@) Which bar contains all the notes of the tonic triad but no others? . . (h) What does the sign mean?............. (i) What do you notice about the rhythm of bars 3~4 compared to the rhythm of bars 1-2? @) Copy out the first two bars. Remember to put in the clef and time signature.Exercise 48 31 Look at the following melody, and then answer the questions below. Poco adagio, MM. = 56 Dvotik, Symphony No.7 (2nd envt) 1 2—— 4 legato 2p = SS Pdi. @ (a) Poco means ‘a little’. What does adagio mean? .. (©) The key of the melody is F major. In which bars is the key-note not used? (d) What does ‘M.M. J = 56" tell you? (©) Give the meaning of legato... (f) Which is the quieter: p or pp?..... (g) Which bars contain the first four notes of the scale of F major? .....0...2eec0eeeeee () Give the full name of the first note in bar 3. (k) Copy out the melody from the beginning of bar 5 to the end. Put in the clef, key signature and time signature.32 Exercise 49 This is the beginning of a melody. Look at it, and then answer the questions below. Jes Rave, Povon fora dead Ifa Reproduced by permission of Editions Max Esch, PariwG. Ricard & Co, (London) Lid (@) Add the missing word in this sentence: ‘The melody is written in the ....... clef. (b) What is the key of the melody? . . (©) Draw -— above any pairs of notes which are a semitone apart. (A) What degree of the scale is the first note in bar 3?....... (©) Give the full name of the last note........... (f) How many crotchet beats are there in a bar?.... . (g) Which bars contain tied notes?.......... (h) Underline any of the following descriptions which you think suit the music: smooth loud quiet slow fast_ = merry sad (i) Copy out the melody from the beginning of bar 3 to the end. Put in the clef, key signature and time signature,