Has anyone on the forum ever done an ABRSM Gr 5 Theory exam? I was just wondering what to expect, as mine is in 3 WEEKS :eek: Can you give me any handy tips for music theory???
Heya!! I did this a while back (several years ago now). One thing I would say is learn the difference between an augmented 6th and a diminished 7th because they can sound the same, but it depends on the context in which the notes are written. Other than that, I can't really remember how the exam went, but good luck!
I've also done this but it must be at least 7/8 years ago now (wow, that makes me feel old!) so I don't really remember most of it - if it's even the same now. I do remember one bit where i had to compose a short piece of music, which was really hard to try and imagine what it sounded like without being able to play it. The best advice would be to get some of the practice books if you haven't already. Good luck!
I'm a freshman in my highschool's junior/senior symphonic band.. so I can tell you nothing that you prolly dont' already know.. F major has one flat (Bb) haha. fun times playing scales
Some things to remember: V7 is enharmonically equivalent to Ger+6 (c-eb-f#-ab, the Ger+6 in C, is the same as c-eb-gb-ab, which is the first inversion of V7 in Db). Every inversion of a vii*7 chord is enharmonically equivalent to another root position vii*7 chord. So if you have a basic b*7, that's b-d-f-ab. First inversion is d-f-ab-b, which is the same as d-f-ab-cb (so d*7). Invert again and you get f-ab-cb-d, which is the same as f-ab-cb-ebb (which is f*7). Once more and you have ab-cb-ebb-f, which is the same as ab-cb-abb-gbb (which is ab*7). This is a great tool for modulation. Also keep in mind that all the augmented six chords can move around, and that their names change slightly when this happens (so a normal It+6 in C would be c-f#-ab, but you could also have e-a#-cb, which you would call It+6 of scale degree 3). The most common types of sequential motion are falling fifths, the Pachelbel (falling thirds), 5-6, and rising fifths (in that order from most common to least). The deceptive cadence (V7-VI) in minor is goddamn gorgeous. Never forget that. The Neapolitan almost never appears out of first inversion. Use Picardy thirds extremely sparingly. I have no idea how much post-tonal theory you have, but if there is any, keep calm and carry on, because the twelve-tone row is a lot easier to deal with than it looks like it will be. It sounds like crap, but it's not that hard... Know your cadences (PAC, IAC, HC, PC, Deceptive, and Phrygian). Know your modes (Ionian (major), Dorian, Phrygian, Lydian, Mixolydian, Aeolian (minor), Locrian). Know your voice leading rules. Remember this: A I chord can go to any other chord. ii can go to V and vii* iii can go to IV, I, and vi IV can go to V, I, vii*, and ii V can go to I, vi, and iii vi can go to ii and IV (or anywhere if it's a deceptive cadence) vii* can go to I, V, and I guess iii, but please don't be that guy. Ahhh I love theory!
