ABRSM Music Theory Study Guide – Grade 2

1. Pitch

This chapter focuses on ledger lines and rewriting notes in the treble and bass clefs.

• Ledger Lines: At Grade 1, you learned about middle C being placed on its own ledger line. At Grade 2, you will encounter notes that use one or two ledger lines above or below the stave. For example, to write A and G below middle C in the treble clef, you add one and two ledger lines respectively below the stave. Similarly, notes above the stave in the bass clef also use ledger lines. You can think of ledger lines as small extensions of the stave lines.
• Rewriting Notes in Another Clef: A key skill is recognising and writing notes of the same pitch using different clefs. The book shows how notes like middle C can be written differently in the treble and bass clefs while representing the same pitch. It’s important to note that notes that share the same name aren’t always the same pitch; they can be one or more octaves apart. Listening to notes played at different octaves can help you hear the difference.
• Accidentals: As a reminder, sharps (#) raise the pitch of a note by a semitone, and flats (♭) lower the pitch by a semitone.

Exercises in this section involve identifying notes on ledger lines, rewriting notes between clefs while maintaining pitch, and determining if notes are higher, lower, or the same pitch.

2. Rhythm (Part 1)

This section introduces new time signatures with a minim beat and a quaver beat, and discusses rewriting rhythms in different metres.

• Time Signatures with a Minim Beat: Time signatures you met at Grade 1 had a bottom number 4, meaning the beat was measured in crotchets. At Grade 2, you will encounter time signatures with a bottom number 2, meaning the beat is measured in minims. Examples include 2/2 (two minim beats per bar), 3/2 (three minim beats per bar), and 4/2 (four minim beats per bar). The sign ‘C’ with a line down the middle is sometimes written instead of 2/2; this is similar to the sign ‘C’ used for 4/4.
• Time Signatures with a Quaver Beat: You will also learn the time signature 3/8, which has three quaver beats in a bar. In 3/8, a dotted crotchet is worth three quaver beats.
• Rewriting Rhythms in Different Metres: It is possible to rewrite rhythms in different time signatures by changing the type of beat. This often involves doubling or halving the time values of the notes and rests. For example, a rhythm written with four crotchet beats in 4/4 can be rewritten with four minim beats in 4/2 by doubling the time values (crotchets become minims, quavers become crotchets, etc.). Conversely, rhythms can be rewritten by halving the time values (e.g., from 4/4 to 4/8, although 4/8 is not explicitly listed in the table, the principle of halving values from a crotchet beat time signature could lead here). Examples show how time values are doubled or halved when rewriting between different time signatures like 2/4 to 2/2, 3/4 to 3/2, 4/4 to 4/2, and 3/8 to 3/4, 6/8 to 6/4, 9/8 to 9/4, 12/8 to 12/4.

Exercises cover identifying the beat type and number of beats, circling the correct time signature for rhythms, adding notes or rests, adding missing bar-lines, and completing sentences about rewriting rhythms.

3. Rhythm (Part 2)

This chapter introduces triplets and dotted rests.

• Triplets: A triplet is defined as a group of three notes that are played in the same amount of time as two non-triplet notes of the same time value. Triplets are indicated by a figure ‘3’ placed either at the middle of a beam or above/below a bracket when the notes are not beamed together. In the exercises in the book, triplets always add up to a single beat. Rests can also appear as part of a triplet pattern, and triplets can be grouped with non-triplet notes.
• Dotted Rests: Dotted rests function similarly to dotted notes. A dot after a rest adds half the value of the rest. Examples provided include:
  • A dotted crotchet rest is equal to 1½ crotchet beats or ¾ of a minim beat.
  • A dotted quaver rest is equal to 1½ quaver beats or ¾ of a crotchet beat.

Exercises include numbering beats in melodies with triplets, calculating the value of different note/rest combinations compared to triplets, completing time signatures, adding missing bar-lines in melodies with triplets, and adding rests to complete bars.

4. Rhythm (Part 3)

This section focuses on grouping notes and rests to improve readability.

• Grouping Notes: Notes are grouped together using beams to make the music easier to read and show how rhythms fit into the beat. Quavers and semiquavers can be beamed into beats. In time signatures with a crotchet beat, they are beamed into crotchets; with a minim beat, they can be beamed into minims. In 3/4 and 4/4 time, quavers can be beamed in groups of up to four, but not across the middle of the bar. In 6/8 time, quavers and semiquavers are beamed into bars (specifically, in groups of three quavers or their equivalent). For notes longer than a beat, it’s not necessary to show each new beat with a new tied note, and ties should generally be avoided within a bar when a single note could be used instead. Triplet quavers and semiquavers follow the same rules for grouping as regular quavers and semiquavers. When grouping notes, stems should go in the direction that is correct for the majority of the notes. Beams can join notes over rests.
• Grouping Rests: Helpful guidelines are provided for using rests. A single rest should be used for a complete bar of silence in any time signature, which will always be a semibreve rest at Grade 2. A single rest should be used when the first or second half of a 4/4 or 2/4 bar is silent. In other circumstances, use one rest for each beat of silence. For silences in the middle of a beat, it’s often best to use a new rest for each half-beat of silence.

Exercises involve rewriting rhythms with correct grouping, ticking or crossing boxes to show correct/incorrect grouping of notes, and ticking or crossing boxes to show correct/incorrect grouping of rests.

5. Keys & Scales (Part 1)

Grade 2 introduces three new major keys: A major, B♭ major, and E♭ major.

• Key Signatures: These keys have up to three sharps or flats. The sharps or flats in a key signature apply to every note of that name, even if it is written at a different octave. Sharps and flats are placed in a specific order and position on the stave. The order of sharps is F#, C#, G#. The order of flats is B♭, E♭, A♭. These key signatures follow a zigzag pattern on the stave.
  • A major has three sharps: F#, C#, G#.
  • B♭ major has two flats: B♭, E♭.
  • E♭ major has three flats: B♭, E♭, A♭.
• Major Scales: You will learn the ascending scales of these three new keys in both treble and bass clefs. All major scales follow the same pattern of tones (T) and semitones (S): TTSTTTS. A semitone is the shortest distance between two notes. For example, in the scale of A major, the distance from G# to A is a semitone as there are no other notes between them. When writing scales without key signatures, you need to add accidentals to make the pitches correct. Major scales with accidentals will have either sharps or flats, never both. Accidentals should be written on the same line or space as the note and apply for the whole bar.

Exercises include identifying correct key signatures, writing scales with accidentals, writing missing scale degrees, showing semitones in scales, circling notes needing accidentals in melodies, and naming the key of melodies. For the Grade 2 exam, you should be prepared for questions on all the keys introduced in Grades 1 and 2.

6. Keys & Scales (Part 2)

This chapter introduces relative major and minor keys and the harmonic minor scale.

• Relative Majors and Minors: Every major key has a relative minor key that shares the same key signature. The tonic (key note) of the relative minor is the 6th degree of its relative major. Relative minor keys use many of the same notes as their relative major but sound different.
  • A minor is the relative minor of C major and has no sharps or flats in its key signature.
  • E minor is the relative minor of G major and has one sharp (F#) in its key signature.
  • D minor is the relative minor of F major and has one flat (B♭) in its key signature. You can find the tonic of the relative minor by counting down three semitones from the tonic of the relative major.
• Harmonic Minor Scale: The harmonic minor scale uses the same notes as its relative major (and natural minor) scale, except the 7th degree is always raised by a semitone using an accidental. This raised 7th degree accidental is not shown in the key signature. You will learn the A harmonic minor, E harmonic minor, and D harmonic minor scales. For example, in A harmonic minor (relative of C major with no key signature), the G is raised to G#. The interval between the 6th and 7th degrees of the harmonic minor scale is 1½ tones, or three semitones. Playing or singing the first five notes of a major and minor scale can help you hear the difference.

Exercises include circling true or false statements about relative keys, adding notes to complete harmonic minor scales, writing missing degrees of harmonic minor scales, finding semitones in harmonic minor scales, naming minor keys from key signatures, identifying scale degrees in different scales, and circling the correct key of melodies. Accidentals placed in brackets are sometimes used to avoid ambiguity.

7. Intervals

This chapter builds on the Grade 1 concept of intervals, introducing them in the new keys.

• What are Intervals? An interval is the difference in pitch between two notes. You measure an interval by counting in degrees from the lower note up to the higher note.
• Intervals in Grade 2 Keys: You will work with intervals in the keys of A, B♭, and E♭ major, and A, E, and D minor. In Grade 2, the lower note of the interval will always be the tonic. Sharpening the higher note of the interval doesn’t change the number of the interval. Intervals might appear with the higher note first, but you still count up from the lower note. You can count the number of lines and spaces from the lower note (the tonic) up to the higher note to find the interval number.
• Examples: The book provides examples of intervals such as a 3rd in B♭ major and a 7th in E minor. It also reminds you of intervals above the tonic in C major.

Exercises include writing notes above the tonic to form named intervals, identifying interval numbers above the tonic, and identifying intervals within short melodies. Listening to intervals played or sung is recommended to understand how different intervals sound.

8. Tonic Triads

You will learn about tonic triads in the new keys introduced at Grade 2.

• What are Tonic Triads? Building on the Grade 1 concept, a tonic triad is a chord consisting of the 1st (tonic), the 3rd, and the 5th degrees of the scale. Tonic triads are built on the tonic note (the key note). Just like in major keys, tonic triads in minor keys are chords made up of the 1st (tonic), the 3rd, and the 5th degrees of the scale.
• Structure of a Triad: In tonic triads, the tonic is the lowest note, the 3rd degree is in the middle, and the 5th degree is the highest note. Each note is separated by an interval of a 3rd.
• Tonic Triads in Grade 2 Keys: You will work with tonic triads in A, E, D minor and A, B♭, E♭ major. Examples are provided showing the A minor scale and its tonic triad.

Exercises involve naming the key of tonic triads, adding missing notes to complete triads, and circling the correct key for tonic triads. Practising hearing the difference between major and minor tonic triads is suggested by playing them or listening.

9. Terms & Signs

This chapter covers Italian terms and musical signs required for Grade 2. You need to know these terms in addition to those learned at Grade 1. Many terms have abbreviations.

• Italian Terms:
  • Dynamics: fp (fortepiano) – loud, then immediately quiet.
  • Tempo: presto – fast (quicker than allegro); vivace, vivo – lively, quick; lento – slow (slower than adagio); largo – slow, stately (the same as, or slower than, lento); grave – very slow, solemn; più mosso – more movement; quicker; meno mosso – less movement; slower; ritenuto (riten., rit.) – getting slower; held back; con moto – with movement; allargando – broadening.
  • Expression: espressivo (espress.) – expressive; grazioso – graceful; alla marcia – in the style of a march.
  • General: molto – very, much; non troppo – not too much; poco, poco a poco – a little; little by little; col, con – with; e, ed – and; ma – but; meno – less; più – more; senza – without. Words like molto or poco can be used with various instructions, such as poco accel. or molto allegro.
• Signs:
  • Accent (>) – strong accent (play the note with strong emphasis).
  • Slight separation (indicated by a small line above/below the note head) – slightly separated.
  • Staccatissimo (indicated by a wedge above/below the note head) – very detached indeed.
  • Slight pressure (indicated by a caret-like symbol above/below the note head) – give the note slight pressure.
  • 8va – perform an octave higher. A dotted line usually extends over the notes to be played higher.
  • Rest for the number of bars (a symbol with the number of bars indicated).
  • First-time bar (:||1.) – in a repeated section, play this bar the first time through.
  • Second-time bar (2.||) – in a repeated section, play this bar the second time through.

Exercises involve ticking the correct meaning for terms and answering questions about the meaning of phrases using the terms. Listening to music with these terms and signs is encouraged.

10. Music in Context

The final section prepares you for the “Music in Context” question in the Grade 2 exam. This question asks you about topics covered in the book, based on a passage of music. It brings together all the concepts learned.

Exercises in this chapter present musical excerpts and ask various questions about them, covering rhythm (e.g., identifying note values, time signatures, grouping, triplets), pitch (e.g., identifying notes, keys, accidentals), intervals, and terms/signs present in the excerpt. These exercises mirror the types of questions found in the final section of the exam paper.

Practice Exam Paper

The workbook concludes with a complete practice exam paper, allowing you to test your understanding of all the topics covered. It includes sections on Rhythm, Pitch, Keys and Scales, Intervals, Tonic Triads, Terms and Signs, and Music in Context, with a total mark of 75. Working through this paper is an excellent way to consolidate your learning and prepare for the actual ABRSM Grade 2 Music Theory exam.