ABRSM Music Theory Study Guide – Grade 5

Chapter 1: Rhythm

This chapter covers rewriting in simple and compound time (revision), irregular time signatures (including grouping), quintuplets and sextuplets.

You will learn to rewrite music between simple and compound time. We know that the beat is divided into two in simple time and three in compound time. When rewriting, the type of beat changes (e.g., from crotchet to dotted crotchet), but the number of beats in the bar is kept the same. Examples of rewriting are shown.

The chapter introduces irregular time signatures. These are time signatures where the bars cannot be divided into equal groups of two or three beats. Common irregular time signatures at this grade are quintuple time (five crotchet or five quaver beats per bar) and septuple time (seven crotchet or seven quaver beats per bar). The principles for grouping notes and rests in irregular time signatures are similar to those for duple, triple, and quadruple time. Ties are used to join notes across different parts of an irregular bar or across a bar-line. Rests should show each beat, part-beat, or whole bar, depending on how the bars are divided. A key insight for irregular time signatures is that bars can be divided in more than one way. For example, in quintuple time (5/4 or 5/8), a bar can be divided into 3+2 beats or 2+3 beats. Examples illustrating different groupings in 5/4 and 7/4 time are provided. In septuple time, bars can also be divided into three parts, such as 3+2+2 or 2+2+3.

Quintuplets and sextuplets are also covered. At Grade 2, you encountered triplets, which are a group of three notes played in the same time as two non-triplet notes of the same time value. Quintuplets are groups of five notes played in the same amount of time as a group of four notes of the same time value. Sextuplets are groups of six notes played in the same amount of time as a group of four notes of the same time value. The word ‘tuplet’ is a general term used to describe groups of notes like duplets, triplets, quintuplets, and sextuplets. Tuplets can be of any time value and can be a combination of time values. Examples showing the notation and time value equivalents for quintuplets and sextuplets are given.

Exercises in this chapter involve identifying correct time signatures for bars, rewriting rhythms between simple and compound time, adding time signatures to rhythms, studying melodies in irregular time, adding missing bar-lines, checking correct note grouping, and identifying correct rests.

Chapter 2: Pitch (Part 1)

This chapter focuses on the tenor clef and octave transposition between clefs.

The tenor clef is introduced. It is shown where the note C is on the stave. At Grade 4, the alto clef was learned, which has C centred on the middle line. In the tenor clef, C is centred on the second line from the top. The tenor clef is most commonly used by instruments like the cello, bassoon, and trombone. In earlier centuries, it was used for tenor singers in a choir, hence its name. The position of Middle C is shown in all four clefs: treble, alto, tenor, and bass. To become familiar with the tenor clef, a smart tip suggests making up phrases using letter names for notes on lines and spaces (Lines: D, F, A, C, E; Spaces: E, G, B, D). Another tip is to remember Middle C is on the 2nd line from the top and count up or down from there.

Octave transposition between clefs is explored. This involves rewriting notes or melodies so they sound an octave higher or lower. When different clefs are involved, knowing where Middle C is positioned on the stave is always helpful. Exercises involve identifying notes in different clefs and rewriting notes in different clefs while keeping the pitch the same. You will also practice identifying if a second note is an octave higher, lower, or the same pitch as the first when written in a different clef. There are exercises checking if a melody has been correctly rewritten one octave lower or higher in a different clef. Comparing bars written at different octaves in different clefs is also covered.

Enharmonic equivalents are mentioned again. These are notes that sound at the same pitch but are written differently. Examples like A double sharp, B natural, and C flat are given. An exercise requires writing enharmonic equivalents for given notes.

Chapter 3: Pitch (Part 2)

This chapter builds on pitch concepts, covering transposition by specific intervals, finding new key signatures, transposing melodies with accidentals, and transposing instruments.

Transposing notes and music by a major 2nd, minor 3rd, and perfect 5th is a key focus. At Grade 3, transposing by an octave was learned. You can work out intervals by counting semitones up or down from the starting note. A major 2nd is 2 semitones (1 tone). A minor 3rd is 3 semitones. A perfect 5th is 7 semitones. A diagram shows how to transpose the note C up or down by these intervals. Exercises involve transposing notes by the named intervals.

Finding the new key signature after transposing a melody is explained. If you transpose the note C up a major 2nd, it becomes the note D. Similarly, if you transpose notes in the key of C major up a major 2nd, they become notes in the key of D major. The new key signature (D major in this example) is then used, which avoids writing many accidentals. The major or minor tonality of a melody stays the same when it is transposed. Examples show melodies in C major/minor transposed up by a major 2nd, minor 3rd, and perfect 5th, illustrating the resulting key signatures. A smart tip advises identifying the key and tonic note of the original, working out the new tonic note, and then finding the key signature for that new tonic note (either major or relative minor key). For example, if C major is transposed up a minor 3rd, the new tonic note is Eb, so the key is Eb major. Exercises involve identifying the resulting key after transposition.

Transposing melodies with accidentals is a more advanced skill. Some melodies, especially in minor keys, include notes with accidentals outside of the key signature. When transposing such a melody, every note, including those with accidentals, must be transposed by the given interval. However, the transposed notes might need different accidentals. An example demonstrates transposing a melody with accidentals up a major 2nd, showing how an F# in the original (in F# major) becomes a G# in the transposed version (in G# major), which needs an accidental because the key signature is G# major, which has sharps. A remember note clarifies that every note with an accidental in the original melody will need one in the transposed melody, but the type of accidental required may be different. Exercises require transposing melodies with accidentals.

Transposing instruments are discussed, building on Chapter 7 concepts. Transposing instruments are those where the sound produced is different in pitch from the notes written in their music. The notes written are called written pitch, and the notes produced are sounding pitch or concert pitch. Examples include: Instruments in Bb (like clarinet and trumpet) sound a major 2nd lower than written. Instruments in A (like clarinet in A) sound a minor 3rd lower than written. Instruments in F (like horn and cor anglais) sound a perfect 5th lower than written. The piccolo sounds an octave higher than written. The double bass sounds an octave lower than written. All other instruments encountered so far are non-transposing. A “Did you know?” note states that the written music for transposing instruments is called written pitch, but they produce sound at concert pitch. Exercises involve writing the sounding or written note for transposing instruments.

Chapter 4: Keys & Scales

This chapter introduces keys with six sharps or six flats and related scales, explores helpful patterns like the circle of 5ths, and covers technical names for scale degrees and chromatic scales.

You will explore keys that contain six sharps or six flats. The two new major keys are F# major (containing six sharps) and Gb major (containing six flats). These two scales sound the same; they are enharmonic equivalents (notes that sound the same but are written differently). D# minor and Eb minor are the relative minors of F# major and Gb major, respectively. They share the same key signatures as their relative majors and are also enharmonic equivalents. Key signatures for all major and minor keys (up to six sharps/flats) are shown in treble, bass, alto, and tenor clefs. A note highlights that the pattern of sharps and flats in the tenor clef looks different from the other clefs. Sharps are added, and keys rise by a perfect 5th (e.g., C, G, D, A, E, B, F# major). Flats are added, and keys fall by a perfect 5th (e.g., C, F, Bb, Eb, Ab, Db, Gb major). The first sharp to appear in key signatures is F#, then C#, G#, D#, A#, E#, B#. The first flat is Bb, then Eb, Ab, Db, Gb, Cb, Fb.

The scales covered are F# major (ascending), Gb major (ascending), D# harmonic minor (ascending), Eb harmonic minor (ascending), D# melodic minor (ascending and descending), and Eb melodic minor (ascending and descending). In the D# harmonic minor scale, the leading note needs a double sharp accidental as it already has a sharp. In the D# melodic minor scale, the Cx (C double sharp) is cancelled by a C# when descending. A “Did you know?” box mentions that keys with seven sharps or flats exist (like C# major with seven sharps, enharmonically equivalent to Db major with five flats), but these are rare and the five-flat key signature is easier to read. Exercises involve identifying correct key signatures, choosing the correct clef for a given key signature, writing scales without key signatures and adding accidentals, adding missing notes to complete scales, and circling the correct key for melodies written without key signatures.

The technical names for the degrees of the major scale are provided: 1st tonic, 2nd supertonic, 3rd mediant, 4th subdominant, 5th dominant, 6th submediant, and 7th leading note. An exercise involves adding a note above each tonic to show the named degree of each major scale. Another exercise requires naming the key and degree of the scale for given notes.

The circle of 5ths is presented as a helpful pattern to remember the relationship between keys and their key signatures. A diagram illustrates how keys rise through the sharps and fall through the flats by a perfect 5th. Minor keys also follow this pattern.

Chromatic scales are introduced. A chromatic scale contains all 12 notes within an octave. Rules for writing a chromatic scale are given: every line and space should have at least one note on it (except for the tonic), no more than two notes per line/space, there should be no enharmonic equivalents used within the scale, and the scale should start and end on the same note. An example of a chromatic scale beginning on C is shown. An exercise asks to circle true or false statements about written chromatic scales.

Chapter 5: Intervals

This chapter covers identifying and writing intervals with or without a key signature, chromatic intervals, and compound intervals.

Intervals are named by number and type: major, minor, perfect, augmented, or diminished. To identify an interval, first count the number of the interval (the distance between the two notes, including the starting and ending notes). Count up from the lower note, treating it as the tonic if there is no key signature, or considering the key signature if present. Next, identify the type of interval. A smart tip reminds you to check accidentals and key signature as they affect the type of interval. Remember that adding a semitone to a major or perfect interval makes it augmented, and lowering a semitone makes it minor (from major) or diminished (from major or perfect). Examples of intervals are shown and described. Exercises involve circling the type of various intervals and naming intervals written with and without key signatures. A smart tip notes that if the lower note of an interval is sharp or flat, it can be easier to change it to a natural first to calculate the interval from the natural note, then adjust. For example, C# up to Eb is a diminished 3rd; changing C# to C natural, C up to Eb is a minor 3rd; since C# is one semitone higher than C, the interval from C# to Eb is one semitone smaller, making it a diminished 3rd. Remember boxes provide strategies for working out augmented and diminished intervals. Exercises involve writing a note higher than the given note to form named intervals, and writing the name and number of intervals.

Chromatic intervals are intervals above the tonic that contain notes not part of the major or minor scales. These are described as chromatic intervals. An example is C up to Eb, which is a diminished 3rd. If the higher note was written as D# (enharmonic equivalent of Eb), the interval from C would be an augmented 2nd. This highlights the importance of working out the interval number before its type. Examples of chromatic intervals at Grade 5 are provided with descriptions to fill in, such as Diminished 3rd (a minor 3rd that has been lowered by a semitone).

Compound intervals are intervals greater than an octave. There are two ways to name them. For instance, a major 10th is also a compound major 3rd. A perfect 12th is also a compound perfect 5th. You can find the equivalent interval within an octave by lowering the upper note of a compound interval by an octave. Compound intervals can be major, minor, perfect, augmented, or diminished. Exercises include completing the names of compound intervals using both naming conventions and circling the type of compound intervals. A smart tip for naming compound intervals suggests first working out the interval number, then identifying the type by lowering the higher note by an octave to find the equivalent interval within an octave, and finally determining if the interval has been raised or lowered a semitone (making it augmented or diminished). Further exercises involve naming compound intervals and writing notes to form named compound intervals.

Chapter 6: Chords

This chapter introduces the supertonic chord (II), covers different types of cadences, choosing suitable chords for a melody, and identifies chord inversions.

At Grade 4, primary chords built on the 1st (I), 4th (IV), and 5th (V) degrees of major and minor scales were explored. The supertonic chord (II) is built on the 2nd degree of the scale. Examples of chord II in C major and C minor are shown. In C minor, the top note of chord II (an Ab) is made up of notes from the harmonic minor scale. Remember that Roman numerals I, II, IV, and V are used to identify chords based on the degree of the scale they are built on. A chord is in root position when the note it is built on (its root) is at the bottom. In major keys, chords I, IV, and V are major chords, and chord II is a minor chord. In minor keys, chords I and IV are minor chords, chord V is a major chord (because it contains the raised leading note), and chord II is a diminished chord (because it contains a diminished 5th between the root and the upper note). An exercise asks to describe chords using Roman numerals.

Cadences are sequences of chords that complete a phrase, like musical punctuation. They can make a phrase sound finished or unfinished. There are three types of cadences to know at Grade 5, all made using chords I, II, IV, or V. These are Perfect (V-I), Plagal (IV-I), and Imperfect (I-V, II-V, or IV-V). Examples in musical notation are shown. Perfect and Plagal cadences sound finished and are suitable for ending sections or pieces (like a full stop). Imperfect cadences sound unfinished and are good for ending phrases in the middle (like a musical comma or question mark). A smart tip for describing cadences suggests working out the key first, then identifying the chords by looking at their root notes, and finally identifying the cadence type based on the final chord (V means imperfect, I means perfect or plagal). In minor keys, chord V will contain the raised leading note (e.g., D# in E minor). Exercises involve describing chords and identifying cadences.

Choosing suitable chords for a melody is a practical application of chord knowledge. In the Grade 5 exam, you may be asked to choose suitable chords (I, II, IV, or V) for a given melody. A step-by-step guide suggests: 1. Identify the key from the key signature. 2. Work out chords I, II, IV, and V in that key. 3. Name the notes in the melody. 4. Choose a suitable chord for sections of the melody, ensuring the chord contains all or most of the melody notes in that section. 5. Identify the cadence made by the chosen chords. A smart tip for choosing chords suggests picking the chord that contains the majority of the melody notes within a section, particularly those on the main beats. When choosing the final chord for a cadence, ensure it belongs to a cadence. Examples and exercises are provided for choosing chords for melodies in major and minor keys.

Inversions are discussed as different ways to arrange the notes of a chord. When the lowest note of a chord is not the root, the chord is in inversion. Root position (‘a’ or often omitted) is when the root is the lowest note. 1st inversion (‘b’) is when the 3rd of the triad is the lowest note. 2nd inversion (‘c’) is when the 5th of the triad is the lowest note. Examples of a C major triad in root position, 1st inversion, and 2nd inversion are shown with the notes labelled. For four-note chords, one note will appear twice, and it may be helpful to rewrite the notes as a triad to identify the inversion. A smart tip suggests looking for the interval of a perfect 4th to identify inversions: if a perfect 4th is at the top, it’s 1st inversion; if it’s at the bottom, it’s 2nd inversion. An alternative way to identify chords and inversions is using a grid, which shows the chords and inversions in a specific key (D major shown). Exercises require writing ‘b’ or ‘c’ after chord numbers to show inversion, writing the chord number and inversion for given chords, and ticking boxes to name marked chords and their inversions within musical excerpts. Remember when naming chords and inversions to check the key signature, note that a raised leading note indicates chord V in a minor key, and the bass note is not always the root of the chord.

Chapter 7: Terms, Signs & Instruments (Part 1)

This chapter introduces new instruments for Grade 5, revisits transposing instruments, and covers voice types and their ranges.

New instruments encountered at Grade 5 are presented, along with a recap of the four families of the orchestra met at Grade 4: strings, woodwind, brass, and percussion. The new instruments listed are: Piccolo, Cor anglais, Tuba, Timpani, Tubular bells, Xylophone, Marimba, Glockenspiel, Vibraphone, Celesta, Side drum, Bass drum, Cymbals, Tambourine, Castanets, Tam-tam, Triangle. Brief descriptions are given for some of these. For instance, the Harp is a string instrument played on two staves, like piano music, with plucked strings and pedals to change pitch. The Piccolo is a small flute using the treble clef and sounds an octave higher than written notes. The Cor anglais, also known as the English horn, is related to the oboe, uses the treble clef, and is a transposing instrument.

Percussion instruments are divided into those playing notes of definite pitch and those playing indefinite pitch. Definite pitch percussion includes Timpani, Tubular bells, Xylophone, Marimba, Glockenspiel, Vibraphone, and Celesta. Indefinite pitch percussion includes Side drum, Bass drum, Cymbals, Tambourine, Castanets, Tam-tam, and Triangle.

Single and double reed woodwind instruments are mentioned. With the exception of the flute and piccolo, woodwind instruments use reeds. The clarinet uses a single reed, which is a thin piece of wood that vibrates against the mouthpiece. The oboe, cor anglais, and bassoon use a double reed, made of two thin pieces of wood bound together that vibrate against each other. Exercises involve identifying instruments based on descriptions or relationships and classifying percussion instruments as definite or indefinite pitch.

Transposing instruments are revisited from Chapter 3. The sound they make is different from the written pitch. Instruments like the trumpet and clarinet in Bb sound a major 2nd lower. The clarinet in A sounds a minor 3rd lower. The horn and cor anglais in F sound a perfect 5th lower. The piccolo sounds an octave higher, and the double bass sounds an octave lower. Other common instruments listed (violin, cello, flute, cor anglais, bassoon, timpani) are identified as transposing or non-transposing.

Voice types and their ranges are discussed. Most choral music is written for four types of voice, often abbreviated as SATB: Soprano, Alto, Tenor, and Bass. These are arranged across the staves in order of range, from highest (soprano) to lowest (bass). Additionally, mezzo-soprano and baritone are often used in solo vocal music. The six voice ranges from highest to lowest are Soprano, Mezzo-soprano, Alto, Tenor, Baritone, and Bass. A “Did you know?” note explains that SATB choral music can be written in open score (each part on its own stave) or short score (soprano/alto share a treble stave, tenor/bass share a bass stave). The tenor part in short score is written in the treble clef but sung an octave lower, often indicated by a small ‘8’ below the clef. Exercises include circling true or false statements about voice ranges and identifying instruments and voice types based on descriptions.

Chapter 8: Terms, Signs & Instruments (Part 2)

This chapter covers written-out ornaments, new Italian and German terms, and terms and signs related to the piano.

Written-out ornaments are ways of decorating notes in a melody. They have unique shapes and sound like when played, but can also be written out in full. Ornaments to be familiar with at Grade 5 include Trill, Upper mordent, Lower mordent, Turn (or upper turn), Acciaccatura (or grace note), and Appoggiatura. The sign for each ornament and how it sounds when written out are shown. A “Did you know?” box notes that ornamentation has been a feature of music since the 16th century, where performers decorated melodies freely. In the 17th and 18th centuries, more precise instructions were needed, leading to written-out ornaments. A smart tip mentions that ornaments can be added to notes of different time values and in different time signatures, and the time values used when they are written out may differ from the examples. Another smart tip points out that trills often end with a closing pattern that uses the notes below the main note. Exercises involve naming written-out ornaments marked with brackets.

New Italian terms are introduced, covering dynamics, tempo, expression, and general instructions.

• Dynamics: a niente (to nothing), morendo (dying away), perdendosi (dying away), rinforzando (rinf., rf, rfz) (reinforcing), smorzando (smorz.) (dying away).
• Tempo: largamente (broadly).
• Expression: cantando (singing), con dolore (with grief), con spirito (with spirit), doloroso (sorrowful), sonoro (resonant, with rich tone), sotto voce (in an undertone, literally ‘under the voice’).
• General: ad libitum (ad lib.) (at choice), attacca (go straight on (to the next part of the music)), quasi (as if, resembling). Exercises involve answering questions about the meaning of these terms.

New German terms are introduced, often used by composers in their music. These terms and their meanings are: langsam (slow), lebhaft (lively), mässig (at a moderate speed), ruhig (peaceful), schnell (fast), traurig (sad). Similar Italian and French terms are listed for comparison. Exercises involve answering questions about the meaning of these German terms.

Piano terms and signs are also covered. These are small number of terms and signs needed for piano music at Grade 5.

• Ped. / * (Pedal / release pedal): Press the right pedal (the sustain pedal).
• con pedale: with the right pedal.
• senza pedale: without the right pedal.
• una corda: press the left pedal.
• tre corde: release the left pedal.
• mano sinistra (m.s.): with the left hand.
• mano destra (m.d.): with the right hand.
• Spread the chord from the bottom (sign shown). This sign also appears in harp music. Exercises involve ticking boxes to match terms to their meanings.

Chapter 9: Music in Context

This final chapter of the book (before the practice exam) is a ‘Music in Context’ question, which appears as the last question on the Grade 5 exam paper. You will be asked questions about things seen in a passage of music. All questions will be about topics covered in this book or in previous grades. The chapter contains several musical excerpts (by composers like Chopin, Debussy, Albéniz, Schubert, and others) for study. The exercises associated with these excerpts require answering questions that test knowledge of rhythm, pitch, keys, scales, intervals, chords, terms, signs, and instruments within the context of the music. This section helps you apply the theory concepts learned throughout the book.

Practice Exam Paper

At the end of the book is a Practice Exam Paper. This paper includes sections on Rhythm, Pitch, Keys and Scales, Intervals, Chords, and Terms, Signs, and Instruments, as well as a Music in Context section. It is designed to allow you to try sample exam questions and test your knowledge and understanding of the Grade 5 syllabus. The paper has a total of 75 marks.

This comprehensive structure and content are provided in “Discovering Music Theory Grade 5” to support preparation for the ABRSM Grade 5 Music Theory examination.