Trinity Music Theory Study Guide – Grade 5

Expanding Your Rhythmic and Formal Understanding

Grade 5 introduces new complexities in rhythm and form. You’ll encounter the time signatures of ³⁄₂, ⁷⁄₄, and ¹²⁄₄. Time signature changes within an extract are also covered.

Specific rules for grouping note and rest values apply within these new time signatures, including grouping indications at the start of bars or scores, like (2,3) or (3,2). For example, in ⁷⁄₄, crotchet beats might be grouped into irregular main beats, such as (2, 2, 3), (3, 2, 2), (4, 3), (3, 4), or (2, 3, 2). The grouping indications above the music help show how notes and rests should be beamed and grouped.

You’ll learn about grouping demisemiquavers (worth half a semiquaver) in both simple and compound time. Composers use these notes, and they can be beamed in various ways, often in groups of four where the beat is a quaver or crotchet, or twelve where the beat is a dotted crotchet. When writing fewer demisemiquavers, corresponding rests (a demisemiquaver rest looks like a semiquaver rest with an extra flag) are needed to complete the beat. Demisemiquaver rests should not typically appear consecutively unless each completes a beat. They may be placed within groupings to improve readability. You’ll also learn about the dotted semiquaver, often followed by a single demisemiquaver to make a quaver beat, and the rarer dotted semiquaver rest.

Semiquaver triplets are introduced as a way to divide a quaver beat into three equal parts, meaning three semiquavers are played in the time of two. Examples are shown for quaver beats, dotted crotchet beats (nine semiquavers in the time of six), and crotchet beats (six semiquavers in the time of four). When a rest is included in a triplet grouping, the grouping must be bracketed.

The breve is introduced as a note value lasting a full bar in ¹²⁄₄ time. A breve rest looks like a filled-in double whole rest. The term ‘semi’ means half, so ‘semibreve’ means ‘half a breve’.

In terms of form, you need to recognise three types for Grade 5: strophic, verse and refrain (or chorus and refrain), and binary form.

• Strophic form uses the same music for different verses of a song and is very common. Strophic comes from a word originally used to describe Greek poetry.
• Verse and refrain form is similar but includes an unchanging refrain or chorus between each verse.
• Binary form, sometimes called AB structure, has two sections. Each section (A and B) is typically repeated, so it can be written as AABB. The first section (A) usually modulates to a related key – the dominant major if the tonic is major, or the relative major if the tonic is minor. This section ends with a perfect cadence in the new key. The second section (B) is usually slightly longer than section A. It starts in the key reached at the end of A and moves through other keys before returning to the tonic (or home key), often repeating some or all of section A. The word ‘Bi’ means two, as in bicycle or biplane. Many pieces from the Baroque period (approx. 1600-1750) are in binary form. Composers use different sections and keys to help listeners make sense of their music, much like authors use chapters.

You’ll also practise setting words to a rhythm, ensuring important words or syllables are placed on strong beats. Phrases can often be set in multiple ways depending on the time signature.

Exploring New Pitches and Keys

Pitch concepts expand significantly in Grade 5. You will learn to name and use notes in the tenor clef. The tenor clef is one of the C clefs, centred on different lines, which makes it important to be accurate when positioning them. The alto clef, learnt in Grade 4, is centred lower than the tenor clef. Middle C is centred on the second space from the top in tenor clef. Examples show Middle C in bass, tenor, alto, and treble clefs. The tenor clef is useful for instruments whose music lies between the typical ranges of the treble and bass clefs, reducing the need for numerous ledger lines. Instruments like the cello, bassoon, and trombone often use the tenor clef. Examples show music for cello written in both tenor and bass clefs.

New major keys for Grade 5 are Ab, Db, E, and B. For all major keys covered so far, you need to know their scales, key signatures, one-octave arpeggios, broken chords, and tonic triads (in root, first, or second inversion). New minor keys are F, Bb, C#, and G#. For all minor keys covered so far, you need to know their natural (Aeolian mode), harmonic, and melodic scales, key signatures, one-octave arpeggios, broken chords, and tonic triads (in root, first, or second inversion). The new keys for Grade 5 are E, B, Ab, and Db majors and their relative minors C#, G#, F, and Bb minors. Key signatures ensure the correct tone-semitone pattern for each key. When writing scales without key signatures, necessary accidentals must be included. You need to know both ascending (‘going up’) and descending (‘going down’) forms of scales and arpeggios.

Identifying the key of a piece in any of the covered major or minor keys is a key skill. The workbook provides examples of how to do this by looking at the key signature, accidentals (especially raised 6th or 7th degrees in minor keys), and the notes/chords used in the piece.

The 2nd degree of a major/minor scale is known as the supertonic. In major keys, the supertonic can also be called ‘re’. You need to know supertonic triads for all keys covered so far. A major or minor supertonic triad can be labelled with a chord symbol above the music (e.g., Dm in C major or B dim (or B⁰) in A minor) or as a Roman numeral below the music (e.g., ii in C major or ii⁰ (dim) in A minor). In major keys, the triad on the supertonic (ii) has a minor 3rd from the root. In minor keys, the supertonic triad is built on the supertonic of the minor scale. In the harmonic minor, the supertonic triad (ii⁰) has a minor 3rd at the bottom and a minor 3rd at the top, making it a diminished triad. This is shown by a circle after the Roman numeral (ii⁰). The chord symbol is labelled Bdim or B⁰ in A minor. The source notes that in minor keys where the melodic scale is used (often ascending), the 6th degree is sharpened. If this sharpened 6th degree is part of the supertonic triad, the chord is labelled ii, not ii⁰.

Recognising some imperfect cadences is part of the syllabus. Unlike perfect (V-I) or plagal (IV-I) cadences which close on the tonic chord, imperfect cadences close on the dominant chord (V). Examples include I-V or ii-V in major keys, and i-V or ii⁰-V in minor keys. Cadences are often decorated, and composers may not write all the notes of the chords; looking at the key signature, bass line, and accidentals helps identify the type of cadence and key.

Double sharps (x) and double flats (bb) are introduced, along with general enharmonic equivalents. A double sharp raises a note by a whole tone, and a double flat lowers a note by a whole tone. For instance, the 7th degree in G# minor is F#; raising it requires a double sharp, resulting in F double sharp (Fx). F double sharp is enharmonically equivalent to G, but writing G would be incorrect in G# minor. To cancel a double sharp or flat, a natural sign (q) is used. To lower a note with a double sharp by a semitone, a single sharp (#) is used; to raise a note with a double flat by a semitone, a single flat (b) is used. Enharmonic equivalents are notes that sound the same but are written differently (e.g., Fx and G). Practising with a keyboard or the provided keyboard image can help identify enharmonic equivalents.

Recognising and writing C and G pentatonic major scales is required. A pentatonic major scale has five notes and is played like a major scale without the 4th and 7th degrees. Music using only these notes is said to be in the pentatonic major. Many folk songs and spirituals use this scale. The C and G pentatonic major scales are shown. Neither scale contains semitones, making them suitable for improvisation. Key signatures are not needed for the G pentatonic major scale because it doesn’t contain F#. Ostinati (repeated musical patterns) using pentatonic scales can be written to accompany tunes.

Inversions of all intervals covered in Grades 1-4 within an octave are covered. Inverting an interval means putting the bottom note an octave higher (or the top note an octave lower). The source provides a chart showing the relationship between intervals and their inversions. A handy rule is that the interval number plus the inverted interval number equals 9 (e.g., a 4th inverts to a 5th, 4+5=9). Perfect intervals remain perfect when inverted, minor intervals become major (and vice versa), and diminished intervals become augmented (and vice versa).

New Musical Words and Symbols

Grade 5 introduces a range of new musical words and symbols. These include dynamic and articulation marks, pedal signs for piano/keyboard, tempo and expression marks, and ornaments.

Pedal signs for piano/keyboard include ^ or Ped. (Con pedale – play with the pedal, usually the right-hand one), * (Senza pedale – play without the pedal), una corda (literally ‘one string’ – press the left pedal for a quieter sound), and tre corde (release the left pedal after una corda).

Tempo, expression marks, and other words and signs include:

• agitato – agitated
• appassionata – with passion
• arpeggiando – quickly spread out the notes of a chord (bottom to top unless otherwise marked by a downward arrow)
• con forza – with force
• con fuoco – with fire
• grave – very slow and solemn
• larghetto – slowly but not as slowly as largo
• morendo – dying away
• niente – nothing
• quasi – like, as if
• risoluto – resolutely (boldly)
• rubato – let the tempo ebb and flow within the structure of the piece
• scherzando – playfully
• secondo – second
• sotto voce – hushed, subdued
• stringendo – push the speed on (accelerate)
• tempo giusto – in strict time

Ornaments are shorthand ways composers indicate further decoration of a tune. Standard examples you should recognise are:

• Acciaccatura: A crushed note, generally played quickly on the beat.
• Appoggiatura: A leaning note, usually taking half the value of the note after it. Before a dotted note, it can take up to two thirds of the value.
• Upper mordent: Played fairly fast on the beat using the note above. Accidentals above the sign indicate sharpened or flattened notes. Mordents are described as being rather like upper/lower auxiliary notes.
• Lower mordent: Played like an upper mordent but using the note below.
• Trill or shake: For music before around 1800, trills usually start on the note above the main note and sometimes end with a ‘turn’. Trills are often used to decorate the dominant chord in a perfect cadence.

You’ll also learn about the sign i.. in the clefs section, which shows where music for tenor voice is written an octave higher than it sounds.

Accented passing notes and auxiliary notes are covered. Unaccented passing notes link harmony notes on weak beats. Accented passing notes also link harmony notes but are placed on strong beats, often clashing with the harmony. Both types can be chromatic. Auxiliary notes are similar to unaccented passing notes but move away from a harmony note (by a tone or semitone) and immediately return to the same note. These can be upper or lower, and also chromatic. The workbook suggests using passing notes, auxiliary notes, repeated notes, rests, and octave jumps for decorating tunes. When writing passing notes in minor keys, notes from the melodic scale are often used, though harmonic minor notes are also possible depending on context and harmony.

Harmony, Chords, and Transposition

Harmony describes how chord progressions work.

In major keys, the primary chords (I, IV, V) are very important. The supertonic (ii) triad is also significant. The notes of the C major scale and triads built on degrees 1, 2, 4, and 5 (tonic, supertonic, subdominant, dominant) are shown. Examples of writing these triads in various major keys and labelling them with Roman numerals (below) and chord symbols (above) are provided.

In minor keys, supertonic triads are built on the supertonic of the minor scale. The A minor harmonic minor scale with triads on degrees 1, 2, 4, and 5 is shown. The supertonic triad in A minor (ii⁰) is diminished. Examples of writing these triads in various minor keys (C, A, G, D, F#, E minors) and labelling them are provided. When writing 4-part chords for SATB, you need to be able to write tonic, supertonic, subdominant, and dominant chords in root, first, and second inversions for the keys covered. The notes should be spread fairly evenly across the staves for clarity and balance, ensuring singers have notes suitable for their ranges. The distance between the bass and tenor parts can exceed an octave. Doubling the root in 4-part chords is recommended, but avoid doubling the 3rd of the chord if it’s already in the bass line, as this sounds weak. Examples of tonic and dominant chords in A minor for SATB in different inversions are shown.

Chord progression refers to the order in which chords move. Labelling chord progressions using Roman numerals and chord symbols is practised.

Writing a bass line is also covered, often using the root, first, or second inversion bass notes of specified triads. A strong bass line often moves in contrary motion to the melody. Moving in similar motion in perfect 5ths or octaves with the melody should be avoided as it sounds weak and loses marks. Adding repeated notes or octave jumps can make a bass line more interesting.

Transposing a tune up or down any major, minor, or perfect interval within an octave is a key skill for Grade 5. A method for transposition involves writing the original tonic and key signature, moving the tonic by the required interval to find the new tonic and its key signature, writing out the tune maintaining the same intervals between notes, and checking the final note.

Transposing for transposing instruments from Grade 4 (French horn, descant recorder, double bass, guitar) and those introduced in Grade 5 (alto saxophone in Eb and trumpet and clarinet in Bb) is also required. Music for clarinet in Bb and trumpet in Bb is written a major 2nd higher than it sounds. Music for alto saxophone in Eb is written a major 6th higher than it sounds. Music for French horn in F is written a perfect 5th higher than it sounds. Instrument ranges are provided to help when writing for specific instruments. Cautionary accidentals (bracketed) are sometimes used to improve readability.

The concept of modulation is introduced. Playing only in one key can become boring. Composers add interest by contrasting the tonic key with other keys. Modulation is changing from one key to another. For Grade 5, you need to recognise modulation into the relative major/minor or the dominant major/minor key. Clues for modulation often include accidentals. Identifying a perfect cadence in the new key helps confirm the modulation. Modulation also helps define the form of a piece, as the end of a section is often marked by a key change. Examples show how to identify the key of a perfect cadence in a related key and the relationship between the keys.

Analysis and Sample Paper

The workbook includes sections dedicated to analysis and a sample exam paper. The analysis section involves looking at musical excerpts and answering questions about them. Questions cover topics like identifying the key, form, modulation (including circling the first accidental that signals it), rewriting passages in different clefs, adding Roman numerals, naming intervals and ornaments, commenting on pitch, identifying repetitions, and explaining musical terms.

The exam structure itself is broken down into several sections:

• Section 1: General multiple choice (10 questions, 10 marks).
• Section 2: Writing scales, arpeggios, broken chords (15 marks).
• Section 3: Correcting mistakes or setting words to a rhythm (10 marks).
• Section 4: Transposition (15 marks).
• Section 5: 4-part chords for SATB (15 marks).
• Section 6: Adding a bass line to a tune or vice versa (15 marks).
• Section 7: Analysis (10 questions, 20 marks).

Questions and tasks will cover matters specified in previous grades and the following new topics.

Additional Resources

The workbook provides instrument ranges for strings (Violin, Viola, Cello, Double bass, Classical guitar), woodwind (Flute, Descant recorder, Oboe, Clarinet in Bb, Alto saxophone in Eb, Bassoon), and brass (Trumpet in Bb, French horn in F). Vocal ranges for Soprano, Alto, Tenor, and Bass are also included. Music for tenor voice is sometimes written in treble clef an octave higher than it sounds.

Finally, a list of “Different words – same meaning” is provided to ensure familiarity with alternative terms: ascending (going up), descending (going down), supertonic (re – in major keys only), and trill (shake). The workbook acknowledges the contribution of many people to its development.

Once you’ve completed the workbook, trying sample papers is recommended for further preparation before asking your teacher to enter you for the Grade 5 Theory examination.

By diligently working through these topics and exercises, you will develop the skills and knowledge necessary to confidently tackle the Trinity Grade 5 Theory of Music examination and deepen your appreciation of musical structure and language. Good luck!