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Grade 4 Piano Theory

Piano Theory

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serena123456
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439 views7 pages

Grade 4 Piano Theory

Piano Theory

Uploaded by

serena123456
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Time Signatures:

Grade 4 exam questions might include all Simple and Compound duple, triple and quadruple
Time
We have covered so far,
Simple Time signatures:
3 2 3 4 2 3 4
8 4 4 4 2 2 2
New to Grade 4 is:
Simple: 4 Compound: 6 9 12 6 9 12
8 4 4 4 16 16 16
Compound Time signatures:
6 9 12
8 8 8
s in Grade !, we "now that the ! compound time signatures #a$ove% &'ST $e counted
in !(s and the N)W compound time signatures for grade 4 also &'ST $e counted in !(s,
*ut the difference is that 6 9 12 will $e counted in groups of ! Crotchets #Quarter notes%
4 4 4
nd 6 9 12 will $e counted in groups of ! Semiquavers #+,
th
notes%
16 16 16

-)&)&*)- in Compound, the $eat is alwa.s dotted / depending
on whatever the $ottom note is0 ie, 6 1 6 1 6 1
8 4 16
A.M Sparrow 2012
.
. .

Alto Clef:
This is the lto Clef it is situated on what would traditionall. $e "nown as the
(*( line in the Tre$le Clef and is used mainl. $. the 2iola
&iddle C is now here:
Double Sharps (x) and Double lats (bb):
3ou$le Sharp is a note that in a sense, has literall. $een sharpened twice0
3ou$le 4lat is a note that has $een flattened twice0
5 $ $ $ x
x $
$
E double
Sharp
E double
flat
A.M Sparrow 2012

!re"es# Double Dots $ Duplets:
*reve #3ou$le whole note% last as long as two semi$reves and loo"s li"e this:
%
3 & % 2 ' 1 ' &
Double Dot $ehind a note does the same as a single dot
$ehind a note would0
So one dot after a note increases the note $. half of its own
value #see m. Grade + video 6 sheets% and the second dot
adds on half of what the first dot is worth0
3uplet is the opposite to a Triplet0
Where a Triplet is tr.ing to crush ! notes into the timing of 7 notes,
a 3uplet is putting 7 notes into the timing of !0
%
2
8t has a feeling of (more room(, compared to the (crushed( feel
of a Triplet0
A.M Sparrow 2012

+
St
9 Tonic
7
nd
9 Super Tonic
!
rd
9 &ediant
4
th
9 Su$93ominant
:
th
9 3ominant
,
th
9 Su$9&ediant
;
th
9 <eading Note
=
th
9 'pper Tonic
De(rees of the S)ale:
8n Grade 4, .ou will need to "now the technical names of the degrees #notes% of the ma>or
nd minor scales0
4rom the $ottom note of the scale to the top, the. are as follows:
A.M Sparrow 2012

*r+ads $ Chords on ,# ,- and -:
8n Grades +9! we have covered Tonic Triads #see m. Grade + Sheets%
nd in Grade 4, we will cover triads on the 4
th
#82% :
th
#2% degrees0
0000or the Su$9dominant and 3ominant triads:
8 82 2
Scale of C:
C 3 ) 4 G * C
+
st
7
nd
!
rd
4
th
:
th
,
th
;
th
=
th

When in a minor "e., chord 2 #:% will alwa.s sound ma>or0 This is $ecause
the !
rd
of that chord #middle note% is the <eading Note #;
th
note% of the scale and is alwa.s
raised / hence actuall. ma"ing the chord 2 sound ma>or $ut in the minor "e.0
The chord on the left is the :
th
chord in the "e. of minor,
We "now its chord 2 of minor, $ecause the $ottom
note starts with an ) which is the :
th
note of the scale0
The G has to $e sharpened as we are in a minor "e., which
ultimatel. will ma"e this chord sound ma>or0

5
-
A.M Sparrow 2012

*he Chro.at+) S)ale:
8n Grade 4, .ou ma. $e as"ed to write out a Chromatic scale0
?ou must remem$er that for ever. line and space there will $e a note and
certainl. no more than 7 notes per line@space0

/0 *+ps:
+% Tr. not to mix 1(s and b(s
7% When writing a 3escending #going down% scale remem$er to use naturals
if and where necessar.0
8f .ou are $eing as"ed to write a chromatic scale, ascending #going up% starting
on 45 for example, it would $e $etter to write it as:
45 G G5 5 * C C5 3 35 ) 4 45 if you keep to #'s, you could be
less likely to make mistakes
8f .ou are $eing as"ed to write out a descending chromatic scale starting on
3$ for example, .ou could do this:
+% 3$ C * *$ $ G G$ 4 ) )$ 3 3$ or it can $e written li"e this:
7% 3$ C C$ *$ $ G G$ 4 4$ )$ 3 3$ 0000or li"e this:
!% 3$ C * 5 G5 G 45 4 ) )$ 3 3$
)xample ! is more confusing, requires
more thought to it and $ecause we did not stic" to using
flats, we have to include the occasional sharp and natural
Sign ma"ing the whole thing more complicated than it
Needs to $e and more li"el. that we will ma"e a mista"e0
A.M Sparrow 2012

A A))+a))atura #Grace Note@Crushed Note%
Appo((+atura
A<eaning note
ASimilar to Bgrace noteC
ANo line through note
AWorth half the value of the main note
A *r+ll2Sha3e
A Arpe((+at+on
A Dla. from $ottom notes to top notes as quic"l. as possi$le
A /ordent2,n"erted /ordent #'pper &ordent@<ower &ordent%
A Shortened Trill
A *urn
A Note a$ove 9 4ote +tself 9 Note $elow 9 4ote +tself
5rna.ents:
tr

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