Music theory lessons for ABRSM and Trinity candidates
This lesson refers to the keyboard reconstruction question (Q2. ABRSM Grade 8 Music Theory). Voice Leading and Consecutives Although you are writing for piano rather than in four part harmony, you should …
Dissonant Melodic Intervals Augmented and diminished melodic intervals are uncommon but do sometimes occur. Dissonances should resolve by step: move from the dissonance to the nearest possible note. In most …
3-Part Texture Most of the harmony rules we have learned up to now have been based on 4-part, SATB harmony. Music can, of course, be written for any number of …
False (Cross) Relations A false (or cross) relation occurs when a note is placed in close time proximity to a chromatically altered version of itself, in another part. For example, …
The phrase “parts cross” means that between two parts, the higher one moves downward in pitch so far that it becomes the lower one (or the lower part moves above …
We have already learned that the normal voice leading behaviour of the leading note is to rise by step, if the chord progression is V-I, and that in a 4-part …
The chords ii7 and vii°7 are in a group of chords called secondary 7ths. A secondary 7th is an added 7th chord built on any degree of the scale except …
Writing Chords to Accompany a Melody The first question in the ABRSM grade 6 theory paper asks you to provide a chord progression for a given melody. You are given …
When two parts form a harmonic interval of a perfect 5th, this should not normally be followed by another perfect 5th between the same two parts, in Classical harmony. This …
Voice Leading Leading Notes The behaviour of the leading note is crucial to writing good harmony, and good compositions. The 7th degree of the scale is called the “leading note” …