Music Gr10 Revision Book Term 3 and 4

Western Cape Education Department
Directorate: Curriculum FET
REVISION BOOKLET
Grade 10: Terms 3 & 4
This revision pack is designed to assist you in revising the critical Music Literacy and
Music Comprehension content and skills accumulated by the end of Grade 10.
The purpose is to ensure that you understand and practice the key concepts, as well
as provide you with an opportunity to establish the required standard and application
of knowledge necessary to succeed in the study of Music.
Use the content checklist on the next page to ensure that you have covered all the
topics required at this stage.
2|Music Grad e 1 0 Revision Pa ck : Ter ms 3 & 4
CONTENT CHECKLIST
Use a tick () or cross () to check what you have mastered in the pre-test, the practice
work sheets and the post-test. The pre-test should guide you to identify the topics that will
need additional practice. The goal is to work until you can tick all the worksheet and post-
test columns.
PRE-TEST  WORK  POST-TEST 

NR TOPIC
QUESTIONS  SHEET  QUESTIONS 
Note names: Treble & Bass
1 clef (incl. leger lines, sharps, These concepts are Refer to These concepts are
flats & naturals) required for most Term 1 required for most
questions and questions
2 Note values & Rests Term 2
Revision Packs
1.1.7 for 1.1.8
3 Technical Names 1.1.9 worksheets to 1.1.9
practice
these concepts
4 Transcription 1.1.13 1.1.13
1.1.1
Time Signatures: 1.1.1
5 Worksheet 1 1.1.12
Simple & Compound 2
2
Key Signatures: Major &

6 1.1.2 Worksheet 2 1.1.2
minor
Scales: Major & minor 1.1.3 1.1.3

7 5
Worksheet 3
5
(natural, harmonic & melodic)
Intervals 1.1.4 1.1.4

8 (Major, minor, augmented & 3
Worksheet 4
3
diminished)
Triads 1.1.7
1.1.7
9 (Major, minor, augmented & 4
Worksheet 5 1.1.8
diminished) 4
10 Four-part chords 6 Worksheet 6 6
11 Cadences 6 Worksheet 7 6
1.1.6 / 1.1.8 1.1.6

Compositional Techniques & Worksheet 8
12 1.1.10 / 1.1.11 1.1.10
Music Terms 1.1.12
(Study notes)
1.1.11
Please turn over page

CONTENT INDEX
PART ACTIVITY PAGES
PART 1 Pre-test (50 marks) 4-8
Worksheet 1: Time Signatures: Simple & Compound 9 - 11
Worksheet 2: Key Signatures: Major & minor 12 - 13
Worksheet 3: Scales: Major & minor (harmonic & melodic) 14 - 15
PART 2:
WORKSHEETS Worksheet 4: Intervals (Major, minor, augmented & diminished) 16 - 17
for
consolidation
and extra Worksheet 5: Triads (Major, minor, augmented & diminished) 18 - 20
practice
Worksheet 6: Four-part Chords 21 - 24
Worksheet 7: Cadences (Perfect, Imperfect & Plagal) 25 - 26
Worksheet 8 (Study Material):

27 - 29
Compositional Techniques & Music Terms
PART 3 Post-test (50 marks) 30 - 34
Manuscript pages for rough work: Pages 35 & 36

PART 1: PRE-TEST
1.1. Study the extract below and then answer the questions that follow:
1.1.1. Write the time signature and describe the meter (e.g. simple triple) of this
extract.
Time Signature: ………
Meter: …………………………………………………………………….. (2)
1.1.2. State the key of this extract.
……………………………………………………………… (1)
1.1.3. Write the harmonic minor scale that uses the same key signature as this piece,
ascending, without key signature in the bass clef. Remember to indicate all
semitones.
(4)

1.1.4. Name the following intervals according to type and distance (e.g. major 2nd).
Bracket A: ………….…………….………
Square B: ………………….……….……
Square C: ………………….……….……
Square D: ………………….……….…… (4)
1.1.5. How many bars does this extract consist of?
NUMBER OF BARS = ………… (1)
1.1.6. Name the compositional technique at:
Brackets E and F: ……………………………………………………………
Brackets G, H and I: …………………………………………………………… (2)
1.1.7. Write down the Roman numerals to figure each of the following triads (hint:
always state the key before you figure a chord, e.g. G: V):
Square J: ……………
Square K: ……………
Square L: …………… (3)
1.1.8. Explain the difference between the bows at M and N:
………………………………………………………………………………………………
………………………………………………………………………………………………
2X½ (1)
1.1.9. Provide the technical names (e.g. tonic) of the following notes:
Square P: ………………………
Square Q: ………………………
Square R: ……………………… (3)

1.1.10. Explain the meaning of the tempo indication:
………………………………………………………………………………………………... (1)
1.1.11. Complete the table below to name and explain the dynamic and tempo
markings in bar 7:
ITALIAN TERM EXPLANATION
4X½ (2)
1.1.12. Name and explain the ornament in bar 2.
……………………………………………………………………………………………..….
2X½ (1)
1.1.13. Transcribe bar 3 of the flute part into the bass clef so that it still sounds at the
same pitch (remember to add the key signature!).
(2)
[27]
2. Complete the following bars with notes grouped correctly below each asterisk (*):
2.1.
(1)
2.2.
(1)
2.3.
(1)
[3]

3. Write the following intervals:
Minor 7th Augmented 3rd Diminished 5th Major 3rd Minor 2nd
Above Above Above Below Below
[5]
4. Describe each of the following triads (major, minor, diminished or augmented):
……………….. ……………….. ……………….. ……………….. ………………..

[5]
5. Write the following scale:
G melodic minor, ascending and descending, without key signature in the bass clef.
Remember to indicate all semitones.
[4]
6. Add the alto, tenor and bass voices to complete the following cadences, using root
position chords. Remember to indicate the key and which chords you have used.
Be sure to apply all the rules of four-part harmony writing.
6.1. Perfect Cadence:
…… : …… ……. (2)

6.2. Plagal Cadence:
…… : …… ……. (2)
6.3. Imperfect Cadence:
…… : …… ……. (2)
[6]
PRE-TEST TOTAL: 50
PART 2: CONSOLIDATION WORKSHEETS
The pre-test would have helped you to determine which concepts still require more
consolidation. The worksheets on pages 9 to 29 will provide you with material to practice
these concepts.

WORKSHEET 1: TIME SIGNATURES (Simple & Compound)

Simple Time Signatures:
The top number indicates HOW MANY beats in a bar

The bottom number indicates the TYPE OF BEAT
• 4 = each beat is a crotchet in length
• 8 = each beat is a quaver in length
Compound Time Signatures:

3
When a time signature can be divided by 2, then the time signature will
be COMPOUND. After the division, the top number will indicate the
number of beats, and the bottom number must be DOTTED as your type
of beat (see example below).
NUMBER: There are 2 beats per bar

6 3 2
÷ =
8 2 4 TYPE: Each beat is a DOTTED CROTCHET
3
(4 = crotchet, but after a 2 division, it is dotted)
Important:
• When determining the time signature, circle groups of notes that add
up to a beat. This will determine the number and type of beats. If
your beat is dotted, you will have to do the reverse of the above to
determine the time signature.
2 3 6
(4 X 2 = 8)
• When adding missing notes that must be grouped correctly, write the
beats per bar above the stave to ensure that you fill each beat
correctly.
• REMEMBER: When notes are BEAMED together, it shows that it belongs
to the same beat or group of notes.
SUMMARY OF TIME SIGNATURES (Grade 10)

Time Signature
Describe Simple Simple Simple Simple Compound

meter Quadruple Quadruple Triple Duple Duple

10 | M u s i c G r a d e 1 0 R e v i s i o n P a c k : T e r m s 3 & 4
1. Add bar lines to each of the following passages:
2. Complete each of the following bars with notes grouped correctly below each
asterisk (*).
2.1.
2.2.
2.3.
2.4.
2.5.
2.6.
2.7.

3. Complete the table below by stating the time signature and meter for each of the
following two-bar extracts:
TIME
EXTRACT METER
SIGNATURE

WORKSHEET 2: KEY SIGNATURES (Major & minor)

1. Learn the circle of 5ths to know your key signatures:
2. Know the order of your sharps and flats:

Sharps→F C G D A E B Flats
e.g. A major has 3 sharps, therefore the first 3: F#, C# & G#
e.g. E♭ major has 3 flats, therefore the first 3 from the end: B♭, E♭ & A♭
3. The relative minor keys are 3 semitones and 2 letter names below the
major key:
e.g. the relative minor of A major is f# minor
3 semitones below A = F#/G♭

2 letter names below A = F
Therefore the relative is F# and not G♭
4. Placing of sharps and flats for key signatures in treble and bass clefs:
SHARPS:
FLATS:

1. Name the major and relative minor keys for each of the following. Remember to use
CAPITAL letters for MAJOR keys, and lowercase letters for minor keys.
(The first exercise has been completed as an example)
Major: C major Major: …………… Major: …………… Major: ……………
minor: a minor minor: …………… minor: …………… minor: ……………
Major: ……………… Major: …………… Major: …………… Major: ……………
minor: ……………… minor: …………… minor: …………… minor: ……………
2. Write the following key signatures in the clefs as requested.
Bass clef: Treble clef:

e minor E♭ major
Treble clef: Bass clef:

F major f# minor

d minor f minor

c minor B♭ major

WORKSHEET 3: SCALES (Major & minor)

Number the notes of your scales to ensure that you write the correct
number of notes. Always indicate semitones between the correct notes.
e.g. F major scale (without key signature, ascending and descending):
No. of
SCALE TO REMEMBER
NOTES
Major 8 Semitones: Up & Down = 3-4 ; 7-8
Natural minor 8 Semitones: Up & Down = 3-4 ; 5-6
Semitones: Up & Down = 2-3 ; 5-6 ; 7-8

Harmonic minor 8
Remember to raise the 7th!
Semitones: Up = 2-3 ; 7-8 ; Down = 6-5 ; 3-2
Melodic minor 8 UP: Raise 6 and 7
DOWN: 6 and 7 lowered
Write the following scales:
D major in the treble clef, ascending and descending, without key signature.
(Remember to indicate all semitones)
d melodic minor in the bass clef, ascending and descending, without key signature.
A major in the treble clef, ascending and descending, with key signature.

B♭ major in the bass clef, descending, without key signature.

g harmonic minor in the treble clef, ascending, with key signature.

E major in the treble clef, ascending and descending, without key signature.
c natural minor in the bass clef, ascending and descending, without key signature.
e melodic minor in the treble clef, ascending and descending, with key signature.
b harmonic minor in the bass clef, ascending, without key signature.


WORKSHEET 4: INTERVALS
An interval is the distance in pitch between any two notes. All intervals are
described in two ways: their DISTANCE and their QUALITY.
DISTANCE: When counting the notes of intervals, both notes are included.
QUALITY: Intervals can be classified as being major, minor, perfect, diminished
or augmented. To determine the quality of an interval, the bottom note is
seen as the tonic of the scale, i.e. if the bottom note is C, we pretend to be in
C major; if the bottom note is F, we pretend to be in F major, etc.
INTERVALS OF A 2nd, 3rd, 6th & 7th:
• If the top note is in the major key of the bottom note, the quality is MAJOR
• If the top note is a semitone flatter than in the major key of the bottom
note, the quality is MINOR
• If the top note is two semitones flatter than in the major key of the bottom
note, the quality is DIMINISHED
• If the top note is a semitone sharper than in the major key of the bottom
note, the quality is AUGMENTED
INTERVALS OF A unison/1st, 4th, 5th & octave/8th:
• If the top note is in the major key of the bottom note, the quality is PERFECT
• If the top note is a semitone flatter than the major key of the bottom note,
the quality is DIMINISHED (NB: minor does not exist for a 1st, 4th, 5th and 8th)
• If the top note is a semitone sharper than the major key of the bottom
note, the quality is AUGMENTED
NB: When writing intervals BELOW a given note, the bottom note becomes the
new tonic of the scale you are working in. You may not alter the given note.
Aug. 5th Min. 3rd Min. 3rd Min. 6th Dim. 4th Maj. 3rd
Above Above Below Below Above Below
Min. 7th Aug. 4th Aug. 4th Perfect 5th Dim. 3rd Aug. 6th
Above Above Below Below Above Above
Min. 6th Min. 7th Perfect 5th Min. 2nd Maj. 2nd Min. 7th
Above Above Below Below Below Above
2. Name the intervals marked A to J according to quality and distance (e.g. major 3rd).
Hint: note the key signature of this piece and the use of accidentals.
A = ……………………………….. F = ………………………………..
B = ……………………………….. G = ………………………………..
C = ……………………………….. H = ………………………………..
D = ……………………………….. I = ………………………………..
E = ……………………………….. J = ………………………………..

WORKSHEET 5: TRIADS
A triad is a set of three notes that can be stacked vertically in thirds.
Triads are stacked from the bottom upwards:
• Bottom note = root (when the triad is written in its original form)
• Middle note = third (3rd)
• Top note = fifth (5th)
As with intervals, there are four types (qualities) of triads:
MAJOR MINOR DIMINISHED AUGMENTED
Intervals used: Intervals used: Intervals used: Intervals used:

major 3rd & perfect 5th minor 3rd & perfect 5th minor 3rd & diminished 5th major 3rd & augmented 5th
above the root note above the root note above the root note above the root note
Alternative way: Alternative way: Alternative way: Alternative way:

All 3 notes are in the A major triad with a A major triad with a A major triad with a
major key of the root flattened 3rd flattened 3rd and 5th sharpened 5th
note
The triads built on each note of a major scale will have the following qualities:
Scale
Technical Sub- Sub- Leading

Tonic Supertonic Mediant Dominant
name dominant mediant note
Roman
numeral I ii iii IV V vi viio
Quality MAJOR minor minor MAJOR MAJOR minor diminshed
Important notes:
• I, IV and V are called the primary triads of a key
• Use CAPITAL Roman Numerals for MAJOR chords
• Use lowercase Roman numerals for minor chords
• Diminished chords are indicated by lowercase Roman numerals, followed by a
superscript circle (0)

1. Write the following triads, starting on the given root notes:
minor Major diminished Augmented Major minor
diminished minor Augmented diminished minor Major
2. Write the three primary triads for each of the following keys in root position.
Remember to add the following:
• the key signature
• the corresponding Roman numerals in the spaces below each triad
C major:
B♭ major:
D major:
G major:
F major:
E♭ major:

2. Describe the triads marked A to J according to quality / type (e.g. major).
A = ……………………………….. F = ………………………………..
B = ……………………………….. G = ………………………………..
C = ……………………………….. H = ………………………………..
D = ……………………………….. I = ………………………………..
E = ……………………………….. J = ………………………………..

WORKSHEET 6: FOUR-PART CHORDS (I, IV, V)

The three PRIMARY triads of any key are:
• Tonic (I) - triad built on the 1st note of the scale
• Subdominant (IV) - triad built on the 4th note of the scale
• Dominant (V) - triad built on the 5th note of the scale
When writing chords in four-part harmony, remember the following:

• Treble stave: Soprano – stems up ; Alto – stems down
• Bass stave: Tenor – stems up ; Bass – stems down
• Double the root (1st) or 5th of a major chord
• There may not be more than an octave between the soprano
and alto parts
• There may not be more than an octave between the alto and
tenor parts
• Avoid parallel fifths and octaves between two chords.
In the exercises below, you will combine your knowledge of scales and triads to write the
primary chords of a given key in four-part harmony:
EXAMPLE: C MAJOR
1. Write the ascending C major scale, without key signature.
2. Write the three primary triads, without key signature. Indicate the key and figure your
triads.
3. Use minims to write the primary triads in four-part harmony, without key signature.
Indicate the key and figure your triads (remember to double the appropriate notes, use
the correct voice spacing, and avoid parallel fifths / octaves).

5.1: G MAJOR
1. Write the ascending G major scale, without key signature.
triads.
the correct voice spacing, and avoid parallel fifths / octaves)
5.2: D MAJOR
1. Write the ascending D major scale, without key signature.
triads.
3. Use crotchets to write the primary triads in four-part harmony, without key signature.

5.3: F MAJOR
1. Write the ascending F major scale, without key signature.
triads.
5.4: B MAJOR
♭
1. Write the ascending B♭ major scale, without key signature.

triads.

5.5: A MAJOR
1. Write the ascending A major scale, without key signature.
triads.
5.6: E MAJOR
♭
1. Write the ascending E♭ major scale, without key signature.

triads.

WORKSHEET 7: CADENCES (Major keys)

You covered three types of cadences thus far:
• PERFECT: Moving from dominant to tonic (V - I)
• IMPERFECT: Moving to the dominant (e.g. I - V or IV - V)
• PLAGAL: Moving from subdominant to tonic (IV - I)
Remember that the LEADING NOTE (the 3rd of the dominant chord) must
always RISE to the tonic note.
1. Complete the following cadences, using root position chords. Remember to

indicate the key and which chords you have used. Be sure to apply all the rules for
four-part harmony writing.
Perfect Cadence Imperfect Cadence Plagal Cadence
Key=…… : ……. …….. Key=…… : ……. …….. Key=…… : ……. ……..
Perfect Cadence Imperfect Cadence Plagal Cadence
Key=…… : ……. …….. Key=…… : ……. …….. Key=…… : ……. ……..
2. Name the cadences formed at brackets A and B:
A: …………………………………………. B: ……………………………………………..

3. State the key, figure the chords, and then name the cadence for each of the
following extracts:
KEY …….: …… ……. KEY …….: …… ……. KEY …….: …… …….
CADENCE: ……………… CADENCE: ……………… CADENCE: ………………
4. Write a cadence for each of the following progressions in G major. Figure your
chords and then name the cadence in the space provided.
…… ……. …… …… …… …… …… …….
NAME: ……………..…… ………………….. ………………….. ……………………
5. Write a cadence for each of the following progressions in B ♭ major. Figure your
chords and then name the cadence in the space provided.
…… ……. …… …… …… ……
NAME: ……………………. …………………….. ………………..…..

WORKSHEET 8:
COMPOSITIONAL TECHNIQUES & MUSIC TERMS
COMPOSITIONAL TECHNIQUES:
A motive is the shortest music unit that makes sense.
It can be a notable recurring figure, musical fragment or succession of notes that
Motive has some special importance or is characteristic of a composition.
(Motif) Example: Main motive from
Beethoven’s 5th symphony →
Repeating a motive or harmonic pattern at the same pitch in the same clef /
voice / instrument.
Example: If Beethoven applied
Repetition
repetition in his 5th symphony, it
would have looked and sounded
like this →
Repeating a motive or harmonic pattern at a different pitch in the same clef /
voice / instrument.
Sequence Example: Opening 4 bars of

Beethoven’s 5th symphony →
The repetition of a motive shortly after its first appearance in a different voice. The
Imitation melody may vary through transposition, inversion, or otherwise, but retain its
original character (see extract from Beethoven’s 5 th symphony below ↓).
Example of
imitation and
pedal point
(Beethoven’s
5th symphony)
→
A note that is sustained through several changes of harmony that may be

Pedal point consonant or dissonant with it. In instrumental music it is typically in the bass (see
sustained C note in extract from Beethoven’s 5 th symphony above ↑).

MUSIC TERMS:
You are expected to gradually build up a repertoire of music terminology. In addition to
the list provided in the Term 2 Revision Pack, you must also study and memorise the terms
and signs listed below.
SYMBOL /
CAT TERM MEANING
ABBREVIATION
A grace note that is played quickly before the main
Acciaccatura
note (the emphasis is placed on the main note)
A grace note that is played for half the value of the
Appoggiatura main note (greater emphasis is placed on the grace
note than the main note)
ORNAMENTS
Mordent The note must be played with a single rapid

(upper) alternation with the note above
Mordent The note must be played with a single rapid

(lower) alternation with the note below
A rapid alternation between the written note and

Trill
the note above or below it
A specific pattern that starts with the written note,
then playing the note above the one that is written,
Turn
then the written note, a note below the written
note, then the written note again
Alla Marcia Like a march; in the style of a march None
Cantabile In a singing manner None

CHARACTER / DIRECTION
Espressivo Expressive, expressively None
Frölich Joyous, happy None
Grazioso Graceful, smooth, or elegant in style None
Leggiero Lightly, gracefully None
Lustig In a merry and cheerful way None
Ruhig In a calm and peaceful manner None
Semplice Simple None
Scherzando In a playful manner None

Tempo di Play in the style and “tempo of a minuet”
None
Minuetto (moderate and graceful in 3/4 or 6/8 time)

SYMBOL /
CAT TERM MEANING
ABBREVIATION
Upbeat: one or more notes preceding the first
Anacrusis None
downbeat of a musical phrase
Con With None
DC Da capo, which means “from the beginning.” None
Dal Segno, means “from the sign.” It directs the

DS player to return to a spot earlier in the score that's
marked by this symbol →
OTHER
Fine The end None
Ma non troppo …. but not too much None
Meno Less None
Mezzo Middle; medium; half None
Molto More None
Senza Without None

PART 3: POST-TEST
1.1. Study the extract below and then answer the questions that follow:

1.1.1. Write the time signature and describe the meter (e.g. simple triple) of this
extract.
Time Signature: ………
Meter: …………………………………………………………………….. (2)
1.1.2. State the key of this extract.
……………………………………………………………… (1)
1.1.3. Write the harmonic minor scale that uses the same key signature (concert
pitch)as this piece, ascending, without key signature in the bass clef.
(4)
1.1.4. Name the following intervals according to type and distance (e.g. major 2nd).
Bracket A: ………….…………….………
Square B: ………………….……….……
Bracket C: ………………….……….……
Bracket D: ………………….……….…… (4)
1.1.5. Write an enharmonic equivalent for the note marked with an asterisk in inside
bracket C (bar 8).
(1)
1.1.6. Name the compositional technique at brackets E and F:
…………………………………………………………… (1)
1.1.7. Describe the type of triads (major, minor, diminished or augmented) at:
Square G: ……………
Square H: …………… (2)

1.1.8. Write down the Roman numeral to figure the triad formed in square I (hint:
always state the key before you figure a chord, e.g. G: IV):
…………..…… (1)
1.1.9. Provide the technical names (e.g. tonic) of the following notes:
Square J: ………………………
Square K: ………………………
Square L: ……………………… (3)
1.1.10. Explain the meaning of the tempo indication:
………………………………………………………………………………………………... (1)
1.1.11. Explain the following terms and signs used in this extract:
TERM EXPLANATION
leggiero
(clarinet part, bar 5)
pizz.
(cello part, bar 5)
arco
(cello part, bar 7)
(3)
1.1.12. Rewrite bar 4 of the clarinet part with the correct grouping of notes (it should
still sound the same when played):
(2)
1.1.13. Transcribe bar 8 of the cello part into the treble clef so that it sounds one
octave higher (remember to add the key signature!).
(2)
[27]

2. Complete the following bars with notes grouped correctly below each asterisk (*):
2.1.
(1)
2.2.
(1)
2.3.
(1)
[3]
Augmented 5th Major 2nd Minor 7th Diminished 3rd Minor 6th
Above Below Above Below Above
[5]
4. Describe each of the following triads (major, minor, diminished or augmented):
……………….. ……………….. ……………….. ……………….. ………………..

[5]
5. Write the following scale:
D melodic minor, ascending and descending, with key signature in the treble clef.
[4]

6. Add the alto, tenor and bass voices to complete the following cadences, using root
position chords. Remember to indicate the key and which chords you have used.
Be sure to apply all the rules of four-part harmony writing.
6.1. Plagal Cadence:
…… : …… ……. (2)
6.2. Imperfect Cadence:
…… : …… ……. (2)
6.3. Perfect Cadence:
…… : …… ……. (2)
[6]
POST-TEST TOTAL: 50

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Western Cape Education Department

Directorate: Curriculum FET

PRE-TEST  WORK  POST-TEST 

Key Signatures: Major &

Scales: Major & minor 1.1.3 1.1.3

Intervals 1.1.4 1.1.4

10 Four-part chords 6 Worksheet 6 6

1.1.6 / 1.1.8 1.1.6

Please turn over page

PART 1 Pre-test (50 marks) 4-8

Worksheet 1: Time Signatures: Simple & Compound 9 - 11

Worksheet 2: Key Signatures: Major & minor 12 - 13

Worksheet 3: Scales: Major & minor (harmonic & melodic) 14 - 15

Worksheet 6: Four-part Chords 21 - 24

Worksheet 7: Cadences (Perfect, Imperfect & Plagal) 25 - 26

Worksheet 8 (Study Material):

PART 3 Post-test (50 marks) 30 - 34

Manuscript pages for rough work: Pages 35 & 36

Please turn over page

Time Signature: ………

Meter: …………………………………………………………………….. (2)

1.1.2. State the key of this extract.

Please turn over page

Square D: ………………….……….…… (4)

1.1.5. How many bars does this extract consist of?

NUMBER OF BARS = ………… (1)

1.1.6. Name the compositional technique at:

Brackets E and F: ……………………………………………………………

Brackets G, H and I: …………………………………………………………… (2)

Square L: …………… (3)

1.1.8. Explain the difference between the bows at M and N:

Square R: ……………………… (3)

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1.1.10. Explain the meaning of the tempo indication:

1.1.12. Name and explain the ornament in bar 2.

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3. Write the following intervals:

4. Describe each of the following triads (major, minor, diminished or augmented):

……………….. ……………….. ……………….. ……………….. ………………..

5. Write the following scale:

6.1. Perfect Cadence:

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6.2. Plagal Cadence:

6.3. Imperfect Cadence:

PART 2: CONSOLIDATION WORKSHEETS

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WORKSHEET 1: TIME SIGNATURES (Simple & Compound)

The top number indicates HOW MANY beats in a bar

Compound Time Signatures:

NUMBER: There are 2 beats per bar

SUMMARY OF TIME SIGNATURES (Grade 10)

Describe Simple Simple Simple Simple Compound

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1. Add bar lines to each of the following passages:

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WORKSHEET 2: KEY SIGNATURES (Major & minor)

2. Know the order of your sharps and flats:

3 semitones below A = F#/G♭

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