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TRINITY GUILDHALL THEORY GRADE 7

THEORY GRADE I GRADE 2 GRADE 3 GRADE 4 GRADE 5 GRADE 6 GRADE 7 GRADE 8

 

Theory of Music Workbook Grade 7 (Trinity Guildhall Theory of Music)

Included in this book are all requirements for the Trinity Guildhall grade 7 theory examination plus information for teachers, hints and tips for candidates.

past papers are available to download from the Trinity College site

TRINITY GUILDHALL THEORY GRADE 7 requirements

CLICK HERE TO SEE what you need to know to pass this grade

You need to know all the stuff from Grades I,2,3 4, 5,& 6 plus


Rhythm and form
1. Irregular rhythmic groupings
2. Unusual time signatures
3. Notational shorthand
4. Rondo and sonata rondo forms
5. Coda
6. Scherzo and trio
7. Sonata form
8. Sonatina

9. The number and type of movements likely to be found in Classical sonatas, string quartets and
symphonies — definitions for each as defined in the workbook
10. 12-bar blues

Composers
Composers of particular relevance to this grade are those writing in the Classical period
(approximately 1750–1830), e.g. the early works of Beethoven, and works by J Haydn and W A Mozart


Pitch
1. Transferring a short extract from close to open score for string quartet, or vice versa
2. Recognising and writing all pentatonic major, pentatonic minor, and blues scales
3. Recognising and writing Dorian mode scales starting on C, D, F or G
4. Identifying an extract written using Dorian mode
5. Recognising and writing whole-tone scales
6. Writing an 8-bar melody using notes from the major, minor, pentatonic major, pentatonic minor,
blues or whole-tone scales or using notes from the Aeolian or Dorian mode
7. Identifying modulation turning points through pivot notes, pivot chords and diminished 7th or
dominant 7th chords
8. Recognising and writing secondary 7ths
9. Recognising and writing pre-cadential chord progressions
10. Recognising and writing suspensions in a harmonic sequence
11. Labelling the chords of a phrase of a chorale/hymn in Roman numerals and chord symbols, and
completing it with an appropriate 3-chord progression (bass line given)
12. Recognising and writing Tierce de Picardie and inverted cadences - including ivb–V
(Phrygian cadence)
13. Transposing a simple 12-bar blues chord progression (I I I I IV IV I I V IV I V) and
writing an accompaniment using it in piano style (block chords or vamping)
14. Recognising Alberti bass and other features in Classical piano/string composition
15. Inversion of pedal points and melodies
16. Transposing a melody for any transposing instrument for the grade (transposing intervals to be
known include those for Grade 6 and also treble recorder, clarinet in A, soprano saxophone in Bb,
baritone saxophone in Eb, tenor horn in Eb), also understanding the way Baroque/Classical
composers notated music for brass/timpani in orchestral scores
17. Ranges of timpani, tenor horn in Eb, trombone (tenor and bass), as defined in the workbook


General knowledge
Classical period as defined in the workbook
Layout of Classical scores (for orchestra and string quartet) as defined in the workbook
Blues style as defined in the workbook
Musical words and symbols
Bridge passage, development, exposition, recapitulation, transition and shorthand signs
used in the workbook

 

Theory of Music Workbook Grade 7

 

 

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