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victoria Williams Music Theory

Victoria Williams

LmusTCL BA Mus (Hons) MISM

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Browse by Music Grade: Grade 1 | Grade 2 | Grade 3 | Grade 4 | Grade 5 | Grade 6 | Grade 7 | Grade 8 | DiplomasWhat Grade am I?

grade 5 music theoryDownload this Grade 5 Music Theory Course or buy the Printed Book Version

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Grade 5 - 10 Tests (Online Format)

Grade 5 Theory - Ten Practice Tests

in the Online Format (ABRSM Syllabus)

 

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Some Explanations of the Answers

If you have a query about any of the answers in the tests, please drop me a line at info@mymusictheorycom and I'll be happy to explain! Here are some of the queries that have already been sent in.

Some errors in the first editions have been spotted. The current edition is version 9. Please get in touch if you've already purchased and would like the most recent version.

Spelling errors: affettuoso, attacca.

Test 2: Q12b: F# missing, Q25c should be "false"

Test 3: Q12a: time signature should be 3/4, Q12b:  "G minor" given twice as options

Test 4: Q5b: should be "incorrect", 14a: Tenor

Test 5: Q1b slight error in the rhythm, Q11: Key signatures with four flats should be F minor, Q16b should say "subdominant"

Test 6: Q14a - both tenor and bass clefs were possible.

Test 7: Q16a - should be "false"

Test 9: Q3 should ask about "dotted minim beats" (dotted half note beats), Q11 should say "F# minor".

 

 

Foreign Terms

There are often many ways to translate a foreign term into English, and some of tests use definitions which differ from those in the ABRSM Music Theory in Practice books - but they are still valid. The ABRSM's own definitions have changed over the years, but the meaning of the terms has not changed. The terms used in the ABRSM's MTIP books are not exactly the same as those in their "Rudiments and Theory of Music" book, for example. Students are encouraged to understand the essence of the term, rather than memorising a single translation.

Test 1

Q5b 

This is correct, rather than using a dotted quaver rest. Put rests in the order that makes them add up into "neat" numbers - whole beats if possible, if not then half beats (or 1/3 beats in compound), then halves of those.
The first semiquaver note needs to be made into a neat 1/2 by using a semiquaver rest. Then put another quaver rest to make up the whole beat.

It's not standard to write dotted rests in simple time signatures either. If you have Music Theory in Practice Grade 2, on p.19 it mentions using a dotted quaver rest: "These are not strictly correct, although they are occaisonally found in printed music".

 

Test 2

Q12

F## exists in the scale of G# minor (harmonic), but not in the scale of B major.

test 2 q 12

Test 3

Q15a.

The scale 15a is incorrect because the D natural (circled) doesn't have a natural symbol, so it would technically be another Db.

test 4 15a

Test 4

Q5. 

9/8 = three dotted crotchets per bar. Rest must follow the pattern of beats.

In bar 1 you need to begin with a dotted crotchet rest (=beat 1), then a quaver rest (to complete beat 2).

In bar 2, beat 1 is the first beamed group (worth 3 quavers). Beat 2 has been subdivided: one dotted crotchet splits into 3 quavers (worth 1/3 of a beat each). Each quaver splits into 2 semiquavers. The first two semiquavers are the first 1/3 of a beat. The next semiquaver note + the semiquaver rest = the 2nd 1/3 of a beat. And the final quaver rest is the last 1/3 of the beat.

In bar 3, the duplet is worth 3 normal quavers, so it's one whole beat. The dotted crotchet is the 2nd beat. The final beat should be a dotted crotchet rest (one whole beat).

 

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