In this title we will go through more advanced theory for Grade Five level. We will start by looking at irregular time signatures, then move on to a new clef: the tenor clef. We will also cover major and minor keys with six sharps or flats - don't worry, there are only four! We will then look at transposing melodies up or down intervals as well as across clefs. In Chapter Five we'll go over how to score four part vocal music and in chapter six we will cover the irregular time divisions of pentuplets, sextuplets, septuplets and nonuplets.

In this title we will cover the theory you need to know for ABRSM Grade Five. In Chapter One we'll look at how to describe compound intervals - those that are larger than an octave. In Chapter Two we'll go through how to name chords in their various inversions. In Chapter Three we will think about how to compose a melody and what you need to take into consideration when writing for an instrument or voice. Chapter Four will look in more depth at ornaments and how to recognise them when fully notated. Chapter Five introduces chords at cadential points and how to write a perfect, plagal or imperfect cadence. And in Chapter Six we will learn some Italian and German performance directions.

In this title we will look at new time signatures, both simple and compound, and how to work out the time signature of a piece based on the grouping of the notes. Then we'll cover the alto clef, which you'll need to be able to read even if you don't play an instrument that uses it. In chapter three we'll look at double sharps and flats, which raise or lower a note by two semitones. We'll then go through key signatures with five sharps or flats and learn the technical names of notes in diatonic scales. Finally, we'll look at composing more complex four bar rhythms.

In this title we'll look at a number of important theory subjects for Grade Four. We'll learn how to work out triads on the tonic, dominant and subdominant of the scale. We will also look at intervals between all notes of the scale, not necessarily ones starting on the keynote. Then we'll cover writing a rhythm to words and learn about the chromatic scale. We will go through the names and details of various ornaments and the instrument families of the orchestra. Finally, we'll learn some more key performance directions that you may find written into scores.

In this title, you'll be asked various questions on different musical extracts. They aim to test your understanding of what you've learnt in Grade Four. If you're taking the Grade Four exam, these questions are similar to what you would be asked. It is recommended that you listen to the Grade Four Parts One and Two titles before you go through these questions.

The podcasts in this title will help you to revise for the Grade Three music theory examination run by the Associated Board of the Royal Schools of Music. Although it is not compulsory to take any theoretical examinations before taking your GCSE Music, it is recommended that you at least have a good understanding of theory. This will then help in all areas of your GCSE including the listening exam, composing and performing. The podcasts for Grade Three cover areas including key signatures up to four sharps or flats, transposing, compound time, demisemiquavers and learning more about intervals, simple phrase structure and performance directions. The testbites include a variety of questions similar to what a candidate would see in the real theory examination.

In this title we'll continue to go through the information you'll need for ABRSM Grade Three theory. If you haven't listened to the Part One title, it's recommended you work through that first. In Part Two we'll be looking at compound time, its time signatures, notes and rests. Then we'll look at composing some four bar rhythms. In chapter three we'll cover simple phrase structures and how to pick out phrases in a piece of music. Finally, we'll take a look at some more performance directions and their definitions.

In this title, you'll be asked various questions on different musical extracts. They aim to test your understanding of what you've learnt in Grade Three. If you're taking the Grade Three exam, these questions are similar to what you would be asked. It is recommended that you listen to the Grade Three Parts One and Two titles before you go through these questions

In this title we will cover important Grade Two theory areas including ledger lines, more advanced time signatures and more advanced key signatures. We will also look at how to use triplets. In Chapter Three we'll focus on the major keys of A, B flat and E flat, and Chapter Five will look at the minor keys of A, E and D. A good understanding of theory will help in all areas of your GCSE including the listening exam, composing and performing.

In this title we will cover areas including grouping notes, intervals and simple four-bar rhythms. It's important to be able to recognise interval values both on the stave and by listening to them. You will also be given the chance to compose some four-bar rhythms yourself so be prepared when this comes up in Chapter Three. Chapter Four focuses on common performance directions that you will come across printed on scores, as well as other marks you will find on the stave.

In this title, you'll be asked various questions on different musical extracts. They aim to test your understanding of what you've learnt in Grade Two. If you're taking the Grade Two exam, these questions are similar to what you would be asked in this exam. Your ability to write out music neatly and accurately is part of this exam, but you will not be asked to write anything in these testbites. As a result, please ensure that you undertake lots of practice tests before the exam.