Trinity Grade 8 Music Theory
Published 10/2024
MP4 | Video: h264, 1920x1080 | Audio: AAC, 44.1 KHz
Language: English | Size: 845.31 MB | Duration: 2h 27m

A complete course covering the Trinity Grade 8 Music Theory syllabus.

[b]What you'll learn[/b]

Pass Trinity Grade 8 Music Theory with Distinction!

Build on your knowledge of how music works, and how to pass the Trinity exam

Further your skills in composition and harmony

Practise your skills with the included PDF, exercises and tests!

[b]Requirements[/b]

You should already have covered the topics in Trinity Grades 1-7 Music Theory

You don't need any extra equipment or software to take this course - all materials are provided.

You need to be motivated to learn how music works

[b]Description[/b]

Grade 8 Music Theory TrinityThis Grade 8 Music Theory video courses covers the Trinity syllabus in full.FormThe concerto - the number and type of movements likely to be found in Baroque, Classical and Romantic concertos - definitions for each as defined in the workbookThe cadenzaÉtudeNocturne/Song without wordsThe LiedMazurkaPreludeWaltzComposers and General KnowledgeRomantic period as defined in the workbookSerial technique as defined in the workbookComposers of particular relevance to this grade are those writing in the Romantic period (approximately 1830-1900), e.g. the later works of Beethoven and works by Brahms, Chopin, Mendelssohn, Schubert and SchumannPitchRecognising and writing all Dorian mode and whole-tone scalesRecognising and writing all Mixolydian mode scalesIdentifying an extract written using Mixolydian modeRecognising and writing serial tone rows (and their retrogrades)Writing a melody of 12 or 16 bars in length using notes from the major, minor, pentatonic major, pentatonic minor, blues or whole-tone scales or using notes from the Aeolian, Dorian or Mixolydian mode or a serial tone rowWriting an effective modulation through a pivot chordRecognising and writing passing 6/3 and 6/4Recognising and writing chromatic chords - the Neapolitan 6th, augmented 6th chords (Italian, French and German), secondary dominants, borrowed chords from the tonic minor keyRecognising and writing suspensionsHarmonising two phrases of a chorale in an appropriate style (no bass line given and modulation will normally be necessary)Recognising features of Romantic piano/orchestral composition as defined in the workbookTransposing music for any transposing instruments for the grade (transposing interval to be known include those for Grades 6 and 7 and also piccolo, cor Anglais, cornet in Bb, xylophone and glockenspiel)Ranges of piccolo, cor anglais, cornet in Bb, tuba, xylophone, glockenspiel, as defined in the workbookLayout of Romantic scores (for orchestra/concertos) as defined in the workbookMusical terms and symbols

Overview

Section 1: Introduction

Lecture 1 Trinity Grade 8 Music Theory Introduction

Section 2: Scales, Keys and Key Systems

Lecture 2 Parallel Keys

Lecture 3 Mixolydian Mode

Lecture 4 Serialism and Tone Rows

Lecture 5 Serialism - How to Sound Atonal

Lecture 6 Serialism - How to Compose

Section 3: Chords

Lecture 7 Extended Dominants

Lecture 8 Chromatic Chords

Lecture 9 Neapolitan 6th (♭II)

Lecture 10 Secondary Dominants

Lecture 11 Augmented 6ths

Lecture 12 Borrowed Chords

Lecture 13 Chord iv (Minor Subdominant in Major Keys)

Lecture 14 Chord ♭VI (Flattened Submediant in Major Keys)

Lecture 15 Chord ii° (Diminished Supertonic in Major Keys)

Lecture 16 Other Chromatic Chords

Section 4: Voice Leading

Lecture 17 False Relations

Section 5: Chord Progressions and Modulation

Lecture 18 Passing Chords

Lecture 19 Passing 6/4

Lecture 20 Distant Modulation

Lecture 21 Identifying the Prevailing Key

Section 6: Decoration

Lecture 22 Harmonic Analysis with Decoration

Section 7: SATB

Lecture 23 Harmonising a Chorale Melody (with Modulation)

Section 8: Orchestration and Transposition

Lecture 24 Describing Sound

Lecture 25 The Woodwind

Lecture 26 More About Woodwind

Lecture 27 The Brass

Lecture 28 More About Brass

Lecture 29 The Percussion

Lecture 30 Transposing

Lecture 31 Writing an Orchestral Score at Concert Pitch

Lecture 32 Note Names in Other Languages

Section 9: Style and Form

Lecture 33 The Romantic Era

Lecture 34 Identifying the Era of a Score

Lecture 35 The Baroque Concerto

Lecture 36 The Concerto

Lecture 37 The Etude

Lecture 38 The Nocturne

Lecture 39 The Lied

Lecture 40 The Mazurka

Lecture 41 The Prelude

Lecture 42 The Waltz

Section 10: Composition

Lecture 43 Grade 8 Composition Marking Criteria

Lecture 44 Grade 8 Composition Walkthrough

Section 11: Musical Terms

Lecture 45 Musical Terms

Section 12: Practice Test

Lecture 46 Grade 8 Practice Test

This course is for candidates preparing for Trinity Grade 8 Music Theory

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