Music Gr10 Revision Book Term 2

Western Cape Education Department
Directorate: Curriculum FET
REVISION BOOKLET
Grade 10: Term 2
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 the second term
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 Grade 10 Revision Pack: Term 2
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 This concept is This concept is
1 clef (incl. leger lines, required for Worksheet 1 required for
sharps, flats & naturals) most questions most questions
This concept is This concept is

2 Note values & Rests required for Worksheet 1 required for
most questions most questions
1.1.1
1.1.4
Simple Time Signatures 1.1.1
3 2 Worksheet 2
& grouping 3
1.1.15
4
1.1.2 1.1.2
Major Key Signatures &
4 3 Worksheet 3 1.1.3
Scales 5 4.2
1.1.3 1.1.4
5 Natural Minor Scales 3
Worksheet 4
4.1
1.1.9
6 Intervals: Major & Perfect 1.1.9 Worksheet 5
3
6.1
7 Technical Names 6.2
Worksheet 6 1.1.12
8 Transcription 6.3 Worksheet 7 1.1.13
1.1.10 1.1.10
9 Music Terms 1.1.11
Worksheet 8
1.1.11
1.1.7
1.1.7
GMK & Comprehension 1.1.8
10 n.a. 1.1.8
Foundation Concepts 1.1.12
1.1.14
1.1.13
Please turn over page

CONTENT INDEX
PART ACTIVITY PAGES
PART 1 Pre-test (40 marks) 4-8
Worksheet 1: Note Names (including sharps, flats, naturals,

9
enharmonic equivalents) & Note Values
Worksheet 2: Simple Time Signatures 10
Worksheet 3: Major Key Signatures & Scales 11 - 12
PART 2:
WORKSHEETS Worksheet 4: Relative minors & Natural Minor Scales 13 - 16
for
consolidation
and extra Worksheet 5: Intervals (Major & Perfect) 17
practice
Worksheet 6: Technical names 18 - 19
Worksheet 7: Transcription 20 - 22
Worksheet 8 (Study Material): Music Terms 23 - 24
PART 3 Post-test (40 marks) 25 - 28
Manuscript pages for rough work: Pages 29 & 30

PART 1: PRE-TEST
1.1. Study the extract below and then answer the questions that follow:
Careless Whisper
(Introduction)
- George Michael

1.1.1. Name the meter (e.g. simple triple) of this extract.
……………………………………………………………… (1)
1.1.2. State the key of this extract (hint: this piece is in a minor key).
……………………………………………………………… (1)
1.1.3. Write the natural minor scale of the key mentioned in 1.1.2, ascending,
without key signature in the bass clef. Remember to indicate all semitones.
(4)
1.1.4. How many bars does this extract consist of?
NUMBER OF BARS = ………… (1)
1.1.5. Write down the correct letter name (e.g. D) of the circled notes labelled A
and B:
A: ……………
B: …………… (2)
1.1.6. Write down ONE note equal to each of the following:
• The tied notes inside square C =
• The tied notes inside square D =

(2)
1.1.7. Name the compositional technique at brackets E and F.
……………………………………………………………………… (1)
1.1.8. Identify the rhythmic technique at bracket G.
………………………………………………………... (1)
1.1.9. Name the intervals formed at brackets H and I according to type and
distance (e.g. major 2nd).
H: ………….…………….……… I: ………………….……….……. (2)

1.1.10. Explain the meaning of the tempo indication:
………………………………………………………………………………………………... (1)
1.1.11. Complete the table below to explain the two dynamic markings used in this
extract:
ITALIAN TERM EXPLANATION
4X½ (2)
1.1.12. How many brass instruments are used in this extract?
……………………………………………………. (1)
1.1.13. Name a chordophone used in this extract.
…………………………………………………… (1)
[20]
2. Add the correct time signature to each of the following extracts:
[4]

3. Name the correct major key, relative minor key and meter for each of the
following (e.g. F major, d minor, Simple Duple):
Major
Key ……………………………………… ………………………………………
Relative
minor ……………………………………… ………………………………………
Meter ……………………………………… ………………………………………

6X½ [3]
4. Complete the following extracts with notes grouped correctly below each
asterisk (*):
4.1.
(2)
4.2.
(2)
[4]
5. Write the following scale:
D major, descending, with key signature in the treble clef. Remember to indicate
all semitones.
[4]

6. Study the melody below and then answer the following questions:
6.1. Circle the subdominant of this melody on the score. (1)
6.2. State whether the following statement is true or false and provide a reason for
your answer:
The submediant note is used in the extract above.
Answer: …………………………………………………………………………………………. (2)
6.3 Transcribe this melody into the bass clef so that it still sounds at the same pitch.
4X½ (2)
[5]
PRE-TEST TOTAL: 40
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 24 will provide you with material to practice
these concepts.

WORKSHEET 1: NOTE NAMES, NOTE VALUES & RESTS

If you still need help with these important concepts, you can refer to the
following pages in the Term 1 Revision Book for detailed explanations:
• Note names – page 7
• Note values – page 8
• Sharps, Flats & Naturals – page 12
• Enharmonic equivalents – page 13
Ensure that you memorise and master these concepts, as they form the
foundation of all Music Literacy skills.
1. Write one note that is equal to each of the following groups of notes and/or rests:
1.1 = 1.4 =
1.2 = 1.5 =
1.3 = 1.6 =
2. Write the following notes or rests:
Treble Clef Treble Clef Bass Clef Bass Clef

F# in a space G in a space B♭ in a space Quaver Rest
Crotchet Semibreve Minim
Bass Clef Treble Clef Treble Clef Bass Clef

F in a space C# in a space Semitone above B E on a line
♭
Quaver Dotted Crotchet Crotchet Minim
3. Write an enharmonic equivalent next to each of the following notes:

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 2
WORKSHEET 2: SIMPLE TIME SIGNATURES

If you still need help with Simple Time Signatures, you can refer to page 10 in
the Term 1 Revision Book for detailed explanations and examples to assist
you.
Ensure that you master this concept, as you will also be introduced to
Compound Time Signatures next term.
1. Complete the table below by stating the time signature and meter for each of the
following two-bar extracts:
TIME DESCRIBE
EXTRACT
SIGNATURE METER
2. Add bar lines to each of the following passages.
3. Complete each of the following bars with notes grouped correctly in the space
below each asterisk (*).

WORKSHEET 3: MAJOR KEY SIGNATURES & SCALES
If you still need help with these important concepts, you can refer to the
following pages in the Term 1 Revision Book for detailed explanations:
• Key Signatures – page 15
• Major Scales – page 17
Ensure that you memorise and master these concepts, as they form the
foundation of intervals, triads, melody writing and four-part harmony.
1. Name the major keys for each of the following (NB: note the different clefs):
Major: ……………… Major: …………… Major: …………… Major: ……………
2. Write the following key signatures in the clefs as requested.
Bass clef: Treble clef:

D major E♭ major
Treble clef: Treble clef:

F major B♭ major
Bass clef: Treble clef:

A major E major

3. Write the following scales:
C major in the treble clef, ascending and descending, without key signature.
(Remember to indicate all semitones)
E♭ major in the bass clef, ascending, 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.

F major in the treble clef, descending, with key signature.

D major in the treble clef, ascending and descending, without key signature.

WORKSHEET 4: RELATIVE KEYS &

NATURAL MINOR SCALES
Relative keys are pairs of major and minor musical keys that share the same set of notes.
These relative keys will therefore have the same key signature. When these notes are played
in a certain order, they can sound “happy” (major key) or when the same keys are played
in the relative order, they sound “sad” (minor).
For instance, the key of C major shares the same notes as the key of a minor, which makes them a
pair of relative keys. Both the C major scale and the a natural minor scale use only natural notes with
no flats or sharps:
• If you start the scale on the note C, the notes in order will be C-D-E-F-G-A-B-C. This is the C major
scale.
• If you play these same notes, but start on the note A, the notes in order will be A-B-C-D-E-F-G-A.
This is the a natural minor scale.
In this case, a minor is the relative minor of C major, and C major is the relative major of a minor.
Note that we use CAPITAL letters to indicate a MAJOR key, and small letters to indicate a
minor key.
You can find the relative minor of a major scale by finding that scale's
sixth scale degree (the sixth note in the scale).
In the D major scale above, the 6th note is B. Therefore, the relative minor
of D major is b minor.
In the b natural minor scale above, you used the same notes and key
signature (F# and C#) as for D major, but started on the note B.
The semitones between the same notes as in the major scale (F#-G and
C#-D) will now be between notes 2-3 and 5-6.
You can find the relative major of a minor scale by finding that scale's
third scale degree (the third note in the scale).
In the d minor scale above, the 3rd note is F. Therefore, the relative major
of d minor is F major.

Another way to determine the relative minor, is to remember that the

relative minor is 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♭
To determine the relative major, you will count 3 semitones (and two
letter names) upwards.
For example, if you are asked to determine they key signature for
d minor, you will first need to determine the relative MAJOR key, as the
minor shares the same key signature as the relative MAJOR scale (the
same set of notes).
When you count 3 semitones (and 2 letter names) upwards from D, you
will get to F. F major is therefore the relative key of d minor, and d minor
will have the same key signature as F major (one flat = B♭).
When writing the scale of d minor, you will write the same notes as for
F major, but start on a D. The semitones will be between 2-3 and 5-6.

1. Name the major and relative minor keys for each of the following. Remember to use
CAPITAL letters for MAJOR keys, and small 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: ……………
minor: ……………… minor: …………… minor: …………… minor: ……………
2. Write the following natural minor scales, ascending, WITH key signature. Complete the
following for each scale:
• Name the relative MAJOR of the scale in the space provided
• Add they key signature of the relative major at the start of your scale
• Number your notes from 1 to 8
• Indicate the semitones
2.1. g natural minor
Relative major key = …………………..
2.2. c natural minor

2.3. a natural minor
2.4. e natural minor
2.5. f natural minor
3.1. The natural minor scale that is relative to E major, ascending and descending,
without key signature in the treble clef. Indicate all semitones.
3.2. The major scale that is relative to d minor, ascending and descending, with key
signature in the bass clef. Indicate all semitones.
3.3. The natural minor scale that is relative to A major, ascending and descending,
without key signature in the treble clef. Indicate all semitones.

WORKSHEET 5: INTERVALS (Major & Perfect)
If you still need help with major and perfect intervals, you can refer to
page 19 in the Term 1 Revision Book for detailed explanations and examples
to assist you.
1. Name the intervals marked a to j according to quality and distance (e.g. major 3rd):
a = f =
……………………………….. ………………………………..
b = g =
……………………………….. ………………………………..
c = h =
……………………………….. ………………………………..
d = i =
……………………………….. ………………………………..
e = j =
……………………………….. ………………………………..
2. Write the following intervals:
Major 7th Perfect 4th Major 6th Perfect 5th Perfect 4th Major 3rd
Above Above Above Below Below Below
WORKSHEET 6: TECHNICAL NAMES

The technical names in music are a set of 7 terms that give a label to every note of the scale.
Every note is assigned a different technical name that reflects its position in the scale:
1st note (or degree) of a scale = Tonic

2nd note (or degree) of a scale = Supertonic
3rd note (or degree) of a scale = Mediant
4th note (or degree) of a scale = Subdominant
5th note (or degree) of a scale = Dominant
6th note (or degree) of a scale = Submediant
7th note (or degree) of a scale = Leading note
For example, in the C major scale, each step of the scale will have a technical name (based
on the number or degree of the scale). Do not confuse the technical name (e.g. tonic) with
the note name or letter name (e.g. C).
Scale
Degree 1 2 3 4 5 6 7 8 (1)
Technical
Tonic Supertonic Mediant Subdominant Dominant Submediant Leading note Tonic
Name
Note
name C D E F G A B C
1. Write the following notes (use semibreves). The first exercise has been completed as
an example (Hint: Remember the key signature of each scale/key).
Dominant of Submediant of
→ →
C major F major
Tonic of Tonic of
→ →
B♭ major D major
Subdominant of Leading note of

→ →
F major D major
Leading note of Mediant of

→ →
G major A major
Supertonic of Subdominant of
→ →
E♭ major B♭ major
Mediant of Supertonic of
→ →
D major G major

2. Provide the technical names of the notes marked a to f in the extract below:
(Hint: First determine the key of the piece)
a = ………………………………………….
b = ………………………………………….
c = ………………………………………….
d = ………………………………………….
e = ………………………………………….
f = ………………………………………….
3. Circle ALL the dominant notes in the extract below:

WORKSHEET 7: TRANSCRIPTION
Often, musicians are required to transcribe a piece of music from the treble to bass clef
and vice versa. The transcription can be done at the same pitch, or an octave higher or
lower.
When transcribing music to a

different clef, always first → Middle C below stave in Treble Clef
identify where the melody must → Middle C above stave in Bass Clef
be in relation to middle C.
For example:
• The melody below starts on middle C. The D and E notes are above middle C, while
the note B is below middle C:
• When transcribing this melody to the bass clef so that it sounds at the same pitch,
we will write it as follows:
• When transcribing the melody one octave higher in the treble clef, we must start on
the note C one octave above middle C (the starting note):
• When transcribing the melody one octave lower in the bass clef, we must start on
the note C one octave below middle C (the starting note):
Remember to include the time signature, key signature and any accidentals
when transcribing the music.

1. Transcribe this tune to the bass clef so that it still sounds at the same pitch:
2. Transcribe this tune down one octave into the bass clef:
3. Transcribe this tune down one octave (remain in the bass clef):
4. Transcribe this tune to the treble clef so that it still sounds at the same pitch:

5. Transcribe this tune one octave higher (remain in the treble clef):
6. Transcribe this tune to the bass clef so that it sounds one octave lower:
7. Transcribe this tune one octave higher in the treble clef:

WORKSHEET 8: MUSIC TERMS

You are expected to gradually build up a repertoire of music terminology. Below is a list of
all the terms and signs that you should know by the end of the second term of Grade 10.
Study and memorise these terms.
SYMBOL /
CAT TERM MEANING
ABBREVIATION
An emphasis or stronger attack placed on a
Accent
particular note or set of notes,
Legato Smooth, flowing, connected
Mezzo
ARTICULATION
Moderately short and detached

Staccato
Portato Articulated legato or slurred staccato
Sforzando Explosively sfz
Slur Notes are to be played without separation
Staccato Separate. Sounded in a short, detached manner
Tenuto Hold or sustain a note for its full length
Fortissimo Very loud ff
Forte Loudly f
Mezzo Forte Moderately loud mf
Mezzo Piano Moderately soft mp

VOLUME
Piano Soft, softly p
Pianissimo Very soft pp

The chord or note should be played loudly and then
Fortepiano fp
immediately continue to play softly.
Crescendo Gradually becoming louder cresc. or <
Decrescendo Gradually becoming softer decresc. or >
Diminuendo Gradually becoming softer dim or >

Accelerando Increase of tempo in music accel.

TEMPO CHANGES
Rallentando Gradually getting slower Rall.
Ritardando Gradually getting slower Rit.
A tempo Return to the original tempo None
Allegro Fast (Lively, brisk, quick) None

TEMPO:
Fast
Presto Very fast, rapid None

Moderately fast, lively. Faster than Andante, slower
Allegretto None
TEMPO: Moderate
than allegro
Andante Moderately slow, a walking pace None
Andantino Slightly faster than Andante None
Moderato Moderately None
Adagio Slow, leisurely None
Langsam None
TEMPO: Slow
With a broad tempo / fairly slow
Played in a slow tempo slightly faster than largo but

Larghetto None
slower than adagio
Largo Large, broad, slow and stately None
Lento Slow None

PART 3: POST-TEST
1.1. Study the extract below (2 pages) and then answer the questions that follow:
Every Breath You Take

- Sting

1.1.1. Name the meter (e.g. simple triple) of this extract.
……………………………………………………………… (1)
1.1.2. State the major key of this extract.
……………………………………………………………… (1)
1.1.3. Write the scale of the key mentioned in 1.1.2, ascending, without key
signature in the bass clef. Remember to indicate all semitones.
(4)
1.1.4. Name the relative minor of the key mentioned in 1.1.2.
…………………………………………………………………… (1)
1.1.5. Write down the correct letter name (e.g. D) of the circled notes labelled A
and B:
A: …………… B: ……………
(2)
1.1.6. Write down ONE note equal to each of the following:
• The two notes inside square C =
• The tied notes inside square D =

(2)
1.1.7. Name the compositional technique at brackets E and F.
……………………………………………………………………… (1)
1.1.8. Identify the rhythmic technique at bracket G.
………………………………………………………... (1)
1.1.9. Name the intervals formed at brackets H and I according to type and
distance (e.g. major 2nd).
H: ………….…………….……… I: ………………….……….……. (2)
1.1.10. Explain the meaning of the tempo indication:
………………………………………………………………………………………………... (1)
1.1.11. Explain the difference between the dynamic instructions for the vocalist and
the instrumentalists.
………………………………………………………………………………………………
……………………………………………………………………………………………… (2)
1.1.12. State the technical name (e.g. Tonic) of the notes inside the squares labelled
J, K and L:
J: ………………..………
K: ………………….……
L: ………………….…… (3)
1.1.13. Transcribe bars 2 and 3 of the French Horn Part to the bass clef so that it
sounds one octave lower.
(2)

1.1.14. Name the following instruments used in this extract:
• Chordophone: ……………………………………………………
• Aerophone: ……………………………………………………
• Woodwind instrument: ……………………………………………………
• Brass instrument: …………………………………………………… (5)
1.1.15. Rewrite bar 7 of the vocal part with the correct grouping of notes, but still
sounding the same:
(2)
[30]
2. Write the following intervals above the given notes:
Perfect 4th Major 7th [2]
3.1. The natural minor scale that is relative to B ♭ major, with key signature,
ascending in the treble clef. Remember to indicate all semitones.
(4)
3.2. F major, descending, without key signature in the bass clef. Remember to
indicate all semitones.
(4)
[8]
POST-TEST TOTAL: 40

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Western Cape Education Department

Directorate: Curriculum FET

This concept is This concept is

8 Transcription 6.3 Worksheet 7 1.1.13

Please turn over page

PART 1 Pre-test (40 marks) 4-8

Worksheet 1: Note Names (including sharps, flats, naturals,

Worksheet 2: Simple Time Signatures 10

Worksheet 3: Major Key Signatures & Scales 11 - 12

Worksheet 6: Technical names 18 - 19

Worksheet 8 (Study Material): Music Terms 23 - 24

PART 3 Post-test (40 marks) 25 - 28

Manuscript pages for rough work: Pages 29 & 30

Please turn over page

Please turn over page

1.1.1. Name the meter (e.g. simple triple) of this extract.

1.1.4. How many bars does this extract consist of?

NUMBER OF BARS = ………… (1)

1.1.6. Write down ONE note equal to each of the following:

• The tied notes inside square C =

• The tied notes inside square D =

1.1.7. Name the compositional technique at brackets E and F.

1.1.8. Identify the rhythmic technique at bracket G.

H: ………….…………….……… I: ………………….……….……. (2)

Please turn over page

1.1.10. Explain the meaning of the tempo indication:

1.1.12. How many brass instruments are used in this extract?

1.1.13. Name a chordophone used in this extract.

2. Add the correct time signature to each of the following extracts:

Please turn over page

Meter ……………………………………… ………………………………………

5. Write the following scale:

Please turn over page

6.1. Circle the subdominant of this melody on the score. (1)

The submediant note is used in the extract above.

Answer: …………………………………………………………………………………………. (2)

PART 2: CONSOLIDATION WORKSHEETS

Please turn over page

WORKSHEET 1: NOTE NAMES, NOTE VALUES & RESTS

2. Write the following notes or rests:

Treble Clef Treble Clef Bass Clef Bass Clef

Bass Clef Treble Clef Treble Clef Bass Clef

Quaver Dotted Crotchet Crotchet Minim

3. Write an enharmonic equivalent next to each of the following notes:

Please turn over page

WORKSHEET 2: SIMPLE TIME SIGNATURES

2. Add bar lines to each of the following passages.

Please turn over page

WORKSHEET 3: MAJOR KEY SIGNATURES & SCALES

Major: ……………… Major: …………… Major: …………… Major: ……………

Major: ……………… Major: …………… Major: …………… Major: ……………

2. Write the following key signatures in the clefs as requested.

Bass clef: Treble clef:

Treble clef: Treble clef:

Bass clef: Treble clef:

Please turn over page

3. Write the following scales:

E♭ major in the bass clef, ascending, without key signature.

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