hi there music friends welcome back
again today I'm going to discuss a
method for question two of grade 8 music theory exam, completing the
missing bars for piano piece you'll be
amazed how this method can help you
complete your piano piece within 20 minutes
during theory exam and score very very well
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hi welcome back to another video today I
choose this piece to teach the piano
composition because this piece consists of many hidden tricks in piano
music compositions and a lot of things
to be discover and I think it's quite
unique and interesting so let's look at
this question when doing the question 2
we will always start with finding the
key the opening key for this is D major
it looks like a D major
but don't get tricked by this question
although there are only two sharps but
don't forget there's an A sharp as
accidental so when you want to confirm
the key you need to look at the four  rules to
confirm the key so firstly to look at
the key signatures
secondly look at accidentals okay watch
out the accidentals thirdly you need to
look at opening chord lastly you can check
whether there are any cadences okay so
um a lot of students cannot decide what
key is this and also not sure whether
the key that they find is correct so if you
still not very sure about how to name
the key these four are the rules to
decide whether your keys are correct okay
so look at this the opening apparently
there are 2 sharps and I will say this is
not a D major because there's an A sharp as
accidentals okay so first we look at key-signatures
two sharps the accidentals has A sharp
and thirdly the opening chord is B D F#
okay so from here you know this is not a
D major that this is a B minor instead
okay first deciding the right key
is very important because at the end of
the phrase you are going to decide what
is the cadence okay so looks like this
B D F you can use chord I so the
second bar it starts with B again so apparently
we can use chord I again so bad three
there is a C and then bar four is totally empty
so this is a melody with upbeat
rhythm okay so if you want to know how
to how to construct your phrase with up beat rhythm you can refer to my melody
writing video I think is part 2 of  melody writing video you can find the link
in below this video in the description
box okay so the second bar will be BDF
again BDF so bar one and two we can both
use BDF okay so BD and F can form
a cadence with another chord and since the phrase start at
upbeat you should also end half count
earlier so later on you need to
have a cadence here over here we can try
to use chord V which is FAC chord five to
I this will form a perfect cadence okay if
you still remember what you learned in
grade 5  theory chord V to I can end
phrase and this one is BDF
so let's continue the next bar you'll
notice this is a B this is a D and
this is actually the decorated version of bar one B and D see you have B & D
but in between they add in some decorated
notes so since the melodies are same we
can use back chord one again so this B D F
and
boss 6 starts with F which is the same as a bar 2
so over here you can see they give you
they are giving you a hint
it looks like this F is also same as
this so over here the bar starts with B and
then second beat we have B and C and then
here is F looks like they are the same the
melody the basic melody is the same it's
just that in 2nd line they add in some
melodic decoration so when you do this
question you can analyze the melody like
this once you found one it once you have
found a similarity like this you can
decide what harmony to use so over here
you can use BD F again just like the
bar 2  and the next bar is quite unique
next bar you can see this is the F A
and E it looks like chord V majority of
the notes belong to chord V because
you have F AE in B minor F AE belong to
chord V and they omit the C and
just nice the missing note C can be found in
bar 3 okay this is C looks like a
missing puzzle in bar seven so they are
giving you a hint again telling you this
C can actually bring down okay so this F
A and E together with C they can actually from chord V okay
so F AC E if you use C in your right
hand they can form a full chord of FACE
this I copy from bar 3 okay so here you can see
FACE already now what is the B doing
here some students may ask you see there is a B
in the left hand part here this B does
not belong to this family so what is
B doing over here so when a B keep
occurring at the bass we can call this a
tonic pedal this is just a tonic pedal
okay so the main chord is still FACE so
we just ignore the B because it's just
a tonic pedal after five the next bar we
can go to one because the notes given
here is B D F okay so this is chord one
BDF now let's compare the chord in first
line and second line what did you notice
you'll notice the melody are same and the
harmony are also the same okay one
first line you have chord one one five one second
line also has one one
V7, one so since this is the case
so bar 3 you can also change to V7 because later on we're going to
copy this whole thing up okay since they
belong to same family in terms of harmony
okay let's move on to the second
half in this second half of music you
start to see new accidentals which is a
G sharp okay now I need to decide whether
this G sharp belong to the new key you
still have two sharps F
sharp and C sharp
okay the key-signatures we have F sharp C
sharp secondly we have G sharp and
thirdly we need to look at opening chord
can you remember the 4 rules? the opening
chord is D and A and right here you have F and D
and they give you DFA, D, F sharp, A so this is a D major chord okay most of
the notes here start with a D major chord, D F#, A
so by looking at these opening chords
and key-signatures we can confirm this is a
D major then some of students will start
to ask why is the G sharp doing here if
you look carefully this G sharp is just
an auxiliary note you know G sharp
the auxiliary note is to be written
between two repeated note before
the G sharp you have A, after the G#
you have A between these two repeat notes you have A, G#, A so this one can be treated as
chromatic auxilliary note it's just a kind
of decorations in writing the melody of
a music composition auxiliary note is
very frequently used to decorate the 2
notes that are being repeated you can insert in
between so in this case it's just a
chromatic
auxiliary note so you  can just ignore the
G# and decide this is a D major now
let's move on okay let's look at a chord
here since you have D D F# A in this bar this will be your chord one
so from here we can decide the harmony
for this bar is chord one D F# A so next
bar we have DFAC again you can see DFAC
looks like this is a chord I7 DFAC can form
a 1 7 chord and here you need another
cadence okay so the most commonly used
cadence is V-I let's try a chord V why
do I suggest chord V because in D
major chord V has AC#E ok let's
look at the notes given here whether do
they belong to AC#E so the chord here you
have C you have a G looks like C and G can
belong to chord V7 okay they give you C
and G this is a hint
so you must catch a hint and they want
you to use chord V7 ACEG so next bar
we can go to chord I when the bar is totally
empty
you are free to use any chord to form the
cadence so V go to I of course is the best
choice to make your melody sounds
smooth ok let's move on to the next line
next line you notice you have a D and A
no, D and F# just same as the third line
ok this and these are same ok so
since they are the same we can use the
same harmony so you write down again DF#A
so the next bar is totally empty so
since you copy the first bar down here
and this one is totally empty you can
just bring this down also and if you
bring this down it will be DF# AC ok
because of that we decide to choose the
same harmony let's move on to the next
bar the next bar you need the cadence again for
next 2 bars since the first two bars
has same harmony as 3rd line now we can
try our luck to see whether the next 2 bars can be the same as the chords V-I
again like 3rd line okay so
this is V7 ACEG so now if you want to
know whether you can use chord V again, you just need to name the notes so this is F# this
is E this is A A so A and E majority of
the notes
belong to this chord ok most of the notes
belong to this chord then you can use a V7
but what is the F doing here
the F does not belong to the court
this F# can be treated as decoration
which
is appoggiatura in music theory appoggiatura is the kind of decoration that is
being placed on the mean be okay so this
chord let's say is ACE okay this E
supposed to be on a main beat but because of
this appoggiatura the E is being
delayed so it is actually dislocated
harmony ACE to replace a note
at the main beat so this is a non chord note  to
decorate your melody so we can just
ignore the F here it's just an appoggiatura okay so this is how you spell it
for this F#
okay treat it as appoggiatura so now
after chord V you can just go to chord I the
same as the a third line okay because
the notes in the bass part is D so
this is a chord I so this is DFA okay
now let's move on to copy the notes so
just now we say since all the notes
are same now you can copy it so
this is left hand so we copy this then the
next bar FACE so you can copy the left
hand F A E and then the A has a sharp
then B then after that FAE again
because this can bring up okay so I
quickly copy this okay so those part
they are the same you can copy first next
bar BDF can bring up okay so BDF
then B here and rest, copy exactly
the same so what happened to the missing
part over here in right hand? if
you will study the basic rules of harmony
chord V to I is the ending okay
 leading the melody to the end so when
leading the melody to the end, you need to take care of
leading note, in B minor the leading of B
minor is A#
you need to lead the A# go home to
tonic
okay so happened that you also have a
tonic look here you can see okay
they already gave you a hint that you need
to go back to B which is the tonic note go to B and then this one can bring up but
you need to do it one octave lower because
they wanted to join for the next quaver
so now between C and this A you can put
B as a passing note to smoothen up your
melody okay so this is how you end your
melody your melody end here the first
phrase end here so your next phrase can start with F again this F same as this the
first phrase starts F so over here you
also the next phrase you also need to start
half count earlier so this is F let's
continue in second line since the melody
in bar 5 is the same as bar 1 so we can
just copy it quickly
BGA#
II
then the next bar also the same thing
since the same harmony then you can copy
you
and right hand they give you
F so we can continue to copy from bar 2
F F B and the third and fourth bar
apparently it can be the same also okay
so basically the first and second line
are same this stem should be up okay so
first and second line are done you can go to
the piano and play to try on a piano
and it should be able to sound
smooth and sound good
then next line DFAC so this accompaniment we can actually bring
down because we are using the same
harmony so this is a D F# and then
here you have a D A okay next the
next bar we also do the same thing C
and G
the C and G okay the last bar is empty and we
don't know what happened
so never mind we just fill up the
missing part first so the last line you
copy from here okay this can bring down
because we use the same harmony also so
DFA and copy this
 
 
and then C and they give you a hint
you see this line this quaver line okay
it means it is to connect this C to some
other notes
so in last line can see this C is
leading you to the F since it starts with C
and you end with F, you can add some passing notes
in between okay so we can add C D E
D and E are passing notes C D E and you can end
this melody with F okay it starts with C
and ends the melody with F
C and F are in the chord
so you can choose the chord note to start your
chord note with C and F, in between add in
the D and E can be used as passing notes
to smoothen up your melody okay instead
of C skips directly to F you can
add passing D and E to smoothen up
your melody okay so do the same for
these two line
next bar ACEG so you can copy the
melody from 4th line bring it up okay so
these are just filling in the missing puzzle
FEAA, since you copy this bar you might as well bring this up also D and D
okay majority of the notes are done okay so
over here you need two counts one two so
over here you only have one and a half
because the opening of this melody
have half
you should combine the last bar
that's why the last bar only has one and half count because it's combined with the opening
upbeat which only have half count so now the
third lines still must complete the 2
crotchets because this is a one full bar
so the 2 notes must be crotchet and crotchet so over
here you need to make some changes
okay now one and two so the 3rd line the
right hand accompaniment is missing here so
what should you use here okay let's look
at a chord the chord here is DFA for the
chord of DFA you can copy the accompaniment
from this bar because this bar
the harmony is DFA also so in that case
you can just move it over to here okay
so now you just need to move them just like
moving the house quaver D and F#
okay this is how you complete the accompaniment and then also
make sure the accompaniment style must be
consistent rest quaver, rest, quaver
like this okay now let's move on to the
last line last line the last bar only
need three quavers so don't forget you
only need three quavers so bring only the
first three quavers down so now you copy this, rest, quaver note and then rest
no more okay please don't write anymore
quaver note because you only need three
quavers over here so I hope you like
the lesson today you'll find useful I
hope just I look forward to seeing you
in my next video and also don't forget
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ok thank you for watching I see you
again next week. thank you bye bye
