Full Version: Theory Grade 6+
is there any point in doing grade 6 and above theory exams ??do you need it to do a DipABRSM
QUOTE(ben_walker446 @ Jan 8 2006, 06:02 PM) 
is there any point in doing grade 6 and above theory exams ??do you need it to do a DipABRSM
You only need ABRSM Grade 8 practical in the instrument presented or a permitted substitution to do the DipABRSM. See: http://www.abrsm.org/resources/perfDip05Part1.pdf
If you intend to do the DipABRSM, studying for a post-Grade 5 Theory qualification would be beneficial. In my opinion, it would be a shame to be able to perform to a high standard and yet not have the theory to match it.
QUOTE(ben_walker446 @ Jan 8 2006, 06:02 PM)
is there any point in doing grade 6 and above theory exams ??do you need it to do a DipABRSM
Yes, if you want to further you're understanding of musical style, period, form, structure, etc. Also useful for A-level, early degree-level study
No, it's not necessary for a DipABRSM
The reason I am venturing into looking at Grade 6 Theory, is to understand more about the music I am listening, also, to help with A-level music IF I study it. It is not essential, but if you enjoy theory (like I do, at times), then it is worth looking at the material.
Umm...teachers diplomas?
I was under the impression that they require grade 6 theory
Also they give UCAS points (more than I thought) and are a good grounding for A level.
I was under the impression that they require grade 6 theory
Also they give UCAS points (more than I thought) and are a good grounding for A level.
you need grade 6 theory to take teaching diploma though.
i am now doing grade 6 theory and it is fun. the reason i am doing ther higher theory grades is to go to music college.
i am now doing grade 6 theory and it is fun. the reason i am doing ther higher theory grades is to go to music college.
Just for fun really . It's odd that people don't say 'what's the point in doing grade 6 piano you can't use it for anything?' yet they do say that about theory. Some people just enjoy doing it (or in my case at the moment enjoy thinking that they should be getting on with doing it 
).
As others have rightly said you also need the higher theory grades for teaching diplomas (although not for performing ones).
. It's odd that people don't say 'what's the point in doing grade 6 piano you can't use it for anything?' yet they do say that about theory. Some people just enjoy doing it (or in my case at the moment enjoy thinking that they should be getting on with doing it ).As others have rightly said you also need the higher theory grades for teaching diplomas (although not for performing ones).
If you want to go for futher study in music, I think you better learn it but you can decide not to take the exams. There are lots of things to learn for Theory grade7~8, such as dimished chords, augmented chords...etc.
You will need to learn them again(further) in dip.(Theory) like modulations by using those chords. But you can decide not to learn it if you want to put more attention on practical , nothing will harm.
You will need to learn them again(further) in dip.(Theory) like modulations by using those chords. But you can decide not to learn it if you want to put more attention on practical , nothing will harm.
i'm being made to do upto grade 8, but i dont think i'm going to make it that far at the rate i'm going, the reason i'm doing them is to get UCAS points early, which might make things easier later in life.
Yes there is a point. Studying advanced theory can bring a new appreciation to the repertoire that you are currently learning, and enhance your listening.
Knowing how trio sonatas are composed, and how to realise a figured bass, are not just seen in isolation, they can be applied too.
For example if you are learning a Baroque piece, having a look at how the accompaniment is derived from the figured bass, or composing your own breathes life into your interpretation of the melody. You can see how your part relates to the accompaniment too, thus enhancing your performance.
Go for it. And not just for the sake of the UCAS points. Treat those as a bonus.
Knowing how trio sonatas are composed, and how to realise a figured bass, are not just seen in isolation, they can be applied too.
For example if you are learning a Baroque piece, having a look at how the accompaniment is derived from the figured bass, or composing your own breathes life into your interpretation of the melody. You can see how your part relates to the accompaniment too, thus enhancing your performance.
Go for it. And not just for the sake of the UCAS points. Treat those as a bonus.
Is there any point in breathing - yes if you want to live.
Is there any point in theory - yes if you want to understand how music is composed.
The abrsm give details (on their web site) of the prerequisites for all of their exams.
Is there any point in theory - yes if you want to understand how music is composed.
The abrsm give details (on their web site) of the prerequisites for all of their exams.
Grades 6-8 theory are very baroque/classical based and will give you limited insight into the basics of diatonic composition. Part-writing does have its uses - for example it helps awareness of how parts are progressing in your composition, rather than leaving threads of sound just hanging (which you may want, in which case you KNOW what you're doing).
It doesn't help much with good orchestral writing though. Even if the orchestra is a dying institution (for new work especially), bands are enjoying a new fling and lots of ensemble music is still written - all of which entail the question of balance and blending.
The latter can present its own problems in small orchestras/ensembles. As for figured bass, good if you wish to be a baroque continuo player (and if you're too lazy to write out a bass line) but little use when you move into more modern realms of performance/composition. I really can't understand why the AB still insists on figured bass. Even four-part harmony is a dead language according to Kitson (unless you're making money teaching it, of course).
Such are my thoughts.
WS
It doesn't help much with good orchestral writing though. Even if the orchestra is a dying institution (for new work especially), bands are enjoying a new fling and lots of ensemble music is still written - all of which entail the question of balance and blending.
The latter can present its own problems in small orchestras/ensembles. As for figured bass, good if you wish to be a baroque continuo player (and if you're too lazy to write out a bass line) but little use when you move into more modern realms of performance/composition. I really can't understand why the AB still insists on figured bass. Even four-part harmony is a dead language according to Kitson (unless you're making money teaching it, of course).
Such are my thoughts.
WS
4 part harmony a dead medium, try telling that to John Rutter and the countless other people composing for Church Choirs.
You need to know the rules in order to appreciate the effect when you break them.
You need to know the rules in order to appreciate the effect when you break them.
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