Western Cape Education Department

Directorate: Curriculum FET

REVISION BOOKLET
Grade 10: Term 1

This revision pack is designed to assist you in revising the critical Music Literacy content
and skills accumulated by the end of the first 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 1

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 

1.1.5 1.1.5
Note names: Treble & Bass This concept is This concept is
1 Worksheet 1
clef (incl. leger lines) required for required for
most questions most questions

1.1.4
1.1.4
1.1.9
1.1.9
2
This concept is
2 Note values & Rests required for
Worksheet 1 This concept is
required for
most questions
most questions

1.1.1 1.1.1
Simple Time Signatures
3 2.1 Worksheet 2 1.1.4
& grouping 2.2 2

This concept is This concept is

4 Sharps, Flats & Naturals required for Worksheet 3 required for
most questions most questions

1.1.2
1.1.2
5 Major Key Signatures 2.2 Worksheet 4
+ all scales
+ all scales

1.1.3 1.1.3
6 Major Scales 3.1
Worksheet 5
4

1.1.6
7 Intervals: Major & Perfect 1.1.6 Worksheet 6
3

1.1.7 1.1.7
8 The Elements of Music 1.1.8
Worksheet 7
1.1.8

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3|Music Grade 10 Revision Pack: Term 1

CONTENT INDEX
PART ACTIVITY PAGES

PART 1 Pre-test (40 marks) 4-6

Worksheet 1: Note names, Note Values & Rests 7-9

Worksheet 2: Simple Time Signatures 10 - 11

PART 2: Worksheet 3: Sharps, Flats & Naturals 12 - 14

WORKSHEETS
for Worksheet 4: Major Key Signatures 15 - 16
consolidation
and extra
practice Worksheet 5: Major Scales 17 - 18

Worksheet 6: Intervals (Major & Perfect) 19 - 20

Worksheet 7 (Study Material): The Elements of Music 21 - 22

PART 3 Post-test (40 marks) 23 - 25

Manuscript page for rough work: Page 26

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4|Music Grade 10 Revision Pack: Term 1

PART 1: PRE-TEST
1.1. Study the extract below and then answer the questions that follow:

Ben
- Michael Jackson

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

……………………………………………………………… (1)

1.1.2. State the key of this extract.

……………………………………………………………… (1)

1.1.3. Write the major 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. Add bar lines to the piece and then state the total number of bars in the space
below:
3+1
TOTAL NUMBER OF BARS = ………… (4)
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5|Music Grade 10 Revision Pack: Term 1

1.1.5. Write down the correct letter name (e.g. B) of the notes indicated by arrows
1 to 4.

1: …………… 2: …………… 3: …………… 4: …………… (4)

1.1.6. Name the intervals formed at brackets X and Y according to type and
distance (e.g. major 3rd).

X: ………….…………….………

Y: ………………….……….…… (2)

1.1.7. Write a paragraph to explain the dynamics of this extract in detail.

………………………………………………………………………………………………...

………………………………………………………………………………………………...

………………………………………………………………………………………………...

………………………………………………………………………………………………... (3)

1.1.8. This is a vocal song that is performed by a singer. Which musical element will
be most affected if the singer is removed, and the melody is played by a
clarinet?

…………………………………………… (1)

1.1.9. Notate and name each of the following note values (an example has been
provided):

DESCRIPTION NOTATION NAME

Example Crotchet

The longest note value

used in this extract

The shortest note value

used in this extract
(4)
[24]

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6|Music Grade 10 Revision Pack: Term 1

2.1 Complete each of the following bars with notes grouped correctly.

(6)

2.2 Name the correct key and meter for each of the following (e.g. F major, Simple
Duple):

Key …………………………. …………………………. ………………………….

Meter …………………………. …………………………. …………………………. (6)

[12]

3. Write the following scale:

3.1. B♭ major, descending, with key signature in the treble clef. Remember to
indicate all semitones.

(4)
[4]

PRE-TEST TOTAL: 40

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7|Music Grade 10 Revision Pack: Term 1

PART 2: CONSOLIDATION WORKSHEETS

WORKSHEET 1: NOTE NAMES, NOTE VALUES & RESTS

It is very important that you have good knowledge of all note names and note values before
you attempt any Music Literacy exercises or tasks. This concept is study work and, unless you
study and memorise the names of notes, you will not be able to progress in Music Literacy.
Below is a summary of the note names in the various clefs:
(Tip: use a rhyme to memorise the order of lines and spaces from bottom to top)

TREBLE CLEF

RHYMES

Lines: E………..……. G……….…….. B………….……. D……..…….. F…….….…..

Spaces: F………..…….. A……….….….. C…….…….……. E………..…….. (FACE)

BASS CLEF

RHYMES

Lines: G………..……. B……….…….. D………….……. F……..…….. A…….….…..

Spaces: A………..…….. C……….….….. E…….…….……. G………..……..

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8|Music Grade 10 Revision Pack: Term 1

NOTE VALUES & RESTS

The table below name the most common notes and is sorted from
longest to shortest note value. As we move down in the table, each note
is half the value of the previous note, e.g. a minim will be half the value
of a semibreve, etc. In music we also have rests – they carry the same
value as their corresponding note.
NOTE REST COUNTS NAME

8 Breve
beats (US = Double whole note)

4 Semibreve
beats (US = Whole note)

2 Minim
beats (US = Half note)

1 Crotchet
beat (US = Quarter note)

½ Quaver
beat (US = Eighth note)

¼ Semiquaver
beat (US = Sixteenth note)

When a dot is added to the right of a notehead, then the dot equals
half of the duration of the note, for example:

Dotted Crotched Dotted Minim

1 + ½ (half of 1) = 1½ counts 2 + 1 (half of 2) = 3 counts

To make reading easier, we often beam quavers and semiquavers, or

combinations thereof, together in beats, e.g.

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9|Music Grade 10 Revision Pack: Term 1

1. Write one note equal to each of the following notes:

2. Write down the name of the HIGHEST and LOWEST note in each of the following
extracts:
HIGHEST LOWEST

3. Write the following notes or rests:

F in a space Middle C Middle C

Minim Rest
Crotchet Quaver Dotted crotchet

D on a line E in a space E on a line

Crotchet Rest
Crotchet Semibreve Dotted minim

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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 1

WORKSHEET 2: SIMPLE TIME SIGNATURES

The top number indicates HOW MANY beats in a bar
The bottom number indicates the TYPE OF BEAT
• 2 = each beat is a minim in length
• 4 = each beat is a crotchet in length
• 8 = each beat is a quaver in length
Always indicate the number of beats above each bar:
• When determining the time signature, circle groups of notes that add
up to a beat.
• When adding missing notes that must be grouped correctly, write the
beats per bar above the stave to ensure that you fill each beat
correctly.
• REMEMBER: When notes are BEAMED together, it shows that it belongs
to the same beat or group of notes.
• METER in music refers to the number of beats:
- Duple = 2 beats in a bar
- Triple = 3 beats in a bar
- Quadruple = 4 beats in a bar
- This term you have focused on SIMPLE meter (the beat can be
divided in multiples of 2, e.g. one-and-two-and-three-and, etc.)

1. The following extracts are from original music scores for various instruments.
Complete the table below by stating the time signature and meter for each of these
extracts.
EXTRACT TIME SIGNATURE METER

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11 | 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 1

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 (*).

4. Complete each of the following bars with rests grouped correctly in the space
below each asterisk (*).

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12 | 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 1

WORKSHEET 3: SHARPS & FLATS (Accidentals)

SHARPS, FLATS and NATURALS:

SHARP
♯ A sharp sign raises a note by a semitone (e.g. F# is the note F
raised by a semitone).

A flat sign lowers a note by a semitone (e.g. B♭ is the note B

FLAT
♭ lowered by a semitone).

A natural sign cancels any sharp or flat (e.g. F♮ is the same as F).
NATURAL
♮ Remember: If a sharp or flat was used as an accidental in a piece, the
accidental only applies for ONE bar and the bar line then cancels the sharp
or flat.

SEMITONES and TONES:

A semitone is the smallest distance between two different notes. Let's use the piano keyboard
to look at some examples of semitones.

If two notes are as close as possible on the piano keyboard, the distance between them is
a semitone.

Find E and F next to each

other on the piano The distance between the notes in
keyboard. each of these examples is a semitone
- it is not possible to squeeze another
note in between them, because
Now find A and B♭ next to there is nothing between them on the
each other on the piano piano keyboard.
keyboard.

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A tone is the same distance as two semitones(If there is one note between the two notes
we are looking at, the distance between those two notes is called a tone)

Find G and A next

to each other on
the piano The distance between the
keyboard. G♯ or A♭ notes in each of these
(see enharmonic equivalents below)
examples is a tone - we can
is between these two notes
squeeze another note in
Now find E and F# between them.
next to each
other on the
piano keyboard.
F is between these two notes

ENHARMONIC EQUIVALENTS:
In a nutshell, the term enharmonic equivalent means notes that sound the same as one
another but are named or “spelled” differently.

In the example above, you moved up a semitone from A to reach A#, and you also moved
back a semitone from B to reach B♭. These notes are called enharmonic
equivalents because they sound the same—indeed they are the same note—they just go by
different names depending on the situation.

*G# is the same as A♭, C# is the same as D♭, F# is the same as G♭, etc.
*B to C and E to F are separated by half steps, so B#=C, and C♭=B, etc.

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14 | 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 1

1. Take a look at the pairs of notes below and circle all the pairs that are a semitone
apart.

2. Take a look at the pairs of notes below and, when needed, add an accidental to
the second note to make it a semitone above the first note. If it is already a
semitone, then add a tick (✓) above the stave to show that it is correct.

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

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15 | 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 1

WORKSHEET 4: MAJOR KEY SIGNATURES

1. Learn the circle of 5ths to know your key signatures:

2. Know the order of your sharps and flats:

Sharps→F C G D A E B Flats
e.g. A major has 3 sharps, therefore the first 3: F#, C# & G#
e.g. E♭ major has 3 flats, therefore the first 3 from the end: B♭, E♭ & A♭

3. Placing of sharps and flats for key signatures in treble and bass clefs:

SHARPS:

FLATS:

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16 | 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 1

1. Name the major keys for each of the following.

(NB: note the different clefs used for each line)

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

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

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

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

Bass clef: Treble clef:

G major D major

Treble clef: Bass clef:

A major B♭ major

Bass clef: Treble clef:

F major E major

Bass clef: Treble clef:

C major E♭ major

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17 | 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 1

WORKSHEET 5: MAJOR SCALES

Number the notes of your scales to ensure that you write the correct
number of notes. Always indicate semitones between the correct notes.
e.g. F major scale (without key signature, ascending and descending):

No. of
SCALE TO REMEMBER
NOTES

Semitones: Up & Down

Major 8
= 3-4 ; 7-8

Scales can be written WITH or WITHOUT key signature:

WITH: Add the key signature at the start of the stave
WITHOUT: Add the accidentals (#/♭) in front of each note as required

Write the following scales:

D major in the treble clef, ascending and descending, without key signature.
(Remember to indicate all semitones)

F major in the bass clef, ascending, without key signature.

(Remember to indicate all semitones)

E major in the treble clef, ascending and descending, with key signature.
(Remember to indicate all semitones)

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18 | 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 1

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

(Remember to indicate all semitones)

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

(Remember to indicate all semitones)

A major in the treble clef, ascending, with key signature.

(Remember to indicate all semitones)

B♭ major in the bass clef, ascending and descending, without key signature.
(Remember to indicate all semitones)

C major in the bass clef, ascending and descending, with key signature.
(Remember to indicate all semitones)

A♭ major in the treble clef, ascending and descending, without key signature.
(Remember to indicate all semitones)

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19 | 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 1

WORKSHEET 6: INTERVALS (Major & Perfect)

An interval is the distance in pitch between any two notes. All intervals are
described in two ways: their DISTANCE and their QUALITY.

DISTANCE: When counting the notes of intervals, both notes are included.

QUALITY: To determine the quality of an interval, the bottom note is seen as

the tonic of the scale, i.e. if the bottom note is C, we pretend to be in C
major; if the bottom note is F, we pretend to be in F major, etc.
• INTERVALS OF A 2nd, 3rd, 6th & 7th:
If the top note is in the major key of the bottom note, the quality is
MAJOR
• INTERVALS OF A unison/1st, 4th, 5th & octave/8th:
If the top note is in the major key of the bottom note, the quality is
PERFECT

1. Write the following intervals above the given notes (quality & distance):

1.1 Major 6th

1.2 Perfect 5th

1.3 Major 3rd

1.4 Perfect 4th

1.5 Major 2nd

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20 | 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 1

2. Write the following intervals below the given notes (quality & distance):

2.1 Perfect 4th

2.2 Perfect 5th

2.3 Major 6th

2.4 Major 3rd

2.5 Perfect 4th

3. Name the intervals marked (1) to (5) according to quality and distance

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21 | 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 1

WORKSHEET 7: THE ELEMENTS OF MUSIC

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22 | 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 1

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23 | 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 1

PART 3: POST-TEST
1.1. Study the extract below and then answer the questions that follow:

Seasons of Love
(from “Rent”)
- Jonathan Larson

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

……………………………………………………………… (1)

1.1.2. State the key of this extract.

……………………………………………………………… (1)

1.1.3. Write the major scale of the key mentioned in 1.1.2, ascending, without key
signature in the bass clef. Remember to indicate all semitones.

(4)

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24 | 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 1

1.1.4. Add bar lines to the piece and then state the total number of bars in the space
below:
3+1
TOTAL NUMBER OF BARS = ………… (4)

1.1.5. Write down the correct letter name (e.g. B) of the notes indicated by arrows 1
to 4.

1: …………… 2: …………… 3: …………… 4: …………… (4)

1.1.6. Name the intervals formed at brackets X and Y according to type and
distance (e.g. major 2nd).

X: ………….…………….………

Y: ………………….……….…… (2)

1.1.7. Write a paragraph to explain the dynamics of this extract in detail.

………………………………………………………………………………………………...

………………………………………………………………………………………………...

………………………………………………………………………………………………...

………………………………………………………………………………………………... (3)

1.1.8. This song is from a musical and is usually performed by a chorus (group of
singers). Which musical element will be most affected if only one singer is
performing this song?

…………………………………………… (1)

1.1.9. Notate and name each of the following note values (an example has been
provided):
DESCRIPTION NOTATION NAME

Example Crotchet

The longest note value

used in this extract

The shortest note value

used in this extract
(4)
[24]

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25 | 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 1

2. Write a rest under each asterisk (*) to complete each of the following bars.

(3)
[3]

3. Write the following intervals above the given notes:

Perfect 4th Major 6th Major 3rd Perfect 5th Major 2nd (5)
[5]

4. Write the following scales:

4.1. D major, descending, with key signature in the treble clef. Remember to
indicate all semitones.

(4)

4.2. G major, ascending, without key signature in the bass clef. Remember to
indicate all semitones.

(4)
[8]

POST-TEST TOTAL: 40

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