ABRSM music theory Grade 6 – Question 1

Question 1 of the ABRSM Music Theory Grade 6 exam tests your ability to harmonize a melody. In option (a) you can use Roman Numerals or modern chord notation; it is also possible to write notes on the staff providing proper harmonic support. Make sure to use only one of these methods.

In my experience the vast majority of students opt for this option because most people are likely to be familiar with chord symbols. Even if using modern chord notation it is important to keep in mind the bass line implied by the chords in order to avoid parallels with the melody.

Option (b) tests the same skill, but using figure bass: therefore it is necessary to write a bass line and figures.

Option A: Harmonizing a Melody (Walkthrough)

• 0:00 – Introduction and overview of the Grade 6 Question 1 requirements.
• 0:47 – Analyzing the paper: Identifying the key (F major).
• 2:18 – The End First: Mapping out the final cadence (Ic – V – I progression).
• 3:44 – Planning the approach to the final cadence using chord IV.
• 4:35 – Beginning the harmonization: Setting the opening tonic chord.
• 5:19 – Using the cycle of fifths: Choosing chord II before V.
• 6:40 – Technical Check: Avoiding parallel octaves by using a first inversion (IIb).
• 8:12 – Managing inversions: Moving from root position to first inversion (I to Ib).
• 9:27 – Identifying an opportunity for a Plagal returning chord (I – IVc – I).
• 11:31 – Recapping the formulas used so far.
• 12:15 – Filling the final gaps: Selecting chord VI to lead into the final cadence.
• 13:40 – The Performance: Playing through the completed harmonization on the piano.

Option B: Figured Bass Walkthrough

• 0:00 – Introduction to Question 1b: Harmonizing a melody with a bass line and figures.
• 0:52 – Scanning the paper: Identifying the key of B-flat and looking at the ascending lines.
• 2:07 – Solution 1: Using root position chords and understanding when to leave the figures blank.
• 3:54 – Using contrary motion between the melody and bass to avoid parallels.
• 4:35 – Why first inversion (6) is necessary here to avoid parallel fifths.
• 5:50 – Chord VII functioning as a dominant substitute.
• 7:00 – Solution 2: A different melodic resolution and why certain chord movements feel “weak.”
• 9:15 – Adding a dominant 7th and passing notes in the bass.
• 10:10 – Solution 3: Analyzing what I consider the best bass line of the session.
• 11:41 – Creating variety by switching from chord VI to chord IVb over a static bass note.
• 13:31 – Solution 4: Exploring the Circle of Fifths logic (moving from VII to III).
• 14:45 – The Final Listen: Playing the final variation on the piano to compare each solution.