Grade 3 is where the syllabus starts feeling like real music theory: triplets, minor scales in three flavours, three more keys, primary triads (I, IV, V), and your first written chord symbols. The repertoire jumps too — Bach two-part inventions, Burgmüller's middle studies, Schumann children's pieces, simple Tchaikovsky.

Series map: 00 → 01 → 02 → 03 Grade 3 (this post) → 04 Grade 4.

Learning Outcome

Use simple time (2/4, 3/4, 4/4) and compound time (6/8, 9/8, 12/8).
Read triplets in simple time.
Build natural and harmonic minor scales for relative minors of all keys covered.
Use major keys C, G, D, A, F, B♭, E♭ and their relative minors (A m, E m, B m, F♯ m, D m, G m, C m).
Identify intervals by quality including augmented and diminished (only A4 / d5 — the tritone — at Grade 3).
Identify and write primary triads (I, IV, V) in root position in all the above keys.
Recognise standard Italian terms for tempo, dynamics, and articulation.

Chapter 1 — Three More Keys: A, E♭, and Their Minors

Major	Sharps/Flats	Relative minor
C	none	A m
G	F♯	E m
D	F♯ C♯	B m
A	F♯ C♯ G♯	F♯ m
F	B♭	D m
B♭	B♭ E♭	G m
E♭	B♭ E♭ A♭	C m

A major (3 sharps) and E♭ major (3 flats) extend the symmetric pair around C.

Trick: visualise the circle of fifths as a clock. C is at 12. Each step clockwise adds a sharp (G, D, A, E, B…). Each step counter-clockwise adds a flat (F, B♭, E♭, A♭, D♭…). Grade 3 covers ±3 steps from C: clockwise to A, counter-clockwise to E♭.

Circle of fifths — outer ring majors, inner ring relative minors

Reading a fast key signature

When you see three sharps in the order F♯ C♯ G♯, the last is G♯ → up one semitone → A major (or its relative F♯ minor).

When you see three flats in the order B♭ E♭ A♭, the second-to-last is E♭ → E♭ major (or its relative C minor).

Chapter 2 — Minor Scales: Three Flavours

A minor key has one key signature (the natural minor) but musicians use three common scale shapes built from that signature.

Natural minor (自然小調)

Use the relative-minor key signature, start from the minor tonic. Pattern in semitones:

$\textnormal{W H W W H W W} \quad = \quad 2,1,2,2,1,2,2$

1
2
3
4 A natural minor:   A B C D E F G A
E natural minor:   E F♯ G A B C D E
D natural minor:   D E F G A B♭ C D

Harmonic minor (和聲小調)

Raise the 7th degree of the natural minor. The interval between 6 and 7 becomes an augmented 2nd (3 semitones) — gives the unmistakable "exotic" sound.

1
2
3
4 A harmonic minor:   A B C D E F G♯ A    (G → G♯)
E harmonic minor:   E F♯ G A B C D♯ E    (D → D♯)
D harmonic minor:   D E F G A B♭ C♯ D    (C → C♯)

Melodic minor (旋律小調)

Ascending: raise the 6th and 7th. Descending: revert to natural minor.

1
2
3 A melodic minor (up):    A B C D E F♯ G♯ A
A melodic minor (down):  A G F E D C B A

Where I got stuck: I kept mixing harmonic and melodic.

Harmonic minor exists to fix harmony — it gives the V chord its major-3rd leading tone (G♯ in A minor) so the V → i cadence sounds strong. Raise the 7 only.

Melodic minor exists to smooth melody — the harmonic minor's augmented 2nd (F → G♯) is awkward to sing, so going up you also raise the 6 (F → F♯) to "smooth" the gap. Coming down you don't need the lift, so revert.

Framing them by purpose (harmony-fixing vs melody-smoothing) made them stop blurring.

All three on one diagram

1
2
3
4
5 A natural :   A    B    C    D    E    F    G    A
A harmonic:   A    B    C    D    E    F   G♯    A    (only 7th raised)
A melodic ↑:  A    B    C    D    E   F♯  G♯    A    (6th and 7th raised)
A melodic ↓:  A    G    F    E    D    C    B    A    (= natural)

Chapter 3 — Triplets

A triplet is three notes played in the time of two of the same value. Notated with a "3" above or below a group:

1
2
3 ♪ ♪ ♪   ← 3 quavers in the time of 2 quavers = 1 crotchet beat
3

In 4/4, a beat that would normally hold two quavers (♪♪) is squeezed to fit three (♪♪♪). The three notes are equal, faster than quavers, slower than triplet semiquavers.

Counting triplets

Subdivide each affected beat into three syllables: "tri-pa-let" or "1-trip-let, 2-trip-let". Pick one and stick with it.

Trick: when first practising triplets, tap the beat with your foot while saying "1-trip-let, 2-trip-let, 3-trip-let, 4-trip-let" out loud. Foot is the beat (4 taps per bar), voice is the subdivision (12 syllables per bar). Once you can do this without the piano, the piano part is mechanical.

Duplet — the inverse

In compound time (where each beat naturally divides into 3), a duplet is two notes played in the time of three. Marked "2". Less common at Grade 3 but worth knowing.

Chapter 4 — 9/8 and 12/8 (More Compound Time)

Metre	Beats per bar	Beat unit	Feel
6/8	2	dotted crotchet	Gallop
9/8	3	dotted crotchet	Slow waltz, lilting
12/8	4	dotted crotchet	Blues shuffle, slow ballad

In 9/8, count three macro-beats per bar, each dotted-crotchet long, each subdividing into 3 quavers. "1-and-a, 2-and-a, 3-and-a."

In 12/8, count four macro-beats: "1-and-a, 2-and-a, 3-and-a, 4-and-a."

1
2
3
4
5
6
7 9/8:    1 2 3 | 4 5 6 | 7 8 9 |
        ▲       ▲       ▲
        macro   macro   macro
 
12/8:   1 2 3 | 4 5 6 | 7 8 9 | 10 11 12 |
        ▲       ▲       ▲       ▲

Analogy: if 6/8 is a gallop, 9/8 is a canter in three (less symmetric), and 12/8 is a rolling blues shuffle — most "12-bar blues" songs are written in 12/8 even when the notation says 4/4 swung.

Chapter 5 — Augmented and Diminished Intervals (just the tritone)

Grade 3 expands the interval qualities to include augmented and diminished — but only for the augmented 4th (A4) and diminished 5th (d5), which are the same six-semitone gap (the tritone, 三全音).

1
2
3 C to F♯:    semitones = 6 = augmented 4th
C to G♭:    semitones = 6 = diminished 5th

These two are enharmonic: same sound, different spelling. Whether you call it A4 or d5 depends on note names — count the staff positions:

C → F♯: positions = 4 (C–D–E–F) → 4th → "augmented" (one semitone larger than P4).
C → G♭: positions = 5 (C–D–E–F–G) → 5th → "diminished" (one semitone smaller than P5).

Trick: a tritone divides the octave exactly in half ( $12 / 2 = 6$ semitones). It's the most dissonant interval in tonal music — historically called diabolus in musica ("the devil in music") because medieval theorists found it so unstable they avoided writing it. Today it's the engine of jazz and blues. Knowing the history hooks the memory.

Chapter 6 — Primary Triads (I, IV, V)

A triad (三和弦) = three notes stacked in thirds. Root, third, fifth.

The primary triads of any key are built on degrees 1, 4, 5 — the tonic, subdominant, dominant. They handle the bulk of harmonic motion in tonal music.

In a major key

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15 C major:
  I  (tonic)         C E G       major
  IV (subdominant)   F A C       major
  V  (dominant)      G B D       major
 
G major:
  I  G B D
  IV C E G
  V  D F♯ A
 
F major:
  I  F A C
  IV B♭ D F
  V  C E G

Trick: in a major key, the primary triads (I, IV, V) are all major chords. Roman numerals are uppercase to show this. The supportive triads (ii, iii, vi) are minor — lowercase. The vii° is diminished — lowercase + degree mark.

In a minor key (harmonic)

Because harmonic minor raises the 7th, the V chord becomes major (it has the raised leading tone) — even though the key is minor.

1
2
3
4
5 A minor (harmonic):
  i  (tonic)         A C E       minor
  iv (subdominant)   D F A       minor
  V  (dominant)      E G♯ B      major   ← G♯ comes from the harmonic minor raised 7

Where I got stuck: V in minor is major. This seems like a contradiction — until you realise it's deliberate: the major V supplies the leading tone that pulls back to the tonic. Without that, the V → i cadence would sound weak. Once you internalise this purpose, the rule is obvious.

Writing triads — Grade 3 expectations

Root position only. Bass note = root. Stack a 3rd and 5th above. No inversions yet (Grade 4-5 territory).

In 4-part writing (Grade 5+) you also need to know how to double notes, but Grade 3 only asks for the three-note triad spelled out.

Chapter 7 — Roman Numeral Analysis (gentle introduction)

Grade 3 starts using Roman numerals to label chords. They tell you the function without specifying the key — a Roman-numeral analysis transposes for free.

Numeral	Function	Quality in major	Quality in minor (natural)
I	Tonic	Major	minor
ii	Supertonic	minor	diminished
iii	Mediant	minor	Major
IV	Subdominant	Major	minor
V	Dominant	Major	minor (or Major if harmonic)
vi	Submediant	minor	Major
vii°	Leading tone	diminished	Major (subtonic, ♭VII)

Trick: in major, the qualities pattern is M m m M M m d° ("Major, minor, minor, Major, Major, minor, diminished"). Memorise this once; apply to any major scale. The pattern never changes — only the starting key.

Chapter 8 — Italian Terms (Grade 3 set)

Same as Grade 2, plus:

Tempo

Term	Meaning
Grave	Very slow, solemn
Lento	Slow
Allegretto	Slightly slower than allegro
Andantino	Slightly faster than andante (or sometimes slightly slower — context!)
Più mosso	More motion (faster)
Meno mosso	Less motion (slower)
L'istesso tempo	The same speed (when metre changes)

Dynamics + expression

Term	Meaning
Crescendo / diminuendo	Already known; reinforced
Sotto voce	In a whispered voice
Con brio	With brilliance, fire
Con moto	With motion
Grazioso	Gracefully
Maestoso	Majestically
Tranquillo	Calmly

Trick: group terms by mood rather than alphabet. "Calm cluster": tranquillo, dolce, sotto voce, cantabile. "Fast/bright cluster": vivace, brillante, con brio, con moto, agitato. When you can't remember the literal translation, your gut feel for the cluster usually gets you the right answer in an exam.

Chapter 9 — Suggested Practice Pieces

Grade 3 mainstream

Piece	Composer	Why
Minuet in G (BWV Anh. 116)	Bach (attr. C. Petzold)	A more chromatic cousin of the famous Anh. 114. Real two-voice writing
Sonatina in C, Op. 36 No. 1 (II, III)	Clementi	Movements II (Andante) and III (Vivace) — slower and faster sides of sonatina form
Burgmüller, Op. 100 No. 14 ('La Styrienne')	Burgmüller	Compound 3/8 feel, lyrical RH over walking LH
Album for the Young, Op. 68 No. 8 ('Wild Rider')	Schumann	The student favourite — feels showy without being beyond reach. Hands together at a fair clip
Children's Album, Op. 39 No. 1 ('Morning Prayer')	Tchaikovsky	Slow, hymn-like; teaches voice-leading and chord control
Sicilienne, Op. 78 (arr.)	Fauré	Lyrical, 6/8 compound, romantic harmony

Stretching toward Grade 4

Piece	Composer	Why
Two-Part Invention No. 1 in C, BWV 772	Bach	Independence of hands — the canonical first step into Bach
Heller, Op. 45 No. 1	Heller	Studies designed for exactly this transition
Sonatina in F, Op. 168 No. 1 (I)	Diabelli	Larger-scale form, more notes than Op. 36

Choosing repertoire intelligently

By Grade 3 you should be playing three pieces simultaneously at different stages:

Mastery piece — old favourite, polished, played at performance tempo. Maintains confidence.
Working piece — current focus, hands-together at slow tempo, gets the most minutes.
Sight-read piece — new, untouched, played once per week as a "see how far I get".

The mix prevents staleness on any one and reinforces transferable skills.

Trick: keep a small notebook of "pieces I never want to forget" — the mastery list. Every two weeks, revisit one of them for ten minutes. Without this, the pieces you spent six weeks learning will quietly evaporate from memory.

Chapter 10 — Practice Patterns: Voice Independence

Grade 3 introduces real two-voice writing (Bach inventions). The hands aren't just playing chords against melody — both hands have independent musical lines.

How to practise two voices

Sing one line while playing the other. Sing the RH; play only the LH. Then swap. This forces your brain to "hear" each part separately.
Practise the LH at twice the volume, RH softly. Then reverse. Trains dynamic independence.
Slow loops on the join points. Two-voice writing has constant "overlapping" moments where one hand crosses or sustains while the other moves. Mark those bars and isolate them.

Where I got stuck: in Bach's first invention I could play either hand alone — but together my brain treated it as one stream and the LH always reverted to chord accompaniment. Fix: I spent a week singing the LH while playing the RH. The shift in mental model is exactly what's required — both lines are melodies, not "melody + accompaniment". Once the brain reframes it, the fingers follow.

Chapter 11 — Aural at Grade 3

ABRSM Grade 3 aural adds:

Identify whether a piece is in major or minor key.
Identify whether a cadence is perfect (V → I) or imperfect (?? → V).
Sing back a slightly longer phrase (5–6 notes).
Identify two features of a played excerpt: dynamics, articulation, tempo change, tonality.

Practising major-vs-minor by ear

Listen to one octave of a major scale (just C D E F G A B C). Hum it.
Now one octave of A minor (A B C D E F G A). Hum it.
The third note is the give-away. Major sounds "open / bright". Minor sounds "narrow / sad".

Trick: the first three notes — do-re-mi vs la-ti-do — are the cleanest test. If the third note is a major third above the first, the key is major. If it's a minor third (one semitone less), the key is minor. Sing the test phrase silently in your head while listening; it'll often beat conscious analysis.

Chapter 12 — Common Grade 3 Pitfalls

Pitfall	Fix
Memorising scales without the pattern	Always re-derive from W-H pattern. Memory + derivation = robust
Stumbling on triplets	Foot taps the macro-beat. Voice taps the subdivision
Forgetting V is major even in minor	Mark the raised leading tone with a coloured pencil for a month
Treating Bach two-voice as melody + accompaniment	Sing one voice while playing the other
Ignoring expression markings	Highlight all Italian terms before you play. Translate each. Then play
Practising scales mechanically	Vary touch: legato, staccato, accented top note, alternating dynamics. Boring scales become useful scales

Useful Shortcut

Cheat-sheet

What	How
All Grade 3 keys	C G D A F B♭ E♭ + their relative minors
Natural minor	Same key signature as relative major
Harmonic minor	Natural + raised 7
Melodic minor	Natural + raised 6 and 7 ascending, natural descending
Triplet	3 notes in time of 2
Tritone	6 semitones; A4 going up, d5 going down (enharmonic)
Primary triads	I, IV, V (Major in major; i, iv, V in harmonic minor)
Major-key triad qualities	M m m M M m d°

Daily routine (40 min)

Block	Time	Content
Warm-up	3 min	5-finger pattern in today's key
Scales	10 min	Today's major + relative natural / harmonic minor, hands separate then together
Triad drill	3 min	I, IV, V in today's key, root position, both hands
Sight-read	5 min	A new short piece, including 9/8 or 12/8 sometimes
Repertoire	15 min	Difficult-bar loops on current piece
Aural	2 min	Major-or-minor test from random recordings
Theory	2 min	One past-paper question

Suggested listening

Piece	Composer	Why
Two-Part Inventions (full set, BWV 772–786)	Bach	Listen to all 15. They are the idea of two-voice writing
Album for the Young, Op. 68 (all 43 pieces)	Schumann	Many sit at Grade 2-4; you'll meet them as you advance
Sonatas, Op. 36 (all 6)	Clementi	The "kids' Mozart"; classical-period form in miniature
Children's Corner	Debussy	Aspirational. Modal, modern, exquisite. Doctor Gradus is a Grade 5-6 piece worth knowing now
Études, Op. 10 No. 3 ('Tristesse')	Chopin	Romantic legato; impossible at Grade 3 but plant the seed
Suite bergamasque — Clair de Lune	Debussy	The eternal motivator. One day this is yours

References

ABRSM (current). Music Theory in Practice — Grade 3.
ABRSM (current). Piano Exam Pieces — Grade 3.
Eric Taylor, The AB Guide to Music Theory — Parts I & II.
IMSLP — Bach Two-Part Inventions, Schumann Op. 68, Clementi Op. 36, Tchaikovsky Op. 39, Burgmüller Op. 100.
Heller, 25 Études Mélodiques, Op. 45.
Walter Piston, Harmony — for when you want the theory deeper than the syllabus.

Note: this post is in progress. Planned additions: audio reference per piece, a worked Roman-numeral analysis of a short Bach minuet, and visual flashcards for the new keys.