Theory Paper Grade 7 2012 S hie Duration 3 hours Candidates should answer all FIVE questions, Waite your answers on this paper ~no others will be accepted, Answers must be written clearly and neatly - otherwise marks may be lost, 1 Indcate suitable chords for a contin playerby figuring the bas as necessary fom he {ia que of barat th placer macs he pscger you ishio weet chor, CO) Tevet space ner the ster blink ut chs ma bechown when sed spar of a { § progression or when chromatic alteration is required. All other chords should be india ar should ony suspend dsonance Moderato lo Soman TOV ELC Violin2 Onthestaves marke A below isan tine of passage fom a plano sonata by Mozart, edty am ania upensnspeseng sos fed oer nono moe azosten, CO) Themuic one stove marked Bis wat te composer ectuly wrote: Conining i iMecame ive recontuct te Bank and partly completed bas Andante3 EITHER e {@) Complete the clarinet part (at concert pitch) in the following passage, which is Co adapted from an aria by Mendelssohn. Phease marks have been inserted above the Clarinet stave to indicate the structure You might use Andante con moto Clarinet cs P ge z re fpf = meas ae ee on (b) Compose complete melody of not les than eight barsin length for unaccompanied cello or bassoon, based on the given opening. Weite the complete melody on the staves below, include appropriate performance directions for the instrument of your choice and state below which Itis, Atego SS menLento espressivo J~724 Look atthe extract printed opposite, which is from a piano piece, and then answer the quealos bow Ge) (a) Identify the chords marked in bars 1 and 6 by writing on the dotted lines below. Use either words or symbols, Indicate the position of each chord, show whether itis major, minor, augmented or diminished, and name the prevailing key in ba 1 Bor cess a Key Baré {© Name two similarities ancl two differences between bars 3 and 7. Similarities 1 enn : 2 Differences 1 2 @ Mark clearly on the score using the appropriate capital letter for identification, one example ‘of each ofthe following. Aso give the bar number(s) ofeach of your answers. The frst answer isgiven. ‘70m bar ¥ onwards ‘Aa harmonic interval ofa major 7th in the ‘ighthand part (cece the notes concerned), Bar 1. B imitation in the right-hand part within abr. Bar (C_amacciaccatura inthe lefthand part (circle the note concezned), Bar D__amelodic interval ofa diminished Sth in the left-hand part (crce the notes concerned). Bar() E dominant 7th chord in second inversion (V6) inthe supertonic minor key. Bar @ Answer U8 or FALSE to each ofthe following statements: (The grace notes in the right-hand part of bar 17 could be rewritten as. (i) The music is made up entirely of regular four-bar phrases. (6) From the list below, underline the name of the most likely composer of this extract and give a reason for your choice. Handel Gershwin Mozart Schumann o o o o o o @ ® a @ ® o ©5 Lookat extrac printed opps, which fom he sscnd movement of Respghis Bolen dS ard then nowt uso ew eas {@) Give the meaning of OSE nnn @ sordina (same as sourdine) div. in 3 (bar 1, violas) oy (©) Complete the following statements (The phrase played by the first clarinet in bars 1-3 (marked ! 1) is played later by the inbars sounding at the interval of a(n) higher © (i) Theres an instruction fora sting instrument to use a harmonic in bar @ (Gi) The melodic interval (marked __) inbbar3 of the solo cello partis a) a (6) (We out the part fr firs clarinet in bars 4-5 as it would sound at concert pitch. Clarinet 1 & 2 = (3) Write out the parts for hors in bars 7-9 as they would sound at concert pitch and using. the given clef, ° (4) Answer TRUE oF FALSE to each ofthe following statements: (There areno percussion instruments playing inthis extract @ (i) The second clarinet and the violas sound in unison in B&E7. er °