Centre

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WRITTEN EXAMINATIONS IN THE THEORY OF MUSIC

Spring, 2018
Wednesday 21st March 2pm – 5pm

GRADE 6 (3 hours)

Full Name of Candidate ......................................................................................................................

(Surname Last)
Registration Number (if required) ...................................................................................................

Instructions to Candidates

1. All answers to questions must be given on this paper in the spaces provided.

2. These answers may be fair copies of rough work done in the examination room on paper
provided by the Invigilator. All rough work must be left in the examination room.

3. Candidates are forbidden to bring into the examination room any paper for rough working,
blotting paper, notes or text books.

4. They are not allowed to talk to one another in the examination room during the time of the
examination, but reasonable questions may be addressed to the Invigilator.

© Copyright 2018 by the University of West London, LCM Publications. All rights reserved.
 Performers

˙. œ œ œ œ œ
1. Rewrite the following melody in simple time. (10)

12 œ œ. œ œ œ. œ œ w.
& 8 œ. œ œ œ œ. œ 2 J
2 2

&

2. Continue the given opening to make a melody of 8 bars. Modulate to the relative minor key (10)
by bar 8. Add all performance directions.

# # # 2 -̇ ˙
œ œ œ œ œ. œ
Allegretto

& 2
P .

3. Write the following cadences in four-part harmony (SATB). Keep in mind the given time (10)
signature and add the correct key signature in each case.

(i) Imperfect in B minor (ii) Interrupted in D b major

68
& & 43

? 68 ?
43

4. Add parts for soprano, alto and tenor to this bass line, realising the chords indicated. (10)
The key is A b major.
b
& b b b 44

œ œ
? b b b 44 ˙ ˙ œ œ œ œ œ œ œ œ
b ˙
I Ib IV Ic IVb Vb VIb V7c Ib VI IIb V7 I

2
5. a) Rewrite the following melody, writing out the ornaments as they would be played. (20)
TI Ÿ~~~~~~~~
4 œ œ œ œ œ
& 4 ˙. œ ˙
j
#œ
j
œ
œ j
˙ œ
œ œ

&

b) Add 'changing notes' at the places marked with an *.

b #### 4 œ
(i) (ii)

& b 44 & 4 œ
* * * *
œ #œ
˙ ˙
? b b 44 ˙˙ ˙˙ ? # # # # 44 ˙ ˙

6. Add secondary 7th chords (II7 or IV7, using inversions where necessary) at the places (10)
marked with an * to complete the four-part texture.

j
& 43 œœ
œ
a)
œ œ.
* *
œ œ ˙ ..
œ œ œ œ ˙

?3 œ # œœ œ # œœ ˙.
4 œ ˙.

# œ U
b)

& # 44 œ
œœ œ œ
* * *
œ œœ œœ œœ œ œ œ ˙˙ ww
œ œ œ œœ œ œ œœ œ
? # # 44 œ œ œ œ œ ww
˙ u

Now answer question 7 on page 7.

3
 Composers
1. Add a simple chordal bass part to the following dance tune. Include the chord indications and (20)
all performance directions.

# 3 œ.
Allegretto

& #4œ œ. œ. ˙ œ œ. œ. ˙ œ œ. œ. œ.
.
F
? ## 3
4

## œ œ œ œ œ
& œ œ œ œ
˙. œ œ ˙.

? ##

2. Harmonise the following in four parts. Add all performance directions. (20)

Andante

˙.
& b 43 œ̇ . œ œ œ̇ . œ œ
œ œ œ

œ #œ œ #œ nœ œ
? b 3 ˙.
4 ˙.

&b ˙ œ ˙ œ ˙.
˙.

?b

4
3. Compose an 8–10 bar passage using the given five notes. The tonality should include the (20)
whole-tone scale. Write for piano and include all performance directions.

& œ bœ
œ œ #œ

5
4. Complete the following in two-part counterpoint, maintaining the imitative style. (10)

### 2 œ œ
Allegro

œ œ œ œ œ œ œ
& 4œ œ œ œ œ œ

? ### 2 ∑ ∑ ∑ ∑
4 œ œ

###
& œ œ œ œ

? ### œ œ œ œ œ œ œ œ œ œ #œ œ œ
œ œ œ œ

### œ œ œ œ œ
& œ œ

? ### # œ œ œ œ
œ œ

### œ œ œ
& œ œ œ œ œ œ œ œ œ
œ ˙
œ

? ###

Now answer question 7.

6
 Performers and Composers answer this section

7. Study the extract on pages 9–10 for concert band and answer the questions below. (30)

A Explain the following:

(i) Allegro con brio __________________________________________________________________
(ii)  = c. 132 _______________________________________________________________________
(iii) a2 _____________________________________________________________________________
(iv)  (Perc. 1, bar 7) _________________________________________________________________
(v) tutti con sord. ____________________________________________________________________
(vi) [muta G in A, E in E] ______________________________________________________________

B The score is written with all transpositions included. Write out the Clarinet 1, Clarinet 2 & 3
and Bass Clarinet parts at concert pitch (i.e. as they would sound in performance).
Write in short score. Do not use a key signature.

"

"

C (i) Describe or identify the motif which dominates bars 1–7 and 10–14: _____________________
________________________________________________________________________________

(ii) Describe the scale played by the bass instruments in bars 3–8: ______________________________
________________________________________________________________________________

(iii) Identify the following intervals:

x (alto sax, bar 5) _________________________________________________________________
y (trumpet/horn, bar 10) ____________________________________________________________
z (flutes, bar 11) ___________________________________________________________________

7
D Comment on any particular points of interest in this extract. You may wish to consider harmony,
instrumentation, dynamics, rhythm and style.

________________________________________________________________________________________

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— End of paper —

8
 >˙ . >˙ >˙ .
Allegro con brio (q = c. 132)
3 ˙. ˙. ˙.
&4 Œ
f> >˙ . œ
Piccolo

˙˙ . b œ ˙˙ .. ˙˙ .. >˙ œ ˙˙ ..
bœ ˙
Œ
& 43
f
Flute 1, 2

>˙˙ . ˙˙ .. ˙˙ .. >˙œ ˙˙ .. >˙ .œ

bœ Œ bœ ˙
& 43 Œ
f
Oboe 1, 2

Clarinet in B b 1 & 43 ∑ Œ ˙ ˙. ˙ Œ ˙. œ Œ œ
f > > >
>
& 43 ∑ Œ œ Œ œ Œ œ
a2

˙.
2

> bœ ˙ > b˙ œ
Clarinet in B b
2, 3 f
& 43 ∑ ∑ Ó
#˙.
f >œ ˙. œ ˙
Bass Clarinet
in B b
> >
? 43 ∑ ∑ Ó ˙.
œ ˙. œ ˙
a2

f > > >

Bassoon 1, 2

> >
œ bœ œ b˙ Œ œ
& 43 ∑ Œ .
# ˙˙ . ˙˙ Œ Œ #˙ œ˙
1

Œ
f>
Alto Saxophone
in E b 1, 2
> >
x
> >
Tenor Saxophone & 43 ∑ ∑ œ ˙ ˙. Œ œ œ ˙ Œ
in B b
f
& 43 ∑ ∑ Ó œ ˙. œ # >˙ #˙.
f> >
Baritone Saxophone
in E b

>˙˙ .
1.2.
œ ˙˙ .. ˙˙ .. œ>˙ œ ˙˙ .. œ>˙ . ˙
Trumpet in B b & 43 Œ
f
>
1, 2, 3
>˙ >˙ . œ
& 43 ∑ Œ ˙. ˙ Œ œ Œ
a2

f
Horn in F 1, 2

>œ >œ œ
& 43 ∑ Œ bœ ˙. ˙. b˙ œ Œ
a2

f
Horn in F 3, 4

>œ˙ . ˙˙ .. >œ˙ . ˙˙
?3 ∑ ∑ ˙ ˙ Œ
4
f
Trombone 1, 2

?3 ∑ ∑ Ó ˙.
4 œ ˙. œ ˙
f > > >
Bass Trombone

?3 ∑ ∑ Ó ˙.
4 œ ˙. œ ˙
f > > >
Euphonium

?3 ∑ ∑ Ó ˙.
4 œ ˙. œ ˙
f > > >
Tuba

? 3 bœ ∑ ∑ Ó ∑ ∑
4 œ œ
f>
Timpani

>˙ . > > >

ã 43 ∑ Ó ∑ Œ Œ
or cym

œ ˙ ˙
f
Percussion 1

œ
(drum kit)
˙ œ
B.D.

bœ bœ ˙
& 43 ∑ Œ ∑
f
Percussion 2
(bells or glock.)

9
 œ œ >˙
œ œ ˙.
etc.
∑ ∑ ∑ ∑ ∑
7

&
ƒ
Picc.
>
œœ ˙œ œ b ˙˙ . œ ˙˙ .. œ bœ bœ
˙ œ N œœ # œ˙ œ
z

& ∑ ∑ ∑
ƒ> F
Fl. 1, 2

œœ ˙œ œ >˙
#œ ˙ œ ˙ ..
˙
œ bœ bœ Nœ #œ œ ∑ ∑ ∑
&
ƒ F
Ob. 1, 2

>œ
b˙ ˙. œ bœ œ bœ bœ Nœ #˙
& ˙. œ œ œ œ #˙.
ƒ> F P p
Cl. 1

& . œ bœ ˙˙ . œ ˙˙ .. ˙ .. ˙˙ .. #˙ œ œ˙ . œ œ
˙. # ˙˙ .
.
Œ̇ > F-̇
Cl. 2, 3

ƒ P p
& œ #˙ ∑ ∑ ∑ ∑ ∑
B. Cl.
> n˙. ˙.
ƒ -
b b ˙˙ .. ˙˙ ..
? œ #˙ >
b ˙ . ˙˙ .. ∑ ∑ ∑
Bsn.
> b ˙. F
ƒ>
œ bœ # ˙˙ . œ ˙˙ ..
& Œ̇ . ˙. ˙. ˙. ˙. #˙.
2 1

ƒ F P p
A. Sax.

>
1, 2

& ˙ œ ˙. ˙. ˙. ˙. ˙. ˙. ˙.
ƒ F P p
T. Sax.

>
& œ #˙ ∑ ∑ ∑ ∑ ∑
. ˙.
> ƒ˙
B. Sax.

œœ ˙œ œ >˙
#˙ œ # ˙ œ ˙. œ bœ œ bœ bœ Nœ
˙ ˙˙ .. ∑ ∑ ∑
1

& œ
tutti con sord.

ƒ F
Tpt. 3

>
1, 2, 3

. ˙ œ œœ a2œ -̇ œ- œ
y

& b œ̇ ˙ b˙.
- œ- ˙ ˙. ∑ ∑
ƒ P
Hn. 1, 2

. œ bœ > -̇ œ- œ ˙
& b œ̇ ˙˙ .. œ œ œ ˙. ∑ ∑
a2

> ƒ P
Hn. 3, 4

>˙œ - ˙˙ .. ˙˙ .. ˙˙ ..
? œ œ b >˙˙ .. ˙˙ .. b b ˙˙ .. ˙˙ ..
ƒ F P p
Tbn.
1, 2

? œ #˙ ∑ ∑ ∑ ∑ ∑
B. Tbn.
> b ˙>. ˙.
ƒ
? œ #˙ b˙. ˙. b˙. ˙. ∑ ∑ ∑
> > F
Euph.
ƒ
? œ #˙ >
∑ ∑ ∑ ∑ ∑
Tba.
> b˙. ˙.
ƒ b ˙. ˙.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~
? b >˙ . ˙. bœ
[muta G in A, E b in E]
∑ Œ Œ ∑ ∑ ∑ ˙.
ƒ> π
Timp.

æ ˙. ˙.
ã Œ ˙
˙ ˙. ∑ ∑ ∑ ∑ ∑
S.D. tri.

ƒ p
Perc. 1

œ œ ˙ œ
& Œ ∑ ∑ ∑ ∑ ∑ ∑
ƒ
Perc. 2

10
for rough work only
 for rough work only

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