REPORT ON THE NOVEMBER 2009 EXAMINATIONS

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Baldric Stafford
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1 THEORY OF MUSIC REPORT ON THE NOVEMBER 2009 EXAMINATIONS General Accuracy and neatness are crucial at all levels. In the earlier grades there were examples of notes covering more than one pitch, whilst in higher grades alignment of parts can be an issue. Augmentation dots (e.g. the dotted minim) Dotted notes on a line should have the dot in the space above the line and not on the line itself. Read and study the questions carefully. This seems to be a perennial observation from examiners hence its importance. Perhaps underlining important words in the question would be helpful advice to candidates. Many candidates whose first language is neither English nor Italian take the theory examinations. We are sensitive to this, but still urge candidates to aim for accurate spelling in both English and Italian particularly the spelling of musical terms. Always try to space the notation within a bar so that the notes are a graphic image of the rhythm. This is so much easier to read and play. Because in the nature of the new-style exams there are sometimes musical decisions to be made, candidates and teachers are advised not to assume that gaining full marks is a standard event. This is certainly not to say that it is not possible to achieve full marks, but we occasionally receive appeals over just 2-3 marks when the candidate has already received, perhaps, 97%. We are anxious to discourage this! Grade 1 Candidates generally do well with the multiple-choice questions in Section 1, although very few knew the F clef as an alternative name for the bass clef (1.17). Section 5 was invariably well answered, as was Section 6, except for 6.10 where many candidates identified the crotchet rest, but did not say what it means. Sections 3 and 4 receive the most varied responses. In Section 3 some candidates do not circle the errors, particularly those involving rests. It is advisable to circle the five mistakes before writing out a correct version. In the correct version candidates must include elements of the notation that are correct in the original: tempo and dynamics in this example. Candidates usually give a mathematically correct answer for the rhythmic response in Section 4, but often don t match their response to the given

2 rhythmic phrase. An answering phrase has to have a clear link to the given phrase. In Section 2 candidates were asked to write a scale going down. Most did this successfully, but in marking the semitones confused notes for degrees of the scale. All exercises should end with a double bar. Grade 2 Many candidates achieved high marks at this grade with only Section 3 causing persistent problems. Circling of errors and writing a corrected version (Section 3) was highlighted as a problem at Grade 1 and it is perhaps therefore not surprising that, without a secure foundation, it continues to be a problem at this grade. The octave transposition in Section 5 was invariably accurate and we are pleased to report a much higher standard in the musical responses required in Section 6. The Natural Minor Scale (Section 2.1) was not always understood neither was the Roman numeral system for identifying major and minor chords. Most candidates write the correct notes in Section 4 writing a sequence. But there are two common errors: writing a time signature on the second stave (this is not required), and poor spacing. It would be better if candidates modelled their writing (bar length and note spacing) on the given phrase. Remember that the final double bar line does not have to be at the end of a stave. Whilst Section 7 was mostly well answered, there were a significant number of candidates not knowing the word syncopation (7.6); or how to fully describe the tempo of the piece (7.8). Grade 3 Most questions were relatively well answered with Section 4 (transposition) being answered accurately in virtually every paper. There was also a good response to Section 1 except for 1.7 where many candidates seemed not to take into consideration that it was a descending scale. In 2.1 candidates need to remember that in scales without a time signature accidentals apply only to the note with which they are placed. In Section 2.2 some candidates wrote in 3/8 time despites the given 3/4 time signature. Section 3 is a continuation of a style of questioning found in earlier grades and unfortunately with similar problems failing to circle the errors and not accurately copying into the re-written version. There was also some uncertainty with how to group notes in 6/8 time.

3 Harmony in Section 5 was generally accurate, but greater care needs to be taken with the spacing of parts, notably between the alto and tenor voices. It is better in Section 6 if the bass line can move in contrary motion to the melody. Success in Section 7 needs a growing understanding of the language of music and terms used to describe particular musical features. There was clearly doubt for some candidates about the meaning of: upbeat/downbeat, similar motion/contrary motion, real sequences/tonal sequences. Grade 4 Section 1 (multiple choice) was generally well answered. Candidates need to take particular care when the question is asked in a negative form (1.8). Sections 2 and 4 were consistently well answered transposition in particular seems to be well understood. There is still some poor spacing of parts in the four-part SATB writing required in Section 5. Some candidates did not note that the dominant chord in A minor was to be a minor chord and so did not require a G#. Section 6 was probably the least successful part of the whole paper, and on two counts: difficulty in writing in 6/8 time (many answers were in ¾ time) and poor melodic shape. There is a tendency to write over-complicated melodies. At this stage in the development of melody writing it should be kept simple, as the instructions state: use notes from the chords plus some unaccented passing notes. Aim for simple rhythmic shape and a smooth melody. Few candidates identified correctly music moving in similar motion (7.7). In 7.8 candidates often described the dynamic marking but not the effect created an echo. Similarly in 7.9 candidates often gave a partial account by describing what they observed in the score, but failed to appreciate that this is the sound of an arpeggio. Grade 5 In general Sections 1, 2, 4 and 5 were reasonably well answered but there are some concerns about the candidates response to Sections 3, 6 and 7. In Section 3 the natural strong and weak accents of the words was not always matched to similar stresses in the music. This was a particularly regular example; some candidates tried to be more inventive than was really necessary or advisable. Candidates are generally not confident in compound time and this may have increased the difficulty. It is very important to have a logical method of working when setting words; the first step must be to determine where the strong and weak accents are in the words.

4 The answers to Section 6 were on the whole disappointing. Some candidates made no attempt to add passing notes whilst others decorated far too much. The bass line is simple and this should indicate the level of decoration required in the melody line. As in the melody-writing question some logical way of working is required. One way might be to firstly decide which notes might correctly go with the given bass notes and chords. If these were pencilled in lightly with some alternatives - it might be then possible to see where unaccented passing notes, auxiliary notes, other notes of the chords might musically fit. Again it does not need to be complicated movement in crotchets with the occasional quavers would be more than adequate. It is probably musically more satisfactory not to decorate the final bar but to end on a long note. Many parts of Section 7 were correctly answered, but the concept of harmonic rhythm is clearly not understood (7.5). There also appears to be some confusion between chord symbols and Roman numerals, and which should be written below and which above the stave. Grade 6 There was a very varied response to Section 1. Few candidates understood the concept of ostinato (1.1) and writing the main beats in 7/8 time (1.2) caused a lot of difficulty. Hardly any candidates answered the figured bass question correctly (1.7). Most candidates in Section 2 had the correct notes for scales and arpeggios and did an accurate transposition (2.3), but regretfully did not fully read the question in terms of the direction of scales. There was also some inconsistency of the grouping of notes in 5/4 time. There were some imaginative melodies in Section 3 and candidates seemed well able to handle the harmonic sequence required in Section 4. The response to Section 5 was disappointing. In the past candidates have generally been successful in the relatively mechanical process of changing music from a short score to an open score; but in this particular example there were some problems in the alto and tenor parts. In Section 6 candidates had difficulty in distinguishing major and minor chords and expressing these in Chord Symbols and Roman numerals. The completion of the cadence was satisfactory. Many parts of Section 7 were answered correctly but the concept of harmonic rhythm (7.7) is not generally understood. This is an important concept in terms of the candidates own composition and understanding the music of different historical periods. An awareness can often be gained through study of the music that candidates are playing in their practical lessons. This of course would, and should apply to many aspects of theory.

5 Grade 7 Most parts of Section 1 were well answered, but there was some inconsistency in the use of the 5/8 rhythm (1.1) and confusion about the Tierce de Picardie (1.8). Section 2 was mostly well done, but there were some untidy workings this does not help the clarity of the underlying musical intention. In Section 3 most candidates created satisfactory melodies but occasionally there were notes below the oboe s range. In Section 4 candidates demonstrated well that they are able to write accurately a harmonic sequence. The penultimate chord was the dominant in D minor and so needed a C# - few candidates appreciated this. We frequently mention the importance of clear and tidy notation. This was a real issue in Section 5 transferring a string quartet score to a close score. Candidates frequently tried to align their work with the original and use only one of the available staves. It would have been better to spread the work over onto the second stave for greater clarity. Method of working is crucial in this sort of exercise; it may be wise to firstly sketch in the more complex bars for each instrument so that good spacing is achieved. A similar exercise to Section 6 appears in Grade 6. Candidates at this grade seem to have a better understanding of Roman numerals and chord symbols. In this example only the Fm/Ab caused difficulty. Candidates are confident in answering the very specific questions in Section 7: key, cadences, transposition and so forth. But they have difficulty when asked to comment on or compare a number of bars. The examiner is not looking for a description of the score but rather the sound implied by that score. Grade 8 Sections 1 and 2 were mostly well done although the origins of the Augmented 6 th chord (1.3) and a description of word painting (1.8) created some problems. Section 3 was consistently well answered. The only problem centred on the instrumental name Engl. Horn. Quite a few candidates failed to use a key signature in their answer, adding accidentals instead. Section 4 had some good responses with candidates clearly understanding the style and conventions of the Bach chorale. Section 5 builds on a similar style of questioning in Grades 6 and 7. In this particular example candidates seemed better able to handle questions that asked them to either compare or comment on passages. The most significant

6 difficulty was confusion over keys (5.6) leading to problems in identifying cadences (5.5, 5.7)

In all creative work melody writing, harmonising a bass part, adding a melody to a given bass part the simplest answers tend to be the best answers.

In all creative work melody writing, harmonising a bass part, adding a melody to a given bass part the simplest answers tend to be the best answers. THEORY OF MUSIC REPORT ON THE MAY 2009 EXAMINATIONS General The early grades are very much concerned with learning and using the language of music and becoming familiar with basic theory. But, there are