Advanced Rudiments December 2014 1 of 8 Maximum Marks Points alloués Your answers must be written in pencil in the space provided. Il faut que vous écriviez vos réponses au crayon dans l espace donné. Confirmation Number Numéro de confirmation Total Marks 10 1. a. Name the following intervals. 1. a. Identifiez les intervalles suivants. b. Invert the above intervals in the bass clef. Name the inversions. b. Renversez les intervalles ci-dessus en clef de fa. Identifiez les renversements. 10 2. Add rests below the brackets to complete each of the following measures. 2. Ajoutez des silences sous les crochets pour compléter chacune des mesures suivantes. Copyright 2014 The Royal Conservatory Examinations
Advanced Rudiments December 2014 2 of 8 10 3. a. The following passage is written for clarinet in B flat. Name the key in which it is written. Transpose it to concert pitch using the correct key signature. Name the new key. 3. a. L extrait suivant est écrit pour la clarinette en si bémol. Identifiez la tonalité de l extrait. Transposez-le au diapason de concert en utilisant l armature appropriée. Identifiez la nouvelle tonalité. b. Name the key of the following passage. Transpose it up a diminished fifth. Name the new key. b. Identifiez la tonalité de l extrait suivant. Transposez-le une quinte diminuée plus haut. Identifiez la nouvelle tonalité.
Advanced Rudiments December 2014 3 of 8 10 4. a. Write the following scales ascending and descending in the clefs provided using the correct key signature and any necessary accidentals. Use whole notes. i. E major from supertonic to supertonic ii. G sharp melodic minor from subdominant to subdominant iii. C harmonic minor from mediant to mediant i. 4. a. Écrivez les gammes suivantes, ascendantes et descendantes, dans les clefs données, en utilisant l armature appropriée et les altérations accidentelles nécessaires. Utilisez des rondes. i. mi majeur, de la sus-tonique à la sus-tonique ii. sol dièse mineur mélodique, de la sous-dominante à la sousdominante iii. do mineur harmonique, de la médiante à la médiante ii. iii. b. Write the following scales ascending and descending in the clefs provided using whole notes. Use any standard notation. i. Mixolydian mode starting on A flat ii. Dorian mode starting on C sharp i. b. Écrivez les gammes suivantes, ascendantes et descendantes, dans les clefs données, en utilisant des rondes. Utilisez n importe quelle notation habituelle. i. mode mixolydien commençant sur la bémol ii. mode dorien commençant sur do dièse ii.
Advanced Rudiments December 2014 4 of 8 10 5. For each of the following melodies: a. Name the key. b. Write a cadence in keyboard style below the bracketed notes. c. Name the type of cadence as perfect, plagal, or imperfect. 5. Pour chacune des mélodies suivantes : a. Identifiez la tonalité. b. Écrivez une cadence pour clavier sous les notes indiquées. c. Identifiez la sorte de cadence comme étant parfaite, plagale, ou imparfaite.
Advanced Rudiments December 2014 5 of 8 10 6. For each of the following dominant seventh chords, name: a. the two keys to which it belongs b. the position 6. Pour chacun des accords de septième de dominante suivants, identifiez : a. les deux tonalités auxquelles il appartient b. le renversement 10 7. For each of the following triads, name: a. the root b. the quality/type (major, minor, augmented, or diminished) c. the position 7. Pour chacun des accords suivants, identifiez : a. la fondamentale b. la sorte (majeur, mineur, augmenté, ou diminué) c. le renversement d. Mark the box beside the name of the scale which contains all three of these triads. d. Cochez la case qui correspond à la gamme qui contient tous ces accords. B minor, harmonic form si mineur harmonique F sharp minor, natural form fa dièse mineur, forme antique B minor, natural form si mineur, forme antique
Advanced Rudiments December 2014 6 of 8 10 8. For each of the following chords: a. Name the chord type as triad, seventh chord, quartal chord, polychord, or cluster. b. Rewrite the chord in the specified type of open score. 8. Pour chacun des accords suivants : a. Identifiez le type d accord comme étant l accord parfait, l accord de septième, l accord de quartes, le polyaccord, ou le groupe de sons. b. Réécrivez l accord dans le type de partition spécifié. Chord type/sorte d accord: Rewrite this chord in Modern Vocal Score. Réécrivez cet accord en partition vocale moderne. Chord type/sorte d accord: Rewrite this chord in Open Score for String Quartet. Réécrivez cet accord en partition pour quartuor à cordes.
Advanced Rudiments December 2014 7 of 8 10 9. For each of the following terms, state whether the definitions are true (T) or false (F). 9. Pour chacun des termes suivants, indiquez si les définitions sont correctes (T) ou fausses (F). Example/Exemple: forte soft doux F stringendo pressing, becoming faster en pressant, en accélérant meno mosso less movement, slower moins de mouvement, plus lent sonore sustained soutenu langsam slow, slowly lent, lentement schnell fast rapide attacca proceed without a break poursuivre sans arrêt tacet suddenly soudainement agitato broadly largement pesante weighty, with emphasis pesant, avec de l emphase lentement moderately loud modérément fort
Advanced Rudiments December 2014 8 of 8 10 10. Analyze the following piece of music by answering the questions below. 10. Analysez le morceau de musique suivant en répondant aux questions ci-dessous. a. Name the key of this piece. Identifiez la tonalité de ce morceau. b. Add the time signature directly on the music. Ajoutez le chiffre indicateur directement dans la partition. c. Name the composer of this piece. Identifiez le compositeur de ce morceau. d. Name the interval at letter A. Identifiez l intervalle indiqué à la lettre A. e. Explain the meaning of dolente. Expliquez la signification de dolente. f. Add the missing rest(s) at letter B. Ajoutez le(s) silence(s) manquant(s) à la lettre B. g. Why is there an F sharp at letter C? Pourquoi y a-t-il un fa dièse à la lettre C? h. Explain the meaning of the sign at letter D. Expliquez la signification du signe indiqué à la lettre D. i. Is the interval at letter E harmonic or melodic? L intervalle indiqué à la lettre E est-il harmonique ou mélodique? j. Explain the meaning of the terms at letter F. Expliquez la signification des termes indiqués à la lettre F.
Advanced Rudiments Rough Work
1 Examiner Comments Advanced Rudiments Examination December 2014 Total Mark for this Examination: 80/100 1. Intervals and Inversions: 5/10 a. One mark has been deducted in the first measure. The student seems to have forgotten to apply the key signature of two sharps, which is in effect for the whole line. This interval is actually an augmented fourth. b. Another mark has been deducted for the first measure because, although the inversion is correctly drawn, this is a diminished fourth. No part marks are awarded in this question. In the second and third measures, the intervals are not correctly drawn on the staff. Most likely the student is still thinking in the treble clef deductions due to clef reversal are not uncommon on Rudiments examinations. The final measure is correctly drawn. The problem with this measure is that the interval has been incorrectly named; because the student has chosen to invert it to an eleventh, it must be named as either a perfect eleventh or a compound perfect fourth (cp4). Note: Compound intervals may have compound inversions, although it is preferable to invert a compound interval to its simplest form. 2. Rests: 8/10 First line: the second measure of is incorrect. The student has used a half rest to combine the second and third beats; however, because the third beat is a medium strong beat, it cannot be combined with the second beat, which is a weak beat. The correct solution is two quarter rests, followed by either a dotted eighth rest or an eighth and a sixteenth rest. Second line: the final measure in is incorrect. The problem here is similar to that in the first line: the eighth rest, although mathematically correct, does not show the strong and weak beat organization of the time signature. Two sixteenth rests must be used instead of an eighth rest. Throughout this question, the student has misplaced the thirty-second rests. Although there is no deduction for this, the examiner has indicated them with red arrows and the abbreviation M.P. for misplaced. Examiner Commentary Copyright 2016 The Royal Conservatory
Advanced Rudiments Examination: December 2014 continued 2 3. Transposition: 7/10 In this question, the student is asked to transpose two short melodies. Each part is allotted five marks. a. One mark is awarded for naming the key of this melody for B flat clarinet as E major. One mark is awarded for naming the correct new key (concert pitch) as D major. A third mark is awarded for drawing the key signature of D major and two marks remain for the actual transposition of the melody. The student has done part (a) accurately, and therefore five marks have been awarded. b. The student has named the original key of E minor correctly and also named the new key of B flat minor correctly. However, in drawing the key signature of the new key, the student has used the key signature of B minor instead of B flat minor. As the key signature is incorrect, no marks are awarded for the transposed melody because the pitch of the melody is not correct. Note: The placement of the dot in the final measure is incorrect and would normally result in a halfmark deduction, as would incorrect stems or other small errors, but no further deduction is taken in this case because the marks for the transposed melody have not been awarded. 4. Scales: 9/10 a. One mark is awarded for each correct key signature and another mark is awarded for each correctly pitched scale. All three key signatures are correct and the first and third scales are correctly drawn. A mark has been deducted for the second scale because the student has placed the accidentals for the melodic form of G sharp minor in front of the sixth and seventh notes from the starting note instead of the actual sixth and seventh degrees of the scale. b. One mark is awarded for the ascending form of the scale and one mark is awarded for the descending form. Modal scales may be written in a variety of ways some students use a key signature while others choose to write these scales using accidentals. This student has used a key signature for the first scale and accidentals for the second scale. No accidentals are needed for the descending form of the second scale, although it is still correct if a student chooses to repeat the accidentals in the descending form. 5. Cadences: 8.5/10 In this question, one mark is awarded for each correct key identification and one mark is awarded for each correct cadence name. The remaining three marks for each cadence area awarded as follows: one mark for each correct RH chord and a half mark for each correct LH bass note. In the first cadence, one mark has been deducted because the second RH chord is incorrect. The student has forgotten to raise the leading note and therefore the pitch of the chord is incorrect. A further half mark has been deducted because the bass note is incorrect. The second cadence is correct and all five marks have been awarded. Examiner Commentary Copyright 2016 The Royal Conservatory
Advanced Rudiments Examination: December 2014 continued 3 6. Dominant Seventh Chords: 7.5/10 In this question, a half mark is awarded for each correct key name in part (a) and one mark is awarded for naming each position in part (b). The student has named all the major keys correctly, but has named the relative minor key for these dominant seventh chords, instead of the parallel or tonic minor key. This results in five half-mark deductions. 7. Triads: 9/10 One mark is awarded for correctly naming the root, quality, and position of each triad. A final mark is awarded for correctly identifying the scale that contains all three triads. One mark has been deducted in the third measure for naming this triad as major when, in fact, it is an augmented triad. All other marks have been awarded. 8. Open Score: 9.5/10 In this question, each chord is allotted five marks: one for naming the chord type and four marks for correctly writing the notes of the chord in the specified type of open score. The student has named each chord correctly and drawn the notes correctly in open score. However, the notes of the second chord written in Open Score for String Quartet are not aligned, making them difficult to read. In longer passages, up to two marks may be deducted for poor alignment, but in this case only a half-mark deduction has been taken. 9. Italian Terms: 8/10 One mark is awarded for each correct answer, resulting in a mark of 8/10 on this question. 10. Analysis: 8.5/10 One mark is awarded for each correct answer, although half marks are possible for some parts on this question. b. The student has written the correct time signature on the treble staff, but has forgotten to also write it on the bass staff; therefore a half-mark deduction has been taken. d. One mark has been deducted for P5 since this is a compound interval. Either perfect twelfth (P12) or compound perfect fifth (cp5) would be correct. Examiner Commentary Copyright 2016 The Royal Conservatory