Level 6 Theory Practice Paper 1 1 of 9 Maximum Marks 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 Total Marks 10 1. a. Name the following intervals. 1. a. Identifiez les intervalles suivants. b. Write the following intervals above each of the given notes. b. Écrivez les intervalles suivants au-dessus de chaque note donnée. 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. 1 Copyright 2016 The Royal Conservatory Certificate Program
Level 6 Theory Practice Paper 1 2 of 9 10 3. Write the following scales ascending and descending in the clefs provided using the correct key signatures and any necessary accidentals. Use whole notes. a. E major in the treble clef b. A flat minor, harmonic form in the bass clef c. G minor, melodic form in the treble clef d. B major in the bass clef e. the enharmonic tonic major of G flat major in the treble clef 3. Écrivez les gammes suivantes, ascendantes et descendantes, dans les clefs données en utilisant l armature appropriée et les altérations accidentelles nécessaires. Utilisez des rondes. a. mi majeur en clef de sol b. la bémol mineur harmonique en clef de fa c. sol mineur mélodique en clef de sol d. si majeur en clef de fa e. l enharmonique majeur de sol bémol majeur en clef de sol a. b. c. d. e. 2
Level 6 Theory Practice Paper 1 3 of 9 10 4. The following melody is in the key of E flat major. a. Transpose the given melody up an augmented fourth using the correct key signature. Name the new key. 4. La mélodie suivante est dans la tonalité de mi bémol majeur. a. Transposez la mélodie donnée une quarte augmentée plus haut en utilisant l armature appropriée. Identifiez la nouvelle tonalité. b. Transpose the given melody up into the key of G major using the correct key signature. Name the interval of transposition. b. Transposez la mélodie donnée vers le haut en sol majeur en utilisant l armature appropriée. Identifiez l intervalle de transposition. Interval of transposition/ Intervalle de transposition: 3
Level 6 Theory Practice Paper 1 4 of 9 10 5. a. Write the following triads in the treble clef using the correct key signature and any necessary accidentals. i. the supertonic triad of A major in root position ii. the dominant triad of D minor, harmonic form in first inversion iii. the mediant triad of B major in second inversion iv. the tonic triad of C sharp minor, harmonic form in first inversion v. the submediant triad of G flat major in second inversion 5. a. Écrivez les accords suivants en clef de sol en utilisant l armature appropriée et les altérations accidentelles nécessaires. i. l accord de sus-tonique de la majeur en position fondamentale ii. l accord de dominante de ré mineur harmonique au premier renversement iii. l accord de médiante de si majeur au deuxième renversement iv. l accord de tonique de do dièse mineur harmonique au premier renversement v. l accord de sus-dominante de sol bémol majeur au deuxième renversement b. Write the root/quality chord symbol above each of the following chords. b. Écrivez la fondamentale/type d accord audessus de chacun des accords suivants. 4
Level 6 Theory Practice Paper 1 5 of 9 10 6. For each of the following phrases: a. Name the key. b. Write the root/quality chord symbol above each chord on the line provided. c. Write the functional chord symbol below each chord on the line provided. d. Name the type of cadence (authentic or half cadence). 6. Pour chacune des phrases suivantes : a. Identifiez la tonalité. b. Écrivez les fondamentales/types d accords au-dessus de chaque accord sur la ligne donnée. c. Écrivez les symboles d accords fonctionnels sous chaque accord sur la ligne donnée. d. Identifiez le type de cadence (authentique ou demi-cadence). 5
Level 6 Theory Practice Paper 1 6 of 9 10 7. a. For each of the following phrases: i. Name the key. ii. Write the correct time signature directly on the music. 7. a. Pour chacune des phrases suivantes : i. Identifiez la tonalité. ii. Écrivez le chiffre indicateur approprié directement dans la partition. b. For the following phrase: i. Name the key. ii. Write the correct time signature directly on the music. iii. Write the root/quality chord symbols implied by the melody on the lines provided. b. Pour la phrase suivante : i. Identifiez la tonalité. ii. Écrivez le chiffre indicateur approprié directement dans la partition. iii. Écrivez les fondamentales/types d accords proposés par la mélodie sur les lignes données. 6
Level 6 Theory Practice Paper 1 7 of 9 10 8. For the following melodic opening: a. Name the key. b. Write the time signature directly on the music. c. Complete the first phrase according to the given functional chord symbols. End on an unstable scale degree. d. Compose an answer phrase to create a parallel period. End on a stable scale degree. e. Draw a phrase mark over each phrase. 8. Pour l extrait mélodique suivant : a. Identifiez la tonalité. b. Écrivez le chiffre indicateur directement dans la partition. c. Complétez la première phrase d après les symboles d accords fonctionnels donnés. Terminez sur un degré instable. d. Composez une phrase-réponse pour créer une période parallèle. Terminez sur un degré stable. e. Tracez une liaison de phrasé au-dessus de chaque phrase. 7
Level 6 Theory Practice Paper 1 8 of 9 10 9. a. Explain the meaning of the following Italian terms. 9. a. Expliquez la signification des termes italiens suivants. meno mosso senza pedale con espressione sempre staccato subito piano b. Fill in the blanks for the following. Remplissez les espaces vides pour les questions suivantes. Name the composer of Brandenburg Concerto No. 5. Nommez le compositeur du Brandenburg Concerto No. 5. Name two of the solo instruments featured in Brandenburg Concerto No. 5. Nommez deux instruments solistes présents dans le Brandenburg Concerto No. 5. What is the predominant texture that Bach employs in Invention in C Major, BWV 772? Quelle est la texture prédominante employée par Bach dans l Invention in C Major, BWV 772? What is the genre of Eine kleine Nachtmusik? Quel est le genre de Eine kleine Nachtmusik? What is the form of the first movement of Eine kleine Nachtmusik? Quelle est la forme du premier mouvement de Eine kleine Nachtmusik? 8
Level 6 Theory Practice Paper 1 9 of 9 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. Write the time signature directly on the music. Ajoutez le chiffre indicateur directement dans la partition. c. Write the appropriate rest(s) in the box at letter A. Écrivez le(s) silence(s) approprié(s) dans la boîte à la lettre A. d. Name the triad at letter B. Root: Quality/Type: Identifiez l accord indiqué à la lettre B. Fondamentale : Sorte : e. Name the triad at letter C. Root: Quality/Type: Identifiez l accord indiqué à la lettre C. Fondamentale : Sorte : f. Name the interval at letter D. Identifiez l intervalle indiqué à la lettre D. g. Name the interval at letter E. Identifiez l intervalle indiqué à la lettre E. h. The triad at letter F is the: L accord indiqué à la lettre F est : supertonic triad mediant triad submediant triad l accord de sus-tonique l accord de médiante l accord de sus-dominante i. Circle a chromatic half step directly on the music. Label it CH. Entourez un demi-ton chromatique directement dans la partition. Identifiez-le comme DC. j. How many measures are in this passage? Combien de mesures y a-t-il dans cet extrait? 9
Level 6 Theory Rough Work 10
Level 6 Theory Practice Paper 1 Examiner Comments Total Mark for this Examination: 70/100 1. Intervals: 6/10 a. In part (a), one mark is awarded for each correctly named interval. One mark has been deducted here because the student has named the first interval as a major fifth, instead of a perfect fifth. b. In part (b), one mark is awarded for each correctly drawn interval. Three marks have been deducted. In the first measure, the top note should be C natural. In the second measure, the student has altered the given note by adding a flat sign in front of the B. The given note should not be altered a D sharp above the given B is needed here to create a major third. In the fourth measure, the student has used a double sharp sign in front of the D, when only a single sharp sign is required. 2. Rests: 7/10 In this question, one mark is awarded for each correct measure. No half marks are awarded. First line: The third measure is incorrect; instead of using two dotted quarter rests, the student should have used a whole rest. Second line: The first measure is incorrect. To complete the first beat, the student should have used a thirty-second rest, followed by two sixteenth rests to show the individual second and third pulses. Third line: The first measure is incorrect, as the half rest cannot be used to join the second and third beats; two quarter rests should have been used instead. 3. Scales: 5/10 In this question, one mark is awarded for each correct key signature and one mark is awarded for each correctly pitched scale. b. The student has written the key signature of A flat major instead of A flat minor. For that reason, the entire set of notes is incorrectly pitched. The key signature and the set of notes are each circled and an arrow is drawn back to the key signature to indicate the source of the second deduction. Examiner Commentary Copyright 2016 The Royal Conservatory
Level 6 Theory: Practice Paper 1 continued c. No marks have been deducted for the redundant accidentals that the student has added to the descending form of the melodic scale. Because the student has drawn a bar line after the upper tonic, these accidentals are unnecessary; the examiner has drawn arrows to indicate they are not needed. d. The student has placed the five sharps of the B major scale as though this were the treble clef rather than the bass clef. This means that the set of notes is incorrectly pitched and a second mark has been deducted. e. The key signature is correct, but the student has not written a complete set of notes the scale ends on the supertonic instead of the tonic; therefore, one mark has been deducted. 4. Transposition: 7/10 In this question, the student is asked to transpose a short melody to two different keys. Each part is allotted five marks; one mark is awarded for naming the correct new key or interval of transposition, one mark is awarded for drawing the correct new key signature, and three marks are awarded for the actual transposition of the melody. a. Everything is correct except that the student has forgotten to write the time signature on the transposed line half a mark has been deducted. b. One mark has been deducted for naming the interval of transposition as an augmented third instead of a major third. However, because the key signature for G major is correct, the marks for the set of notes are awarded, except for the following half-mark deductions: there is a misplaced dot in measure 1, there should not be a flag on the final note, and the double bar line at the end is missing. 5. Chords: 8/10 In part (a), half a mark is awarded for each correct key signature and half a mark is awarded for each correctly pitched triad. ii. The student has forgotten to use an accidental for the leading tone. iii. The triad is in the wrong inversion. v. The student has used the key signature of G major instead of G flat major and therefore the set of notes is not correctly pitched. In part (b), one mark is awarded for each correct root/quality chord symbol. Everything here is correct and all five marks are awarded. Examiner Commentary Copyright 2016 The Royal Conservatory
Level 6 Theory: Practice Paper 1 continued 6. Cadences: 8.5/10 At this level, the student names the key and type of cadence for each of the two phrases and labels the chords in each cadence with both root/quality and functional chord symbols. One mark is awarded for each key name, one mark is awarded for each cadence name, one mark is awarded for each root/quality chord symbol, and half a mark is awarded for each functional chord symbol. In the first phrase, one mark has been deducted for the incorrect root/quality chord symbol. (A should be A ). In the second phrase, half a mark has been deducted for the first functional chord symbol. I denotes a major chord and this phrase is in the key of B minor; therefore, the chord symbol should be i. 7. Identification of Keys, Time Signatures, and Implied Harmony: 8/10 In part (a), one mark is awarded for each correctly identified key and each correct time signature for a total of six marks. In the second excerpt, the student has written instead of. In the third excerpt, the student has identified the key as E flat minor, instead of G flat major. In part (b), one mark is awarded for the key name, one mark is awarded for the time signature, and half a mark is awarded for each correct root/quality chord symbol. The student has done everything correctly and all four marks are awarded. Note that for this practice paper, the first chord symbol has been provided as an example. 8. Melody Writing: 8/10 In this question, one mark is awarded for the key name, one mark is awarded for the time signature, and two marks are awarded for drawing the phrase marks. Two marks are awarded for completing the melody in the first phrase, ending on an unstable scale degree. The remaining four marks are awarded for composing the answer phrase to create a parallel period, ending on a stable scale degree. The student working is quite good, except that this student has written a contrasting period instead of a parallel period. For this reason, two marks have been deducted. 9. Music Terms and Music History: 7/10 In part (a), one mark is awarded for each correct definition. Each Italian term consists of two words, so part marks are possible here. Half a mark has been deducted for translating sempre staccato as suddenly detached. Staccato does mean detached, but sempre is always or continuously. No mark is awarded for translating subito piano as under the piano. Examiner Commentary Copyright 2016 The Royal Conservatory
Level 6 Theory: Practice Paper 1 continued In part (b), one mark is awarded for each correct answer. Each instrument in the second question is allotted half a mark. The student has lost half a mark for identifying the trumpet as one of the featured solo instruments in Brandenburg Concerto No. 5 and one mark for identifying the genre of Eine kleine Nachtmusik as Classical. 10. Analysis: 5.5/10 In this question, one mark awarded is for each correct answer; half marks are possible for some parts. b. The student has written the correct time signature on both staves of the first system, but has also written the time signature on the second system; half a mark has been deducted. f. One mark has been deducted for naming the interval as a perfect fifth instead of a diminished fifth. g. The student has named the interval as a diminished third instead of a minor third. j. The student has said there are nine measures in this excerpt. Either eight or sixteen (because of the repeat) would be acceptable. Examiner Commentary Copyright 2016 The Royal Conservatory