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 creative elements where candidates are asked to respond to a given stimulus: a rhythmic or melodic phrase, some words, a harmonic sequence. It is very important that candidates are prepared for these more creative elements in the early grades so as to form a secure platform for future progress. Clear, neat, presentation at all grades is important and should be a high priority from the outset. If necessary please use a ruler for long hair-pins and beams. There is an endless supply of good models in the printed music that candidates use in their practical work. Do make this link between practice and theory. Proportional spacing of notes, rests, leger lines is essential if notation is to be easily read. Beyond a certain basic level we don t read individual notes or signs, but rather take in the overall shape of the music this would be very difficult without proportional spacing. 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. Grade 1 Sections 1 and 5 were almost invariably well answered with only the occasional slip in Section 1 the multiple choice format clearly helps candidates to focus on the correct answer. The concept of ostinato (Section 5) is well understood; a double bar line is needed at the end of this line. Section 4 is the only section at this level that requires a creative response. The majority of candidates provide a mathematically correct answer, but many do not give a musically convincing answer. Being mathematically correct gains about half marks; further marks are then achieved through style, including variety where appropriate, reference to the given rhythm and writing a convincing ending. Candidate should be aware of all the detail in a question; thus in Section 2.2 a number of candidates answered as though it was a treble clef, whilst others wrote a scale rather than the required arpeggio. Very few candidates answered Section 3 entirely correctly. It is important to be aware of the two-part nature of this section. The first task is to circle the
five mistakes; the second task is to re-write the whole extract with the five mistakes corrected. Do not forget to re-write all the correct material from the original. Section 6 was generally well answered, but again some candidates gave only partial answers; thus in Section 6.6 it is not sufficient just to say slur because the question asks for the meaning of the slur. (to play the marked notes smoothly). Grade 2 Candidates are becoming familiar and more confident with the multiple-choice format of Section 1. In Section 1.4 however the majority of candidates failed to realise that a whole bar rest (semibreve) in 3/4 time is three beats. Most candidates were able to accurately transpose down an octave (Section 5) and provide the correct scale and broken chord in Section 2. Section 3 is a progression from a similar question in Grade 1 and the same problems arise notably not circling the five mistakes. This should be the first job when tackling this section. Many candidates failed to spot the incorrect spelling of Andante. In Section 6 some candidates failed to put in the key and time signatures. The question then asks for a tune using the notes of the tonic triad in any register. In this example candidates should only use the three notes of the tonic triad in E minor: E,G and B. no other notes should be used. A more shapely tune can often be created using some repetition of notes rather than constantly jumping between different pitches. Grade 3 In general candidates answered correctly Sections 1, 4 and 7, but were less certain with Sections 2.2, 3 and 5. In Section 6 candidates are required to write only the root of the given chord. Many candidates tried to write a fuller bass line using other notes. Greater interest can be added to a root-only bass line by careful use of different octaves of the root notes. Given the comments for Grades 1 and 2 it is not surprising that some candidates failed to circle five different mistakes in Section 3, but then would usually provide a reasonably accurate corrected version. Most candidates transpose accurately (Section 4), but for some the proportional note spacing was poorly handled Section 5 is the first step in learning to write 4-part chords for SATB. Some candidates do this very well whilst others tend to write the tenor part too low and the alto part too high thus creating a wide interval between these two
voices, and an unbalanced chord. It is important to understand and operate the guidelines for SATB part writing at this grade level as a basis for future progress As we have said many times in the past, we urge the careful reading of questions and for Section 7 more careful study of the workbook. In Section 7 there was some confusion between Chord Symbols and Roman Numerals, and between Dynamic Marks and Articulation Marks. Grade 4 In general candidates appear more secure in questions that require recall of precise knowledge and information; they are less secure in questions that ask them to write or compose, and to comment on some aspect of music. Thus, Sections 1, 2 and 4 were generally well answered, but Sections 5 and 6 were more variable. Section 7 has both closed and open questions. Candidates normally have no problem with closed questions such as naming the key (Section7.2) or writing a Roman numerical below a chord (Section 7.5). They do have difficulties in open questions such as comparing the way the composer decorates cadences (Section 7.7) or commenting on the pitch (Section 7.9). This is a skill that could well be developed as part of practical work. The concept of harmonic rhythm is not well understood (Section 7.4). Understanding this concept is crucial to their own creative work, with good exemplar material available in their practical studies. Section 6 asks candidates to write a tune above a given bass line. Candidates were invited to use the given chords and use some unaccented passing notes. The key to a successful answer is to keep it rhythmically simple and aim for a relatively smooth singable tune. Often candidates created very complex melodies with inappropriate rhythms and poor melodic shape. The spacing of parts in 4-part (SATB) writing (Section 5) is generally better than in Grade 4, but still work to do in this area. The use of the minim beat in 3/2 time (Sections 2.2 and 6) and the 12/8 in Section 3 created problems in grouping notes and rhythm patterns for some candidates. Grade 5 The multiple choice questions in Section 1 continue to provide a secure start to the theory examination; however many candidates opted for the viola rather than the cello in Section 1.9. Section 3 introduces, for the first time, words to be set to music rhythm only at this grade. Candidate response was very variable. The main issue, as in
the past, is aligning strong syllables in the words with strong beats in the music. Many candidates find this difficult, but it is fundamental, and the first task in setting words to music. If this is correct the remainder of the task should be straightforward providing it is kept simple: each syllable needs a note as in the given start. Transposing becomes a little more complex at this grade. Unfortunately many candidates transposed by a minor 3 rd rather than a major 3 rd. Good melodies in Section 6 are usually rhythmically simple melodies with mainly step-wise movement and a sense of shape and direction. The instruction to decorate your tune is not an invitation to write complex ornaments but rather to add a few simple passing and auxiliary notes as and where appropriate. Grade 6 (New Syllabus) Section 1 (multiple choice) and Section 4 (harmonic sequence) were generally secure, although the compound interval (Section 1.9) confused some candidates. Sections 2.1 and 2.1 were generally secure, but in Section 2.3 many candidates had difficulty identifying the correct key for the Eb alto saxophone transposition. There was little sense of structure, phrase shape or climax in the pentatonic minor scale melodies asked for in Section 3. Pentatonic melodies rely for their effectiveness on repetition and contrast of rhythmic motifs and some feeling of overall shape. Dynamics, phrasing and articulation should be considered as part of the structural process and added as appropriate. Although the writing of chords for SATB has appeared in earlier grades, the spacing of parts is still a cause for concern (Sections 5, and the cadence in Section 6). As a general rule an interval greater than an octave should only appear between the bass and tenor; the interval between other parts should ideally always be less than an octave. Candidates generally found the analysis in Section 7 to be straightforward. The only section to create problems was 7.6 where it would appear that the terms harmonic and melodic sequence are not fully understood. Grade 6 (Old Syllabus) Questions 2 and 5 were consistently well answered; Questions 3 and 4 were much less successful with examiners noting in particular the poor part writing. It would appear that candidates concentrate almost entirely on the individual chords the vertical, and ignore the horizontal (melodic) progression of the voice parts.
Melody writing required in Question 1- is a problem for some candidates with poorly handled modulations and a lack of logical harmonic underpinning. In Question 3 most candidates were able to successfully use a falling seventh progression, but provided poor connecting harmony. The imperfect cadence at the end of the first phrase in Question 4 is a pivotal point in this exercise. Some candidates attempted a perfect cadence resulting in a final 6/4 chord. There were many examples of inappropriate chords, unresolved leading notes and inappropriate chords. Question 6a was usually well answered but in Question 6b candidates often gave little relevant information about the chosen work. Grade 7 (New Syllabus) No report Grade 7 (Old Syllabus) Questions 3 and 4 were consistently well answered with just minor concerns such as writing parts on octave too high in Question 4. Candidates find the setting of words to a melody difficult (Question 1). There is a poor understanding of accents and how the natural stress on certain syllables must match the accented beats in the music. It would seem that candidates do not have a strategic plan for tackling the word setting of Question 1. A useful starting strategy might be to read the words a number of times and mark the accented syllables; then write out the words under a musical stave putting a bar line before each accented syllable. The melody can then be written with any suitable key and time signature. Two-part writing (Question 2) continues as one of the weaker aspects of candidates work. In terms of texture, two-part writing seeks to create two independent melodic lines, with the independence often created by contrasting rhythmic patterns. What makes the two independent parts work together successfully is a strong underlying harmonic sequence and it is this that is often missing. Again candidates need a working strategy- this could usefully start with writing the chord symbols below the bass line. Most candidates managed Question 5a successfully though occasionally nonorchestral instruments such as organ and piano were suggested. The answers to Question 5b covered a wide range from excellent to very poor; in the latter case there was often too much writing about the construction of an instrument and little about how it would be played, the sound of the instrument, its use and repertoire.
Grade 8 (New Syllabus) Sections 1 and 5 were consistently well answered, although the more analytical (5.5) and descriptive (5.7) were too demanding for some candidates. Section 2 invites candidates to write a 16-bar melody. The only stipulation is the key and the range of the melody, determined by the instrument (clarinet). Candidates need to think about the formal structure of the melody (repetition/contrast in both rhythm and pitch), whether modulation would be appropriate and how other elements (dynamics, articulation) can help to shape the melody. Section 3 was generally accurate in terms of re-written transposing instruments, but the presentation needs to be neater and as close to the given printed score as it is possible with a hand written score. In Section 4 candidates are invited to harmonise a melody in an appropriate style. The composer is given as J.S.Bach, and all indicators point to a chorale style of harmonisation. Generally responses were poor in terms of chord selection and the handling of those chords. One possible strategy would be firstly to establish key cadence points writing in the bass notes and chord names, this could be followed by other familiar chord progressions until a complete bass line with chords is established. The more the bass line can move in contrary motion to the melody, the better. Please see the workbook for what is expected at this level. Grade 8 (Old Syllabus) In Question 1 candidates generally named the chords correctly and made satisfactory resolutions. Unfortunately there were often small errors within the harmony, particularly crossing of parts, consecutives and failure to finish on a root position chord. There were some quite good realisations of the two-part writing in Question 2, though some candidates failed to observe the modulation at bars 8-9. Awareness of the harmonic rhythm and the underlying harmonic progression is a vital first step in this kind of writing. In Question 3 most candidates chose to complete the piano accompaniment. The given bars offer a strong indication of the harmonic rhythm and general style required. There were some very good attempts, the most common problem being the failure to recognise the modulation to the dominant key in bars 7-8. There were many vague answers in Question 4 demonstrating a lack of accurate information and an inability to express ideas clearly and simply.