Theory of Music Grade 4

November 2010

Your full name (as on appointment slip). Please use BLOCK CAPITALS.

________________________________________________________________________________________

Your signature Registration number

________________________________________ ____________________________

Centre

_________________________________________

Instructions to Candidates
1. The time allowed for answering this paper is two (2) hours.
2.  Fill in your name and the registration number printed on your appointment slip in the appropriate
spaces on this paper, and on any other sheets that you use.
3. Do not open this paper until you are told to do so.
4. This paper contains seven (7) sections and you should answer all of them.
5. Read each question carefully before answering it. Your answers must be written legibly in the
spaces provided.
6. You are reminded that you are bound by the regulations for written examinations displayed at the
examination centre and listed on page 4 of the current edition of the written examinations syllabus.
In particular, you are reminded that you are not allowed to bring books, music or papers into the
examination room. Bags must be left at the back of the room under the supervision of the invigilator.
7. If you leave the examination room you will not be allowed to return.

Examiner’s use only:

1
2
3
4
5
6
7
Total

(CNS–04)
November 2010 (C) Grade 4

Boxes for
Section 1 (10 marks) examiner’s
use only

Put a tick (P) in the box next to the correct answer.

Example
Name this note:

  A * D * CP *

This shows that you think C is the correct answer.

1.1 Name the circled note:


    
A * C * Bb *

1.2 Which is the correct grouping of main beats in this bar?

         
3, 3, 1 * 2, 2, 3 * 4, 3 *

1.3 Which is the correct time signature?

       
    4* 6*
5
8 *

1.4 L’istesso means:

the same * always * very *

1.5 Which note is the enharmonic equivalent of this note?

 

G# * Gb * F# *

2
November 2010 (C) Grade 4

Put a tick (P) in the box next to the correct answer. Boxes for
examiner’s
use only

1.6 Which note is the tonic of the minor key shown by this key signature?



F * Bb * D *

1.7 Here is the scale of G melodic minor. Which degree(s) of the scale will you change to make the
scale of G natural minor?

       
 

*
none
6th and 7th degrees *
7th degree *

1.8 Which chord symbol fits above this subdominant triad?



 

Gm * Bb * Bm *

1.9 Which Roman numeral fits below this triad?


 
 Ic * ic * Ib *


1.10 Name this cadence:

 
    

*
Full close in B minor

   



Plagal cadence in D major *
Plagal cadence in B minor *

3
November 2010 (C) Grade 4

Boxes for
Section 2 (15 marks) examiner’s
use only

2.1 Write a one-octave F# melodic minor scale in crotchets going down then up. Use a key signature.


2.2 Using minims, write a broken chord using C minor tonic triad (going up). Use patterns of three
notes each time. Finish on G above the stave.


 


Section 3 (10 marks)

3.1 Circle five different mistakes in the following music, then write it out correctly.
Allegro

           3   
p

  


Section 4 (15 marks)

4.1 Transpose this tune down a perfect 5th. Use a key signature.

   
 
Mozart
      
   



4
November 2010 (C) Grade 4

Boxes for
Section 5 (15 marks) examiner’s
use only

5.1 Using minims, write out 4-part chords for SATB using the chords shown by the Roman
numerals. Double the root in each case and make sure that each chord is in root position.


 
 

(Bb major) IV (A minor) V

Section 6 (15 marks)

6.1 Use notes from the chords shown by the Roman numerals to write a tune above the bass line.
Add some unaccented passing notes.


   

     
  
i iv V V7 i

Please turn over for Section 7

5
November 2010 (C) Grade 4

Section 7 (20 marks)

Look at the following song and answer the questions opposite.

Andante
Spiritual

  
VERSE

1
* *
Voice            
 
Not the preach - er, nor the dea - con, but it's me, O Lord,

  

           
 
Piano mp tranquillo
    

  
3

                
Stand - in' in the need of prayer; Not the preach - er, nor the dea - con, but it's

  


      
          

 
mp

   
         
p




     

6 REFRAIN

        
me, O Lord, Stand - in' in the need of prayer. It's me, it's

 

    

      
   


     
   

mf

p
    


 
 
10

           

   
me, O Lord, Stand - in' in the need of prayer; It's me, it's
  
 
  
  
     
 
 
       
subito p

 
 
     
 

6
November 2010 (C) Grade 4



14 Boxes for

    
examiner’s
     
use only

me, O Lord, Stand - in' in the need of prayer.

  
  
       
 
 
    
pp

 
   
 
 

7.1 In how many sections is this song?_ ______________________________________________________

7.2 In which key is this song?________________________________________________________________

7.3 Give the range of the vocal part in this song in crotchets:

7.4 Name the interval between the two notes marked with asterisks (*) in bar 2 (voice part).

7.5 Use Roman numerals to write the chord progression of the last two chords of this song.

______________________________________________________________________________________

7.6 Name the cadence that finishes this song._________________________________________________

7.7 Comment on the harmonic rhythm in bars 12 and 13.________________________________________

______________________________________________________________________________________

7.8 What does tranquillo mean?_____________________________________________________________

7.9 Name two bars which move in similar motion.______________________________________________

7.10 Describe the dynamic markings in the refrain._____________________________________________

______________________________________________________________________________________