Grade Music Theory Practice Papers 2019 Music Theory Practice Papers 2019 ABRSM Grade 6Theory Paper Grade6 2019 A Me Duration 3 hours copyright Candidates should answer all FIVE questions. Write your answers on this paper — no others will be accepted. Answers must be written clearly and neatly - otherwise marks may be lost. 1. Answer one section only, (a) or (b). EITHER (@) Indicate one chord at each of the places marked * to accompany the following melody. You may do so by writing roman numerals or any other recognised method of notation between the staves, or by writing notes on the staves which provide a proper harmonic structure; but use only ONE of these methods. [Allegro] Handel, 'D'imeneo le belle’ from Partenope (adapted) 2 {© 2019 The Associated Boat of the Royal School of Mic 3 i OiOR ird quaver of bar essary, from the thi 2aty |) (b) Complete the bass line and add a suitable figured bass anak reve the space under the asterisk biany thy places marked + in this passage. If you wish tse on ceuhnen chromatic alteration is required, bat tofa ss § chords must be shown when used as par! i 1.8 Are By dnp Broo from Com aay Andante \ ‘Assume that all chords are § unless otherwise shown, 2. Writing for four-part voices (SATB) or keyboard, realise this figured bass. e_)3 EITHER ce) (@) Continue this opening to form a complete melody for unaccompanied bassoon. It should end with a modulation to the relative minor and should be between eight and ten bars long. Add performance directions as appropriate and write the complete melody on the staves below. Allegro molto comodo Hence OR (b) Continue this opening for unaccompanied trumpet (at concert pitch) to make a complete melody of not less than eight bars in length. You may make any modulation(s) that you wish, or none if you prefer. Add performance directions as appropriate and write the complete melody on the staves below. AllegroModerato4 Look at the extract printed opposite, which is from a piano piece, and then answer the questions below. (2) Identify the chords marked * in bars 2 and 3 (shaded) by writing on the dotted lines below. Use either ‘words or symbols. For each chord, indicate the position and show whether it is major, minor, augmented or diminished. Bar 2 3) Key B minor Bar 3 @) (©) Complete these statements: (There is a perfect cadence in the tonic key in bars... . @ Gi) There is a V’-I progression in the relative major key if baFS ec susususunu 2 Gil) Bar... forms an exact descending sequence with the previous bar. roa) Giv)_ Inthe right-hand part in bar there are two successive triads, ‘one major and one minor but both with the same root. 2 ()_ There is a melodic interval of a compound major 2nd between the lowest left-hand notes in bar... @ (© _ Compare bars 18-19 with bars 22-23 (both marked -———) and then name one similarity and three differences. Similarity o Differences 1 o 2 o 3 o (@) Give the full names of the notes of melodic decoration (e.g. changing note) marked X and Y in the right-hand part of bars 6 and 7. X (bar 6) @ ¥ (bar 7) @ (©) From the list below, underline the name of the most likely composer of this pi J. S. Bach Mendelssohn Debussy Bartok onswer jue! ony No. 3, and then a 5 Look at the extract printed opposite, which is from Sibelius's symphony the questions below. (@) Give the meaning of. trem (bar 1, timpani) pizz. (e.g, bar 3, first violins) es 8 8 div. (e.g. bar 6, violas) (©) (Write out the part for clarinet in bars 1-2 as it would sound at concert pitch. 4 } i { Clarinet a Gi) Write out the parts for horns in bar 6 as they would sound at concert pitch and d i i using the given clef. Homs ? 3 foms 2 (©) Complete these statements: @__ The instruments sounding an octave higher than the cellos on the first note of bar 4 are the... . sennnneeney HE and the se se os 0 Gi). A standard orchestral woodwind instrument not playing in this extract that sounds an octave higher than written is the... (4) Describe fully the numbered and bracketed harmonic intervals sounding between: 1 double basses and cellos (top note), bar 2 2 violas (bottom note) and { first violins (bottom note), bar 5 of 3 second violins (top note) and clarinet, bar 7 “a (e) Answer TRUE or FALSE to these statements: ‘ (The frst ute and second oboe sound an octave apart throughout bars 4 . a! Gil) The first violins have to use an open string in this extract, ot aca © 1907 Rober Llenav Musitvrag, Maing Reproduced by permis cl Scat Huse UA gs seed. 9Theory Paper Grade6 2019 B Unauthorized copies of tis Duration 3 hours copyright Candidates should answer all FIVE questions. Write your answers on this paper ~ no others will be accepted. Answers must be written clearly and neatly ~ otherwise marks may be lost. 1. Answer one section only, (a) or (b) e) EITHER (@) Indicate one chord at each of the places marked * to accompany the following melody. You may do so by writing roman numerals or any other recognised method of notation between the staves, or by writing notes on the staves which provide a proper harmonic structure; but use only ONE of these methods. [Andante] Traditional French Melody (adapted) (© 2019 by The Arsociated Board ofthe Royal Schools of Music WoR from the last beat of bar 2, at the p ‘e under the asterisk blank, but tic alteration is required. ss as necessary: leave the spac when chromal (b) Complete the bass line and add a suitable figured ba marked » in this passage. If you wish to use a chor must be shown when used as part of a $§ progression or chords Handel, Vin Sonata in HWV 371, OP.1NO.18 (agg Affettuoso 2. Writing for four-part voices (SATB) or keyboard, realise this fi scan fratall chords are funless otherwise shown, eS 85S &_) | i ; i a i \ i | | |3 EITHER e__) (@) Continue this opening to form a complete melody for unaccompanied cello. It should end with a modulation to the subdominant and should be between eight and ten bars long. Add performance directions as appropriate and write the complete melody on the staves below. MacDowell Adagio oe ‘pp cantabile OR (b) Continue this opening for unaccompanied flute to make a complete melody of not less than eight bars in length. You may make any modulation(s) that you wish, or none if you prefer. Add performance directions as appropriate and write the complete melody on the staves below. Allegretto . o>Piano EB - lendynei-gend hin zur Graf, mach lin der ‘Tod zur Frei-heit bald mich uff; “ ger nicht dem Au - g¢ naf,msch tng,4 Look at the extract printed opposite, which is from a song by Haydn, and then answer the questions below. (a) Mark clearly on the score, using the appropriate capital letter for identification, one example of each of the following. Also give the bar number of each of your answers. The first answer is given. From bar 8 onwards A arising chromatic semitone (augmented unison) in the left-hand piano part (circle the notes concerned). Bar ..19. B__ inthe piano part, a bar in which the notes are an exact repetition of those in the previous bar. Bar € an augmented triad in the left-hand piano part (circle the notes concerned). Bar D__aplace where the soprano sings a note at a lower pitch than the right-hand piano part (circle the notes concerned). Bar... (b) Write out in full the top line of the right-hand piano part of bar 2 as it should be played. Part of the bar is given. © Identify the chords marked * in bars 3 (shaded) and 4 by writing on the dotted lines below. Use either words or symbols. For each chord, indicate the position and show whether it is major, minor, augmented or diminished. Bar 3 \ Key Emajor Bar 4 (d) Answer TRUE or FALSE to these statements: @__ The harmonic intervals of a 3rd in the left-hand piano part on the first and second beats of bar 10 are all minor. (i). The music modulates to the subdominant key in bars 5-6. (e) Give the full names of the notes of melodic decoration (e.g. changing note) marked X, Y and Z in the right-hand piano part of bars 1, 9 and 17. X (bar) ¥ (bar 9) Z (bar 17) 6 @ @ @ @ @ @ @ @ @ @ @° certo, and then answer 5 Look.t the extract printed opposite, whichis from Nielsen's Flute Con the questions below. (2) Give the meaning of all. (bar 1) @ tranquillo (bar 2) a trom (bar 4, timpani) 4 (b) Complete these statements: { (The instruments sounding an octave higher than the cellos on the first beat of bar 3 \ are the a Ms ws wu and the @ | Gi) The instruments sounding in unison withthe cellos onthe frst beat of bar 5 i are the ... — sous and the On major — @s Gi). Allthe notes in the first bassoon part in bars 5-7 can be found in the key of . (© (Write out the parts for horns in bar 1as they would sound at concert pitch. 1 Hors > a Gi). Write out the part for clarinet in bars 6-8 as it would sound at concert pitch. Clarinet i o (d) Describe two ways in which the composer ensures that the solo flute will be heard clearly in bars 5-8. (©) Write out the first bassoon part in bars 3~4 so that it sounds at the same pitch but ut using the given clef. Bassoon 1 : @ (®. Answer TRUE or FALSE to these statements: (The largest melodic interval in the solo fute partis a perfect Sth, o Gi) The highest note in the extract is played by the solo flute. , @ 6vTheory Paper Grade6 2019 C hs Unauthorized copies ofthis Duration 3 hours opytant Candidates should answer all FIVE questions. Write your answers on this paper — no others will be accepted. ‘Answers must be written clearly and neatly - otherwise marks may be lost. 1. Answer one section only, (a) or (b. e) EITHER (2) Indicate ONE chord at each of the places marked * to accompany the following melody. You may do so by writing roman numerals or any other recognised method of notation between the staves, or by writing notes on the staves which provide a proper harmonic structure; but use only ONE of these methods. Allegro Attwood, Sonatina No, 1in G (adapted) © 2018 by The Associated Board ofthe Royal Schools of MusicOR ji t of bar 3, (6) Complete the bassline and add a suitable figured bass as necessary, from the first beat of bar 3, i se aces marked * in this passage. If you wish to use a § chord, leave the space uncer : ords uired. ust be shown when used as part of a$§ progression or when chromatic alteration is rea T.A.Amme, Duet from Comus (adapted) Tempo moderato 2. Writing for four-part voices (SATB) or keyboard, realise this figured bass. ‘Assume that all chords are § unless otherwise shown, e__) 203 EITHER plete melody for unaccompanied flute. It should end with a modulation to ween eight and ten bars long. Add performance directions as appropriate he staves below. (2) Continue this opening to form a com the subdominant and should be bet and write the complete melody on Presto Haydn —~ | . OR (b) Continue this opening for unaccompanied clarinet (at concert pitch) to make a complete melody of not less than eight bars in length. You may make any modulations) that you wish, or none if you prefer. Add Performance directions as appropriate and write the complete melody on the staves below. Allegretto scherzando nf ————— ¢4 Look at the extract printed opposite, which is from a pi: the questions below. piano piece by Melartin, and then answer (2) Give the meaning of: Semplice allargando (bars 9~10) ee) @ @ (b) Identify the chords marked + in bars 4 and 7 (both shaded) by writing on the dotted lines below. Use either words or symbols. For each chord, indicate the position and show whether it is major, minor, augmented or diminished. Bar 4 Ai ber? \ Key Ft minor (©) Complete these statements: (i) There is a rising chromatic semitone (augmented unison) in the right-hand lower part in bar Gi). There is syncopation in the top line of the right-hand part in bar Gili) There is a dominant 7th chord (V7) in the key of A major in bar (iv) There is an acciaccatura in the right-hand part in bar... + (@ Name three features of the music that contribute to the climax of the extract in bar 10. (@) Answer TRUE or FALSE to these statements: (The right-hand and left-hand parts do not cross in this extract. Gi). The largest metodic interval in the top line of the right-hand part is a major 6th. a @ @ @ @ @ @ o o o @ @and then ' Harnham Down, 5 Look at the extract printed opposite, which is from Vaughan williams’ answer the questions below. (a) Give the meaning of: + (bar 2, second horn) poco affrettando (bar 8) ncert pitch. (6) (Write out the parts for horns in bars 7-9 as they would sound at co Hors} . x (id) The notes printed below are notated at written pitch forthe first clarinet shortly after the extract ends. Write out the part (for clarinet in Bb) as it would sound at concert pitch Do not use a key signature. by —T Clarinet in Bs (at written pitch) Clarinet in Bb (at concert pitch) (©) Complete these statements: (The highest-sounding note in bar 6 is played by the and the Gi) The lowest-sounding note in bar 9 is played by the and the .. Git). The cellos and violas sound a note in unison in BaF oa... (€) Describe fully the numbered and bracketed harmonic intervals sounding between: 1 violas and first horn, bar 3 2 second violins and first violins, bar 6 3 cor anglais and oboe, bar 8 (e) Answer TRUE or FALSE to this statement: There is double stopping in at least one ofthe string parts, 4 ® @ @ @ @ @ @ @ o anecorsa [Andantino 2 58] ‘ome vou poco animando maa Chale Ts dar excl aes OxedUnvy Press 2013 ea taney prise Osta Unvety Ps: Ags steed. 3Theory Paper Grade6 2019 s ee Duration 3 hours persia Candidates should answer all FIVE questions. Write your answers on this paper — no others will be accepted. ‘Answers must be written clearly and neatly — otherwise marks may be lost. 1 Answer One section only, (a) or (b). &_) EITHER (a) Indicate one chord at each of the places marked * to accompany the following melody. You may do so by writing roman numerals or any other recognised method of notation between the staves, or by writing notes on the staves which provide a proper harmonic structure; but use only ONE of these methods. John Bul, Alman [Moderato] J a ‘©2019 ty The Associated Board ofthe Royal Schools of Musk:OR essary, from the first beat of bar 5, atthe p, rhe space under the asterisk blank, but §chorgs sured bass as nec matic alteration is required. leave th ‘when chror (b) Complete the bass line and add a suitable fig marked * in this passage. If you wish to use a § chord, I must be shown when used as part of a $§ progression or Handel, Avia from Amadigid Gayy [Moderato] 2 Writing for four-part voices (SATB) or keyboard, realise this figured bass, e__) Assume that all chords are § unless otherwise shown, 53 EITHER (2) Continue this opening to form a complete melody for unaccompanied violin It should end with a modulation to the relative major and should be between eight and ten bars long. Add performance directions as appropriate and write the complete melody on the staves below. Adagio Hayden — > P OR (b) Continue this opening for unaccompanied bassoon to make a complete melody of not less than eight bars in length. You may make any modulation(s) that you wish, or none if you prefer. Add performance directions as appropriate and write the complete melody on the staves below. Andante con moto oo 7 of 2° \Menuet I14 Look atthe extract printed opposite, whi : sea aguer the questions aaa Chi from JS, Bach’ French Suite No, 1, BWV 812 &__) (2) Complete these statements: (i) There is a modulation to the dominant key in bar(s) (Bar forms a rising sequence (not exact) with the previous bar. Gil). There is a harmonic interval of an augmented 2nd in the left-hand part of bar (b) Ha vee hanes mated sin bats 9 (without the ornament) and 13 by writing on the dotted or symbol aren use ether words or symbols For each chord, indicate the positon and show whether it is Bar 9 i . Key F major Bar 13 nt 5 . Key Bb major (© Give the full names of the notes of melodic decoration (e.g. note of anticipation) marked X, ¥ and Z in the right-hand part of bars 7, 12 and 19. X (bar 7) Y (bar 12) Z (bar 19) (d) Write out in full the top line of the left-hand part of bar 6 as it should be played. Part of the bar is given. (©) Answer TRUE or FALSE to these statements: (The music passes through the key of C major in bar 16. Gi). Inbars 21-24, the largest melodic interval n the left-hand partis a major 7th. @ ro) 2 @ o @ @ @ @ ro) @I sw 5 Look at the extract printed on pages 33-34, which is from Debussy's Nocturnes, and then answer the questions below. (a) Give the meaning of: retenu doux (bar 1, oboe) div. (bar 1, first violins) sourdines (e.g. bar 2, double basses) (b) (Using the blank stave at the foot of page 34, write out the parts for first and second horns in bar 10 as they would sound at concert pitch. Gi). The notes printed below are notated at written pitch for the clarinets at the start of this ‘movement. Write out the part (for clarinets in Bb) as it would sound at concert pitch. 3 Clarinets in B (at written pitch) (Clarinets in Bb (at concert pitch) (©) Complete these statements: (D__ The English name for the tambour militaire, an, instrument that plays earlier in this movement, is... (ii). The lowest-sounding note in bar 1 is played by He cannon and the (@) Answer TRUE or FALSE to these statements: (®__ Inbar 6, the bassoon repeats what the oboe played in bar 5 but sounding an octave lower. Gi) The cor anglais and clarinet sound in unison in bars 9—11, (@) Describe fully the numbered and bracketed harmonic intervals sounding betw /een: 1 violas and second violins, bar3 2 cellos and fourth horn, bar 10 @ @ @ @ @ @ a @ @ @ @Anime et tts rythmné 2 Turn the page(b) i) bar 10 34