Or icen sutra | veory Paper Grade8 2017 B ration 3 hours conyeert ididates should answer all FIVE questions. ite your answers on this paper - no others will be accepted. swers must be written clearly and neatly - otherwise marks may be lost. -omplete the violin parts in the following extract adapted from a trio sonata by Corelli, e) ollowing the figuring shown under the basso continuo. Vivace Basso continuo _ i Associated Board ofthe Royal Schools of Music 2018 by The Associated Board af the Royal Schools of Music 12 Complete the given outline of the following passage, adapted from a piano piece by Reinecke S (1824-1910). Allegro moderato A3 Compose a complete melody of not less than 12 bars using ONE of the following openings and for the given unaccompanied instrument. Continue in the same style and include appropriate performance directions. Write the complete melody on the staves below. OBOE Allegro molto moderato Stanford (adapted) nf CLARINET (at concert pitch) Allegro ma non troppo a ~p $$ BPed__1 ee Pe leggieriss. > Pe Oa aD a aD = ——— Ped. J Ped, J Ped, 1 Ped, Pet. Ped. H Ped. 1 pois _y legatissino e smorz ———— rT Pea. “44 Look at the extract printed opposite, which is from Chopin's Piano Sonata, Op. 4, and then 3B answer the questions below. @ Give the meaning of smorz. (smorzando) (bar 9). ... (©) Complete these statements: In bar 7, the notes in the left-hand part marked — /4— all belong to the scale of Gi) Inbar 8, the notes in the left-hand part marked [— !2— all belong to the scale of (©) Identify the chords marked * in bars 5 and 10 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 5 sas ean Key Db major Bar 10 (d) 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 5 onwards A aharmonic interval of a minor 3rd between the left-hand part and the bottom note of the right-hand part (circle the notes concerned). Bar ...° B aplace where the right-hand part sounds at a lower pitch than the left-hand part (circle the notes concerned). Bar inthe right-hand part, a bar that forms a descending sequence (not exact) with the previous bar. Bar (e) Compare bar 1 with bar 2 and then name two similarities and three differences. Similarities 1 2 Differences 1 2 3 (f)_ Answer TRUE or FALsE to these statements: (i) The notes on the first three beats of bar 3 form the chord of a dominant 13th (V) in the tonic key. (ii) The harmonic intervals of a 3rd in the right-hand part on the fourth and fifth beats of bar 3 are all minor. 1S @ @ @ eB eB @ @ a a q5 Look at the extract printed opposite, which is from Richard Strauss’s Macbeth, and then answer [25 the questions below. (@) Give the meaning of: sul ponticello (e.g, bar 1, second violins) con sord. (e.g. bar 4, horns) f (eg. bar 5, violas) (b) (i) Write out the parts for first and second horns in bar 4 as they would sound at concert pitch. 1 Horns 3: Write out the parts for first and second clarinets in bars 4-5 as they would sound at concert pitch. soe Clarinets 5 (©) Complete these statements regarding the first note of bar 2: (i) The instruments sounding in unison with the violas are the and the ... (ii) The instruments sounding an octave higher than the violas BNECHE sere the and the (d) Mark clearly on the score, using the appropriate capital letter for identification, one example of each of the following. Also give the bar number(s) of each of your answers. The first answer is given. A adescending chromatic semitone (augmented unison) ina part for a brass instrument (circle the notes concerned). Bar... B —anaugmented triad in the flute parts (circle the notes concerned). Bar C — amelodic interval of an augmented 2nd in a part for a double-reed instrument (circle the notes concerned). Bar D_ aplace where the cello and second violin parts cross (circle the notes concerned). Bar(s) ...., (e) Describe fully the numbered and bracketed harmonic intervals sounding between: 1 cor anglais and third flute, bar 4 2 upper cellos and first trombone, bar 5 16po one moltotranguillo PP Krinetten oa Bassani m8 Fagot Kontrafagtt Homer nF Ze ‘rompsten 1 DI Pen Vioine Vioine Bratche Vielonalo Kontmbase {© Copyright 3890 by Jose ib Museverng. Mich v Copyright assigned 1922 t gral counties ofthe word