Grade 7 Music Theory.

Pointers for questions 1, 2 and 3

Question 1.
1. Identify suspensions (a suspension will be prepared in advance).
2. Identify Dominant to Tonic chordal movement, and identify potential Secondary
Dominant movement.
3. Be alert for 6/4 5/3 progressions.
4. Be alert for Dominant 7ths and Secondary Dominant 7ths, the tonic note may not be in
the melody or the bass. Secondary Dominant 7ths will resolve to their respective tonics
(the 7th to the 3rd and the 3rd to the tonic). Learn the appropriate figures for the different
inversions.
5. Its a good idea, for your own sake, to include harmonic analysis.
Question 2 (SATB)
1. Try to capture the style of what the composer actually wrote from the first phrase on
stave B, as there may be similar movement in subsequent phrases.
2. Apart from some occasional passing/changing/anticipation notes, the soprano voice will
remain largely unchanged. Avoid suspensions in the Soprano.
3. It is enough to alter one voice at a time.
4. Suspensions will be most effective in the Alto and Tenor, and sometimes the Bass.
5. Quaver movement is best created by either jumping to harmony notes, or by using
passing notes. Auxiliary notes should be less common than passing notes.
6. If you add quaver movement in more than one voice at a time, make sure you avoid
any type of clash or false relation.
Question 2 (piano score)
1. This will be based on a clear phrase structure, with clear cadences at the ends of each
phrase work out the overall shape.
2. Try to capture the style from the small amount filled in for you on stave B.
3. The Left Hand will mostly remain unchanged, perhaps some movement at the end of
the first phrase.
4. For the embellishment of the Right Hand use a combination of Arpeggio/Broken Chord
type figures and scale type passages.
5. Think about where to place your highest and lowest notes.
Question 3 (b)
1. If you are using the given opening, you must enter into the character of the music
immediately and continue in that style. If its possible not to use the given opening,
make sure to imagine a clear style and tempo.
2. Create a clear structure (not necessarily based on harmony).
3. Use plenty of contrasts: legato and staccato; loud/quiet; high register/low register; for
strings, arco and pizzicato.
4. Use accents, sforzandos, syncopation, lots of performance directions etc.
5. Put some thought into where your highest and lowest notes will go. Consider
approaching these notes gradually by step.
6. If you are introducing new material, keep it very simple and obviouse, and use your
material plenty of times