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The Associated Board of

the Royal Schools of Music

Theory of

msic
Examinations
GRADE

2003

DO NOT
PHOTOCOPY

OMUSIC

Theory Paper Grade 5 2003 A

DO NOT
PHOTOCOPY
O MUSIC

Duration 2 hours
This paper contains SEVEN questions, ALL of which should be answered.
Write your answers on this paper
others will be accepted.
- no
Answers must be written clearly and
neatly
otherwise marks may be lost.

TOTAL MARKS
100

1 (a) This extract begins on the first beat of the bar and contains some changes of time

10

signature. Write in the time signature at the beginning and elsewhere, as necessary.
TrEs mod6r6

(b) Add the correct rest(s) at * to make the last bar complete.

(c) Give the meaning of TrEs mod6r6.

2003 br,- The Associated Board of the Royal Schools of Music

Debussy, Prdlude

l'aprDs-midi d'un faune

Describe

fully each of the numbered melodic intervals (e.9. major 3rd).

10

Spohr, Quintet in A minor

flt t*rr

15r
I_

Intervals:

1.

2
a
J

4
5

The following melody is written for clarinet in Bh. Transpose it down a major 2nd, as it
will sound at concert pitch. Do not inciude a key signature but remember to put in all
necessary sharp, flat or natural signs.

10

Sibelius, Symphony No

by Robert Lienau Musikverlag, Berlin


Reproduced by permission of the Publishers

@ 1,907

Look at this extract and then answer the questions on page

5.

Andante con espressione

Mozart, Piano Sonata in D, K.

fyl

1-re

4
v

^^v

a)lH

f
ii.tD

_a

-,-\

-G
fp

---:

---------

l--z

bL1

10

72

ta-

_..
i-:l-''l

_-___
=:
te te

13

u --\_._-/ ,'fr+ + t

,^-

--_

l-l .-)ll)l
---

14

?++
t-

etc.

]-

31

(a) (i) The extract begins in the key of G major.

10

Name the key that is reached at the beginning ol bar 74.

(ii)

What does the sign

(iii)

Describe the chords marked f-x-l, f-Y_T andf-z I as I, II, IV or V. Also indicate
whether the lowest note of the chord is the root, 3rd or 5th. The key is G major.

Chord X (bar

:11

fUur 11) tell the player to do?

1)

Chord Y (bar 3)
Chord Z (bar

9)

(b) (i) Mark clearly on the music, using the appropriate capital letter for identification,

10

one example of each of the following. Also give the bar numbers of your
answers, as shown in the answer to A.

gr,

a trill.

an acciaccatura. Bar ............

an enharmonic equivalent of Eb in the right-hand

....1.9.....

[ ! gc-V) progression. Bar ............


part. Bar

............

(ii) ln bars 1-8 draw two circles, one round

a mediant note in the right hand and the


other round a leading note in the left hand. Remember that the key is G major.

(c)

(i)

Write the left-hand part of bar 4 so that it sounds the same, but using the
tenor C clef. Remember to put in the clef and key signature.

(ii)

Name a standard orchestral instrument that sometimes uses the tenor clef.

10

To which family of instruments does this instrument belong?

(iii) Give a reason why no solo member of the standard orchestral


could play the right-hand part of bar
Reason

4.

brass or woodwind families

(a) Using semibreves (whole notes), write one octave descending of the harmonic minor
scale which begins on the given note. Do not use a key signature, but put in all
necessary sharp or flat signs.

(b) Put sharps or flats in front of the notes that need them to form the scale of Db major.
Do not use a key signature.

10

EITHER

15

(a) Compose a complete melody for unaccompanied violin or oboe, using the given opening. Indicate
the tempo and other performance directions, including any which might be particularly required for
the instrument chosen. The complete melody should be eight bars long.

Instrument for which the melody is written:

..............

OR

following words for a solo voice. Write each syllable under the
note or notes to which it is to be sung. Also indicate the tempo and other performance directions as
appropriate.

(b) Compose a complete melody to the

And the night went down, and the sun smiled out
Far over the summer sea.

Tennyson

Suggest suitable progressions for two cadences in the following melody by indicating
ONLY oNr chord (I, II, IV or V) at each of the places marked A
- E. You do not have to
indicate the position of the chords, or to state which note is in the bass.

15

Show the chords:


EITHER

(a) by writing I, II

oR

(b) by writing

etc. or any other recognized symbols on the dotted lines below;

notes on the staves.

A-------r B---------

C------------r

D-----------r

)
O

a)

FIRST CADENCE:

SECOND CADENCE:

Chord C
Chord A

Chord D
Chord

Chord

E----------------

Theory Paper Grade

2003

DO NOT
PHOTOCOPY
O MUSIC

Duration 2 hours
This paper contains SEVEN questions, ALL of which should be answered.
write your answers on this paper no others will be accepted.
- neatly otherwise marks may be lost.
Answers must be written clearly and

TOTAL MARKS
100

1 (a) (i)

The following passage begins on the first beat of the bar.


Add the time signature at the beginning.

10

,J,
O Copyright 1922 Novello & Co. Ltd. A11 Righrs Reserved.
Reproduced by permission.

(ii)

state the pitch relationship between the two notes marked x.

(b) Describe the chords marked

l--A_-], f B-l and [-c-l in the extract below as I, II, IV or V.


Also indicate whether the lowest note of the chord is the root, 3rd or 5th. The key is Ab major.

Mozar| A London Sketchbook

I-B-l

rAr

tt

a)

i+*

l-r-etc

Chord A

Chord

f-c

Chord C
10

This passage is for SATB choir, written in short score. Rewrite it in open score.
Byrd, Aae oerum corpus
S

a)
I

)
T

))

.I

-)

11

a
I

etc

This is a passage from Massenet's opera Thais, arranged for violin and piano. Look at it and then answer
the questions on page 13.

Pii

mosso agitato

cdez un peu

I .1.

Violin
U

-\---

'-

"f

8l

AX

Or"".l

,O.

__e/

T.

b' .1:->.J

2/

,f

#rr-

rtr

+?

I
:->
--==----

.J

tempo

grp

dolce

12

-_.-'

>

(a) (i) Give the meaning


cddez

of:

10

un peu (bar 3)

dolce (bar 5)

L:

&ar

5)

(ii)

What do the two dots after the first violin note tell the player to do?

(iii)

Name the bracketed ornament which is written out in the violin part in bar

(b) (i) Draw a bracket

(f----___-T) over four consecutive

violin notes which form

7.

10

part of a chromatic scale.

(ii)

Describe

fully the following numbered harmonic intervals (e.g. major 3rd).

barT (piano, left-hand and top right-hand

bar

1.

notes)

(piano, left-hand and right-hand notes)

3 bar2 (piano, right-hand, and violin notes)


(iii) Write an

enharmonic equivalent of the first violin note of bar

2.

(c) (i) Rewrite the left-hand piano chord of bar 3 so that it sounds the same, but

10

using the alto C clef. Remember to put in the clef and the key signature.

(ii)

The violin is the highest-sounding member of the string family


of orchestral instruments. Name the lowest-sounding member.

(iii) Name the lowest-sounding members of the standard orchestral woodwind and brass families.

Woodwind

Brass

1.3

(u) Put sharps or flats in front of the notes that need them to form the scale of
Ff harmonic minor. Do not use

10

key signature.

(b) Write a key signature of six flats and then one octave ascending of the major scale which has that
key signature. Use semibreves (whole notes) and begin on the tonic.

The following melody is written for clarinet in A. Transpose it down a minor 3rd, as it
rn ill sound at concert pitch. Do not include a key signature but remember to put in all
necessary sharp, flat or natural signs.

b-

10

Ravel, Daphnis et Chlod, Suite No. 2


3

Extract from Daphnis et Chloi O 1913 by REDFIELD & NORDICE, renewed 1941
Exclusive representation by Editions DURAND, Paris, France.
Reproduced by permission of Editions DURAND.

t4

ETTHER

15

(a) Compose a complete melody for unaccompanied bassoon or trombone, using the given opening.
Indicate the tempo and other performance directions, including any which might be particularly
required for the instrument chosen. The complete melody should be eight bars long.
Instrument for which the melody is written:

following words for a solo voice. Write each syllable under the
note or notes to which it is to be sung. Also indicate the tempo and other performance directions as
appropriate.

(b) Compose a complete melody to the

In green underwood and cover


Blossom by blossom the spring begins.

15

A. C. Swinburne

for two cadences in the following melody by indicating


chord (I,II,IV or V) at each of the places marked a - E. You do not have t6
lndicate the position of the chords, or to state which note is in the bass.
Suggest suitable progressions

15

ONLY owE

Show the chords:

EITHER (a) by writing I, II etc. or any other recognized symbols on the dotted lines below;
OR
(b) by writing notes on the staves.
A
ItTt

"

a)

FIRST CADENCE:

SECOND CADENCE:

Chord A

Chord D
Chord

Chord
Chord C

16

Theory Paper Grade

2003 C

DO NOT
PHOTOCOPY
O MUSIC

Duration 2 hours
This paper contains SEVEN questions, ALL of which should be answered.
Write your answers on this paper
others will be accepted.
- no
Answers must be written clearly and
neatly
otherwise marks may be lost.

TOTAL MARKS
100

(a) The following extract begins on the first beat of the bar and requires a different time

10

signature for each bar. Put in the correct time signature at each of the places marked x.
jonathan Harvey, Magnificat (adapted)

@ 1978by Faber Music Ltd


Reproduced by permission.

(b) Give the meaning

of

2Qe2t
)

(bar 3).

(c) Give the time name of the shortest

rest.

These are the actual sounds made by a horn in F. Rewrite the passage as it would appear
for the player to read, that is, transpose it up a perfect 5th. Do nol use a key signature
but remember to put in all necessary sharp, flat or natural signs.

10

Elgar, The Dream of Gerontius

ff-

ff,

ff,
O Copyright 1902 Novello

18

& Co. Ltd. Ail Rights Reserved

Describe fully each of the numbered melodic intervals (e.9. minor 2nd).

tzl

Intervals:

t9

J. S. Bach, St Matthew Passiott

r-t--l

The foliowing is part of a bass aria from Mozart's opera Die Entfiihrung aus dem Serail. The words have
been omitted and the orchestral score has been arranged for piano. Study this extract and then answer
the questions on page 27.

Allegretto
Voice

Piano

Ittt
==71)
l-. | ''
rypl

---\

20

(a) (i) Give the meaning


stringendo (bar

10

7)

Allegro assai (bar

(ii)

of:

10)

Describe the chords marked I--y I andf z-t as I, II, IV or V. Also indicate
whether the lowest note of the chord is the root, 3rd or 5th. The key is F major.

Chord Y (bar 2, piano)

Chord Z (bar 3, piano)

(iii) In the first four bars,

and below the staves, write I E fIc-V) under the two


successive chords where this progression occurs. The key is F major.

(b) (i) Write an enharmonic equivalent of the first note in the voice part of bar

(ii)

10.

10

Give the technical name (e.g. dominant) of each of the notes marked A and B in bar
of the voice part. The key is F major.

AB

(c)

(iii)

Rewrite bar 1 of the voice part so that it sounds the same, but using the
tenor C clef. Remember to put in the clef and the key signature.

(il

The extract begins in the key of F major. In what key does

(ii)

Write the voices Mezzo-soprano, Tenor, Soprano, Bass, Contralto in the correct order from
lowest to highest. The first answer is given.

10

it

end?

Bass

(iii)

Name a standard orchestral instrument which normally uses the bass clef,
and state the family of instruments to which it belongs.

Instrument

.............

Family

21

f t
J

(a) Beginning on the tonic, write

one octave ascending of the melodic minor scale which


has the given key signature. IJse semibreves (whole notes) and remember to include
any necessary additional sharp, flat or natural signs.

(b) Put sharps or flats in front of the notes that need them to form the scale of B major.
Do not use a key signature.

22

f10-

EITHER

15

(a) Compose a complete melody for unaccompanied flute or trumpet, using the given opening. Indicate
the tempo and other performance directions, including any which might be particularly required for
the instrument chosen. The complete melody should be eight bars long.

Instrument for which the melody is written:

OR

(b) Compose a complete melody to the following words for a solo voice. Write each syllable under the
note or notes to which it is to be sung. Also indicate the tempo and other performance directions as
appropriate.
They drank their health and gave them a feast
Of dumplings made of beautiful yeast.

23

Edward Lear

Suggest suitable progressions for two cadences in the following melody by indicating
oNLY oNE chord (I, II, IV or V) at each of the places marked A E. You do not have to
indicate the position of the chords, or to state which note is in the bass.

15

Show the chords:


EITHER

(a) by writing I, II

oR

(b) by writing

notes on the staves.

a)

etc. or any other recognized symbols on the dotted lines below;

----------------

C ----------

t)

O-

FIRST CADENCE:

SECOND CADENCE:

Chord A

Chord D
Chord

Chord
Chord C

Z+

Theory Paper Grade

2003

DO NOT
PHOTOCOPY
O MUSIC

Duration 2 hours
This paper contains SEVEN questions, ALL of which should be answered.
Write your answers on this paper
others will be accepted.
- no
Answers must be written clearly and
neatly
otherwise marks may be lost.

TOTAL MARKS
100

(a) This extract begins on the first beat of the bar and contains some changes of time
signature. Write in the time signature at the beginning and elsewhere, as necessary.

10

Howells, Missa sabrinensis

@
A11

Copyright 1954 Novello & Co. Ltd

Rights Reserved. International Copyright Secured.


Reproduced by permission.

(b) Name the two ornaments marked A and B in this extract.


A

Schubert, Piano Sonata in G, D. 894

,\l
etc.

26

Describe

fully each of the numbered melodic intervals

(e.9. major 2nd).

10

Stravinsky, The Flood

a---r-l

4---l I-5_-l

O Copyright 7962by Boosey & Hawkes Music Publishers Ltd


Reproduced by permission.

lntervals:
1

2
a
J

4
5

These are the actual sounds made by a horn in F. Rewrite the passage as it would appear
for the player to read, that is, transpose it up a perfect 5th. Do not use a key signature
but remember to put in all necessary sharp, flat or natural signs.

t'--

Mahler, Symphony No. 2

p-etc.

27

Study this extract from


questions on page 29.

Christmas Tune

by Gordon jacob, for cello and piano, and then answer the

Andante con moto


Cello

Piano

t--.- ----

,-,1

\\--l

r--_-r r

28

L972

a=-.-.

by The Associated Board of the Royal Schools of Music

(a) (i) Give the meaning

of:

10

Andante con moto

,.

ben legato

(ii)

Describe the chords marked l--xl, T-Y_l andf-Z-l as I, II, IV or V. Also indicate whether
the lowest note of the chord is the root, 3rd or Sth. The key is A major.

Chord X (bar

1)

Chord Y (bar 3)
Chord Z (bar 9)

(b) (0 Mark clearly on the music, using the appropriate capital letter for identification,

10

one example of each of the following. Also give the bar numbers of your
answers, as shown in the answer to A.

In the cello part, a leading note in the key of A major. Bar

TWo notes in the right-hand piano part which are tied together.

C In the cello part, an enharmonic equivalent

of Dh. Bar

.....9......

Bar

............

............

D In the cello part, a submediant note in the key of A major. Bar ............

(c)

(ii)

Rewrite bar 5 of the cello part so that it sounds the same, but using the tenor C clef.
Remember to put in the clef and the key signature.

(i)

Compare the cello part of bar 5 with the cello part of bar
Name one similarity and one difference.

9.

10

Similarity

(ii)

Complete the following statements:


The extract begins in the key of A major and ends in the key of

A standard orchestral brass instrument which


could play the cello part of the extract as written is the

(iii)

Name a standard orchestral woodwind instrument which could also play the cello part of this

extract. Instrument

.............

State a clef other than the bass clef which

it sometimes

29

uses.

(a) Put sharps or flats in front of the notes that need them to form the scale of F# major.
Do not use

10

key signature.

(b) Using semibreves (who1e notes), write one octave ascending of the harmonic minor scale which has
this key signature. Begin on the tonic and remember to add any additional sharp, flat or natural signs
where necessary.

30

EITHER

15

(a) Compose a compiete melody for unaccompanied violin or oboe, using the given opening. Indicate
the tempo and other performance directions, including any which might be particularly required for
the instrument chosen. The complete melody should be eight bars long.

Instrument for which the melody is written:

OR

(b) Compose a complete melody to the following words for a solo voice. Write each syllable under the
note or notes to which
appropriate.

it is to be sung. Also indicate the tempo and other performance directions

how on every bough the birds express


In the sweet notes their happiness.

See

31

John Dryden

as

Suggest suitable progressions for two cadences in the following melody by indicating
oNLY oNr chord (I, II, IV or V) at each of the places marked A - E. You do not have to
indicate the position of the chords, or to state which note is in the bass.

15

Show the chords:

EITHER (a) by writing I, II etc. or any other recognized symbols on the dotted lines below;

oR

(b) by writing notes on the staves.

a)

D
I

,t

a)

FIRST CADENCE:

SECOND CADENCE:

Chord C
Chord A

Chord D
Chord

Chord

ISBN 1 -86096-t+38-9

The Associated Board of the Royal


Schools of Music (Publishing) Limited
24 Portland Place London W1B 1LU

United Kingdom
www. abrsmpublishing.
Printed in Engiand by Halstan & Co. Ltd, Amersham, Bucks.

co.

uk

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r0

/03