G
Music Theory Past Papers 2012
rade
'E
)^i,/
u+s ABRSM
'
lofq
Music Theory Past Papers 2012 ABRSM Grade 5
tr )
f .S \r a)
t=) et
is
6.-' os-
\
-hlk
Qll
bt
TheoryPaperGrade D ratiott
5
2012 A
2 hours
DO NOT PHOTOCOPY
@ MUSrC
TOTAL MARKS
This paper contains SEVEN questions, ALL of which should be answered. Write your answers on this paper - no others will be accepted. Answers must be written clearly and neatly - otherwise marks may be lost.
1 (a) Look at the following
100
e-
extract and then answer the questions below
Berg, Shing QuarteL Op. 3
-6-OCopyright
(D
-r
t
uE34799 by Univcrsal ldilion A.C Reprodu.ed by pemission. AllYights resen ed.
1925
The extract begins on the first beat of the bar. Put in the time siSnature at the beginning and add the missing barlines. The first bar-line is given.
(ii) Complete the following
5ta
(5
tement:
The sextuplet p@-J-J'! ) means six demisemiqiiviis (32nd notes) in the tlrr.e of ............1.....1.!!.*..t..
I
(2
(b) Look at the following extract and then answer the questions below. Haydn, Piano Sonata in C{ minor, Hob. XVI/36
Moderato 1
(i)
Rewite the first left-hand chord of the extract so that it sounds at the same pitch, but using the alto C cle(. Remember to put in the clef and the key signature.
(4
(iD
cive the meanhg o I
(iii) Write
ten.
as a breve (double
(shott fot tenlt fo) (bar
4).
...........hl1d
(2
),
whole-note) an enhamonic equivalent of the first right-hand note
of bar 3.
12
e Zlr 2 b{ The Astriated Board of the Roval S(hools of Music
2
Describe
fu\
(e g' major 2nd)' bracketed melodic intervals and numbered the of each l.
lntervals:
1l
bQ
{.lrxp@
1
2
S. Bach,
Sonata for two flutes
c
ln
t\ P, c\ \,!t:-
g t.
d r;r L
Ft
e- f4
Ab61)
c,
inG' BWV
1039
la
As i,1t
\-o
aas
& E
DE
1o
ei A(t',
\
ior 2nd, as f"' att is followins melodv y'lt'T rhe Ihe following :1T1":t":,'"1;ll1li5i",i'i#"fi*fl.ffi 11ll'"I^t1',;flT'k':;"'1;";;;;5;;iern-emT-tiipcfln / uo it will sound at 'on(ert Pitch . signs -nat or natural lr""'"*ury 8l Gal, Cladnet Sonata, OP' "nurp,
o
.,*iff *?*YH',:#:i::;",tru-iP,i:T# Gal, Lla,;nel
to,'
Look at this extract from a piano sonatina by A. Diabelli and then answer the questions that follow.
[l
Andante cantabile
IEI
I
p
r
E6L
;ep;
7t Y
x
t_E|.-:!!
---
411
(a)
(i)
Give the meaning of Andante cantabile. .....t.1....t.....t*.dty.....sp t
\$
d
.'1..s
itg.i.r n, t !vt!
t
/^
- -^
scall
(ii)
Draw
(iii)
Rewdte the first two rigbL-hand notes of the extract so that they solnd at the same pitch, but using thJtmqr C clef. Remember to put in the clef and the elqffture
a circle a
roundfuLr
trccessioe notes
[
that form Part of a chromatic
(l
(1
1
il;;il;h;
note-
TAt and
The key is Rh major
B DF
7 CE
Cr
IV Eq
p,
Chord
Fac(ii) (iii)
A
.....
rl
. .. .
.....1 .1
/'^" "
t?oo srlccessizre
E;--'
rb -..-
Chord B
Below the staves write Ic-V (! 3) under the progression occurs. P-L l' IA(
chords in bars 1-4 where this
the two notes in the right-hand Part Give the technical names (e.8. tonic, dominant) of marked X and Y. Remember that the key i> Bb maior' (bar
6)
.........1u.d
y (bdr
7)
............s.tr.
x
(c)
t-";"4
[s I as l' II' lV or v. AIso indicate ofttre chord is the root (a),3rd (b) or 5th (c)'
in6i}\nartea
Describe the chords
(b) (i)
(i)
iry....1.t.1t...21.1...
,r.-1 b
at.4;.c.v.1
('
.
- l- ..
.
Bb major? lArtrich other key has the same key signature as
t1 tLttrrar/'
/ii)Nametlvostandardorchestralinstruments,onestringandone-woodwind,that :;Lio';i;; ijgi.i r.""Jp"ii't uars l-4 so that it sounds at the same Pitch'
'"'
il
5tnn8
woodwincl .
(iij)
""'
...
. ..
vrol,
q
lll
|f .....
'"
1
"
'
one (other,than.the piano) that Name two standard orchestral percus\ion- instruments' pit'h oi iefinite pitcti and one that ProdLrces notes of indefinite ;;il;";i;;
Definite
I t cn( Y!1:9.l]t. ' pitch ... t' tt: 17" ...--...!.',:t
Indefinite
..
Pitch
L.l
fi ^i*
themelodic T / 5 (at WritetheLevsignatureoffivesharpsandthenoneocta\edescendingol on the tontc \------:minor scate u itt that key signature. Use semibreves (whole notes)' begin and remember to put in anlinecessary additional sharp, flat or natural signs'
one octave ascending of the major scale that be8ins on the giv( note."Do ttof use a icey signatule but put in all necessary sharp or flat signs
(b) Using semibreves (whote notes), write
VE
ko
7
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.
(-
Show the chords:
EITHER
oR
(a) (b)
by writing I, II etc. or any other recognized symbols on the dotted lines below; by wdting notes on the staves.
A
lBrC----------D----------E-------r
.)
SECOND CADENCE:
FIRST CADENCE:
Chord C Chord
a,/
A
ChordD ................ Y Chord B Chord E
I
Fac 1 et\ D
tv
gDr-
Y IL{t
8
,/
/
5
TheoryPaPerGrade
2012 B DO NOT PHOTOCOPY
Duration 2 houts
OMUSC
TOTAL MARKS
answered' This DaDel contains SEVEN questions, ALL of which shouldle w;iJ;;; ;;;;.. on this piper - no others will be accepled' .riuirv - otherwise marks mav be lost'
;;";:.""-;;;;;;;'itt"" 1
:100
""a "eatlv
Put in the missing bar-lines' (a) The following extract begrns on the fhst beat of the bar'
l. rrr
l.
tr; ri; ,l) i
I
t oul,J
o.
j
ll))
Piano Sonata
I.jj
inC minor, K.45;
below' (b) Look at the following extract and then answer the questions
Moderato
tAl a ? -. -tAl
x 5[E
Havdn' Piano Sonata in Bt ' Hob-
Y6
xu/
s-,
7
(
ri)
v Alsoindicate whether the lowest Descdbe the chords marked [E] and fu I as 1, II, IV or *r" root 1u1, ard @) or 5th (c) The key is Bb B f, f
"' il"
(i0
major' 1
"iin".n.iJir
Chord A (bar
3)
Chord B (bar
5)
..........1-!..t:.. ....
.....1........
.....:1.: V
E
'
of bars 1 and 3' Name each of the omaments in the right-hand Part Bar
!
t/
J I! lv e1g'r V
f Ao
/
...........4.!.1.\4.t..r.r.'.91(....1 .......... ...'
{,,tr,
Bar 3
two notes in the riSht-hand Part (iii) Give the technical names (eg. tonic, domhant) of the marted X and y. nemembeithat the key is Bb major'
x
(bar
4)
,. i
...........|n1 6:trr'......
/ -1...
'
Y (bar 5)
tf
18
in oPen score' wdtten in short score Rewrite it This Passage is for SAIB choir' Palestrina, Miss,
rr
r
)
))
11
A'tefin Cirrisfi
"r
s/n (adaPtPdl
3
Rose' and then answer the Look at this extract, which is ftom Noc,,/'e for flute and Piano by Michael questions that follow.
Calmato J. = 54-56
1
:-,
,--
rul Ii
/
.1
lt
Flute
p
fiolto sosten to ed
ra*t^
.) Piano
P ,---:
a-t
/-t t1;\. (/-? /-et\ rt t-Lt -\ tF a* | +11.. \ /tl re€-', /1:E
sim.
z-++\ /-t +FEe \ / -l
/
L_l
1
l2ll3I 3 L2l
o l99l b! lne 4,'o.ialed
,\ (h
Board or the
t}.B*-
Rolal'choohotVu''c
c\f} q*
(a) (i)
Give the meaning of:
(r
molto sostenuto ed esPrcssiPo
P-
t
(ii)
|
gi^
-:, il
tro (b)
(i)
Give the letter name of the lligLes, note in the right-hand piano part'
(ii)
fu fie left-hand Describe fully each of the numbered and bracketed melodic intervals piano porf 1e.8. maior
zndl.
,,/
^\
'
-k
(2)
,, , / @,uu,2, f1j)",,r-u, . t.t).tt!.1p.'itt.4...P.t!!.::.!....ti.l".'/..... "'
@aarz)
(iii)
...............vn.i.rl..!,ir;i--
I ......... ..iil.iill ..::.:r'..
',.,
(:2'
of the last flute note Write as a breve (double whole-note) an enharmonic equivalent of the extract.
(2
Irnrr
9=
3'
$J"r'j
i r!'( I J "l J ^.:"", part of bdr 2 in simPle. time but withou t changing the tj Af Rewdte the fl uteRemember to include the new time signalgre' rhythmic effect.
ro J-l--r i'[
(ii)
Complete the following statements: The flute is a membe, or tr.t" .......W-!9LP-ild
.'
' J... ta"r.ily ot
Another family of standard orchestral instruments is and its lowest-sounding member is the
" ""
13
the
1y'b^*"""
"
oKhestral instruments. I
2!'!lS
/
-/
'
4
maior' (a) Put sharys or flats in ftont of the notes that need them to form the scale of Db Do aof use
a keY
signature.
q
harmonic minor scal {b) Write the kev siqnature of tour sharps and then one octave ascending of the remember to put i
'"' ;i
u";;";iti!u"t t*t',ot",ot"s). be8in on the tonic and h',h,; k"i;;;;; u.,y ,,"."t"uiy uJditional sharp, flat or natural signs'
rhom inF.Transposeitdowna Perfect5th'asitwill r key signature but remember to Put in all necessary
fo
-
sharp, flat or natural signs. SchoenberS, Chamber SYmPhonY No' 1
D W'tn tl l7nl1 OCopr nehr lo22 o) L rr\e''n.l d'l'nr A ' R"P'oilu.ed b) oPr_i',or' 'Allng\F re'e1ed
r
Yot0'
(fl
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.
10
[o
Shou, the chords:
(a) (b)
EITHER
oR
by writing I, II etc. or any other recognized s}rynbols on the dotted lines below, by writing notes on the staves.
a)
Lc}t
B
C
FEDADL
Bo,D
LtL(tLE
FIRST CADENCE:
.,.
Chord A
SECOND CADENCE:
lv
./ ./ Chord D
lv
Chord E
l-
7,.,',
Chord B
I
Chord C
7
C,b
D
7!
AL
L
lv
(F- 6
V
D?
/'
A
t6
,,
TheoryPaperGrade
5
2012 C
Duratiox 2 hows
DO NOTPHOTOCOPY
o
This paper contains SEVEN questions, ALL o{ which should be answered. Write your answers on this paper - no others will be accepted. Answers must be written clearly and neatly - otherwise marks may be lost.
1
MLlstc
TOTAL MAI{KS 100
(a) The following extract, which begins on the first beat of the bar, contains some changes of time signature. Put in the correct time signature at each of the three
l5
places marked x. Peter Maxwell Davies, Apple Basket: Apple Elosson
(6) O Copyright 1992 Chesler Music
Lim
ed
All riEnh reF^ ed. Inremational copyri8lt secured Reprinted by permission
(b) Look at the following extract and then answer the questions below. Mozari, Piano Sonata in Bt, K. s70 (adapted)
rrtYl-z)
Adagio
t
EQb J] VA L
]V AI
E
V LDF (i)
Describe the chords marked [Xl, [Y1 and f as I, II, IV or V Also indicate whether the lowest note of the chord is the lpot (a), 3rd (b) or 5th (c). The key is Eb major
ChordX Chord Y Chord
(ii)
z
................!.4................................
)vb ................!-9
1
(2) (2) (2)
Rewrite the first left-hand note of the extract so that it sounds at the same pitch, but using the alto C clef. Remember to put in the clef and the key signature.
(3)
2
Describe fully each of the numbered and bracketed melodic intervais (e.g. major 2nd).
fS-lr-T-l
Schoenberg, String Quartet No.2, Op. 10
o coplai8irt 1912by Universal Edition A.C., wien/PH 229 Reproduced by permission. AI n8hb ren ed.
D
lntervals:
hA a'to
r
,ruhr*tAr* .....fiq.lllllln....
av aP
u.4,
rr"|7.or
ol ltlh ,'-
l1l" /
, llt^ //
\.iao.
nulut blh z/
''''' '''' '''''''' '''' '''{
D-
(i
- -t Rq
Erl he
)/"''
i"' 3
These are the actual sounds made by a cor anglais. Rewdte the passage as it would appear for the player to read, that is, transpose it ll/ a perfect Sth. Remember to put in the new key signature and add any necessary accidentals.
--;il-
C
Sktyabin,
Le paame de
1'\itnst
Look at this extract which is adapted from the questions that follow.
a
piece for violin and piano by Adam Carse, and then answer
Andante grazioso J. = 52 1n Violin
A
?
,t
l)J
P
Piano
7:i7 r --!l-z
-"
A trL
s poco rit.
)
\r
dfJ*J
!ry
(a)
(i)
flt
4,,
:,./
O 1921 Stainer & Bell Ltd, 23 Gruneisen Road,
',-y
Lo.donN3 iDZ, England, www.stainer'co'uk Reproduced iron Ill,lL kfl.ids
Mark clearly on the music, using the aPproPriate capital letter for identification, one example of each of the following. Also give the bar number of each of your answers, as shown in the answer to A.
A
an instruction to get gradually
B
in bars 1-4 ol the violin Part, a supertonic note / in the key of D maior (circle the note concerned\. Bar '.!..r/
C
in bars 1-4 of the right-hand piano part, a note that is lrof in the key of D major (circle the note concerned). Bar
D
(ii)
5td-/ t2
quieter
Bar ...1....
..
in bars 5-8 of the piano Part, a note that is an enharmonic equivalent of Eb (circle the note concerned). Bar
Rewdte the first dght-ha,lJl piano chord oI the extract so that it sounds at the same pitch, but using theltenor p clef. Remember to Put in the clef and the key signature'
lLl
(b)
(i)
Cive the meaning of:
Andantegrazioso
.............
al a mrdriu 'lp1,11f,.' O,r,/^l ', c,/'
rr (violin, bar
1)
............d1g1......brp....,........1......
poco dt. oar
8)
..................n.....!i.i.!l
L
..L:ld......fu.qt..,:. .,,
(ii)
G)
fia
), l.
b
I (c)
(i)
Answer rnuE or
FALSE
to each of the following:
The lalgest melodic interval in
Ur{$art
F"D
is a major 6th.
AII the note' in the lett-hand piano part of bars 5 7 can be toLrnd in the scale o( E miior. -......1.{11)t.},,.....
t
t,
-I{
3
rlE
rrcfl EA
.t cq\) (ii) Complete the following statement:
of and
/
The violin is the highest-sounding member the string family of"orchestral in#uments, the lowe!t-sorLnd ing member of this fam rty is tfe .......dQ.1.1.!9.........1:.+5s..1........
(iii) Now name a rlifferent
/
far..ily ol standard orchestral instruments and state its highest-sounding member l,l
Familv
..........!..S-91
9.!L4...........,1:.......
_/
::
I't '
write Pne octave descending of the -major scale that Segins on the Siven note Do l?ol r./'e a key signature but Put in all necessary sharp oi flat signs. 5l', gtA o ( e
5 la) Using semibreves (whole notes),
ln
fo--f
(b) Write one octave ascending of the scale of F* harmonic minor' Do 'or use a key signature but pt in all necessary sharp or flai signs. Use semibreves (whole notesi and begin on the tonic'
rcq
7
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 oI the chords, or to state which note is in the bass.
10
Show the chords:
urHrn (a)
(b)
oR
by writing I, II etc. or any other recoSnized symbols on the dotted lines below; by writing notes on the staves.
t
LIAb
D
r, lq (
r
FIRST CADENCE:
Chord D Chord B Chord E Chord
c
....................lJ
t
I AL
N
G bD
IV b DI
V
LE
E----------------
D'B
_ c4. E Ql f= D t
SECOND CADENCE:
!
Chord A
D------------
et
2l
F
TheoryPaperGrade Dutatiotl
2
5
2012
S
llotrs
DO NOT PHOTOCOPY
O MUS
C
This paper contains SEVEN questions, ALL of which should be answered. Write your answers on this paper - no others will be accepted. Answers must be written clearly and neatly - otherwise marks may be lost.
TOTAL MARKS
1
l5
100
(a) The following extract, which begins on the first beat of the bar, contains some changes of time signature. Put in the correct time signature at each of the three places marked *.
Stravinsky, Tl? Ritc d/Sp,"r,s
,1,
6
5
OCopy.ight 1912/ 1921byHawkes & Son(London) Ltd Ret.oduced by pemission of Boosey & Ha$kes N,lusi. Ptrbtishers Ltd.
(b) Look at the following extract and then answer the questions below. Andante un poco allegretto
m
Benda, Sonatina in G
minor
tBt
cc[ooi
.L
M 4@,
(i)
Draw a circle arou
(ii)
Describe the chords marked [El and fs I as I, II, IV or V Also indicate whether the lowest note of the chord is the root (a), 3rd (b) or 5th (c). The key is G minor
r/ccessirc notes that
form part of
a
chromatic scale.
7
tr
tv
(iii)
etS D k LE
au|
t,,,!;7,
12)
\2)
t bk$ that it sounds at the pitch, but using
Rewrite the last left-hand note of the extract so the alto C clef. Remember to put in the clef and the key signature.
same
(3)
2
Describe fully each of the numbered and bracketed melodic intervals (e.g. major 2nd).
>
J- S.
t0
Bach, Violin Sonata No.3, BWV 1005
4)
,
5
Intervals:
.,
txt4nttrltA Ul^
d.y
z@,nr.).
tly.r. ..
diu.l"ia'i;i/ .'.:
i1h............X.
;;;.
k .!.
3 ..........1/.....y...l.!"!......,.!.1.. | | t t -tl t+h t al I DLrfet "r" \/X - t,t E
h tAtt
r L+h
/'
..
urJu titlJi,
G*h
8r(
aAB
bfr'
@) L
, r t\i.
l
I tlil
lrl > \-\ \a -j{ !-
iYYY
_a.
G
*
I
The following melody is written for cladnet in Bb. Transpose it do?r,? a rEDLryl, as it will sound at concert pitch. Remember to put in the new key signature and add any_ necessary accidentals. Finzi, Fughetta
O CopyiiSht 19.15 by Hauk€s & Son (London) l,td Reproduc ed by perm i ssion of Boosey & Hawkes Music Publishers Ltd.
27
4
Look at this extract from a piece for bassoon and piano by Michael Rose, and then answel the questions that follow. Alla marcia J =100 A 2 r-. Bassoon -l
nf
Piano
it .J,ta
I
J
r
IZ
nf
\4p
7
t ^\6
W'
-
ls
*s
'
t"e
+
dJ
P
3
/
nl,
.-F*
np
olggobyThe AssNiatcd Bo.rd olthe Rolal
(a)
(i)
Mark clearly on the music, using the aPProPriate caPital letter for identification. one example of each of the following. Also give the bar number oI each of your answers, as shown in the answer to A.
A
in the bassoon part, a subdominant note in the key of C major (circle the note concerned). Bar
B
in the bassoon part, d melodi( interval of a dimjfshed 5th+circle the note. concerned
C D
(ii)
S.hools of Music
in the bassoon part,
in the piano pdrt,
a
a
).
.
sign that means to give stight emPhadis to arnote. Bar
chord ol C minor in first
Taw-
rhq{t
'.
-z
r
Bar ...:1.
f,
inversion Bar....l....X
8/
,,
ivr
Name one similarity and one difference in the bassoon Part between bars 5 and 6.
Similarity
!
.t
4!l.y.
rr
./ .....(.....,.
... ...........
/
.. 1.............................. Difference ............[.](19.4.{........, l
(iii)
Rewrite the last bassoon note of the exlract so that it sounds at the same pitch, but using the tenor C clef. Remember to Put in the@sign.
Y 2E
(b)
(i)
Give the meaning of: Arra
r
marcia ................!1....!v......t.fu|. e0l
= r00 .
t_.
. ... ...
lAA
. rrfil:t
.Arch
bra ls .....1.4.....A. ,, t itnlr{e
(i0 Rewfite the bassoon part of bar + in ctrdpqtrrdtime but without changing the rhythrnic effect. Remember to put in the new time signature.
,\,t (fr(
-rl
b
r,' (' (r
tL
(iii) Write
breve (double whole-note) an enharmonic equivaleni of the first bassoon note of the e\trdct. as a
5 2t7 (c)
(i)
Answer rnuE or IALSE to each of the following statements:/
t0
,/
The bassoon is a double-reed
instrument. .........1.1!.V............ .-
lhe bas:oon is a (ransposinB instrum
//
e"t.
..........!.4.1!E.,..r/....
Abassoonistmightbeaskedtoplaypizzicato...................,...............
(ii)
The bassoon is a member of the woodwind family of orchestral instruments. Name a standard orchestral instrument from a differeu.t family thal could play the bassoon part of the extract so that it sounds at the same pitch, and state the family of instruments to which it belongs.
Instrument
ru-ly
.....dP:ab.ll.....b.rs.:/ /
29
...........(-i..tful
(2) (2)
(2)
rcGP& 5 (a) Write the key ,ig.rutr." o() scale
-
Enair/ '
and then one octave descending of the maior
"hurps with that key signatuieiUse semibrcves (whole notes) and begirion the toiic.
6a
L5",
(b) Using semibreves (whole notes), wdte one octave ascending of the melodic minor scale that has th
given key signature. Begin on the tonic and temember to put in any necessary additional shary, flat o natural signs.
xT a['A
Suggest suitable progressions for two cadences in the following melodyby 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.
t0
c
!(
Show the chords: ETTHER
oR
(a) (b)
by writing I, II etc. or any other recognized symbols on the dotted lines below; by
witing
fl s
notes on the staves.
A___t B
D
r
lEr
0
(/
0
L LI D q,
2)
( ab cvE
F >F
G
t !
! t
C
t !o
Chord
Chord C
l,/
ll/
A
Chord B Chord E
i;
lv
h
p.T)
J1
,/
Chord D
/
I
c c c
SECOND CADENCE:
FIRST CADENCE:
V Df
l
A
ALt
L'E
Support materiaI for ABRSf,{ Theory exams
5
**- -*
5
u& ABRSM
2012
ABRStI
LondonWlB ILU United Kingdom
BersD/srrNN
EDrtrd
lSBN 973-1-34a49-460-2
t^----;;l tv-J *L 15-: Fsc-c16ft
Pubtished by AaRSM lPubLishinglLld, a whoLLy owied subs dia.yofABRSM Cder by Kale Benjamin & andy Pons
Pnnl.nnEnglandbyHalsian&Co Ltd,Am.6ham,Bu.ks
ffiiltilililItililI
!
