V-! a --:--. D:.'Pa!e-:2:_-
Music Theory Past Papers 2014
$iaoY,,7
ABRSM Grade 5
it
UK
.5 \a)
.Iq t.t
I
I Theory Paper Grade Drratiox
l-l
5 2014 A
2 hours
This paper contains SEVEN questions, ALL of which should be answered. \\lite vour answers on this paper - no others will be accepted. -\nsrre6 must be written clearly and neatly - otherwise marks may be lost.
TOTAL MARKS
1 at
l5
i
100
The ibllou,ing extract begins on the first beat of the bar. Put in the missing barJines.
t-
F. Bach, Fantasia in,E minor, J N.
Fk20 (adapted)
(l)
(b) Look at the following extract and then answer the questions below.
l-rl]Yl
l
x. S.har*;nka, Minuetio, Op.
tE)
l
-t A.r
(i)
(ii)
62 No. 5
?
firi r-t-l-r
I
B+
I
Cive the technical names (e.g. tonic, dominant) of the two notes in the left-hand part marked A and B. The key is C major.
A (b,,
1) .....-9.u!.*n:.t:::11....x..c
B ( bar
2r
.....,..:l-b..
,ll,l.t,:.'.t.:7r/-.
sr.rv nns
diffut
)
o, (2)
.
Describe the chords marked l-1, lYl and ffl as I, II, IV or V Also indicate whether the lowest note of the chord is the root (a),3rd (b) oi 5th (c). Remember that the key is G major
'r (8
D
gACE, Tr. C EG\
Vur-tt
(2)
\2) 12)
. : :. ::- :::.i left-hand note of the extract so that it sounds at the same pitch, but using - ..' - :--- ilernember to put in the key signature. :
(2)
r
z
intervals (e Describe fullv each of the numbered and bracketed melodic J.
g maior 2nd)'
S. Bach, Cello Suite No.4 in E flat, BWV 1010
- t-i-
rdwrr6sktt+
t*A.y
t5l
-,,
Y
aB
O r--+++I '--u .', rnrervars:
l0
.
L
) Y
lrl. . oraror-t-uzl--_ -., .. l4-->E' ( ) ltr4+oY--ti!t:--^v \7 \i/" ---> r.,{l +" ,,/..au.gnl.9.111i'....11-1 " Y D--)q {-\ ....rxr.nSY-:f:r-:: rO -u,/........*.,.':..0. !...... ir.4 ... . . . . . . .... . I. .*>' l,/
?
.
s rYly
O
'\
!./
a;W;n
t'+! pr,\
a
'/{l{h
A-
the passage as it would These are the actual sounds made by a clarinet in Bh. Rewrite put in to read, that is, transPose it ,,p a major 2nd Remember to itlJr,"* t"y signaiure and add any necessary accidentat'
10
;;;;;.-i;;ili;ier
Re1et, Eine 1)rterlii'ldische out)et tiire , OP ' UA
--='==
= =>
the questions Look at this extract, u.hich is from Balldde for flute and piano by Reinecke, and then answer that follo$'.
f
rloke
-----=-.--
"-.--'
,-;-=--.---
(a)
(i)
Mark clearly on the music, using the appropriate capital Ietter for identification, one example of each of the following. Also give the bar number of each of t-our answers, as shown in the answer to A. It1 barc
A
(circle thg nates co a tre tie rn in the ltute flute part Dart lclrcle the noles concerned). Bar
B
in the flute part, a domindnt ntit6 nbl6 in lhe lhe ( t key of D minor (circle the note concerned). Bar\...!.
C
in the piano part, a tonic chord of D minor in , IA first in\ ersion (lb) (circle the notes concerned). Bat ...:.--.{5 )
D (iD
1-5
'
rh
14).
in the nute pdrt, a melodic interval oF an aLrSmented 2nd {circle the notes con.ernedr.
(2)
( l1
C
Ba(..21,/
clolca sJf
s
i01^.1
(4)
(2)
sW?et.9o+
(2)
-l ov t e ,.1
(2)
(flute, bar 3)
c
rhshpd 4rrt{
Name the ornament in the flute part of bar 6.
(iii)
Describe the time signature as: simple or compoun
a
Write as a breve (double whole-note) an enharmonic equivalent of the last flute note of the extract.
(ii)
Answer rRUE or
(1)
10
to each of the following statements:
The sign above the last flute note of the extract (>) tells the player to get gradually quieter.
\olstZ/
The notes marked f----------l in bars 6-7 of the flute part folm the descending scale of D melodic minor
+rr,-/
The flute is a member of the woodwind Iamily of orchesiral instrume.:. clifferent faIJ|:rly ol standard orchestral instruments and state its
6ross
Instrument
liaa
(1)
It
(i)
FALSE
(2)
......L.A.1t)..1.i.::!.1!.d.,..v:
duple, triple or quadruple ............
Family
.
l0
(ii)
(iii)
f,'", c,b*f*,
Give the meaning of:
Adagio
(c)
t2t
Rewdte the first right-hand piano chord of the extract so that it sounds at the same Pitch, but using the tenor C clef. Remember to put in the 9!q[ and the key signature.
e
(i)
/ z,i
oi 2r'r .u1[
rvr
6-> ud
q
(b)
-> D
\.: . :
(a)
t
+^
(''hole notes), rn,rite one octave ascending ofthe harmonic minor rhe lLr.11:lb:eTr." gir en nore. Do ,roi use d ke) ,ig* tr r; Uripri'i,;it L sing.semibre'es
;;;;;;
snarp or tlat stgns.
V rhi l\nte one o.tuu"_ des""oxog of the major (i\ hole notes) and begin on the
Lonrc.
a0 .-...._
l'S
scale that has the given key signature. Use semibreves
7
Suggest suitable Progressions for two cadences in the foltowing melody by indicatin8 fv or V) at each of the places marked A-E You do not have to or'"ri oNe chord (i, indicaie the position of ihe chords, or to state which note is in the bass'
t(l
ti
(u
Shorv the chords: ETTHER
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-
--r B--
tr^NsS
B
D-
r
q he
SECOND CADENCE:
rIRST CADENCE:
Chord A
lC
IL
iv "'
Chord D
I
Chord B
Chord E Chord C
L
a
t
Ac QBp
6Dr ty Cr. Eq
---r
E
-t
TheoryPaper Gradei 2074
,/,
B
'/J
Dtration
2
I
houts
>o/rl A
This paper contains SEVEN questions, ALL of which should be answered. Write your arsiwers on this piper _ no olhers will be acceotedAn-sweE must be written dearly and neatty _ otherwise marks may
TOTAL MARKS 100
be [ost.
1 (a) I-ook at the fo owing exkact Andante con
moto j
* tt !a?
*
and then answer the questions below.
l5
r
Alan Belkf, viotin Sonatl
O Copyrlght Alan Belldn 1979 (ievised 20061
(i)
The extract begins on the first beat of-the bar and contains some changes of time signature. "'-' Put in the corect time signatures at the thr""
p1".""
{ii)
Add the corect rest(s) to complete the last bar
5
^".t'J..'-
in';
iJ,.
*
\=? rtV
grtr \$1zr
\
F?
s-P b
(6)
, Look at the following extract and then answer the questions below. l.
S. Bach,
Adagio in G major, BWV 958 (adapted)
The extract begins on the first beat of the bar, put in the missing bar-lines.
: : a:
(3)
:.. !r r)rnaments matked A and B. (2)
(2)
C)
2
Descdbe fully each o{ the numbered and bracketed melodic inteNals (e.9. minor 2nd)' Reger, Prelude and FuSue in E minor, OP. 117
ftl
fu l
$,w,nisVnl' /h'Y' r,urzt
3
4
Yn
No.3
D
f "d
qlLv 3r /L
onnnnrr,rtpc(',{{h
....:......'u-:l
5
(ro rnpor,rvd scgr:Y
ixix
These are the actual sounds made by a horn in E Rewrite the passage as it would appear for the player to read, that is, transPose it llP a Perfect sth. Do ,?o, use a key signature but remember to put in all necessary sharp, flat or natural signs. d'lndy, Cha
p _-==::=
soll et danses,
nf
o*l
OP 50 (adaPtec
4
Look at this extract, which is fuom a song by Schubert, and then answer the questions that follow. Langsam 1
Soprano
Piailo
(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(s) of each of vour answers, as shown in the answer to A.
l0
Frofl bqr 6 onwards
A B
a tie
C
in the piano part, three successive notes that form , -'L. partola chromatic s.ale lcircl2e notes concerned). Barls) --P.-...;21...
D
a
in
the
ght-hand piano
part.
Bar....?....
bar in which all of the notes can be found in the key
in the soprano part, d submediint note in the lev of A minor (circle the note concet^ed\. Bat
o
lC minor.
Bar
..)/..
I .1.
(2)
(2)
the chords in the piano part marked fxl and [Y] as I, TI, IV or V Also indicate -:.- =: ihe lol\,est note of the chord is the root (a), |rd (b) or Sth (c). The key is A minor. / .i,, \ :r ,/)
l=:::r:.e
|
_ : .'
1l
,'/
\ (2)
(b)
(i)
'o
Give the m"urlir1S ofa
(O
1 C tnJ
(2)
Langsam (2)
> (piano, bar
rii') '-'
10)
at the same Pitch' but Rewrite the last left-hand note o{ the extract so that it sounds rrittg,f,","nor C clef Remember to Put in the clef sign
(2)
(iii)
(1)
Describe the time signature as: simple or compound
(1)
duple, triPle or quadruPle the second soprano (double whole-note) an enharmonic equivalent of note of the extract
(iv) Write as a breve
(l
(c) (l)
TheextlactiSftomaSongwrittenforsoplano,whichiSthehighest-sounding and alto in of tie voice part w'hich lies between soPrano di* in"
"oi.". vocal range.
"u-e
-
A^ L 2 Za t I b6ll ... .. .1. ... --......i.l:..'....... ... .. -
//
(ii)
0.," '
"'
ihe soprano part of Lhe e\tract Name a standard orchestral in5trument that could Play the fa;ily of instiuments to which it belongs' so that it sounds at ttt" ,,rn" p"tt''' inJ ttate
Instrument y).9i:n/ ;(iii) Now name a d ifferent tafiily of slaldard member.
Family ...
\ rd-s ./ ...........-/4 '
ra'lv
:l: :{t:':
'1
orchestral instruments and state its lowest-so{rdirE
Instrument
..''...,...,..'..-,,..,,,.',,''
i
,
Db
(a) Write the key signature offive flats and then one octave descending of thernajor scale with that key signature. Use semibreves (whole notes) and begin on the tonic.
(if
,f
fo L
q O
*i\ cli q!
(b) Write one octave ascending of the scale of C{ melodic minor. Do ,1ol use a key signature but put i all necessary sharp or flat signs. Use semjbreves (wholie notes) and begin on the tonic.
ll
Suggest suitable progressions for two cadences in the following melody- by indicating orvri 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
\--
Show the chords:
rtrurn (a) oR (b)
by writing I, II etc. or any other recognized symbols on the dotted lines below; by wdting notes on the staves.
B
----------r
r i !r q *
FIRST CADENCE:
r-_
r
---
E-_
P
-t
-J)
SECOND CADENCE:
Chord C Chord
D-'
A Chord D
-[
x
(9
\,:/'
Chord B Chord E
,/
Theory Paper Grade
5 2014 C
Durctiorr 2ltorrs This paper contains SEVEN questions, ALL of which should be answered. lVrite youl answers on this papel - no others will be accepted. -{nswers must be wdtten clearly and neatly - otherwise marks may be lost.
1
(a) Look at the following extract and then answer the questions below. Moderato
100
t5
C. P. E. Bach, Sonaia No. 1, H.30 (adapied)
(i)
The extract begins on the first beat of the bar. Put in the missing barlines.
(ii)
Draw
a circle
TOTAL MARKS
around two notes next to each other that are an augmented 2;{d apart.
t2)
l, (b) Look at the following extract and then answer the questions below. Clemenii, Piano Sonata, Op. i3 No.6
(i)
Rewrite the extract with the notes corectly grouped (beamed).
(ii)
Cive the time name (e.9. crotchet or quarter note) oI the sryolfest note in the extract.
,n t'u,'{,, (iii) l\Tite
as a breve (double
; Y "/
d2lliiwr
19'l
'
(5)
(2)
whole-note) an enharmonic equivalent of the first note of the extract.
(2)
2
This passage is for SATB choit
witten in short
score. Re$'rite it in oPen score' Iohn Bennet, I lrngris, to.oflplanur. (adaPted)
S
rr
r
Itr ,--ltt-
4'-a1C--J
T B
Look at this extract, which is adapted from a piano piece by Gurlitt, and then answer the questions that follow. Moderato
,-'-t-_..-.m
1
I'
8r0z
L-Xl'
I'or*
,\.---1).-,--
l;.t
1A
d ----U
mf, sche.lznndo
st"f-i
^).-z
t4
'--->/ 10
\2) (2)
the quintuplet
(.EJ)
in bar 3
means
-
.
^ ^* ^r- ^J fivesemiquavers(l6thnotes)inthetimeof............Y'......\.;..'l.ll;:1q..t.....;/....-....
(iii) Name the written-o",
T1-"*I!1
(iv) Answer rRUE or
to this
FALsE
ijlarked LJ---l).
statement:
Ihee\tract begins with an anacrusis (uPbeat).
t!
rtrrl}(r,,or2^r),
....... .. :.....
, r.. / ll..Y..r,{..
:.,
12\
r
..
...
(b)
(i)
Describe the chords marked l.q.land fslas 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 Eb major.
f t 68
,tChord B (bar 3) .. ... ...........{. g- ....... ./: Chord A (bar
2)
1t)
..................1.1.........
(2)
trFAcL .EAc V€
b
(2)
F
(ii)
).
1 (bar
5,
-7 I+
right hand and bottom left-hand) l gm.Ip-!11].d....[).fl,jg] ...i].4.. t/t
2 (bar 6, top and bottom leIt-hand)
ih
o) Hh
-z/r
(2)
3 (bar 8, top and middle left-hand)
(2)
YY (c)
(i)
(2)
Rewrite the last left-hand chord of bar 4 (marked t) so that it sounds at the same pitch, but using the tenor C clef. Remember to put in the clef and the key signature.
tll 10
(1)
(ii) Name
standard orchestral instrument that could play the right-hand part of the extract so that it sounds at the same pitch, and state the family of instruments to which it belongs. a
rnstrumenr
........
J.i''-14........
... .....
(iii) Now state whether the instrument you named above is a transposing or non-transposing instrument.
:1
n ou . '
. .
.
. .
.
-. +i. r,r. nsD . . 03,Vtk
. .
. .
. .
. .
. .
.
I
(2)
f
tr
|
Put sharps or flats in iiont of the notes that need them to form the scale of F: melodic minor. Do llo/ use a kev signature.
-
t0
1+ C4 Ot
!Y (
b
) Using
semibreves (whole notes), write one octave descending of the chromatic scale that begins on the given note. Remember to put in all necessary sharp, flat or nitural signs.
V IV.
JuU
rlll
The follon ing melody is written lor cor anglais. Transpose it do.r,? a perfect 5th, as it will sound at concert pitch. Do ,lol use a key ,ignature bui remember to put in all necessary sharp, flat or natural signs.
l0
Salzedo, lberian lkryrcL)isatiotls, Op. 143
O CoPy.iEht Amo.is Internarional
etc.
tl
7
Suggest suitable progressions for two cadences in the following melody by indicating ovi orr chord (I, I1, 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
Show the chords: ETTHER
oR
(a) (b)
by writing I, II etc, or any other recognized symbols on the dofted lines below; by writing notes on the staves.
A-'--------r
B
-r
C
D__ l E
t c A L LL | * p LF Etn"a
a)
SECOND CADENCE:
FIRST CADENCE:
'11
Chord A
LnorctL
&
Chord D
-t Chord B
fcEq I-"rA -Er-n
o
\/ l"CP
:+
.........,,...,........
_______
5 2014 S
Theory Paper Grade Dufitiofl 2hours
TOTAL MARKS
answered' This paper contains SEVEN questions, ALL of which shouldte write viur answers on this paper - no others will be accepted' il.;;.-"-;;;;;; ;ritter, "l'euilv ut'd tteatly - otherwise marks may be lost'
100
t5
1
Look at the following extract, which is for cello' and then
2
r"i
ths questions below'
Cliirc,12 Alb
Allegretto ma non tloPPo
(( (
an31a's1
,---=-.
.q>
nt Lea'oes,OP 51
1
'
, rornlhl-9clb, BJU.,1 &d"srP'V' ",Lb"J'e'' Irdl" !raddr''lrr\ Id''Ari(' 'l-ir.i"rt,..'J1r:"rlrh'l Boos'y & Ha$ kes M!si' PubLshers Ltd' Ur- p*-l*"".f n"p.a.,*A
firr fic t tf
time siSna-ture (a) The extract begins on the first beat of the bar' Put in the corect
(b) Give the meanin8
of:
Auesretro ma non
v(ba,4)
t'oppo
..'I.,:1I.9.1 . .l.l:
I l'*-t I i{
.....0.!.!9.n1....1h.s....n.tilt.....s.1r.u:l.g).$""
(c) Name the omament inbar
.t
2.
:fus-\'i
(d) Rewrite the first two notes of the extlact
4 l-{9
"1
/<"t'l
o u'("t
. -,,,/
" "'("
{i-:ifl' t^+1,yK
the so that they sound at the same pitch' but using
tenor C cle[. Femember to put in the key 'ignature'
Complete the following statement: A11
ro
the notes in bar 3 can be found in the scale of
( (
26
.lt-
g),)
\2.
(4
12
2
Describe fully each of the numbered and bracketed melodic inten'als (e.9. maior 2nd).
s
F Bb E gq
B} E
4 s
ninry.$ / .. ..
.
r.rI.n..i..1.{.......... .....x
g
*>A
t.
Cntntrow znatJ
kv
t? ?j lY
?l '{l
These are the actual sounds made by a trumpet in Bb. Rewrite the passage as it would appear for the player to read, that is, transpose it llp a major 2nd. Remember to put in the new key signature and add any necessary accidentals.
/
lrl
Look at ihis extract, which is from a piece for clarinet (written here at concert pitch) and piano by Hurlstone, and then answer the questions that follow. Vivaae ma non troppo
z'-77>
1_ Clarinet
]
P B
, Piano
?
? leggierc
a t -,J,
t
-6t
\
t?
10
t2) (2)
)'u++o,n
f (e.B.piano,barsy .....s..1!.{.LnJ.t....LI-{.....111.i,9...9Yff.).u.r.t}.s.(ing..Lc.4.1hn > (e.s. craiinet, bar ?) ......0.(.i.11J.. .1119... ilfl g ...i:tt9ll.0.l$.. ... . ............................... tl
I
lre t-iplel
(2)
tt I I t in the clarinet Dart in bar 4 '
medn- three.emiqLravers(lbth notes) in
thetimeof
:\
, r,./L
.......f1...:.1.i.i.i.............
(2)
(b)
(D
den
(i,
!iaY"l{
quarter note) of the srollesf note in the extract.
(iii)
ile m'
r
nu\4
1l
Rewrite the first left-hand piano chord of bar 7 (marked t) so that it sounds at the same pitch, but using the alto C clef. Remember to put in the clef and the key signature.
r (.1)
C
L
(n,
The extract begins in the key of Bl, major. In which key does it
""d?
........].....]l SY
a-.
(:2)
I
(c)
(i)
Give the technical names (e.g. tonic, dominant) of the two notes in the dght-hand piano part marked A and B. Remember that the key is Bt major. A (bar
3)
',. ,J
.......i1.\.1.(1..'1.'|.1..I........................
Brbarar . .. ...!.9rr.r..c-............ . ....
(ii)
l0
Complete the following
{
suy^*tyy'
(l)
statement: I
The clarinet is a member of the ........N.9.!
.ttyl..l.4) ..
...
fr-ily
of orchestral instruments.
(iii) Now name a different
tamily of standard orchestral instruments and state its lowest-sounding member.
F;mirv
bl
0f
i
J
lnskumenr ....1U:.1... ... .. .. .. .... .... ..
29
(1)
bu
rnelod,c
vtl,
nM
b
at Using semibreves (whole notes), wdte
E
AD
h
4
one octave ascending of the melodic minot
t0
scale that begins on the givennote. Do rof use a key si8naturebut put in all necessary
sharp or flat signs.
I
J
L,,,..,
(b) Write the key signature of four sharps and then one octave descending of the maior ;cale with that key signature. Use semibreves (whole notes) and begin on the tonic.
f" Fo
t0
7
Suggest suitable progressions for two cadences in the fotlowing melody by indicating orri orr chord (I, I, IV or V) at each of the Places marked A-E. You do not have to indicate the position of the chords, oi to state which note is in the bass.
l0
3 c
Ir)
Shou, the chords:
EITHER
oR
(a) (b)
by writing
1,
)= o
II etc. or any other recognized symbols on the dotted lines below;
o -t
by writing notes on the staves.
C,--
r
T (U m
T OJ !,
o -t o
D
N C
E
s
-r
G) OJ
o .D (,
\-.rr.qtr\-
SECOND CADENCE:
FIRST CADENCE:
Chord A
I Chord D
Chord B Chord E Chord C
i\ Lpl I E b',6 ?GBP
'/x ervsn/sNoabd
EDrtroN
lSBN 973-t-34349-732-0
)
ABRSM
u+s ABRSM
PubUshed byABRsM lPubtiehlnql Ltd, a *hoLty owned subsidia.y oTABRSM
Cove. by l(3te Banramin & Andy Pots Printed ii Engtand by HaGlan & co Ltd
lililt il[ 81848
lilllllilil
!
