2012 grade 5

G rade Music Theory Past Papers 2012 'E

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Music TheoryPast Papers2012ABRSM Grade 5

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TheoryPaperGrade 5 2012 A

D ratiott 2 hours

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 extract and then answer the questions below

DO NOT PHOTOCOPY@ MUSrC

TOTAL MARKS100

e-QuarteL Op. 3Berg, Shing

-6--

-r tOCopyright 1925 by Univcrsal ldilion A.C

Reprodu.ed by pemission. AllYights resen ed.

The extract begins on the first beat of the bar. Put in the time siSnature at the beginningand add the missing barlines. The first bar-line is given.

Complete the following 5ta tement:

The sextuplet p@-J-J'! ) meanssix demisemiqiiviis (32nd notes) in the tlrr.e of ............1.....1.!!.*..t.. I

(b) Look at the following extract and then answer the questions below.

(ii)

(D

(iD

(iii)

uE34799

Haydn, Piano Sonata in C{ minor, Hob. XVI/36

(5

(2

Moderato1

(i) Rewite the first left-hand chord of the extract so that it sounds at the same pitch, but usingthe alto C cle(. Remember to put in the clef and the key signature.

cive the meanhg o I ten. (shott fot tenlt fo) (bar 4). ...........hl1d

Write as a breve (double whole-note) an enhamonic equivalent of),the

of bar 3.

(4

(2

12

e Zlr 2 b{ The Astriated Board of the Roval S(hools of Music

first right-hand note

2 Describe fu\ each of the numbered and bracketed melodic intervals (e g' major 2nd)' 1o \-o

l. S. Bach, Sonata for two flutes inG' BWV 1039

lntervals:

1

2

{.lrxp@ aas

& A s c D E la

Ft ei A(t',

Ab61)

\

E ln i,1t t\

g d r;r L

t. e- f4 c,

P, c\ \,!t:-

rhe followins melodv is y'lt'T f"' :1T1":t":,'"1;ll1li5i",i'i#"fi*fl.ffiIhe following melodv is 11ll'"I^t1',;flT'k':;"'1;";;;;5;;iern-emT-tiipcfln att

it will sound at 'on(ert Pitch .

uo /

lr""'"*ury "nurp,

nat or natural signs --

ior 2nd, as

Gal, Cladnet Sonata, OP' 8l

.,*iff *?*YH',:#:i::;",tru-iP,i:T#

bQ1l

o

Gal, Lla,;nel to,'

Look at this extract from a piano sonatina by A.

Andante cantabile

Diabelli and then answer the questions that follow.

IEI[l

pI

E6L r ;ep;

7tY

t_E|.-:!!--- [411

x

(a) (i) Give the meaning ofAndante cantabile.

\$

.....t.1....t.....t*.dty.....sp t d .'1..s itg.i.r n, t !vt! t /^ - - ^ -

(ii) Draw a circle a roundfuLr trccessioe notes that form Part of a chromatic scall

(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

(l

(1

(b) (i)

B DF

C E Cr

Eq p,

Fac(ii)

Describe the chords in6i}\nartea TAt and [s I as l' II' lV or v. AIso indicate

il;;il;h; t-";"4 note- ofttre chord is the root (a),3rd (b) or 5th (c)' E;--'1

7

IV

The key is Rh majorrl

Chord A ..... .....1 .1 . .. . /'^" " Chord Brb -..- L.l

Below the staves write Ic-V (! 3) under the t?oo srlccessizre chords in bars 1-4 where this

progression occurs. P-L l' I A (

(iii) Give the technical names (e.8. tonic, dominant) of the two notes in the right-hand Part

marked X and Y. Remember that the key i> Bb maior'

x (bar 6) .........1u.d iry....1.t.1t...21.1...,r.-1

y (bdr 7) ............s.tr. b at.4;.c.v.1 . - l- .. .

('

(c) (i) lArtrich other key has the same key signature as Bb major?t1 tLttrrar/'

/ii)Nametlvostandardorchestralinstruments,onestringandone-woodwind,that'"' :;Lio';i;; il ijgi.i r.""Jp"ii't uars l-4 so that it sounds at the same Pitch'

vrol, q '"5tnn8

woodwincl . ... . .. lll |f ..... 1 " '

(iij) Name two standard orchestral percus\ion- instruments' one (other,than.the piano) that""' ;;il;";i;; oi iefinite pitcti and one that ProdLrces notes of indefinite pit'h

I t cn(

Definite pitch ... .. Y!1:9.l]t. '

t'Indefinite Pitch ...--...!.',:t

tt: 17"

fi ^i*5 (at WritetheLevsignatureoffivesharpsandthenoneocta\edescendingol themelodic T/

minor scate u itt that key signature. Use semibreves (whole notes)' begin on the tontc \------:-and remember to put in anlinecessary additional sharp, flat or natural signs'

(b) Using semibreves (whote notes), write 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

V E ko

7 Suggest suitable progressions for two cadences in the following melody by indicatingoNLy 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 (a) by writing I, II etc. or any other recognized symbols on the dotted lines below;

oR (b) by wdting notes on the staves.

FIRST CADENCE: SECOND CADENCE:

a,/Chord C

Chord A

Chord B

ChordD ................ Y /

,/Chord E

I Fac1 et\ D

tv gDr-

Y IL{t

A lBrC----------D----------E-------r

.)

8

TheoryPaPerGrade 5 2012 B

Duration 2 houts

This DaDel contains SEVEN questions, ALL of which shouldle answered'

w;iJ;;; ;;;;.. on this piper - no others will be accepled'

;;";:.""-;;;;;;;'itt"" .riuirv ""a "eatlv

- otherwise marks mav be lost'

DO NOT PHOTOCOPYOMUSC

TOTAL MARKS:100

1 (a) The following extract begrns on the fhst beat of the bar' Put in the missing bar-lines'

o. oul,Jtl. rrrl.

I tr; ri;

(b) Look at the following extract and then answer the questions below'

Moderato Havdn' Piano Sonata in Bt ' Hob- xu/ 18

? -. -tAl a x 5[E Y6 s-, 7tAl

tf

jll-)),l) i I.jj

Piano Sonata inC minor, K.45;

(

ri) Descdbe the chords marked [E] and fu I as 1, II, IV or v Alsoindicate whether the lowest

"' il" "iin".n.iJir *r" root 1u1, ard @) or 5th (c) The key is Bb major' 1 B f, f

Chord A (bar 3) ..........1-!..t:.. .....1........ J I ! 'r

Chord B (bar 5) .... .....:1.: V '

Name each of the omaments in the right-hand Part of bars 1 and 3'/t/

Bar ! ...........4.!.1.\4.t..r.r.'.91(....1 .......... ...'

lv E e1g

V f Ao(i0

{,,tr,Bar 3

Give the technical names (eg. tonic, domhant) of the two notes in the riSht-hand Part

marted X and y. nemembeithat the key is Bb major'

,. i /x (bar 4) ...........|n1 6:trr'...... -1... '

Y (bar 5)

(iii)

This Passage is for SAIB choir' wdtten in short score Rewrite it in oPen score'

Palestrina, Miss, A'tefin Cirrisfi "r s/n (adaPtPdl

r))

rr)

11

3 Look at this extract, which is ftom Noc,,/'e for flute and Piano by Michael Rose' and then answer the

questions that follow.

rulCalmato J. = 54-56 /1 :-, ,-- lt

.1

p fiolto sosten to ed

a-t

re€-', /1:E/-t t1;\. /-?t-Lt -\ ( tF

.) ra*t^ a* /-et\ rt| +11.. \ /tl

P ,---: sim.

IiFlute

Piano

L_l 1 l2ll3o l99l b! lne 4,'o.ialed Board or the Rolal'choohotVu''c

,\ (h t}.B*- c\f}q*

(r

(a) (i) Give the meaning of:

molto sostenuto ed esPrcssiPo

(ii)

z-++\ /-t/ +FEe \ / -l

L2l I 3

il

P- t

| -:,

gi^

(b) (i) Give the letter name of thelligLes, note in the right-hand piano part'

Irnrr $J"r'j

(ii) Complete the following statements:

The flute is a membe, or tr.t" .......W-!9LP-ild .' '

(ii) Describe fully each of the numbered and bracketed melodic intervals fu fie left-hand

piano porf 1e.8. maior zndl. ,,/ ^\ -k

@aarz) ...............vn.i.rl..!,ir;i-- I ',., ' ,,

@,uu,2, ......... ..iil.iill ..::.:r'.. , /f1j)",,r-u, . t.t).tt!.1p.'itt.4...P.t!!.::.!....ti.l".'/..... "'

(iii) Write as a breve (double whole-note) an enharmonic equivalent of the last flute note

of the extract.

tro

(2

(2)

(:2'

9=3'r J-l--r i'[ I J "l J ^.:"", i r!'(o tj Af Rewdte the fl ute part of bdr 2 in simPle. time but withou t changing the

rhythmic effect. Remember to include the new time signalgre'

J... ta"r.ily ot oKhestral instruments.I

Another family of standard orchestral instruments is the 2!'!lS -/ '

and its lowest-sounding member is the " " " 1y'b^*""" " /

13

4 (a) Put sharys or flats in ftont of the notes that need them to form the scale of Db maior'

Do aof use a keY signature.

q

{b) Write the kev siqnature of tour sharps and then one octave ascending of the harmonic minor scal

'"' ;i h',h,; k"i;;;;; u";;";iti!u"t t*t',ot",ot"s). be8in on the tonic and remember to put i

u.,y ,,"."t"uiy uJditional sharp, flat or natural signs'

rhom inF.Transposeitdowna Perfect5th'asitwill fo -r key signature but remember to Put in all necessary

SchoenberS, Chamber SYmPhonY No' 1

sharp, flat or natural signs.

DOCopr nehr lo22 o) L rr\e''n.l d'l'nr A

' W'tn tl l7nl1

' R"P'oilu.ed b) oPr_i',or' Allng\F re'e1ed

r Yot0'

(fl

e;

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

Shou, the chords:

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

oR (b) by writing notes on the staves.

B C

10 [o

a)Lc}t FEDADL Bo,D

LtL(tLE


Chord A

Chord B

Chord C

Chord D

Chord E

lv ,.,',7l- ,,

/'I

7 C,b

7! AL

lv (F-

V D?

D

L

6

A

t6

lv ./.,. ./

TheoryPaperGrade 5 2012 C

Duratiox 2 hows

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 (a) The following extract, which begins on the first beat of the bar, contains somechanges of time signature. Put in the correct time signature at each of the threeplaces marked x.

DO NOTPHOTOCOPYo MLlstc

TOTAL MAI{KS100

Peter Maxwell Davies, Apple Basket: Apple Elosson

l5

(6)


Mozari, Piano Sonata in Bt, K. s70 (adapted)

rrtYl-z) t EQbJ] 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

O Copyright 1992 Chesler Music Lim edAll riEnh reF^ ed. Inremational copyri8lt secured Reprinted by permission

or 5th (c). The key is Eb majorlowest note of the chord is the lpot (a), 3rd (b)

ChordX ................!.4................................

)vbChord Y

(2)

(2)

(2)Chord z ................!-9 1(ii) 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.

Adagio

(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

D

lntervals:

o coplai8irt 1912by Universal Edition A.C., wien/PH 229Reproduced by permission. AI n8hb ren ed.

hA a'to r,ruhr*tAr*.....fiq.lllllln....

av aP u.4, ol ltlh ,'-rr"|7.or l1l" /

D- (i

- -tRq

\.iao., llt^ // Erlnulut blh z/''''' '''' '''''''' '''' '''{ )/"''

he

i"'

3 These are the actual sounds made by a cor anglais. Rewdte the passage as it wouldappear for the player to read, that is, transpose it ll/ a perfect Sth. Remember to put inthe new key signature and add any necessary accidentals.--;il-

C

Sktyabin, Le paame de 1'\itnst

Piano

Look at this extract which is adapted from a piece for violin and piano by Adam Carse, and then answer

the questions that follow.

Andante grazioso J. = 52

1n

ViolinA?

Pl)J ,t r 7:i7 -"--!l-z

s poco rit.

O 1921 Stainer & Bell Ltd, 23 Gruneisen Road, Lo.donN3 iDZ, England, www.stainer'co'ukReproduced iron Ill,lL kfl.ids

(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 of each of youranswers, as shown in the answer to A.

A an instruction to get gradually quieter Bar ...1....

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 thatis lrof in the key of D major (circle the note concerned). Bar ..

D in bars 5-8 of the piano Part, a note that is anenharmonic equivalent of Eb (circle the note concerned). Bar

A

trL

\r

!ry

)

:,./ ',-ydfJ*J 5td-/ t2 4,, flt

lLl

(ii) 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'

(b) (i) Cive the meaning of:

Andantegrazioso .............

(ii)

(c) (i) Answer rnuE or FALSE to each of the following:

O,r,/^l al a mrdriu p1,11f,.'', 'l c,/'

rr (violin, bar 1) ............d1g1......brp....,........1......

poco dt. oar 8) ..................n.....!i.i.!l L ..L:l d......fu .qt..,:..,,

G)fia

), l.t, 3

bI

F"D-I{

rlE

rrcflEA

(ii)

(iii) Now name a rlifferent far..ily ol standard orchestral instruments and state its

The lalgest melodic interval in Ur{$art is a major 6th.

AII the note' in the lett-hand piano part ofbars 5 7 can be toLrnd in the scale o( E miior. -......1.{11)t.},,.....

t.t cq\)

Complete the following statement:

The violin is the highest-sounding member of /the string family of"orchestral in#uments, and /the lowe!t-sorLnd ing member of this fam rty is tfe .......dQ.1.1.!9.........1:.+5s..1........

highest-sounding memberl,l

Familv ..........!..S-91 9.!L4...........,1:......._/

::

I't '

5 la) Using semibreves (whole notes), write Pne octave descending of the -major scale fo--f

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

ln(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 indicatingoNLy oNE chord (I, II, IV or V) at each of the places marked A-E. You do not have toindicate the position oI the chords, or to state which note is in the bass.

Show the chords:

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

oR (b) by writing notes on the staves.

D------------ E----------------

10


Chord A

Chord B

!

Chord c ....................lJ

Chord D

Chord E

t I ALN G bD

IV b DIV LE et

tLIAb D r, lq ( r D'B F

- _ c4.E Ql f= D t

2l

TheoryPaperGrade 5 2012 S

Dutatiotl 2 llotrs

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) The following extract, which begins on the first beat of the bar, contains somechanges of time signature. Put in the correct time signature at each of the threeplaces marked *.

DO NOT PHOTOCOPYO MUS C

TOTAL MARKS100

,1,

5

Stravinsky, Tl? Ritc d/Sp,"r,s

6

l5

OCopy.ight 1912/ 1921byHawkes & Son(London) LtdRet.oduced by pemission of Boosey & Ha$kes N,lusi. Ptrbtishers Ltd.


Andante un poco allegrettom Benda, Sonatina in G minor

tBt

cc[ooi .L

M 4@, t,,,!;7,(i) Draw a circle arou r/ccessirc notes that form part of a chromatic scale.

(ii) Describe the chords marked [El and fs I as I, II, IV or V Also indicate whether the lowestnote of the chord is the root (a), 3rd (b) or 5th (c). The key is G minor

7 etS D

tr k LE

tv au|t bk$

(iii) Rewrite the last left-hand note of the extract so that it sounds at the same pitch, but usingthe alto C clef. Remember to put in the clef and the key signature.

12)

\2)

(3)

2 Describe fully each of the numbered and bracketed melodic intervals (e.g. major 2nd).

J- S. Bach, Violin Sonata No.3, BWV 1005

t0

>4) , 5

Intervals:

., txt4nttrltA Ul^

z@,nr. ). d.y tly.r. .. i1h............X.diu.l"ia'i;i/ .'.: ;;;. k3 ..........1/.....y...l.!"!......,.!.1.. .!. ..

G*h

8r( a A B@)

L , r t\i. l

urJu I tliltitlJi, lrl> \--

-j{ \\a _a.

!-G

iYYY

| | t t -tlal I DLrfet t t+h- "r" \/- t,t XE h tAtt r L+h /'

bfr'

*

IThe following melody is written for cladnet in Bb. Transpose it do?r,? a rEDLryl, asit 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,tdReproduc 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-.

-lnf

\4pJ I it ta.J,

IZ rnf

Bassoon

Piano

t ^\6 7 3 -

*s ls

/ nl,

PdJW' + t"e ' .-F* np

olggobyThe AssNiatcd Bo.rd olthe Rolal S.hools of Music

(a) (i) Mark clearly on the music, using the aPProPriate caPital letter for identification. f, '.one example of each of the following. Also give the bar number oI each of youranswers, as shown in the answer to A.

A in the bassoon part, a subdominant note inthe key of C major (circle the note concerned). Bar

B in the bassoon part, d melodi( interval of ra dimjfshed 5th+circle the note. concerned ). Bar ...:1. .

-z

C in the bassoon part, a sign that means to give stight emPhadis to arnote. Bar

D in the piano pdrt, a chord ol C minor in first inversion Bar....l....X

Taw- rhq{t ivr

(ii) Name one similarity and one difference in the bassoon Part between bars 5 and 6.

.t ./Similarity ! 4!l.y. .....(.....,. ... ...........

rr /Difference ............[.](19.4.{........, .. 1..............................

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.

8/,,

2E

Y

(b) (i) Give the meaning of:

(iii)

e0l .ArchArra marcia ................!1....!v......t.fu|.t_.

r = r00 . . ... ... lAA . rrfil:t

Rewfite the bassoon part of bar + in ctrdpqtrrdtime but without changing the rhythrniceffect. Remember to put in the new time signature. ,\,t (fr(-rl b

tLr,' (' (r

.....1.4.....A.bra ls ,, t itnlr{e

(i0

Write as a breve (double whole-note) an enharmonic equivaleni of the first bassoon noteof the e\trdct.

5 2t7

(c) (i) Answer rnuE or IALSE to each of the following statements:/,/

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 ofthe extract so that it sounds at the same pitch, and state the family of instruments to whichit belongs.

ru-ly ...........(-i..tfulInstrument .....dP:ab.ll.....b.rs.://

t0

(2)

(2)

(2)

29

rcGP& - Enair/ '

5 (a) Write the key ,ig.rutr." o() "hurps

and then one octave descending of the maiorscale 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 thgiven key signature. Begin on the tonic and temember to put in any necessary additional shary, flat onatural signs.

xT

a['A

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

Show the chords:

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

oR (b) by witing notes on the staves.

A___t B r D lEr

t0

2) L LI D q, ( ab cvE F >F G

c!(

fls

0(/

0t!!tC

t!occc


Chord A

Chord B

/

Chord C

Chord D

Chord E

,/ll/ l,/

lIi;

lv

h p.T)

ALtL'E

V Df A

Support materiaI for ABRSf,{ Theory exams

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2012 grade 5

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