Centre

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WRITTEN EXAMINATIONS IN THE THEORY OF MUSIC

Spring, 2017
Wednesday 5th April 2pm – 5pm

GRADE 7 (3 hours)

Full Name of Candidate ......................................................................................................................

(Surname Last)
Registration Number (if required) ...................................................................................................

Instructions to Candidates

1. All answers to questions must be given on this paper in the spaces provided.

2. These answers may be fair copies of rough work done in the examination room on paper
provided by the Invigilator. All rough work must be left in the examination room.

3. Candidates are forbidden to bring into the examination room any paper for rough working,
blotting paper, notes or text books.

4. They are not allowed to talk to one another in the examination room during the time of the
examination, but reasonable questions may be addressed to the Invigilator.

© Copyright 2017 by the University of West London, LCM Publications. All rights reserved.
 Performers
1. Complete this passage for SATB, making use of dominant, diminished and secondary (15)
sevenths.

bb4 j ˙ j
& b b 4 œ˙ .. œ œ œ œœ œ œ. œ œ œ œ œ ˙ œ
œ

? b b 4 ˙. œ œ
œ
b b 4 ˙. œ

b j j
& b bb œ . œ œ œ œ œ œ. œ w

? bb b
b

2. Harmonise the following in four parts (SATB), making use of suitable decorations where (15)
appropriate.

### 3 œ œ œ œ #œ œ œ jœ œ œ œ œ œ œ œ
& 4 œ œ œ œ #œ #œ . œ ˙.

? # # # 43

3. a) Complete this modulating phrase, writing in four parts (SATB). (15)

b œ j j j
& b b 68 œ œ œ œ œ œ œ. œ œ œ œ œ œ
j
œ œ.

? b b 68
b

2
 b) Complete the texture over this pedal point.

# # # # 4 œ œ œ. œ œ œ
.
& #4 œ œ œ œ

? #### 4 w
#4 w w w

4. a) Continue this melodic sequence for at least four more bars. (15)

& 68 œ œ œ œ . œ œ œ

&

b) Harmonise the following passage, which contains suspensions, in four parts.

## 3 w
& 2 œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙

? # # 32

Now answer question 5 on page 6.

3
 Composers
1. Compose a piece for piano of not more than 16 bars using the given five-note row. Add (20)
all performance directions.

& œ œ œ #œ œ &

2. In completing the following ostinato pattern, begin by adding one part above, and on (20)
successive repetitions of the ostinato, adding an additional part until you reach four
parts including the ostinato. Write for pianoforte and add all performance directions.

# # Moderato
& 43 ∑ ∑ ∑ ∑

? # # 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

4
&

&

3. Complete this passage of two-part counterpoint. Make use of the rhythmic figures from (20)
the given part.

b
& b b b 38 œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ nœ nœ
? b b b 38 ∑ ∑ ∑ ∑ nœ œ œ
b

b
& b bb

? bb b œ n œ œ œ œ œ œ œ œ œ œ œ
b œ œ nœ œ œ œ

b œ
& b bb œ œ œ œ œ œ œ œ

? bb b œ œ œ œ œ
b œ œ J

b
& b bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ nœ œ œ.

? bb b
b

Now answer question 5.

5
 Performers and Composers answer this section
5. Study the extract from a choral work by Palestrina on page 7 and answer the following (40)
questions.

A (i) Explain the time signature. _________________________________________________________

(ii) Mark clearly on the score examples of:

a) a suspension
b) an interrupted cadence
c) an unaccented passing note
d) imitation

B Rewrite the alto and tenor parts in bars 1–5 using the correct C clefs.

C (i) Describe in full the chords marked:

1 (bar 6) ________________________________________________________________________
2 (bar 6) _________________________________________________________________________
3 (bar 10) ________________________________________________________________________

(ii) Describe the intervals marked:

a (bar 3) ________________________________________________________________________
b (bar 5) _________________________________________________________________________
c (bar 7) __________________________________________________________________________

D Comment briefly on any particular points of interest in the extract. You may wish to consider style,
harmony, vocal writing and any other aspects of the music you consider relevant.
(Continue on page 8.)

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6
 &b c ∑ ∑ ∑ ∑
Palestrina
Cantus

&b c ˙ œ. œ œ œ œ
a
Altus
˙ ˙ ˙ œ ˙ œ
Be - ne - - - di - ctus, qui ve - - -

Tenor Vbc ∑ ∑ ˙ ˙ ˙ ˙
Be - ne - - - - di -

∑ ∑ ∑ ∑
&b c ˙ ˙ ˙ ˙ œ. œ œ œ œ œ ˙ œ
π ˙
Redutio

? c ˙ ˙ ˙
∑ ∑
Partiturae
b

˙ œ. œ œ
&b Ó ˙ ˙
5 b
˙
j j
Be - - - ne - - - - di - - ctus,

&b œ œ. œ œ œ œ. œ
c
œ œ œ œ ˙
. œ œ œ œ
Vb œ œ œ
nit, qui

œ œ œ
ve - - - - - - nit

œ ˙ Œ œ
ctus, qui ve - nit, qui ve - - -

Ó ˙ œ. œ œ
&b œ œ. ˙ Jœ œ ˙œ œ ˙œ . œ œ œ œ ˙
J
?
œ. œ œ œ œ œ œ ˙ œ œ œ œ œ
b Œ
 

j
etc.

&b œ œ œ. œ œ œ. j œ œ œ œ œ.
œ œ œ œ ˙ œ
8

J œ
qui ve - - - - - - - - nit

&b ˙ Ó ˙ ˙ ˙ œ. œ œ œ œ
˙
œ œ œ œ œ œ ˙
Be - ne - - - - di - ctus qui

Vb ˙ ˙ ˙ Ó

j j
- - nit, qui ve - - - - - nit

& b œ˙ œ œ. œ œ œ. j œ .œ œ œ œœ œ œœ .
Ó ˙ ˙œ œ œ˙ œ ˙ ˙ œ œ œ
œ œ œ œ œ œ ˙ ˙ ˙
? ˙ Ó
b

7
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