GRADE EIGHT

POPULAR MUSIC THEORY EXAMINATION

Summer 2010
Time allowed: 3 hours

Candidate NAME:
(Surname last)

Entry NUMBER:

Examination CENTRE:
Instructions to candidates

1. Write your name, examination centre and entry number (details provided in your attendance letter) in the spaces provided above, but do not open this examination paper until instructed to do so by the invigilator. 2. All answers must be written in the spaces provided. These answers may be copies of rough work done in the examination room, on paper provided by the invigilator, but all rough work must be handed to the invigilator with the examination script at the end of the examination. 3. Candidates are not permitted to bring any paper, notes or books into the examination room. 4. Candidates are not permitted to talk to one another in the examination room, but reasonable questions may be addressed to the invigilator. 5. Candidates must stop writing immediately when requested to do so by the invigilator. 6. Ensure that you return the complete examination script to the invigilator upon completion of the examination. 7. Please leave the examination room as quietly as possible if other candidates are still completing their examination.

Registry Mews, 11 to 13 Wilton Rd, Bexhill, Sussex, TN40 1HY Tel: 01424 22 22 22 Fax: 01424 21 32 21

Section 1: SCALES AND KEYS

Questions 1 - 5: 4 marks each. Max. Total: 20 marks

All scales should be written using whole notes (semibreves). Q1. In the bass clef, write one octave descending of the B Phrygian modal scale, without using a key signature. Q2. Using the correct key signature, write in the bass clef, one octave ascending of the F# blues scale. Q3. In the treble clef, write one octave ascending of the E# Locrian modal scale, without using a key signature. Q4. Using the correct key signature, write in the treble clef, one octave descending of the harmonic minor scale that has six flats in its key signature. Q5. Write the scale spellings of the following scales: a) Phrygian major modal scale. b) Jazz melodic minor scale.

Section 2: CHORDS

Questions 1 - 5: 4 marks each. Max. Total: 20 marks

All chords should be written using whole notes (semibreves). Q1. Write A7#9 in the bass clef.

Q2. Write F#/E in the treble clef.

Q3. Write B(add9) in the bass clef.

Q4. Write Gmaj7 in 2nd inversion in the treble clef.

Q5. Write the chord spellings of the following chords: a) Minor 13th chord. b) Major 7th #5 chord.

Section 3: RHYTHM NOTATION

Q.1: 2 marks; Q.2 - 3: 4 marks each. Max.Total: 10 marks

Q1. Add a suitable time signature and bar lines to the following four-bar rhythm.

Q2. Using a pitch of your choice, write four different bars of rhythm in 22 time. Use any combination of notes and rests, but include either some ties or dotted notes or triplets.

Q3. Using a pitch of your choice, write four different bars of rhythm in 78 time with a 2+2+3 grouping. Use any combination of notes and rests.

Section 4: KNOWLEDGE OF POPULAR MUSIC

Answer one question only - Max. Total: 15 marks

Write an essay of approximately 400 500 words on ONE of the following topics.
Q1. Choose a successful group, instrumentalist, vocalist or songwriter and describe how that groups or individuals music has been influenced by another form of music, outlining the main features of both types of music. OR Q2. Choose a successful group, instrumentalist, vocalist or songwriter and describe how that groups or individuals music has been influenced by the societal context in which their career developed. Include information on the main features of their music. PLEASE WRITE YOUR ESSAY ON THE FOLLOWING PAGE(S).

Section 4: KNOWLEDGE OF POPULAR MUSIC continued Please write the number of the question that you are answering here: ______

{continue on next page if necessary}

Section 4: KNOWLEDGE OF POPULAR MUSIC essay continuation page

Section 5: HARMONY

Q.1-3: 5 marks each. Q 4: 10 marks. Max. Total 25 marks

Q1. Harmonise the following melody using chord symbols.

Q2. Analyse the following chord progression by writing the relevant Roman Numerals below each chord. The progression may contain some non-diatonic chords.

||Emaj7 |C#m9

C#m7 |Amaj7

G#m7 |Emaj9

F#m7|Am7

B13

| ||

Amaj7 |F#m11

G#7

|C#m

B7

|Emaj7

Q3. Name the scales that could be used for improvising over each of the following chord types: a) Dominant 7th #5 #9 #11 chord. b) Diminished 7th chord. c) Dominant 7th 9 #11 chord. d) Minor 7th 5 chord. e) Dominant 7th 9 chord. Q4. Using at least one different chord per bar, write a sixteen-bar chord progression that starts in the key of A major and modulates by a pivot chord and a perfect cadence to a related key at bar 8, and modulates by direct modulation using a perfect cadence to an unrelated key at bar 16. Include different cadences at bars 4 and 12, and identify all cadences and modulations by technical names and Roman Numerals where they occur.

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Section 6: TRANSPOSITION

Q.1 - 2: 5 marks each. Max. Total 10 marks

Q1. Transpose the following chord progression, which may contain one or more non-diatonic chords, into the key of F major.

||Amaj9 |Fm7 || |

|Cm7 |Bm11 | |

|Dmaj7 |Fmaj7 | |
E7

|E9 |Amaj9 | |

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Q2. Using the correct key signature, transpose the following melody down into the key of B major, writing it in the treble clef two octaves higher.

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