Theory Paper Grade 7 2012 B Duration 3 hours sovarmcrocory Candidates should answer all FIVE questions. Write your answers on this paper —no others will be accepted Answers must be written clearly and neatly ~ otherwise marks may be lost. 1 Indicate suitable chords fora continuo player by figuring the bass as necessary fom the begining of ar 3, a the places marked « in this passage Ifyou wish to ae 23 chord, leave the space under the asterisk blank, but§ chords must be shovrn when used as pat ofa {progression or when chromatic alteration ig requtted. All other chords shoul be indicated, a8 should any suspended dissonances “Andante (CP Buch, Or Di non ne We Viotin asso2 Onthestavesmarked Abelow isa olin of prt ofa chorale harmonize by JSBach, Sele eee erie dtc meine Ge The mateo he saves mused sia he compose actualy wrote Continuing tn thesame sie reconstruct the lank and partly completed as3 nimi {2 Complete the bassoon part in the following pasage which is adapted from a —___=—“ Fret the saan you might a. Adagio ————— ¢_ ~ or {(b) Compose a complete melody of eight bars in Tength for unaccompanied trumpet (at concer pitch) or ‘oboe. Form your melody from the chord progression below, using the chords for each bar, together with any diatonic or chromatic decorations you consider appropriate. You may use the given ‘opening oF not, as you prefer Write the complete melody on the staves below, include appropriate performance directions for the instrument of your choice and state below which itis.Vivace e brioso wy he Calon ne Wa4 Lookatthe extrac printed oppsite which fom John land’ Puck Brthinyforpiano, (@——~) and then answer the questions below. (@) Give the meaning of Drioso (the same as con brio) sotto voce (bar 14) (@) Identify the chords marked » in bars 6 and 16 by writing on the dotted lines below. Use either words or symbols. Indicate the position ofeach chord, show whether i is major, minor, Augmented or diminished, and name the prevailing key Bar6 Key Bor 16 : Key (©) Nome one similarity and three differences between bars 1-2 and 14-15. Similarity Differences 1 2 3 (4) Mark clearly on the score, using the appropriate capital etter for identification, one example ‘ofeach ofthe following. Also give the bar number(s) of each of your answers. The fist answer is given From bar 6 onwards A. harmonic interval of a major 6h in the Fighthand part (cee the notes concemed). Bar 10 Ba barwhere both hand play the same notes an octave apart. Bar 2 melodic interval ofa campound major 2nd (major 9th in the top line ofthe right-hand part (circle the notes concerned), Bars. D__atworbar sequence (not exact) atone lower than the previous two bars (mark! lover the bars). Bars (© Metin ia of ext iF De race 1 over ich of bars thats in time, @ © © o o @ ® ® °5 Look at the extract printed on pages 17-18, which i fom Chabrier’s Espa, and then, answer the questions below. (©) Give the meaning of: «on Fuoco Gran Cassa ae F (eg. bart, impani (©) Complete the following statements: (The opening phrase in the first violin part (marked ——— i played in unison by re se and alsoan octave lower by the When the first violins repeat this phrase in bars 8-10, it is played in unison by the cnn and also an octave higher by the (Gi) The chord formed by the notes played in the {Woodivind section on the second quaver of bar 9 s a(n). (ii) The two clarinets are instructed to play the same part in bar. (6) (@ Write out the parts for clarinets in bars 2-3 as they would sound at concert pitch. nines 2 —= {Gi)_ Using the blank stave atthe foot of page 18, write out the parts for fist and second horns inbars 6-9 as they would sound at concert pitch. (a) Describe fully the numbered and bracketed harmonic intervals on the fist beat of each of the following bars, sounding between: 1. upper note ofthe violas and first bassoon, bar 6 2 cellos and fist and second hors, bar 10 ® ® @ o o ° ® ®ose af be oleateow bars 6-9