oe tes, eee * Look out for accidentals ‘ em modulation or harmonig irae" Pats which may give clues to ‘ es to suggest implied ay. and melody notes which may help Mark in all accidentals is, even when they l that are required in chords, y © Use the o| ption of worki . cadence)” Of Working backwards from a fixed point (usually a © Mark lightly in pencil all j Overlook any ofthe atersks Sm that you do not Question 1 Sample Questions In the following sample questions, 1 to 6 are more simple in character and Contain a smaller range of chord choices. Sample questions 7 to 12 may roquire the use of any of the chords specified for Grade 7, and represent the standard of the questions set for the exam. Indicate suitable chords for a continuo player by figuring the bass as necessary at the places marked in the following passages. If you wish to use a § chord, leave the space under the asterisk blank, but § chords must bbe shown as part of a $§ progression or when chromatic alteration is required. All other chords should be indicated, as should any suspended dissonances. ‘The starting point for your working is given before each individual exercise. Jnords from the beginning of bar 3. Only § and § chords are used in this passage. i ical aieebeeit io indicat yach to the final cadence. apart from one § chord in the appro Pid: ult No.9 for Bate (dopa) Allegro moderato Flute air Ey a= iyi 7 Basso continuo Ae faa ee 6 6 \ Scanned with CamScanner‘Theory Workbook” 2. ane e beginning oF d § chords are n¢ janing of bar 3. nly 3, § an‘ rds are ; “so indicate chords from the beginnit © be sl : tin * ren bak that accidentals (even in 3 chords) aust be shown in Be figuring, eeded, ~ ike 10 oe ‘in minor keys, such as the Ps age in bars 3-4. eSe are ay likely th Lari: Oboe sonata Allegro 3. Indicate chords from the beginning of bar 3. It is possible to make a satisfactory working by using just § and § chords, but Handel did include in this passage three 7th chords (including the one in bar 2) and one 4-3 progression. You might like to work the question in the simple way first, and then try to find the places where these more adventurous features were used. Grave sete i on Handel: Flute sonata (adapled) Flute Basso continuo “4 >| Scanned with CamScanneriat ‘Theory Workbook Grade 7 4, Indicate chords from the beginning of bar 3. Onl; quaver of the last beats of bars 4 and 5 (marked with #) as accented passing notes. The penultimate By in the violin part (marked 4) is a note of anticipati imil ly 3, and one § chord are needed. Treat the first Largo ‘Telemann: Partita for violin adapted) Violin elo fi Basso hiec 5. Indicate chords from the beginning of bar 3. Only § and § chords are needed, but remember that all accidentals that are to be used within chords in this minor key example must be shown. Philidor: Rondeas fr fate (Allegretto) Flute Basso continuo 15 Scanned with CamScannerTheory Workbook Grade 7 Question 1 12, Indicate chords from the beginning of bar 4. Note the modulations to G major, D major and A minor, which will affect your chord choices, and remember to show the suspensions and resolutions in bar 8 in your figuring. ‘Tartini: Violin sonata Grave Violin ay — - —— | + uw Basso continuo Scanned with CamScanner