GRADE FIVE

POPULAR MUSIC THEORY EXAMINATION

Summer 2015
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
info@examregistry.com
Section 1: SCALES AND KEYS Questions 1 - 5: 4 marks each. Max. Total: 20 marks

All scales should be written ascending only and using whole notes (semibreves).

Q1. Using the correct key signature, write one octave ascending of the G harmonic minor scale in either the
treble or bass clef.

Q2. Using the correct key signature, write one octave ascending of the blues scale that has three sharps in
the key signature. Use either the treble or bass clef.

Q3. Write one octave ascending of the C Dorian modal scale, without using a key signature, in either the
treble or bass clef.

Q4. Which scale has the following scale spelling: 1 2 3 4 5 6 ♭7 8?

Q5. Write the scale spelling of the Dorian modal 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 Fm6 in either the treble or bass clef.

Q2. Name the following root position chord.

Q3. Write the E major triad in 2nd inversion, in either the treble or bass
clef.

Q4. Write the notes of the dominant 7th chord built from the
C# harmonic minor scale.

Q5. What is the interval between the root note and the note C#
in the D#m7♭5 chord?
Section 3: RHYTHM NOTATION Q.1: 2 marks; Q.2 - 3: 4 marks each. Max.Total: 10 marks

Q1. Without changing the rhythm, re-write the following bar so that the notes and rests are grouped correctly.

Q2. Using a pitch of your choice, write four different bars of rhythm in 34 time. Use any combination of notes
and rests, but include some eighth note (quaver) triplets, sixteenth notes (semiquavers) and two ties.

Q3. Using a pitch of your choice, write two different bars of rhythm in 98 time. Use at least one tie and any
combination of dotted quarter notes (dotted crotchets), quarter notes (crotchets), eighth notes (quavers),
sixteenth notes (semiquavers) and some of their equivalent rests.

Section 4: KNOWLEDGE OF POPULAR MUSIC Q.1: 7 marks; Q. 2 - 5: 2 marks each. Max. Total: 15 marks

Q1. See next page for this question.

Q2. On the stave below notate the range of notes that can comfortably be played on a standard bass guitar.

Q3. Name two types of B♭ saxophones.

Q4. What does the symbol sfz tell the performer to do?

Q5. What does the direction D.S. al Coda tell the performer to do?
Section 4: KNOWLEDGE OF POPULAR MUSIC continued (Question 1)

Q1. Write a brief essay, of approximately 200 to 300 words, describing the musical career of ONE
musician or group of your choice from the list below:

Elvis Presley Led Zeppelin Michael Jackson The Sex Pistols Little Richard
Oasis Sting Tina Turner The Beach Boys Otis Redding

The focus of the essay should be on:

a) The main features of their music.
b) An explanation of how their music was influenced by musicians from earlier periods.
You should also include some information about:
a) The development of their musical career, including significant dates.
b) Group members and the instruments played, or the groups/musicians the musician has played with.
c) Recordings, including hit singles and albums.

{If necessary, continue your essay on the reverse side of this sheet}
Section 5: HARMONY Q.1 - 3: 4 marks each; Q. 4: 5 marks; Q. 5 – 6: 4 marks each. Max. Total 25 marks

Q1. Using chord symbols, write the 7th chords that are built from each degree of the A major scale.

Q2. Using chord symbols, write the 7th chords that are built from each degree of the F natural minor scale.

Q3. In the chord progression below in the key of E major, identify by Roman numerals the cadences that are
created between:

a) The two chords in bar 2.

b) The two chords in bar 4.

||Emaj7 C#m7 |B7 Emaj7 |C#m7 F#m7 |Amaj7 Emaj7 ||

Q4. Using at least three different diatonic chords, write a four-bar chord progression in the key of C minor
with the last two chords forming a I-V (imperfect) cadence.

|| | | | ||

Q5. Name a scale that could be used effectively for improvising over the following chord progression.

||A♭7 |D♭7 |E7 E♭7 |A♭7 ||

Q6. Using at least three different diatonic chords, write a four-bar chord progression over which the
E♭ pentatonic major scale could be used for improvising.

|| | | | ||

Section 6: TRANSPOSITION Q.1 - 2: 5 marks each. Max. Total 10 marks

Q1. Transpose the following chord progression into the key of G major.

||E♭ Dm7♭5|Gm7 Cm7 |Fm7 B♭7 |E♭ ||

|| | | | ||
Q2. Transpose the following chord progression into the key of E minor.

||C#m Emaj7|F#m Amaj7 |G#m7 B7 |C#m ||

|| | | | ||
[END OF EXAM SCRIPT]