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Candidate NAME:
(Surname last)
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.
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.
All scales should be written ascending only and using whole notes (semibreves).
Q1. Using the correct key signature, write one octave ascending of the B harmonic minor scale in either the
treble or bass clef.
Q2. Using the correct key signature, write one octave ascending of the natural minor scale that has four flats
in the key signature. Use either the treble or bass clef.
Q3. Write one octave ascending of the E Dorian modal scale, without using a key signature, in either the
treble or bass clef.
Q3. Write the A♭ major triad in 2nd inversion, in either the treble or bass
clef.
Q4. Write the notes of the dominant 7th chord built from the
F harmonic minor scale.
Q5. What is the interval between the root note and the note A
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 44 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 128 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
Q3. On the stave below notate the normal range of notes that can be played on a baritone saxophone.
Q4. Write the term that is the equivalent of an ‘outro’ (i.e. an ending section).
Q5. Write the direction that instructs a performer to ‘repeat from the sign and then play to the coda’.
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:
The Beatles Chuck Berry Bob Dylan Eric Clapton The Who
Diana Ross The Doors The Grateful Dead Stevie Wonder The Eagles
{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 various 7th chords that are built from each degree of the A♭ major scale.
Q2. Using chord symbols, write the various 7th chords that are built from each degree of the C natural minor
scale.
Q3. In the chord progression below in the key of F minor, identify by Roman numerals the cadences that are
created between:
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Q5. Name a scale that could be used effectively for improvising over the following chord progression.
Q6. Using at least three different diatonic chords, write a four-bar chord progression over which the
C# pentatonic minor scale could be used for improvising.
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Q1. Transpose the following chord progression into the key of B♭ major.