MUSIC THEORY

PRACTICE PAPERS

GRADE 5 - PAPER A
This practice paper is for the ABRSM Grade 5 syllabus.
It contains 7 questions. You should answer them all.
You are allowed 2 hours to complete this paper which is out of 100.

Total marks: /100

Copyright Hello Music Theory 2018

 GRADE 5 PRACTICE EXAM A

Question 1. Take a look at the extracts of music and answer the questions. 15

a) The below extract begins on the first beat of the bar but is missing time signatures. In the five places (10)
marked by the stars ( * ) you should add in the correct time signatures.

* * * * *

b) Answer the questions about the below extract.

A B

i) What are the two ornaments marked by the letters A and B?

A …………………………………… (2)
1

B …………………………………… (2)
1

ii) Rewrite the first note in the bass clef so that in sounds at the same pitch in the tenor C clef. (3)

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 GRADE 5 PRACTICE PAPER A

Question 2. Describe fully ( e.g perfect 4th, minor 6th etc ) the following harmonic and 10
melodic intervals.

a) b) c)

…..……………………………… …..……………………………… …..………………………………

d) e)

…..……………………………… …..………………………………

Question 3. This is a piece of music written for clarinet in Bb. Transpose it down a major 2nd 10
as it will sound at concert pitch. You don’t need to use a key signature but be sure to include
all the sharps, flats and natural signs as appropriate.

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 GRADE 5 PRACTICE PAPER A

Question 4. Look at the piece of music written for piano and answer the questions.

a) i) Give the meaning of the following terms or symbols: 10

……………………………………………………………………………. (2)

……………………………………………………………………………. (2)

……………………………………………………………………………. (2)

ii) Is the time signature:

simple or compound: ………………………………………………………………… (1)

duple, triple or quadruple: ……………………………………………………………….. (1)

iii) What key does this piece:

start in: ………………………………………………. (1)

finish in: ………………………………………………. (1)

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 GRADE 5 PRACTICE PAPER A

b) i) Circle and mark with the appropriate letter one example of the following intervals as 10
shown in the example. Also, name which bar number each interval is in.

1-2
A In the right hand of the piano a melodic interval of a minor 6th. Bars: ………

B An instruction to gradually get quieter. Bar: ……… (2)

C In the right hand of the piano a melodic interval of a minor 2nd. Bar: ……… (2)

D In the right hand of the piano a melodic interval of an octave. Bar: ……… (2)

ii) Tick one of the boxes that best describes each term/sign. (4)

lacrimoso means: piangevole means:

plainly in the style of a lament

gradually getting faster peaceful

sad very quiet

slow march softly

c) i) Rewrite the chord on the 1st beat of bar 9 in the left hand so that it sounds at the same 10
pitch but using the alto C clef.

(4)

ii) Give the technical name ( root, dominant etc ) of of the highest note in the extract. ………………….. (2)

iii) What is another instrument that could play the right hand part of this extract bars 1 - 3 and what is another
instrument from the same family that sounds at a lower pitch?

instrument: …………………………………………………………………… (2)

lower pitch instrument: ……………………………………………………… (2)

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 GRADE 5 PRACTICE PAPER A

Question 5. 10

a) Write in the sharps or flats in front of the notes below that are needed so that it shows F# major. (5)

b) Write the correct key signature and one octave descending of the scale for the harmonic minor with 3 (5)
sharps as it’s key signature. Use semibreves ( whole notes ) beginning on the tonic and add in any
necessary sharps, flats or natural signs.

Question 6. Look at the piece of music written for clarinet and answer the questions. 15

a) Tick one of the boxes that best describes each term/sign. (4)

incalzando means: means:

getting slower 55 dotted crotchet notes

go crazy 55 dotted crotchet beats

getting quicker 55 dotted crotchets in the melody

keep tempo the same 55 dotted crotchets beats in a minute

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 GRADE 5 PRACTICE PAPER A

b) The extract is in A Major. Indicate what the technical note names ( tonic, subdominant etc ) of the notes
marked with the letters X and Y are.

X (bar 2) …………………………………………… (2)

Y (bar 4) …………………………………………… (2)

c) Rewrite bar 4 so that it sounds exactly the same but in 4/4 time signature. (4)

d) Write as a breve ( double whole note ) an enharmonic equivalent of the very last note of the melody. (3)
You don’t need to include the key signature.

Question 7. Suggest suitable chord progressions for the two cadences in the extract below. 10
You should indicate which chord by placing a roman numeral ( I, II, IV or V ) in the boxes
below the staves. You should only use one chord per box.

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