sory Paper Grade7 2019 A tion 3 hours idates should answer all FIVE questions. 2 youymswers on this paper — no others will be accepted, vers/m)st be written clearly and neatly — otherwise marks may be lost. dicate suitable chords for a continuo player by figuring the bass as necessary, from the first at of bar 5, at the places marked » in this passage. If you wish to use a § chord, leave the space der the asterisk blank, but § chords must be shown when used as part of a $§ progression or ren chromatic alteration is required. All other chords should be indicated (including repeated cidentals within the same bar), as should any suspended dissonances. tie egal tomake unauthorized copies of this copyright TOTAL MARKS. 100 Gana ‘Atte Albinoni, Sonata, Op. 4 No. 2 (adapted) by The Associated Board ofthe Royal Schools of Music 3Zz Matty of Acwotun (es matked A below is an outline of a passage adapted from a chorale harmonised by S. Gachpleaving out certain suspensions, passing notes and other notes of melodic decoration. ‘he NTtisic on the staves marked B is what the composer actually wrote. Continuing in the same tyle, reconstruct the blank and partially completed bars.THER ) Complete the clarinet part (at concert pitch) in the following passage, which is adapted from a piece by Chopin. Phrase marks have been inserted above the clarinet stave to indicate the structure you might use. Alegre — nm Clarinet z (at concert pitch) Piano mezsa wee ete, > R ) Compose a complete melody of not less than eight bars in length for unaccompanied cello or tuba, based on the given opening, Write the complete melody on the staves below, include appropriate performance directions for the instrument of your choice and state which it is. Allegretto = a Instrument vLargo e sostenuto tf carr = yu attacca subito il Finaleee ook at the extract printed opposite, which is from Haydn's Piano Sonata Hob. XVI/37, and then (Gp nswer the questions below Gait) a) Give the meaning of ten. (e.g. bar 9) @ attacca subito (bar 19) @ >) Identify the chords marked « in bars 14 and 16 by writing on the dotted lines below. Use either words or symbols, For each chord, indicate the position and show whether it is major, minor, augmented or diminished Bar 14 @ Key D minor Bar 16 @ :) Mark clearly on the score, using the appropriate capital letter for identification, one example of each of the following, Also give the bar number(s) of each of your answers. The first answer is given. In bars 1-9 A abar containing three pairs of appoggiaturas. Bar ...8 B animperfect cadence in the tonic key. Bar @ C an arpeggiated chord in the left-hand part where the highest and lowest notes form the harmonic interval of a minor 7th (circle the notes concerned). Bar s.un. @ From bar 10 onwards D__ apair of lower auxiliary notes, played simultaneously in the right-hand and left-hand parts, forming the harmonic interval of a major 6th (circle the notes concerned). Bar @ E —adominant pedal note (not sustained) lasting for three bars (mark|_E | under the bars). Bars @ ) Write out in full the top right-hand part of bar 4 as it should be played Part of the bar is given, @ ) Complete these statements: (The largest melodic interval in the top line of the right-hand part is a(n) : @ Gil) Inbars 1-9, the largest harmonic interval between the top note of the right-hand part and the bottom note of the left-hand part occurs in bar @Look at the extract printed on pages 9-10, which is fram Elgar's Enigma Variations, and then answer the questions below. (a) Give the meaning of: pizz. (eg. bar 1, double basses) tre (bar 2, timpani) ung (bar 9) (b) (i) Write out the part for first clarinet in bars 1-2 as it would sound at concert pitch Clarinet 1 (ii) Write out the parts for horns in bars 3-4 as they would sound at concert pitch and using the given clefs. Horns :) Describe fully the numbered and bracketed harmonic intervals sounding between: 1 solo viola and third horn, bar 1 2 cellos and timpani, bar 3 ) Complete these statements: (i)__ The cellos and double basses sound a note in unison in bar(s) (ii) The first and second violin parts cross in bar (iii) There is a note and its enharmonic equivalent within the same bar of the cello part in bar €) Using the blank stave at the foot of page 10, write out the parts for bassoons in bars 6-8 so that they sound at the same pitch but using the given clef. @ @ @ @ a @ @ 2 @ @ @ren on ol Turn the page(e) 1 bars6-8 Bassoons 10