Scribd Logo
Upload

Welcome to Scribd!

  • Grade 8 2019 Pastpaper

    Uploaded by

    ka yat ngai
    29 views29 pages

    Original Title

    Grade 8 2019 pastpaper

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    29 views29 pages

    Grade 8 2019 Pastpaper

    Uploaded by

    ka yat ngai

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 29
    eory Paper Grade8 2019 A Wega tomate tiauthorized copies af this yn 3 hours conyricht fes should answer all FIVE questions. fe your answers on this paper ~ no others will be accepted. must be written clearly and neatly — otherwise marks may be lost. Comelete the oboe parts in the following extract adapted from a trio sonata by Torelli follov. ‘ng the figuring shown under the basso continuo. Largo Oboe 1 Oboe 2 Basso continuo 7-6 1-6 7-6 1-6 6F 4-8 6 7-6 7-6 7-6 7-6 7-6 205 by “= Assocs Board of he Royal Schools of Musle 3 2 Complete the given outline of the following passage, adapted from a piano piece by = Guilmant (18371911). Note that some of the left-hand part is in the treble clef, ¢ _ Andante Compose a complete melody of not less than 12 bars using ONE of the following openings and for the given unaccompanied instrument. Continue in the same style and include appropriate performance directions. Write the complete melody on the staves below. TROMBONE Andante P CLARINET (at concert pitch) Andante calmato 1 Andante con mato A rubato strette = =| pf itcanso marcato» poco a poco morende \k at the extract printed opposite, which is from Clara Schumann's Nocturne, Op. 6 No. 2, ind then answer the questions below. (a) Identify the chords marked * in bars 18 and 22 (both shaded) 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 18 rays — Key F minor Bar 22 (b) Give the meaning of: rubato (bar 15) stretto (bar 15) (© 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. From bar 11 onwards A amodulation to the relative minor key. Bars... 13714 B two successive notes in the right-hand part that show enharmonic change (circle the notes concerned). Bars € —adescending chromatic semitone (augmented unison) in the right-hand part (circle the notes concerned). Bars D _ anacciaccatura (grace note) that forms the melodic interval of a diminished Sth with the main note that follows it (circle the note concerned). Bar E _ syncopation in the right-hand part. Bar(s) (d) Write out in full the right-hand part of bar 7 as it should be played. Part of the bar is given. ——— (). Name two features of the music that contribute to the climax of the extract in bar 17. 1 2 {Answer TRUE or FALSE to this statement: The notes in bar 21 form a diminished 7th chord. @ @ @ @ @ @ @ @ @ o o @ 5 Look at the extract printed opposite, which is from Ravel's La valse, and then answer the questions below. (a) Give the meaning of: sur la touche (e.g. bar 2, vioias) arco (e.g. bar 2, double basses) a2 (eg, bar 6, bassoons) (b) Complete these statements: (i) There is a simultaneous false (cross) relation between the double bass and first violin parts in bar ii) There is an instruction to play an octave higher than written in bar ... (iii). There is a melodic interval of a perfect 4th in a part for a single-reed instrument in bar(s) (©) (Write out the parts for clarinets in bar 6 as they would sound at concert pitch and using the given clefs. Clarinets} / \Pe Bass Clarinet (ii). Write out the parts for first and second horns in bar 8 as they would sound at concert pitch. 1 Horns 5 (d) Describe fully the numbered and bracketed harmonic intervals sounding between: 1 first violins (top note) and first flute, bar 2 2 first bassoon and cor anglais, bar S 3 double basses and violas (bottom note), bar 8 (e) Answer TRUE or FALSE to this statement The second oboe and second flute sound in unison throughout bars 24. 8 @ ro) @ @ @ @ orang ory Paper Grade8 2019 B Wa Unauthorized opie ofthis ration 3 hours ‘ooyra jidates should answer all FIVE questions. rite your answers on this paper — no others will be accepted. swers must be written clearly and neatly - otherwise marks may be lost. } Complete the violin parts in the following extract adapted from a trio sonata by Corelli, following the figuring shown under the basso continuo. Presto Violin 1 Basso continue 20°9 oy Te Aczciated Beard ofthe Royal Schools of Music ” 2 Complete the given outline of the following passage, adapted from a piano piece by Diabelli (1781-1858). Note that some of the left-hand part is in the treble clef. Allegretto con moto a Zep el ee) legato simile 2 a) 3. Compose a complete melody of not less than 12 bars using ONE of the following openings and for the given unaccompanied instrument. Continue in the same style and include appropriate performance directions, Write the complete melody on the staves below. FLUTE Allegro con fuoco = DvoFtk f 3 = CELLO Look at the extract printed opposite, which is from a string quartet, and then answer the questions below. (2) Identify the chords marked # in bars 10 and 11 (both shaded) 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 10 ee Key Gminor Bart (b) Write out in full the first violin part of bar 11 as it should be played. Part of the bar is given. ———S ee (©) Complete these statements: (The music begins in the key of Eb major. In bars 6~7 it passes through the key of and in bars 8-9 there is a V’-| progres in the key of Gi). There is a chromatic lower auxiliary note in the cello part in bar... Gili). There is a dominant 7th chord in third inversion (V'd the tonic key in bar (iv) The viola and cello sound a note in unison in bar ws .nnn (@) Answer TRUE or FALSE to these statements: (i) Allthe instruments have to use an open string in this extract. Gi) The notes marked -— in bars 5-6 are a repetition, an octave higher, of the notes in bar 1 marked -——. Gili). The viola and second violin parts do net cross in this extract. (©) Give two reasons which suggest that this string quartet was written in the Classical period. 1 6 @ @ @ @ @ @ @ (oy @ 2 o o 5 Look at the extract printed on pages 17-18, which is from the third movement of Britten's ‘Symphony for Cello and Orchestra, and then answer the questions below. GO (a) Give the meaning of: F (ears, timpani) sovninnsnnnnnnn 2 div. (bar 8, double basses) eat ce stamaess a (©) (i) Write out the parts for horns in bars 2~4 as they would sound at concert pitch and using the given clef Homs 2 Gii)_ Inthis extract, the parts for trumpets are in C. Write out the part for second trumpet in bar 6 as it would appear at written pitch for a trumpet in Br. Do not use a key signature. ‘Trumpet 2 (© Complete these statements: (i) There are two successive notes in a clarinet part that show enharmonic change in BaF... @ (i) The solo cello plays at a higher pitch than the first flute in bar @ Gili) The quintuplet (EFTE¢) in the solo cello part of bar 6 means five semiquavers (16th notes) in the time of @ (iv). The violas play a melodic interval of a diminished 3rd in bars. @ (d) Describe fully the numbered and bracketed harmonic intervals sounding between: 1. tuba and double bassoon, BaF) ssunnns inns @ 2 solo cello (top note) and trombone, bar 3 . @ 3 trombone and first clarinet, bar 7 @ (e) Answer TRUE or FALSE to this statement: The lowest-sounding note on the first quaver of bar 3 is played by the bassoon. @ 6 Bessoon mF a en Tae oles vise | (© Copyright 1969 by Booey & Howes Music Pblabrs Ltt ese version © Copy WBedby Soop & Howes Muse Pbichrs Ls ” Turn the page a Ta. 18 Theory Paper Grade8 2019 C Re Duration 3 hours ies fs Candidates should answer all FIVE questions. ‘Write your answers on this paper — no others will be accepted. Answers must be written clearly and neatly — otherwise marks may be lost. 1 Complete the violin parts in the following extract adapted from a trio sonata by Corelli, following the figuring shown under the basso continuo. Largo Violin 1 Violin 2 Basso continuo 6 4 E 2019 by The Associates Board ofthe Royal Schools of Muse 6 2. Complete the given outline of the following passage, adapted from a piano piece by Robert Fuchs (1847~1927). Note that the left-hand part is in the treble clef throughout. Langsam, gesangvoll $$$ oO WG 20 3 Compose a complete melody of not less than 12 bars using ONE of the following openings and for the given unaccompanied instrument. Continue in the same style and include appropriate performance directions. Write the complete melody on the staves below. VIOLIN: Moderato Chopin (adapted) PB TROMBONE Tempo risoluto ft a Larghetto con espressione wy anacca 4 Look at the extract printed opposite, which is fram a keyboard sonata by Dussek, and then answer the questions below. @) (b) © (d) e) Give the meaning of smorzando (bat 15) attacca (bar 25) Write out in full the top right-hand part of bar 18 as it should be played. ‘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 1-11 ‘A amelodic interval of a compound minor 2nd in the left-hand part (circle the notes concerned). Bar ....4. B arising chromatic semitone (augmented unison) in the right-hand part (circle the notes concerned). Bars C two bars that form a descending sequence (not exact) with the previous two bars (mark[~ Cover the bars). Bars From bar 12 onwards D aperfect cadence in the dominant key. Bars E — adiminished 7th chord (circle the notes concerned). Bar Identify the chords marked * in bars 21 and 24 (shaded) 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 21 Key C minor Bar 24 Give the full names of the notes of melodic decoration (e.g. changing note) marked X and Y in the right-hand part of bars 11 and 13. X (bar Neco Se Y (bar 13) 2B @ @ 3 @ 2 ro) @ @ @ @ 2 5 Look at the extract printed opposite, which is from Reger’s Die Toteninsel, and then answer the e__) questions below. (@) Give the meaning of Grosse Trommel Becken gedimpft (same as mit Dimpfer) (eg. bar 1, trumpets) 5 (eg, bar 4, first violins) (b) (i) Write out the parts for first and second horns in bars 3-4 as they would sound at concert pitch and using the given clef. Horns } 2 Gi) Write out the parts for clarinets in bar 5 as they would sound at concert pitch. Carns | (c) Complete these statements: (The instruments sounding an octave lower than the violas on the first note of bar 3 are the sonny HE and the Gi) The instruments sounding in unison with the oboe on the first note of bar 4 are the... . . 1 the ee and the (d) Answer TRUE or FALSE to these statements: (i) The notes sounded by the horns in bar 2 form the chord of a dominant 7th in root position (V7a) in the key of F major, Gi) The bassoons sound in unison with the double bassoon throughout this extract. 4 @ 2 2 @ @ @ @ a @ @ Pee | | Theory Paper Grade8 2019 S unauthorized copies of this Duration 3 hours copyright Candidates should answer all FIVE questions. Write your answers on this paper — no others will be accepted, Answers must be written clearly and neatly - otherwise marks may be lost. 1 Complete the violin parts in the following extract adapted from a trio sonata by Corelli, following the figuring shown under the basso continuo. Allegro Violin 1 Violin 2 Basso continuo 6. 1 6. 7 6 6 7 —— {© 2019 by The Astocated Board ofthe Royl Schools of Music a 2 Complete the given outline of the following passage, adapted from a piano piece by ©) Mayer (1799-1862). Allegro 28 3 Compose a complete melody of not less than 12 bars using ONE of the following openings and for the given unaccompanied instrument. Continue in the same style and include appropriate performance directions. Write the complete melody on the staves below. BASSOON Moderato S.Heller of OBOE Allegro ma non troppo wy eee ——= = 29 Contato Piano 16, Eewas geschwinder }4 Look at the extract printed opposite, which is from a song by Schubert, and then answer the questions below. @ (b) © @ e) o Give the meaning of Sehr langsam. Mark clearly on the score, using the appropriate capital letter for identification, one example of each of the following. Also give the bar number of each of your answers. The first answer is given, ‘A four consecutive notes sounding an octave apart between the right-hand and left-hand piano parts. Bar ...'7. B a descending chromatic semitone (augmented unison) in the right-hand inner piano part (circle the notes concerned). Bar € _ syncopation in the contralto part. Bar... D__amelodic interval of an augmented 2nd in the top line of the right-hand piano part (circle the notes concerned). Bar E a bar in which the left-hand piano part imitates the contralto part of two bars earlier, Bar... Identify the chords marked * in bars 6 and 14 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 6 Bar 14 Key Eminor Rewrite the contralto part of bar 1 (without the words), but using a compound quadruple time signature. Remember to include the new time signature. Name two features of the music that contribute to the change of mood at bar 17 (including the upbeat). 1 2 Give the full names of the notes of melodic decoration (e.g. changing note) marked X and Y in the contralto part of bars 6 and 12. X (bar 6) Y (bar 12) a ro) @ @ @ @ @ @ @ oO o @ @ Look at the extract printed opposite, which is from the fourth movement of Rachmaninoff's Symphony No. 2, and then answer the questions below. (2) Give the meaning of Piatti muta F in Fis (bar 1, timpani) div. (bar 4, second violins) (b) Complete these statements: a Gd) Gd (iv) ©) (i) qi) On the first crotchet of bar 4, the lowest-sounding note is played by the a the and the The bracketed harmonic interval sounding between the first bassoon and the second violins on the fourth crotchet of bar 2 is a(n) There is a melodic interval of a diminished 4th in a part for a double-reed instrument in bars .... There is an instruction to use an up-bow ina section that sometimes uses the tenor clef in bar ‘Write out the parts for third and fourth horns in bar 1 as they would sound at concert pitc> 3 he Hors 3 — Write out the parts for first and second clarinets in bar 3 as they would sound 2:

    You might also like