Worksheets Level 1 - 8

Elementary Theory
Adding Bar Lines and Time Signatures
1. Add bar lines to each of these familiar melodies. Play or sing each melody and identify it if
you can.
2. Add the correct time signature to each rhythm.
Set 1, no. 6
Level 1 Theory
Elementary Theory
Analysis
1. a. Name the key.
b. Write the time signature on the music.
c. Circle a half step. Label it H.
d. Circle a whole step. Label it W.
e. Explain the sign at letter A.
f. Explain the sign at letter B.
g. Name the interval at letter C.
h. Name the interval at letter D.
i. How many times does the tonic note occur in this piece?
j. Circle an example of a repeated motive.
Set 1, no. 46
Level 1 Theory
© Copyright 2016 The Royal Conservatory
Elementary Theory
Completing Measures with Rests
1. Add rests below the brackets to complete each of the following measures.
Set 1, no. 78
Level 1 Theory
© Copyright 2017 The Royal Conservatory of Music
Elementary Theory
Half Steps and Whole Steps
1. Mark these steps as half steps (H) or whole steps (W).
2. Write a half step above each note. Use notes with the same letter name.
3. Write a half step below each note. Use notes with different letter names.
4. Write a whole step above each note.
5. Write a whole step below each note.
Set 1, no. 55
Level 1 Theory
Elementary Theory
Half Steps and Whole Steps
1. Mark these steps as half steps (H) or whole steps (W).
2. Write a half step above each note. Name the notes.
3. Write a half step below each note. Name the notes.
4. Write a whole step above each note. Name the notes.
5. Write a whole step below each note. Name the notes.
Set 1, no. 66
Theory Level 1
Elementary Theory
Intervals
1. Mark these notes as half steps (HS) or whole steps (WS).
2. Write a half step above each note. Name the notes.
3. Write a half step below each note. Name the notes.
4. Write a whole step above each note. Name the notes.
5. Write a whole step below each note. Name the notes.
Set 1, no. 96
Level 1 Theory
Elementary Theory
Melody and Composition
1. a. Name the key and write the time signature on the music.
b. Write the tonic note under the bracket.
c. Label the dominant (D) notes.
d. Circle the repeated motives.
2. a. Write the key signature and time signature on the music.

b. Complete the melody by adding the dominant note under the bracket.
c. Label the tonic (T) note.
3. a. Name the key.

b. Rewrite the notes from measure 1 in measure 2 to create a repeated motive.
c. Label the dominant (D) and tonic (T) notes.
b. Write the notes in a stepwise pattern in measure 2 in the same manner as measure 1.
c. Complete the melody by writing the dominant and tonic notes as marked.
Set 1, no. 35
Level 1 Theory
Elementary Theory
1. a. Name the key and write the time signature directly on the music.
b. Label the dominant (D) and the tonic (T) notes.
c. Circle the repeated motive.
d. Write the tonic note below the bracket to complete the phrase.
2. a. Write the key signature and time signature directly on the music.
b. Write the dominant note below the bracket to complete the phrase.
c. Label the tonic (T) note.
d. Circle the motive.
b. In measure 2, rewrite the notes of measure 1 to create a repeated motive.
c. Label the dominant (D) notes.
d. Write the final tonic note.

Set 1, no. 71
Level 1 Theory
Elementary Theory
Notes Above and Below the Treble Staff
1. Name these notes.
2. Write these notes above the treble staff.
3. Write these notes below the treble staff.
4. Write these notes above or below the staff. Use the same note only once.
Set 1, no. 10
Level 1 Theory
Elementary Theory
Note and Rest Values
1. Match each note to its name.
half note
eighth note
whole note
quarter note
dotted half note
2. Match each note to the corresponding rest.
Set 1, no. 5
Level 1 Theory
Elementary Theory
Rhythm
1. Circle each beat and add bar lines to each melody.
2. Number the beats in each measure and add the time signature.
3. Add rests below the brackets to complete each of the following the measures.
Set 1, no. 93
Level 1 Theory
Elementary Theory
Sharps, Flats, and Naturals
2. Write these notes.
3. Rewrite each note with a natural sign. Name each note.

Locate and play the notes on your keyboard.
Set 1, no. 11
Level 1 Theory
Elementary Theory
Time Signatures
1. Add bar lines to each melody and name the key. Write the final tonic using the correct
note value.
2. Add the time signature to each melody and name the key. Circle each tonic.
3. Add one note below each bracket to complete the measures.
Set 1, no. 13
Level 1 Theory
Elementary Theory
Time Signatures
1. Add bar lines to each melody and name the key. Write the final tonic note using the correct
note value.
2. Add the time signature to each melody and name the key. Circle each tonic note.
3. Add one note below each bracket to complete the measures.
Set 1, no. 63
Level 1 Theory
Elementary Theory
Time Signatures
1. a. Circle each beat. Number the beats in each measure.

b. Add the time signature to each of the following.
Set 1, no. 85
Level 1 Theory
Elementary Theory
Tonic and Dominant Scale Degrees
1. Add the correct clef to form these scales. Label the tonic (T) and dominant (D) notes.
C major scale
G major scale
2. Write these scales ascending and descending in whole notes using a key signature where
needed. Label the tonic (T) and dominant (D) notes.

F major scale

A minor scale, natural form
3. a. Name the key for each of these key signatures.

b. State whether the given note is the tonic (T) or dominant (D).
Set 1, no. 12
Level 1 Theory
Elementary Theory
Tonic and Dominant Scale Degrees
1. Add the correct clef to form these scales. Label the tonic (T) and dominant (D) notes.
A minor, natural form
C major
2. Write these scales ascending and descending in whole notes, using a key signature
where needed. Label the tonic (T) and dominant (D) notes.
F major
C major
3. a. Name the key for each of these key signatures.

b. State whether the given note is the tonic (T) or dominant (D).
Set 1, no. 58
Level 1 Theory
Elementary Theory
Analysis
1. a. Name the key.
c. Write the rest(s) below each bracket.
d. How many times does the tonic note occur in this piece?
e. How many times does the dominant note occur in this piece?
f. Name the interval at letter A.
g. Explain the sign at letter B.
h. Explain the sign at letter C.
i. Mark the first phrase as a. Mark the second phrase with a, a1, or b.
j. Number each measure in the boxes provided.
Set 1, no. 45
Level 2 Theory
Elementary Theory
Analysis
1. Name the key and write the time signature directly on the music.
2. Indicate the measure numbers in the boxes provided above the staff.
3. Add a rest under the bracket in measure 4.
4. Name the tonic note. How many tonic notes are there?
5. Name the dominant note. How many dominant notes are there?
6. Name the subdominant note. How many subdominant notes are there?
7. Name and explain the sign at letter A.
8. Name the explain the sign at letter B.
9. Name the intervals at letter C and D.
10. Circle the repeated motives.
Set 1, no. 70
Level 2 Theory
Elementary Theory
Intervals
1. Name the size of each melodic interval.
2. Name the size of each harmonic interval.
3. Write the following harmonic intervals above each given note.
Set 1, no. 29
Level 2 Theory
Elementary Theory
Intervals
1. Name the size of each melodic interval.
2. Name the size of each harmonic interval.
Set 1, no. 57
Level 2 Theory
Elementary Theory
Key Signatures
1. Write the following key signatures in both clefs on the grand staff.
G major D minor
F major E minor
2. Write the key signature and dominant note for each of these keys.
3. Write the key signature and subdominant note for each of these keys.
Set 1, no. 88
Level 2 Theory
Elementary Theory

b. Label the subdominant (SD) note.
c. Write the dominant and tonic notes as marked.
b. Rewrite the notes of measure 1 in measure 2 to create a repeated motive.
c. Circle the tonic triad.
d. Label the subdominant (SD) and leading-tone (LT) notes.

b. Circle the tonic triad.
c. Write the dominant and tonic notes as marked.
d. What is the rhythmic motive used in measures 1 and 2?
c. Label the subdominant (SD) note.
d. Write the leading-tone and tonic notes as marked.
Set 1, no. 36
Level 2 Theory
Elementary Theory
1. a. Write the key signature and time signature directly on the music.
b. Label the subdominant (SD) note.
c. Write the dominant (D) and tonic (T) as marked.
d. Circle the repeated rhythmic motives.
2. a. Name the key and write the key signature directly on the music.
b. In measure 2, rewrite the notes of measure 1 to create a repeated motive.
c. Circle the notes of the tonic triad.
d. Label the subdominant (SD) and leading-tone (LT) notes.
c. In measure 4, write the dominant (D) and tonic (T) notes as marked.
d. Write the rhythmic motive used in measures 1 and 2.
Set 1, no. 62
Level 2 Theory
Elementary Theory
Music Terms
1. Match each sign to its meaning.
repeat sign
crescendo
accent
tie
decrescendo/diminuendo
bar line
staccato
double bar line
fermata (pause)
slur
Set 1, no. 7
Level 2 Theory
Elementary Theory
Music Terms
mezzo forte
use the damper pedal
fermata
common time
repeat sign
fortissimo
tie
slur
tenuto
pianissimo
Set 1, no. 54
Level 2 Theory
Elementary Theory
Notes Above and Below the Bass Staff
2. Write these notes above the staff.
3. Write these notes below the staff.
4. Write these notes above or below the staff.
Set 1, no. 14
Level 2 Theory
Elementary Theory
Rhythm
1. Number the beats in each measure. Indicate the strong (S), weak (W), and medium (M)
beats. Add the time signature to each staff.
Set 1, no. 94
Level 2 Theory
Elementary Theory
Scale Degree Names and Numbers
1. Name each scale. Label each tonic (T), subdominant (SD), dominant (D), and leading tone
(LT) below the staff. Label the scale degree numbers 1̂, 4̂, 5̂, and 7̂ above the staff.
2. Write each scale ascending using a key signature. Label each tonic (T), subdominant (SD),
dominant (D), and leading tone (LT) below the staff. Label the scale degree numbers 1̂, 4̂, 5̂,
and 7̂ above the staff.
3. Write each note using a key signature.
4. Write each note using accidentals only.
Set 1, no. 18
Level 2 Theory
Elementary Theory
Stem and Beam Direction
1. Add a stem to each note to form half notes.
2. Fill in the noteheads and add stems and beams to form eighth notes in groups of four.
3. Fill in the noteheads and add stems and beams as indicated to complete this melody.
4. Rewrite this melody with the correct use of stems, beams, and dots.
Set 1, no. 19
Level 2 Theory
Elementary Theory
Scale Degree Numbers
1. Add the clef, key signature, and any necessary accidentals to form each scale.
F major
E minor, harmonic form
2. Write the D minor scale, harmonic form ascending and descending using a key signature.
Write the scale degree numbers above the staff.
3. Name the key and write the scale degree number of each note above the staff.
4. Name the key and write the notes indicated by the scale degree numbers. Use quarter notes
in mm. 1–3 and a dotted half note in m. 4.
Set 1, no. 22
Level 2 Theory
Elementary Theory
Analysis
1. a. Name the key.
c. Name the interval at letter A.
d. Name the interval at letter B.
e. Circle a half step. Label it H.
f. Circle a whole step. Label it W.
g. How many times does the dominant note occur in this piece?
h. Write the correct rest(s) at letter C.
i. Explain the sign at letter D.
j. Mark the first phrase as a. Mark the second phrase with a, a1, or b.
Set 1, no. 44
Level 3 Theory
Elementary Theory
Chords
1. Write these tonic triads in solid/blocked form using accidentals.
2. Write the key signatures and dominant triad for each key. Be sure to include the leading tone.
3. Write the following triads.
Set 1, no. 89
Level 3 Theory
Elementary Theory
1. Add rests below the brackets to complete each of the following measures. Indicate the
strong (S), weak (W), and medium (M) beats.
Set 1, no. 91
Level 3 Theory
Elementary Theory
Grouping Notes
1. Write one note that is equal to each of the following groups of notes.
2. Rewrite each rhythm, beaming the notes and adding bar lines.
3. Write one note below each bracket to complete these measures.
Set 1, no. 23
Level 3 Theory
Elementary Theory
Grouping Notes
1. Write one note that is equal to each of the following groups of notes.
2. Rewrite each rhythm, beaming the notes and adding bar lines. Name the key.
3. Write one note below each bracket to complete these measures.
Set 1, no. 64
Level 3 Theory
Elementary Theory
Intervals
1. Name each melodic interval.
2. Name each harmonic interval.
Set 1, no. 30
Level 3 Theory
Elementary Theory
Intervals
1. Name each melodic interval.
2. Name each harmonic interval.
Set 1, no. 59
Level 3 Theory
Elementary Theory
b. Rewrite the motive from measure 2 in measure 1, beginning a 2nd lower.
c. Complete the melody by adding the leading-tone and tonic notes as marked.
2. a. Write the key signature and the time signature on the music.
b. Rewrite the motive from measure 1 in measures 3 and 4, beginning on the given notes.
c. Write a stable scale degree (1̂ or 3̂) in measure 4 to complete the melody.
c. Rewrite the motive from measure 2 in measure 3, beginning a 2nd higher or lower.
d. Write the tonic note in measure 4 to complete the melody.
b. Rewrite the motive from measure 1 in measure 2, beginning a 2nd higher.
c. Write the dominant triad in measure 3.
d. Add a stable scale degree (1̂ or 3̂) to complete the melody in measure 4.
Set 1, no. 37
Level 3 Theory
Elementary Theory
b. In measure 2, rewrite the motive in measure 1, beginning a second higher or lower.
c. Complete the melody, adding the leading tone (7̂) and tonic (1̂) notes as marked.
2. a. Write the key signature and the time signature directly on the music.
b. In measures 2 and 3, rewrite the motive in measure 1, starting on the given note.
c. In measure 4, write a stable tone (1̂ or 3̂) to complete the melody.
b. Circle the notes of the tonic triad.
c. Circles and label the subdominant (4̂) note.
d. In measures 3 and 4, write the leading tone (7̂) and tonic (1̂) notes as marked.
Set 1, no. 74
Level 3 Theory
Elementary Theory
Minor Scales
1. Match each scale in the left column to the correct description in the right column.
B minor, natural form
D minor, melodic form
G minor, melodic form
2. Write the correct clef and key signature using any necessary accidentals to form the
following scales.
B minor, melodic form
G minor, harmonic form
3. Write these scales ascending and descending using accidentals only.

A minor, natural form
E minor, melodic form
Set 1, no. 24
Level 3 Theory
Elementary Theory
Note and Rest Values
1. Match each note to its name.
whole note
dotted quarter note
half note
dotted eighth note
sixteenth note
2. Match each note to the corresponding rest.
3. Write one note below each bracket to complete the measures.
4. Write rests below the brackets to complete the measures.
Set 1, no. 17
Level 3 Theory
Elementary Theory
Rhythm
1. Add the time signature to each of the following.
2. Add the missing bar lines.
Set 1, no. 80
Level 3 Theory
Elementary Theory
Tonic and Dominant Triads
1. Match each triad in the left column with the correct description in the right column. You will
not use all the choices.
a.
tonic triad of G minor

b.
dominant triad of E minor
c. dominant triad of G minor
tonic triad of B minor

d.
dominant triad of G major
e. tonic triad of D minor
dominant triad of C major
f.
tonic triad of E minor
g. dominant triad of A minor
tonic triad of D major
h.
Set 1, no. 31
Level 3 Theory
Elementary Theory
Scale Degree Names
1. Match each note in the left column with the correct description in the right column. You will
a.
subdominant of E minor
b.
leading tone of D minor
c. subdominant of G major
leading tone of C major
d.
dominant of G major
e. tonic of F major
leading tone of A minor
f.
dominant of F major
g. tonic of D minor
subdominant of A minor
h.
Set 1, no. 32
Level 3 Theory
Elementary Theory
Scale Degree Names
1. Match each note in the left column with the correct description in the right column. You will
a. tonic of D minor
dominant of A minor
b.
subdominant of B flat major
c.
dominant of B minor
d. subdominant of C major
leading tone of G minor

e.
leading tone of E minor
f.
subtonic of G minor
g. dominant of F major
h.
i.
j.
Set 1, no. 72
Level 3 Theory
Elementary Theory
Scales
1. Match each scale in the left column with the correct description in the right column. You will
a.
b.
D natural minor
C major
c.
B flat major
A melodic minor
d.
G harmonic minor
D major
e.
B melodic minor
F major
f. E melodic minor
G major
g.
h.
Set 1, no. 39
Level 3 Theory
Elementary Theory
Scales
a. B flat major
C major
b.
E minor, natural form
c.
d. F major
e.
D major
f.
A minor, melodic form
g. G major
B minor, harmonic form
h.
D minor, harmonic form
i. D minor, natural form
Set 1, no. 76
Level 3 Theory
Elementary Theory
Scales
1. Write these scales ascending and descending using key signatures. Write T below each
tonic, SD below each subdominant, and D below each dominant.
G minor
F major
B minor
G major
D minor
B flat major
Set 1, no. 87
Level 3 Theory
Elementary Theory
Tonic and Dominant Triads Using Functional Chord Symbols
1. Name the major key. Write the functional chord symbol below each triad (I or V).
2. Name the minor key. Write the functional chord symbol below each triad (i or V).
3. Write the tonic triad for each key in solid/blocked form using a key signature. Write the functional
chord symbol below the staff.
4. Write the dominant triad for each key in broken form using accidentals. Write the functional
chord symbol below the staff.
Set 1, no. 16
Level 3 Theory
Elementary Theory
1. Name the key. Label the triads as tonic triads (I or i) or dominant triads (V).
2. Write and label each tonic triad in solid form. Include the correct key signature for each.
3. Write and label each dominant triad in broken form. Use accidentals only.
Set 1, no. 67
Theory Level 3
Elementary Theory
Analysis
1. a. Name the key.
c. The triad at letter A is the:  tonic  dominant
e. How many times does the subdominant note occur in this piece?
f. Circle a major third. Label it maj 3.
g. Is the second line louder or softer than the first line?
h. Name the interval at letter C.
i. Write the appropriate rest under each bracket in measures 4 and 8.
j. How many slurs are in this piece?
Set 1, no. 41
Level 4 Theory
Elementary Theory
Analysis
1. a. Name the key.
c. On which beat does this piece begin?
d. Draw a box around the tonic scale.
e. Circle the tonic triad. Label it I.
f. The triad at letter A is the:  tonic  subdominant  dominant
g. How many triplets are in this piece?
h. Name the interval at letter B.
i. Circle a perfect fourth. Label it per 4.
j. Explain the meaning of .
Set 1, no. 42
Level 4 Theory
Elementary Theory
Analysis
1. a. Name the key.
c. The triad at letter A is the:  tonic  dominant
e. Name the interval at letter C.
f. Name the interval at letter D.
g. How many times does the dominant note occur in this piece?
h. Explain the sign at letter E.
i. Mark the first phrase as a. Mark the second phrase with a, a1, or b.
Set 1, no. 43
Level 4 Theory
Elementary Theory
Analysis
1. Analyze the following piece of music by answering these questions.

a. Name the key.
b. Write the time signature directly on the music.
c. Label the triad at letter A as tonic (T) or dominant (D).
d. Circle and label two more examples of the triad from (c.).
e. Name the subdominant note. How many times is it played?
f. Circle and label one example of a half step (HS).
g. Circle and label one example of a whole step (WS).
i. Add a rest under the bracket in measures 2 and 4 to complete the measures.
j. Mark phrase 1 as a. Mark phrase 2 as a (the same), a’ (almost the same), or b (different).
Set 1, no. 65
Theory Level 4
Elementary Theory
Strong, Weak, and Medium Beats in Simple Time
1. Add the time signature to each measure and label the strong (S), weak (W), and
medium (M) beats.
2. Add barlines to each melody and label the strong (S) beats.
3. Add rests below the brackets to complete these measures.
Set 1, no. 20
Level 4 Theory
Elementary Theory
Chords
1. Write the key signature and tonic triad for each key.
2. a. Name the intervals above the root of each triad.

b. Identify each triad as major or minor.
Set 1, no. 86
Level 4 Theory
Elementary Theory
Set 1, no. 95
Level 4 Theory
Elementary Theory
Intervals
1. Name these intervals.
2. Write a harmonic interval above each note.
3. Write a melodic interval above each note.
Set 1, no. 26
Level 4 Theory
Elementary Theory
Italian Terms and Signs
1. Arrange these signs from softest to loudest.
softest loudest
2. Arrange these tempo terms from slowest to fastest.
allegro allegretto presto andante adagio
slowest fastest
3. Match each Italian term in the left column with the term in the right column which has the
opposite meaning.
mano destra fortissimo
crescendo adagio
pianissimo legato
staccato mano sinistra
allegro diminuendo
Set 1, no. 33
Level 4 Theory
Elementary Theory
Key Signatures
1. Write the following key signatures in both clefs on the grand staff.
A major B minor
D major F sharp minor
2. Write the key signature and dominant note for each of these keys.
3. Write the key signature and subdominant note for each of these keys.
Set 1, no. 90
Level 4 Theory
Elementary Theory
Major and Minor Scales
1. Write each of these scales ascending and descending using a key signature and any
necessary accidentals.
a. The major scale with a key signature of three flats. Scale name:
b. The relative minor scale, harmonic form of the scale in (a). Scale name:
c. The minor scale, melodic form with a key signature of three sharps. Scale name:
d. The relative major scale of the scale in (c). Scale name:
2. Name the following scales.
Set 1, no. 25
Level 4 Theory
Elementary Theory
1. Write these scales, ascending and descending, using a key signature and any necessary
accidentals.
a. The major scale with a key signature of three sharps. Scale name:
b. The relative minor scale, harmonic form, of the above scale. Scale name:
2. Write these scales, ascending and descending, using accidentals only.

a. The minor scale, melodic form, with a key signature of three flats. Scale name:
b. The relative major of the above scale. Scale name:
3. Name the following scales.
Set 1, no. 73
Level 4 Theory
Elementary Theory
Scales
1. Add the clef, key signature, and any necessary accidentals to form the following scales.
C minor, harmonic form
F sharp minor, natural form
A major
2. Write the following scales, ascending and descending, using a key signature and any
necessary accidentals.
Set 1, no. 77
Level 4 Theory
Elementary Theory
b. Write the subdominant triad in measure 3 with the given rhythm.
c. Complete the melody by adding the dominant and tonic notes as marked.
b. Write the subdominant triad in measure 2 with the given rhythm.
c. Circle the notes of the tonic triad.
d. Write the leading tone and tonic note as marked.
b. Rewrite the motive from measure 2 in measure 3, beginning a 2nd higher or lower.
c. Complete the melody by ending on a stable scale degree.
Set 1, no. 38
Level 4 Theory
Elementary Theory
Music Terms and Signs
1. Choose the correct Italian term for each definition.
moderately slow 
lento 
andante
gradually slowing down 

ritardando 
decrescendo
marked, stressed 
maestoso 
marcato
fairly fast 
presto 
allegretto
graceful 
grazioso 
legato
2. Match each sign or abbreviation to its meaning.
slur, play the notes legato
D.C. becoming softer
M.D. tie, hold for the combined value of the tied notes
from the beginning
D.S. left hand
accent, a stressed note
M.S. from the sign
right hand
Set 1, no. 27
Level 4 Theory
Elementary Theory
Naming Keys and Time Signatures
1. For each of the following melodies:

a. Name the key.
Set 1, no. 34
Level 4 Theory
Elementary Theory
Naming Keys and Time Signatures
1. For the following excerpts, name the key and write the time signature directly on the score.
Set 1, no. 75
Level 4 Theory
Elementary Theory
Rhythm
Set 1, no. 84
Level 4 Theory
Elementary Theory
Time Signatures
Set 1, no. 81
Level 4 Theory
Elementary Theory
1. a. Name the key and write the time signature directly on the music. Circle the notes of the
tonic triad.
b. In measure 3, write notes of the subdominant triad in the given rhythm.
c. Write the dominant, leading-tone, and tonic notes as marked in measure 4.
2. a. Name the key and write the time signature directly on the music. Circle the notes of the
tonic triad.
b. In measure 2, write notes of the subdominant triad in the given rhythm.
c. Write the leading tone (7̂) and tonic (1̂) notes as marked, using the correct note value.
b. Under the bracket, repeat the opening motive, beginning a second higher.
c. Complete the melody as marked, using the correct note values.
Set 1, no. 68
Theory Level 4
Elementary Theory
Tonic, Subdominant, and Dominant Triads
1. Name the key and label each triad with its functional chord symbol.
2. Label each triad with its root/quality chord symbol.
3. Write each triad in solid form, using the key signature and any necessary accidentals.
4. Write each triad in broken form using accidentals only.
Set 1, no. 21
Level 4 Theory
Elementary Theory
Tonic, Subdominant, and Dominant Triads
1. Name the key and label each triad with its functional chord symbol.
2. Label each triad with its root/quality chord symbol.
3. Write each triad in solid form, using a key signature and any necessary accidentals.
4. Write each triad in broken form, using accidentals only.
Set 1, no. 60
Level 4 Theory
Elementary Theory
Triads
1. Match each triad in the left column with the correct description in the right column. You will
a.
b.
tonic triad of E flat major
c. dominant triad of F sharp minor
subdominant triad of C minor
d. tonic triad of D minor
subdominant triad of A major
dominant triad of E minor

e.
dominant triad of B flat major
tonic triad of D major

f.
dominant triad of G minor
subdominant triad of B flat major
g.
h.
Set 1, no. 40
Level 4 Theory
Intermediate Theory
Analysis
1. a. Name the key.
c. Mark the phrasing.
d. Write the root/quality chord symbols above the staff.
e. Write the functional chord symbols below the staff.
f. Circle a diatonic half step. Label it DH.
g. Write the rest(s) at letter A.
i. Name the interval at letter C.
j. Mark the first phrase as a. Mark the second phrase with a, a1, or b.
Set 2, no. 46
Level 5 Theory
Intermediate Theory
Chords
1. Write the following dominant 7th chords in root position using the correct key signature and
any necessary accidentals.
a. the dominant 7th chord of A flat major
b. the dominant 7th chord of C sharp harmonic minor
c. the dominant 7th chord of G harmonic minor
d. the dominant 7th chord of E major
e. the dominant 7th chord of C harmonic minor
2. a. Name the major key for each of the following key signatures.
b. Give the functional chord symbol for each chord below the staff.
3. a. Name the minor key for each of the following key signatures.
b. Give the root/quality chord symbol for each chord above the staff.
Set 2, no. 8
Level 5 Theory
Intermediate Theory
Set 2, no. 85
Level 5 Theory
Intermediate Theory
Compound Rhythm
1. Circle the main beats in each measure and add bar lines.
2. Rewrite the following rhythms, beaming notes to show beats.
Set 2, no. 78
Level 5 Theory
Intermediate Theory
Compound Rhythm
1. Circle the main beats in each measure and add bar lines.
2. Rewrite the following rhythms, beaming notes to show beats.
& 68
3. Add rests below the brackets to complete each measure.
Set 2, no. 93
Level 5 Theory
Intermediate Theory
Dominant 7th Chords
1. Name the key and label each chord with its functional chord symbol and its root/quality
chord symbol.
2. Label each chord with its root/quality chord symbol.
3. Write each dominant 7th chord using a key signature and any necessary accidentals.
4. Write each dominant 7th chord using accidentals.
Set 2, no. 23
Level 5 Theory
Intermediate Theory
Dominant 7th Chords
1. Name the key and label each chord with its root/quality chord symbol.
2. Label each dominant 7th chord with its root/quality chord symbol.
3. Write each dominant 7th chord using a key signature and any necessary accidentals.
Set 2, no. 68
Theory Level 5
Intermediate Theory
Dynamic Terms
1. Match each term to its meaning.
crescendo soft
decrescendo very soft
forte becoming louder
fortissimo moderately loud
mezzo forte very loud
mezzo piano loud
piano becoming softer
pianissimo moderately soft
moderately loud
becoming louder
moderately soft
soft
very loud
loud
very soft
becoming softer
Set 2, no. 4
Level 5 Theory
Intermediate Theory
Intervals
Set 2, no. 5
Level 5 Theory
Intermediate Theory
Intervals
Set 2, no. 53
Level 5 Theory
Intermediate Theory
Intervals
Set 2, no. 72
Level 5 Theory
Intermediate Theory
Intervals
Set 2, no. 77
Level 5 Theory
Intermediate Theory
Key Signatures
1. Match each key signature with the correct key.
D minor
A major
G minor
D major
C minor
2. Write the correct key signature for each key.
3. List the accidentals for each key.
E major E minor B major
F minor A major C minor
G major A minor F major
Set 2, no. 2
Level 5 Theory
Intermediate Theory
1. For the following melodic openings:

a. Name the key.
c. Compose an answer phrase to create a parallel period. Use measures 1 and 2 as a
model for measures 5 and 6. End on a stable scale degree.
d. Draw a phrase mark over each phrase.
Set 2, no. 35
Level 5 Theory
Intermediate Theory
Minor Scales
1. Add the correct clef, key signature, and any necessary accidentals to form these scales.
F minor, melodic form
2. Write these scales ascending and descending using the correct key signature. Use
whole notes.
C minor, melodic form
3. Write these scales ascending and descending using accidentals instead of a key signature.
Use whole notes.
F sharp minor, natural form
Set 2, no. 10
Level 5 Theory
Intermediate Theory
Minor Scales
1. Add the correct clef, key signature, and any necessary accidentals to form these scales.


2. Write these scales ascending and descending, using the correct key signature. Use whole
notes.
F sharp minor, harmonic form
C sharp minor, natural form
3. Write these scales ascending and descending, using accidentals instead of a key signature.
F minor, harmonic form
Set 2, no. 58
Level 5 Theory
Intermediate Theory
Writing Minor Scales
1. Write these scales ascending and descending using key signatures. Use whole notes.
F minor, melodic form
2. Name the minor key for each key signature. Write the corresponding minor scale, melodic
form, ascending and descending.
Key:
Key:
Key:
Set 2, no. 7
Level 5 Theory
Intermediate Theory
Parallel Major and Minor Keys
1. a. Write the key signature for these major keys.

b. Name the parallel minor key and write its key signature in the next measure.
2. a. Write the key signature for these minor keys.

b. Name the parallel major key and write its key signature in the next measure.
3. Rewrite this G major melody in the parallel minor key using the correct key signature.
4. Rewrite this A minor melody in the parallel major key using the correct key signature.
Set 2, no. 14
Level 5 Theory
Intermediate Theory
Pitch Equivalents
1. Write the enharmonic equivalent of each note. Name the notes.

Example:
2. Write each note at the same pitch in the alternate clef.
3. Rewrite this melody at the same pitch in the bass clef.
Set 2, no. 29
Level 5 Theory
Intermediate Theory
Relative Major and Minor Keys
1. Name the major and minor keys for each key signature.
2. Write the key signature for each major key and name the relative minor.
3. Write the key signature for each minor key and name the relative major.
Set 2, no. 11
Level 5 Theory
Intermediate Theory
Scale Degree Names
1. Name the key and scale degree of each note.
2. Write each scale degree using a key signature.
3. Write each scale degree using accidentals instead of a key signature.
4. Name the key. Indicate the scale degree of each boxed note using the abbreviations T (tonic),
SD (subdominant), D (dominant), or LT (leading tone).
Set 2, no. 15
Level 5 Theory
Intermediate Theory
Scale Degree Names
1. Name the major key and scale degree name for each note.
2. Name the minor key and scale degree name of each note.
3. Write the key signature and scale degree for each.

4. Write the scale degree using accidentals only.
Set 2, no. 64
Level 5 Theory
Intermediate Theory
Tempo Terms
1. Match each term in the left column with its definition in the right column.
Example:
andantino d a. becoming quicker
prestissimo b. slowing down
moderato c. lively, brisk
accelerando, accel. d. a little faster than andante
allegretto e. as fast as possible
larghetto f. very fast
allegro g. fairly fast (a little slower than allegro)
vivace h. at a moderate tempo
andante i. slow and solemn
a tempo j. slow
adagio k. fairly slow, but not as slow as largo
lento l. return to the original tempo
grave m. moderately slow; at a walking pace
rallentando, rall. n. very slow
ritardando, rit. o. fast
presto p. slow
largo q. slowing down gradually
Set 2, no. 3
Level 5 Theory
Intermediate Theory
Transposition
1. Name the key of the following melody. Transpose it down one octave into the bass clef
using the correct key signature.
2. Name the key of the following melody. Transpose it up one octave into the treble clef
using the correct key signature.
3. Name the key of the following melody. Rewrite the melody at the same pitch in the
treble clef.
Set 2, no. 9
Level 5 Theory
Intermediate Theory
Transposition
1. a. Name the key of this melody.

b. Transpose it up a perfect 5th. Name the new key.

b. Transpose it up into the key of B major. Name the interval of transposition.

b. Transpose it up a minor 3rd. Name the new key.
Set 2, no. 17
Level 5 Theory
Intermediate Theory
Triads
1. Match each triad in the left column to the correct description in the right column.
tonic triad of E flat major
dominant triad of B minor
subdominant triad of D major
dominant triad of F minor
subdominant triad of A minor
2. Write these triads in solid/blocked form using a key signature and any necessary accidentals.
3. Write these triads in broken form using accidentals only.
Set 2, no. 12
Level 5 Theory
Intermediate Theory
Writing Major Scales
1. Write these scales ascending and descending using key signatures. Use whole notes.
E major
F major
A major
2. Name the major key for each key signature. Write the corresponding major scale ascending
and descending.
Key:
Key:
Key:
Set 2, no. 6
Level 5 Theory
Understanding Keys and Patterns
Intermediate Theory
e Circle
The of 5ths
Circle of 5ths
e Circle of 5ths shows relationships between the major and minor keys. As new keys are presented in each level,
they will be added to the circle. When you reach the bottom, you will have been introduced to every key.
1. Fill in the Circle of 5ths for key signatures up to four sharps and four flats.
Set 2, no. 1
Level 5 Theory
1 of 8
Level 5 Theory
Practice Paper 1
Total Marks
Confirmation Number
Your answers must be written in pencil in the space provided.
Maximum
Marks Il faut que vous écriviez vos réponses au crayon dans l’espace donné.
10 1. a. Write the following notes in the bass clef. 1. a. Écrivez les notes suivantes en clef de fa.
Use whole notes. Utilisez des rondes.
b. Name the following notes. b. Identifiez les notes suivantes.
10 2. a. Write a diatonic half step above each note. 2. a. Écrivez un demi-ton diatonique au-dessus
de chaque note.
b. Write a whole step below each note. b. Écrivez un ton entier au-dessous de
chaque note.
1 © Copyright 2016 The Royal Conservatory® Certificate Program

Level 5 Theory 2 of 8
Practice Paper 1
10 3. a. Write the following intervals above each 3. a. Écrivez les intervalles suivants au-dessus
of the given notes. de chaque note donnée.
b. Name each of the following intervals. b. Identifiez chacun des intervalles suivants.
10 4. Name the key of the following melody. 4. Identifiez la tonalité de la mélodie suivante.
Transpose it up one octave in the treble clef Transposez-la une octave plus haut, en clef de
using the correct key signature. sol, en utilisant l’armature appropriée.
2
Practice Paper 1
10 5. Write the following scales ascending and 5. Écrivez les gammes suivantes, ascendantes
descending using the correct key signature et descendantes, en utilisant l’armature
for each. Use whole notes. appropriée à chacune. Utilisez des rondes.
a. B flat major in the treble clef a. si bémol majeur en clef de sol
b. B minor, harmonic form in the bass clef b. si mineur harmonique en clef de fa
c. E minor, melodic form in the treble clef c. mi mineur mélodique en clef de sol
d. A flat major in the bass clef d. la bémol majeur en clef de fa
e. F sharp minor, natural form in the e. fa dièse mineur naturel en clef de sol
treble clef
a.
b.
c.
d.
e.
3
Practice Paper 1
10 6. Write the following chords in the bass clef 6. Écrivez les accords suivants en clef de fa
using the correct key signature and any en utilisant l’armature appropriée et les
necessary accidentals. altérations accidentelles nécessaires.
a. the subdominant triad of D major in root a. l’accord de sous-dominante de ré majeur
position en position fondamentale
b. the dominant triad of D minor, harmonic b. l’accord de dominante de ré mineur
form in first inversion harmonique au premier renversement
c. the subdominant triad of C minor, c. l’accord de sous-dominante de do mineur
harmonic form in second inversion harmonique au deuxième renversement
d. the dominant 7th chord of E major in d. l’accord de septième de dominante de mi
root position majeur en position fondamentale
e. the tonic triad of G minor, harmonic e. l’accord de tonique de sol mineur
10 7. Add rests below the brackets to complete 7. Ajoutez des silences sous les crochets pour
each of the following measures. compléter chacune des mesures suivantes.
4
Practice Paper 1
10 8. a. Name the key of this melody. 8. a. Identifiez la tonalité de cette mélodie.

b. Draw a phrase mark over the given phrase b. Tracez une liaison de phrasé au-dessus de
and label the scale degree number of the la phrase donnée et identifiez le numéro
final note. du degré de la note finale.
c. Compose a four-measure answer phrase c. Composez une réponse sous la forme
ending on a stable scale degree. d’une phrase de quatre mesures se
d. Draw a phrase mark over the answer terminant sur un degré stable.
phrase and label the scale degree of the d. Tracez une liaison de phrasé au-dessus de
final note. la phrase-réponse et identifiez le numéro
du degré de la note finale.
5
Practice Paper 1
10 9. a. Match each Italian term in the left 9. a. Pour chaque terme italien dans la colonne
column with its definition in the right de gauche, choisissez la définition
column. You will not use all of the appropriée dans la colonne de droite. Vous
definitions. n’utiliserez pas toutes les définitions.
Example/Exemple:
forte d a. as fast as possible

aussi rapide que possible
lento b. left hand

main gauche
cantabile c. in a singing style

dans un style chantant
tenuto d. loud
fort
prestissimo e. majestic
majestueux
mano sinistra, m.s. f. detached

détaché
g. slow
lent
h. held, sustained
tenu, soutenu
6 CONTINUED NEXT PAGE

Practice Paper 1
b. Answer the questions below for one of the b. Répondez aux questions de l’un des
following works. travaux suivants.
i. “Hallelujah Chorus” i. “Hallelujah Chorus”
Name the composer of this work. Nommez le compositeur de ce
morceau.
What is the title of the work in which
this chorus is found? Quel est le nom de l’oeuvre dans
laquelle se trouve ce choeur?
What is the genre of the entire work?
Quel est le genre de cette oeuvre?
List the voice types that sing in the
chorus: Énumérez les types de voix qui
chantent dans le choeur :

OR/OU
ii. “Queen of the Night Aria” ii. “Queen of the Night Aria”
morceau.
this aria is found? Quel est le titre de l’oeuvre dans
laquelle se trouve cet air?
What is the genre of this work?
What voice type sings this aria?
Quel type de voix chante cet air?
What does the character express in
this aria? Qu’exprime le personnage dans cet
air?
7
Practice Paper 1
10 10. Analyze the following piece of music by 10. Analysez le morceau de musique suivant en
answering the questions below. répondant aux questions ci-dessous.
a. Name the key of this piece.

Identifiez la tonalité de ce morceau.
b. Add the time signature directly on the music.
Ajoutez le chiffre indicateur directement dans la partition.
c. Circle a tonic triad in broken form. Label it i.
Entourez un accord de tonique brisé. Identifiez-le comme i.
d. Circle a dominant triad in broken form. Label it V.
Entourez un accord de dominante brisé. Identifiez-le comme V.
e. Name the interval at letter A.
Identifiez l’intervalle indiqué à la lettre A.
f. Write the correct rest(s) in the box at letter B.
Écrivez le(s) silence(s) approprié(s) dans la boîte à la lettre B.
Identifiez l’intervalle indiqué à la lettre C.
h. How many times does the leading tone appear in this passage?
Combien de fois la note sensible apparaît-elle dans cet extrait?
i. How many ties are in this piece?
Combien de liaisons y a-t-il dans ce morceau?
j. Provide an Italian term that means “lively.”
Indiquez un terme italien qui signifie “vif.”
8
Level 5 Theory
Practice Paper 1
Examiner Comments
Total Mark for this Examination: 72/100
1. Note Naming and Writing: 9/10

a. One mark has been awarded for each correctly drawn note for a total of five correct notes.
b. One mark has been deducted for an incorrect note name in the second measure. The student
has neglected to apply the key signature, which makes this a C sharp, not a C.
2. Half Steps and Whole Steps: 7/10

a. Two marks have been deducted. The second measure is incorrect because the student has
written a chromatic half step (C to C sharp) instead of a diatonic half step (C to D flat). The
third measure is incorrect because E flat to F is a whole step.
b. One mark has been deducted. The final measure is incorrect because F to E is a diatonic half
step.
3. Intervals: 8/10
a. The third measure is incorrect—the note drawn should be a C sharp.
b. The final measure is incorrect—the given interval is a minor seventh, not a major seventh.
4. Transposition: 7.5/10
a. Two marks have been awarded for the correct key name. The new clef and key signature are also
correctly drawn. The notes (including note values and stems) are correct in the first two
measures, but the last five notes are written a third too low. Half a mark has been deducted for
each of these.
5. Scales: 4/10
In this question, one mark is awarded for each correct key signature and one mark is awarded for
each correctly pitched scale.
b. The key signature is incorrect; the two sharps have been placed as though the scale was in the
treble clef. Because of this, the pitch of the scale is also incorrect, and a second mark has been
deducted.
Examiner Commentary

Level 5 Theory: Practice Paper 1 continued
c. The key signature is correct and one mark has been awarded. However, in the descending form
of the E minor melodic scale, the student has used flats to lower the sharps drawn in the
ascending form instead of natural signs.
d. The student has drawn an incorrect key signature; after the first flat sign, the three subsequent
flats have slipped too low. Once again, a second mark has been deducted because this results in
an incorrectly pitched scale.
e. The key signature is correct. The scale begins on the correct note, but continues up to the G
sharp (supertonic) and descends to the supertonic once again. To receive a mark for the correct
set of notes, one complete octave must be drawn (with no missing or additional notes).
6. Tonic, Subdominant and Dominant Chords: 8/10

In this question, one mark is awarded for each correct key signature and one mark is awarded for
each correctly pitched chord. Chords must be drawn in the correct position.
b. The key signature for D minor is correct, and the notes of the dominant triad have been
correctly placed; however, the student has forgotten that the leading tone requires an accidental
(in this case, the C should be a C sharp).
e. The key signature of G minor is correct, but the notes of the tonic triad have been drawn in
second inversion rather than in first inversion as requested.
7. Rests: 7/10
In this question, one mark is deducted for each incorrect measure.
First line: In the first measure, the student has used a half rest to combine the second and third
beats. However, each half-note beat must be clearly shown-two quarter rests followed by an
eighth rest are needed here.
Second line: In the last measure, the student has used a dotted quarter rest on the third beat. This
may not be used in this time signature, as it exceeds the value of the basic beat (the quarter
note).
Third line: In the first measure, the group of triplet sixteenth notes is equal to one eighth note and
must be completed by an eighth rest before proceeding to the two quarter rests.
Examiner Commentary

8. Melody Writing: 9/10

In this question, one mark is awarded for each of the following: naming the key, drawing a phrase
mark over each of the two phrases, and labelling the scale degree of the final note. The student has
received five marks for these elements.
An additional five marks are awarded for composing a four-measure answer phrase to create a
parallel period; that is, an answer phrase that employs the material given in the first phrase with an
altered ending (usually at some point in measures 7 and 8) to end on a stable scale degree (implying
an authentic cadence).
The student has done very well here—the only problem is that the leap from the dominant to the
mediant at the cadence point is somewhat awkward and not stylistic. Therefore, one mark has been
deducted and the examiner has commented “smoother approach at cadence.”
9. Italian Terms and Music History: 9/10

a. This question tests student’s knowledge of Italian terms in a familiar “mix and match” format.
Five marks have been awarded here.
b. This question tests the student’s knowledge of one composition from the Music History
requirement. The student has answered both sets of questions, although only one set is
required. In keeping with the marking policy, only the first set has been marked. The student
has answered four of the questions in part (i) correctly. One mark has been deducted because
the student has confused “genre” with “era” and written “Baroque” instead of “oratorio.”
10. Analysis: 3.5/10

a. The student has lost one mark for naming the key as E flat major instead of C minor.
b. The time signature must be drawn in both the treble and bass staff. Half a mark has been
deducted.
d. The student has circled a dominant chord, but it is not in broken form as specified in the
instruction.
e. The interval is a minor third (because of the key signature).
f. The rests must be shown as two eighth rests, rather than combined into one quarter rest.
g. The interval is a major sixth (again, the key signature needs to be applied throughout).
h. The leading tone appears six times (twice in measure 3, although the accidental only appears
once).
j. The answer allegro is acceptable, as would be vivace.
Examiner Commentary

1 of 8
Level 5 Theory
Practice Paper 1
Total Marks
Confirmation Number
Maximum
10 1. a. Write the following notes in the bass clef. 1. a. Écrivez les notes suivantes en clef de fa.
Use whole notes. Utilisez des rondes.
b. Name the following notes. b. Identifiez les notes suivantes.
10 2. a. Write a diatonic half step above each note. 2. a. Écrivez un demi-ton diatonique au-dessus
de chaque note.
b. Write a whole step below each note. b. Écrivez un ton entier au-dessous de
chaque note.

Practice Paper 1
10 3. a. Write the following intervals above each 3. a. Écrivez les intervalles suivants au-dessus
b. Name each of the following intervals. b. Identifiez chacun des intervalles suivants.
10 4. Name the key of the following melody. 4. Identifiez la tonalité de la mélodie suivante.
Transpose it up one octave in the treble clef Transposez-la une octave plus haut, en clef de
using the correct key signature. sol, en utilisant l’armature appropriée.
2
Practice Paper 1
descending using the correct key signature et descendantes, en utilisant l’armature
for each. Use whole notes. appropriée à chacune. Utilisez des rondes.
a. B flat major in the treble clef a. si bémol majeur en clef de sol
b. B minor, harmonic form in the bass clef b. si mineur harmonique en clef de fa
c. E minor, melodic form in the treble clef c. mi mineur mélodique en clef de sol
d. A flat major in the bass clef d. la bémol majeur en clef de fa
e. F sharp minor, natural form in the e. fa dièse mineur naturel en clef de sol
treble clef
a.
b.
c.
d.
e.
3
Practice Paper 1
10 6. Write the following chords in the bass clef 6. Écrivez les accords suivants en clef de fa
a. the subdominant triad of D major in root a. l’accord de sous-dominante de ré majeur
position en position fondamentale
b. the dominant triad of D minor, harmonic b. l’accord de dominante de ré mineur
c. the subdominant triad of C minor, c. l’accord de sous-dominante de do mineur
d. the dominant 7th chord of E major in d. l’accord de septième de dominante de mi
root position majeur en position fondamentale
e. the tonic triad of G minor, harmonic e. l’accord de tonique de sol mineur
4
Practice Paper 1
10 8. a. Name the key of this melody. 8. a. Identifiez la tonalité de cette mélodie.

b. Draw a phrase mark over the given phrase b. Tracez une liaison de phrasé au-dessus de
and label the scale degree number of the la phrase donnée et identifiez le numéro
final note. du degré de la note finale.
c. Compose a four-measure answer phrase c. Composez une réponse sous la forme
ending on a stable scale degree. d’une phrase de quatre mesures se
d. Draw a phrase mark over the answer terminant sur un degré stable.
phrase and label the scale degree of the d. Tracez une liaison de phrasé au-dessus de
final note. la phrase-réponse et identifiez le numéro
du degré de la note finale.
5
Practice Paper 1
10 9. a. Match each Italian term in the left 9. a. Pour chaque terme italien dans la colonne
column with its definition in the right de gauche, choisissez la définition
column. You will not use all of the appropriée dans la colonne de droite. Vous
definitions. n’utiliserez pas toutes les définitions.
Example/Exemple:
forte d a. as fast as possible

aussi rapide que possible
lento b. left hand

main gauche
cantabile c. in a singing style

dans un style chantant
tenuto d. loud
fort
prestissimo e. majestic
majestueux
mano sinistra, m.s. f. detached

détaché
g. slow
lent
h. held, sustained
tenu, soutenu
6 CONTINUED NEXT PAGE

Practice Paper 1
b. Answer the questions below for one of the b. Répondez aux questions de l’un des
following works. travaux suivants.
i. “Hallelujah Chorus” i. “Hallelujah Chorus”
morceau.
this chorus is found? Quel est le nom de l’oeuvre dans
laquelle se trouve ce choeur?
What is the genre of the entire work?
List the voice types that sing in the
chorus: Énumérez les types de voix qui
chantent dans le choeur :

OR/OU
ii. “Queen of the Night Aria” ii. “Queen of the Night Aria”
morceau.
this aria is found? Quel est le titre de l’oeuvre dans
laquelle se trouve cet air?
What is the genre of this work?
What voice type sings this aria?
Quel type de voix chante cet air?
What does the character express in
this aria? Qu’exprime le personnage dans cet
air?
7
Practice Paper 1

b. Add the time signature directly on the music.
c. Circle a tonic triad in broken form. Label it i.
Entourez un accord de tonique brisé. Identifiez-le comme i.
d. Circle a dominant triad in broken form. Label it V.
Entourez un accord de dominante brisé. Identifiez-le comme V.
e. Name the interval at letter A.
f. Write the correct rest(s) in the box at letter B.
Écrivez le(s) silence(s) approprié(s) dans la boîte à la lettre B.
h. How many times does the leading tone appear in this passage?
Combien de fois la note sensible apparaît-elle dans cet extrait?
i. How many ties are in this piece?
Combien de liaisons y a-t-il dans ce morceau?
j. Provide an Italian term that means “lively.”
Indiquez un terme italien qui signifie “vif.”
8
Intermediate Theory
Analysis Page 1
Set 2, no. 39
Level 6 Theory
Intermediate Theory
Analysis Page 2
1. a. Name the key.
c. Add solid or broken triads in root position in the bass clef for measures 1 to 8.
d. Write the root/quality chord symbols (G, D, or D7) above the staff for measures 1 to 8.
e. Name the chord at letter A.

Root: Quality: Position:
f. Name the chord at letter B.

g. Name the chord at letter C.

h. Circle a diatonic half step. Label it DH.
i. Name the cadence at measure 8.
j. Name the cadence at measure 16.
Set 2, no. 39
Level 6 Theory
Intermediate Theory
Authentic and Half Cadences
1. For each of the following:

a. Name the key.
b. Write the functional chord symbol below each chord.
c. Write the root/quality chord symbol above each chord.
d. Name the type of cadence (authentic or half).
Set 2, no. 41
Level 6 Theory
Intermediate Theory
Authentic and Half Cadences
1. For each excerpt:

a. Name the key.
b. Write the functional and root/quality chord symbols.
c. Name the cadences as authentic (AC) or half (HC).
Set 2, no. 75
Level 6 Theory
Intermediate Theory
Compound Meter
medium (M) beats.
2. Add barlines to each melody.
Set 2, no. 20
Level 6 Theory
Intermediate Theory
Compound Meter
medium (M) beats.
2. Add bar lines to each melody.
Set 2, no. 54
Level 6 Theory
Intermediate Theory
Compound Meter
1. Add the time signature to each of the following measures.
Set 2, no. 79
Level 6 Theory
Intermediate Theory
Compound Meter
Set 2, no. 94
Level 6 Theory
Intermediate Theory
Technical Degree Names and Numbers
1. For each of the following, name:

a. the minor key
b. the scale degree number ( 1̂, 2̂, etc.)
c. the scale degree name (tonic, supertonic, etc.)
2. Write these notes using accidentals only.

a. the supertonic on D flat major
b. the dominant of C sharp major
c. the leading tone of A sharp harmonic minor
d. the subdominant of E flat major
e. the subtonic of F natural minor
Set 1, no. 48
Level 6 Theory
Intermediate Theory
Double Sharps and Double Flats
1. Draw a line from each note to the key it represents on the keyboard.
2. Write the following notes.
3. Write a note that is the enharmonic equivalent of each of the above notes. Name each note.
Set 1, no. 47
Level 6 Theory
Intermediate Theory
Key Signatures and Scale Degree Names
1. Write each key signature and note on both the treble and bass staves of the grand staff below.
2. Name the major and minor key for each key signature.
Set 2, no. 87
Level 6 Theory
Intermediate Theory
Intervals
1. Write each interval above the given note.
2. Rewrite the above intervals, changing the upper note enharmonically. Name the new intervals.
3. Name the following intervals.
Set 2, no. 86
Level 6 Theory
Intermediate Theory
Intervals
1. Name the following intervals.
3. Name the bracketed intervals. Be sure to observe the key signature.
Set 2, no. 82
Level 6 Theory
Intermediate Theory
1. Write each of these scales ascending and descending using a key signature.
a. The enharmonic equivalent major scale of G flat major. Scale name:
b. The parallel minor scale, harmonic form of the scale written in (a). Scale name:
c. The relative minor scale, melodic form of the scale written in (a). Scale name:
d. A flat minor scale, harmonic form
e. The enharmonic equivalent minor scale, melodic form of A flat minor. Scale name:
f. The relative major scale of the scale written in (e). Scale name:
Set 2, no. 22
Level 6 Theory
Intermediate Theory
1. Add the clef and key signature, using any necessary accidentals to form the following scales.
B flat minor, harmonic form
C sharp minor, natural form
2. Write these scales ascending and descending, using a key signature and any necessary
accidentals.
G flat minor, natural form
F sharp minor, melodic form
3. Write these scales ascending and descending, using accidentals only.
E flat minor, melodic form
C minor, harmonic form
Set 2, no. 59
Level 6 Theory
Intermediate Theory
Major and Minor Triads in Root Position and Inversions
1. Name the root and quality of each triad. Indicate the inversion for each triad.
2. Write the following triads using accidentals only.
Set 2, no. 24
Level 6 Theory
Intermediate Theory

a. Name the key.
c. Complete the first phrase according to the given root/quality chord symbols. End on an
unstable scale degree.
d. Compose an answer phrase to create a parallel period. Use measures 1 and 2 as a
model for measures 5 and 6. End on a stable scale degree.
e. Draw a phrase mark over each phrase.
Set 2, no. 36
Level 6 Theory
Intermediate Theory

a. Name the key and write the time signature directly on the music.
b. Complete the first phrase according to the root/quality chord symbols. End on an
c. Write a four-measure answer (consequent) phrase to create a parallel period. Measures 5
and 6 should be modeled on measures 1 and 2. End on a stable scale degree.
d. Draw a phrase mark over each phrase.
Set 2, no. 70
Level 6 Theory
Intermediate Theory
Minor Scales
1. Add the clef and key signature with any necessary accidentals to form these scales.
2. Write these scales ascending and descending using a key signature and any necessary
accidentals.
F minor, harmonic form
3. Write these scales ascending and descending using accidentals only.
D minor, melodic form
A minor, harmonic form
Set 2, no. 16
Level 6 Theory
Intermediate Theory
Minor Scales
1. Add the clef, key signature, and any necessary accidentals to form these scales.
D sharp minor, harmonic form
A flat minor, melodic form
2. Write these scales, ascending and descending, using key signatures and any necessary
accidentals.
B flat minor, melodic form
G sharp minor, harmonic form
3. Write these scales ascending and descending, using accidentals only.
E flat minor, melodic form
A sharp minor, harmonic form
Set 2, no. 65
Theory Level 6
Intermediate Theory
Simple and Compound Meters
2. Add bar lines to the each of following.
Set 2, no. 52
Level 6 Theory
1 of 9
Level 6 Theory
Practice Paper 1
Total Marks
Confirmation Number
Maximum
10 1. a. Name the following intervals. 1. a. Identifiez les intervalles suivants.
b. Write the following intervals above each b. Écrivez les intervalles suivants au-dessus

Practice Paper 1
descending in the clefs provided using the et descendantes, dans les clefs données
correct key signatures and any necessary en utilisant l’armature appropriée et les
accidentals. Use whole notes. altérations accidentelles nécessaires. Utilisez
a. E major in the treble clef des rondes.
b. A flat minor, harmonic form in the a. mi majeur en clef de sol
bass clef b. la bémol mineur harmonique en clef de fa
c. G minor, melodic form in the treble clef c. sol mineur mélodique en clef de sol
d. B major in the bass clef d. si majeur en clef de fa
e. the enharmonic tonic major of G flat e. l’enharmonique majeur de sol bémol
major in the treble clef majeur en clef de sol
a.
b.
c.
d.
e.
2
Practice Paper 1
10 4. The following melody is in the key of E flat 4. La mélodie suivante est dans la tonalité de
major. mi bémol majeur.
a. Transpose the given melody up an a. Transposez la mélodie donnée une
augmented fourth using the correct key quarte augmentée plus haut en utilisant
signature. Name the new key. l’armature appropriée. Identifiez la
nouvelle tonalité.
b. Transpose the given melody up into b. Transposez la mélodie donnée vers le

the key of G major using the correct haut en sol majeur en utilisant l’armature
key signature. Name the interval of appropriée. Identifiez l’intervalle de
transposition. transposition.
Interval of transposition/
Intervalle de transposition:
3
Practice Paper 1
10 5. a. Write the following triads in the treble 5. a. Écrivez les accords suivants en clef de sol
clef using the correct key signature and en utilisant l’armature appropriée et les
any necessary accidentals. altérations accidentelles nécessaires.
i. the supertonic triad of A major in i. l’accord de sus-tonique de la majeur
root position en position fondamentale
ii. the dominant triad of D minor, ii. l’accord de dominante de ré mineur
harmonic form in first inversion harmonique au premier renversement
iii. the mediant triad of B major in iii. l’accord de médiante de si majeur au
second inversion deuxième renversement
iv. the tonic triad of C sharp minor, iv. l’accord de tonique de do dièse
harmonic form in first inversion mineur harmonique au premier
v. the submediant triad of G flat major renversement
in second inversion v. l’accord de sus-dominante de
sol bémol majeur au deuxième
renversement
b. Write the root/quality chord symbol above b. Écrivez la fondamentale/type d’accord au-
each of the following chords. dessus de chacun des accords suivants.
4
Practice Paper 1
10 6. For each of the following phrases: 6. Pour chacune des phrases suivantes :
a. Name the key. a. Identifiez la tonalité.
b. Write the root/quality chord symbol above b. Écrivez les fondamentales/types d’accords
each chord on the line provided. au-dessus de chaque accord sur la ligne
c. Write the functional chord symbol below donnée.
each chord on the line provided. c. Écrivez les symboles d’accords fonctionnels
d. Name the type of cadence (authentic or sous chaque accord sur la ligne donnée.
half cadence). d. Identifiez le type de cadence (authentique
ou demi-cadence).
5
Practice Paper 1
10 7. a. For each of the following phrases: 7. a. Pour chacune des phrases suivantes :
i. Name the key. i. Identifiez la tonalité.
ii. Write the correct time signature ii. Écrivez le chiffre indicateur approprié
directly on the music. directement dans la partition.
b. For the following phrase: b. Pour la phrase suivante :

iii. Write the root/quality chord symbols iii. Écrivez les fondamentales/types
implied by the melody on the lines d’accords proposés par la mélodie sur
provided. les lignes données.
6
Practice Paper 1
10 8. For the following melodic opening: 8. Pour l’extrait mélodique suivant :

b. Write the time signature directly on the b. Écrivez le chiffre indicateur directement
music. dans la partition.
c. Complete the first phrase according to the c. Complétez la première phrase d’après les
given functional chord symbols. End on symboles d’accords fonctionnels donnés.
an unstable scale degree. Terminez sur un degré instable.
d. Compose an answer phrase to create d. Composez une phrase-réponse pour créer
a parallel period. End on a stable scale une période parallèle. Terminez sur un
degree. degré stable.
e. Draw a phrase mark over each phrase. e. Tracez une liaison de phrasé au-dessus de
chaque phrase.
7
Practice Paper 1
10 9. a. Explain the meaning of the following 9. a. Expliquez la signification des termes

Italian terms. italiens suivants.
meno mosso
senza pedale
con espressione
sempre staccato
subito piano
b. Fill in the blanks for the following.

Remplissez les espaces vides pour les questions suivantes.
Name the composer of Brandenburg Concerto No. 5.

Nommez le compositeur du Brandenburg Concerto No. 5.
Name two of the solo instruments featured in Brandenburg Concerto No. 5.

Nommez deux instruments solistes présents dans le Brandenburg Concerto No. 5.
What is the predominant texture that Bach employs in Invention in C Major, BWV 772?
Quelle est la texture prédominante employée par Bach dans l’Invention in C Major, BWV 772?
What is the genre of Eine kleine Nachtmusik?

Quel est le genre de Eine kleine Nachtmusik?
What is the form of the first movement of Eine kleine Nachtmusik?

Quelle est la forme du premier mouvement de Eine kleine Nachtmusik?
8
Practice Paper 1

c. Write the appropriate rest(s) in the box at letter A.
Écrivez le(s) silence(s) approprié(s) dans la boîte à la lettre A.
d. Name the triad at letter B. Root: Quality/Type:
Identifiez l’accord indiqué à la lettre B. Fondamentale : Sorte :
e. Name the triad at letter C. Root: Quality/Type:
Identifiez l’accord indiqué à la lettre C. Fondamentale : Sorte :
Identifiez l’intervalle indiqué à la lettre D.
g. Name the interval at letter E.
Identifiez l’intervalle indiqué à la lettre E.
h. The triad at letter F is the:
L’accord indiqué à la lettre F est :
 supertonic triad  mediant triad submediant triad

 l’accord de sus-tonique  l’accord de médiante l’accord de sus-dominante

i. Circle a chromatic half step directly on the music. Label it CH.
Entourez un demi-ton chromatique directement dans la partition. Identifiez-le comme DC.
j. How many measures are in this passage?
Combien de mesures y a-t-il dans cet extrait?
9
Level 6 Theory
Rough Work
10
Level 6 Theory
Practice Paper 1
Examiner Comments
1. Intervals: 6/10
a. In part (a), one mark is awarded for each correctly named interval. One mark has been
deducted here because the student has named the first interval as a major fifth, instead of a
perfect fifth.
b. In part (b), one mark is awarded for each correctly drawn interval. Three marks have been
deducted. In the first measure, the top note should be C natural. In the second measure, the
student has altered the given note by adding a flat sign in front of the B. The given note
should not be altered—a D sharp above the given B is needed here to create a major third.
In the fourth measure, the student has used a double sharp sign in front of the D, when
only a single sharp sign is required.
2. Rests: 7/10
In this question, one mark is awarded for each correct measure. No half marks are awarded.
First line: The third measure is incorrect; instead of using two dotted quarter rests, the student
should have used a whole rest.
Second line: The first measure is incorrect. To complete the first beat, the student should have
used a thirty-second rest, followed by two sixteenth rests to show the individual second and
third pulses.
Third line: The first measure is incorrect, as the half rest cannot be used to join the second and
third beats; two quarter rests should have been used instead.
3. Scales: 5/10
In this question, one mark is awarded for each correct key signature and one mark is awarded
for each correctly pitched scale.
b. The student has written the key signature of A flat major instead of A flat minor. For that
reason, the entire set of notes is incorrectly pitched. The key signature and the set of notes
are each circled and an arrow is drawn back to the key signature to indicate the source of
the second deduction.
Examiner Commentary

c. No marks have been deducted for the redundant accidentals that the student has added to
the descending form of the melodic scale. Because the student has drawn a bar line after the
upper tonic, these accidentals are unnecessary; the examiner has drawn arrows to indicate
they are not needed.
d. The student has placed the five sharps of the B major scale as though this were the treble
clef rather than the bass clef. This means that the set of notes is incorrectly pitched and a
second mark has been deducted.
e. The key signature is correct, but the student has not written a complete set of notes—the
scale ends on the supertonic instead of the tonic; therefore, one mark has been deducted.
4. Transposition: 7/10
In this question, the student is asked to transpose a short melody to two different keys. Each
part is allotted five marks; one mark is awarded for naming the correct new key or interval of
transposition, one mark is awarded for drawing the correct new key signature, and three marks
are awarded for the actual transposition of the melody.
a. Everything is correct except that the student has forgotten to write the time signature on the
transposed line—half a mark has been deducted.
b. One mark has been deducted for naming the interval of transposition as an augmented third
instead of a major third. However, because the key signature for G major is correct, the marks
for the set of notes are awarded, except for the following half-mark deductions: there is a
misplaced dot in measure 1, there should not be a flag on the final note, and the double bar
line at the end is missing.
5. Chords: 8/10
In part (a), half a mark is awarded for each correct key signature and half a mark is awarded for
each correctly pitched triad.
ii. The student has forgotten to use an accidental for the leading tone.
iii. The triad is in the wrong inversion.
v. The student has used the key signature of G major instead of G flat major and therefore the
set of notes is not correctly pitched.
In part (b), one mark is awarded for each correct root/quality chord symbol. Everything here
is correct and all five marks are awarded.
Examiner Commentary

6. Cadences: 8.5/10
At this level, the student names the key and type of cadence for each of the two phrases and
labels the chords in each cadence with both root/quality and functional chord symbols. One
mark is awarded for each key name, one mark is awarded for each cadence name, one mark is
awarded for each root/quality chord symbol, and half a mark is awarded for each functional
chord symbol.
In the first phrase, one mark has been deducted for the incorrect root/quality chord symbol.
(A should be A ). In the second phrase, half a mark has been deducted for the first functional
chord symbol. “I” denotes a major chord and this phrase is in the key of B minor; therefore,
the chord symbol should be “i.”
7. Identification of Keys, Time Signatures, and Implied Harmony: 8/10

In part (a), one mark is awarded for each correctly identified key and each correct time
signature for a total of six marks. In the second excerpt, the student has written
instead of . In the third excerpt, the student has identified the key as E flat minor, instead
of G flat major.
In part (b), one mark is awarded for the key name, one mark is awarded for the time signature,
and half a mark is awarded for each correct root/quality chord symbol. The student has done
everything correctly and all four marks are awarded. Note that for this practice paper, the first chord
symbol has been provided as an example.

In this question, one mark is awarded for the key name, one mark is awarded for the time
signature, and two marks are awarded for drawing the phrase marks. Two marks are awarded
for completing the melody in the first phrase, ending on an unstable scale degree. The
remaining four marks are awarded for composing the answer phrase to create a parallel period,
ending on a stable scale degree.
The student working is quite good, except that this student has written a contrasting period
instead of a parallel period. For this reason, two marks have been deducted.
9. Music Terms and Music History: 7/10

In part (a), one mark is awarded for each correct definition. Each Italian term consists of two
words, so part marks are possible here. Half a mark has been deducted for translating sempre
staccato as “suddenly detached.” Staccato does mean “detached,” but sempre is “always” or
“continuously.” No mark is awarded for translating subito piano as “under the piano.”
Examiner Commentary

In part (b), one mark is awarded for each correct answer. Each instrument in the second
question is allotted half a mark. The student has lost half a mark for identifying the trumpet as
one of the featured solo instruments in Brandenburg Concerto No. 5 and one mark for identifying
the genre of Eine kleine Nachtmusik as “Classical.”

In this question, one mark awarded is for each correct answer; half marks are possible for
some parts.
b. The student has written the correct time signature on both staves of the first system, but has
also written the time signature on the second system; half a mark has been deducted.
f. One mark has been deducted for naming the interval as a perfect fifth instead of a
diminished fifth.
g. The student has named the interval as a diminished third instead of a minor third.
j. The student has said there are nine measures in this excerpt. Either eight or sixteen (because
of the repeat) would be acceptable.
Examiner Commentary

1 of 9
Level 6 Theory
Practice Paper 1
Total Marks
Confirmation Number
Maximum
10 1. a. Name the following intervals. 1. a. Identifiez les intervalles suivants.
b. Write the following intervals above each b. Écrivez les intervalles suivants au-dessus

Practice Paper 1
descending in the clefs provided using the et descendantes, dans les clefs données
correct key signatures and any necessary en utilisant l’armature appropriée et les
accidentals. Use whole notes. altérations accidentelles nécessaires. Utilisez
a. E major in the treble clef des rondes.
b. A flat minor, harmonic form in the a. mi majeur en clef de sol
bass clef b. la bémol mineur harmonique en clef de fa
c. G minor, melodic form in the treble clef c. sol mineur mélodique en clef de sol
d. B major in the bass clef d. si majeur en clef de fa
e. the enharmonic tonic major of G flat e. l’enharmonique majeur de sol bémol
major in the treble clef majeur en clef de sol
a.
b.
c.
d.
e.
2
Practice Paper 1
10 4. The following melody is in the key of E flat 4. La mélodie suivante est dans la tonalité de
major. mi bémol majeur.
a. Transpose the given melody up an a. Transposez la mélodie donnée une
augmented fourth using the correct key quarte augmentée plus haut en utilisant
signature. Name the new key. l’armature appropriée. Identifiez la
nouvelle tonalité.
b. Transpose the given melody up into b. Transposez la mélodie donnée vers le

the key of G major using the correct haut en sol majeur en utilisant l’armature
key signature. Name the interval of appropriée. Identifiez l’intervalle de
transposition. transposition.
Interval of transposition/
Intervalle de transposition:
3
Practice Paper 1
10 5. a. Write the following triads in the treble 5. a. Écrivez les accords suivants en clef de sol
clef using the correct key signature and en utilisant l’armature appropriée et les
any necessary accidentals. altérations accidentelles nécessaires.
i. the supertonic triad of A major in i. l’accord de sus-tonique de la majeur
root position en position fondamentale
ii. the dominant triad of D minor, ii. l’accord de dominante de ré mineur
harmonic form in first inversion harmonique au premier renversement
iii. the mediant triad of B major in iii. l’accord de médiante de si majeur au
second inversion deuxième renversement
iv. the tonic triad of C sharp minor, iv. l’accord de tonique de do dièse
harmonic form in first inversion mineur harmonique au premier
v. the submediant triad of G flat major renversement
in second inversion v. l’accord de sus-dominante de
sol bémol majeur au deuxième
renversement
b. Write the root/quality chord symbol above b. Écrivez la fondamentale/type d’accord au-
each of the following chords. dessus de chacun des accords suivants.
4
Practice Paper 1
10 6. For each of the following phrases: 6. Pour chacune des phrases suivantes :
b. Write the root/quality chord symbol above b. Écrivez les fondamentales/types d’accords
each chord on the line provided. au-dessus de chaque accord sur la ligne
c. Write the functional chord symbol below donnée.
each chord on the line provided. c. Écrivez les symboles d’accords fonctionnels
d. Name the type of cadence (authentic or sous chaque accord sur la ligne donnée.
half cadence). d. Identifiez le type de cadence (authentique
ou demi-cadence).
5
Practice Paper 1
10 7. a. For each of the following phrases: 7. a. Pour chacune des phrases suivantes :
b. For the following phrase: b. Pour la phrase suivante :

iii. Write the root/quality chord symbols iii. Écrivez les fondamentales/types
implied by the melody on the lines d’accords proposés par la mélodie sur
provided. les lignes données.
6
Practice Paper 1

b. Write the time signature directly on the b. Écrivez le chiffre indicateur directement
music. dans la partition.
c. Complete the first phrase according to the c. Complétez la première phrase d’après les
given functional chord symbols. End on symboles d’accords fonctionnels donnés.
an unstable scale degree. Terminez sur un degré instable.
d. Compose an answer phrase to create d. Composez une phrase-réponse pour créer
a parallel period. End on a stable scale une période parallèle. Terminez sur un
degree. degré stable.
e. Draw a phrase mark over each phrase. e. Tracez une liaison de phrasé au-dessus de
chaque phrase.
7
Practice Paper 1
10 9. a. Explain the meaning of the following 9. a. Expliquez la signification des termes

Italian terms. italiens suivants.
meno mosso
senza pedale
con espressione
sempre staccato
subito piano
b. Fill in the blanks for the following.

Remplissez les espaces vides pour les questions suivantes.
Name the composer of Brandenburg Concerto No. 5.

Nommez le compositeur du Brandenburg Concerto No. 5.
Name two of the solo instruments featured in Brandenburg Concerto No. 5.

Nommez deux instruments solistes présents dans le Brandenburg Concerto No. 5.
What is the predominant texture that Bach employs in Invention in C Major, BWV 772?
Quelle est la texture prédominante employée par Bach dans l’Invention in C Major, BWV 772?
What is the genre of Eine kleine Nachtmusik?

Quel est le genre de Eine kleine Nachtmusik?
What is the form of the first movement of Eine kleine Nachtmusik?

Quelle est la forme du premier mouvement de Eine kleine Nachtmusik?
8
Practice Paper 1

c. Write the appropriate rest(s) in the box at letter A.
Écrivez le(s) silence(s) approprié(s) dans la boîte à la lettre A.
d. Name the triad at letter B. Root: Quality/Type:
e. Name the triad at letter C. Root: Quality/Type:
g. Name the interval at letter E.
Identifiez l’intervalle indiqué à la lettre E.
h. The triad at letter F is the:
L’accord indiqué à la lettre F est :
 supertonic triad  mediant triad submediant triad

 l’accord de sus-tonique  l’accord de médiante l’accord de sus-dominante

i. Circle a chromatic half step directly on the music. Label it CH.
Entourez un demi-ton chromatique directement dans la partition. Identifiez-le comme DC.
j. How many measures are in this passage?
Combien de mesures y a-t-il dans cet extrait?
9
Level 6 Theory
Rough Work
10
Intermediate Theory
Analysis Page 1
Set 2, no. 40
Level 7 Theory
Intermediate Theory
Analysis Page 2
1. a. Name the key.
c. Draw a phrase mark over each phrase.
d. Name each cadence as authentic or half.
e. Add harmony by adding broken triads in root position for measures 2 to 8.
f. Circle the passing tones (pt) in this melody for measures 9 to 16.
g. Write the root/quality chord symbols above the staff (D, G, A, or A7).
h. Name the interval at letter A.
i. Name the interval at letter B.
j. Circle a diatonic half step. Label it DH.
Set 2, no. 40
Level 7 Theory
Intermediate Theory
Analysis
1. For each of the following melodies:

a. Name the key.
b. Symbolize the implied harmony using root/quality and functional chord symbols.
c. Circle and classify the non-chord tones.
d. Mark the phrasing.
e. Name the cadence type.
Set 1, no. 52
Level 7 Theory
Intermediate Theory
Chords
1. Name these chords as:

major triad augmented triad quartal chord
minor triad dominant 7th triad polychord
diminished triad diminished 7th triad cluster chord
Set 2, no. 67
Theory Level 7
Intermediate Theory
Chromatic Scales
1. Add accidentals to form chromatic scales.
2. Write chromatic scales using accidentals.
3. Add accidentals under the bracket to create a chromatic passage.
Set 2, no. 31
Level 7 Theory
Intermediate Theory
Chromatic Scales
Set 2, no. 55
Level 7 Theory
Intermediate Theory
Set 2, no. 80
Level 7 Theory
Intermediate Theory
Diminished and Augmented Triads
1. Name the root, quality, and position of each triad.

a. submediant triad of B major in second inversion
b. supertonic triad of D minor, harmonic form in first inversion
c. mediant triad of C minor, harmonic form in root position
d. mediant triad of F sharp minor, harmonic form in second inversion
e. leading-tone triad of B minor, harmonic form in first inversion
Set 2, no. 25
Level 7 Theory
Intermediate Theory
1. Name the root, quality, and position of each triad.

a. supertonic triad of A minor, harmonic form, in first inversion
b. leading-tone triad of C sharp minor, harmonic form, in second inversion
c. mediant triad of D minor, harmonic form, in root position
d. leading-tone triad of F sharp major in second inversion
e. mediant triad of G sharp minor, harmonic form, in first inversion
Set 2, no. 62
Level 7 Theory
Intermediate Theory
Leading-tone Diminished 7th Chords
1. Name the key and write the functional chord symbol for each diminished 7th chord.
2. Write diminished 7th chords using the key signature and accidentals.
3. Write diminished 7th chords using accidentals.
4. Identify each chord as diminished 7th (viio7) or dominant 7th (V7).
Set 2, no. 32
Level 7 Theory
Intermediate Theory
Leading-tone Diminished 7th Chords
1. For each diminished 7th chord, name the key and provide the root/quality chord symbol.

2. Write diminished 7th chords, using a key signature and accidentals.
3. Write diminished 7th chords, using accidentals only.
4. Identify these chords as diminished 7th (dim. 7th) or dominant 7th (dom. 7th) chords.

Set 2, no. 73
Level 7 Theory
Intermediate Theory
Dominant 7th Chords
1. Name the key, root, and position for each of the following chords.
2. Write the following dominant 7th chords using accidentals only.

a. C sharp major, first inversion
b. A flat major, third inversion
c. D sharp minor, second inversion
d. F sharp minor, root position
e. G minor, first inversion
Set 2, no. 74
Level 7 Theory
Intermediate Theory
Dominant 7th Chords in Root Position and Inversions
1. Name the key, root, and position of each chord.
2. Write the following dominant 7th chords using accidentals only.

a. E major, first inversion
b. B flat major, third inversion
c. C minor, second inversion
d. D sharp minor, root position
e. B minor, first inversion
Set 2, no. 33
Level 7 Theory
Intermediate Theory
Dominant 7th and Leading-tone Diminished 7th Chords
1. For each of the following seventh chords, name:

a. the type (dominant 7th or diminished 7th)
b. the key to which it belongs
c. the inversion
2. Write the following seventh chords using accidentals only.

a. dominant 7th chord of G major in first inversion
b. diminished 7th chord of G minor in root position
c. dominant 7th chord of A major in second inversion
d. diminished 7th chord of C minor in root position
e. dominant 7th chord of E minor in root position
f. diminished 7th chord of B flat major in root position
Set 1, no. 49
Level 7 Theory
Intermediate Theory
Irregular Groupings and Double Dotted Notes
2. Add bar lines to each of the following.
Set 1, no. 51
Level 7 Theory
Intermediate Theory
Intervals
1. Write the following intervals below each given note.
w w w
& w w
dim 4 aug 4 dim 8 aug 3 dim 2
2. Name the boxed intervals.
Set 2, no. 30
Level 7 Theory
Intermediate Theory
Intervals
1. Write the following intervals above each given note.
Set 2, no. 56
Level 7 Theory
Intermediate Theory
Intervals
2. Write each interval below the given note.
3. Write each interval above the given note. Invert each interval and rename it.
Set 2, no. 88
Level 7 Theory
Intermediate Theory
1. For each of the following melodic openings:

a. Name the key and write the time signature on the music.
b. Complete the first phrase according to the given root/quality chord symbols. End on an
c. Compose an answer phrase to create a contrasting period. End on a stable scale
degree.
d. Circle and label the non-chord tones as passing (pt) and neighbor (nt) tones.
e. Name each cadence as authentic or half.
f. Draw a phrase mark over each phrase.
Set 2, no. 37
Level 7 Theory
Intermediate Theory
1. For each melody opening:

b. Write a four-measure answer (consequent) phrase to create a contrasting period. End on
a stable scale degree.
c. Circle and label the non-chord tones as passing (pt) or neighbor (nt) tones.
d. Name each cadence as authentic (AC) or half (HC).
e. Draw a phrase mark over each phrase.
Set 2, no. 76
Level 7 Theory
Intermediate Theory
Minor Scales
Set 2, no. 66
Theory Level 7
Intermediate Theory
Octatonic Scales
1. Add accidentals to form octatonic scales.
2. Write octatonic scales ascending and descending according to the given note and the
starting interval.
Start with a whole step
Start with a half step
Start with a whole step
Start with a half step
Set 2, no. 44
Level 7 Theory
Intermediate Theory
Scales
a. major
harmonic minor
b.
melodic minor
natural minor
c.
whole-tone
d.
chromatic
octatonic
e.
blues
f. major pentatonic
minor pentatonic
g.
h.
Set 2, no. 26
Level 7 Theory
Intermediate Theory
Triads
1. Write the following triads using a key signature and any necessary accidentals.
a. the tonic triad of B flat major in second inversion
b. the dominant triad of F sharp harmonic minor in root position
c. the supertonic triad of G flat major in first inversion
d. the leading-tone triad of B harmonic minor in root position
e. the subdominant triad of A flat major in second inversion
2. Write these triads using accidentals only.

a. the mediant triad of C sharp harmonic minor in root position
b. the submediant triad of E flat major in first inversion
c. the leading-tone triad of D major in root position
d. the mediant triad of F minor, natural form in second inversion
e. the subdominant triad of C flat major in first inversion
3. For each triad:

a. Name the type (major, minor, diminished, or augmented).
b. Name the inversion.
Set 1, no. 50
Level 7 Theory
Intermediate Theory
Whole-tone Scales
1. Add accidentals to form whole-tone scales.
2. Write whole-tone scales ascending and descending starting on the given note.
Set 2, no. 45
Level 7 Theory
1 of 9
Level 7 Theory
Practice Paper 1
Total Marks
Confirmation Number
Maximum
10 1. a. Write the following intervals below each 1. a. Écrivez les intervalles suivants au-dessous
b. Invert the above intervals in the same clef. b. Renversez les intervalles ci-dessus dans la
Name the inversions. même clef. Identifiez les renversements.

Practice Paper 1
2
Practice Paper 1
10 3. a. Write the following scales ascending 3. a. Écrivez les gammes suivantes, ascendantes
and descending using the correct key et descendantes, en utilisant l’armature
signature and any necessary accidentals. appropriée et les altérations accidentelles
Use whole notes. nécessaires. Utilisez des rondes.
i. D flat major in the treble clef i. ré bémol majeur en clef de sol
ii. G sharp minor, harmonic form in the ii. sol dièse mineur harmonique en clef
bass clef de fa
iii. F minor, melodic form in the treble iii. fa mineur mélodique en clef de sol
clef iv. do dièse majeur en clef de fa
iv. C sharp major in the bass clef
i.
ii.
iii.
iv.
b. Name the following scales as chromatic, b. Identifiez les gammes suivantes

whole-tone, octatonic, major pentatonic, comme étant chromatiques, par tons,
minor pentatonic, or blues. octatoniques, pentatoniques majeures,
pentatoniques mineures, ou blues.
3
Practice Paper 1
10 4. a. Name the key of the following melody. 4. a. Identifiez la tonalité de la mélodie

Rewrite the melody at the same pitch suivante. Réécrivez la mélodie au
using the correct key signature and any même diapason en utilisant l’armature
necessary accidentals. appropriée et les altérations accidentelles
nécessaires.
b. Transpose the melody down a diminished b. Transposez la mélodie un quarte

fourth using the correct key signature. diminuée plus bas en utilisant l’armature
Name the new key. appropriée. Identifiez la nouvelle tonalité.
4
Practice Paper 1
10 5. Write the following triads in the bass clef 5. Écrivez les accords suivants en clef de fa
a. the subdominant triad of F sharp major a. l’accord de sous-dominante de fa dièse
in first inversion majeur au premier renversement
b. the leading-tone triad of C sharp minor, b. l’accord de sensible de do dièse mineur
harmonic form in root position harmonique en position fondamentale
c. the mediant triad of B flat minor, c. l’accord de médiante de si bémol mineur
d. the submediant triad of D major in first d. l’accord de sus-dominante de ré majeur au
inversion premier renversement
e. the dominant triad of A flat minor, e. l’accord de dominante de la bémol mineur
10 6. For each of the following seventh chords: 6. Pour chacun des accords de septième
a. Name the key. suivants :
b. Name the type of chord. a. Identifiez la tonalité.
b. Identifiez le type d’accord.
5
Practice Paper 1
10 7. For each of the following melodies: 7. Pour chacune des mélodies suivantes :
b. Write a cadence in keyboard style below b. Écrivez une cadence pour clavier sous les
the bracketed notes. notes indiquées.
c. Label the chords using functional chord c. Identifiez les accords avec des symboles
symbols. d’accords fonctionnels.
d. Name the type of cadence (authentic d. Identifiez le type de cadence (authentique
or half). ou demi-cadence).
6
Practice Paper 1

b. Compose an answer phrase to create a b. Composez une phrase-réponse pour créer
contrasting period ending on a stable une période contrastante se terminant sur
scale degree. un degré stable.
c. Draw a phrase mark over each phrase. c. Tracez une liaison de phrasé au-dessus de
d. Name the type of each cadence chaque phrase.
(authentic or half). d. Identifiez le type de chaque cadence
(authentique ou demi-cadence).
7
Practice Paper 1
10 9. a. Write the Italian term for five of the 9. a. Écrivez le terme italien pour cinq des
following definitions. définitions suivantes.
sustained
soutenu
dying, fading away

mourant, disparaissant
weighty, with emphasis

pesant, avec insistance
simple
simple
humorous, jocose
humoristique, jovial
soft, subdued, under the breath

doux, modéré, à mi-voix
lively
vivant
b. Provide the title for each of the following. b. Donnez un titre à chacune des
descriptions suivantes.
a concert overture by Felix Mendelssohn

une ouverture de concert de Felix Mendelssohn
an electronic work by Hugh LeCaine

une oeuvre électronique de Hugh LeCaine
a virtuosic piano piece by Frédéric Chopin

un morceau virtuose pour piano de Frédéric Chopin
a twelve-bar blues composition by Duke Ellington

un blues de douze mesures de Duke Ellington
a polytonal ballet by Igor Stravinsky

un ballet polytonal de Igor Stravinsky
8
Practice Paper 1

Écrivez le chiffre indicateur approprié directement dans la partition.
d. Name the chord at letter B. Root: Quality/Type:
e. Name the chord at letter C. Root: Quality/Type:
f. Explain the sign at letter D.
Expliquez la signification du signe indiqué à la lettre D.
g. Name the type of cadence at letter E.
Identifiez le type de cadence à la lettre E.
h. Write the appropriate rest(s) in the box at letter F.
Écrivez le(s) silence(s) approprié(s) dans la boîte à la lettre F.
i. Explain the meaning of andante grazioso.
Expliquez la signification de andante grazioso.
j. Based on the composer’s name and dates, identify the era in which this piece was composed.
D’après le nom et les dates du compositeur, identifiez l’ère pendant laquelle ce morceau fut composé.

9
Level 7 Theory
Rough Work
10
Level 7 Theory
Practice Paper 1
Examiner Comments
1. Intervals: 6/10
a. One mark has been awarded for each correctly written interval. One mark has been
deducted in the second measure, in which the student has written an A sharp instead of an
A double sharp. In the third measure, one mark has been deducted because the student has
written an augmented sixth above the given note, instead of below as required.
b. One mark is awarded for writing and naming the inversions of the intervals in Question 1a.
Half marks are not awarded. Here, two marks are deducted for the second and third
measures.
2. Rests: 6/10
In this question, one mark is awarded for each correct bracket. Half marks are not awarded.
Line 1: The first measure is incorrect; an eighth rest is needed before the two quarter rests.
Line 2: The first measure needs an eighth rest to complete the first beat. The second measure
is incorrect because the fifth and sixth pulses (second and third pulses of the second beat)
need to be shown with separate eighth rests.
Line 3: The first measure is incorrect, as the second and third beats must be shown with
separate half rests.
3. Scales: 6/10
a. One mark has been awarded for each correct key signature and one mark has been awarded
for each correctly pitched set of notes.
ii. One mark has been deducted for the key signature; although the five sharps of G sharp
minor are present, the A sharp is written one octave too high (on the fifth line). This key
signature is considered “misplaced”: because the A sharp is present, the pitch of the scale
that follows is correct, and therefore no further deduction is taken.
iv. One mark has been deducted because the key signature is incorrect. The student has
written six sharps instead of seven (and has also placed the sharps as though this were
the treble clef, rather than the bass clef). A second mark has been deducted because the
set of notes is incorrectly pitched as a result of the incorrect key signature.
Examiner Commentary

b. One mark has been awarded for each correctly named scale. The student has named the
second scale as “major pentatonic” instead of “whole-tone” and one mark has been
deducted as a result.
4. Transposition: 7/10
In each part of this question, one mark is allotted for naming the key, one mark is allotted for
writing the correct key signature, and three marks are allotted for rewriting or transposing the
melody.
a. The student has correctly named the key of C minor, written the key signature, and rewritten
the melody except for the following small errors, each of which receives a half-mark
deduction: the time signature is missing, the beam for the first two notes is incorrect, and
one of the staccato markings is missing in the final measure.
b. One mark has been deducted for naming the new key as G minor instead of G sharp minor.
However, because the student has written the correct key signature, the pitch of the melody
is correct. The only further deduction is a half mark for the stem direction of the sixteenth
notes in the first measure.
5. Triads: 7/10
In this question, one mark is awarded for each correct key signature and one mark is awarded
for each correctly pitched triad. Triads must be written in the correct inversions.
In (b), one mark has been deducted because the student has forgotten to use an accidental for
the leading tone. In (c), one mark has been deducted because the mediant triad of a minor key
(harmonic form) also requires an accidental for the leading tone. In (d), the student has written
the subdominant triad of D major in first inversion, instead of the submediant triad.
6. Seventh Chords: 10/10

In this question, one mark is awarded for each correct key name and one mark is awarded for
identifying the type of seventh chord as dominant 7th or diminished 7th.
The student has actually gone beyond the requirement here and identified each chord with a
root/quality chord symbol. However, since all the answers are accurate, and the required
information is given within each chord symbol, full marks are awarded here.
7. Cadences: 7.5/10
On this practice paper, the marks for each phrase are allotted as follows: one mark for naming
the key, one mark for naming the type of cadence, a half mark for each right-hand chord, a half
mark for each left-hand bass note, and a half mark for each functional chord symbol. Please note
that on an actual examination, the mark allocation may differ.
Examiner Commentary

In the first phrase, the student has done everything correctly, except that there is a downward
leap of a seventh in the bass as IV moves to V. One mark has been deducted here for poor
voice leading.
In the second phrase, three half marks have been deducted: one for the missing dots in the
final right-hand chord, and two for the incorrect bass notes in the left hand.

In this question, one mark is allotted for the key name, two marks are allotted for naming the
cadences, and one mark is allotted for drawing the phrase marks (a half mark for each). Six
marks are allotted for composing the melody in the second phrase to create a contrasting
period.
The student has done an excellent job on this contrasting period except for the ending, at
which point the melody leaps from the leading tone (C sharp) to the mediant. This creates an
awkward and unsettled ending. For this reason, one mark has been deducted and the examiner
has added a comment encouraging the student to aim for smoother melodic motion at the
cadence.
9. Music Terms and Music History: 10/10

a. One mark is allotted for supplying the correct Italian term for each definition. Full marks are
awarded here, even though there is a misspelling on the term morendo. The examiner has
indicated this with “sp.”
b. One mark is allotted for supplying the title that matches each description. Again, there are a
few small slips: one title has been misspelled and another is not given in full. However, no
marks have been deducted as the student’s answers are clear.

One mark is awarded for each correct answer, although half marks are possible for some parts
of this question.
c. The student has named the interval as a major seventh, instead of a minor seventh.
e. Both the root and the quality of the chord are incorrect. Half a mark has been deducted for
each of these errors.
f. Half a mark has been deducted for sforzando because the question asks the student to explain
the meaning of the term. Some credit is given for supplying the term sforzando but for a full
mark, the student must also define it.
Examiner Commentary

1 of 9
Level 7 Theory
Practice Paper 1
Total Marks
Confirmation Number
Maximum
10 1. a. Write the following intervals below each 1. a. Écrivez les intervalles suivants au-dessous
b. Invert the above intervals in the same clef. b. Renversez les intervalles ci-dessus dans la
Name the inversions. même clef. Identifiez les renversements.

Practice Paper 1
2
Practice Paper 1
10 3. a. Write the following scales ascending 3. a. Écrivez les gammes suivantes, ascendantes
and descending using the correct key et descendantes, en utilisant l’armature
signature and any necessary accidentals. appropriée et les altérations accidentelles
Use whole notes. nécessaires. Utilisez des rondes.
i. D flat major in the treble clef i. ré bémol majeur en clef de sol
ii. G sharp minor, harmonic form in the ii. sol dièse mineur harmonique en clef
bass clef de fa
iii. F minor, melodic form in the treble iii. fa mineur mélodique en clef de sol
clef iv. do dièse majeur en clef de fa
iv. C sharp major in the bass clef
i.
ii.
iii.
iv.
b. Name the following scales as chromatic, b. Identifiez les gammes suivantes

whole-tone, octatonic, major pentatonic, comme étant chromatiques, par tons,
minor pentatonic, or blues. octatoniques, pentatoniques majeures,
pentatoniques mineures, ou blues.
3
Practice Paper 1
10 4. a. Name the key of the following melody. 4. a. Identifiez la tonalité de la mélodie

Rewrite the melody at the same pitch suivante. Réécrivez la mélodie au
using the correct key signature and any même diapason en utilisant l’armature
necessary accidentals. appropriée et les altérations accidentelles
nécessaires.
b. Transpose the melody down a diminished b. Transposez la mélodie un quarte

fourth using the correct key signature. diminuée plus bas en utilisant l’armature
Name the new key. appropriée. Identifiez la nouvelle tonalité.
4
Practice Paper 1
10 5. Write the following triads in the bass clef 5. Écrivez les accords suivants en clef de fa
a. the subdominant triad of F sharp major a. l’accord de sous-dominante de fa dièse
in first inversion majeur au premier renversement
b. the leading-tone triad of C sharp minor, b. l’accord de sensible de do dièse mineur
c. the mediant triad of B flat minor, c. l’accord de médiante de si bémol mineur
d. the submediant triad of D major in first d. l’accord de sus-dominante de ré majeur au
inversion premier renversement
e. the dominant triad of A flat minor, e. l’accord de dominante de la bémol mineur
10 6. For each of the following seventh chords: 6. Pour chacun des accords de septième
a. Name the key. suivants :
b. Name the type of chord. a. Identifiez la tonalité.
b. Identifiez le type d’accord.
5
Practice Paper 1
d. Name the type of cadence (authentic d. Identifiez le type de cadence (authentique
or half). ou demi-cadence).
6
Practice Paper 1

contrasting period ending on a stable une période contrastante se terminant sur
d. Name the type of each cadence chaque phrase.
(authentic or half). d. Identifiez le type de chaque cadence
(authentique ou demi-cadence).
7
Practice Paper 1
10 9. a. Write the Italian term for five of the 9. a. Écrivez le terme italien pour cinq des
following definitions. définitions suivantes.
sustained
soutenu
dying, fading away

mourant, disparaissant
weighty, with emphasis

pesant, avec insistance
simple
simple
humorous, jocose
humoristique, jovial
soft, subdued, under the breath

doux, modéré, à mi-voix
lively
vivant
b. Provide the title for each of the following. b. Donnez un titre à chacune des
descriptions suivantes.
a concert overture by Felix Mendelssohn

une ouverture de concert de Felix Mendelssohn
an electronic work by Hugh LeCaine

une oeuvre électronique de Hugh LeCaine
a virtuosic piano piece by Frédéric Chopin

un morceau virtuose pour piano de Frédéric Chopin
a twelve-bar blues composition by Duke Ellington

un blues de douze mesures de Duke Ellington
a polytonal ballet by Igor Stravinsky

un ballet polytonal de Igor Stravinsky
8
Practice Paper 1

Écrivez le chiffre indicateur approprié directement dans la partition.
d. Name the chord at letter B. Root: Quality/Type:
e. Name the chord at letter C. Root: Quality/Type:
f. Explain the sign at letter D.
Expliquez la signification du signe indiqué à la lettre D.
g. Name the type of cadence at letter E.
Identifiez le type de cadence à la lettre E.
h. Write the appropriate rest(s) in the box at letter F.
Écrivez le(s) silence(s) approprié(s) dans la boîte à la lettre F.
i. Explain the meaning of andante grazioso.
Expliquez la signification de andante grazioso.
j. Based on the composer’s name and dates, identify the era in which this piece was composed.
D’après le nom et les dates du compositeur, identifiez l’ère pendant laquelle ce morceau fut composé.

9
Level 7 Theory
Rough Work
10
Intermediate Theory
Alto Clef
2. Write these notes.
3. Rewrite this melody at the same pitch using the alto clef.
Set 2, no. 18
Level 8 Theory
Intermediate Theory
Analysis Page 1
Set 2, no. 42
Level 8 Theory
Intermediate Theory
Analysis Page 2
1. a. Name the key.
c. Draw a phrase mark over each phrase.
d. Name each type of cadence (authentic, half, or plagal).
e. The triad at letter A is the:  tonic  subdominant  dominant
f. Write the implied harmony by adding root-position triads in solid/broken form.
g. Write the root/quality chord symbol above each chord on the lines provided.
h. Circle the passing tones in measures 1 to 8. Label them pt.
i. How many measures contain the following rhythm?
j. Including repeats, how many measures is this passage?
Set 2, no. 42
Level 8 Theory
Intermediate Theory
Authentic, Half, and Plagal Cadences
1. For each excerpt:

a. Name the key.
b. Write the functional and root/quality chord symbols for each chord.
c. Name the type of cadence (authentic, half, or plagal).
Set 2, no. 71
Level 8 Theory
Intermediate Theory
Authentic, Plagal, and Half Cadences
1. a. Name the key.

b. Write the functional chord symbol below each chord.
c. Write the root/quality chord symbol above each chord.
d. Name the type of cadence (authentic, plagal, or half).
Set 2, no. 43
Level 8 Theory
Intermediate Theory
Cadences
1. For each of the following phrases:

a. Name the key.
b. Write the root/quality chord symbols on the lines provided.
c. Write a cadence in chorale style below the brackets and name the cadence.
Set 2, no. 81
Level 8 Theory
Intermediate Theory
Chords
1. Name each chord as:

a. major triad d. augmented triad g. quartal chord
b. minor triad e. dominant 7th chord h. poly chord
c. diminished triad f. diminished 7th chord i. cluster chord
Set 2, no. 27
Level 8 Theory
Intermediate Theory
Chords
1. Name each chord as:

a. major triad d. augmented triad g. quartal chord
b. minor triad e. dominant 7th chord h. poly chord
c. diminished triad f. diminished 7th chord i. cluster chord
Set 2, no. 57
Level 8 Theory
Intermediate Theory
Chords
1. Write each of the following triads in close position using accidentals.
2. Name the root and quality/type (major, minor, augmented, diminished, dominant 7th, or
leading-tone diminished 7th) for each of the following chords.
Set 2, no. 89
Level 8 Theory
Intermediate Theory
Set 2, no. 95
Level 8 Theory
Intermediate Theory
Compound Intervals
1. a. Name the following intervals.
b. Invert and rename the above intervals.
2. a. Write the following intervals above each given note.
b. Write the following intervals below each given note.
Set 2, no. 50
Level 8 Theory
Intermediate Theory

b. Complete the first phrase according to the root/quality chord symbols. End on an
c. Write a four-measure answer (consequent) phrase to create a contrasting period. End on
a stable scale degree.
d. Circle and label the non-chord tones as passing tones (pt) or neighbor tones (nt).
e. Name each cadence as half or authentic.
Set 2, no. 63
Level 8 Theory
Intermediate Theory
Dominant 7th Chords in Root Position and Inversions
1. Write these scales using the key signature and any necessary accidentals.
C sharp minor, harmonic form, from subdominant to subdominant
E flat minor, melodic form, from submediant to submediant
G flat major from leading tone to leading tone
2. a. Name each scale.

b. Identify the scale degree number on which the scale begins and write it above the staff.
Set 2, no. 34
Level 8 Theory
Intermediate Theory
Hybrid Meter
2. Add the missing time signatures.
3. Add one note below each bracket to complete these measures.
4. Rewrite the following, grouping the notes according to the time signature.
Set 2, no. 28
Level 8 Theory
Intermediate Theory
Hybrid Meter
1. Add bar lines to these rhythms.
2. Add the time signature below each bracket.
4. Rewrite the following groups of notes, correctly beaming the notes.
Set 2, no. 69
Theory Level 8
Intermediate Theory
Intervals
1. a. Name these intervals.
b. Invert the above intervals in the bass clef. Name the inversions.
2. a. Write these intervals below the given notes.
Set 2, no. 21
Level 8 Theory
Intermediate Theory
Intervals
Set 2, no. 60
Level 8 Theory
Intermediate Theory
Intervals
1. Write each compound interval above the given note.
2. Write each compound interval below the given note.
3. Name the following intervals. Invert each interval in the bass clef and rename it.
Set 2, no. 90
Level 8 Theory
Intermediate Theory
Intervals
1. a. Name the following intervals.
b. Invert and rename the above intervals.
2. Write these intervals below the given notes.
b. Change the upper notes enharmonically and rename each interval.
Set 2, no. 92
Level 8 Theory
Intermediate Theory

a. Name the key and write the time signature on the music.
b. Complete the first phrase according to the given root/quality chord symbols.
End on an unstable scale degree.
c. Compose an answer phrase to create a contrasting period. End on a stable
scale degree.
d. Circle and label the non-chord tones as passing (pt) and neighbor (nt) tones.
e. Name each cadence as authentic or half.
Set 2, no. 38
Level 8 Theory
Intermediate Theory
Open Score
1. a. Name the key.

c. Write the functional chord symbol for each boxed chord.
d. Name the cadence.
2. Transcribe the above excerpt to modern vocal score.
Set 2, no. 47
Level 8 Theory
Intermediate Theory
Open Score
1. a. Name the key.

c. Write the functional chord symbol for each boxed chord.
d. Name the cadence.
2. Transcribe the above excerpt for string quartet.
Set 2, no. 48
Level 8 Theory
Intermediate Theory
Open Score
1. a. Name the key.

c. Write the functional chord symbols for each boxed chord.
d. Name each cadence type.
2. a. Transcribe the above excerpt to modern vocal score.

b. Name the four voices that perform this music.
Set 2, no. 61
Level 8 Theory
Intermediate Theory
Scales
1. Write the following scales in the given clefs, ascending and descending, using a key
signature and any necessary accidentals. Use whole notes.
a. B major
b. F minor, natural form
c. D sharp melodic minor
d. G flat major
e. C sharp harmonic minor
f. G sharp melodic minor
Set 2, no. 51
Level 8 Theory
Intermediate Theory
Short Score
1. a. Name the type of open score.

b. Name the four voices/instruments that perform this music.
2. Rewrite the above excerpt to short score.
Set 2, no. 49
Level 8 Theory
Intermediate Theory
Tenor Clef
2. Write these notes in the tenor clef.
3. Rewrite this melody at the same pitch using the tenor clef.
Set 2, no. 19
Level 8 Theory
1 of 9
Level 8 Theory
Practice Paper 1
Total Marks
Confirmation Number
Maximum
10
[5] 1. a. Write the following intervals above each 1. a. Écrivez les intervalles suivants au-dessus
[5] b. Invert the above intervals in the bass clef. b. Renversez les intervalles ci-dessus en clef
Name the inversions. de fa. Identifiez les renversements.

Practice Paper 1
10
[5] 3. a. The following passage is written for 3. a. L’extrait suivant est écrit pour un cor
English horn in F. Name the key in anglais en fa. Identifiez la tonalité de
which it is written. Transpose it to l’extrait. Transposez-le au diapason de
concert pitch using the correct key concert en utilisant l’armature appropriée.
signature. Name the new key. Identifiez la nouvelle tonalité.
[5] b. Name the key of the following melody. b. Identifiez la tonalité de la mélodie
Rewrite it at the same pitch using a key suivante. Réécrivez-la au même diapason
signature and any necessary accidentals. en utilisant une armature et les altérations
Provide a root/quality chord symbol above accidentelles nécessaires. Indiquez la
the melody in each measure. fondamentale/type d’accord au-dessus de la
mélodie dans chaque mesure.
2
Practice Paper 1
10
[6] 4. a. Write the following scales ascending 4. a. Écrivez les gammes suivantes, ascendantes
and descending in the clefs provided, et descendantes, dans les clefs données en
using the correct key signature and any utilisant l’armature appropriée et les
necessary accidentals. Use whole notes. altérations accidentelles nécessaires.
i. A flat major from dominant to Utilisez des rondes.
dominant i. la bémol majeur, de la dominante à la
ii. F sharp minor, harmonic form, from dominante
mediant to mediant ii. fa dièse mineur harmonique, de la
iii. G sharp minor, melodic form, médiante à la médiante
from supertonic to supertonic iii. sol dièse mineur mélodique, de la
sus-tonique à la sus-tonique
i.
ii.
iii.
[4] b. Write the following scales ascending and b. Écrivez les gammes suivantes, ascendantes
descending in the clefs provided, using et descendantes, dans les clefs données,
whole notes. Use any standard notation. en utilisant des rondes. Utilisez n’importe
i. Dorian mode starting on E flat quelle notation habituelle.
ii. Mixolydian mode starting on A i. mode dorien commençant sur
mi bémol
ii. mode mixolydien commençant
sur la
i.
ii.
3
Practice Paper 1
d. Name the type of cadence (authentic, d. Identifiez le type de cadence (authentique,
half, or plagal). demi-cadence, ou plagale).
4
Practice Paper 1
10 6. Identify each of the following chords as 6. Identifiez chacun des accords suivants
major, minor, augmented, diminished, comme étant majeur, mineur, augmenté,
dominant 7th, diminished 7th, quartal, diminué, 7ème de dominante, 7ème de
polychord, or cluster. diminuée, quartes, le polyaccord, ou le
groupe de sons.
5
Practice Paper 1

contrasting period, ending on a stable une période contrastante se terminant sur
d. Name the type of each cadence (authentic chaque phrase.
or half). d. Identifiez le type de chaque cadence
(authentique or demi-cadence).
6
Practice Paper 1
10 8. The following passage is written in open 8. L’extrait suivant est écrit en partition à quatre
score for string quartet. Name the four portées pour quatuor à cordes. Nommez les
instruments that would play this passage. Do quatre instruments qui joueraient cet extrait.
not use abbreviations. Rewrite this passage in N’utilisez pas d’abréviations. Réécrivez cet
short score. extrait en réduction sur deux portées.
7
Practice Paper 1
10
[6] 9. a. Match each term in the left column with 9. a. Pour chaque terme dans la colonne
the appropriate definition in the right de gauche, choisissez le terme dans
column. la colonne de droite qui a la même
signification
Example/Exemple:
bewegt g a. very fast
très rapide
calando b. becoming slower and softer

en ralentissant et en diminuant
langsam c. slowly
lentement
léger d. with expression

avec expression
mäßig e. lightly
légèrement
mit Ausdruck f. moderately

modérément
sehr schnell g. moving

en avançant
[4] b. Match each term or title in the left b. Pour chaque terme ou titre dans
column with the appropriate description la colonne de gauche, choisissez la
in the right column. description appropriée dans la colonne
de droite.
El grillo a. a morality play by Hildegard von Bingen

une moralité de Hildegard von Bingen
raga b. a frottola by Josquin des Prez

une frottola de Josquin des Prez
Sumer Is Icumen In c. an anonymous 13th-century round

un canon anonyme du 13ième siècle
Ordo Virtutum d. a source of melodic improvisation in

Indian classical music
une source d’improvisation mélodique en
musique classique de l’Inde
8
Practice Paper 1

Écrivez le chiffre indicateur directement dans la partition.
c. Explain the meaning of allegro non troppo.
Expliquez la signification de allegro non troppo.
d. Name and explain the sign at letter A.
Identifiez et expliquez la signification du signe indiqué à la lettre A.
e. The triad at letter B is the:
L’accord indiqué à la lettre B est :
 tonic triad  subdominant triad  dominant triad
 accord de tonique  accord de sous-dominante  accord de dominante
f. Name the interval at letter C.
g. Name the interval at letter D.
h. Name the type of cadence at letter E.
Identifiez le type de cadence indiqué à la lettre E.
Combien de mesure contiennent le rythme suivant?
j. What is the historical era of this piece?
Quelle est la période historique de ce morceau?
9
Level 8 Theory
Rough Work
10
Level 8 Theory
Practice Paper 1
Examiner Comments
1. Intervals: 5/10
a. One mark has been awarded for each correctly drawn note. No part marks are allowed. It
appears that the student has not applied the F sharp in the key signature, causing both
errors here. In the first circled interval, the upper note should be G natural, and in the
second circled interval a natural sign is required in front of the F.
b. One mark has been awarded for each correctly drawn and named interval. In all three
circled examples, the interval drawn does not match the interval requested. For the first two
circled intervals, this is because the student has not applied the F sharp in the key signature.
In the final interval, it appears that the student has forgotten that the bass clef is in use, not
the treble.
2. Rests: 6/10
In this question, one mark is awarded for each correct bracket. No part marks are allowed.
Line 1: In the second measure, the student has used a thirty-second rest to complete the
second part of the first beat instead of the required sixteenth rest. In the third measure,
there are missing rests: an eighth rest is required following the eighth note, and a half rest is
required at the end of the measure.
Line 2: In the first measure, the student has used a dotted quarter rest on the third beat. This is
not permissible, as the rest exceeds the value of the basic beat (the quarter note). A quarter
rest followed by an eighth rest is required here.
Line 3: In the second measure, the duplet sixteenth notes are equal in value to a group of three
sixteenth notes. Therefore, the sixteenth rest that follows the duplet is not required.
Examiner Commentary

3. Transposition: 5.5/10
a. One mark has been awarded for correctly naming the original key as B minor.
Unfortunately, the student has transposed to F sharp minor instead of E minor as required.
No marks are awarded for a transposition if the wrong key is chosen, and/or if the key
signature is incorrect.
b. The key has been named correctly and the melody has been accurately rewritten with
accidentals instead of key signature. However, the root/quality chord symbol above the
second measure should be G , not G, resulting in a half-mark deduction.
4. Scales: 3/10
a. One mark has been awarded for each correct key signature and one mark has been awarded
for each correctly pitched set of notes. In the first scale, although the key signature is
correct, the set of notes does not begin on the dominant of A flat major. In the third scale,
the key signature is misplaced, as the A sharp is placed in the wrong octave. The set of
notes is also inaccurate due to incorrect accidentals.
b. One mark has been awarded for each correctly pitched set of notes ascending (including any
necessary accidentals) and each correctly pitched set of notes descending (including any
necessary accidentals). In both modes, the pitches are not correct, ascending or descending,
as the key signatures selected do not create the required pitches.
5. Cadences: 9/10
Overall this question has been very well done. There are only two small errors resulting in
deductions. In the first example, half a mark has been deducted for the missing dots on two
notes of the tonic chord. In the second example, half a mark has been deducted for the
incorrect bass note in the IV chord of the plagal cadence.
6. Chords: 9/10
One mark has been awarded for each correct answer. The final chord is minor, not
augmented, leading to a deduction of one mark.
7. Melody Writing: 7.5/10

One mark has been awarded for the correct key name; one mark for each phrase mark; one
mark for each correct cadence name; and two marks for the completion of the melody in the
first phrase. Unfortunately, the student has written a parallel period instead of a contrasting
period, resulting in a deduction of two-and-a-half marks.
Examiner Commentary

8. Score: 6.5/10
The question specifies that abbreviations are not to be used. The student has identified the
instruments of the string quartet using abbreviations, resulting in a loss of two marks (half a
mark for each circled instrument name). Three additional errors have been identified: in the
viola part, two notes are in the wrong octave, and in the cello part, an incorrect stem has been
used, resulting in a total deduction of three-and-a-half marks for this question.
9. Terms and Music History: 6/10

a. This question tests the student’s knowledge of Italian terms in a familiar matching format.
Four marks have been awarded here.
b. This question tests the student’s knowledge of the required compositions from the Music
History requirement, again with the matching format. Two marks have been deducted for
inaccurate responses.

b. The time signature must be drawn on both the treble and bass staff.
f. The interval at letter C is a compound interval and must be identified either as a minor tenth
or as a compound minor third.
g. Because of the F sharp in the key signature, the interval at letter D is an augmented fourth.
Examiner Commentary

1 of 9
Level 8 Theory
Practice Paper 1
Total Marks
Confirmation Number
Maximum
10
[5] 1. a. Write the following intervals above each 1. a. Écrivez les intervalles suivants au-dessus
[5] b. Invert the above intervals in the bass clef. b. Renversez les intervalles ci-dessus en clef
Name the inversions. de fa. Identifiez les renversements.

Practice Paper 1
10
[5] 3. a. The following passage is written for 3. a. L’extrait suivant est écrit pour un cor
English horn in F. Name the key in anglais en fa. Identifiez la tonalité de
which it is written. Transpose it to l’extrait. Transposez-le au diapason de
concert pitch using the correct key concert en utilisant l’armature appropriée.
signature. Name the new key. Identifiez la nouvelle tonalité.
[5] b. Name the key of the following melody. b. Identifiez la tonalité de la mélodie
Rewrite it at the same pitch using a key suivante. Réécrivez-la au même diapason
signature and any necessary accidentals. en utilisant une armature et les altérations
Provide a root/quality chord symbol above accidentelles nécessaires. Indiquez la
the melody in each measure. fondamentale/type d’accord au-dessus de la
mélodie dans chaque mesure.
2
Practice Paper 1
10
[6] 4. a. Write the following scales ascending 4. a. Écrivez les gammes suivantes, ascendantes
and descending in the clefs provided, et descendantes, dans les clefs données en
using the correct key signature and any utilisant l’armature appropriée et les
necessary accidentals. Use whole notes. altérations accidentelles nécessaires.
i. A flat major from dominant to Utilisez des rondes.
dominant i. la bémol majeur, de la dominante à la
ii. F sharp minor, harmonic form, from dominante
mediant to mediant ii. fa dièse mineur harmonique, de la
iii. G sharp minor, melodic form, médiante à la médiante
from supertonic to supertonic iii. sol dièse mineur mélodique, de la
sus-tonique à la sus-tonique
i.
ii.
iii.
[4] b. Write the following scales ascending and b. Écrivez les gammes suivantes, ascendantes
descending in the clefs provided, using et descendantes, dans les clefs données,
whole notes. Use any standard notation. en utilisant des rondes. Utilisez n’importe
i. Dorian mode starting on E flat quelle notation habituelle.
ii. Mixolydian mode starting on A i. mode dorien commençant sur
mi bémol
ii. mode mixolydien commençant
sur la
i.
ii.
3
Practice Paper 1
d. Name the type of cadence (authentic, d. Identifiez le type de cadence (authentique,
half, or plagal). demi-cadence, ou plagale).
4
Practice Paper 1
10 6. Identify each of the following chords as 6. Identifiez chacun des accords suivants
major, minor, augmented, diminished, comme étant majeur, mineur, augmenté,
dominant 7th, diminished 7th, quartal, diminué, 7ème de dominante, 7ème de
polychord, or cluster. diminuée, quartes, le polyaccord, ou le
groupe de sons.
5
Practice Paper 1

contrasting period, ending on a stable une période contrastante se terminant sur
d. Name the type of each cadence (authentic chaque phrase.
or half). d. Identifiez le type de chaque cadence
(authentique or demi-cadence).
6
Practice Paper 1
10 8. The following passage is written in open 8. L’extrait suivant est écrit en partition à quatre
score for string quartet. Name the four portées pour quatuor à cordes. Nommez les
instruments that would play this passage. Do quatre instruments qui joueraient cet extrait.
not use abbreviations. Rewrite this passage in N’utilisez pas d’abréviations. Réécrivez cet
short score. extrait en réduction sur deux portées.
7
Practice Paper 1
10
[6] 9. a. Match each term in the left column with 9. a. Pour chaque terme dans la colonne
the appropriate definition in the right de gauche, choisissez le terme dans
column. la colonne de droite qui a la même
signification
Example/Exemple:
bewegt g a. very fast
très rapide
calando b. becoming slower and softer

en ralentissant et en diminuant
langsam c. slowly
lentement
léger d. with expression

avec expression
mäßig e. lightly
légèrement
mit Ausdruck f. moderately

modérément
sehr schnell g. moving

en avançant
[4] b. Match each term or title in the left b. Pour chaque terme ou titre dans
column with the appropriate description la colonne de gauche, choisissez la
in the right column. description appropriée dans la colonne
de droite.
El grillo a. a morality play by Hildegard von Bingen

une moralité de Hildegard von Bingen
raga b. a frottola by Josquin des Prez

une frottola de Josquin des Prez
Sumer Is Icumen In c. an anonymous 13th-century round

un canon anonyme du 13ième siècle
Ordo Virtutum d. a source of melodic improvisation in

Indian classical music
une source d’improvisation mélodique en
musique classique de l’Inde
8
Practice Paper 1

Écrivez le chiffre indicateur directement dans la partition.
c. Explain the meaning of allegro non troppo.
Expliquez la signification de allegro non troppo.
d. Name and explain the sign at letter A.
Identifiez et expliquez la signification du signe indiqué à la lettre A.
e. The triad at letter B is the:
L’accord indiqué à la lettre B est :
 tonic triad  subdominant triad  dominant triad
 accord de tonique  accord de sous-dominante  accord de dominante
f. Name the interval at letter C.
g. Name the interval at letter D.
h. Name the type of cadence at letter E.
Identifiez le type de cadence indiqué à la lettre E.
Combien de mesure contiennent le rythme suivant?
j. What is the historical era of this piece?
Quelle est la période historique de ce morceau?
9
Level 8 Theory
Rough Work
10

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Elementary Theory

Adding Bar Lines and Time Signatures

2. Add the correct time signature to each rhythm.

1. a. Name the key.

b. Write the time signature on the music.

c. Circle a half step. Label it H.

d. Circle a whole step. Label it W.

e. Explain the sign at letter A.

f. Explain the sign at letter B.

g. Name the interval at letter C.

h. Name the interval at letter D.

j. Circle an example of a repeated motive.

1. Mark these steps as half steps (H) or whole steps (W).

4. Write a whole step above each note.

5. Write a whole step below each note.

1. Mark these steps as half steps (H) or whole steps (W).

2. Write a half step above each note. Name the notes.

3. Write a half step below each note. Name the notes.

4. Write a whole step above each note. Name the notes.

5. Write a whole step below each note. Name the notes.

1. Mark these notes as half steps (HS) or whole steps (WS).

2. Write a half step above each note. Name the notes.

3. Write a half step below each note. Name the notes.

4. Write a whole step above each note. Name the notes.

5. Write a whole step below each note. Name the notes.

2. a. Write the key signature and time signature on the music.

3. a. Name the key.

1. Name these notes.

2. Write these notes above the treble staff.

3. Write these notes below the treble staff.

1. Match each note to its name.

dotted half note

2. Match each note to the corresponding rest.

1. Circle each beat and add bar lines to each melody.

1. Name these notes.

2. Write these notes.

3. Rewrite each note with a natural sign. Name each note.

3. Add one note below each bracket to complete the measures.

3. Add one note below each bracket to complete the measures.

1. a. Circle each beat. Number the beats in each measure.

3. a. Name the key for each of these key signatures.

A minor, natural form

3. a. Name the key for each of these key signatures.

1. a. Name the key.

b. Write the time signature on the music.

c. Write the rest(s) below each bracket.

f. Name the interval at letter A.

g. Explain the sign at letter B.

h. Explain the sign at letter C.

j. Number each measure in the boxes provided.

1. Name the size of each melodic interval.

2. Name the size of each harmonic interval.

3. Write the following harmonic intervals above each given note.

1. Name the size of each melodic interval.

2. Name the size of each harmonic interval.

3. Write the following harmonic intervals above each given note.

1. a. Write the key signature and time signature on the music.

3. a. Write the key signature and time signature on the music.

1. Match each sign to its meaning.

double bar line

1. Match each sign to its meaning.

use the damper pedal

1. Name these notes.