Centre

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WRITTEN EXAMINATIONS IN THE THEORY OF MUSIC

SUMMER 2023
Saturday 17 th June 10am – 1pm

GRADE 7 (3 hours)

Full Name of Candidate.............................................................................................................................................

(Surname Last)
Registration Number (if required) ...........................................................................................................................

Instructions to Candidates
1. Candidates should write their answers in the places indicated in this question paper,
continuing on separate sheets provided by the Invigilator as necessary. Any additional
sheets must be handed in with this question paper.

2. Any rough work must be done on paper provided by the Invigilator and left in the
examination room.

3. Candidates are forbidden to bring into the examination room any paper for rough
working, blotting paper, notes or text books.

4. Candidates are not allowed to talk to one another in the examination room during the time
of the examination, but reasonable questions may be addressed to the Invigilator.

© Copyright 2023 by the University of West London, LCM Publications. All rights reserved.
 Performers

1. Complete this passage for SATB. Your harmonisation should include examples of (15)
Neapolitan 6th, secondary seventh and diminished 7th chords.

& 4œ
### 4 œ
œœ œœ œœ œœ œœ œœ œ ˙™

{
œœ œ œ œ œ œ

? ## 4
œ œ œ œ œ œ œ œ
# œ œ œ œ œ
4œ œ œ œ
5

&
###
˙™

{
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

? ###

2. The following extract contains melodic decorations. Harmonise it in four parts. (15)

&b 4 œ
3 j œ œ œ œ

{
œ œ œ œ œ #œ
œ œ
œ

? 3
b4

3 Ϫ
œ™ ˙™
œ œ œ œ œ
œ œ œ™
& b #œ œ œ ™
œ œ œ œ œ

{
#œ œ

?
b

2
3. a) Complete this modulating phrase using four parts. (15)

& b b 4 œ œœ œ œ ˙
b 4 œ œœœ œœ œ œœ˙ œ œ nœ œ œ ˙

{
œ

?b 4Œ œœ
bb4

b) Continue the following texture over the given pedal point.

œ nœ œ œ œ œ œ œ œ œ œ œ nœ w
& b 4œ
bb b 4 œ

{
œ

?bb4w
bb 4 w w w w

3
4. a) Continue this melodic sequence to make 8 full bars. (15)

œ œ œ r
& 8
b3œ œ œ œ
b œ œ

&b
b

b) Complete the following extract, which contains suspensions, using four parts.

˙ œ ˙ œ ˙ œ
& b4
b b 4 #œ œ œ œ ˙ œ ˙ œ #˙ w

{
œ œ œ

?b 4
bb4

Now answer question 5 on page 8.

4
 Composers
1. Compose a piece for piano of not more than 16 bars using the given five-note row. (20)
Add all performance directions and a title.

& #œ
œ bœ

{
œ œ

{ {
{ {
{ {
{
5
2. Compose a piece of no more than 18 bars, using the following ostinato. (20)
Begin by adding one part above, and on each repeat of the ostinato, add an additional part
until you reach four parts including the ostinato. Write for piano and add all performance
directions and a title.

&b 4
b4

{ ? b 4 Ϫ
b 4
œ #œ ™
J œ œ™
J
œ œ™
j œ œ™
J
œ œ ™ #œJ œ œ
J
œ œ ˙

&

{ ?

&

{ ?

&

{ ?

&

{ ?

6
 &

{ ?

&

{ ?

3. Complete this passage of two-part counterpoint. (20)

&

{ ?
& 4œ œ
2 ™
m
œ œ œ œ œ œœœœœœ œm
œnœ œ œ œ œ

{
b œ œ œ œ œ œ œœ œœœœœ

? 2 ∑ ∑ ∑ ∑ œ œ™ œ œ œ œ œ nœ
b4 œ
&

{ mœ
8

?b œ œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&

{
œ
?
b
&

{
13

&
?b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

{
œ
˙
œ
?
b

Now answer question 8.

7
 Performers and Composers answer this section
5. Study the extract on pages 10–11 and then answer the following questions: (40)

A (i) Name the key at the beginning of the extract:

(ii) At what bar does the key signature change?

(iii) What is the new key?

(iv) Describe the relationship with the opening key.

(v) Name the key and cadence at [W], bars 7–8

(vi) Find an example of an appoggiatura in the score.

Give the part and bar number.

Explain the following:

(vii) Adagio ma non troppo
(viii) dolce
(ix) agitato

(x) The scalic passage in bar 16 of part 1.

B (i) Name the intervals marked:

(a) (bar 3, part 3)

(b) (bar 5, between parts 2 and 3)

(c) (bar 13, part 1)

(ii) Name the key and chords marked:

X (bar 5, beat 1, all parts)

Y (bar 13, beat 2, all parts)

Z (bar 17, whole bar, all parts)

(iii) Name a non-string instrument that could play part 1.

(iv) Name three string instruments that could appropriately play parts 2, 3 & 4.

Part 2

Part 3

Part 4

8
C (i) Describe the texture of the music, stating which parts have melodic roles and which have
accompanying roles.

(ii)   Briefly describe the overall tonality and harmony of the extract.

(iii) Comment on the style and character of the music.

(iv) Suggest a possible composer and give at least two reasons for your response.

9
 œ œ. œ. 5 œj œ œ œ œ œ œ œ œ œ œ
Adagio ma non troppo
. .1 . œ. 3 Ÿœ 4
## 2 œ œ œ ™ œ œ Ÿœ
2

& 4
œ œ œ™ œ œ œ œ
Part 1
p dolce

œ. œ. œ ™ œ œ Ÿœ œ Œ
& 4Œ
° ## 2 ˙
Part 2 ˙œ ™ œJ œœ
(b)

B ## 24 Œ œ œœ œ Œ œ œ Œ
œ œ œ
Part 3 Ϫ J
(a)
? ## 2 Œ ∑ Ó œ œ Œ Œ
Part 4 œ™ j œ
¢ 4
X

. œ. 7 œ œ œ
6 œ # œ n œ œ œ œ œ œ œ œ œ œ8 œ. œ. 9 œ ™ œ œ œ 10 . œ.
&
œ
## œ œ œ #œ œ œœ œ œ
Part 1
f
œ. œ.
& Œ
° ## œ œ œ
Part 2 œ œ
j
œ ˙œ ™ œJ œœ
f

B ## œ œŒ œ œ œœ œ Œ
œ ˙ œ
Part 3
f

Part 4
? ## Œ ∑ ∑ ∑ ∑
¢ œ
CADENCE W

10
 (c)
11 12
œ œ nœ œ 13 œ ™ 14 œœœœ
J ‰
## œ ™ œ œ œ œ œ
&
œ œ œ
Part 1 b #œ ™ œ œ œ œ
agitato

& Œ b ≈ œ. œ. œ. œœ œœ Œ
° ## œ ™ œ œ œ œ
Part 2
f p

B ## œ ™ œ œ Œ b ≈
œ. œ. œ. œ œ Œ
Part 3
J
f p

? ## œ ™ Œ œ ™ nœ#œ œ Œ
Part 4
j b œ
¢ œ œ
agitato Y

15
Ÿ 16 17
œ œ œ œ#œ ™ œ œ œ œ#œ œ œ#œ œ#œ b ˙
18

&b Œ
œ œ
Part 1
sfz

& b ≈ œ œ œ œœ œœ Œ
° œœ œœ œœ œœ Œ
Part 2
f p ff

. . .
Part 3 Bb ≈ œ œ œ œ œ Œ œ œ œ œ Œ
f p ff

? œ
Part 4 ¢ b œ ™ nœ#œ œ Œ œ œœœ œ œ œœœ œ œ Œ
Z
ff

11
for rough work only

12
for rough work only

13
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