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the royal college of organists

PO Box 56357, London se16 7xl

examination for associateship
summer 2009
aural tests
Question Paper

Candidate’s Number:

© 2009  The Royal College of Organists

lieber Herre A         q = 58                                                                                                   5              Page 2                           . It is not necessary to write out the whole chorale harmonisation again. and bass parts of the incomplete chords. (b) After a further interval of 30 seconds. will be played with alterations of pitch at between six and nine occasions in the lower three parts. 1. with an interval of 30 seconds between each playing. The first chord will be named and sounded at the outset and the passage will be played four times. A – B below. Complete the alto.aural tests An interval of 2 minutes will be allowed after each question. with an interval of 30 seconds between each playing. Ich dank’ dir. the passage C – D below will be played four times. The first chord will not be altered. tenor. Pitch Test (45 marks) (a) The following passage. Notate the alterations of pitch either on the given music or on the blank staves provided.

    9                                                                        13 B C                                                              Page 3 D .

Notate the alterations either on the music or on the blank staves provided. Handel (1685–1759). adapted                                                              3            6                            9                     Page 4 .2. with an interval of 30 seconds between each playing. It is not necessary to write out the whole passage. The pulse will be indicated at the outset and the melody will be played four times. Rhythm Test (24 marks) You will hear a version of the following melody which contains alterations of rhythm. F. q = 58      G.

please turn over for question 3. Page 5 .

This notates the rhythm of the highest part sounding at any given time. 16                   (vi)       (vii) 19                          Page 6 .          (i) x (ii) 4 x           (ii) cont. 7         x    x                       (iii)               (iii) cont. (v)                    13 (iv) cont. (v) cont. Perception Test (21 marks) (a) A passage of organ music by Johann Christoph Kellner (1736–1803) will be played four times.3. A skeleton score is provided. There will be an interval of 30 seconds between the playings. The passage begins in C major and ends in A minor. Answer all questions on the facing page.    (iv)                        10 (iv) cont.

p. (1 mark) (iv) How many parts are employed in the passage starting at bar 8 beat 3 and ending at bar 15 beat 4? (1 mark) ____________________________________________________________________________ (vi) How would you figure the cadence at bar 15 beats 3 and 4? (1 mark) ____________________________________________________________________________ (v) What is the compositional device used in bars 11–13? (1 mark) ____________________________________________________________________________ ____________________________________________________________________________ (vii) Compare briefly bars 16–21 with bars 1–8. (2 marks) ____________________________________________________________________________ ____________________________________________________________________________ There will be an interval of 1 minute between Extract (a) and Extract (b).t. (4 marks) bar 1 beats 1–2 _________________________________________________________________ bar 1 beats 3–4 _ _______________________________________________________________ bar 2 beats 1–2 _ _______________________________________________________________ bar 2 beats 3–4 _ _______________________________________________________________ (ii) Comment on the texture and material in bars 1–6 (beat 1).(i) Describe the harmonies marked ‘x’ in the skeleton score (e. (2 marks) ____________________________________________________________________________ ____________________________________________________________________________ (iii) Identify ONE characteristic of the passage from bar 6 beat 2 to bar 8 beat 1.g.o. for questions on Extract (b) Page 7 . dominant in root position).

How many? (1 mark) ____________________________________________________________________________ (ii) Comment briefly on the material carried by each voice. There will be an interval of 30 seconds between the playings. (i) Apart from the final cadence. Answer the following questions. (3 marks) ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ (iii) What type of work is this? What compositional techniques has the composer employed? (3 marks) ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ (iv) Suggest a possible composer and date of composition. the extract uses a consistent number of contrapuntal voices. (2 marks) ____________________________________________________________________________ ____________________________________________________________________________ Page 8 .(b) An extract of organ music will be played four times.

the royal college of organists PO Box 56357. London se16 7xl examination for associateship summer 2009 aural tests Question Paper with answers © 2009  The Royal College of Organists .

The first chord will not be altered. (b) After a further interval of 30 seconds. 1. with an interval of 30 seconds between each playing. will be played with alterations of pitch at between six and nine occasions in the lower three parts. It is not necessary to write out the whole chorale harmonisation again. Complete the alto. A – B below. lieber Herre B C                                                                                  Page 2      D . Pitch Test (45 marks) (a) The following passage. and bass parts of the incomplete chords. tenor. with an interval of 30 seconds between each playing.aural tests An interval of 2 minutes will be allowed after each question. Notate the alterations of pitch either on the given music or on the blank staves provided. The first chord will be named and sounded at the outset and the passage will be played four times. the passage C – D below will be played four times. Version given to candidates A         q = 58       9             13                                                                                                                                                5      Ich dank’ dir.

Version played by examiner A              q = 58                                                                                                            26                      22                  B C                                                                                                                                  30 Page 3   D .

adapted                                                              3           6 9                                           Version played by examiner q = 58                                                                   3 3            6 9                                             Page 4 . Handel (1685–1759). Rhythm Test (24 marks) You will hear a version of the following melody which contains alterations of rhythm. with an interval of 30 seconds between each playing. Version given to candidates q = 58      G. The pulse will be indicated at the outset and the melody will be played four times.2. It is not necessary to write out the whole passage. Notate the alterations either on the music or on the blank staves provided. F.

please turn over for question 3. Page 5 .

A skeleton score is provided. The passage begins in C major and ends in A minor. This notates the rhythm of the highest part sounding at any given time. Perception Test (21 marks) (a) A passage of organ music by Johann Christoph Kellner (1736–1803) will be played four times. vol.    (iv)                        10 (iv) cont.3.          (i) x (ii) 4 x           (ii) cont. bars 27–47. Answer all questions on the facing page. (v) cont. The score used is published by Harmonia (Hilversum). Incognita Organo (new series). There will be an interval of 30 seconds between the playings.18 Page 6 . (v)                    13 (iv) cont. 7         x    x                       (iii)               (iii) cont. 16                   (vi)       (vii) 19                          The extract was from the Prelude in C.

the line rises chromatically and in sequence.g.o. (1 mark) (iv) How many parts are employed in the passage starting at bar 8 beat 3 and ending at bar 15 beat 4? (1 mark) ____________________________________________________________________________ sequence (characterised by a 9-8 suspension) (vi) How would you figure the cadence at bar 15 beats 3 and 4? (1 mark) ____________________________________________________________________________ three (v) What is the compositional device used in bars 11–13? (1 mark) RH and LH octaves.t. occasionally in thirds and embellished by an ____________________________________________________________________________ appoggiatura motif. but bars 16–21 are in the relative minor. for questions on Extract (b) Page 7 . the ____________________________________________________________________________ conclusion of the second version is shorter. There will be an interval of 1 minute between Extract (a) and Extract (b). (4 marks) tonic in root position bar 1 beats 1–2 _________________________________________________________________ dominant in first inversion bar 1 beats 3–4 _ _______________________________________________________________ submediant in root position bar 2 beats 1–2 _ _______________________________________________________________ tonic in first inversion bar 2 beats 3–4 _ _______________________________________________________________ (ii) Comment on the texture and material in bars 1–6 (beat 1).(i) Describe the harmonies marked ‘x’ in the skeleton score (e. ____________________________________________________________________________ (iii) Identify ONE characteristic of the passage from bar 6 beat 2 to bar 8 beat 1. (2 marks) An engaging RH melody. dominant in root position). no pedal. the melody and ____________________________________________________________________________ its harmonisation are the same. is accompanied by a LH Alberti bass and octaves in the pedal. then falls. p. ____________________________________________________________________________ 6   5 4  #3 ____________________________________________________________________________ (vii) Compare briefly bars 16–21 with bars 1–8. (2 marks) ____________________________________________________________________________ Bars 16–21 are played manualiter on a secondary manual (piano).

Salvator Mundi II. ed. (i) Apart from the final cadence. top switching to bottom) uses scales in sequence and other patterns ____________________________________________________________________________ of smaller compass. (2 marks) William Byrd (1543–1623). ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ (iii) What type of work is this? What compositional techniques has the composer employed? (3 marks) It is a plainchant verset featuring idiomatic keyboard figuration. ____________________________________________________________________________ 1988. How many? (1 mark) three ____________________________________________________________________________ (ii) Comment briefly on the material carried by each voice. ____________________________________________________________________________ Page 8 . There will be an interval of 30 seconds between the playings. but dissonance is only encountered in ____________________________________________________________________________ passing. There is some use of false relation. at the appearance of each plainchant note the harmony is almost always ____________________________________________________________________________ consonant. the extract uses a consistent number of contrapuntal voices. ____________________________________________________________________________ MS 30485). The fastest ____________________________________________________________________________ moving voice (i. The edition used is from English Organ Music. the other parts provide ____________________________________________________________________________ (i) figurational embellishment mostly featuring scale patterns (top part at first and ____________________________________________________________________________ later switching to the lowest voice). Cambiata figures appear occasionally in both accompanying ____________________________________________________________________________ parts. 1.(b) An extract of organ music will be played four times. ____________________________________________________________________________ ____________________________________________________________________________ (iv) Suggest a possible composer and date of composition. (3 marks) ____________________________________________________________________________ The middle voice carries a plainchant in regular long notes. perhaps from the early 1560s (BL Add. Answer the following questions. Langley.e. and (ii) harmonic completion (lowest part at ____________________________________________________________________________ first and later switching to the highest voice). Novello. vol. The cadence uses a fuller texture (four ____________________________________________________________________________ voices).