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Level 7 TheoryPractice Paper 1

© Copyright 2016 The Royal Conservatory® Certificate Program

Your answers must be written in pencil in the space provided.

Il faut que vous écriviez vos réponses au crayon dans l’espace donné.Maximum Marks

Total Marks

Confirmation Number

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1. a. Write the following intervals below each of the given notes.

1. a. Écrivez les intervalles suivants au-dessous de chaque note donnée.

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b. Invert the above intervals in the same clef. Name the inversions.

b. Renversez les intervalles ci-dessus dans la même clef. Identifiez les renversements.

Practice Paper 1Level 7 Theory

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2. Add rests below the brackets to complete each of the following measures.

2. Ajoutez des silences sous les crochets pour compléter chacune des mesures suivantes.

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Practice Paper 1Level 7 Theory

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3. a. Write the following scales ascending and descending using the correct key signature and any necessary accidentals. Use whole notes.

i. D flat major in the treble clef ii. G sharp minor, harmonic form in the

bass clef iii. F minor, melodic form in the treble

clef iv. C sharp major in the bass clef

3. a. Écrivez les gammes suivantes, ascendantes et descendantes, en utilisant l’armature appropriée et les altérations accidentelles nécessaires. Utilisez des rondes.

i. ré bémol majeur en clef de sol ii. sol dièse mineur harmonique en clef

de fa iii. fa mineur mélodique en clef de sol iv. do dièse majeur en clef de fa

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i.

iii.

ii.

iv.

b. Name the following scales as chromatic, whole-tone, octatonic, major pentatonic, minor pentatonic, or blues.

b. Identifiez les gammes suivantes comme étant chromatiques, par tons, octatoniques, pentatoniques majeures, pentatoniques mineures, ou blues.

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4. a. Name the key of the following melody. Rewrite the melody at the same pitch using the correct key signature and any necessary accidentals.

4. a. Identifiez la tonalité de la mélodie suivante. Réécrivez la mélodie au même diapason en utilisant l’armature appropriée et les altérations accidentelles nécessaires.

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b. Transpose the melody down a diminished fourth using the correct key signature. Name the new key.

b. Transposez la mélodie un quarte diminuée plus bas en utilisant l’armature appropriée. Identifiez la nouvelle tonalité.

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5. Write the following triads in the bass clef using the correct key signature and any necessary accidentals. a. the subdominant triad of F sharp major

in first inversion b. the leading-tone triad of C sharp minor,

harmonic form in root position c. the mediant triad of B flat minor,

harmonic form in second inversion d. the submediant triad of D major in first

inversion e. the dominant triad of A flat minor,

harmonic form in root position

5. Écrivez les accords suivants en clef de fa en utilisant l’armature appropriée et les altérations accidentelles nécessaires. a. l’accord de sous-dominante de fa dièse

majeur au premier renversement b. l’accord de sensible de do dièse mineur

harmonique en position fondamentale c. l’accord de médiante de si bémol mineur

harmonique au deuxième renversement d. l’accord de sus-dominante de ré majeur au

premier renversement e. l’accord de dominante de la bémol mineur

harmonique en position fondamentale

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6. For each of the following seventh chords: a. Name the key. b. Name the type of chord.

6. Pour chacun des accords de septième suivants : a. Identifiez la tonalité. b. Identifiez le type d’accord.

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7. For each of the following melodies: a. Name the key. b. Write a cadence in keyboard style below

the bracketed notes. c. Label the chords using functional chord

symbols. d. Name the type of cadence (authentic

or half).

7. Pour chacune des mélodies suivantes : a. Identifiez la tonalité. b. Écrivez une cadence pour clavier sous les

notes indiquées. c. Identifiez les accords avec des symboles

d’accords fonctionnels. d. Identifiez le type de cadence (authentique

ou demi-cadence).

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Practice Paper 1Level 7 Theory

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8. For the following melodic opening: a. Name the key. b. Compose an answer phrase to create a

contrasting period ending on a stable scale degree.

c. Draw a phrase mark over each phrase. d. Name the type of each cadence

(authentic or half).

8. Pour l’extrait mélodique suivant : a. Identifiez la tonalité. b. Composez une phrase-réponse pour créer

une période contrastante se terminant sur un degré stable.

c. Tracez une liaison de phrasé au-dessus de chaque phrase.

d. Identifiez le type de chaque cadence (authentique ou demi-cadence).

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9. a. Write the Italian term for five of the following definitions.

9. a. Écrivez le terme italien pour cinq des définitions suivantes.

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b. Provide the title for each of the following. b. Donnez un titre à chacune des descriptions 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

a concert overture by Felix Mendelssohnune ouverture de concert de Felix Mendelssohn

an electronic work by Hugh LeCaineune oeuvre électronique de Hugh LeCaine

a virtuosic piano piece by Frédéric Chopinun morceau virtuose pour piano de Frédéric Chopin

a twelve-bar blues composition by Duke Ellingtonun blues de douze mesures de Duke Ellington

a polytonal ballet by Igor Stravinskyun ballet polytonal de Igor Stravinsky

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10. Analyze the following piece of music by answering the questions below.

10. Analysez le morceau de musique suivant en répondant aux questions ci-dessous.

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a. Name the key of this piece. Identifiez la tonalité de ce morceau.

b. Write the time signature directly on the music. Écrivez le chiffre indicateur approprié directement dans la partition.

c. Name the interval at letter A. Identifiez l’intervalle indiqué à la lettre A.

d. Name the chord at letter B. Root: Quality/Type: Identifiez l’accord indiqué à la lettre B. Fondamentale : Sorte :

e. Name the chord at letter C. Root: Quality/Type: Identifiez l’accord indiqué à la lettre C. Fondamentale : Sorte :

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.

Rough WorkLevel 7 Theory

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Examiner Commentary © Copyright 2017 The Royal Conservatory

Level 7 Theory Practice Paper 1

Examiner Comments Total Mark for this Examination: 76/100 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 © Copyright 2017 The Royal Conservatory

Level 7 Theory: Practice Paper 1 continued 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 © Copyright 2017 The Royal Conservatory

Level 7 Theory: Practice Paper 1 continued 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. 8. Melody Writing: 9/10 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.

10. Analysis: 7.5/10 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.