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Level 8 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
1 of 9
1. a. Write the following intervals above each of the given notes.
1. a. Écrivez les intervalles suivants au-dessus de chaque note donnée.
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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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b. Invert the above intervals in the bass clef. Name the inversions.
b. Renversez les intervalles ci-dessus en clef de fa. Identifiez les renversements.
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Practice Paper 1
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Level 8 Theory 2 of 9
3. a. The following passage is written for English horn in F. Name the key in which it is written. Transpose it to concert pitch using the correct key signature. Name the new key.
3. a. L’extrait suivant est écrit pour un cor anglais en fa. Identifiez la tonalité de l’extrait. Transposez-le au diapason de concert en utilisant l’armature appropriée. Identifiez la nouvelle tonalité.
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b. Name the key of the following melody. Rewrite it at the same pitch using a key signature and any necessary accidentals. Provide a root/quality chord symbol above the melody in each measure.
b. Identifiez la tonalité de la mélodie suivante. Réécrivez-la au même diapason en utilisant une armature et les altérations accidentelles nécessaires. Indiquez la fondamentale/type d’accord au-dessus de la mélodie dans chaque mesure.
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Level 8 Theory 3 of 9
4. a. Write the following scales ascending and descending in the clefs provided, using the correct key signature and any necessary accidentals. Use whole notes.
i. A flat major from dominant to dominant
ii. F sharp minor, harmonic form, from mediant to mediant
iii. G sharp minor, melodic form, from supertonic to supertonic
4. a. Écrivez les gammes suivantes, ascendantes et descendantes, dans les clefs données en utilisant l’armature appropriée et les altérations accidentelles nécessaires. Utilisez des rondes.
i. la bémol majeur, de la dominante à la dominante
ii. fa dièse mineur harmonique, de la médiante à la médiante
iii. sol dièse mineur mélodique, de la sus-tonique à la sus-tonique
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b. Write the following scales ascending and descending in the clefs provided, using whole notes. Use any standard notation.
i. Dorian mode starting on E flat ii. Mixolydian mode starting on A
b. Écrivez les gammes suivantes, ascendantes et descendantes, dans les clefs données, en utilisant des rondes. Utilisez n’importe quelle notation habituelle.
i. mode dorien commençant sur mi bémol
ii. mode mixolydien commençant sur la
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ii.
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Level 8 Theory 4 of 9
5. 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,
half, or plagal).
5. 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,
demi-cadence, ou plagale).
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Level 8 Theory 5 of 9
6. Identify each of the following chords as major, minor, augmented, diminished, dominant 7th, diminished 7th, quartal, polychord, or cluster.
6. Identifiez chacun des accords suivants comme étant majeur, mineur, augmenté, diminué, 7ème de dominante, 7ème de diminuée, quartes, le polyaccord, ou le groupe de sons.
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Level 8 Theory 6 of 9
7. 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).
7. 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 or demi-cadence).
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Practice Paper 1
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Level 8 Theory 7 of 9
8. The following passage is written in open score for string quartet. Name the four instruments that would play this passage. Do not use abbreviations. Rewrite this passage in short score.
8. L’extrait suivant est écrit en partition à quatre portées pour quatuor à cordes. Nommez les quatre instruments qui joueraient cet extrait. N’utilisez pas d’abréviations. Réécrivez cet extrait en réduction sur deux portées.
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Practice Paper 1
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Level 8 Theory 8 of 9
9. a. Match each term in the left column with
the appropriate definition in the right column.
9. a. Pour chaque terme dans la colonne de gauche, choisissez le terme dans la colonne de droite qui a la même signification
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b. Match each term or title in the left column with the appropriate description in the right column.
b. Pour chaque terme ou titre dans la colonne de gauche, choisissez la description appropriée dans la colonne de droite.
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Example/Exemple:
bewegt 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
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
g
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Level 8 Theory 9 of 9
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 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. Identifiez l’intervalle indiqué à la lettre C.
g. Name the interval at letter D. Identifiez l’intervalle indiqué à la lettre D.
h. Name the type of cadence at letter E. Identifiez le type de cadence indiqué à la lettre E.
i. How many measures contain the following rhythm? Combien de mesure contiennent le rythme suivant?
j. What is the historical era of this piece? Quelle est la période historique de ce morceau?
Rough Work
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Level 8 Theory
Examiner Commentary © Copyright 2016 The Royal Conservatory
Level 8 Theory Practice Paper 1
Examiner Comments Total Mark for this Examination: 65/100 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 © Copyright 2016 The Royal Conservatory
Level 8 Theory: Practice Paper 1 continued 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 © Copyright 2016 The Royal Conservatory
Level 8 Theory: Practice Paper 1 continued 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.
10. Analysis: 7.5/10 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.
