Level 10 Harmony & Counterpoint

1 of 14 Level 10 Harmony & Counterpoint 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.

20 1. Choose one of the following melodies and: 1. Choisissez l’une des mélodies suivantes et : a. Name the key. a. Identifiez la tonalité. b. Name the type of Baroque dance that it b. Indiquez le type de danse baroque represents. représenté par l’extrait. c. Continue the given opening to create a c. Prolongez le fragment pour créer une sixteen-measure composition with four composition de seize mesures comportant phrases, motivic unity, and a modulation quatre phrases et démontrant l’unité to a traditional goal key. Use binary or motivique et une modulation appropriée. rounded binary form with repeat signs at Utilisez la forme binaire ou binaire appropriate points. Name the form. circulaire et mettez des signes de reprise d. Mark the structural phrasing. aux endroits appropriés. Identifiez la forme. e. For the first phrase, symbolize the implied harmony using functional chord d. Marquez la structure des phrases. symbols. e. Pour la première phrase, chiffrez f. For the second phrase, add a bass line and l’harmonie sous-jacente avec des symboles symbolize the implied harmony using d’accords fonctionnels. functional chord symbols. f. Pour la deuxième phrase, ajoutez une g. For the third and fourth phrase endings: ligne de basse et chiffrez l’harmonie sous-jacente avec des symboles d’accords i. Add a bass line at the cadence. fonctionnels. ii. Name the key and the cadence type. g. Pour les fins des troisième et quatrième iii. Symbolize the implied harmony using phrases : functional chord symbols. i. Ajoutez une ligne de basse à la cadence. ii. Identifiez la tonalité et le type de cadence. iii. Chiffrez l’harmonie sous-jacente avec des symboles d’accords fonctionnels.

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15 2. a. For the following: 2. a. Pour l’extrait suivant : i. Name the key. i. Identifiez la tonalité. ii. Complete the harmonization for four ii. Complétez l’harmonisation pour voices (SATB) according to the given quatre voix (SATB) d’après les chord symbols. symboles d’accords donnés. iii. Indicate the tonal hierarchy using iii. Indiquez la hiérarchie tonale en tonic (T), pre-dominant (PD), and écrivant tonique (T), pré-dominante dominant (D) below the chord (PD), et dominante (D) sous les symbols. symboles d’accords.

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b. For the following: b. Pour l’extrait suivant : i. Name the key. i. Identifiez la tonalité. ii. Complete the realization of the ii. Complétez la réalisation de la basse figured bass in keyboard style. chiffrée pour clavier. iii. Provide root/quality chord symbols. iii. Indiquez les fondamentales/types Indicate the bass note for each d’accords. Précisez la note de basse inverted chord. pour chaque accord renversé.

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30 3. Complete the following for four voices 3. Complétez l’harmonisation de l’extrait (SATB). Name the key and symbolize the suivant pour quatre voix (SATB). Identifiez harmony throughout using functional la tonalité et chiffrez toute l’harmonie avec chord symbols. des symboles d’accords fonctionnels.

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15 4. For the following excerpt: 4. Pour l’extrait suivant : a. Name the key. a. Identifiez la tonalité. b. Symbolize the harmony using functional b. Chiffrez l’harmonie avec des symboles chord symbols. d’accords fonctionnels. c. Indicate tonic pedal notes by showing c. Indiquez les notez pédales toniques en their entire duration with a horizontal montrant leur durée à l’aide d’un crochet bracket; for example, . horizontal; par exemple, . d. Circle the non-chord tones and classify d. Entourez les notes étrangères et them. identifiez-les.

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20 [10] 5. a. The following movement by Diabelli is in 5. a. Le mouvement suivant de Diabelli est sonata form. Analyze the movement by de forme sonate. Analysez le mouvement indicating the following elements directly en indiquant les éléments suivants on the score. directement dans la partition. i. Principal key i. Tonalité principale ii. Exposition ii. Exposition iii. Development iii. Développement iv. Recapitulation iv. Récapitulation v. In the exposition, label: v. Dans l’exposition, identifiez : • theme 1 • thème 1 • bridge • pont • theme 2 • thème 2 • key of theme 2 • tonalité du thème 2 vi. In the development, label: vi. Dans le développement, identifiez : • dominant preparation • préparation de la dominante vii. In the recapitulation, label: vii. Dans la récapitulation, identifiez : • coda • coda

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[10] b. Analyze the following fugal exposition by b. Analysez cette exposition fugale en answering the following questions. répondant aux questions suivantes. i. Name the key. i. Identifiez la tonalité. ii. Label all appearances of the subject ii. Indiquez toutes les apparitions (S) and answer (A) directly on the du sujet (S) et de la réponse (A) score. directement dans la partition. iii. Name the key of the answer. iii. Identifiez la tonalité de la réponse.

iv. Name the type of answer. iv. Identifiez le type de réponse.

v. Label the statements of two v. Indiquez les énoncés de deux contre- countersubjects (CS1 and CS2). sujets (CS1 et CS2). vi. Indicate one redundant entry (R) vi. Indiquez une entrée redondante (R) directly on the score. directement dans la partition.

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Level 10 Harmony & Counterpoint Practice Paper 1

Examiner Comments

Total Mark for this Examination: 73/100

1. Melody Writing: 14/20 Phrase 1: The analysis is well done.

Phrase 2: The student has chosen the correct key for the modulation; however, there are a few problems with the way it has been handled.

Measure 7, beat 2: The student has simply indicated the new key name. It would be preferable to see a pivot chord labeled as well (vi6 of E major = ii6 of B major).

Measures 7–8: The bass line spans close to two octaves; a change of direction could improve the melodic shape of the bass line.

Measures 7–8: The last two melody notes of the phrase weaken the modulation. The leading tone (A sharp) needs to resolve to B. Also, regardless of the leading tone issue, it would be stronger and more characteristic to confirm the modulation by ending the melodic line on scale degree 1 of the new key.

Measure 8: The dotted half note B in the bass provides a strong ending to the section. However, there is a missed opportunity here to demonstrate a more idiomatic style. Arpeggiation of the B major triad would be preferable here.

Phrases 3 and 4: The phrase marks are missing.

Measures 9–10: The student has chosen to use rounded binary form and has correctly quoted the opening measures at the start of the final phrase. In this context, a quote of the opening measures would be better avoided in the third phrase. Contrasting material should be used here to allow the quote of the opening to sound fresh when it returns to create the rounded binary effect. The student’s use of a parallel period in mm. 1–8 further increases the need for contrast in phrase 3; ideally both the melodic contour and implied harmony should provide variety here.

Measures 11–12: The A naturals in m. 11 of the melody create a ii–V half cadence in E major. The student has analyzed this as an authentic cadence in B major but that would require A sharps in the melody. Either solution would be plausible at this point in the form; the problem is the inconsistency between the music written and the way it has been analyzed.

Examiner Commentary

Level 10 Harmony & Counterpoint: Practice Paper 1 continued

Measure 12: Having dotted half notes in both parts creates too static an effect for this point in the form. Instead, one of the two parts should maintain the momentum in a way that is characteristic of the style. For example, if the bass stays on the dominant note for the whole measure, then the melody might include 6–5 or 4–3 decoration (implying a cadential or a 4–3 suspension). Alternatively, if the melody stays still, the bass line can use characteristic arpeggiation to maintain the rhythmic interest.

Measure 5: The time value of the rest is incorrect; a half rest rather than a whole rest is needed here.

Measure 16: Here the student has attempted an idiomatic bass line but has unfortunately ended in first inversion. The bass line must arrive back in root position for the end of the piece.

Measure 16: The repeat sign is missing.

2. SATB and Figured Bass Harmonization – Given Chord Symbols: 11.5/15 2. a. 7.5/8 Measure 1, beat 2: There is a misprint in the given functional chord symbols. RCM policy is that in such cases, the student’s handling of the misprint will not have an impact on their mark. It is irrelevant whether they have attempted to write the specified chord and what errors that chord might contain, whether they have altered the problem chord, or whether they have skipped it entirely. All of these solutions are to be enclosed in square brackets and do not result in any deductions.

Note: In general, it is not advisable for the student to alter given material. Misprints are rare and when they occur, the marking policy ensures that the student is not penalized. In most cases when a student alters given material, there is in fact no misprint and marks will be deducted for the student’s failure to answer the question as it was given.

Measure 2, beat 2: The student has omitted the accidental required for E natural.

In addition, the student has successfully analyzed the tonal hierarchy. Measure 1 can be considered an expansion of the tonic area, leading to the pre-dominant chords of iv6 and viiº7/V in m. 2. The dominant chord in m. 2 then resolves to VI, which stands in for the final tonic.

2. b. 4/7 Measure 1, beat 2: The chord symbol shows the wrong quality. The student has spelled the chord correctly, including the F natural specified by the figured bass. This creates a full- diminished 7th chord, not half-diminished as shown in the root/quality chord symbol.

Examiner Commentary

Level 10 Harmony & Counterpoint: Practice Paper 1 continued

Measure 1, beat 3: Again, the chord is spelled correctly but the root/quality chord symbol does not match. The bass note is C sharp, not C.

Measure 2, beats 2 and 3: The stems on the right-hand chords should point downward rather than upward. For the right-hand part in keyboard style, stem direction is determined by the note in the chord that is furthest away from the middle line.

Measure 2, beats 2 to 4: There is a group of voice-leading problems here. The seventh of the chord on beat 2 (the A) needs to resolve to G sharp after the delay created by the cadential . The cadential should resolve with the characteristic voice leading indicated by the figures. Possibly the errors in this working occurred because the student did not plan ahead for the V13 chord on beat 4. It is good that the thirteenth (C sharp) is in the top voice, but this should be lead up smoothly.

Measure 3: The right-hand chord has only two notes. Likely the student’s intention was for the thirteenth (C sharp) to fall to A and the leading tone (G sharp) to rise to A, but they have left us guessing—the doubled A must be shown in the notation. Since there are whole notes here, each A must be written. (If shorter note values were involved, double stems would be used).

3. SATB Harmonization – Chorale: 20.5/30 Measure 1, beat 1: The figure “7” is incorrect; the C could be analyzed as part of a V chord or it could be considered to be a passing tone. If it is labeled as a chord tone, the position must be indicated correctly.

Measure 1, beat 4: The change of position should be indicated under the final eighth note of the measure.

Measure 3, beat 1: The root-position diminished triad is not idiomatic. V would be a more stylistically appropriate chord choice here. In addition, the diminished fifth between the bass and alto remained unresolved.

Measure 3, beat 4: The two eighth notes on the same pitch in the tenor part do not fit the text to be sung here; a quarter note is needed in the tenor.

Measure 4, beats 2–3: The student has chosen a characteristic progression and decoration at the cadence (ii to V8–7 to I); unfortunately, they have not handled the voice leading well. The seventh must resolve downward (especially since the passing 8–7 motion draws attention to it) and the I chord must contain its third.

Measure 4, beats 3–4: Parallel octaves should be avoided even between phrases.

Examiner Commentary

Level 10 Harmony & Counterpoint: Practice Paper 1 continued

Measure 5, beats 2–3: The student may perhaps have chosen to not resolve the seventh of the V7 chord on beat 2 so as to avoid doubling the third of the root-position I chord on beat 3. While this does result in good doubling, the unresolved seventh is still incorrect. Since the soprano has – in the melody here, a plain V triad (with no seventh) should have been used on beat 2.

Measure 6, beat 4 to measure 8, beat 1: The essential things in this phrase are a logical modulation to D major, a stylistic melodic line in the bass, and a strong cadence to confirm the modulation. The student’s working is excellent. It is very different than the sample working and that is absolutely fine. In questions of this type, there is never one single “required” answer or even an “ideal” answer.

Measure 8, beat 1: The analysis of a pivot chord here is incorrect. The chord is labeled correctly as the major I triad in D major. The same chord cannot be the minor ii chord in C major

Measure 9, beat 3: The symbol vi on the second eighth note does not account for the held G in the tenor. The correct symbol for this would be vi7 in C major or i7 in A minor.

Measure 9, beat 4: The augmented second between F natural and G sharp must be avoided; in this case, the student may need to slightly revise their chord choices to accomplish that. There are also parallel octaves in the tenor and bass.

Measure 10, beat 1 to measure 11, beat 2: Here the student has chosen chords that form a logical progression and clearly re-establish the home key. Unfortunately, the voice leading does not work well and the numerous parallel octaves and fifths undermine the effectiveness of the closing phrase.

Measure 11, beat 4: The eighth note G in the soprano should be treated as an anticipation but the student has not recognized this characteristic feature of chorale style. The second- inversion chord at the end of the measure is incorrect. Coming after the V7 chord, it is not a cadential chord. As well, the use of the dotted quarter note–eighth note rhythm in all four voices is not typical of the style. The quarter-note pulse should be maintained in the lower voices under the dotted rhythm in the melody.

Measure 12, beat 1: The bass fermata is missing.

4. Harmonic Analysis: 11.5/15 Measures 1–2: Analysis of the tonic pedal is missing.

Measure 1, beat 3: The student’s analysis of the harmonic rhythm is questionable; the right- hand notes B flat-G-E will likely be heard as a single chord rather than two separate chords. The second inversion indicated for the iv chord is plausible since the bass note was not accounted for as a pedal and no marks have been deducted. The third inversion of the iiø chord is incorrect since the D does not resolve as a seventh.

Examiner Commentary

Level 10 Harmony & Counterpoint: Practice Paper 1 continued

Measure 1, beat 4: The student has found the place where the right hand creates dissonance against the bass but has not considered the larger context. The D does not resolve as a suspension but rather is part of the tonic pedal. Again, the harmonic rhythm would be better analyzed as one chord for the beat rather than with a chord change.

Measure 2, beat 4: There is quite a bit of leeway in this passage regarding where the modulation might be indicated. The chords of the descending fifths sequence may be analyzed correctly in either F major or D minor. The problem with the student’s analysis is that they have mislabeled the quality of the chord at the end of m. 2. The notes form a C major triad, regardless of what key the analysis is in. Both “V of F major” and “VII of D minor” would be acceptable answers; viio is incorrect.

Measure 3, beat 1: The error is similar to that in m. 2. Analyzed in D minor, the correct symbol for this F major triad would be III, not III+. The student seems to have memorized only the qualities of triads built using the harmonic form of the minor scale and is not taking into account the natural form of the scale used here.

Measure 4, beats 2–4 and measure 5, beat 1: Each beat begins with a triad and the second eighth note in the bass adds dissonance; each of these dissonant bass notes is of the same kind. The dissonant notes may be labeled as “ ” or as passing tones. Ideally, the analysis will be consistent to reflect the repeated pattern that occurs here (no marks have been deducted).

Measure 5, beat 3: There is no seventh here; the symbol on the second eighth note must be 6, not .

5. Structural Analysis: 15.5/20 5. a. 8/10 v. The student has labeled the bridge exactly where the first accidental for the new key occurs. Correct placement of the label would demonstrate awareness of the phrase structure, with the label placed at the beginning of the phrase. vi. The label for the dominant preparation is too late, missing a significant portion of the passage. The label must be placed at the start of the passage; it is a good practice to use a line or bracket to indicate the entire duration of the dominant preparation.

5.b 7.5/10 iv. The student’s response suggests that they have noticed that the answer and CS1 will work in invertible counterpoint; this is true but not what the question was asking. For “type of answer,” the options are “real” or “tonal” and in this case the answer is “tonal.”

The student seems to have lost focus over the page turn: v. The labels for CS1 and CS2 are reversed. vi. The label for the redundant entry is missing.

Examiner Commentary