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Level 10 Harmony & Counterpoint

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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. CONTINUED NEXT PAGE 1 © Copyright 2016 The Royal Conservatory® Certificate Program Level 10 Harmony & Counterpoint 2 of 14 Practice Paper 1 2 CONTINUED NEXT PAGE Level 10 Harmony & Counterpoint 3 of 14 Practice Paper 1 3 Level 10 Harmony & Counterpoint 4 of 14 Practice Paper 1 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. [8] 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. [7] 4 Level 10 Harmony & Counterpoint 5 of 14 Practice Paper 1 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. 5 Level 10 Harmony & Counterpoint 6 of 14 Practice Paper 1 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. 6 CONTINUED NEXT PAGE Level 10 Harmony & Counterpoint 7 of 14 Practice Paper 1 7 Level 10 Harmony & Counterpoint 8 of 14 Practice Paper 1 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 8 CONTINUED NEXT PAGE Level 10 Harmony & Counterpoint 9 of 14 Practice Paper 1 9 CONTINUED NEXT PAGE Level 10 Harmony & Counterpoint 10 of 14 Practice Paper 1 10 CONTINUED NEXT PAGE Level 10 Harmony & Counterpoint 11 of 14 Practice Paper 1 11 CONTINUED NEXT PAGE Level 10 Harmony & Counterpoint 12 of 14 Practice Paper 1 [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. 12 CONTINUED NEXT PAGE Level 10 Harmony & Counterpoint 13 of 14 Practice Paper 1 13 CONTINUED NEXT PAGE Level 10 Harmony & Counterpoint 14 of 14 Practice Paper 1 14 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 © Copyright 2017 The Royal Conservatory 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.
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