GRADE SIX

POPULAR MUSIC THEORY EXAMINATION

Winter 2010
Time allowed: 3 hours

Candidate NAME:
(Surname last)

Entry NUMBER:

Examination CENTRE:
Instructions to candidates

1. Write your name, examination centre and entry number (details provided in your attendance letter) in the spaces provided above, but do not open this examination paper until instructed to do so by the invigilator. 2. All answers must be written in the spaces provided. These answers may be copies of rough work done in the examination room, on paper provided by the invigilator, but all rough work must be handed to the invigilator with the examination script at the end of the examination. 3. Candidates are not permitted to bring any paper, notes or books into the examination room. 4. Candidates are not permitted to talk to one another in the examination room, but reasonable questions may be addressed to the invigilator. 5. Candidates must stop writing immediately when requested to do so by the invigilator. 6. Ensure that you return the complete examination script to the invigilator upon completion of the examination. 7. Please leave the examination room as quietly as possible if other candidates are still completing their examination.

Registry Mews, 11 to 13 Wilton Rd, Bexhill, Sussex, TN40 1HY Tel: 01424 22 22 22 Fax: 01424 21 32 21

Section 1: SCALES AND KEYS

Questions 1 - 5: 4 marks each. Max. Total: 20 marks

All scales should be written using whole notes (semibreves). Q1. Using the correct key signature, write in the bass clef, one octave ascending of the D major scale. Q2. Using the correct key signature, write in the treble clef, one octave ascending of the pentatonic minor scale that has five sharps in its key signature. Q3. In the bass clef, write one octave descending of the A Lydian modal scale, without using a key signature. Q4. In the treble clef, write one octave descending of the A chromatic scale, without using a key signature. Q5. Write the scale spellings of the following scales: a) Dorian modal scale. b) Mixolydian modal scale.

Section 2: CHORDS

Questions 1 - 5: 4 marks each. Max. Total: 20 marks

All chords should be written using whole notes (semibreves). Q1. Write A#m75 in the bass clef.

Q2. Write Dmaj9 in the bass clef.

Q3. Write the D# diminished triad in 1st inversion in the treble clef.

Q4. Write Fm(maj7) in the treble clef. Q5. Write the chord spellings of the following chords: a) Minor 9th chord. b) Major 7th #5 chord.

Section 3: RHYTHM NOTATION

Q.1: 2 marks; Q.2 - 3: 4 marks each. Max.Total: 10 marks

Q1. Using a pitch of your choice, write four different bars of rhythm in 24 time. Use any combination of notes and rests, but include some 32nd notes and rests.

Q2. Using a pitch of your choice, write two different bars of rhythm in 34 time. Use any combination of notes and rests, but include some 64th notes and rests.

Q3. Using a pitch of your choice, write four different bars of rhythm in 44 time. Use any combination of notes and rests, but include some syncopation.

Section 4: KNOWLEDGE OF POPULAR MUSIC

Answer one question only - Max. Total: 15 marks

Write an essay of approximately 400 500 words on ONE of the following topics.
Q1. Choose two different styles of music and compare and contrast the differences between the main features of each style. OR Q2. Choose a group, vocalist or instrumentalist known for more than one style of music and describe how the development of each style occurred, mentioning each styles main features.

PLEASE WRITE YOUR ESSAY ON THE FOLLOWING PAGE(S).

Section 4: KNOWLEDGE OF POPULAR MUSIC continued Write the number of the question you are answering here:

{continue on next page if necessary}

Section 4: KNOWLEDGE OF POPULAR MUSIC essay continuation page

Section 5: HARMONY

Q.1 - 3: 7 marks each; Q 4 - 5: 2 marks each. Max. Total 25 marks

Q1. Name the scale from which all the following chords can be derived; identify the chords using Roman Numerals - writing your answers below each relevant chord. Scale:

||G#m7 |Emaj7

|F#9 |A#m75

|C#m7 |D#m7

|Bmaj9 |G#m7

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Q2. Using at least five different chords, write an eight-bar chord progression in the key of D major. Include a I-V (imperfect) cadence from bar 3 to bar 4 and one other cadential movement from bar 7 to bar 8. Identify both cadences by writing the appropriate Roman Numerals below the relevant chords.

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Q3. Using at least five different chords, write an eight-bar chord progression over which the B Dorian modal scale could be used for improvising.

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Q4. Name a scale that could be used effectively for improvising over the following chord progression.

||A7

|E7

|C

D7

|A7

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Q5. Name a scale that could be used effectively for improvising over the following chord progression.

||Amaj7

|C#m7

|B7

Emaj7 |Amaj7

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Section 6: TRANSPOSITION

Q.1 - 2: 5 marks each. Max. Total 10 marks

Q1. Transpose the following chord progression into the key of F minor.

||Bm7 ||

A7 |Gmaj7

Dmaj7|Em9

Fm9

|Bm7 |

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Q2. Using the correct key signature transpose the following melody down into the key of B minor.

[END OF EXAM SCRIPT]