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AMusLCM DIPLOMA EXAMINATION


Paper I

Summer, 2010
(2010-2012 Syllabus)
Saturday 19th June 10am 1pm

Rudiments, Harmony and Counterpoint


(Time allowed: 3 hours)
Full Name of Candidate ......................................................................................................
(Surname Last)
Registration Number ............................................................................................................

Instructions to Candidates
1.

Answers may be fair copies of rough work done in the examination room on paper provided by
the Invigilator. All rough work must be left in the examination room.

2.

Candidates are forbidden to bring into the examination room any paper for rough working,
blotting paper, notes or text books.

3.

They are not allowed to talk to one another in the examination room during the time of the
examination, but reasonable questions may be addressed to the Invigilator.

Copyright 2010 LCM Publications, Thames Valley University. All rights reserved.

(10)

Question 1: Rudiments

Study the extract, taken from a piano collection by Schumann, and then answer the questions which follow.
Adagio (q = 69)

b 2

& b b 4 n n n

? b b 42
b

sotto voce

b n n
j

senza ped.

(b)

(a)

b n
b
b
& b

? bb
b
&

10

bbb

? bb

n #

n
n

b #

n
3

b b

rit. ______

b n n n
n

n n
j

>

n
n

Pi lento

bb n
b
b
&
(c)

14

? bb
b

F
ggg
g

3
5
molto teneramente

ggg
gb

>
n

18
b n # n b
b
b
& b n #

g
n
? b b ggg
b

ggg
g n

>
n

# n b
#
b

.
gg
gg

gb

nn

ggg
gn

j
b

n
n
gg
g b

21
bb . n nn . nn b .
n
b

& b

g
? b b gg
b gg

ggg n
gg

ggg
gg

gg
ggg n

ggg
gg

ggg
gg

rit. _

ggg
gg

n
n
bb b
n

&
#
b n n
#
3
p 5
3
3

b b n
b
#
n

? bb
b

25

*
rit.

n
b n
(d)

bb n n
b
n
b .
&
j

.

.

? bb
b

29

(A)

Explain the following:


(i) sotto voce ______________________________________________________________
(ii) Adagio _________________________________________________________________
(iii) senza ped. _____________________________________________________________
(iv) molto teneramente _______________________________________________________
(v) q q q q q
5

(B)

_____________________________________________________________

(i) Name the key of the extract. _______________________________________________


(ii) Mark on the score examples of the following:
(a) a 'changing note' pattern
(b) syncopation in an inner part
(c) a descending chromatic scale
(d) a chromatic passing note
(e) a perfect cadence
(f) a note of anticipation

(C)

(i) Describe the intervals marked:

(a) _______________________________ (LH b.2)


(b) _______________________________ (LH b.5)
(c) _________________________________ (b.14)
(d) ______________________________ (LH b.28)

(ii) Describe the numbered chords:

c __________________________________ (b.12)
d __________________________________ (b.18)
e __________________________________ (b.20)
f __________________________________ (b.22)

(10)

Question 2: Harmonic Analysis


Study the following hymn tune and then answer the questions which follow.

(Jeremiah Clarke)

b
& b b b 32
? b b b 32
b

b
& b b b b

? bb b
b

ww

(x)

ww

n ww

w
? bb b w
b

ww

w
..

.
w

w
n

.
w

? bb b
b

ww

(y)

w
w
7

j

n

b n
& b bb

w
w

ww

ww

(z)

b
& b bb w

w.
nw .

ww

w.
w.

w.
w.

n ww
w
w

(i) Describe the chords numbered 1-7.


A in words

or
B in Roman numerals

or
C in chord symbols

1 ___________________

key: ________________

2 ___________________

key: ________________

3 ___________________

key: ________________

4 ___________________

key: ________________

5 ___________________

key: ________________

6 ___________________

key: ________________

7 ___________________

key: ________________

1 ___________________

key: ________________

2 ___________________

key: ________________

3 ___________________

key: ________________

4 ___________________

key: ________________

5 ___________________

key: ________________

6 ___________________

key: ________________

7 ___________________

key: ________________

1 _________ position__________ key: __________


2 _________ position__________ key: __________
3 _________ position__________ key: __________
4 _________ position__________ key: __________
5 _________ position__________ key: __________
6 _________ position__________ key: __________
7 _________ position__________ key: __________

(ii)

Name:

cadence A: _________________________ key: ___________________


and cadence B: ______________________ key: ___________________

(iii)

Explain fully the harmonic function of these notes:


(x) __________________________________________ (bar 5, Soprano)
(y) _________________________________________ (bar 13, Soprano)

(iv)

Describe fully the modulatory scheme of this hymn tune.


________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________

(v)

Describe the pattern under the dashed bracket (z) _______________________________


________________________________________________________________________
6

(10)

Question 3: Chorale Harmonisation


Complete the following extract from a chorale by J. S. Bach.

#### c
&

? # # # # c

####
&

? # # # # #

&

####

? ####

(10)

Question 4: Two-part Counterpoint


Complete the following extract of two-part counterpoint.

#
& 12
8 .

.
. . . J

? # 12


8

#

&
? # J . . . .
J
J
# # j n
&

n j
#

etc.

?#

(10)

Question 5: Modulation

Write a short piece for piano of about 16 bars' duration, using the given opening. Maintain the style of the
opening. Include four modulations and return to the tonic at the close. Include all performance directions.

#
& 43 .

Andantino

? # 43 .

&
?

&
?

&
?

n .

&
?

&

?
&

?
&

?
&

?
10

Centre
........................................................................

AMusLCM DIPLOMA EXAMINATION


Paper II

Summer, 2010
(2010-2012 Syllabus)
Saturday 19th June 2pm 5pm

STYLISTIC COMPOSITIONAND SET WORKS


(Time allowed: 3 hours)
Full Name of Candidate ......................................................................................................
(Surname Last)
Registration Number ............................................................................................................

Instructions to Candidates
1.

Answers may be fair copies of rough work done in the examination room on paper provided by
the Invigilator. All rough work must be left in the examination room.

2.

Candidates are forbidden to bring into the examination room any paper for rough working,
blotting paper, notes or text books.

3.

They are not allowed to talk to one another in the examination room during the time of the
examination, but reasonable questions may be addressed to the Invigilator.

Copyright 2010 LCM Publications, Thames Valley University. All rights reserved.

Question 1: Stylistic Composition

[20]

Complete ANY TWO of the following four questions. Responses should be 20-24 bars in length, and should
maintain the style of any given opening. Performance directions must be included.
(a)

Continue the following Trio Sonata texture, by completing the upper parts and realising the figured bass.

Flute

Violin

Harpsichord

&

#
&
&

?#
9

&

#3
& 8

?# 3
8
.

4
2

?#
4+
2

7
4
2

6
4

# Vivace
& 38

#
& #
&

# Vivace

& 38

6
4

5
3

6
3

4+
2

&

13

&
&

#
#

&
&
&


6
5

#
#

9
5

6
5

6
4

?#

(b)

# n

?#
17

Write a short composition for piano, harp or guitar based on the following note row.

& #

etc.

etc.

(c)

Compose three short variations for keyboard, on the given theme. Compose Variation 1 in two parts,
Variation 2 in three parts, and Variation 3 in four parts.

Moderato

& b 42
F
? b 42
&b

?b
(d)

# J

j

J

n
b # n j
j

Compose a short piece for keyboard using the given 'ground bass' theme. Begin by adding one part
above the ground, then increase in texture, adding one more part for each subsequent repetition of
the ground, finishing with three parts. Remember to add all necessary performance directions.

? b b 43

Con moto

Question 2: Set Works

[30]

Answer any TWO of the following essay questions:


(a)
(b)
(c)
(d)
(e)
(f)

What is the function of the chorales in the first part of the St Matthew Passion? Discuss.
Discuss in some detail the contrapuntal devices used in the last of Bach's 4 Duets (BWV 805).
Show how Bach uses invertible counterpoint in the first movement of the G major Trio Sonata,
BWV 530.
Discuss the texture of Purcell's Chacony for Strings.
Write a detailed analysis of Beethoven's Op. 34 Variations.
Discuss in some detail the various compositional techniques used in Webern's Symphony Op. 21.