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Level 5 Theory
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.

10 1. a. Write the following notes in the bass clef. 1. a. Écrivez les notes suivantes en clef de fa.
Use whole notes. Utilisez des rondes.

b. Name the following notes. b. Identifiez les notes suivantes.

10 2. a. Write a diatonic half step above each note. 2. a. Écrivez un demi-ton diatonique au-dessus
de chaque note.

b. Write a whole step below each note. b. Écrivez un ton entier au-dessous de
chaque note.

1 © Copyright 2016 The Royal Conservatory® Certificate Program

Level 5 Theory 2 of 8

Practice Paper 1

10 3. a. Write the following intervals above each 3. a. Écrivez les intervalles suivants au-dessus
of the given notes. de chaque note donnée.

b. Name each of the following intervals. b. Identifiez chacun des intervalles suivants.

10 4. Name the key of the following melody. 4. Identifiez la tonalité de la mélodie suivante.
Transpose it up one octave in the treble clef Transposez-la une octave plus haut, en clef de
using the correct key signature. sol, en utilisant l’armature appropriée.

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Level 5 Theory 3 of 8

Practice Paper 1

10 5. Write the following scales ascending and
descending using the correct key signature
for each. Use whole notes.
a. B flat major in the treble clef
b. B minor, harmonic form in the bass clef
c. E minor, melodic form in the treble clef
d. A flat major in the bass clef
e. F sharp minor, natural form in the
treble clef
5. Écrivez les gammes suivantes, ascendantes
et descendantes, en utilisant l’armature
appropriée à chacune. Utilisez des rondes.
a. si bémol majeur en clef de sol
b. si mineur harmonique en clef de fa
c. mi mineur mélodique en clef de sol
d. la bémol majeur en clef de fa
e. fa dièse mineur naturel en clef de sol

a.

b.

c.

d.

e.

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Level 5 Theory
Practice Paper 1
10 6. Write the following chords in the bass clef
using the correct key signature and any
necessary accidentals.
a. the subdominant triad of D major in root
position
b. the dominant triad of D minor, harmonic
form in first inversion
c. the subdominant triad of C minor,
harmonic form in second inversion
d. the dominant 7th chord of E major in
root position
e. the tonic triad of G minor, harmonic
form in first inversion
10 7. Add rests below the brackets to complete
each of the following measures.
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6. Écrivez les accords suivants en clef de fa
en utilisant l’armature appropriée et les
altérations accidentelles nécessaires.
a. l’accord de sous-dominante de ré majeur
en position fondamentale
b. l’accord de dominante de ré mineur
harmonique au premier renversement
c. l’accord de sous-dominante de do mineur
harmonique au deuxième renversement
d. l’accord de septième de dominante de mi
majeur en position fondamentale
e. l’accord de tonique de sol mineur
harmonique au premier renversement
7. Ajoutez des silences sous les crochets pour
compléter chacune des mesures suivantes.
Level 5 Theory
Practice Paper 1
10 8. a. Name the key of this melody.
b. Draw a phrase mark over the given phrase
and label the scale degree number of the
final note.
c. Compose a four-measure answer phrase
ending on a stable scale degree.
d. Draw a phrase mark over the answer
phrase and label the scale degree of the
final note.
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8. a. Identifiez la tonalité de cette mélodie.
b. Tracez une liaison de phrasé au-dessus de
la phrase donnée et identifiez le numéro
du degré de la note finale.
c. Composez une réponse sous la forme
d’une phrase de quatre mesures se
terminant sur un degré stable.
d. Tracez une liaison de phrasé au-dessus de
la phrase-réponse et identifiez le numéro
du degré de la note finale.
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Practice Paper 1

10 9. a. Match each Italian term in the left 9. a. Pour chaque terme italien dans la colonne
column with its definition in the right de gauche, choisissez la définition
column. You will not use all of the appropriée dans la colonne de droite. Vous
definitions. n’utiliserez pas toutes les définitions.

Example/Exemple:

forte d a. as fast as possible

aussi rapide que possible

lento b. left hand

main gauche

cantabile c. in a singing style

dans un style chantant

tenuto d. loud
fort

prestissimo e. majestic
majestueux

mano sinistra, m.s. f. detached

détaché

g. slow
lent

h. held, sustained
tenu, soutenu

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Level 5 Theory
Practice Paper 1
b. Answer the questions below for one of the
following works.
i. “Hallelujah Chorus”
Name the composer of this work.
What is the title of the work in which
this chorus is found?
What is the genre of the entire work?
List the voice types that sing in the
chorus:
OR/OU
ii. “Queen of the Night Aria”
Name the composer of this work.
What is the title of the work in which
this aria is found?
What is the genre of this work?
What voice type sings this aria?
What does the character express in
this aria?
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b. Répondez aux questions de l’un des
travaux suivants.
i. “Hallelujah Chorus”
Nommez le compositeur de ce
morceau.
Quel est le nom de l’oeuvre dans
laquelle se trouve ce choeur?
Quel est le genre de cette oeuvre?
Énumérez les types de voix qui
chantent dans le choeur :
ii. “Queen of the Night Aria”
Nommez le compositeur de ce
morceau.
Quel est le titre de l’oeuvre dans
laquelle se trouve cet air?
Quel est le genre de cette oeuvre?
Quel type de voix chante cet air?
Qu’exprime le personnage dans cet
air?
Level 5 Theory 8 of 8

Practice Paper 1

10 10. Analyze the following piece of music by 10. Analysez le morceau de musique suivant en
answering the questions below. répondant aux questions ci-dessous.

a. Name the key of this piece.

Identifiez la tonalité de ce morceau.
b. Add the time signature directly on the music.
Ajoutez le chiffre indicateur directement dans la partition.
c. Circle a tonic triad in broken form. Label it i.
Entourez un accord de tonique brisé. Identifiez-le comme i.
d. Circle a dominant triad in broken form. Label it V.
Entourez un accord de dominante brisé. Identifiez-le comme V.
e. Name the interval at letter A.
Identifiez l’intervalle indiqué à la lettre A.
f. Write the correct rest(s) in the box at letter B.
Écrivez le(s) silence(s) approprié(s) dans la boîte à la lettre B.
g. Name the interval at letter C.
Identifiez l’intervalle indiqué à la lettre C.
h. How many times does the leading tone appear in this passage?
Combien de fois la note sensible apparaît-elle dans cet extrait?
i. How many ties are in this piece?
Combien de liaisons y a-t-il dans ce morceau?
j. Provide an Italian term that means “lively.”
Indiquez un terme italien qui signifie “vif.”

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Level 5 Theory
Practice Paper 1

Examiner Comments
Total Mark for this Examination: 72/100

1. Note Naming and Writing: 9/10

a. One mark has been awarded for each correctly drawn note for a total of five correct notes.

b. One mark has been deducted for an incorrect note name in the second measure. The student
has neglected to apply the key signature, which makes this a C sharp, not a C.

2. Half Steps and Whole Steps: 7/10

a. Two marks have been deducted. The second measure is incorrect because the student has
written a chromatic half step (C to C sharp) instead of a diatonic half step (C to D flat). The
third measure is incorrect because E flat to F is a whole step.

b. One mark has been deducted. The final measure is incorrect because F to E is a diatonic half
step.

3. Intervals: 8/10
a. The third measure is incorrect—the note drawn should be a C sharp.

b. The final measure is incorrect—the given interval is a minor seventh, not a major seventh.

4. Transposition: 7.5/10
a. Two marks have been awarded for the correct key name. The new clef and key signature are also
correctly drawn. The notes (including note values and stems) are correct in the first two
measures, but the last five notes are written a third too low. Half a mark has been deducted for
each of these.

5. Scales: 4/10
In this question, one mark is awarded for each correct key signature and one mark is awarded for
each correctly pitched scale.

b. The key signature is incorrect; the two sharps have been placed as though the scale was in the
treble clef. Because of this, the pitch of the scale is also incorrect, and a second mark has been
deducted.

Examiner Commentary

© Copyright 2016 The Royal Conservatory

 Level 5 Theory: Practice Paper 1 continued

c. The key signature is correct and one mark has been awarded. However, in the descending form
of the E minor melodic scale, the student has used flats to lower the sharps drawn in the
ascending form instead of natural signs.

d. The student has drawn an incorrect key signature; after the first flat sign, the three subsequent
flats have slipped too low. Once again, a second mark has been deducted because this results in
an incorrectly pitched scale.

e. The key signature is correct. The scale begins on the correct note, but continues up to the G
sharp (supertonic) and descends to the supertonic once again. To receive a mark for the correct
set of notes, one complete octave must be drawn (with no missing or additional notes).

6. Tonic, Subdominant and Dominant Chords: 8/10

In this question, one mark is awarded for each correct key signature and one mark is awarded for
each correctly pitched chord. Chords must be drawn in the correct position.

b. The key signature for D minor is correct, and the notes of the dominant triad have been
correctly placed; however, the student has forgotten that the leading tone requires an accidental
(in this case, the C should be a C sharp).

e. The key signature of G minor is correct, but the notes of the tonic triad have been drawn in
second inversion rather than in first inversion as requested.

7. Rests: 7/10
In this question, one mark is deducted for each incorrect measure.

First line: In the first measure, the student has used a half rest to combine the second and third
beats. However, each half-note beat must be clearly shown-two quarter rests followed by an
eighth rest are needed here.

Second line: In the last measure, the student has used a dotted quarter rest on the third beat. This
may not be used in this time signature, as it exceeds the value of the basic beat (the quarter
note).

Third line: In the first measure, the group of triplet sixteenth notes is equal to one eighth note and
must be completed by an eighth rest before proceeding to the two quarter rests.

Examiner Commentary

© Copyright 2016 The Royal Conservatory

 Level 5 Theory: Practice Paper 1 continued

8. Melody Writing: 9/10

In this question, one mark is awarded for each of the following: naming the key, drawing a phrase
mark over each of the two phrases, and labelling the scale degree of the final note. The student has
received five marks for these elements.

An additional five marks are awarded for composing a four-measure answer phrase to create a
parallel period; that is, an answer phrase that employs the material given in the first phrase with an
altered ending (usually at some point in measures 7 and 8) to end on a stable scale degree (implying
an authentic cadence).

The student has done very well here—the only problem is that the leap from the dominant to the
mediant at the cadence point is somewhat awkward and not stylistic. Therefore, one mark has been
deducted and the examiner has commented “smoother approach at cadence.”

9. Italian Terms and Music History: 9/10

a. This question tests student’s knowledge of Italian terms in a familiar “mix and match” format.
Five marks have been awarded here.

b. This question tests the student’s knowledge of one composition from the Music History
requirement. The student has answered both sets of questions, although only one set is
required. In keeping with the marking policy, only the first set has been marked. The student
has answered four of the questions in part (i) correctly. One mark has been deducted because
the student has confused “genre” with “era” and written “Baroque” instead of “oratorio.”

10. Analysis: 3.5/10

a. The student has lost one mark for naming the key as E flat major instead of C minor.

b. The time signature must be drawn in both the treble and bass staff. Half a mark has been
deducted.

d. The student has circled a dominant chord, but it is not in broken form as specified in the
instruction.

e. The interval is a minor third (because of the key signature).

f. The rests must be shown as two eighth rests, rather than combined into one quarter rest.

g. The interval is a major sixth (again, the key signature needs to be applied throughout).

h. The leading tone appears six times (twice in measure 3, although the accidental only appears
once).

j. The answer allegro is acceptable, as would be vivace.

Examiner Commentary

© Copyright 2016 The Royal Conservatory