GRADE SIX

POPULAR MUSIC THEORY EXAMINATION

Summer 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. In the bass clef, write one octave ascending of the E chromatic scale, without using a key signature. Q2. Using the correct key signature, write in the treble clef, one octave descending of the B major scale. Q3. In the treble clef, write one octave ascending of the B Dorian modal scale, without using a key signature. Q4. Using the correct key signature, write in the bass clef, one octave descending of the natural minor scale that has five sharps in its key signature. Q5. Write the scale spellings of the following scales: a) Harmonic minor scale. b) Blues 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 D#m7b5 in the treble clef.

Q2. Write Amaj9 in the bass clef.

Q3. Write the B minor triad in 2nd inversion in the treble clef.

Q4. Write G#m(maj7) in the bass clef. Q5. Write the chord spellings of the following chords: a) Minor 7th 5 chord. b) Dominant 9th 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 44 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 and rests, but include some syncopation.

3 4

time. Use any combination of notes

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 a style of popular music and, with reference to at least two of this styles most well-known musicians, describe the main features of the musical style and outline its development. OR Q2. Choose two different styles of music and compare and contrast the differences between the main features of each style.

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:

||C#m7 |B7

|G#m7 |D#m75

|Amaj9 |F#m9

|Emaj9 |C#m7

| ||

Q2. Using at least five different chords, write an eight-bar chord progression in the key of A major. Include a IV-I (plagal) 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 F# 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.

||B7

|E7

|G

F#7

|B7

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

||Dmaj7

|Amaj7

|Bm7

E9

|Dmaj7

||

Section 6: TRANSPOSITION

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

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

||Bm7 ||

Em7|Dmaj9

Fm7

|A9 |

Em7 |Bm7

|| ||

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

[END OF EXAM SCRIPT]