THEORY OF MUSIC

REPORT ON THE MAY 2009 EXAMINATIONS

General

The early grades are very much concerned with learning and using the language of
music and becoming familiar with basic theory. But, there are creative elements
where candidates are asked to respond to a given stimulus: a rhythmic or melodic
phrase, some words, a harmonic sequence. It is very important that candidates are
prepared for these more creative elements in the early grades so as to form a
secure platform for future progress.

Clear, neat, presentation at all grades is important and should be a high priority
from the outset. If necessary please use a ruler for long hair-pins and beams.
There is an endless supply of good models in the printed music that candidates use
in their practical work. Do make this link between practice and theory.

Proportional spacing of notes, rests, leger lines is essential if notation is to be easily

read. Beyond a certain basic level we don’t read individual notes or signs, but
rather take in the overall shape of the music – this would be very difficult without
proportional spacing.

In all creative work – melody writing, harmonising a bass part, adding a melody to a
given bass part – the simplest answers tend to be the best answers.

Grade 1

Sections 1 and 5 were almost invariably well answered with only the occasional slip
in Section 1 – the multiple choice format clearly helps candidates to focus on the
correct answer. The concept of ostinato (Section 5) is well understood; a double
bar line is needed at the end of this line.

Section 4 is the only section at this level that requires a creative response. The
majority of candidates provide a mathematically correct answer, but many do not
give a musically convincing answer. Being mathematically correct gains about half
marks; further marks are then achieved through style, including variety where
appropriate, reference to the given rhythm and writing a convincing ending.

Candidate should be aware of all the detail in a question; thus in Section 2.2 a
number of candidates answered as though it was a treble clef, whilst others wrote a
scale rather than the required arpeggio.
Very few candidates answered Section 3 entirely correctly. It is important to be
aware of the two-part nature of this section. The first task is to circle the five
mistakes; the second task is to re-write the whole extract with the five mistakes
corrected. Do not forget to re-write all the correct material from the original.

Section 6 was generally well answered, but again some candidates gave only partial
answers; thus in Section 6.6 it is not sufficient just to say ‘slur’ because the
question asks for the meaning of the slur. (to play the marked notes smoothly).

Grade 2

Candidates are becoming familiar and more confident with the multiple-choice
format of Section 1. In Section 1.4 however the majority of candidates failed to
realise that a whole bar rest (semibreve) in 3/4 time is three beats.

Most candidates were able to accurately transpose down an octave (Section 5) and
provide the correct scale and broken chord in Section 2.

Section 3 is a progression from a similar question in Grade 1 and the same problems
arise – notably not circling the five mistakes. This should be the first job when
tackling this section. Many candidates failed to spot the incorrect spelling of
Andante.

In Section 6 some candidates failed to put in the key and time signatures. The
question then asks for “a tune using the notes of the tonic triad in any register.” In
this example candidates should only use the three notes of the tonic triad in E
minor: E,G and B. – no other notes should be used. A more shapely tune can often
be created using some repetition of notes rather than constantly jumping between
different pitches.

Grade 3

In general candidates answered correctly Sections 1, 4 and 7, but were less certain
with Sections 2.2, 3 and 5.

In Section 6 candidates are required to write only the root of the given chord.
Many candidates tried to write a fuller bass line using other notes. Greater interest
can be added to a root-only bass line by careful use of different octaves of the root
notes.

Given the comments for Grades 1 and 2 it is not surprising that some candidates
failed to “circle five different mistakes” in Section 3, but then would usually
provide a reasonably accurate corrected version.

Most candidates transpose accurately (Section 4), but for some the proportional
note spacing was poorly handled
Section 5 is the first step in learning to write 4-part chords for SATB. Some
candidates do this very well whilst others tend to write the tenor part too low and
the alto part too high thus creating a wide interval between these two voices, and
an unbalanced chord. It is important to understand and operate the guidelines for
SATB part writing at this grade level as a basis for future progress

As we have said many times in the past, we urge the careful reading of questions
and for Section 7 more careful study of the workbook. In Section 7 there was some
confusion between Chord Symbols and Roman Numerals, and between Dynamic
Marks and Articulation Marks.

Grade 4

In general candidates appear more secure in questions that require recall of precise
knowledge and information; they are less secure in questions that ask them to write
or compose, and to comment on some aspect of music. Thus, Sections 1, 2 and 4
were generally well answered, but Sections 5 and 6 were more variable.

Section 7 has both closed and open questions. Candidates normally have no
problem with closed questions such as naming the key (Section7.2) or writing a
Roman numerical below a chord (Section 7.5). They do have difficulties in open
questions such as comparing the way the composer decorates cadences (Section
7.7) or commenting on the pitch (Section 7.9). This is a skill that could well be
developed as part of practical work.

The concept of ‘harmonic rhythm’ is not well understood (Section 7.4).

Understanding this concept is crucial to their own creative work, with good
exemplar material available in their practical studies.

Section 6 asks candidates to write a tune above a given bass line. Candidates were
invited to use the given chords and use some unaccented passing notes. The key to
a successful answer is to keep it rhythmically simple and aim for a relatively
smooth singable tune. Often candidates created very complex melodies with
inappropriate rhythms and poor melodic shape.

The spacing of parts in 4-part (SATB) writing (Section 5) is generally better than in
Grade 4, but still work to do in this area.

The use of the minim beat in 3/2 time (Sections 2.2 and 6) and the 12/8 in Section 3
created problems in grouping notes and rhythm patterns for some candidates.

Grade 5

The multiple choice questions in Section 1 continue to provide a secure start to the
theory examination; however many candidates opted for the viola rather than the
cello in Section 1.9.
Section 3 introduces, for the first time, words to be set to music – rhythm only at
this grade. Candidate response was very variable. The main issue, as in the past,
is aligning strong syllables in the words with strong beats in the music. Many
candidates find this difficult, but it is fundamental, and the first task in setting
words to music. If this is correct the remainder of the task should be
straightforward providing it is kept simple: each syllable needs a note as in the
given start.

Transposing becomes a little more complex at this grade. Unfortunately many

candidates transposed by a minor 3rd rather than a major 3rd.

Good melodies in Section 6 are usually rhythmically simple melodies with mainly
step-wise movement and a sense of shape and direction. The instruction to
‘decorate your tune’ is not an invitation to write complex ornaments but rather to
add a few simple passing and auxiliary notes as and where appropriate.

Grade 6 (New Syllabus)

Section 1 (multiple choice) and Section 4 (harmonic sequence) were generally

secure, although the compound interval (Section 1.9) confused some candidates.

Sections 2.1 and 2.1 were generally secure, but in Section 2.3 many candidates had
difficulty identifying the correct key for the Eb alto saxophone transposition.

There was little sense of structure, phrase shape or climax in the pentatonic minor
scale melodies asked for in Section 3. Pentatonic melodies rely for their
effectiveness on repetition and contrast of rhythmic motifs and some feeling of
overall shape. Dynamics, phrasing and articulation should be considered as part of
the structural process and added as appropriate.

Although the writing of chords for SATB has appeared in earlier grades, the spacing
of parts is still a cause for concern (Sections 5, and the cadence in Section 6). As a
general rule an interval greater than an octave should only appear between the
bass and tenor; the interval between other parts should ideally always be less than
an octave.

Candidates generally found the analysis in Section 7 to be straightforward. The

only section to create problems was 7.6 where it would appear that the terms
harmonic and melodic sequence are not fully understood.

Grade 6 (Old Syllabus)

Questions 2 and 5 were consistently well answered; Questions 3 and 4 were much
less successful with examiners noting in particular the poor part writing. It would
appear that candidates concentrate almost entirely on the individual chords – the
vertical, and ignore the horizontal (melodic) progression of the voice parts.
Melody writing – required in Question 1- is a problem for some candidates with
poorly handled modulations and a lack of logical harmonic underpinning.

In Question 3 most candidates were able to successfully use a falling seventh

progression, but provided poor connecting harmony.

The imperfect cadence at the end of the first phrase in Question 4 is a pivotal point
in this exercise. Some candidates attempted a perfect cadence resulting in a final
6/4 chord. There were many examples of inappropriate chords, unresolved leading
notes and inappropriate chords.

Question 6a was usually well answered but in Question 6b candidates often gave
little relevant information about the chosen work.

Grade 7 (New Syllabus)

No report

Grade 7 (Old Syllabus)

Questions 3 and 4 were consistently well answered with just minor concerns such
as writing parts on octave too high in Question 4.

Candidates find the setting of words to a melody difficult (Question 1). There is a
poor understanding of accents and how the natural stress on certain syllables must
match the accented beats in the music. It would seem that candidates do not have
a strategic plan for tackling the word setting of Question 1. A useful starting
strategy might be to read the words a number of times and mark the accented
syllables; then write out the words under a musical stave putting a bar line before
each accented syllable. The melody can then be written with any suitable key and
time signature.

Two-part writing (Question 2) continues as one of the weaker aspects of

candidates’ work. In terms of texture, two-part writing seeks to create two
independent melodic lines, with the independence often created by contrasting
rhythmic patterns. What makes the two independent parts work together
successfully is a strong underlying harmonic sequence and it is this that is often
missing. Again candidates need a working strategy- this could usefully start with
writing the chord symbols below the bass line.

Most candidates managed Question 5a successfully though occasionally non-

orchestral instruments such as organ and piano were suggested. The answers to
Question 5b covered a wide range from excellent to very poor; in the latter case
there was often too much writing about the construction of an instrument and little
about how it would be played, the sound of the instrument, its use and repertoire.
Grade 8 (New Syllabus)
Syllabus)

Sections 1 and 5 were consistently well answered, although the more analytical
(5.5) and descriptive (5.7) were too demanding for some candidates.

Section 2 invites candidates to write a 16-bar melody. The only stipulation is the
key and the range of the melody, determined by the instrument (clarinet).
Candidates need to think about the formal structure of the melody
(repetition/contrast in both rhythm and pitch), whether modulation would be
appropriate and how other elements (dynamics, articulation) can help to shape the
melody.

Section 3 was generally accurate in terms of re-written transposing instruments,

but the presentation needs to be neater and as close to the given printed score as it
is possible with a hand written score.

In Section 4 candidates are invited to harmonise a melody in an appropriate style.

The composer is given as JS Bach, and all indicators point to a chorale style of
harmonisation. Generally responses were poor in terms of chord selection and the
handling of those chords. One possible strategy would be firstly to establish key
cadence points writing in the bass notes and chord names, this could be followed by
other familiar chord progressions until a complete bass line with chords is
established. The more the bass line can move in contrary motion to the melody, the
better. Please see the workbook for what is expected at this level.

Grade 8 (Old Syllabus)

In Question 1 candidates generally named the chords correctly and made

satisfactory resolutions. Unfortunately there were often small errors within the
harmony, particularly crossing of parts, consecutives and failure to finish on a root
position chord.

There were some quite good realisations of the two-part writing in Question 2,
though some candidates failed to observe the modulation at bars 8-9. Awareness
of the harmonic rhythm and the underlying harmonic progression is a vital first
step in this kind of writing.

In Question 3 most candidates chose to complete the piano accompaniment. The

given bars offer a strong indication of the harmonic rhythm and general style
required. There were some very good attempts, the most common problem being
the failure to recognise the modulation to the dominant key in bars 7-8.

There were many vague answers in Question 4 demonstrating a lack of accurate

information and an inability to express ideas clearly and simply.