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Download TCL024077e Theory Past Paper 2019 May A AMusTCL...
AMusTCL THEORY OF MUSIC PAST PAPER May 2019 AMusTCL (A Paper)
ISBN 978-1-80051-412-6 Published by Trinity College London Press Ltd trinitycollege.com Registered in England Company no. 09726123 Copyright © 2019 Trinity College London Press Ltd This impression August 2020 Unauthorised Unauthoris ed file sharing is illegal No part of this digital publication may be copied, printed or reproduced in any form or by any means except as specifically permitted in writing by the publisher or as allowed under the terms and conditions under which it was purchased.
Useful links: Support resources AMusTCL Study Guide
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AMusTCL May 2019 Your full name (as on appointment form). Please use
Your signature
BLOCK CAPITALS.
Candidate number
Centre
INSTRUCTIONS TO CANDIDATES
1.
The time allowed for answering this paper is THREE (3) HOURS.
2. Fill in your name and the candidate candidate number number printed printed on your appointment form form in the appropriate appropriate spaces on this paper and on the front of the answer booklet, and on any other sheets that you use. 3. DO NOT OPEN THIS PAPER PAPER UNTIL YOU YOU ARE TOLD TO TO DO SO. 4. Candidates must answer answer a total of FIVE questions, including at least one question from Section A and at least one question from Section B. 5. Read each question carefully carefully before answering it. Your Your answers must be written legibly in pen or pencil in the spaces provided or in the answer booklet as instructed. Make sure that any musical quotations which you use to illustrate your answers are clearly cross-referenced. 6. You are reminded reminded that you are bound by the regulations regulation s for written exams displayed at the exam centre and listed in the current syllabus. In particular, you are reminded that you are not allowed to bring books, music or papers into the exam room, except for scores required for Section B. Bags must be left at the back of the room under the supervision of the invigilator. 7.
If you leave the exam exam room you will not be allowed to return.
8. At the end of the exam, exam, fix together all your work — including rough work work — using the tag provided.
Write the section and number of each question you answer in the shaded boxes below.
Total (A–09)
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[Blank]
2
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AMusTCL
Section A: Musical skills
Candidates must answer a total of FIVE questions, including at least one question from Section A and at least one question from Section B. 1
Baroque: Lutheran chorale
Complete the harmonisation of this chorale in the style of J S Bach. Add ATB to the given soprano and all four parts in the final phrase.
Write your answer in short score on this page.
# œ œ œœœ
œœ
U œœ œ œ ˙
? # œ œ œ œ œ œ œ œ œ œ œ u˙ U # œ œ ˙ w œ ?#
U # œ œ œ œ ?#
œ œ œ œ
œ
œ
œ U
3
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2 Classical: Orchestration
Orchestrate bars 1–16 of the Chorus no 4 from Haydn’s oratorio The Creation, writing for 2 flutes, 2 oboes, 2 clarinets in C, 2 bassoons and strings.
Please note that this music includes a soprano solo. This part is written on a separate stave in the reduction. Also, this part is given in full on the special manuscript paper provided for your answer. There is nothing further for you to write for this part.
w
1. Solo
?
∑ ∑
2
∑
Ó œ œ œ Œœ ™ œ ‰j œ.jœ œÓ œ œ œ œ Œ ‰ . Ó Œ ‰ œ.
Solo Soprano
∑
∑
∑
5
? ˙ .j ‰ œ . ?œ
∑ œ . . .j ‰ œœœ . . . Œ Ó
6
‰ œj œ. œ. . .
œ.œ œ.œ œ‰.j ‰œj Óœ œ œ œ œ œ œ œ œ ∑œ œ œ œj ‰ . .. ‰Ó œ. œ. œ. ‰ Ó ∑ 4
∑
.. . œj ‰ .œ. .œ. .œ.j ‰ .œ .œ .œ .œ. .œ. .œ. œ œ ? œ Œ Ó Ó .j . Ó Œ ‰ œœj . . Ó Œ ‰œ œ œ œ œ œ™ œ œ ‰ .œj .œ . . . . ‰ œ œœœœ . . . . . . .œj œ ‰œ Ó .
3
7
Ó
.j œ. œ. œ. ‰ .œ. .œ. .œ. . œ‰.j Óœ. œ. œ. œ. œ ™ œj œ œ œ.j ‰ .œ .œ œ œ ‰ Ó . . . . . . j .j œœ œœœ œ œ ‰ Ó Ó . . . 8
. œ Œ .œ œ . .œ œ .
. œ œ. ‰ .œ œ.j . .J .œ .j œ œ œ . .
Œ ‰ œj œ∑j œ Œ ∑ .j .j Œ ‰ œ.œœ a.2
a.2
‰Ó ∑ œ œ œ œ œ œ œœœœœœœ œ ‰ .j .j . . . . j ‰ œŒ .œ œ‰ Ó œ œ œ œÓ ™ ‰Ó ∑
4
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œ œœœ œœœ œœ œœœ
Œ
? œ œ œ œ œ
Œ
9
Ó
œ œœ œ œ œ œr œ œ œ œ œ œ ? œ œ #œœ œœ œ œj Œ ∑ Ó ‰ œœœ œ œ ∑ ? ∑ 1. Solo
‰ œœœ œ ˙
Ó
Œ ∑
jœ j œ œ œœ œ œ j j ‰ œœJœ œ œ œ œ œ ‰ Œ œ œ œ œ ‰ Œ 11
‰ œj œ œ œ œ œ œ œ œ
Œ
12
10
13
œ‰ œ œ œ œŒ Ó ‰ ∑
œ ∑ œ œ Œ ‰ œœ ∑ 14
∑
‰ œœœ œ ˙
∑
‰ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œœ œœ œœ œœ Œ ™ ∑ œ ™ Œ Ó ∑ ∑ ˙ ∑ ∑ 15
‰ œj œ œ œ ™ œ œ œ œ œ œ œ
16
œ
œ ™™ j œ œ j j j œ œ œ œ œ œ œ Œ ‰ Œ ‰ Œ ‰ ‰ œ œ œ œ œ œ œ œ œ œœ œ rœ œ œ œ j ? Œ ∑Ó Ó ∑‰ œ œ œ œ œ ∑œ œj ‰ œj ‰ œ ∑
5
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3
Early Romantic: Pianoforte
Complete the final bars of Clara Schumann’s Schuman n’s character piece, Witches Dance op 5, no 1 so as to make an effective ending. Bars 97-100 are given in full and the style should be maintained to the end. In the left hand in bars 105–113, of the original, the final quaver is written in the treble treble clef while the rhythm is in the bass clef. You are advised to write in this way.
Write your answer below and opposite.
> j >œ œ œ œ œ œ 3 & œ œ œ J J ? 3 œ œ œ & œj j jœ j œ œœœ œ œj >œ œ œ œ œj >œ &œ œ œ J J [Allegro furioso]
œj
97
101
102
99
> œ œ œ ® >œ œ ® œ >œ œ ® œ œ ® J J > >œ œ >œ œ j œ ® ® j? ® ® œ > œ >œ œ œ 100
œJ >œ œ ® >œ œ ® œ œ œ œ
103
104
dim.
?œ œj
105
98
&œ œ œ ?
>œ J
106
œj
œ œ œ
>œ J
œj
107
œ œ œ
>œ J
108
>œ œ œ œ J
œj
s
>œ j >œ œj >œ œj >œ œ &œ œ œ J œ œ œ J œ œ œ J œ œ œ J œj
109
110
111
112
s
? 6
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113
?
114
115
cresc.
116
7
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4 Twentieth Century: Popular Song
The song ‘Patiently Smiling’ from Fr Franz anz Lehár’s musical, The Land of Smiles has sections in F major and D major. Complete the F major section (bars 21–24) and the D major section (bars 27–36). You should end with a perfect cadence in D major.
NB Although the right hand piano piano part often doubles the vocal vocal line, line, in the orig original, inal, candidates candidates should not assume that this will always give the most musical effect.
Particular attention should be paid to the closing bars of the song extract so as to create a suitable ending. In this case the original use of the chord of F major followed by V7 in D major in the final bar is very poignant but not at all flamboyant. The singer’s sad acceptance of the situation is underlined by the pianissimo dynamic and the ritardando.
Write your answer below and on the two following pages.
[Moderato]
&b œ œ œ œ
19
Pa - tient - ly
smil
œ -
ing,
jœ œ 20
what - e'er
œ œ ˙ may
be -
fall!
&b ˙ œ œ œ ?b ˙
˙ j œ œ œœ œ ˙
œ
œ
œ
œ œ œ &b œ
œ
œJ
ing,
in
21
‹7/
I'll
go
on
ssm mil
-
˙
22
œ œ œ ˙
spite
of
it
all!
&b f
?b 8
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&b œ œ œ œ œ œ œ
23
2
For - tune
may frown,
C
2
but
I
24
keep
œ
smil
-
&b ?b rit.
U j Œ &b œ œ œ œ œ œ œ U˙ & b ˙˙ œœ ˙U ?b ˙ œ ˙ ˙ œ
25
F6/C
C 7
F
26
sad
at
heart,
but
no no - bo
-
dy
U" œ œ œ œ U Œ ‰ U" Œ ‰
A
knows!
ing!
I
may
be
UŒ œj ## To
UŒ ‰ ## UŒ ‰ ##
A tempo, moderato
# œ œ œ j j # œ œ œ œ œ ‰ œ œ œ & œ œ œ œ œ œ œ œ œ # &#
27
28
her I' I'm m
a stran strang g- er, er, and ev - er must be
Fo-reign in th thought an and in
speech;
For
? ## w 9
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29
j œ œ Œ œ œ œ œ œœ
E
œ œ œ œ œ œ œ œ œ œ
30
he herr there there's 's no da dan n - ger in fl flirt - in g wi w ith me
She is
E7
so far from my reach reach!!
I
?
31
j œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ Rœ œ œ œ œ œ œj D
32
dream ev - 'ry ni nigh ghtt of he herr be beau au- ty and grace;
I
wak - en
to le lear arn,on n,once ce a - ga gain in,,
My
?
33
j œ œ œ œ œ œ œ œ œ
E‹7 G
love
? 10
F©‹
E‹7 G
in he herr he hear artt can ne'er ne'er find
F©‹
a place
U U œ ‰ œ œ œ œ œ œJ œ " œj U U U" ‰
E‹7 34
I have dreamt of her all
in v ei ein! And
f
u
u
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35
U j œ œœœœœœœœœ œ U
so, with with- out out hop ope, e,fo forr my lov loved one
?
36
I pi pine ne,, For tho though I
U "U
rit.
am her ers, s, sh she e can can - n no ot
U
May 2019 (A)
U be mine!
U
u
u
u
11
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5 Twentieth Century: Melodic Composition
Continue ONE of these given openings to create a complete and coherent melody of between 24 and 30 bars’ duration. You must name the single-line instrument or voice for which you write and the music should be based on some other system than diatonic major/minor keys. You may transpose the opening if you wish.
Candidates Candidates choosing to continue opening i must must decide the duration of the G#, C# and Cn at the end of the given opening and write the notes appropriately.
Write your answer on the white manuscript paper provided.
j œ œj œ œ # m #m n m Andante
i
### J. œ œ œ œ œ œ. œ œ œ œ œ Allegretto
ii
leggiero
12
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Section B: Prescribed works
Candidates must answer a total of FIVE questions, including at least one question from Section A and at Candidates least one question from Section B. For each prescribed work there are two options. You may answer either by by writing a single essay (worth 20 marks) or by by answering a series of sub-questions requiring answers ranging between a few words and a paragraph. The mark for each sub-question is shown, totalling 20 marks. Write your answers in the answer booklet provided. You should refer to your study score(s) when answering questions questions in this section.
1 Bach — Christmas Oratorio, BWV 248 (parts 1, 2 and 3) 1a Either 1a
The chorale settings in the first three parts of the Christmas Oratorio reveal a new degree of polyphonic sophistication, elegance of voice leading, and immediacy of expression. expression. Make close reference to the score as you discuss this statement in some detail. (20 marks)
1b or 1b
Answer the following questions, which refer to number 19 (alto aria):
i.
ii. Comment in some detail on the orchestral introduction introductio n to this aria.
(5 marks)
iii. In which bars can be found the softest dynamic mark and the shortest rest?
(2 marks)
iv. Point out an example of the following. (Give bar number and beat number where appropriate.)
What is the role of the flute (flauto traverse) in this aria?
a) syncopation
b) an interval of an augmented 4th
c) a falling sequence
d) an interrupted cadence
e) an accented passing note v. Describe fully the following chords:
a) first quaver beat, bar 58
b) third quaver beat, bar 116
c) third quaver beat, bar 139
(2 marks)
(5 marks)
(6 marks)
please plea se turn turn over over 13
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2 Mozart — Serenade for 13 Wind Instruments, K. 361 2a Either 2a
Discuss in some detail Mozart’s instrumental instrumenta l palette in K. 361, with particular particul ar reference to the two pairs of horns and the three pairs of treble instruments. (20 marks)
2b or 2b
Answer the following questions, which refer to the first movement: i. Compare and contrast bars 40–51 with bars 164–175.
(4 marks)
ii. In which key does the development development section begin, and on which chord?
(2 marks)
iii. Write out the clarinet and corni di bassetto parts in bars 12–13 at concert pitch:
(4 marks)
iv. Point out an example of the following. following. (Give bar number and beat number where appropriate.) a) an interval of a diminished 5th
b) a descending sequence
c) syncopation
d) an imperfect cadence in F major
v. Describe fully the following chords:
a) first beat, bar 12
b) second beat, bar 65
c) first beat, bar 126
(4 marks)
(6 marks)
14
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3 Schumann — Symphony no. 3 in Eb, Rhenish, op. 97 3a Either 3a
In writing about Schumann Schuman n and this symphony, Tchaikovsky states that there was “no mightier or deeper manifestation of an artist’s creative power than that of its penultimate movement”. Making close reference to the score, discuss this comment in some detail. (20 marks)
3b or 3b
Answer the following questions, which refer to the first movement of the Symphony:
i.
ii. In which bar does the development development section begin, and with which chord?
(2 marks)
iii. Compare and contrast the first 8 bars of the exposition with the first 8 bars of the recapitulation. recapitulation.
(3 marks)
iv. Describe Descr ibe fully the following chords:
(6 marks)
Discuss the string writing from the beginning of this movement to the first beat of bar 57 57..
(5 marks)
a) last beat, bar 21 (woodwind only)
b) first beat, bar 193 (brass only)
c) bar 242 (strings only)
v. What do the following mean? a) Lebhaft
b) the violin notation in bar 148
c) s
d) the sign over the dotted minim C in bar 225 (1st violin)
(4 marks)
(bar 243, cello)
please plea se turn turn over over 15
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4 Orff – Carmina Burana 4a Either 4a
Peter Evans has written that Orff’s Orff’s “prodigious sense of musical theatre, which can dispense with all intricacy of purely musical development, convinces audiences not particularly inclined towards contemporary idioms that they have satisfied their responsibilities in this matter”. Is this a fair assessment of the composer and Carmina Burana? Discuss in some detail, making close reference to the score. (20 marks)
4b or 4b
Answer the following questions, which refer to no. 17 17,, Stetit puella (pages 119–121):
i.
ii. Comment in some detail on the vocal writing in this number. number.
(4 marks)
iii. Explain the following: following:
(3 marks)
Discuss the string writing in some detail.
a) rubato
b) pizz. vibr. vibr.
c) dolcissimo
iv. Describe Descr ibe fully the following chords:
(5 marks)
(6 marks)
a) first beat, bar 1 (violins and violas only) b) second crotchet beat, bar 17 (woodwind only) c) fourth crotchet crotchet beat, bar 20 (woodwind only)
v. Point out an example of the following. (Give bar number and beat number where appropriate.) a) a dominant pedal
(2 marks)
b) syncopation
16
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5 Ravel – Daphnis and Chloé (parts 1 and 2) Either 5a 5a
Christopher Palmer has written that “the hushed and exalted exalted Daphnis et Chloé, one of the great masterpieces of the 20th century, has no rivals in the orchestral field”. Discuss this comment in some detail, making close reference to the score. (20 marks)
5b or 5b Answer the following following questions, which refer refer to bars 404–447 of part I (pages 76–83).
i.
Comment on the orchestral texture in some detail.
ii. Explain the following: following:
a) ôtez les sourd. (horns, bar 412)
b) port port.. (1st violins, bar 418)
c) baguette d’éponge (bar 418)
d) en dehors (bar 414)
e) + (over the horn chords, bar 441)
(6 marks) (5 marks)
iii. Write out the alto alto flute part in bars bars 445–446 at concert pitch. pitch.
(3 marks)
iv. Describe fully the following chords:
(6 marks)
a) first beat, bar 410 (string section only) b) fourth quaver beat, bar 415 (flutes and oboes only)
c) fourth quaver beat, bar 426 (1st harp)
17
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Name
Candidate number
________________________________________
___________________________
AMusTCL
Manuscript paper for Section A, question 2: Orchestration
May 2019 (A)
Complete bars 1–16.
1
Allegro
∑
2 Flutes
w
Solo
2 Oboes
2 Bassoons
Solo Soprano
Vln II
Viola
Vcello & Double Bass
∑ ∑
?
∑
∑
2 Clarinets in C
Vln 1
2
. œ ‰
3
∑
œ.
∑
œ.
a2
∑
∑
œ. ‰ œ. j ‰ B œ Œ Ó ? œ Œ Ó please turn over 1
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May 2019 (A) 4
Fls.
5
œ. J
Obs.
Cls.
?
Bsns.
Ó
S. Solo
Vln. I
Vln. II
Vla.
Vc. & D.B.
2
6
B ?
Œ ‰ œj ˙
™ œ j œ œ œœ ‰ œ œ ‰ œ J œ
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Fls.
8
May 2019 (A)
9
Obs.
Cls.
Bsns.
Œ ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ Ó
S. Solo
Œ ‰ œj
Vln. I
Vln. II
Vla.
Vc. & D.B.
B 3
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May 2019 (A) 10
Fls.
11
12
Obs.
Cls.
Bsns.
œœœœœœœœ
S. Solo
Vln. I
Vln. II
Vla.
Vc. & D.B.
4
B
∑
‰ œœœ œ ˙
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AMusTCL 13
14
Fls.
15
May 2019 (A) 16
˙
™
j˙
Obs.
Ϫ
Cls.
˙
Bsns.
‰ œœœ œ ˙
S. Solo
œ
Vln. I
œ
Vln. II
Vla.
Vc. & D.B.
œ œ ™ œ œ œ j œ œ œ œ ‰œ œ œ J
B
œ
œ 5
