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Music Theory in Practice, Grade 7 (Music Theory in Practice) PDF

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Peter Aston & Julian Webb Music Theory in Practice GRADE 7 The Associated Board of the Royal Schools of Music 6 Ce Ig} = fa Pp a i eee im Ser eer ea f- ges : Lok) pte a an | Music Theory in Practice Grade 7 PETER ASTON & JULIAN WEBB ‘The Associated Board of the Royal Schools of Music Syllabus for Grade 7 As in preceding grades, with the addition of rocogniion uf all diatmi secxmdary 7th chord and their inversions, the Nespolitan 6h and the diminished 7ch chords, and of all yore commonly used by composers during the periad €.1620-1790 10 indicate harmonies abuve 3 bass part. Questions will cover: (0) The indication of chords and movement of the innet parts by figuring the bass in a passage in which both the melody and bass are given. {2} Rewriting a given passage co include appropriate suspensions and notes of melodic ‘Secoration, {8} Continuation of a given opening lor sols instrument with keyboard accompaniment, ‘which will be given in fill throughour the passage, by completing the solo part, er (at the temdidate's choice) composition of a melody for a spevilied instrument (a choice will be given) based on 2 given progression of chords or melodic Figure. (4) Questions on short extracts of music wricen lor piana or in apn soore for voices ox for ‘any tombinution of instruments and/or voices, designed to test the candidate's knovwledge of the elements and notation of musi, including the realisation of ornaments, the ‘dentilication and notation of underlying harmonic steucture, phrase structure, style, performunce, snd an the yoiccs and instruments for which the works were written. Fie publisd in 1998 hy ‘The Assorted Boatd of the Royal Schone of Mune ‘Publi! Lad 1 Redfeed Square, London CTE. 31G © 1095 by The Assorted Boa of the Royal Schools of Music ISBN 1 95472 suze All sights wsersed. No pat of this bein may be repuoduasd Sol in a reteeal sytem, or Warmed im any orn of by ty mene, stein reshani, photo sing, nen oF eters, ‘lout the yer permusion af the ipyrigh! ovner “ype and music processing by Halstn & Co, Led, Amersham, Buss Pace in Grea Britain by Healey Brhens Li Astley Kent Contents Section A armonic vocshulury Distonic secondary sevenths in msjor keys Distonic secondary sevenths i minor keys Diminished seventh chords ‘The Neapolitan sisch chord Seetion B_ Consens, dissonaoe and partivriting Suspensions ‘Figuring a bass Exercise 1 Paresriting “Yeio-sonana textures Exercise 2 ‘Writing in four parts: chorale harmouisations Exercise 3 Section G Melodic composition Continuation of a melody or solo part serve 4 ‘Melodic composition in more modem styles Exercise 5 Working from a harmonic framework Exercise 6 Section D General Exercises Exercises 7-14 “Thanks ates 0 he flowing for permis ta reprint ete fiom enppighe works: Boon & Hlawhax Muse Publishers Le [Breitopt & Hr Oxfondoiversey Prey Pets Fala Lith ‘asodore Preer Co Schon & Co, Le. “The muss un the wer f the opening of sn artngsmsur fox munpx in D smal pe hy Pop Cranmer of he iy “The wurpet stall wu rom Handel Mesiah ‘Handel. ond Back Arie, pubes by the Aseocted Boar), Inthe quoted ausic tamples, tempo masts sod droamics without beaches ecu ib the erigieal at shown, while howe enlesed in equa Sracketa eed Toso mas curing ener inthe ms are enleed i fund bracket, Students should ws thie ova nama paper fo Kneis 5 and 6, A eter exziiscs ould be worked in the toe Harmonic vocabulary PRAMBLE 1 (See The AB Guide 10 Music Theory, Part IL, 16, 19/3, 17/4, 17/8) “The sylabus reyuiement for Grade 7 extends the harmonic vocabulary to include the ecogniton ofall diatonic secondary 7¢hs and thet inversions, che Neapolican 6th and the diminished 7th chords. You will also be expected to recognise all the figures comimealy used by composers during the period, 1620-1790 to indicate harmonics above a bass par. Advice on how to figure the bass ine in Baroque instrumental iting, 28 well as on further aspects of melodic decoration and dissonance treatment (especially suspensions) approprie te thie grade, will be found in Section B. Note that you will nat be expected to write four-part harmony, of to harmonise a soelody, in the Grade 7 examination. In each question relating to harmonic vocabulary you willbe given either the complete harmony, or the harmonic framework; you will then be capccted to curry out various tasks which wil tet your understanding ofthe basic principles of tonal mci writing and harmonic language (see Tercises |-4 below). You wil aso be asked to identify chords from the Grade 7 sjllabus in Questions 4 und 5 inthe examination (sce Bxcrcses 714 below). As in Grade 6, you may use any of the methods outlined in 4B Ge, Pars L& Uy to identify chords, provided you are clear an complete in your description. The advantoges of using Extended Romaa numeri! notation have been set out in Music Theory in Pracion, Grade 6, pp-24-28, and the method is Folly explained in AB Grid, Part IT, Appendix D, Where chord symbols (other tha for Figured bass) have heen applied in this volome, the Extended! Roman method (HR) hasbeen used both to avoid the necessity of using longer verbal descriptions and to give you pease in the metho ite By now you should be familiar with the harmonic vocabulary and principles of harmonic writing covered in Music Thnory in Pracrce, Grade 6, Section B, ro shich constant reference should be made for advice on such matters as chou progressions in major and Ininor keys, eulence pattems, harmonic rhythm etc. Information and advice ox note= doubling, chord spacing, and pert movement, especially in vocal ant Keyboard wating, can be found in Music Thaory in Practice, Grade 6, Secon A. ‘The chorus that are new in the Grade 7 syllabus are cealt with in the soctions below. Diatonic secondary sevenths in major keys Bx | shows all the secondary 7ehs in the Jey of C major, Note that for the sake of complete ness, the supertonic 7th (i) as been included, although you have alrcady mer this chord at Grade 6. The dominant 7th (V7) is nor included as i i usually regarded as being of such importance that itis not counted among the “secondary 7ths’ (soe AB Gude, Part IL p.134). — pl ‘Notice thar, although the tonic and subdominant riads (chords L and IV) are define as ‘primary triads (soe Music Theary in Practice, Grade 6, Sccvion B) when they acquite Tihs above the root they fall within the definition of ‘secondary 7ths’ It should be suiliient ro EXAMPLE 2 EXAMPLE 3 EXAMPLES show all the inversions of one secundary 7th, since the method of Forming inversions is the same for each 7th chord. A similar set of secondary Tths and their inversions may be formed in any’ mujor key ‘The hasie chord shapes have been shown in Exs.| & 2. Far the most pert, composers do not use secondary 7ths in these shepes alone. You will find it easy to identify a secondary ‘Teh ifthe chord in question, however spaced and however many parts it may contain, ean be reduced to one of these basic shapes by acuve transposition (as appropriale) of any or all ‘ofits notes, Tt is important to retain the same bass note in order not to make a mistake in describing the postion of the chord. Ex3 shows how the basic shapes can be produced, a = iy é Sf OFF @ zy “ Didy ——_ . P a) __| ig aap PS—§ na As with all mutters relating uo harmonic analysis, you will have to remember to take account of the prevailing key signamure and any accidentals there may be in ordee to arrive stan accurate description of a chord, Fer example, if you failed to te account of the key signature in Ex.3b above you might wrongly identify this basie shape as vite in C major! ‘Seventh chords may not always contain all four notes of the chord (see AB Gide, Part Th pp.137-8). Since a chord could not be described as 2 7th chord if the 7uh above the root were to be omitted, it follows that the 3rd or the Sth above the root are the only notes ta be ‘considered, However, it would be far more usual for the 5th to be omitted than the 3rd, since the 3rd above the root determines whether the 7th chord is an extension of a major or ‘minor iad. This will not be a matter for concern in a major Key, where the absence of 3rd above the root will have no effect upon the description of the chord.” Thus, chords ‘whose basic formations are as in Ex.4a-f may he described as shorn. eo 9m © 6 $843 # on eee "na mina key a Ra chon wither Il woud be amhiguows in may cases, ine the misag note aight are toes tl fos ether form of che minor wale, Vou wil othe aed wea or dese such chord, 2 ma aropos ae shown BXAMPLI EXAMPLE 3 EXAMPLE ® In your work for Grade 6 you have already discovered that when the supertouic 7th (i) is used in Rarogue music, che dissonant note {the 7th) is almest invariably sounded in the previous chord (See Music Pheory in Practice, Grade 6, p9, noke 6). At Gat stage, you were ‘not expected fo recognise that this method of dissonance teeatment is known a3 8 suypensinn. Further detailed information on suspensioas is contained in the next section, and in AB Gide, Part TL, 15/6, but iis important to understand yhat most ‘secondary ths’ in music written before 1800 {and im quite alot of music weitten aller that date} have been produced hy part movement based on the principle that the aote u 7th above the root of a tad is a dissonance that needs to be smunded as a consonance in the previous chord and then resolved onto « consonant interval above the bass note in the fallowing chord. You will ind many exumples of this treannent of Tehs, particularly in Baroque and Classical wsic, Here are ter J. 8. Hack, harmonisation of chore, € Poses Allegro} . al 3 = 4a the examination you may be asked 1 identify @ chord containing a 7d that has obviously een produced by suspension. You should not esulaie the 7dh from the chord scription on the grounds that itis a apn-hurmemy note, unless specifically asked to do se. ' show have this might appls, dhree of the examples of diatonic 7th chords iven in 2B Guide, Part TT, pp.166-167, are shovin here with appropriate chord descriptions, Ties have bbecn added to highlight the ths that hove been proxluced by this method, You can see how they enrich and reinforce the familiar diatonic harmonic sequences. a aS Ee = = == During the 19ch century, composcrs showed an increasing interest in chords that were extensions of the basic triad. The use of scoondary hs gave their barmonie language sreater variety without undermining the stability af the nal system. Beethoven began to exploit the sonority of the secondary 7th in situations where ihe ‘Wismant" 7th bas not EXAMPLE Allegro rican = ‘S = been prepared, although a ‘resolution’ ofthe Tih is usually provided, sometimes several bars later. eaten Pano Sonata ia E fat, Op No (Ise ms} = vere sas F cs a= Ae AS Eb pions EXAMPLES EXAMPLE 9 ea thre 3 Here the first barmony which lasts for three bars) s obviously chord ib, ten without reparaim. Moreover, the Th (Eb) remains in the harmony unt bar 7 where it finally resolves onto a D. By bar Bit becomes apparent cha Beethoven is establishing his home” ey by spacing out the commonly ase cident formula ib Ie V" 1 over eight bars, In this ‘ef pasta, a in many sma Places in his musi, he teats a sense of mystery and suspense by his use of harmony. By the end of the 19th century, secondary Ths had become an established feature inthe hacmonic language of most composers, Debussy, however, began to use fama chords in rew ways, ne of which was to add them in parallel motion to + melodic ine. He was more ineesed in the colour ofthe harmony thus produced then in chord progeessions related wo particular Key (se AB Guide, Part I, 24/1, whore the example given on p244 shows the use of dominant 7ehs without any resolution). Fx.8 shows Pui sing this “parallel mocion technique ia a passage fom an opera composed in 1918. Because the tonality at cis point is debra waguc (ait isin mich of Debuss’s music) he secondary Tihs, which ae both unprepared and wnreoied, could mot be salto be “dimonic, Nonethelee, the example shows one way in which a acy imple chord has continued tobe used in amsic of che 20th century. Many experiments in the structure and ‘se of chords have ther orgins in Debussy’ new approaches to harmoay and tonality Itegre viv0) occ ane Schick ‘orl parce omitted es mee Hore are some more cxamples of secondary 7ths in major Keys in which the harmonic context is shown, You are urged to play as many of them as you can, however slowly. Morar, Plann Concerta ia A, KASS (Fin (Presto) EXAMPLE 10 EXAMPLE 11 EXAMPLE 12 BXAMPLE 13 EXAMPLE 14 ‘Adagia cantabile)_Bovtboven, Plano Sonata ia C loon, Op.3 2nd mt bith (Attegra om fine) soho, Sng witboue Words, Op.62 Noa eet = are | ££ $6 . ae i 2S Sa ne ee aut, Regul (Fic Jno) (Adagio) ee port re) "ll aaaed ae ene rime af cr ifs tl 4 = —— a Se SSS ain ee ——== ce. * Deep i the heart or A ger-den of aweet - aces ties a ppt . en (ria aes ives certs enereern Wess ot - —— = EXAMPLE [5 EXAMPLE I BKAMPLEIT Diator secondary sevenths in minor keys ‘The ful ist of diatonie secondary 7ths in C minor is shown below. _ ; — SSS eg 1s eS a8 | ‘you uo sc the ee oth eis yh inthis sinh compare iba Cmape (tnd soo Rone th Dene eeu ne ae rill dayne ov share eo ee Se srovurcef te thar Noms bower hte hema rie eae Seed enc be Se Bk chrd sas gor ib One Ps le appa Dy Tn practice, composers sekdom use some of these chords as ‘true’ diatonic sccondary 7ths, seer af te ay fg tn apr tse awe h,Bah ont /VTT" can so easily lead to a modulation, in each case to a nearly-related key in which they cfd i nner Some ere Set ed i Scan, sh tte rage fom Manas Pan Sota RSS gate cn 16 of AB Gate Pot lion te open of Bahr: eames Oph Ned ee tab oe Cte chon veh a cv elo oe a tad ae and SVIIF, which seems to be borrowed from another key. Chord viil, has been used 50. Feet is min nace ont Tat eee eee ad ta Someone 1h Core a ade hb ec eh oe oat eps you shoul ply. sopra, ie commen ha wor mde th Cee ee eee Riniban ede Syrian mnanday Meteae ioe “om ies empha te of tae one no 1.8. Bh amos cane, Haft eG ip == = re d oe. |) = Becthove. Hane Sots in mines, Op.90 Ist wt (Con vieuliS ¢ sompre con sentinenta ed espressione) Single ¢ sempre ee ; é je wee Te a = nie * fig v w

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