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Grade 6 Course

 
Next UK ABRSM theory exams
Wednesday 28th February

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Practice Test

Grade Six Music Theory - Practice Test

Time limit: 3 hours

Total points available: 100

Pass: 66/100

Merit: 80/100

Distinction: 90/100

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 Hover your mouse slowly over the lightbulbs or staves to reveal the answers (tap on mobile devices).

 

1. Harmonisation

Answer one section only – (a) or (b). [15]

EITHER

a) Write one chord at each of the places marked *, to harmonise this melody. Use Roman numerals or any other recognized method of notation between the staves, OR write notes on the staves, but only use one of these methods.

 harmonisation-1a-q

OR

Complete the bass line and add a figured bass as indicated, from the first beat of bar 3 at the places marked with an asterisk. Leave the space under the asterisk blank for 5-3 chords unless they are part of a 6-4 5-3 progression, or if chromatic alteration is needed.

figured bass line dm

2. Figured Bass

Realize this figured bass for soprano, alto, tenor and bass. [15]

figured-bass-q

 

 

3. Composition [20]

EITHER 

(a) Write a composition for unaccompanied clarinet beginning with the given opening. The whole melody should be 8-10 bars in length, and must finish on a modulation to the relative minor. Add performance directions. Write the complete melody out below.

composition-1a-q

 

composition-1a-stave

Click to play the example answer

 

OR

(b) Continue this opening for unaccompanied cello, to make a complete piece at least eight bars long. You can modulate if you want to. Don't forget performance directions, and write out the whole melody on the staves below.

composition-2a-q

composition-2a-stave

Click to play the example answer

 

4. Score I

Look at this orchestral extract and then answer the questions below. [25]

score-4-800px

 

a. What does "pp sempre e sotto voce" mean? [2] answer

b. What does "div." mean? [2] answer

c. Fully describe the two chords marked * in bars 2 and 6. Give the position (inversion), say whether it is major, minor, augmented or diminished, and state the prevailing key for each chord. [8]

Bar 2: answer Key: answer
Bar 6: answer Key: answer

d. Find a cadential 6-4 in the score. Circle and mark the bass line notes where this occurs with a capital A. [2] cadential-6-4-q

e. Find a melodic interval of a diminished 3rd in the viola part. Circle the notes and mark with a capital B. [2]
 diminished-3-q

f. Fully describe the harmonic interval between the viola and cello which is boxed in bar 6. [2] answer

g. Write out the horn parts of bars 4-5 at concert pitch, using the given clef. Don't use a key signature. [3] 
bass-stave

h. Which of these is the most likely composer of this piece – Handel, Brahms, Debussy or Bach? [1] answer

i. Write out the ornament in the violin I part of bar 1 as it should be played. [3]
violin-ornament-stave

5. Score II

Look at the following extract, which is taken from the first movement of Weber's Clarinet Quintet, then answer the questions below. [25]

weber-1

weber-2

 

a. Give the complete names of the circled melodic decoration in bar 19.
A:  [2] answer
B:  [2] answer
b. Fully describe (including inversion) the chords marked C (bar 3) and D (bar 28) and state the prevailing key.
C: answer  Key:answer [4]
D: answer  Key: answer [4]
c. Write out the first four notes of the clarinet part (from bar 12) as they would sound at concert pitch. Include the new key signature. [2]

weber-clarinet-stave

d. Fully describe the melodic interval marked F in the viola part, bars 28-29. [2] answer
e. Find and mark in the score with a capital E a place where the second violin plays with triple stopping. [2]

triple-stop-q
f. Name a standard orchestral instrument from the string family which is not playing in this piece. [1] answer
g. True or false: The viola and cello never play in unison in this extract. [2] answer
h. True or false: The cello is playing pizzicato from bar 16 until bar 23. [2] answer 
i. True or false: This piece is contrapuntal in style. [2] answer 

 

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