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usic Theory
in Practice
Grade 8
PETER
STON
JULI N WEBB
The
ssociated Board
of
the Royal Schools
of
Music
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Syllabus for Grade
As in preceding grades. The harmonic vocabulary expected will include all standard diatonic
and chromatic chords. Questions will cover:
(
1
Continuation
of
a given opening
of
a passage from a Baroque trio sonata for two treble
instruments
and
basso continuo.
The
basso continuo
part
will be given throughout and fully
figured (but a realisation for keyboard will not be required).
(2) Completion
of
an outline of a short passage for keyboard. Some knowledge of the styles
practised by composers from the time
of
Haydn onwards will
be
assumed.
(3) Continuation
of
a given opening
of
a melody for a specified instrument (a choice will
be
given).
(4) Questions on short extracts of music written for piano or in open score for voices or for any
combination of instruments and/or voices, designed to test the candidate s knowledge
of
the
elements
and
notation
of
music, including the realisation
of
ornaments, the identification
and
notation of underlying harmonic structure, phrase structure, style, performance,
and
on the
voices and instruments for which the works were written.
First published in
1993
by
The Associated Board of the Royal Schools of
Music
(Publishing) Ltd
© 1993 The Associated
Board
of
the
Royal Schools
of
Music
Reprinted
in 1994,
2000 2003 2005 2007
ISBN 978 1 85472
593
6
All rights reserved. No part
of
this publication may be reproduced,
stored in a retrieval system,
or
transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of the copyright owner.
Typesetting and music processing by Halstan Co. Ltd
Amersham
Bucks.
Printed
in
Great
Britain by Caligraving
Limited
Thetford
Norfolk.
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ontents
ection Harmonic vocabulary
page
4
Diatonic chords - extensions
of
the triad
Chromatic chords
Exercise 1
ection B Trio Sonatas
Dissonance treatment
The continuation line
Working the exercises
Exercise 2
ection C Completing a passage for keyboard
Exercise 3
ection
D
Melodic composition
Tonal melodic composition
Exercise 4
Melodic composition in more
modern
styles
Exercise 5
ection
E
General Exercises
Exercises 6-13
Thanks
are
due
to
the
following for permission to reprint extracts
from copyright works: Boosey Hawkes Music Publishers Ltd;
Aldo Bruzzichelli Editore; Editions
Durand
S.A., Paris; Novello
Co.
Ltd;
Oxford University Press; Alfred A Kalmus
Ltd.
The music
on
the cover
is
the opening of an arrangement
for
trumpet
in D
and
piano by Philip
Cranmer of
the aria,
The trumpet
shall
sound ,
from
Handel s Messiah
Handel and Bach Arias, published by the Associated Board .
In the
quoted
music examples,
tempo
marks
and
dynamics without brackets
occur in the original as shown, while those enclosed in square brackets
are editorial.
Tempo
marks occurring earlier in the music are enclosed in
round
brackets.
Students should use their
own
manuscript
paper
for Exercises 4 and 5.
All other exercises should
be
worked in the book.
4
8
16
20
21
24
26
38
49
74
83
83
98
103
122
126
128
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4
A Harmonic vocabulary
(see
The B Guide to Music Theory
Part
II, 1517 16
and
17)
For
,
Grade
8, the
harmonic
vocabulary
is
extended to include all
standard
diatonic
and
chromatic chords. Your knowledge of these chords,
and of
related matters such as
cadencing, modulation
and
the use of non-harmony notes, will
be
tested in the
examination in the written work for Questions and 2.
The
requirements for these
questions are explained, respectively, in Section (p.20)
and
Section C (p.49). In
addition, as in previous grades, you may
be
asked to analyse and/or locate chords
in
the
examination in Questions 4
and
5. The chords you will
be
expected to know will
be
limited to those
that
are
most
commonly used
and
readily identifiable; they are set
out in
B
Guide
Parts I and II.
You will find
much
useful advice
on
harmonic
vocabulary in the appropriate sections
of
B
Guide
Parts I
and
II, as well as in
Music Theory in Practice
Grades 6 and 7.
1
However, it should
be
emphasised
that
if you wish to
understand
the
harmonic
language
of Western music during the tonal period you will
need
to investigate a
much
wider range
of
music
than
can
be
shown in these volumes.
The
study
of
tonal harmony should
not be
seen only as a theoretical exercise; it is highly relevant to your performing skills and
to
your development as a musician. For example, through your study of harmony and
related subjects you will
be
more likely to appreciate how
and
when to give the necessary
expressive weight to a particular note, phrase or chord. This knowledge will also help you
to decide
on
the best
tempo
for the performance
of
familiar
or
unfamiliar music, where it
is
clearly
important
to
understand
the relative significance
of
different strands in a
texture.
In previous grades, you have already learnt
about
diatonic triads
and
secondary 7ths;
you have also covered some chromatic
chords-
the diminished
7th and
the Neapolitan
6th. For clarity, discussion of the chords new to this grade will broadly follow the
order
outlined in B Guide
Part
II. However, the examples in this section will concentrate
more
on harmonic analysis
than
on the structure·
and
derivation of these chords, since
these matters are dealt with very thoroughly in Chapters 16
and
7 of B Guide. Where
appropriate, the
Extended Roman method
of
harmonic
analysis has
been used
throughout this volume, for reasons which have been discussed in Music Theory in
Practice
Grades 6
and
7.
Diatonic
hords
extensions of the triad
The only remaining diatonic chords are those where notes have
been added
above the
root at intervals of a 9th, th
and
13th.
On the next three pages are a few examples of cadences in which the
dominant
triad
has been extended by the use of one
or
more of these notes; chords formed in this way
are often referred to as
dominant
discords .
If you have
not
already studied these books you are strongly advised to do so before working through this
volume.
2
For further discussion of these points see Harmony in A ction by David Tunley (published in paperback
by Faber Music).
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EXAMPLES 1
2
EXAMPLE3
) I
(
(
Ebmajor
Mozart, Piano Sonata in E flat,
K.282 (1st mvt)
(Adagio)
-
_}
PP)
-
I
J
(Allegretto moderato )
_._
n
5
(Allegretto
vivace)
Bmajor
Beethoven, Piano
Sonata
inC, Op.53 (3rd mvt)
b
,....-...
*
ft
f
\
f{
I
i
s s
s
decres
c
I
I
I
I
-
" "
=
" "
=
:::
" "
=
il
c major: - -
-
(
'
b-t
J
------
l.
p
I
" "'
t
l:i:
li:
t
I
I I I
(
qTI:I:
..__
r71:::::
:::::
I A
_._
:
Pe
d
P
e
d
,,,
Pe
d
..
;,r
Examples 1 and 2 show
how in
the Classical period
the
additional
note
almost
invariably resolves within the
dominant chord
itself; the appoggiatura in Ex.2 is longer
(and written out)
but the
progression
is
essentially
the
same. If you were asked
to
analyse
the dominant chords in these extracts it would be appropriate to use V
7
for Ex.l and V'i
for Ex.2, because
of the
relative lengths of the appoggiaturas.
Beethoven sometimes treats the dominant 9th with great freedom. In
Ex
.3 he
deliberately creates a feeling of suspense
by
delaying the resolution of the dominant minor
9th
for a long time; notice
how
the initial resolution is
on to
a diminished 7th. The final
resolution back on to the dominant 7th
is
deferred
by
another diminished 7th which
harmonises the note F over a
dominant
pedal. The whole passage acts as
dominant
'preparation' for a Prestissimo coda which follows immediately after the pause.
The
dominant minor 9th chord Vb
9
) is,
of
course, a chromatic chord when used in a major
key; for obvious reasons it
is
convenient
to
deal with
it in
this
short
sub-section
on
dominant discords.
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