LONDON COLLEGE OF MUSIC EXAMINATIONS

Centre
........................................................................

AMusLCM DIPLOMA EXAMINATION

Paper I

Summer, 2011
Saturday 18th June 10am 1pm

Rudiments, Harmony and Counterpoint

(Time allowed: 3 hours)
Full Name of Candidate ..................................................................................................................................
(Surname Last)
Registration Number .......................................................................................................................................

Instructions to Candidates
1.

Answers may be fair copies of rough work done in the examination room on paper provided
by the Invigilator. All rough work must be left in the examination room.

2.

Candidates are forbidden to bring into the examination room any paper for rough working,
blotting paper, notes or text books.

3.

They are not allowed to talk to one another in the examination room during the time of the
examination, but reasonable questions may be addressed to the Invigilator.

Copyright 2011 by the University of West London, LCM Publications. All rights reserved.

(10)

Question 1: Rudiments

Study the extract, taken from a piano collection by Scriabin, and then answer the questions which follow.

j .
9 ..

n .
& 8 .
# ..
.

- ? 9 b n
8

Lento e piangevole

? b

(a)

.
& ..

b b n

n
.
? J

n .
# j
& n ..
. #

.
? nn # ..

15

# ..

..
.

pochiss. cresc.

b b

(b)

cresc.

b b

b n j
..

b n b .

(c)

.
n

# . #

.
.

. n j
.

n n ..

# .. b n .. b ...

.
b ..

..
.

j .

b
n n .. b b ...

b .
& b b ..
P
A

.
? b b b

11

.
b n ..
b ..

N b
.
J

.
# # .. n n ..

dim.

j
n
..

pochiss.

# bn . n # J bn ...

..
b
& b .

j b

.
b b ...
.

p dim.
b b
b

n n .. b b ..

b b

- .. b b .
n #
. b ..
..
p
b
b b b .
b
b

b
b b

b ..
b .

# . #

n ...
.

n ...
.

smorz.

U
...
.

U .
.

(A)

Explain the following:

(i) Lento e piangevole ______________________________________________________

pochiss. _______________________________________________________

(ii)

(iii) smorz. _________________________________________________________________

(iv)

(B)

__________________________________________________________________

Mark on the score examples of the following:

(a) a descending chromatic scale
(b) a falling sequence
(c) a 'changing note' pattern
(d) a plagal cadence

(C)

(i) Describe the intervals marked:

(a) ________________________________(LH b.4)

(b) ________________________________(LH b.9)

(ii) Describe the numbered chords:

(c)

____________________ (RH inner notes b.16)

__________________________________ (b.1)

__________________________________ (b.8)

_________________________________ (b.15)

(10)

Question 2: Harmonic Analysis

Study the following hymn tune and then answer the questions which follow.

#c
&
..
? # c ..

#
& ..

j

J
j


J

? # .
.

(z)

j
. #

j
. n

(y)

J
j

j
.

j
# .

&
? #

j
.

# #

#
J
j

N

(x)

(i) Describe the chords numbered 1-7.

A in words

or
B in Roman numerals

or
C in chord symbols

1 ___________________

key: ________________

2 ___________________

key: ________________

3 ___________________

key: ________________

4 ___________________

key: ________________

5 ___________________

key: ________________

6 ___________________

key: ________________

7 ___________________

key: ________________

1 ___________________

key: ________________

2 ___________________

key: ________________

3 ___________________

key: ________________

4 ___________________

key: ________________

5 ___________________

key: ________________

6 ___________________

key: ________________

7 ___________________

key: ________________

1 _________ position __________ key: __________

2 _________ position __________ key: __________
3 _________ position __________ key: __________
4 _________ position __________ key: __________
5 _________ position __________ key: __________
6 _________ position __________ key: __________
7 _________ position __________ key: __________

(ii)

Name:

cadence A: _________________________ key: ___________________

and cadence B: _____________________ key: ___________________

(iii)

Explain fully the harmonic function of these notes:

(x) __________________________________________ (bar 2, Soprano)
(y) _____________________________________________(bar 10, Alto)

(iv)

Describe fully the modulatory scheme of this hymn tune.

________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________

(v)

Describe the melodic pattern under the dashed bracket (z) ________________________
________________________________________________________________________
5

(10)

Question 3: Chorale Harmonisation

Complete the following extract from a chorale by J. S. Bach.

#c
&

? # c

# #
&

? #

&
?#

U
n

U
.
.

.
.
u

#
u

U
.

(10)

Question 4: Two-part Counterpoint

Complete the following extract of two-part counterpoint.

j
& 68 .
? 68
J

&
?

&

# #

&
?

(J S Bach)

etc.

(10)

Question 5: Modulation

Write a short piece for piano of about 16 bars' duration, using the given opening. Maintain the style of the
opening. Include four modulations and return to the tonic at the close. Include all performance directions.

Andante cantabile

& b 38

p
? b 38 j

&b
?b
&b
?b
&b
?

LONDON COLLEGE OF MUSIC EXAMINATIONS

Centre
........................................................................

AMusLCM DIPLOMA EXAMINATION

Paper II

Summer, 2011
Saturday 18th June 2pm 5pm

STYLISTIC COMPOSITION AND SET WORKS

(Time allowed: 3 hours)
Full Name of Candidate ..................................................................................................................................
(Surname Last)
Registration Number .......................................................................................................................................

Instructions to Candidates
1.

Answers may be fair copies of rough work done in the examination room on paper provided
by the Invigilator. All rough work must be left in the examination room.

2.

Candidates are forbidden to bring into the examination room any paper for rough working,
blotting paper, notes or text books.

3.

They are not allowed to talk to one another in the examination room during the time of the
examination, but reasonable questions may be addressed to the Invigilator.

Copyright 2011 by the University of West London, LCM Publications. All rights reserved.

(20)

Question 1: Stylistic Composition

Complete ANY TWO of the following four questions. Responses should be 20-24 bars in length, and should
maintain the style of any given opening. Performance directions must be included.
(a)

Continue the following Trio Sonata texture, by completing the upper parts and realising the figured bass.

# c

&

Largo

Flute

Violin

Harpsichord

&
&

&

#
& c

&

&

6
5

6
4

# n

6
6

# .

4
2

&

# .

?#
5

# cLargo
&

?# c

? # #
# n

6
6
6
6
6
4

6
5

6
4

&
&

&

#
#

6#

6
4
2

6
5

# ____

6
4

5
3

6
4

5
3

5
3

6
3

Write a short composition for piano, harp or guitar based on the following note row.

& n

(c)

# .

?#

(b)

Compose a short piece for a keyboard instrument using the given ground bass theme. Begin by adding
one part above the ground, then increase in texture, adding one more part for each subsequent
repetition of the ground, finishing with three parts above the ground. Remember to add all necessary
performance directions.

? # 43

Maestoso

?#

(d)

Compose three short variations for a keyboard instrument, on the given theme. Compose Variation 1
in two parts, Variation 2 in three parts, and Variation 3 in four parts.

Andante con poco moto

### 2 j
&
4
F
? ### 2
4
###

&
&

###

j
.

.
n #

.
.

.
..

- .
..

&

.
.

Question 2: Set Works

(30)

Answer any TWO of the following essay questions:

(a)

Write a detailed analysis of the chorales in the first part of the St Matthew Passion.

(b)

Show how Bach makes use of the concerto-sonata style in the first movement of the G major
Trio Sonata (BWV 530).

(c)

Discuss Bach's use of the invertible counterpoint in his third Duet (BWV 804).

(d)

Explore the tension between the conventions of the dance genre and the rich, adventurous
musical language in Purcell's Chacony for Strings.

(e)

Discuss Beethoven's use of tonality in the structure of the Six Variations for Piano, Op. 34.

(f)

Analyse in some detail the second movement of Webern's Symphony Op. 21.