lmus specimen paper 2017 - trinity music...

LMusTCL Sample paper from 2017

INSTRUCTIONS TO CANDIDATES

1. The time allowed for answering this paper is THREE (3) HOURS.

2. Fill in your name and the registration number printed on your appointment form in the 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 UNTIL YOU ARE TOLD TO DO SO.

4. You should answer both questions in Section A (questions 1 and 2), and either i or ii in Section B.

5. Read each question carefully before answering it. Your answers must be written legibly in the

spaces provided or 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 that you are bound by the regulations 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 room you will not be allowed to return.

8. At the end of the exam, fix together all your work — including rough work — using the tag provided.

Your full name (as on appointment form). Please use BLOCK CAPITALS.

________________________________________________________________________________________

Your signature Registration number

________________________________________ ___________________________

Centre

_________________________________________

Examiner use only: A 1 (25)

A 2 (25)

B 1 (30)

B 2 (20)

Total

2

LMusTCL

Section A: Musical skills (50 marks)

Candidates must answer both questions.

Each question carries 25 marks.

1 String quartet

Complete this music, which comes from the exposition in the first movement of Mozart’s Quartet in C, K 465. The first four bars and most of the remainder of the first violin part are given as a guide to style and idiom. Mozart reaches a perfect cadence on the first beat of bar 20 and you should do the same, finishing there.

°

¢

°

¢

Violin I

Violin II

Viola

Violoncello

2 3

Vln. I

Vln. II

Vla.

Vc.

4 5 6 7

c

c

c

c

&

f

Allegro

&

f

B

f

. . .

..

?

f

...

. . ...

. . ..

&

sf p sf p sf

&

B

. . .

?

. . ...

˙ œ œ œ œ˙ œ

Œ

˙ œ œ œ œ

˙ œ œ œ œ˙ œ

Œ

˙ œ œ œ œ

œœœœœ

Œ Ó ‰

œ

J

œ œ œ# œœœœ

Œ

‰

œ

j

œœœ Œ ‰

œ

J

œ œ œ# œœœ

œ œœœœ

Œ

˙ œŒ

˙ œœ œ

œ œœ œb œ œ

œ œœ œ

œ œb œ œœ œ œ

˙ œ

Œ

Ó ‰

œ

J

œ œ

‰

œ

J

œ œ œ œœœ

3

LMusTCL sample paper from 2017

°

¢

°

¢

°

¢

Vln. I

Vln. II

Vla.

Vc.

8 9 10

Vln. I

Vln. II

Vla.

Vc.

f

11 12 13

Vln. I

Vln. II

Vla.

Vc.

14 15 16

&

p cresc. p

&

B

?

&

T

T

#

&

B

?

&∑ ∑

&

p

B

p

?

œ

˙# œŒ

˙ œ

‰

œ

Jœœ‰

œ

Jœœ

‰ œ

J

œœ‰

œ

J

œœ

‰

œ

Jœœ‰

œ

Jœœ œ

œ œ œ œ# œœ

˙ œ

Œ

˙ œ œ œ œ

˙ œ œ œ œ

4


°

¢

°

¢

Vln. I

Vln. II

Vla.

Vc.

f

17 18

Vln. I

Vln. II

Vla.

Vc.

19 20

&

p cresc.

&

B

?

&

&

B

?

˙ œ œ œ# œœ œ œ œ œ œ

‰ Œ Ó

‰ Œ Ó

‰ Œ Ó

‰ Œ Ó

5


2 Answer either 2a or 2b or 2c

Either 2a Analysis

Comment on the following five extracts. For each extract suggest a possible date and period of composition (eg 1890, late romantic), and support this by reference to the style, texture, harmony and any other relevant musical features.

1

page 11

Andante

Violin I

Violin II

Viola

Violoncello

p

p

p

p

f

p

f

p

p

5

LMusTCL May 2008 (A)

page 11

Andante

Violin I

Violin II

Viola

Violoncello

p

p

p

p

f

p

f

p

p

5


6


2

LMusTCL November 2008 (C)

q = 144

Fl.

Picc.

Ob.

Cl.in Bb

Bass Cl.

Bn.

ContraBn.

Hn.in F

Trp.in C

Trb.

Tuba

Vn. I

Vn. II

Va.

Vc.

D-b.

III

a 2

ff

ff

III

a 2

ff

III

ff

ff

I

II a 2

ff

ff

III

a 2ff

III

1.

ff

III

ff

ff

div.

ff

ff

ff

div.

ff

ff

7

page 10page 10


Andante

Andante

Soprano

Alto

Tenor

Bass

Organ

pp

Ky

ri

- e,

- e

le

- i

- son.

-

Ky

ri

- e,

- e

le

- i

- son.

-

Ky

cresc.

ri

- -

pp

Ky

ri

- e,

- e

le

- i

- son.

-

Ky

ri

- e,

- e

le

- i

- son.

-

pp

cresc.

9

S.

A.

T.

B.

Org.

Ped.

e,

e

lei

-

dimin.

pp

son.

- - - - - - - - - - -

Ky

mf

ri

- e,

- e

le

- i

- son.

dimin.

-

pp

Ky

cresc.

ri

- e,

-

e

lei

-

dimin.

pp

son.

- - - - - - - - -

dimin.

pp

4

page 10


Andante

Andante

Soprano

Alto

Tenor

Bass

Organ

pp

Ky

ri

- e,

- e

le

- i

- son.

-

Ky

ri

- e,

- e

le

- i

- son.

-

Ky

cresc.

ri

- -

pp

Ky

ri

- e,

- e

le

- i

- son.

-

Ky

ri

- e,

- e

le

- i

- son.

-

pp

cresc.

9

S.

A.

T.

B.

Org.

Ped.

e,

e

lei

-

dimin.

pp

son.

- - - - - - - - - - -

Ky

mf

ri

- e,

- e

le

- i

- son.

dimin.

-

pp

Ky

cresc.

ri

- e,

-

e

lei

-

dimin.

pp

son.

- - - - - - - - -

dimin.

pp

4

7

LMusTCL sample paper from 2017LMusTCL November 2008 (C)

q = 144

Fl.

Picc.

Ob.

Cl.in Bb

Bass Cl.

Bn.

ContraBn.

Hn.in F

Trp.in C

Trb.

Tuba

Vn. I

Vn. II

Va.

Vc.

D-b.

III

a 2

ff

ff

III

a 2

ff

III

ff

ff

I

II a 2

ff

ff

III

a 2ff

III

1.

ff

III

ff

ff

div.

ff

ff

ff

div.

ff

ff

7

page 10

3

8


page 14


Sure

there is

no god

of

love, no god

of

love,

of

love,

Sure

there is

no god

of

love,

of

love,

Sure

there is

no god

of

love,

there

is

no god

of

love,

sure

there

sure

there is

no god

of

love,

no god of love,

sure

there

sure

there is

no god

of

love,

sure there is

no god

of

is no god

of love,

sure

there is no god,

sure

there is

no

is no god

of

love,

no

god

of

love,

love, no god

of

love,

no

god

of love,

god,

no god

of

love,

94

9


page 14


Sure

there is

no god

of

love, no god

of

love,

of

love,

Sure

there is

no god

of

love,

of

love,

Sure

there is

no god

of

love,

there

is

no god

of

love,

sure

there

sure

there is

no god

of

love,

no god of love,

sure

there

sure

there is

no god

of

love,

sure there is

no god

of

is no god

of love,

sure

there is no god,

sure

there is

no

is no god

of

love,

no

god

of

love,

love, no god

of

love,

no

god

of love,

god,

no god

of

love,

9

page 13

LMusTCL November 2008 (C)

Tardo (slow)

Presto (fast)

Tardo

Presto Tardo

Affetti

6

10

5

10


or 2b Theme and variations

Writing for piano, harmonise the following theme by Rheinberger and then write two variations based on the theme. The second variation will be acceptable as a sketch.

f sf

Andantino

f sf mp

24&bbbbbb

&bbbbbb - - -

œ œ œ œ œ œ ˙ œ œ œ œ œ œn ˙

œ œ ™ œ œ œ œ œ ™ œ œ œ œ œ ™ œ œ œ œ œ œ œ ˙

11


or 2c Orchestration

Score the following for full orchestra.

{

{

{

{

mf

Assez animé et très rythmé

f

pf

f

ff

ff mf p dim. pp

2

4

2

4

&

..

f sff

. . .

U

..

f sff

. . .

U ..

.

?

. .U

. . U.

..

&

. . .. .

. .

- -

.

.

?

. . . . . . .

- -

.

.

&bb

bb

. - . -

3

?

bb

bb

- -3

&bb

bb

. . .

- - - .3

?

bb

bb

-

-

-

- .

3

œœœœ#

œ œ œœb œ

œ#n ˙

˙nb

œœœ

œ#œ# œn œ

œœœb

b ˙˙

‰ œbœbœb œn

œœœ

œ

J

œ

œ

n

n

J

œœœœ

œ

J

Œ ‰

œœb œ

œnb ˙

˙Œ ‰

œ

œ#œœn

˙

˙

b

‰

œœ

œ

b

b

b

J

œœ

œ

n

J

œœ

œ

b

J

œœb

œbœ

œ

n

n

J

œ

œ

b

n

œœ

œ

n

n

œ

œ

#

#

œœ

œ

n

n

b œ

œ

#

#

œœ

œ

n

n

b

œb œb œ œnœ œ

Œ

œb

J

œœœœ

œn

n##

j

‰œœ œ

œœ œbœ œ

œœ

œ

b

b

J

œœ

œ

b

b

b œœ

œ

n

n

œœ

œ

n

#

#œœ

œ

b

n

n œœ

œ

n

n

œœ

œ

b

b

b

œ

œb

b œ

œb

b œ

œn

n œ

œn

nœ

œ

œ

œ

Œ

œ

œ

b

b

J

œ

œ

œœœ##

n

j‰

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œb

b

œ

œ

œ

œ

œb œœb œb

œb œ œ œ∫

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

b

b

œœœœ

œœœœ

œœœœ

œ

œb

b œ

œ

œ

œb

b œ

œb

b

˙

˙

œ

œb

b œ

œ

œ

œ

œ

œ∫

∫

‰ œœœœ

j

œœœœ

œœœœ

˙

˙

œœœœ

œœœœ

œœœœ

˙

˙

b

b

œœœœ

œœœœ

‰œœœœ

b

j

œœœœ

œœœœb

œœœœ

b

b

œœœœ

œœœœ

œœœœ

#

#

nn

œœœœ

n

nn

œœœœ

b

nb

b

J

œœœœ

œœœœ

n

j

‰

œœœœ

™™™™ ‰

œœœœ

™™™™

˙˙̇

˙ ‰

œ

œœ

j

Œ

œœœœb

œœœœ

œœœœ

b

˙

˙

b

b

œœ

œœ

n

#

n

n

œœ

œœ

#

#n

n

‰ œœœœb

b

nb

˙

œœœœ

j

‰ œb ™

˙

‰ œb ™ ˙

œ œ œb œn œb œ œn œb

‰

œ

œŒœ

j

12


Section B: Prescribed works (50 marks)

Please refer to the syllabus for details of current prescribed genres and set works.

Candidates must answer BOTH questions on either i) Symphony or ii) Chamber music.

i Symphony

Answer BOTH questions 1 and 2

1 (30 marks)

Either a. Suggest reasons why Mahler’s 4th Symphony has remained one of his most popular works. Your answer should make detailed reference to the score to support your argument.

or b. Give an account of the second movement of Mahler’s 4th Symphony. Your answer should consider structure, texture, scoring and tonality, together with an assessment of the movement’s success as a whole.

2 (20 marks)

Either a. Write a brief appreciation of either Russian or English 20th-century symphonic composers. Your answer should mention the work of at least three composers.

or b. Assess the contribution to symphonic music made by one of the following: Spohr, Berlioz, Bruckner, Sibelius.

ii Chamber music

Answer BOTH questions 1 and 2

1 (30 marks)

Either a. Among the most striking features of the first movement of Brahms’s piano quintet (op. 34) are the richness and variety of its themes. What evidence is there in the music to support this statement?

or b. Michael Musgrave said of Brahms’s piano quintet (op. 34) ‘As a work of synthesis as well as culmination, the F minor piano quintet looks to the future as well as to the past’. Discuss this statement in some detail.

2 (20 marks)

Either a. Briefly compare and contrast the chamber music output of Schubert and Schumann.

or b. Survey and assess the contribution of one of the following to the chamber music repertoire: Mendelssohn, Poulenc, Fauré, Shostakovich.

lmus specimen paper 2017 - trinity music...

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