Examiner Report - Musicianship

August 2007

 

Grade One Musicianship

Q1: Pitch

Generally well answered

Q2: Keys and scales

  1. When writing the key signature of D Major many candidates put the C# directly under the F#, rather than offset to the right.
  2. When writing slurs to show tones or semitones, candidates are encouraged to use the convention that slurs are drawn on the opposite side of note-heads to stem-ends. Of course no marks were deducted for unusual slur placements.
  3. Many candidates missed that the melody was in A minor, thinking it was in C Major because it began with the
    note C.

Q3: Intervals

b. There were some problems with writing the interval of a second, with the two notes stacked one above the other, rather than offset with note-heads touching.

Q4: Chords

A common error was including the raised 7th accidental in minor key signatures.

Q5: Time and rhythm

c. Many candidates wrote a minim rest for beats 2 and 3 in ¾ time, rather than two separate crotchet rests.

Q8: Terms and signs

Candidates are encouraged to learn the Board's translations of foreign musical terms (see syllabus). Of course there are other acceptable alternatives, but too often the alternatives offered were inaccurate or ambiguous. For example,

Grade Two Musicianship

This paper was well answered by the majority of candidates many of whom obtained full or nearly full marks.

Q1: Keys and scales

a. The leading note accidental was often omitted
c. The sharp was often omitted from the leading note

Q3: Chords

When the leading note was required as part of the chord, the accidental was often omitted.

Q4: Time and rhythm

a. Sometimes notes were written instead of rests. Two quaver rests were often given as one crotchet rest in 3/8 and 6/8 time.
c. Both excerpts often ignored the anacrusis in the last note's duration

Q5: Memory

Many did not mark phrasing

Q7: Rhythmic invention

The implied anacrusis was often missed, starting the phrases with the first syllable on beat 1 :

|Today is not… and |I think… instead of

To-|day is not… and I |think…|

Q8:Terms and general knowledge

b. Maestoso had quite a few original alternatives

Grade Three Musicianship

Q2: Intervals

  1. (i) Positioning of F# over D# – although marks were not deducted, it proved a common occurrence. The signs need to be spaced so legibility is retained.

Q3: Chords and cadences

a. The key of the triad was often misjudged
c. Spacing of the voices in cadences was a concern. Keep the intervals between tenor and alto, as well as alto and soprano less than an octave.

Q4: Time and rhythm

Grouping of notes and rests not understood. There is a need to follow the instructions given. Unsuitable divisions of rest values occurred.

Q6: Rhythmic invention and melody

  1. Sight singing practise is recommended to help improve melody writing. There was often a lack of sense of harmonic structure, or a musical line with an appropriate climax.

Q7: Terms and general knowledge

a. Sforzando does not mean "forced", despite the look of the term – "a strong accent" is the syllabus definition. "Forced" implies an ugly sound.
d. Form: Ternary. "B" began on anacrusis in bar 4. The sequence requires 3 or more subsequent note groups of similar pattern but different pitch.

Grade Four Musicianship - Written Paper

Q1: Rudiments

  1. Key sign errors were common on this question
  2. Numerous accidental/semitone problems
  3. Numerous accidental/semitone problems

Q2: Melody writing

Tonality generally good. Rhythmic errors were made on Line 2

Q3: Harmony

Several candidates changed the notes to be harmonised.

Q4: Form and History

  1. In (iii), some thought this was the Minuet
  2. Questions (ii), (iv), (v) and (vi) were the best answered here

Grade Four Musicianship - Aural

Q1: Pitch

The first three questions were answered well, generally, with most of the mistakes made on d. (ii) and e. (ii)

Q2: Time and rhythm

b. The anacrusis was missed by most candidates

Q3: Expression and Mood

Cadences caused problems here. The crescendo to forte to finish was missed

Q4: Form

Mostly correct

Q5: Memory

Generally good

Grade Five Musicianship - Written Paper

The history questions and those on the set works showed that a large proportion of candidates knew their subject well. Many however did not realise that a quintet has to have five players!

The rudiments and questions on stringed instruments were answered well. There were some good melodies, but several lacked a sense of stress and balance. It would be an advantage for candidates to put some indication of tempo and dynamics, which are necessary to comprehend any piece of creative writing.

Large ranges and awkward intervals were noted in some papers, which suggests a poor understanding of the human voice. This criticism would also apply to the SATB question. Some candidates had a very good idea of choral writing, but others gave some very strange workings. Whilst candidates are not required to write chord indications for this particular question, including them would give a more complete answer. However, no marks were removed for their non-inclusion.

Many papers showed also in the two part writing a lack of good contrapuntal technique. Before candidates go on further, it is to be advised that a study of the two and three part inventions of Bach be studied.

Grade Five Musicianship - Aural

Overall, the aural papers were confidently done. Some had a few problems with the melody, but the main stumbling block for many was the rhythm – not taking into account the anacrusis. The set works had been well-studied.

However, overall there was evidence of some very good teaching.

Grade Six Musicianship - Written Paper

Q2: Woodwind instruments

  1. Construction was often rather sparse in coverage
  2. Most marks were lost in (iv) with transposition going in the wrong direction

Q3: Melody writing

Phrasing was sometimes omitted, one or two wrote in the wrong key. Best results were obtained by those who could hear what they were writing.

Q4: Harmony

  1. a. Some very good workings, however, many marks were lost through weak voice-leading and careless treatment of the leading note.
  2. Rhythmic and harmonic balance/blend were sought here; some very good use was made of imitation.

Q5: Set works

b. Quotes were often confused or too short. The order of keys of Preludes was universally well known.

Grade Six Musicianship - Aural

Q1: Pitch

c. Either very well done or very weak.

Q2: Rhythm

Those with a strong concept of the dotted crotchet beat generally did well here.

Q3: Set Works

Ex 2 & 3: Many candidates do not realise that the section within the Prelude is required.

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