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Examiners' Reports: August 2013 Music Craft 

Music Craft Grade 5

Aural section

In the aural paper, most errors occurred in the Harmonic analysis and the Dictations. The melodic dictation was universally poorly done with many errors of pitch and rhythm. Basic melodic minor chromatic alterations were missed, and clefs and key signatures were often omitted on subsequent systems. A double barline should complete the melody. In the Set works question, ‘significant features of the work that you hear’ are required. The features must be in the played extract: candidates must listen to what is actually played rather than merely reciting facts memorised about the set work as a whole.

Written section

In the written paper, Keys, scales, and modes were generally well done. In the Form question, the figured bass analysis was mostly poorly done. A held note must be accounted for in the analysis of subsequent chords. There were many errors in the Harmony question, with unresolved chordal and scale degree sevenths, doubled leading notes, omitted accidentals, and consecutives. While the Species counterpoint was generally well written, it was not well analysed, with many intervals being incorrectly identified. The workbook should be consulted on the correct method of doing this. In the Set works questions, candidates often misdiagnosed suspensions with their preparation or resolutions being included: these are chordal tones and not part of the suspension itself.

Music Craft Grade 6

Aural section

In the aural paper, Chordal analysis again proved a difficulty, but most other errors were in Rhythm (both in the melodic and rhythmic dictations). Other areas were better answered.

There were many basic errors that candidates should have mastered by this level. Clefs and key signatures were omitted on subsequent staves; double barlines omitted; bars did not always add up; and stems were drawn in the wrong direction.

Written section

In the written paper, Harmony was let down by unprepared and unresolved dissonances and inappropriate chord choices at cadences in particular. Other errors included consecutives and part crossing. In the Two-part writing, false relation and awkward melodic intervals were minor compared to the use of the open fourth, even in parallel: a dissonance in two parts. The Species counterpoint was better handled with only minor errors in C clef reading. In this and in the analysis, however, many chordal tones were mistaken for melodic figuration; and many non-chordal tones were incorrectly identified. The Harmonic analysis was generally poorly done with chromatic chords being misdiagnosed. Set works questions were better answered, minor errors again occurring in harmonic analysis.

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