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LMus Specimen Paper 2017

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LMusTCL
Sample paper from 2017
Your full name (as on appointment form). Please use BLOCK CAPITALS.
________________________________________________________________________________________
Your signature
Registration number
________________________________________
____________________________
Centre
_________________________________________
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.
Examiner use only:
A 1 (25)
A 2 (25)
B 1 (30)
B 2 (20)
Total
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.
Allegro
Violin I
œ œœœ ˙
œ
&c ˙
œ œœœ ˙
œ
f
Violin II
2
° c
& ˙
Bc
f
Œ
Œ
3
˙
œ œœœ
˙
œ œœœ
œ. œ. œ. #œ œ œ. .
‰ J
œœ
œ
œœ œœ
Œ
Ó
?c ‰
Violoncello ¢
j œœ
œ. œ. .
f
Œ
. . .
œ
‰ œJ œ œ #œ œ œ. œ.
œ
œ
.
œ. œ. .
Viola
f
4
Vln. I
Vln. II
Vla.
Vc.
2
°
& ˙
œ Œ
& ˙
œ Œ
B Ó
œ. œ. œ.
‰J
œ. œ. œ. œ œ œ. .
? J
œ
¢ ‰
5
˙
Œ
Œ
6
7
œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ
sf
p
sf
p
sf
LMusTCL sample paper from 2017
Vln. I
8
° œ
&
œ
#˙
9
Œ
p
œ œ
œ
‰ J œ ‰ J œ œ
p
cresc.
B
Vla.
Vln. I
10
&
Vln. II
Vc.
œ
˙
¢
?
T#
11
12
13
° ‰ œ œT œ ‰ œJ œ œ ‰ œJ œ œ œ œ œ œ
‰ J
& J
œ œ
f
&
Vln. II
B
Vla.
Vc.
¢
?
14
Vln. I
°
& ˙
œ
Œ
15
∑
&
Vln. II
B
Vla.
¢
16
∑
˙
p
˙
p
Vc.
œ #œ œ œ
œ œ œ œ
œ œ œ œ
?
3
LMusTCL sample paper from 2017
° ˙
&
17
Vln. I
p
cresc.
18
œ
œ œ œ œ
œ
f
&
Vln. II
B
Vla.
Vc.
œ œ #œ œ
¢
?
19
20
Vln. I
°
&
‰
Œ
Ó
Vln. II
&
‰
Œ
Ó
B
‰
Œ
Ó
?
‰
Œ
Ó
Vla.
Vc.
4
¢
LMusTCL sample paper from 2017
2 Answer either 2a or 2b or 2c
Either 2a Analysis
5
LMusTCL May 2008 (A)
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
LMusTCL May 2008 (A)
and any other relevant musical features.
5  Andante
 
 
Violin1I    




    
   
 

 



  


  

 
Violin II Violin
  I         
p p


  II          
Viola Violin


p
p
Viola
         
Violoncello





p

p

 


Violoncello
         

p

  
   
 
 

     
    
 
 
  
           


  f    
   
   
   
               
f
f
   
           
    

f

 
   

    
 


p
Andante
 
 


       


       




   



   



    
   
  
   
    



  
p
   
   
   



       

 
 
       
         
      
p
        

    
p
p

         
p
   
   



 
       

  
  
   
 
 

    

    

            
p

 

 
5
4
 
 
LMusTCL sample
May 2008
paper(A)
from 2017
4
2
Soprano

Alto   
 
Soprano   

Tenor   
  
Alto 
 
Bass
  
Tenor   
 

  
Bass

Organ   
  
 
 
 
Organ   

Andante


pp

Andante
       
     



pp 


Ky 

pp

 
Andante
Ky - ri - e, e - le - i - son.
    

     

 
    




pp

 
 

pp




 
    
S. 




      


A. 9
e,
e - lei
-

-






-
-


 
 



B.




  
T.  
Ky - ri - e,
e - lei

  cresc.
  
        

 
B.




Org.

 


Ped.
Org.
 

Ped.
page 10
6
-
-
      



    



      


 
page 10
cresc.
e - lei
Ky
-
ri - e,



cresc.
Ky -



        
  
      
ri - e, e -le - i - son. 
Ky - ri - e, e -le - i - son. 
Ky - ri 





cresc.



 pp    
      
 
ri - e, e - le - i - son.
Ky - ri - e, e - le - i - son.
Ky - ri         
        
Ky  - ri - e, e -le - i - son. 
Ky  - ri - e, e -le - i - son. 
 
 
     
S. 
e,


Andante



9
T.
A.

e - lei

-
-
-
-
 



 





-
mf
Ky - ri
-
    

     


    




-
 
cresc.
Ky - ri - e, e - le - i - son.





      
     



-

-

-
-
-
e,
e - le - i - son.


 
      
dimin.
-

-
dimin.
dimin.



      


 

dimin.
dimin.
-
-
cresc.

 


pp
    

 
e, e - le - i - son.
-



dimin.
mf
Ky - ri

-
-

- dimin. -


 

     
dimin.





  
-


-


-


-





 
-



son.
pp
pp





son.
pp
pp



-
son.




pp
son.






pp 




pp

LMusTCL
November 2008 (C)
73
 

  
              
q = 144
a2
I
Fl. II
   

       

ff
  
Cl. I
in Bb II
 
 

ff
Hn. I
in F II
  

I
Trb.
II
 

 




 
a2

Vn. II
Va.
Vc.
D-b.
page 10

  

  

ff
    

        
              




ff
a2



ff




 

ff

 
ff



  

         
  
ff

  
  

ff

  
  

ff
div.
Vn. I
    

       
ff
1. 
   
    


    


ff

  



Trp. I
in C II
Tuba
ff
  
I
II
Contra
Bn.

 
  
Bass Cl.
Bn.

a2
I
Ob. II
  

ff
  
Picc.
LMusTCL sample paper from 2017
  
 
 

ff



  
   
  
  






 







ff




 
 




    
 
    

  


 
    
    
      


div.




 
 

   


    
     



 
        

      
 


 



       

 
 
 

    

  






        
  
  

 


 
    

 
    





 




7
May 2008
LMusTCL sample
paper(A)
from 2017
9
4
 
  


  

Sure
there is
 
 

 
god,
page 14
8
there is



is
of
love, no god
of
love,
of
love,
  


is
of
love,
no
god




no
there
is


love,

god
of




god
of
love,
no
 
god
of

of
love,

love,

no
god


no
god

of
love,

love,

there is


of

of
love,


love,

no god,



sure
there



sure
 
sure there

   



love, no god of love,



of
    
sure

no god
love,

no



 
is
  


no god

of
of


love, there
no god
god


there

of
 
no god
love, no



    
   

 
 

 
  
god
sure
sure
is
no


  
 
 



   
Sure
is
there
  
Sure

    



  
is

sure
no god

 
there is
there

of

no
LMusTCL
November 2008 (C)
LMusTCL sample paper from 2017
10
5

 
  
Tardo (slow)
    
  
 
 




   
   





           
   



     

   
     
Presto (fast)



 


    
  

 

 




Tardo



 
   
          
     


  
   
 
 
        

 

   
   


       

Tardo




 

 
    


Affetti

 
6



 
Presto




















page 13
9
LMusTCL sample paper from 2017
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.
Andantino
b 2œ œ
& b bbbb 4
f
œ œ
b
™
& b bbbb œ œ œ œ œ
f
10
œ œ
˙
œ œ™ œ œ œ
œ œ
œ œ
œ nœ
˙
œ œ™ œ œ œ œ œ œ œ
- -
-˙
sf
sf
mp
LMusTCL sample paper from 2017
or 2c Orchestration
Score the following for full orchestra.
2
&4
{
U
œ. œ. bœœ. n#œœ bn˙˙
#
œ
œ
.
.
œœ
Assez animé et très rythmé
b œœ. bn œœ. U
˙˙
‰
f
? 42
Œ
sff
U
#œ. nœ. œœ. bbœœ. ˙˙
#
œ
œ
.
œœ
f
{
?
b œœ. bb œœ. œ. n œ. b œ. . .
b œ b œ nn œœ ##œœ n nœœ n œœ bb œœ
n œ bœ
J
f
& bœ œ bœ bœ œ
bœ
œ ∫œ
{
Œ
b
œ
b œ b œ œ nœ œ œ Jp
Œ
b
œ
bœ bœ nœ nœ œ œ b œ
b œ b œ n œ n œ œ œ J-
bbbb
œœ.
œœ
-œ
œœœ
-j
œœ
? bœ œ bœ bœ bœ œ œ ∫œ bb b ‰ œœ
b ˙
bœ œ bœ bœ bœ œ œ ∫œ
˙
ff
bœœ. œœ. œ n#œœ nn œœœ bb œœ.
b
b
& b b bœœ œœ œœœ n #œœ nœ n b œœJ
{
3
œœœ œœœ bœœœ nn œœ n##œœœ
b
? bb b œ œ œ n#œœ n œ
b
3
œœ
œœ
œœœœ
œœ
œœ
œ.
œ
J
nœ œ œ
‰
n œ.
nœ
J
.
n œœœ
J
.
bbbœœœ
J
mf
sff
œ. nœœ. bU
˙
˙
‰ #œ
Œ
n œ. b œ. n œœ. #œ. n œ. . nœ.
œbœ bœ
nœ nœ nœ #œ bnœœ #œ bnœœ
&
#œ
J
‰
bœ bœ bœ
œœœ
œ.
œ
J
b œœ.
œ
J
.j
#nnœœœœ ‰ œ œ œ œ
#
œ
œ
œ. œ bœ
f
f.
j
# œœœ ‰ œ œ œ œ
#
n
œ
œ
œ œ bœ
œ
œ
œ
œ
œ
œ. œ œ b œ
-
œœ œ
œœ œœœ
œœ
œœ
œœœœ
bœœ.
bœœ
œœœœ
œœ œ
œœ œœœ
3
œœœ
œ
-j
œœœ
œœœ œœœ œœœ œœœ œœœ œœœ
b
‰
œ œ˙ œ œ œ œ
b˙ œ
˙
b˙
3
œœœ b œœœ
œ œ
œœ œj
jŒ
œœ nœœœ ‰ œ ™™ ‰ œ ™™ ˙
‰
œ
œœ
œœœ ™™
œœœ ™™ ˙˙˙
- .
dim.
ff
mf
p
pp
j .j
b
œ
œ
n
œ
œ
b
œ
œ
™
™
‰ bœ œ ‰ bœ ‰̇ bœ
‰ œ
b˙
˙
œ̇ œ bœ nœ bœ œ n œ b œ œ Œ
b˙
œ
-
11
LMusTCL sample paper from 2017
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.
12