I mentioned in Katyjay's thread that I was thinking of entering Grade 8 Theory myself just to see how the theory exams in the higher grades are marked.
For those of you who have done Grade 8 or prepared students for Grade 8 successfully:
In chord analysis, how flexible are examiners toward multiple interpretations of a given passage? I am not talking about different notational systems, but different ways of reading the harmonies.
When two (or more) readings are apparent, would it be advisable to provide both (or all) readings, perhaps with a brief verbal explanation?
In many exam boards, markers of theory exams are asked to follow a set of strict guidelines. Such guidelines tend to allow some flexibility for composition-type questions (counterpoint, SATB harmonisation, etc.), but take on a black-and-white approach toward harmonic analysis.
Does anyone know how AB deals with this issue?
Full Version: Grade 8 Theory
organ_dummy
The question of how examiners make judgements on matters of harmonic analysis is a moot point indeed. I imagine you are right that the exam papers are marked against a set of (fairly) strict criteria. This point is reinforced by the 'model answers' which are now available to buy from ABRSM - I think Grade 6, 7 & 8 are only available from 2007 onwards sadly.
When I had a look at these model answers, it shows that, when asking for a particular chord in an extract to be identified and described, it appears that it is possible to give alternative answers, as long as they are coherent in the context of the key of the passage. This in itself is of course open to interpretation, but after speaking to friend of mine on this very topic (a retired ABRSM theory examiner), he feels that examiners should be able to use their discretion and be open to accepting valid alternative answers, even if they are not listed in the marking criteria.
To give a very simple example: in a passage in D major, the notes G,B,D would be regarded as IV in D major. But if the passage is in the process of modulating to the subdominant, this same chord could also be described as I in G major. If it is a pivot chord, both answers are acceptable, in my view.
Other examples are more difficult to resolve, as when notes of a chord are missing.
denmark
To answer your question of whether to provide several answers together with a verbal explanation, it certainly seems tempting. But are examiners obliged to read your explanation and take it into consideration? Or do they have to take your first answer as the only one permissible? Could you phone a friend, or ask the audience????
denmark
The question of how examiners make judgements on matters of harmonic analysis is a moot point indeed. I imagine you are right that the exam papers are marked against a set of (fairly) strict criteria. This point is reinforced by the 'model answers' which are now available to buy from ABRSM - I think Grade 6, 7 & 8 are only available from 2007 onwards sadly.
When I had a look at these model answers, it shows that, when asking for a particular chord in an extract to be identified and described, it appears that it is possible to give alternative answers, as long as they are coherent in the context of the key of the passage. This in itself is of course open to interpretation, but after speaking to friend of mine on this very topic (a retired ABRSM theory examiner), he feels that examiners should be able to use their discretion and be open to accepting valid alternative answers, even if they are not listed in the marking criteria.
To give a very simple example: in a passage in D major, the notes G,B,D would be regarded as IV in D major. But if the passage is in the process of modulating to the subdominant, this same chord could also be described as I in G major. If it is a pivot chord, both answers are acceptable, in my view.
Other examples are more difficult to resolve, as when notes of a chord are missing.
denmark
To answer your question of whether to provide several answers together with a verbal explanation, it certainly seems tempting. But are examiners obliged to read your explanation and take it into consideration? Or do they have to take your first answer as the only one permissible? Could you phone a friend, or ask the audience????
denmark
QUOTE(denmark77 @ Aug 1 2008, 01:00 PM) 
...after speaking to friend of mine on this very topic (a retired ABRSM theory examiner), he feels that examiners should be able to use their discretion and be open to accepting valid alternative answers, even if they are not listed in the marking criteria.
To give a very simple example: in a passage in D major, the notes G,B,D would be regarded as IV in D major. But if the passage is in the process of modulating to the subdominant, this same chord could also be described as I in G major. If it is a pivot chord, both answers are acceptable, in my view.
Other examples are more difficult to resolve, as when notes of a chord are missing.
To answer your question of whether to provide several answers together with a verbal explanation, it certainly seems tempting. But are examiners obliged to read your explanation and take it into consideration? Or do they have to take your first answer as the only one permissible? Could you phone a friend, or ask the audience????
When I posted my original questions, I was thinking of two scenarios:
1) Given two possible chord labels X and Y: X yields fewer non-chord tones, but the resulting chord progression is illogical. Y yields more non-chord tones, but the resulting chord progression is more logical according to the harmonic practice in the 18th and 19th centuries.
2) Given any phrase from the common-practice period, it is possible to analyse the harmonies in different structural levels. On the musical surface, one may take a very literal reading by attaching a roman-numeral label to every triadic sonority. But on a more remote level, one may see the overall harmonic structure better by not labelling every triadic sonority. This is akin to looking at a painting up close versus from three or four feet away. (This is one of many analogies that I use when I teach my university students!)
I wonder if the forum moderator(s) will have a chance to read my posts and answer my questions???
I don't remember having to go that deeply into chord analysis by grade 8 though I did a little more than strictly needed on the syllabus with my teacher. I think maybe the older style of question and answer (pre 2000) might have been more open to the sort of problem you are talking about than the current style where you fill in the blanks rather than having to worl it all out from scratch.
QUOTE(sbhoa @ Aug 2 2008, 06:35 AM)
I don't remember having to go that deeply into chord analysis by grade 8 though I did a little more than strictly needed on the syllabus with my teacher. I think maybe the older style of question and answer (pre 2000) might have been more open to the sort of problem you are talking about than the current style where you fill in the blanks rather than having to worl it all out from scratch.
Thanks, sbhoa. I should get hold of some past papers after my summer vacation.
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