Hi,

What do we have to do in order to get a higher mark in Q1 - 3.

like (my friend told me) i should modulate at least twice in Q3

For question 3, i've absolutely no idea how to do.
please give me some advice.

i study on my own, no teacher to ask
please help me..........

cheers,
ricole

For question 3 one of the most important things is to continue the melody in the style of the opening you are given. Some modulation is a good idea.
Question 1, make sure you keep the harmony as indicated by the figured bass. Use as much imitation as you can (though sometimes there's not so much).
Question 2... same thing about style as question 3 really.
It might help if you could get some past papers marked my someone to give you an idea of what you need to do.

thanks. i've bought some past papers from 2003 - 2006
well so how can i keep a consistent style?

Have you thought about buying the 2007 theory papers and answer books? They might give you more of an idea where you could improve

answer books for Grade 8???????

ABRSM have recently released the 2007 theory papers with a separate answer book. I am doing Grade 6 theory without a teacher so they are excellent.

I wish they did them for some of the other years.......

One way is by using something of the opening. If there is a distictive rhythmic figure or a melodic motif you can reuse it helps.
There's no one way fits all answer to this as every question is different. It comes down to how well you understand in the end.
My teacher used to say that you shouldn't be able to tell where the join is between the given opening and what you add.

How about actually getting a teacher? Is that not what they are for - to guide you through this stuff?

Grade 8 theory is certainly a tall order if you are attempting it without a teacher to guide you. But as others have already said, the answer book that came out for the 2007 past papers should give you some idea of how good your theory skills are, and how close you are to getting a good mark.

The first three questions in the exam paper are essentially about style.

In Q 1, completing a Baroque trio sonata entails adding notes which fit the figured bass as given, but you must do so 'in the style of' the given material. So, as mentioned before, keep your eyes open for imitation as it should feature as a possibility somewhere, and any sections you add should blend seamlessly with what's already there. Given rhythmic ideas can and should be used to your advantage - in semiquaver passages for example, try to continue with the same rhythmic idea. And remember - the writing is likely to be for strings, so leaps are mostly ok, but remember to keep within the compass of the instrument (violin bottom note is the first G below middle C, for example).

In Q 2, completing a piano piece involves much the of same skills, but in a different context. You must keep to the given style, and your writing should blend in with any given material. Not having a figured bass to guide you is both an advantage and a drawback, as you have to decide which chords to use. Primary triads (I, IV & V) are the most likely to be of use, but don't forget that secondary triads and seveths are needed too. Cadences should be identified and completed as fully as possible - use full harmony, and make sure to complete the triad (for example, in the tonic of D minor, you should have all three notes in evidence - D F & A; the dominant triad needs A, C# & E, plus the seventh G, if appropriate). Writing for piano allows more freedom in the range of notes available to you, so don't be afraid to use a wider compass, but keep to the given style at all times.

In Q 3, continuing with the melody is again a test of your skill in maintaining agiven style. Modulations are a good idea, and in a melody of between 12 and 16 bars, you are probably going to modulate at least twice, but this is not hard and fast rule. Many people prepare a plan in advance - for example, modulate to the dominant by bar 4, the relative minor / major by bar 8, perhaps the subdominant by bar 12, and so on. others find this too restrictive, and prefer to be influenced by the material in fron of them on the day. Given the restriction on your time in an exam setting, I feel that the more prepared you can be the better. Use a variety of cadences too - perfect, imperfect and interrupted should all attract good marks if executed correctly. Other than that, the advice already given in this thread will help you a great deal.

Best of luck with grade 8 theory.