# 2014 Music Performance GA 3: Aural and written examination

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2 SPECIFIC INFORMATION This report provides sample answers or an indication of what answers may have included. Unless otherwise stated, these are not intended to be exemplary or complete responses. The statistics in this report may be subject to rounding resulting in a total more or less than 100 per cent. Section A Theory and aural comprehension Part 1: Intervals Question 1 Identify intervals presented aurally Marks Average % major 6th 2. minor 3rd 3. major 2nd 4. perfect 4th 5. minor 7th This question was generally answered correctly. The most commonly correct interval was the perfect 4th. Students need to sing and play more of these intervals in class. This could be an activity that makes this component have a more practical meaning, which is a part of the key knowledge and skills. Teachers should not just teach to the examination question types but also music skills that will make students better musicians. Responses that use M and m are often difficult to read, so their use should be avoided. The response was marked as being incorrect if the interval was not clearly identified. Question 2 Write intervals Marks Average % major 6th augmented 4th minor 7th above below below major 3rd perfect 5th minor 6th below above above Some students assumed that this was an or question (for example, write in treble or bass ) and consequently only identified three of the six intervals. The question stated that the student should write each of the following intervals. A large number of students changed the given note in particular, interval 3 to an E. It is unclear why this happened. Students should not change the given notes. Some students did not read the clefs correctly; for example, for interval 4, many students missed the B in the bass clef, assuming it was a G in treble clef. Students could highlight the clefs in a particular colour to assist with clef reading. Music Performance GA 3 Exam Published: 4 June

3 Part 2: Scales and modes Question 3 Identify intervals and tonality in a melody presented aurally 3a. Marks Average % Opening interval: perfect 5th Closing interval: major 3rd Some students identified the intervals as being around the other way. 3b. Marks 0 1 Average % Melodic minor Some students did not circle a response. Question 4 Identify scales and/or modes presented aurally % major scale 2. minor pentatonic scale 3. mixolydian mode 4. aeolin mode/natural minor scale Students must identify pentatonic and minor with further information. This includes major or minor pentatonic, and harmonic, melodic or natural minor. Marks were not rewarded for incomplete answers. Question 5 Identify written scales or modes % dorian mode 2. harmonic minor scale 3. mixolydian mode 4. minor pentatonic scale Some students used scale and mode names that were not in the current study design. Minor was not accepted for harmonic minor, as there are three types of minor scales examinable in the current study design. Pentatonic was not accepted for minor pentatonic as there are two types of pentatonic scales examinable in the current study design. Some students incorrectly used chord types as a response to this scale or mode question. Question 6 Write scales Marks Average % melodic minor scale one octave ascending Music Performance GA 3 Exam Published: 4 June

4 major scale one octave descending Many students answered this question correctly. More students accurately wrote a major in the bass clef than e melodic minor in the treble clef. Common errors included: not including the C# in that major scale not using the rhythmic value given stem directions were not always correct. Students must learn the structure and formation of all scales in the study design. Students should be singing and playing all scale and mode types so they understand the structure and formation of each. Part 3: Chords and chord progressions Question 7 Identify written chords % Note name: B, Quality: dominant 7 2. Note name: C, Quality: minor 7 3. Note name: A, Quality: diminished 4. Note name: G#, Quality: diminished 7 Some students wrote interval names as chord types, but the most common problem was reading the clefs incorrectly. Some students missed the G# as the note name in interval 4. Question 8 Write chords % C# diminished7 A major7 F# minor A augmented Some common issues and errors in responses included the following. Some students wrote tonic chords for all chords. The third chord was problematic. Many students assumed it was a dominant 7 chord and added the seventh. Some students tried to add the upper tonic but missed and wrote a seventh instead. Question 9 Identify chords presented aurally % suspended 4 2. major 7 3. major 4. half diminished Again, students should be singing all set chords so they can better aurally recognise them when played. Many students were able to identify the major chord. Music Performance GA 3 Exam Published: 4 June

5 Question 10 Harmonic recognition Marks Average % Correct response: D It may help students if they circle or highlight the differences in each chord progression during the time available to study the alternative responses. Question 11 Harmonic transcription Marks Average % F major 2. G minor 7 3. C major 4. A minor 5. D minor 6. C (dom)7 or 1. I major 2. ii minor 7 3. V major 4. iii minor 5. vi minor 6. V (dom)7 or Harmonic grid bass note F G C A D C quality major minor 7 major minor minor (dom)7 Some common issues and errors in responses included the following. Many students assumed the progression would finish on the tonic. Students must learn and be able to recognise all common cadences. Many students did not know or understand the qualities of chords in a major key. F major g minor a minor B major C major d minor e diminished F major 7 g minor 7 a minor 7 B major 7 C 7 d minor 7 e half diminished Students who attempted using Roman numerals generally wrote them incorrectly. Some students could not identify the difference between major and minor chords. Students must know the available chords in both major and minor chord progressions. Part 4: Melody Question 12 Melodic recognition Marks Average % Correct answer: B Students should highlight differences in the given alternatives, to make it easier to distinguish the correct response. Music Performance GA 3 Exam Published: 4 June

6 Question 13 Melodic transcription Marks Average % The rhythm was given, but some students still notated it incorrectly. Students should use the given harmony to assist them with the melody. Common errors included: making up their own rhythms writing chords and not a melody not observing the conventional use of stem directions. Bar 1 C B C D E C was given. The first chord was clearly c minor. B was an auxiliary note between the two Cs (stepwise movement). C was a note of the A major chord (stepwise movement). D was a passing note between the C and E (stepwise movement). E most students did not add the flat even though it is part of the chord Note, all notes in bar 1 were in stepwise movement. Bar 2 E F D C D E was the same note from the last bar. The note E was from the given chord of A major. The F was a step up from the E, and the same note as the bass. D is a minor third from the F. This was both a note of the chord and an accented passing note of f minor. C was both the resolution from the accented passing note and an auxiliary note between the two Ds. D was stepwise from the C and a note of the chord. Bar 3 B A B C D B was a note of the chord. A was an auxiliary note between the two Bs. B was a note of the chord. C was a passing note between the B and D. D was a note of the chord. Note, this bar was in stepwise movement. The only accented passing note resolved to a C. Bar 4 C B A F G C C was a note of the chord. B was a passing note between the C and A. A was a note of the chord. F was a changing note. G was a note of the chord. C was the tonic of the chord and the tonic of the work. Many students were unable to determine the key was c melodic minor. The hints were that the first and last chord were c minor. The second hint is that the study design states if the melody is in a minor key it will be in the melodic minor form only. Thus, many students did not write the B and A in this bar. Music Performance GA 3 Exam Published: 4 June

7 Students must use the given accompaniment for reference of the tonal centre. Part 5: Rhythm Question 14 Rhythmic recognition Marks Average % Correct answer: C Students need to practise this type of question. The better students circled the differences in the score; this is a good technique to adapt. Question 15 Rhythmic transcription Marks Average % Some common issues and errors in responses included the following. Many students could not group the rhythm correctly in compound duple time. Many students did not have the correct number of beats in each bar. Those students who did not have a strategy to work on rhythmic dictation struggled with this question. Some students did not know how to notate a duplet. Some students were not able to notate the tie between bars 5 and 6. Section B Analysis of pre-recorded works Students must have a clear understanding of all key knowledge and skills for both Units 3 and 4 of the VCE Music Performance Study Design. This includes understanding what expressive elements are. Many students wrote a commentary or listening guide rather than answering the question. Students may use dot points to answer these questions. Question 16 Marks Average % The dot points below are a summary of features of the music that students identified in their responses. High-scoring responses linked this type of information to insightful comments about how the performances had used expressive elements of music and specific performance techniques. The sombre/thoughtful/melancholic/regretful/resigned/helpless/slightly eerie mood of the excerpt is set up by the sparse texture in the introduction of the voice and organ. Combined with the slow, slightly rubato tempo, this creates character in the excerpt. The organ part supports and highlights the delicate vocal part by playing a gentle/simple accompaniment of sustained (with rotary-type effect) three-chord pattern in a simple two-bar rhythmic pattern. The emotional, introspective (soul-baring/long) effect of the vocal line delivery is conveyed through the use of the vocalist s expressive and natural tone, using devices such as variation of attack, notes held softly at the end of phrases, and mouth and throat sounds. It is sung in a closed microphone-restrained fashion, which gives the performance an intimate and vulnerable feel. The impression is of the performer being in the room with the listener. The instrument parts guitar, bass and drums enter in the next section. Dynamically this section appears louder and the vocal line more attacked (building up) with a lot of throat sounds conveying the sense of raw emotion. The angst and restlessness/turmoil of the narrative is driven by the unsettled, shifting rhythmic feel played predominantly on the bass drum, low toms and hi-hats (rather than the snare-drum-driven steady rock beat more typical of this genre). The bass guitar is playing a simple anchoring part (with an octave leap) in the 2/4 section and is sparse in the 3/4 section. Music Performance GA 3 Exam Published: 4 June

8 The electric guitar plays a wistful repetitive motif of a few notes, incorporating delay across the time signature changes. In the next section, the tension and unsettled feeling created by the shifting time signatures and delayed guitar in the previous section are replaced by a driving straight 4/4 feel of the drums and sustained slightly distorted chordal rhythm guitar and block chords on the keyboard. The unsettled effect returns in bars 3 and 4 with an extended syncopated drum fill and otherwise sparse texture. The dynamics appear to build a little more in this section and the vocal part appears more attacked, less introspective. The shifting unsettled feeling returns in the short instrumental section that follows with a return to the shifting time signatures. Combined with the vocalised melodic theme played in unison with a guitar and sustained distorted chords of another guitar part the effect is introspective/melancholic/yearning. Question 17 Marks Average % There were many varied responses to this question. The question was derived from the key knowledge and skills detailed in the study design. There was concern that many students did not read the question correctly. The question asked students to refer to two of the given expressive elements of music in their responses. However, many students wrote on all four elements. It is advised that students underline or highlight the important words in each question. Characteristics of the music that students could refer to in their responses included, but were not limited to, the following. Tone colour each instrument has a different tone colour in each register: solo violin lower strings cello and double basses brass horns and trumpets the use of different articulations, such as arco and pizz, in the string instruments creates different tone colours the use of double and triple stopping in solo violin Blend of instrumental voices imitation in the solo violin and string section; each has its own quality and it creates character when the instruments use this imitation technique doubling of instruments and melody this creates different tone qualities. you can hear different sounds when the solo violin uses pizz and the other strings use arco bowing and the horns are playing legato Dynamic range and shape opening solo violin then to increased string instruments adds depth to the sound the more instruments, the louder it is; the less instruments, the softer it is the use of brass instruments such as the horn builds up the sound and shapes the phrase the use of solo violin sound to tutti blocked chords in the orchestra the solo violin plays the theme and the tutti strings slowly increases its volume to add tension to the performance Tempo use of polyrhythms gives the excerpt a sense of changing time the steadiness of the tempo occurs through the use of rhythmic ostinato when the time is not changing, it gives us a feeling of steadiness and calmness a-rhythmic playing adds to sense of free spirits Music Performance GA 3 Exam Published: 4 June

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