NCEA Level 3 Music Studies (90530) 2011 page 1 of 6

Transcription

1 Assessment Schedule 2011 NCEA Level 3 Music Studies (90530) 2011 page 1 of 6 Music Studies: Demonstrate an understanding of harmonic and tonal procedures in a range of music (90530) Evidence Statement ONE (a) (i) (ii) (iii) (b) Mazurka in A minor, op. 9 no. 2, by Ignacy Jan Paderewski TEN (of 19) valid responses. Key relationship: Tonic major There are 12 opportunities: each correct key counts as ONE opportunity each correct relationship counts as ONE opportunity each correct piece of musical evidence counts as ONE opportunity (up to a maximum of TWO pieces of evidence per key). Key Relationship Musical Evidence A B minor Supertonic minor B E major Dominant major C C# minor Mediant minor (or relative minor of the dominant) V7 I / perfect cadences over bars and / or A# (is the leading note) V7 I / (inverted) perfect cadence over bars D# (is the leading note) V7b I and V7c I / (inverted) perfect cadences in bar 57 and / or bar 58 B# (is the leading note) D# There are 6 chords to identify (accept correct inversions and omitted 3rds only). (1) IVc (2) I (3) V7;3 / V7 no 3rd (4) VI (5) II7;3 / II7 no 3rd (6) V7 EITHER the three chords in bar 35 OR the imperfect cadence in bar 36 are harmonised appropriately. The harmonisation of bar 35 leads musically to an imperfect cadence in bar 36 The added inner parts are somewhat effective with appropriate voicing, show some evidence of stylistic awareness Chord indications are mostly accurate. There are two bars (35 36) requiring the addition of inner harmony notes. Possible realisation: # # # # # # # n I Ib IV II7b V

2 NCEA Level 3 Music Studies (90530) 2011 page 2 of 6 Question One cont d (c) The final cadence and approach chord over bars are harmonised appropriately. OR The bass line establishes an effective harmonic progression. The harmonisation of bars 98 and 99 leads musically to an appropriate final cadence over bars The harmonisation is voiced appropriately, shows some evidence of stylistic awareness. consistently secure understanding of harmonic procedures, with no significant errors and idiomatic, stylistically appropriate Chord indications are accurate. There are four bars (98 101) requiring the addition of left-hand chords. Possible realisation: - - m - - m - - m b U # # fi j # b b IVc Ic V VI U # IVb V I

3 NCEA Level 3 Music Studies (90530) 2011 page 3 of 6 TWO (a) (i) (ii) Tico-Tico no Fubá, by Zequinha de Abreu Any FIVE (of 11) chords are correctly identified or notated. (i) There are eight chords to identify (accept correct inversions only). (1) Am (2) Am/C (3) E7/B (4) E/G# (5) E7/G# (6) E7 (7) Am/E (8) Dm (ii) There are three chords to notate (accept any voicing). Possible realisation: C6/E C C/E A7/C Dm7 G7 G7/D G9/B j J # J j (b) (i) (ii) notated. Voicing may not be appropriate. The melody agrees with the chords generally flows well notated, with some evidence of appropriate voicing. (i) There are three bars (14 16) requiring the addition of a trumpet melody. Possible realisation: j. #. n. j J Dm/A Am/E Am E/G E/B E7/G Am... j J # # j b j # j # # Ó # J J (ii) There are nine chords to notate. Possible realisation: C C/E C+ Dm7 G7 G G7 G7/B C6 j b # j b # j Ó j Ó

4 NCEA Level 3 Music Studies (90530) 2011 page 4 of 6 Question Two cont d (c) The bass line and jazz / rock chord indications establish a generally effective harmonic progression. fundamental understanding of harmonic procedures. shows some evidence of stylistic awareness consistently secure understanding of harmonic procedures and idiomatic, stylistically appropriate Chord indications are accurate. There are four bars (29 32) requiring the addition of a piano part. Possible realisation:. J.. b F Dm7/F F º C/G C Dm Dm7 G/B G7 C # # n j J # j j j j j J j j j THREE (a) (i) (ii) Trio Sonata in D minor, op.3 no.5, by Arcangelo Corelli Any FIVE (of 11) chords are correctly identified or notated. (i) There are eight chords to identify (shown below in their simplest forms accept any other correct forms). (1) u (2) R (3) uf (4) yf (5) uf (6) Eyg OR y{g (7) td (8) y (ii) There are three chords to notate (accept any voicing). Possible realisation: # # b b # #

5 NCEA Level 3 Music Studies (90530) 2011 page 5 of 6 Question Three cont d (b) (i) (ii) notated. Voicing may not be appropriate. The melody agrees with the chords generally flows well notated, with some evidence of appropriate voicing. (i) There are two bars requiring the addition of a violin 1 melody. Possible realisation: b b b b # n J # # n # # # n # b 5 # 7 6 # # (ii) There are nine chords to notate. Possible realisation: b j j j b b j b # b H

6 NCEA Level 3 Music Studies (90530) 2011 page 6 of 6 Question Three cont d (c) The bass line and figures establish a generally effective harmonic progression. fundamental understanding of harmonic procedures. shows some evidence of stylistic awareness consistently secure understanding of harmonic procedures and idiomatic, stylistically appropriate Figured bass indications are accurate. There are four bars (30 33) requiring the addition of a keyboard part. Possible realisation: b # # b b n # # b n # # # # Judgement Statement Achievement Achievement with Merit Achievement with Excellence 2 A 2 M 1 E + 1 M