National Quali cations SPECIMEN ONLY

AH National Quali cations SPECIMEN ONLY SQ28/AH/0 Mark Music FOR OFFICIAL USE Date Not applicable Duration Approximately hour and 5 minutes *SQ28AH0* Fill in these boxes and read what is printed below. Full name of centre Town Forename(s) Surname Number of seat Date of birth Day Month Year Scottish candidate number Total marks 40 Attempt ALL questions. In this examination you will listen to excerpts of music and answer questions on what you hear. The text of each question is printed so that you can follow what the speaker says. Listen carefully to the questions and to the music excerpts. Some excerpts are played more than once. The number of times each excerpt is played is stated in each question. Write your answers clearly in the spaces provided. Additional space for answers is provided at the end of this booklet. If you use this space you must clearly identify the question number you are attempting. Use blue or black ink. Before leaving the examination room you must give this booklet to the Invigilator; if you do not, you may lose all the marks for this paper. *SQ28AH00*

TOTAL MARKS 40 Attempt ALL questions MARKS DO NOT WRITE IN THIS MARGIN Question This question features instrumental music. (a) Listen to this excerpt and identify four concepts in the music from those listed below. You now have 5 seconds to read through the list of features. Stretto Jazz funk Impressionist Mordent Syncopation Chromatic scale String quartet Irregular time signatures Countermelody Serial Insert your four answers on the lines below. 4 The music will be played twice with a pause of 0 seconds between playings and a pause of 40 seconds before part (b). Here is the music for the first time. Here is the music for the second time. (b) Now listen to a different excerpt and identify the type of group you hear. *SQ28AH002* Page two

Question 2 MARKS DO NOT WRITE IN THIS MARGIN This question is based on orchestral music. You now have 20 seconds to read through parts (a) and (b) of the question. (a) The excerpt opens with a sustained chord; the tonality is (b) The strings play a steady rhythm. On the music line below you are asked to: i) complete the rhythm in bars 4 to 7; ii) write the time signature in the correct place. Listen to the excerpt, which will be played twice, and answer questions (a) and (b). There will be a pause of 40 seconds before part (c). Here is the music for the first time. Here is the music for the second time. (c) Listen to a further excerpt featuring the violins. Describe the interval formed by the two notes in the box in bar 3. Write your answer in the box. (d) Listen to how the excerpt continues. Insert one accidental in the boxed area so that the written score matches what you hear. *SQ28AH003* Page three

Question 2 (continued) MARKS DO NOT WRITE IN THIS MARGIN (e) Listen to a new excerpt and answer both questions below. You now have one minute to read through the questions and the guide to the music. i) The key is A minor. Identify the chords used in bars 2 and 3. You should indicate the chord name or number and, where appropriate, st or 2nd Inversion or 7th. The chords in bars and 4 have been completed for you. ii) There is a modulation to C major at the end of the excerpt. Identify the cadence heard in bars 7 and 8. The music will be played twice. Here is the music for the first time. Here is the music for the second time. *SQ28AH004* Page four

Question 3 MARKS DO NOT WRITE IN THIS MARGIN In this question you will hear excerpts from a concerto. (a) Listen to the introduction and identify the harmonic feature that you hear. Tierce de Picardie Plagal cadence Pedal Modulation (b) In the next excerpt you are required to complete the guide below by inserting appropriate music concepts. There will now be a pause of 30 seconds to allow you to read through the question. The music will be played three times with a pause of 20 seconds between playings and a pause of 30 seconds before part (c). In the first two playings a voice will help guide you through the music. There is no voice in the third playing. Here is the music for the first time. Here is the music for the second time. Here is the music for the third time.. The ornament played twice by two different woodwind instruments is a/an. 2. The melody is played by a solo. 3. The tonality changes to. 4. Write, 2 or 3 beside the instruments to indicate the order in which they play. French horn Oboe Clarinet *SQ28AH005* Page five

Question 3 (continued) MARKS DO NOT WRITE IN THIS MARGIN (c) Listen to a further excerpt and identify the style of music. *SQ28AH006* Page six

Question 4 MARKS DO NOT WRITE IN THIS MARGIN This question is based on an excerpt from a musical. Listen to this song and follow the guide score. Here is the music for the first time. You now have one minute to read the question. (a) Insert the missing rest(s) on the stave in bar 4. (b) Write the names of the two keys used in this excerpt. Write your answers in the two boxes above bars and 9. (c) Insert the missing note(s) on the stave in bar. During the next two playings complete your answers, (a) to (c). The music will be played two more times with a pause of 20 seconds between playings and a pause of 30 seconds before part (d). Here is the music for the second time. Here is the music for the third time. *SQ28AH007* Page seven

Question 4 (continued) (d) Using the rhythm provided and the chord information printed below the stave, complete the bass line in bars and 2. The first bass note has been inserted for you. There will be no music played. You have two minutes to complete your answer. MARKS DO NOT WRITE IN THIS MARGIN *SQ28AH008* Page eight

Question 5 MARKS DO NOT WRITE IN THIS MARGIN This question features vocal music. (a) Listen to this excerpt and identify four concepts in the music from those listed below. You now have 5 seconds to read through the list of features. Madrigal Recitative Plainchant Subject Plagal cadence Fugue Renaissance Mode Obbligato Oratorio Insert your four answers on the lines below. 4 The music will be played twice with a pause of 0 seconds between playings and a pause of 40 seconds before part (b). Here is the music for the first time. Here is the music for the second time. (b) Listen to part of that excerpt again and give the order in which the voices enter. You will hear the music twice. Here is the music for the first time. Here is the music for the second time. 2 3 4 *SQ28AH009* Page nine

Question 5 (continued) (c) Listen to part of the previous excerpt and tick one box to identify the correct version of the music. MARKS DO NOT WRITE IN THIS MARGIN You now have 5 seconds to read through the possible answers. The excerpt is short and will be played twice. Here is the music for the first time. Here is the music for the second time. (d) Listen to a further excerpt from the same work and identify the type of voice. (e) Listen to this excerpt from a different work and identify the style of singing. *SQ28AH00* Page ten

Question 6 In this question you are asked to comment on two excerpts of music. (a) Listen to each excerpt. For each excerpt identify at least two prominent concepts in each of the following categories: melody and harmony timbre and texture Both excerpts will be played twice, with a pause of 5 seconds between playings, and with a pause of four minutes at the end for you to complete your final answer. A warning tone will sound 30 seconds before the start of part (b). You may use the table on Page 2 for rough working, but your final answer must be written on Page 3. Your final answer could be bullet points or short answers identifying the concepts you have heard. Here is Excerpt for the first time. Here is Excerpt 2 for the first time. Here is Excerpt for the second time. Here is Excerpt 2 for the second time. You now have four minutes to identify at least four concepts in each excerpt. *SQ28AH0* Page eleven

Question 6(a) (continued) Rough work For each excerpt identify at least two prominent concepts in each of the following categories: melody and harmony timbre and texture Categories Excerpt Excerpt 2 Melody and harmony Rough work Timbre and texture *SQ28AH02* Page twelve

Question 6(a) (continued) Final answer MARKS DO NOT WRITE IN THIS MARGIN (i) Excerpt 2 (ii) Excerpt 2 2 *SQ28AH03* Page thirteen

Question 6 (continued) (b) This question has two parts. (i) Analyse the two excerpts you have just heard. In your extended answer you should refer to six similarities/differences across the following categories: type of work melody and harmony timbre (ii) Conclude your analysis with a statement on the style/period of each excerpt and justify your answer. You will hear each excerpt two more times, with a pause of 5 seconds between playings, and then have a further 0 minutes to complete your answers for part (i) and part (ii). Rough work will not be marked. You should write your final answer on the following page. A warning tone will sound 30 seconds before the end of the question paper. Here is Excerpt for the third time. Here is Excerpt 2 for the third time. Here is Excerpt for the last time. Here is Excerpt 2 for the last time. You now have 0 minutes to complete your analysis and conclusion. Rough work Rough work *SQ28AH04* Page fourteen

Question 6(b) (continued) Final answer MARKS DO NOT WRITE IN THIS MARGIN (i) Analysis Remember to comment on six similarities/differences you hear in the excerpts. Your final answer should be a written description of what you have heard and not simply a list of similarities/differences. 4 ii) Conclusion Remember to include a statement on the style/period of each excerpt and justify your answer. 2 [END OF SPECIMEN QUESTION PAPER] *SQ28AH05* Page fifteen

ADDITIONAL SPACE FOR ANSWERS *SQ28AH06* Page sixteen

ADDITIONAL SPACE FOR ANSWERS *SQ28AH07* Page seventeen

Question Number a Libertango Track 2 b William Byrd: Pavan and Galliard in C major Track 6 2 a Beethoven Symphony No 7 Allegretto Track 2 2 b Beethoven Symphony No 7 Allegretto Track 2 2 c Beethoven Symphony No 7 Allegretto Track 2 2 d Beethoven Symphony No 7 Allegretto Track 2 2 e Beethoven Symphony No 7 Allegretto Track 2 3 a Rodrigo Concerto de Aranjuez Allegro con spirito Track 3 b Rodrigo Concerto de Aranjuez Track 3 c Rodrigo Concerto de Aranjuez Allegro con spirito Track Adv Higher (Specimen) Music Audio Excerpts Track Title Performer Composer Album Title Start of Excerpt Astor Piazzolla Piazzolla The Essential Tangos of Astor Piazzolla MANTCD045 Fretwork Byrd William Byrd: Consort Songs Harmonia Mundi 2005 B00RPYPA London Symphony Orchestra Antál Doráti London Symphony Orchestra Antál Doráti Dresden Philharmonic Herbert Kegel Dresden Philharmonic Herbert Kegel London Symphony Orchestra Antál Doráti Academy of St Martin in the Fields, Neville Marriner, Pepe Romero Orpheus Chamber Orchestra Göran Söllscher Academy of St Martin in the Fields, Neville Marriner, Pepe Romero Beethoven Beethoven 7 Living Presence 462958 Beethoven Beethoven 7 Living Presence 462958 Beethoven Beethoven Symphonies Capriccio 0 452 Beethoven Beethoven Symphonies Capriccio 0 452 Beethoven Beethoven 7 Living Presence 462958 Rodrigo Rodrigo Complete Concertos for Guitar and Harp Decca 462 296-2 Rodrigo Rodrigo Concierto de Aranjuez Deutsche Grammophon 429 232-2 Rodrigo Rodrigo Complete Concertos for Guitar and Harp Decca 462 296-2 End of Excerpt 0 53 46 0 00 0 43 0 00 0 8 0 00 0 8 2 5 2 57 3 07 3 7 2 9 2 34 0 00 0 26 2 35 3 43 0 00 0 36 *SQ28AH08* Page eighteen

4 a The Lion King Can you feel the love tonight Track No performers credited Elton John/Tim Rice arr. Mark Brymer ShowTrax 086375 994 Wonderland Music Company, Inc. 6 44 7 20 4 b The Lion King Can you feel the love tonight Track No performers credited Elton John/Tim Rice arr. Mark Brymer ShowTrax 086375 994 Wonderland Music Company, Inc. 6 44 7 20 4 c The Lion King Can you feel the love tonight Track No performers credited Elton John/Tim Rice arr. Mark Brymer ShowTrax 086375 994 Wonderland Music Company, Inc. 6 44 7 20 4 d No audio 5 a Handel Messiah Part 2 All they that see him Track 4 Academy of St Martin in the Fields, Neville Marriner, Philip Langridge Handel Handel Messiah Decca 0289 444 8242 0 5 22 5 b Handel Messiah Part 2 He trusted in God Track 4 Academy of St Martin in the Fields, Neville Marriner Handel Handel Messiah Decca 0289 444 8242 0 47 22 5 c Handel Messiah Part 2 He trusted in God Track 4 Academy of St Martin in the Fields, Neville Marriner, Handel Handel Messiah Decca 0289 444 8242 0 47 0 52 5 d Handel Messiah But who may abide the day of his coming? Track 6 John Eliot Gardiner, conductor, Charles Brett, counter tenor Handel Handel Messiah Philips 4342972 CD 25 2 02 5 e Delibes Bell song Track 4 Sumi Jo soprano,paulo Olmi conductor Delibes Delibes Lakmé Warner Classics 468843 6 40 7 8 6 a Excerpt William Byrd Mass for 4 voices Kyrie Track 5 Choir of King s College, Cambridge, Sir David Willcocks Byrd Byrd 3 Masses Decca 433 675-2 0 00 2 34 6 a Excerpt 2 Bob Chilcott A Little Jazz Mass Will Todd Trio, Bob Chilcott, Wellensian Bob Chilcott Everyone Sang: A Little Jazz Mass 0 00 53 *SQ28AH09* Page nineteen

Kyrie Track 6 Consort Naxos 8.57358 6 b Excerpt William Byrd Mass for 4 voices Kyrie Track 5 Choir of King s College, Cambridge, Sir David Willcocks Byrd Byrd 3 Masses Decca 433 675-2 0 00 2 34 6 b Excerpt 2 Bob Chilcott A Little Jazz Mass Kyrie Track 6 Will Todd Trio, Bob Chilcott, Wellensian Consort Bob Chilcott Everyone Sang: A Little Jazz Mass Naxos 8.57358 0 00 53 Acknowledgement of Copyright Question 2 Graphical music excerpts are taken from Beethoven Symphony No. 7 by Beethoven. Public Domain. Question 4 Graphical music is taken from Can You Feel the Love Tonight by Elton John/Tim Rice, arr. Mark Brymer. Published by Hal Leonard. Reproduced by kind permission of Hal Leonard. Question 5(c) Graphical music is taken from Handel Messiah Part 2 He Trusted in God by Handel. Public Domain. *SQ28AH020* Page twenty

AH National Quali cations SPECIMEN ONLY SQ28/AH/0 Music Marking Instructions These Marking Instructions have been provided to show how SQA would mark this Specimen Question Paper. The information in this publication may be reproduced to support SQA qualifications only on a non-commercial basis. If it is to be used for any other purpose, written permission must be obtained from SQA s Marketing team on permissions@sqa.org.uk. Where the publication includes materials from sources other than SQA (ie secondary copyright), this material should only be reproduced for the purposes of examination or assessment. If it needs to be reproduced for any other purpose it is the user s responsibility to obtain the necessary copyright clearance.

General Marking Principles for Advanced Higher Music This information is provided to help you understand the general principles you must apply when marking candidate responses to questions in this Paper. These principles must be read in conjunction with the Detailed Marking Instructions, which identify the key features required in candidate responses. (a) (b) (c) (d) Marks for each candidate response must always be assigned in line with these General Marking Principles and the Detailed Marking Instructions for this assessment. Marking should always be positive. This means that, for each candidate response, marks are accumulated for the demonstration of relevant skills, knowledge and understanding: they are not deducted from a maximum on the basis of errors or omissions. Do not accept any answer that is not in the marking instructions. Use professional judgement when candidates responses do not exactly match marking instructions but carry the same meaning, eg plagal cadence/iv I, plainchant/plainsong. Candidates are asked to tick one or more boxes in multiple choice questions. Accept a cross or any other sign which makes the candidate s intentions clear. Page two

Detailed Marking Instructions for each question Question a Mordent Syncopation Chromatic scale Countermelody Expected response Max mark Additional guidance 4 mark for each correct answer. No other answers accepted. Candidate responses can be listed in any order. b Consort Accept broken/whole consort. The word consort must be included. 2 a Minor 2 b (i) All rhythms in bars 4 to 7 must be correct for mark. (ii) (i) (ii) No other answer accepted. 2 c 3 rd /third Number must be correct. The interval need not be described. 2 d Accept natural sign if also inserted in bar 5. Not accepted if only inserted in bar 5. 2 e (i) E st Inv. or E/G# E 7 V st Inv. or V b V 7 Both the chord name/number and inversion/7 th must be identified to gain the mark. For the first chord accept 6 3 for first inversion. 2 e (ii) Perfect Accept V - I or V7. No other answers accepted. Page three

Question Expected response Max mark 3 a Pedal Additional guidance 3 b 4 mark for each correct answer for parts to 3. Turn 2 Cello 3 Major 4 Clarinet, 2 French Horn, 3 Oboe. Also accept 4. All instruments must be in correct order for mark. 3 c Neo-classical 4 a Rests must add up to ½ beats and can be in any order. Dotted crotchet rest accepted. 4 b F (or F major), G (or G major) Both keys must be correct for mark. 4 c Pitch and rhythm of both notes must be correct for mark. Accept stems in any direction but on correct side. 4 d Any of the notes in the boxed area are acceptable alternatives. All three notes must be correct for mark. Notes must be clearly written in/on the correct space/line. Accept stems in any direction but on correct side. 5 a Recitative Subject Fugue Oratorio mark for each correct answer. No other answers accepted. Candidate responses can be listed in any order. Page four

Question Expected response 5 b Bass (or baritone) Tenor Alto (or mezzo soprano or counter tenor) Soprano Max mark Additional guidance All voices must be in the correct order for mark. 5 c Bass line number 3. 5 d Counter tenor No other answers accepted. 5 e Coloratura No other answers accepted. 6 a Please note that style/period concepts relating to both excerpts in Q6(a) are not accepted as answers; these concepts will be credited in Q6(b) (ii). (i) Melody/ harmony Modal or minor Perfect cadence Tierce de Picardie Melismatic Syllabic Accept any two concepts for mark. Also accept suspension. Long lists of concepts unrelated to the music and/or extensive lists of contradictory concepts will result in penalties being applied. Timbre/ texture SATB choir Polyphonic/contrapuntal A cappella Antiphonal Imitation Accept any two concepts for mark. Long lists of concepts unrelated to the music and/or extensive lists of contradictory concepts will result in penalties being applied. Page five

Question 6 a (ii) Melody/ harmony Expected response Blues scale/blue notes Melismatic Syllabic Chromatic Added 6 th chords/7 th chords Dissonance Max mark Additional guidance Accept any two concepts for mark. Also accept 9 th. Long lists of concepts unrelated to the music and/or extensive lists of contradictory concepts will result in penalties being applied. Timbre /texture Homophonic Accompanied Drum kit/bass/piano: count as one concept (instrumental jazz trio) Pizzicato Accept any two concepts for mark. Also accept rim shot. Long lists of concepts unrelated to the music and/or extensive lists of contradictory concepts will result in penalties being applied. 6 b (i) Answers should focus on type of work/melody/harmony and timbre. This should be a written description of what is heard and not simply a list of similarities/differences. Similarities Both excerpts are taken from a Mass/both excerpts are taken from a Kyrie. Both feature SATB choir/chorus. Both feature melismatic word-setting. Both feature syllabic word-setting. Differences Excerpt is a cappella, Excerpt 2 is accompanied. Excerpt is modal/minor. Excerpt 2 features blues scale, added 6 th chords, 7 th chords. Excerpt is polyphonic/contrapuntal. Excerpt 2 is mostly homophonic in texture. 4 4 marks Six similarities/ differences 3 marks Four or five similarities/differences 2 marks Two or three similarities/differences mark One similarity/difference Accept any combination of six similarities/ differences. The concepts renaissance and jazz will not be credited here; these concepts will be credited in Q6(b) (ii). Page six

Question 6 b (ii) Conclusion Expected response Excerpt is a Mass setting from the Renaissance period. Excerpt 2 is a modern/popular/20th century/ Jazz setting of the Mass. Justification for each style must refer to at least one of the following: melody/harmony rhythm timbre/texture Max mark Additional guidance 2 Both styles/periods must be correctly identified to achieve mark. Identifying both works only as a Mass will not be credited here, as Mass will have been credited in Q6(b)(i). Each style is correctly justified with reference to at least one concept from Q6(a) or Q6(b) (i) to achieve mark. No half marks can be awarded. [END OF SPECIMEN MARKING INSTRUCTIONS] Page seven

Published: September 206 Change since last published: Addition to detail of marking instruction (Question 6(a)).