91094 910940 1SUPERVISOR S Level 1 Music, 2016 91094 Demonstrate knowledge of conventions used in music scores 2.00.m. Friday 25 November 2016 Credits: Four Achievement Achievement with Merit Achievement with Excellence Demonstrate knowledge of conventions used in music scores Demonstrate in-deth knowledge of conventions used in music scores Demonstrate comrehensive knowledge of conventions used in music scores Check that the National Student Number (NSN) on your admission sli is the same as the number at the to of this age. You should attemt ALL arts of the task in this booklet. If you need more room for any answer, use the extra sace rovided at the back of this booklet. Check that this booklet has ages 2 12 in the correct order and that none of these ages is blank. YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION. TOTAL New Zealand Qualifications Authority, 2016. All rights reserved. No art of this ublication may be reroduced by any means without the rior ermission of the New Zealand Qualifications Authority.
2 EXTRACTS ONE, TWO, AND THREE Refer to the score on ages 3, 5, and 7 to answer arts (a) (j). (a) (i) Suggest a suitable time signature for the iece. The work is in a fast temo. Indicate this on the score of Extract One, using an aroriate Italian word. (b) (i) What instrument would lay the art labelled Instrument A Give TWO ieces of musical evidence from the score to suort your answer. Instrument: (1) (2) How many woodwind layers are needed to erform the iece (iii) Look at all three ages of the score (bars 1 29). Which instrument shown in the score does not lay during these three ages Instrument: (c) What is the key at the beginning of Extract One Give TWO ieces of musical evidence from the score to suort your answer. Key: (1) (2) (d) (i) Identify the texture in bars 1 4, and give musical evidence to suort your answer. Texture:
3 Exlain how the texture has changed in bars 5 8. (iii) Aart from texture, what other musical element has changed in bars 5 8 Give ONE iece of musical evidence from the score to suort your answer. Musical element: TEMPO Extract One Ludwig van Beethoven, Piano Concerto No. 3 (1801), bars 1 8 Flutes Oboes Clarinets in Bb Bassoons Horns in F [Instrument A] & bb b Ó n &b...... b b n. b J # j j Ó &b b &b....... n J n n Ó J J j..... Ó Timani Solo Piano { b b b Violin I Violin II Viola Violoncello Double Bass. j... j.. j Ó.. j... j.. j Ó. Bb b. b. j... j j Ó.. b b... b J. j.. j Ó.
(e) Focus on the string arts only in Extract Two. (i) How loudly is the string section to lay at bar 9 4 In bars 11 and 12 all four string arts are laying, but the texture is in only two arts. Give musical evidence to exlain how this is the case. (iii) On the score, add aroriate musical markings to the two violin arts to show: the music is to get gradually louder from bar 11 to the end of bar 14 the first beat of bar 15 is to be layed very loudly beats 2, 3 and 4 of bar 15 are to be layed short and detached. (f) On the score, circle and label an examle of: a tie a slur. Exlain the difference in the way that a tie and slur are layed. (g) In bars 9 10, violin I lays the same music as violin II, an octave higher. Notate the missing violin I music, including erformance markings. Violin I Violin II 9
5 Extract Two Beethoven, Piano Concerto No. 3, first movement, bars 9 16 Fl. 9 & bb b Ó Ó nn n Ó Ob. & bb b Ó Ó n n Ó Cl. (Bb) Bsn. & b b b b w w w w Ó b n Ó # # Ó Ó Ó Hn. (F) &b b Ó Ó [Inst. A] &b Ó Ó Ó Tim. Ó Ó Solo Pno. { b b b Vln. I n n Ÿ n Ó Vln. II n Ÿ n Ó Vla. Bb b b w bw n n Ó Vc. D.B. b b b w bw n n Ó
6 (h) (i) Identify the comositional device used in bars 17 22 in the violin I and II and viola arts, and give musical evidence to suort your answer. Comositional device: Identify the comositional device used in bars 24 29 in the violoncello and double bass art, and give musical evidence to suort your answer. Comositional device: (i) From bar 21 the iece changes key. (i) What is the new key at bar 24 Give musical evidence to suort your answer. Key: How is the new key at bar 24 related to the original key you identified in art (c) (j) Look at the viola art in bar 27. (i) Write out the music as it would be layed. 27 B b b b Viola Exlain why the comoser chose not to use this notation.
7 Fl. Ob. Cl. (Bb) Bsn. Hn. (F) [Inst. A] 17 & bb b n b b b Ó & bb 1. Ó f & bb b n Ó f f & b Extract Three Beethoven, Piano Concerto No. 3, first movement, bars 17 29 Ó f & b Ó Ó Tim. Vln. I Vln. II Vla. Vc. D.B. = Fl. Ob. Cl. (Bb) Bsn. Hn. (F) [Inst. A] Vln. I Vln. II Vla. Vc. D.B. Ó &b b Ω Ω bn Ó Ó 25 b b b &b b. J.. w Ó &b Ó Ó Bb b b n Ó Ó f f &b Bb b b... J º f f 1.... J Ó a2.. J. 2. b b w b Ó Ó w Ó w æ æ Ó w æ æ æ æ æ æ Ó Ω... J b b b
8 EXTRACT FOUR Refer to the score on age 9 to answer arts (k) (o). (k) Look at the bass guitar riff in bars 1 and 2. Describe TWO differences in this riff when it returns later in the score. (1) (2) (l) Describe the intervals bracketed and labelled (1) (4) in bars 8 17. State both the quality and quantity of each interval (e.g. erfect octave ). (1) (2) (3) (4) (m) In bars 20 23 there is an ascending scale beginning and ending on D. (i) Why is this not a D major scale What changes would be needed to make it a D minor scale (n) Verse 3 begins in bar 3. Give a detailed account of how the score is to be followed from here to the end of the song. Refer to bar numbers and labelled sections (e.g. verse 1 ) in your answer. (o) Comare the vocal melody in bars 28 and 38 (highlighted on the score), commenting on the use of syncoation. How is bar 38 more comlex than bar 28
9 Extract Four George Young and Harry Vanda, Love is in the Air (1977), as erformed by John Paul Young
10 QUESTION NUMBER Extra sace if required. Write the question number(s) if alicable.
11 QUESTION NUMBER Extra sace if required. Write the question number(s) if alicable.
12 Acknowledgements Material from the following sources has been adated for use in this examination: Extracts One, Two and Three Ludwig van Beethoven (ed. Wilhelm Altmann), Concerto No. 3 for Piano and Orchestra, Edition Eulenburg, No. 704 (Leizig: Ernst Eulenburg, n.d.). htt://imsl.org. Extract Four Great Southern Lands Songbook, Volume 1: Australia and New Zealand (Richmond North: Sasha Music Publishing, 2009). 91094