91094 910940 1SUPERVISOR S Level 1 Music, 2017 91094 Demonstrate knoledge of conventions used in music scores 2.00 p.m. Friday 10 November 2017 Credits: Four Achievement Achievement ith Merit Achievement ith Excellence Demonstrate knoledge of conventions used in music scores. Demonstrate in-depth knoledge of conventions used in music scores. Demonstrate corehensive knoledge of conventions used in music scores. Check that the National Student Number (NSN) on your admission slip is the same as the number at the top of this page. You should attet ALL of the tasks in this booklet. If you need more room for any anser, use the extra space provided at the back of this booklet. Check that this booklet has pages 2 12 in the correct order and that none of these pages is blank. YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION. TOTAL Ne Zealand Qualifications Authority, 2017. All rights reserved. No part of this publication may be reproduced by any means ithout the prior permission of the Ne Zealand Qualifications Authority.
2 EXTRACTS ONE AND TWO: VOCAL LEAD SHEET Refer to the score belo to colete tasks (a) and (b). EXTRACT ONE John Henry Hopkins, We Three Kings of Orient Are, bars 1 8 TEMPO 5 & # & #6 8 E E We B7 three kings of Or E j j j j - i - ent are; Bear - ing gi s e tra-verse a - far, D A E B7 E D U j j J j j B7 E Field and foun - tain, moor and moun - tain, Fol - lo - ing yon - der star. O (a) (i) The song is in a fairly slo teo, similar to a alking pace. Indicate this on the score using an appropriate Italian ord. The song has a time signature of Fh, ith to beats per bar. Explain ho this time signature is different from Bd, hich also has to beats per bar. (iii) There is a sign used in the music that tells the singer there is a change in the rhythm. Circle this sign on the score. Name the sign, and comment on ho the singer ill perform the music that it applies to. Sign: (b) The song begins in a minor key, and modulates to major at bar 8. (i) Identify the minor key. Ho is major related to this minor key?
(iii) A minor scale requires the use of the raised seventh note (the leading note). Although no accidentals are shon in Extract One, the use of the raised seventh is ilied. What ould be the pitch of the raised seventh? ive one piece of musical evidence to sho that you kno this note ould be heard during the first four bars. Pitch: 3 Refer to the score belo to colete tasks (c) and (d). EXTRACT TWO John Henry Hopkins, We Three Kings of Orient are, bars 9 16 REFRAIN 9 & # 13 & # Star C of on - der, star of j j j j j j E West M2 D7 - ard lead C - ing, still night, D pro - ceed - ing, uide Star ith roy - al beau C - ty bright, j J J J j j j C us to thy per - fect light. (c) The interval of a major 2nd is indicated in bar 13. In the same ay, identify an exale of each of the folloing intervals in Extract To: a major 3rd ( M3 ) a perfect 4th ( P4 ) a perfect unison ( P1 ). (d) (i) What is the cadence heard in bar 16? ive musical evidence to support your anser. Cadence: Look at the jazz / rock chords in bars 13 and 14. Rerite them in the boxes belo the stave using Roman numeral notation. (The key is major.)
4 EXTRACTS THREE AND FOUR: CHAMBER MUSIC Refer to the score belo to colete tasks (e) (h). EXTRACT THREE Alessandro Scarlatti, Quartet in F major, second movement, bars 53 61 Fl. Vn.1 53 & b (Allegro) J J J & b Œ Ó Vn.2 { Org. & b J & b Œ J J? b & J 58 &b &b &b Œ J J Œ Ó j j J Œ Ó { &b J J Œ? &b J J (e) Suggest a suitable time signature for the piece. (f) (i) Why is there a change of clef in the organ part in bar 54 (highlighted on the score)? What ould the result have been if the cooser had not changed the clef? (g) Identify the texture in bars 60 61 and give musical evidence to support your anser. Texture:
(h) Identify the coositional device used in bars 59 61 (highlighted on the score), and give musical evidence to support your anser. Coositional device: 5 Extract Four is from a different movement of the same ork. Refer to the score belo to colete tasks (i) (k). EXTRACT FOUR Alessandro Scarlatti, Quartet in F major, third movement, bars 9 14 Fl. 9 & b (rave) Πb Πb ΠVn.1 &b n ΠΠb ΠVn.2 { Org. &b &b? b ΠΠΠb n ΠΠΠb Π(i) Write an appropriate time signature at the beginning of every stave in the extract above. (j) The texture in Extract Four is not the same as in the last to-and-a-half bars of Extract Three. Ho is the texture different? ive musical evidence to support your anser. (k) On the score above, colete the organ part in bars 11 14. Notate the Flute and Violin 1 parts on the treble stave. Notate the Violin 2 part on the bass stave. Follo the exale given for you in bars 9 10.
6 EXTRACTS FIVE, SIX AND SEVEN: JAZZ ENSEMBLE Refer to the score belo to colete tasks (l) (n). EXTRACT FIVE eorge ershin, Strike up the Band (arrangement), bars 1 8 Alto Saxophone in Eb Tenor Saxophone in Bb A.Sax. T.Sax. Tpt. Tbn. Truet in Bb Trombone q = 144 (qa z = [qp ]e) 1 & #.. 4 # J J Œ # # J J & 4 # j. j Œ # j #. j mf & 4 Ó # j. j j Œ # j mf?. b b4 Ó n J J J Œ n J 4 & # <# Œ. # J J f & <# Œ # j. Œ J Œ Ó J f & #. j j Œ # j. J # f?.. b b # J J Œ n J J f mf Œ Œ Ó J mf (l) (i) What is the concert pitch key of the extract? ive the names of the instruments that have key signatures different to the concert pitch key. Explain hy the key signatures are different.
(m) Identify and describe the dynamic markings in the music, and explain ho the arranger uses dynamics to create musical interest. 7 (n) (i) In the saxophone parts in bar 1 (highlighted on the score), to different articulation marks are used. ive the names of both of these marks and explain ho each is played. Articulation mark (1): Articulation mark (2): In the saxophone parts in bars 6 and 7 (highlighted on the score), to different curved lines are used. ive the names of both of these curved lines and explain ho each affects the music. Curved line (1): Curved line (2):
8 Refer to the score belo to colete tasks (o) and (p). EXTRACT SIX eorge ershin, Strike up the Band (arrangement), bars 17 26 A.Sax. T.Sax. Tpt. Tbn. B.tr. Pno. & # & &? b b? b b { &b b? b b 18 J mf mf F7 B D7/A # n J # # J J # n J # # J Œ Œ Œ Œ Œ Œ Œ Œ # Œ Œ # Œ Œ Œ Œ Œ Œ Œ Œ # Œ # A.Sax. T.Sax. Tpt. Tbn. B.tr. Pno. 22 & # # J J & &? b bn Œ n {? b b & bb? b bn 7 C7 F7 7 º7 F/A B ff ff # j j Œ # n Œ n ff # n ff ff ff b #
9 (o) (i) In this piece, the rhythm qa z is to be performed more like [qp ]e. What is this rhythmic device called? The music includes some rhythmic syncopation. Circle and label an exale of syncopation on the score. Comment on ho syncopation changes the rhythm of the music. (p) In bars 17 19, a to-bar melodic sequence begins in the saxophone parts (highlighted on the score). Dra a bracket ( ) above the score to indicate the next occurrence of the sequence. Explain ho the sequence can be said to be to bars long hen it occurs ithin three bars (17 19). Refer to the score belo to colete task (q). EXTRACT SEVEN Truet (concert pitch) 30 & bb eorge ershin, Strike up the Band (arrangement), bars 30 32 n <b Œ Ó J Truet in Bb & (q) Transpose the given truet part up a tone so it could be played by a truet in Bb. Include all accidentals, rests and the tie. The first note is given for you.
10 QUESTION NUMBER Extra space if required. Write the question number(s) if applicable.
11 QUESTION NUMBER Extra space if required. Write the question number(s) if applicable.
12 Acknoledgements Material from the folloing sources has been adapted for use in this examination: Extracts One and To http://christmascarolmusic.org/lead_sheets/wethreekings.html. Extracts Three and Four Alessandro Scarlatti (ed. Waldemar Woehl), Quartett F dur, für Blockflöte, 2 Violinen und Basso continuo, Edition Peters, No. 4558 (Leipzig: C. F. Peters, 1939). Found on https://imslp.org/iki/quartet _in_f_major_(scarlatti,_alessandro). Extracts Five, Six and Seven http://.spiffingtunes.com/sheet-music.html. 91094