90269

902690
2
For Supervisor’s use only

Level 2 Music, 2007

90269 Demonstrate an understanding of the materials and
processes of music in a range of scores

Credits: Two
2.00 pm Tuesday 4 December 2007

Check that the National Student Number (NSN) on your admission slip is the same as the number at the
top of this page.

Pull out Resource Booklet 90269R from the centre of this booklet. Refer to the musical extracts in the
Resource Booklet to answer the questions in this booklet.

You should answer ALL the questions in this booklet.

If you need more space for any answer, use the lined page or blank staves provided at the back of this
booklet and clearly number the question.

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.

For Assessor’s
use only Achievement Criteria

Achievement Achievement
Achievement
with Merit with Excellence
Identify and describe the Analyse the materials and Analyse and explain the
materials and processes of processes of music in a range of materials and processes of
music in a range of scores. scores. music in a range of scores.

Overall Level of Performance

© New Zealand Qualifications Authority, 2007

All rights reserved. No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.
 

You are advised to spend 90 minutes answering the questions in this booklet. Assessor’s
use only

QUESTION ONE

EXTRACT A: “Mack the Knife” by Kurt Weill

Refer to pages 2–4 in the Resource Booklet to answer questions (a)–(e).

(a) Select TWO of the following instruments and describe how each uses rhythm in the passage
from the opening to bar 8.
• Bass
• Hi-hat
• Brass

(1) Instrument:

How rhythm is used:

(2) Instrument:

How rhythm is used:

(b) (i) Name the rhythmic device used in bars 14–17 of the vocal part (highlighted on the
score).

(ii) On the stave below, notate the lowest and highest notes in the vocal part (from the
opening to bar 40).

Vocals &

(iii) Complete the unshaded parts of the table below by identifying ONE example from the
score of each of the vocal techniques listed. Give the bar number and the word from
the lyrics for the examples you choose. (You may use each example only ONCE.)

Vocal technique Bar number(s) Word

Vocal slide

Melisma

Word-painting

Music 90269, 2007

 

(c) (i) The extract modulates through THREE different keys. Complete the unshaded parts of Assessor’s
use only
the table below by identifying the keys, and the bar numbers of the passage in each key.

Bar numbers
Key
from to

1 16

(ii) What effect do these key changes have on the music?

(d) What effect does the word “sim.” have in the piano part (bar 3) and brass part (bar 5)?

(e) (i) Refer to the brass part in the score in the Resource Booklet and state the least number
of brass instruments required to perform the whole extract.

(ii) Printed below are bars 33–36 of the brass part at concert pitch. Rewrite the parts in
open score for two alto saxophones and two tenor saxophones. Include the key
signatures appropriate to each of the saxophones.

b œ ™™ œj œ œ œ œœœ ™™™ œœj œœ Œ j

œœ ™™™
33
j
& œœœ ™™ œœœ œœœ œœœ œœœ
>œ ™
Ϫ
b œ œ Œ ‰ œœ œœ œœ œœ œœ Ó
>œ œ œœ œœ œœ œœ
Brass
>œ >œ
œ
A.Sax. 1 °
in Eb &
A.Sax. 2
in Eb &
T.Sax. 1
in Bb &

¢&
T.Sax. 2
in Bb

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QUESTION TWO Assessor’s

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EXTRACT B: Suite for Cello and Jazz Piano Trio by Claude Bolling

Refer to pages 5–7 in the Resource Booklet to answer questions (a)–(f).

(a) Name the THREE instruments that make up the jazz piano trio.

(1)

(2)

(3)

(b) (i) Identify AND describe TWO specific instrumental techniques used in the cello and
bass parts in bars 89–93 (highlighted on the score).

Technique (1) in the cello part:

Technique (2) in the bass part:

(ii) Rewrite the cello part in bar 90 exactly as it would be played.

? æ æ œæ #œæ œæ
æ œæ œæ
90

Cello
œ #œ #œ

(iii) Study the piano part in bars 90–93 (highlighted on the score), and complete the
unshaded parts of the tables below.
• Identify the bar number and beat(s) where ONE example of each of the
following chords occur. One answer has been given for you.

Chord Bar number Beat(s) Chord Bar number Beat(s)

F#dim7/A 93 1 and 2 F7

G7 Eb

D7 Am7

Music 90269, 2007

 

(c) The metre changes frequently in this work. Complete the unshaded parts of the table below Assessor’s
use only
by identifying the THREE different metres used during the extract.
• Give the time signature, and the bar number of ONE bar in which it occurs.
• Write a bar of quaver beats, grouped together in the way the composer has grouped
them in the score.

One example (from an earlier part of the work) has been given for you.

Time signature Bar number One bar of quaver beats

Bd 82 œ œ œ œ

(d) Rewrite the drum kit part in bars 92–95 in open score. Include all performance markings.
(Refer to the percussion legend at the bottom of page 5 in the Resource Book to identify the
parts of the drum kit.)

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(e) In bars 109–110 (highlighted on the score) the cello and bass work closely with the piano Assessor’s
use only
part. Explain how EACH of these two parts relates to the piano part.

(i) Cello

(ii) Bass

(f) Give THREE different examples of the way the element of rhythm is used in this extract to
reinforce the “jazz” nature of the work. Support your answers with evidence from the score.

(1)

(2)

(3)

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QUESTION THREE Assessor’s

use only

EXTRACT C: Piano Concerto No. 19 in F major by W. A. Mozart

Refer to pages 8–10 in the Resource Booklet to answer questions (a)–(i).

(a) (i) In score order, name in ENGLISH the woodwind and brass instruments that play in this
extract.
Woodwind:

Brass:

(ii) Explain in ENGLISH the meaning of:

Viola I e II

Violoncello e Basso

(b) Rewrite the basso part in bars 20–22 at concert pitch, including all performance markings.

Ϊ
œ ‰ nœ œ œ œ
20
? œ œ œ nœ œ œ œ #œ
J
Basso J J
f p
?

(c) Rewrite the viola I e II part from bars 21–25 (reproduced below).
• On Stave A, rewrite the viola I e II part in the treble clef.
• On Stave B, rewrite the part for clarinet in Bb. Include the appropriate key signature
and all performance markings.

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(d) The violino I part in bars 1–10 (highlighted on the score) presents the opening theme of the Assessor’s
use only
movement. This theme uses three contrasting melodic motifs, marked on the score as A,
B , and C , which are repeated with changes in bars 6–10.
Explain how Mozart changes these melodic motifs in bars 6–10 of the violino I part.

(e) In bars 24–25 the music reaches a perfect cadence (highlighted in the string parts on the
score). In the short score of the string parts below, rewrite this as a plagal cadence.
Give the roman numeral indications of the chord progression used, and add in the bass,
melody and inner harmony notes in the style of the existing music.
• Write the chord indications using roman numerals.
• Add the bass part.
• Add the melody line.
• Add the inner harmony notes.

° 6 œj ‰ j œ
24

b#œœ œœ
&8 J J
œœj œj œ
? 68 J ‰ nœ œ œ
¢ J

CHORDS: II7b II

(f) The musical material in the piano solo at bars 26–31 is first heard earlier in the score.
Identify the bars in which this material first appears, and compare the piano solo with the
music in those bars. List THREE similarities or differences.

Material first appears in bars:

(1)

(2)

(3)

Music 90269, 2007

 

Assessor’s
(g) The chords of the harmony in bars 18–20 are labelled 1 – 6 and highlighted on the score. use only
Complete the unshaded parts of the table below by identifying the chords using jazz / rock
notation. One example has been given for you.

Bar no. Chord no. Chord

1
18
2

3 Bdim7 / D
19
4

5
20
6

(h) In bars 10–14 of the score a number of compositional devices are used. These are:
A a syncopated melodic theme
B three instruments playing unis.
C a dominant pedal note
D an “Alberti”-type accompaniment pattern
E tonic and dominant bass notes.
Circle ONE example of EACH of the above devices on the extract below and label each with
the appropriate letter from the list above.

°
œ
‰ Œ™
œ
10

Fl. & ∑ ∑ ∑ Œ ‰ ‰ œ
. . . . f
œ
p
œ œ œ œ œ œ œ œ ‰ œ œ
‰ ‰Œ ™ œ œ œ œ œ ∑‰ œ œ œ œ ∑‰ œ œ ‰
f
& œ ∑ œ .∑
Ob.
.
Ϊ
œ œ œ œ œ ™
? œj ‰ ‰ Œ ™
œ œ œ
‰ œ ‰ œ Œ
p
Fag.
¢ ∑ ∑ ∑ ∑

& œj ‰ ‰ Œ ™ ˙™ ˙™ ˙™ œ˙ ™ œ™
˙™ ˙™ ˙™ ™
Cor.
J
° œ
p
. . œ. œ œ œ œ. œ
Vn. I & ‰ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ ‰ œ ‰ œ
p f

Vn. II & œ œœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œ œ œ œœœœœœ
p
œ œ œ œ œ œ œ œ œ œ
B œ ‰ ‰ œ ‰ ‰ œj ‰ ‰ œj ‰ ‰ œ ‰ ‰ œ ‰ ‰ œj ‰ ‰ œj ‰ ‰ œ ‰ ‰ œ ‰ ‰
J J J J J J
Vle.

? œj ‰ ‰ œj ‰ ‰ œ ‰ ‰ œ ‰ ‰ j j j j
¢
Vc.
J J œ ‰ ‰ œ ‰ ‰ j ‰ ‰ j ‰ ‰ œ ‰ ‰ œ ‰ ‰
& B.
p
œ œ

Music 90269, 2007

 10

(i) This work is from the Classical period. Using musical evidence from the score, explain what Assessor’s
use only
makes this extract representative of music of this period.
Select any FOUR of the five following musical elements, and make TWO points for each.
• Dynamics
• Rhythm
• Texture
• Phrasing
• Timbre

(i) Element:

(1)

(2)

(ii) Element:

(1)

(2)

(iii) Element:

(1)

(2)

(iv) Element:

(1)

(2)

Music 90269, 2007

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Extra paper for continuation of answers if required. Assessor’s

Clearly number the question. use only

Question
number

Music 90269, 2007

 12

Assessor’s
Extra paper for continuation of answers if required. use only
Clearly number the question.

Question
number
90269

Music 90269, 2007