2015 Music Group Performance Aural and written examination

MUSIC PERFORMANCEAural and written examination

Monday 7 November 2016 Reading time: 9.00 am to 9.15 am (15 minutes) Writing time: 9.15 am to 10.45 am (1 hour 30 minutes)

QUESTION AND ANSWER BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A 15 15 80B 2 2 20

Total 100

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orcorrectionfluid/tape.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Questionandanswerbookof17pages,includingblankmanuscriptpaperforroughworkingon

page11.• AnaudiocompactdiscwillruncontinuouslythroughoutSectionsAandBoftheexamination.The

audiocompactdiscwillrunfor79minutes51seconds.Instructions• Writeyourstudent numberinthespaceprovidedaboveonthispage.• Youmaywriteatanytimeduringtherunningoftheaudiocompactdisc,andafteritstops.• AllwrittenresponsesmustbeinEnglish.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2016

SUPERVISOR TO ATTACH PROCESSING LABEL HEREVictorian Certificate of Education 2016

STUDENT NUMBER

Letter

2016MUSICPERFORMANCEEXAM 2

SECTION A – continued

SECTION A – Theory and aural comprehension

Instructions for Section AAnswerallquestionsinpencil.AnaudiocompactdisccontainingmusicexampleswillruncontinuouslythroughoutSectionA.Questions1,3,4,9,10,11,12,13,14and15docontainaudiomaterial.Questions2,5,6,7and8do not containanyaudiomaterial.

Part 1: Intervals, scales and modes

Question 1 (7marks)–Identify intervals presented aurallyYouwillhearsevenintervals.Eachintervalwillbeplayedthreetimes–melodically,harmonicallyandmelodically.Identifythequalityandsizeofeachinterval.

1. 2. 3.

4. 5. 6.

7.

Question 2 (4marks)–Identify written intervals(1minuteand30secondsofsilentworkingtime)Identifyeachofthefollowingintervals.

? ?ww#ww## wwb

wwbb

& &

1. 2. 3. 4.

3 2016MUSICPERFORMANCEEXAM

SECTION A – continuedTURN OVER

Question 3(3marks)–Identify intervals and tonality in a melodya. Listentothefollowingmelody.Themelodywillbeplayedthreetimes. Identifythequalityandsizeoftheopeningandclosingintervalsinthismelody. 2marks

Openinginterval Closinginterval

b. Listentothemelodyagain. Namethescaleformonwhichthemelodyisbased. 1mark

Scaleform

Question 4 (4marks)–Identify scales and/or modes presented aurallyListentothefollowingscalesand/ormodes.Eachscaleand/ormodewillbeplayedascendinganddescendingtwice.Identifyeachscaleand/ormode.

1.

2.

3.

4.



Question 5 (3marks)–Identify written scales and/or modes(1minuteand30secondsofsilentworkingtime)Identifythefollowingscaleand/ormodeforms.

?w w w wb w w w

1.

& w w w w w w w w

2.

?w wb w w w w

3.

Question 6 (6marks)–Write scales and/or modes(2minutesand30secondsofsilentworkingtime)Writethefollowingscaleand/ormode,beginningonthegivennotesandusingtherhythmicvalueofthegivennotes.

Melodicminorscaleoneoctaveascendinganddescending

& ˙

Mixolydianmodeoneoctavedescending

?œ



Part 2: Chords and chord progressions

Question 7 (4marks)–Identify written chords(2minutesand30secondsofsilentworkingtime)Identifythefollowingchordsbynamingthenoteonwhicheachisbuiltandthequalityofthechord.

1. ?www#

Notename Quality

2.

&wwwwbbb

Notename Quality

3.

&wwwwb#

Notename Quality

4. ? wwww

Notename Quality



Question 8 (4marks)–Write chords(2minutesand30secondssilentworkingtime)Writethefollowingchordsastheyoccurinthetonickeysasindicated.Youmaywriteeachchordin eithertrebleorbassclef.

&

IV V7 iii I (subdominant) (dominant7) (mediant) (tonic) incminor inCmajor inaminor inB major

OR

?

IV V7 iii I (subdominant) (dominant7) (mediant) (tonic) incminor inCmajor inaminor inB major

Question 9 (5marks)–Identify chords presented aurallyListentothefollowingchords.Eachchordwillbeplayedinrootpositionthreetimes–inblockharmony, asanarpeggioandinblockharmony.Identifythequalityofeachchord.

1.

2.

3.

4.

5.



Question 10 (2marks)–Harmonic recognitionListentothefollowingchordprogression.Theprogressionwillbeplayedthreetimes.Chords1to4arethesameineachalternative.Circletheprogressionthatyouhearforchords5to8fromthealternatives(A.–D.)below.

A.Chord 1 Chord 2 Chord 3 Chord 4 Chord 5 Chord 6 Chord 7 Chord 8

Aminor Fmajor7 E7 Fmajor Dminor Bhalfdiminished Emajor Aminor

iminor VImajor7 V7 VImajor ivminor ii∅ Vmajor iminor

B.Chord 1 Chord 2 Chord 3 Chord 4 Chord 5 Chord 6 Chord 7 Chord 8

Aminor Fmajor7 E7 Fmajor Aminor Bhalfdiminished E7 Aminor

iminor VImajor7 V7 VImajor iminor ii∅ V7 iminor

C.Chord 1 Chord 2 Chord 3 Chord 4 Chord 5 Chord 6 Chord 7 Chord 8

Aminor Fmajor7 E7 Fmajor Dminor Bdiminished E7 Aminor

iminor VImajor7 V7 VImajor ivminor iidiminished V7 iminor

D.Chord 1 Chord 2 Chord 3 Chord 4 Chord 5 Chord 6 Chord 7 Chord 8

Aminor Fmajor7 E7 Fmajor Dminor Bdiminished Emajor Aminor

iminor VImajor7 V7 VImajor ivminor iidiminished Vmajor iminor



Question 11 (10marks)–Harmonic transcription Listentothefollowingharmonicchordprogression.Thechordprogressionwillbeplayedsixtimes.Allchordswillbeinrootposition.Thefirstchordisgiven.Usethechordterminologywithwhichyouaremostfamiliartoidentifychords2to6.Completeonlyoneoftheanswerformatsbelow.

Firstplaying(20secondsofsilence)Secondplaying(20secondsofsilence)Thirdplaying(20secondsofsilence)Fourthplaying(20secondsofsilence)Fifthplaying(20secondsofsilence)

Sixthandfinalplaying(40secondsofsilence)Identifyeachchordintheappropriatelynumberedspaces(2.–6.).

1. B major 2. 3. 4. 5. 6.

OR

Identifyeachchordintheappropriatelynumberedspaces(2.–6.).

1. I 2. 3. 4. 5. 6.

OR

Completetheblankspacesoftheharmonicgridwiththebassnoteandqualityofeachchord.

Harmonicgrid 1. 2. 3. 4. 5. 6.

bassnote B

quality major



Part 3: Melody

Question 12 (2marks)–Melodic recognition Listentothefollowingmelody.Themelodywillbeplayedfourtimes.Circlethecorrectversionofthemissingmelodyinbars5to8fromthealternatives(A.–D.)below.

clarinet in B

violoncello

cl.

vc.

cl.

vc.

4.

6.

1. 2. 3.

5.

7. 8.

&œ# œ œ œ œ

œ œœ œ œ œ œ# œ œ œ œ œ œ œ

J œ# œ œ œ œ ™

&œ# œ œ œ œ œ œ

œ œ œ œ œ# œ œ œ œ œ œ œJ œ œ œ# œ œ ™

&œ# œ œ œ œ œ œ

œ œ œ œ œ# œ œ œ œ œ œ œJ œ œ

œ œ œ ™

&œ# œ œ œ œ

œ œœ œ œ œ œ# œ œ œ œ œ œ œ

J œ# œ œ œœ ™

A.

B.

C.

D.

5. 6. 7. 8.

5. 6. 7. 8.

5. 6. 7. 8.

5. 6. 7. 8.



Question 13 (12marks)–Melodic transcriptionAmelodywithaccompanimentwillbeplayedsixtimes.Thetimesignature,rhythmofthemelodyandthefirstnoteofthemelodyaregiven.Aone-barcount-inwillprecedeeachplaying.Transcribethemissingnotesofthemelodyinthespaceprovided,usingtherhythmgivenabovethestave.

Firstplaying(25secondsofsilence)Secondplaying(25secondsofsilence)Thirdplaying(30secondsofsilence)Fourthplaying(30secondsofsilence)Fifthplaying(30secondsofsilence)

Sixthandfinalplaying(1minuteofsilence)

{

34

34

34

34

&

&

?

œ ™ œjœ œ œ ™ œ

jœ œ œ œ œ œ œ œ œ œ œ

œ ™

˙̇˙ œœ

œ## ˙̇̇ œœœ

œœœ

œœœ œœœ## œœ

œ œœ œœ# œœœ

˙ œ ˙ œ œ ˙# œ œ œ# œ œ

trumpet in C

piano



Blankmanuscriptforroughworkingifrequired



Part 4: Rhythm

Question 14 (2marks)–Rhythmic recognitionListentothefollowingeight-barrhythm.Therhythmwillbeplayedfourtimes.Atwo-barcount-inwillprecedeeachplaying.Circlethecorrectversionofthemissingrhythmplayedbythesnare druminbars5to8fromthealternatives(A.–D.)below.

snare drum

wood blocks

s.d.

w.b.

1. 2. 3. 4.

6.5. 7. 8.

/3 3 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ

/3 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ

/3 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ

/3 3 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ

A.

B.

C.

D.5. 6. 7. 8.

5. 6. 7. 8.

5. 6. 7. 8.

5. 6. 7. 8.


END OF SECTION ATURN OVER

Question 15 (12marks)–Rhythmic transcriptionThefollowingexcerptwillbeplayedfivetimes.Notesaremissinginbars1to3.Atwo-barcount-inwillprecedeeachplaying.Writeonlytherhythmoftheupperpianopartintotheblankbarsinthisscore.

Firstplaying(20secondsofsilence)Secondplaying(20secondsofsilence)Thirdplaying(25secondsofsilence)Fourthplaying(25secondsofsilence)

Fifthandfinalplaying(45secondsofsilence)

{

{

98

98

98

&

?

/2

&

?

/

œ œ œ

œ ™ œ ™ œ ™ œ ™œ ™ œ ™ œ œ

J

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œJ œ œ ™

œ ™ œ ™ œ ™ œ ™ œ ™

œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

piano

snare drum

pno.

s.d.

1. 2.

3. 4.


SECTION B – Question 16 –continued

Question 16 (8marks)Work:‘DeceptionBay’(single;Sureshaker,2015)Artist:BooSeeka

Firstplaying(2’00”)–2minutesofsilenceSecondplaying(2’00”)–2minutesofsilenceThirdplaying(2’00”)–3minutesofsilence

a. Describehowthevocalistusestonecolourtocreateexpressiveoutcomes. 4marks

SECTION B – Analysis of pre-recorded works

Instructions for Section BAnswerallquestionsinpenorpencil.TheaudiocompactdisccontainingthemusicworkswillcontinuetorunthroughoutSectionB.Questions16and17bothfeatureaudiomaterial.Eachquestionwillfocusononemusicwork.Therewillbesilentworkingtimeaftereachplaying(asindicated).

Due to copyright restrictions, this audio file is not supplied.


SECTION B – continuedTURN OVER

b. Describetwowaysinwhichtheuseofphrasingbytheperformersinthisbandcreatescharacterinthisexcerpt. 4marks


SECTION B – Question 17 –continued

Question 17 (12marks)Work: WildSwansConcertSuite–ElizaAriaComposer:ElenaKats-CherninTrack from the album: Wild Swans(ABCClassics,2007)

Firstplaying(3’00”)–3minutesofsilenceSecondplaying(3’00”)–3minutesofsilenceThirdplaying(3’00”)–4minutesofsilence

Thisexcerpthaschangingmoods.

Discusshowtheperformerscreatethesemoodsusing:• blendandbalancebetweenvoiceandinstruments• articulation.

Due to copyright restrictions, this audio file is not supplied.


END OF QUESTION AND ANSWER BOOK

Documents

2015 Music Group Performance Aural and written examination