Music Memorandum 1 DoE/Exemplar 2007 NSC NATIONAL SENIOR CERTIFICATE GRADE 11 MUSIC EXEMPLAR 2007 MEMORANDUM MARKS: 125 TIME: 3 hours This memorandum consists of 28 pages. Copyright reserved Please turn over Music 2 DoE/November 2007 NSC MEMORANDUM SECTION A QUESTION 1 1.1 Study the close score of the opening of the second movement of a Haydn String Quartet, Op 74 No 3 and follow the instructions. 1.1.1 Rewrite bars 1 and 2 for string quartet. Answer The following aspects will be taken into consideration for mark allocation: Key signatures, bowing marks, articulation and correct notation for every instrument. (6) Copyright reserved Music 3 DoE/November 2007 NSC MEMORANDUM 1.1.2 Your first violin player is in hospital and has to be replaced by a clarinet in A. Transpose the first four bars of the first violin part for a clarinet in A with a suitable key signature, keeping in mind that a clarinet in A sounds a minor 3rd lower than the written pitch. Answer Correct key signatures = 1 Correct transposition = 4 (5) Copyright reserved Music 4 DoE/November 2007 NSC MEMORANDUM 1.2 Answer the questions on the following extract from Fairest Isle. Copyright reserved Music 5 DoE/November 2007 NSC MEMORANDUM 1.2.1 Rewrite the rhythmic pattern of the voice part in bars 5 and 6 in compound triple time. Ensure that the sounding rhythm does not change. Answer Time signature = 1 Note values = 2 (3) 1.2.2 Correct the grouping of the notes in bar 8 in the accompaniment. Answer The quavers may also be grouped in two’s (2) 1.2.3 Rewrite the accompaniment in bar 3 in French time names. UPPER PART taa taa taa MIDDLE PART taa - aa - aa LOWER PART taa - aa taa (3) [19] Copyright reserved Music 6 DoE/November 2007 NSC MEMORANDUM QUESTION 2 2.1 Study the following extract from Ländler by Beethoven, and answer the questions that follow. 2.1.1 Write the chord in bar 2 in the alto clef in extended position without a key signature. Answer 1 mark per note This answer may also be written in the style of the example. (3) 2.1.2 Name the intervals marked 1 – 3 in full, e.g. minor 2nd, etc. Answer 1 mark each 1) Major 3rd 2) Perfect 5th 3) Major 6th (3) Copyright reserved Music 7 DoE/November 2007 NSC MEMORANDUM 2.1.3 Invert the above-mentioned intervals and rename them. Use semibreves and write without key signatures. Answer Inversion and name: 1 mark per interval (3) Minor 6th Perfect 4th Minor 3rd 2.1.4 Identify and mark two places on the score where a complete D major scale occurs. (2) Answer Copyright reserved Music 8 DoE/November 2007 NSC MEMORANDUM 2.2 Write the following scales: Answer Key signature/accidentals Subtract one mark per mistake Any correct rhythmic pattern and time signature will be accepted (6) 2.2.1 G melodic minor descending with key signatures (3) 2.2.2. The ascending Blues scale starting on E without key signature in compound duple time. # b. The A may be notated as a B (3) [17] Copyright reserved Music 9 DoE/November 2007 NSC MEMORANDUM QUESTION 3 3.1 Analysis: Study the following music extract and follow the instructions 3.1.1 Name the key: G major (1) 3.1.2 Name and figure the cadences marked a and b on the score. a) Imperfect: I V b) Perfect: V I (2) Copyright reserved Music 10 DoE/November 2007 NSC MEMORANDUM 3.1.3 Figure the indicated chord c – g on the score c) I d) IV6/IVb (vi is also a possibility) e) V6/Vb f) vi g) V6/Vb (5) 3.2 Write the following triads (chords) without key signatures: 3.2.1 Dominant triad in second inversion in Ab major. Use the treble clef. (2) 3.2.2 Augmented triad in first inversion in E minor. Use the bass clef (2) Answer 3.2.1 3.2.2 [4] 3.3 Harmonise the following melody. Use an interrupted cadence at the end. Answer Every correct chord = 1 each = 8 Cadence = 2 Musicality = 2 [12] [24] TOTAL SECTION A: 60 Copyright reserved Music 11 DoE/November 2007 NSC MEMORANDUM SECTION B Must be answered in an Answer book Any correct facts will be accepted QUESTION 4 Write short notes for a parents evening concert of Baroque music where you will be the Master of Ceremonies. You should be able to give background information on any FOUR of the following: 16 4.1 Baroque (4) 4.2 Concerto Grosso (4) 4.3 Suite (4) 4.4 Prelude and Fugue (4) 4.5 Sonata (4) 4.6 Cantata (4) 4.7 Oratorio (4) 4.1 'Baroque' (1600 – 1750) probably comes from a Portuguese word, barocco, meaning an irregularly shaped pearl or piece of jewellery. It was first used in connection with the highly ornamented style of architecture and art of the 17th century. Later on, musicians came to use the word 'Baroque' to describe the period of musical history from the birth of opera and oratorio to the death of JS Bach. In music this found expression in the use of ornaments, imitation, a contrapuntal style emphasising contrasts in texture e.g. between chorus and orchestra, full orchestra and solo. (4) 4.2 Concerto Grosso One of the most exciting types of Baroque music is the concerto (a word which may come form Italian, meaning 'get together'; or from Latin, meaning 'dispute'). We can trace the idea of the concerto back to the Renaissance. The seeds had been sown in the poly- choral pieces written by composers such as Giovanni Gabrieli. The ideas of opposition and strong contrast led to the Baroque Concerto Grosso. In this, composers like Corelli, Handel and Bach (in his Brandenburg Concertos numbers 2,4 and 5) contrasted two groups of instruments: a small group of soloists (often two violins and a cello) called the concertino, against an orchestra of strings called either ripieno ('filling') or tutti ('all') or 'everyone'. A harpsichord or organ continuo filled out the texture when the ripieno-group was playing, and continued to provide supporting harmonies on occasions when the concertino instruments played (4) Copyright reserved Music 12 DoE/November 2007 NSC MEMORANDUM on their own. 4.3 Suite – set of pieces intended to be performed in succession. The early 18th century (that of Bach and Handel and their contemporaries) consisted of dance-style pieces, normally Allemande, Courante, Sarabande, and Gigue, though other pieces might be added, as for instance a Prelude and (following the Sarabande) one or more lighter dances, such as Gavotte and Bourrée. All movements are in the same key. (4) 4.4 Prelude and Fugue Each fugue of Bach's '48' is preceded by a prelude. Such preludes may be in differing forms and style, the only conditions to be met being that they shall be in the same key and form a suitable preparation for the listener's ear and mind of what is to follow. A Fugue is a contrapuntal piece, essentially based on the idea I\of imitation. It is usually written in three or four parts called 'voices'. The entire piece grows mainly from a single fairly brief tune of strong musical character. The composer calls this tune the subject, which is first heard in one voice only. Then it is imitated by other voices in turn, each at its appropriate pitch. Throughout the fugue, the subject enters in new keys – now in one voice, now another. These entries are separated by sections of music called episodes. A composer may base an episode on an idea taken from the subject itself, or he may use other musical material. During the later Baroque, the idea was brought to perfection by Handel and, especially, Bach who composed many fine fugues for organ, The Art of the Fugue besides the 48 Preludes and Fugues for harpsichord or clavichord. Fugue means 'flight' – giving an idea of the voices fleeing away or chasing each other as they enter with subject. (4) 4.5 Sonata – the term properly means merely an instrumental 'sounded' piece, as distinct from a 'sung' one. The word implies, in the main, a serious type of music, of some length and with an intellectual as well as an emotional appeal. It is not mere amusement music; it 'needs to be listened to'. Normally a Sonata is in several movements – like a Suite, but the Sonata's movements are usually, not in dance style, as they were in the older suites. It may be said that "Sonata' denotes a general style rather than a series of forms. (D Scarlatti in the early 18th century gave the name to pieces in one movement.) The baroque sonata normally consists of four movements: slow, fast, slow, fast. (4) Copyright reserved Music 13 DoE/November 2007 NSC MEMORANDUM 4.6 Cantata – an un-acted opera or briefer oratorio – in either case with a good deal of chorus work. Many of Bach's Church Cantatas are, in effect, extended Anthems. In the 18th century solo cantatas were common. Cantata da Chiesa meant such a work for church use and Cantata da Camera such a work for chamber use, i.e. performance in the home. A cantata is a sacred work for orchestra, soloist(s) and choir. (4) 4.7 Oratorio – at first oratorios were very similar to operas. They were made up of recitatives, arias and choruses, and acted out with scenery and costumes. The main difference was that an oratorio was based on a sacred story, usually taken from the Bible.