91094

910940
1
SUPERVISOR’S USE ONLY

Level 1 Music, 2016

91094 Demonstrate knowledge of conventions
used in music scores

2.00 p.m. Friday 25 November 2016

Credits: Four

Achievement Achievement with Merit Achievement with Excellence

Demonstrate knowledge of conventions Demonstrate in-depth knowledge of Demonstrate comprehensive knowledge
used in music scores conventions used in music scores 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 attempt ALL parts of the task in this booklet.

If you need more room for any answer, 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

ASSESSOR’S USE ONLY

© New Zealand Qualifications Authority, 2016. All rights reserved.
No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.
 2

EXTRACTS ONE, TWO, AND THREE ASSESSOR’S

USE ONLY

Refer to the score on pages 3, 5, and 7 to answer parts (a)–(j).

(a) (i) Suggest a suitable time signature for the piece.

(ii) The work is in a fast tempo. Indicate this on the score of Extract One, using an
appropriate Italian word.

(b) (i) What instrument would play the part labelled “Instrument A”? Give TWO pieces of
musical evidence from the score to support your answer.

Instrument:

(1)

(2)

(ii) How many woodwind players are needed to perform the piece?

(iii) Look at all three pages of the score (bars 1–29). Which instrument shown in the score
does not play during these three pages?

Instrument:

(c) What is the key at the beginning of Extract One? Give TWO pieces of musical evidence from
the score to support your answer.

Key:

(1)

(2)

(d) (i) Identify the texture in bars 1–4, and give musical evidence to support your answer.

Texture:

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(ii) Explain how the texture has changed in bars 5–8. ASSESSOR’S
USE ONLY

(iii) Apart from texture, what other musical element has changed in bars 5–8? Give ONE
piece of musical evidence from the score to support your answer.

Musical element:

Extract One Ludwig van Beethoven, Piano Concerto No. 3 (1801), bars 1–8
TEMPO

° bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Flutes & b

˙ œ™ œœ. œ. œ. œ. œ. œ. œ. œ
p
b œ œ nœ ‰ œ œ ‰ œ nœ Œ Ó
Oboes &b b ∑ ∑ ∑ ∑ Ó̇ n˙ nœ ™ J J J
p

Clarinets
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
. . . .
œ ™ œ. œ. œ. œ ‰# œj œ ‰ œj œ
in Bb

?b n˙˙ ˙˙ œ™ œ œ œ œ œ œ Œ Ó
Bassoons ¢ bb ∑ ∑ ∑ ∑ J Œ Œ
p

° bb ∑ ∑ ∑ ∑ ˙ ˙ œ™ œj œ œ œ Œ œ Œ œ Œ Ó
Horns
in F
& ˙ ˙ œ™ œ. œ. œ. œ. œ. œ
p

[Instrument A] ¢& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Timpani
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
&b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Solo Piano

{? bb
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

° bb
& b œ ™ œ. j œ œ ‰ j ‰ j Œ Ó ∑ ∑ ∑ ∑
˙ ˙ . . œ. œ œ. œ. œ
Violin I
p .
b j
&b b ˙ ˙ œ ™ œ. œ œ œ ‰ j œ ‰ j Œ Ó ∑ ∑ ∑ ∑
. . . œ . œ. œ
Violin II
p .
B bbb j j. ‰ œj œ Œ Ó
˙ ˙ œ™ œ. œ œ œ ‰ œ. œ .
∑ ∑ ∑ ∑
. . .
Viola

p
?b ˙ œ™ œ. œ. œ. œ ‰ j œ ‰ œj œ Œ Ó ∑ ∑ ∑ ∑
¢ bb ˙ J . œ. .
Violoncello
Double Bass
p
.

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(e) Focus on the string parts only in Extract Two. ASSESSOR’S

USE ONLY

(i) How loudly is the string section to play at bar 9?

(ii) In bars 11 and 12 all four string parts are playing, but the texture is in only two parts.
Give musical evidence to explain how this is the case.

(iii) On the score, add appropriate musical markings to the two violin parts 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 played very loudly
• beats 2, 3 and 4 of bar 15 are to be played short and detached.

(f) On the score, circle and label an example of:

• a tie
• a slur.

Explain the difference in the way that a tie and slur are played.

(g) In bars 9–10, violin I plays the same music as violin II, an octave higher. Notate the missing
violin I music, including performance markings.

° b
9

Violin I &b b

bbb ™
Violin II ¢ & ˙ œ œ œ œ ˙ œ
p sf

Music 91094, 2016

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Extract Two Beethoven, Piano Concerto No. 3, first movement, bars 9–16 ASSESSOR’S
USE ONLY

˙ œ ˙˙ ˙ œ ˙™ œ œ œ n œ n ˙˙ œœ œœ œœ œœ n œœ œ
° bb ˙ œ ˙
Œ ˙ œ
9

& b ∑ Ó Œ Œ Ó
Fl. Ó Œ
sf sf sf

n˙ œ œ œ
b Œ ˙˙ œœ ˙˙ ˙
Œ ˙
œœ ˙˙
˙ œ œ œ œœ nœœ œ Œ Ó
Ob. &b b ∑ Ó Ó Œ
sf sf

˙ œ ˙ œœ œ œ #œœ œ Œ Ó
Cl.
&b ∑ Œ ˙˙ œ ˙˙
œ Ó Œ ˙ œ ˙ Ó Œ #˙˙ œœ œ œ œ
(Bb)
sf sf

˙ œ œ œ
? bb w œ ˙˙ œœ w œ b ˙˙ œœ n ˙˙
˙
œ œ
w œ Ó Œ œ œ œ œ œ œ Œ Ó
Bsn. ¢ bw œ œ
p sf sf sf

° bb œ ˙ ˙ œ œ œœ œ œ œ Œ Ó
& ∑ ∑ ∑ Œ ˙ Ó Œ
˙ ˙ œ œ œ œ
Hn.
(F)
sf sf

˙ œ ˙ ˙˙ œœ
b ∑ Œ ˙ œ ˙ Ó Œ Ó Œ œ œ œ œ œ Œ Ó
¢&
[Inst.
A] ˙ œ ˙ œ œ œ œ œ
sf sf sf

? ∑ Œ œ™ œœ œ œ Œ Ó ∑ ∑ Œ œ œ œ œ œ Œ Ó
Timp. œ ™ œœ œ
sf sf

b
&b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

{
Solo
Pno.
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b

˙™ œœ œœ˙ n˙ Ÿœ n œ œ œ
° bb œ ˙™ œ œ œ nœ œ œ œ œ Œ Ó
Vln. I & b

b ˙ Ÿœ œ œ œ
&b b ˙™ ˙™ œœ œœ˙ œ œ nœ Œ Ó
Vln. II œœ œœ˙ œ œ ˙™ œ œ œnœ œ
p sf

B bbb w ˙ bw n˙ n˙
˙™ œ œ œ œ œ œ Œ Ó
Vla.
˙ ˙ ˙
p sf

bw ˙™ œ œ œ œ
?b w ˙ ˙ n˙ n ˙ œ œ Œ Ó
˙
¢ bb ˙
Vc.
D.B.
p sf

Music 91094, 2016

 6

(h) (i) Identify the compositional device used in bars 17–22 in the violin I and II and viola ASSESSOR’S
USE ONLY
parts, and give musical evidence to support your answer.

Compositional device:

(ii) Identify the compositional device used in bars 24–29 in the violoncello and double bass
part, and give musical evidence to support your answer.

Compositional device:

(i) From bar 21 the piece changes key.

(i) What is the new key at bar 24? Give musical evidence to support your answer.

Key:

(ii) How is the new key at bar 24 related to the original key you identified in part (c)?

(j) Look at the viola part in bar 27.

(i) Write out the music as it would be played.

27

Viola B bbb

(ii) Explain why the composer chose not to use this notation.

Music 91094, 2016

 7

Extract Three Beethoven, Piano Concerto No. 3, first movement, bars 17–29 ASSESSOR’S

œ œ œ
USE ONLY

° b œ œ œ
17 1.

Fl. &b b ∑ ∑ Œ Œ Œ Ó ∑ ∑ Œ Œ Œ Ó
œœ
p p f
b œœ Œ Ó œœ Œ œœ Œ
Ob. &b b ∑ ∑ nœœ Œ œœ Œ ∑ ∑ Œ Ó
p f p f

Cl.
(Bb)
&b ∑ ∑ ∑ ∑ ∑ ∑
n œœ œœ œœ œ œ œ
?b ∑ ∑ Œ Œ Œ Ó ∑ ∑ œ Œ
Bsn. ¢ bb œ Œ œ Œ Ó
p p f
° bb ∑ ∑
Hn.
(F)
&
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
¢&
[Inst.
A]

? ∑ ∑
Timp. œ Œ œ Œ œ Œ Ó ∑ ∑ ∑ ∑
p
Ω
° bb ™ œ™ œ œ Œ Ó ˙™ œ™ œ œ ˙ ˙Ω
Vln. I & b n˙ ∑ ∑ Œ Ó ∑ œ
p p œ
b f
Vln. II & b b ˙™ œ™ œ œ Œ Ó ∑ ∑ ˙™ œ™ œ œ Œ Ó ∑ œœœœœœœœ
p p œœœœœœœœ
˙™
f

Vla. B bbb ˙™ nœ ™ œ œ Œ Ó ∑ ∑ œ™ œ œ Œ Ó ∑ œœœœœœœœ

œ
p p f

?b w Œ Ó œ Œ Ó œœœœœœœœ
¢ bb œ Œ œ Œ œ Œ Ó w œ Œ œ Œ
Vc.
D.B.
=
p p f
˙ œ œ œœ œœœ
° bb ˙ œ œ œœ œœœœœœœœ œ
25

Fl. & b ∑ œœœœœ œ Œ Ó ∑

˙ œ™ œ. œ. œ.
sf 1.
b ˙ J
Ob. &b b ∑ ∑ ∑ ˙ Ó
w œ œ œ œ ˙ œ™ œ. œ.
&b ∑ ˙ ˙
a2
Cl.
(Bb)
w œ œ œ œ J œ.
w œœ œœ œœ œœ œœ
sf
?b w œœœœœœœœ
2.
∑ Œ Ó
Bsn. ¢ bb
sf
° bb œ ™ œ. œ œœ w œ Œ Ó ∑ ∑
Hn.
(F)
& œ™ œJ œ. . w œ
sf
b ∑ ∑ ∑ ∑ ∑
¢&
[Inst.
A]

° bb œ™ œ. œ. œ. ˙ œ œ œœ œœœœœ ˙Ω œ™ œ. œ. œ.
& b J œœœ ˙ J
˙º
Vln. I
sf sf
b
& b b œ œ œ œ œ œ œ œ œ œ œ œ œæ æ
˙
æ
˙
æ
˙ œœœœœœœœ œœœœœœœœ
œœœ œœœœœœœœ
Vln. II
œ œ œ œ œ œ œ œ œœœœœ ˙ ˙ ˙
sf

Vla. B bbb œ œ œ œ œ œ œ œ œ œ œ œ œæ æ
˙
æ
˙
æ
˙ œœœœœœœœ œœœœœœœœ
sf
?b œœœœœœœœ œ œ œ œœ œ œœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
¢ bb
Vc.
D.B.
sf

Music 91094, 2016

 8

EXTRACT FOUR ASSESSOR’S

USE ONLY

Refer to the score on page 9 to answer parts (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. “perfect 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?

(ii) 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) Compare the vocal melody in bars 28 and 38 (highlighted on the score), commenting on the
use of syncopation. How is bar 38 more complex than bar 28?

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 9

Extract Four George Young and Harry Vanda, “Love is in the Air” (1977), as performed by John Paul Young ASSESSOR’S
USE ONLY

Disco q = 122 % VERSE

4 ‰ ∑ ≈ ‰ ∑ ™™ & ™™ œ œ œ œ œ œ Œ
& 4 ? œ ™™ œ
µ C
≈œ‰ œ ≈œ‰ œ œ ≈œ‰ œ
Voice
J œJ œ œ œJ J J œ
Bass guitar 1.,4. Love is in the air,
2. Love is in the air,
3. Love is in the air,
4 Fma7 C

& Œ œ œ œ œ œ œ œ ˙ Ó ∑ œ œ œ œ œ œ œ Œ
ev - ’ry - where I look a - round; Love is in the air,
in the whis - per of the trees; Love is in the air,
in the ri - sing of the sun; Love is in the air,

8 (1)
œ
Fma7

& Œ œ œ œ œ œ œ œ ˙ Ó Ó Œ œ œ
ev - ’ry sight and ev - ’ry sound, And I don’t
in the thun - der of the sea, And I don’t
when the day is near - ly done, And I don’t
(2)
œ œ ™ œ œœ œ œœ œ Œ Ó œ™ œ œ œ œ™ œ œ œ
11

& œ œ œ œ
G F G Am7
œ Œ ‰™ œ œ œ
R
™
know if I’m being fool - ish, don’t know if I’m being wise, But it’s
know if I’m just drea - ming, don’t know if I feel sane, But it’s
know if you’re an il - lu - sion, don’t know if I see_it true, But you’re

1, 3.
(3) (4)
j
15 A¨7 C/G Gdim7 Dm7 G

& œ™ œ œ œ œbœ œ œbœ œ œ œ™ Œ ≈œ œ œ ™ œ œ œ œ ™ œ œ œ œ œ œ™ œ Ó ™™

some - thing that I must be - lieve in, and it’s there when I look in your eyes.
some - thing that I must be - lieve in, and it’s there when you call out my
some - thing that I must be - lieve in, and you’re there when I reach out for you.

2, 4. CHORUS
Last time to Coda Ø C
œ œ œœœ œ œ Œ
19
∑ ∑˙ ∑˙ ∑˙
Dm7 A¨7 G Fma7

& œ œ™ œ Ó ˙ ˙ ˙ ˙ ˙ ∑
name. Strings Love is in the air.
eyes.

œ œ œ œ œ œ œ œ œ™
Em Am7 G

‰ œJ œ œ œ œ ™ œ œ œ œ ™ œJ
26 C Fma7

& Ó œœ œ˙ œœœ ˙ Ó
Love is in the air. Oh, ooh,

CODA
œ œœ œœ œ œ Œ
31 D.S. al Coda
∑ ∑ ∑
C
?
& œ ≈ œ ‰ œJ œ ≈ œ ‰ œJ œ ≈ œ ‰ œJ œ ≈ œ ‰ œJ œ ≈ œ ‰ œJ œ ≈ œ ‰ œJ & & ™™
Bass guitar Love is in the air.

œ œ œ œ œ œ œ œ œ™
Em Am7 A¨7

‰ œJ œ œ œ œ ™ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
35 Fma7 C Fma7

& ∑ Ó
Love is in the air. Oh, oh, ooh.

40 G Repeat and fade Optional ending C

∑ ∑˙ ∑˙ ∑˙ ∑
& œœ œœ Ó ˙ ˙ ˙ ˙ ™™ ˙ w
Strings

Music 91094, 2016

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ASSESSOR’S
Extra space if required. USE ONLY

Write the question number(s) if applicable.

QUESTION
NUMBER

Music 91094, 2016

 11

ASSESSOR’S
Extra space if required. USE ONLY

Write the question number(s) if applicable.

QUESTION
NUMBER

Music 91094, 2016

 12

Acknowledgements

Material from the following sources has been adapted 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 (Leipzig: Ernst Eulenburg, n.d.). http://imslp.org.

Extract Four
Great Southern Lands Songbook, Volume 1: Australia and New Zealand (Richmond North: Sasha Music
Publishing, 2009).
91094

Music 91094, 2016