1 External Examination 2015

2015 MUSICIANSHIP
FOR OFFICE
USE ONLY QUESTION
BOOKLET
SUPERVISOR
ATTACH SACE REGISTRATION NUMBER LABEL
CHECK
TO THIS BOX
1
21 pages, 18 questions

RE-MARKED
Monday 16 November: 9 a.m.
Time: 1¾ hours

Part 1: Theory, Aural Recognition, and Musical Techniques

Examination material: Question Booklet 1 (21 pages)

Question Booklet 2 (5 pages)
score booklet (7 pages)
manuscript paper
one SACE registration number label

Approved dictionaries may be used.

Instructions to Students

1. You will have 10 minutes to read the paper. You must not write in your question booklets or score booklet during
this reading time but you may make notes on the scribbling paper and manuscript paper provided.

2. This paper consists of two parts, each printed in a separate booklet:

Part 1: Theory, Aural Recognition, and Musical Techniques (Questions 1 to 18)
Part 1 consists of Section 1 (Questions 1 to 16) and Section 2 (Questions 17 and 18). Refer to the score
booklet when answering Questions 14, 15, and 16 in Section 1, and Question 18 in Section 2.
Answer all questions in Part 1. Write your answers in the spaces provided in Question Booklet 1.
Part 2: Harmony (Questions 19 to 21)
Part 2 consists of three questions, one on Option A, one on Option B, and one on Option C.
Answer one question from Part 2. Write your answers in the spaces provided in Question Booklet 2.

3. Answer Part 1 first. Questions and musical examples for Section 1 will be played on a compact disc.

4. You may use Roman numerals or Arabic numerals or letter chord symbols when describing chords.

5. Use a sharp dark pencil or a blue or black pen to write your answers. Manuscript paper is provided for rough work.

6. The allocation of marks is as follows:

Part 1
Section 1 118 marks
Section 2 22 marks
Part 2 60 marks
Total 200 marks

7. Attach your SACE registration number label to the box at the top of this page. Copy the information from your
SACE registration number label into the box on the front cover of Question Booklet 2.

8. At the end of the examination, place Question Booklet 2 inside the back cover of Question Booklet 1.

© SACE Board of South Australia 2015

page 2 of 21
 SECTION 1 (Questions 1 to 16)
(118 marks)

Recorded examples of music will be played to help you to answer the questions in Section 1. You may
write while the music is being played.
Answer all questions in the spaces provided after each question. The allocation of marks is
shown in brackets at the end of each part of each question.

1. The time signature and bar lines are missing from each of the following four-bar melodies
((a) and (b)). Each melody will be played twice, followed each time by a 20-second pause in
which you are to add the time signature and bar lines.
After the pause the melody will be played a third time so that you can check your answer.

(a) This melody does not have an anacrusis.

q .  66

(3 marks)

(b) This melody has an anacrusis.

q  100

(3 marks)

page 3 of 21 PLEASE TURN OVER

2. One example from each of the following three groups ((a), (b), and (c)) will be played twice,
followed each time by a 15-second pause in which you are to indicate which example was played
by ticking the appropriate box.
After the pause the example will be played a third time so that you can check your answer.
Before each example, two bars will be played on the metronome to set the tempo.

(a) q  90

(2 marks)

(b) q  120

(2 marks)

page 4 of 21
(c) e  180

(2 marks)

page 5 of 21 PLEASE TURN OVER

3. Four of the following six rhythms, of dotted-crotchet length, are missing from the melody below,
as indicated by the arrows:

The melody, which is in 68 time, will be played twice, followed each time by a 20-second pause in
which you are to write the four missing rhythms in their correct positions on the stave provided.
After the pause the melody will be played a third time so that you can check your answer.
Each time before the melody is played one bar of quavers will be played on the metronome to set
the tempo.

q .  48

(4 marks)

4. A melody for flute with piano accompaniment will be played three times, followed each time by a
15-second pause in which you are to complete the rhythm of the flute part on the stave provided
by adding stems, dots, and ties to the note heads given. There are no rests in this melody.
After the pause the melody will be played a fourth time so that you can check your answer.
Each time before the melody is played two bars of crotchet beats will be played on the metronome
to set the tempo.

Jazz waltz ( = ) ( = 160)

(4 marks)

page 6 of 21
5. A melody in 44 time will be played three times, followed each time by a 20-second pause in which
you are to complete the rhythm of the melody on the stave provided. There are no rests in this
melody. Some of the rhythm is shown.
After the pause the melody will be played a fourth time so that you can check your answer.
Each time before the melody is played one bar of crotchets will be played on the metronome to
set the tempo.

q  80

(5 marks)

6. Three intervals ((a), (b), and (c)) will each be played twice, followed each time by a 15-second
pause in which you are to write the interval on the stave provided, and write the name of the
interval in the space provided. Name the intervals by both quality and size (e.g. perfect fourth).
After the pause the interval will be played a third time so that you can check your answer.

(a)
Name of interval: _______________________________________ (2 marks)

(b)
Name of interval: _______________________________________ (2 marks)

(c)

Name of interval: _______________________________________ (2 marks)

page 7 of 21 PLEASE TURN OVER

7. One melody from each of the following two groups ((a) and (b)) will be played twice, followed each
time by a 10-second pause in which you are to indicate which melody was played by ticking the
appropriate box.
After the pause the melody will be played a third time so that you can check your answer.

(a) q  80

(2 marks)

(b) e  120

(2 marks)

page 8 of 21
8. Two melodies ((a) and (b)), with accompaniment, will each be played twice, followed each time by
a 20-second pause in which you are to:
• identify the type of scale on which the melody is based (major, harmonic minor, melodic
minor, or natural minor), and write your answer in the space provided for part (i)
• write the scale on the stave provided for part (ii), using accidentals in concert pitch; the
tonic note is given.
After the pause the melody and accompaniment will be played a third time so that you can check
your answer.

(a) This melody is for flute with acoustic guitar accompaniment.

(i) Type of scale used: _________________________________________________________________ (1 mark)

(ii) Write the scale descending.

(2 marks)

(b) This melody is for tenor saxophone with piano accompaniment.

(i) Type of scale used: _________________________________________________________________ (1 mark)

(ii) Write the scale ascending.

(2 marks)

page 9 of 21 PLEASE TURN OVER

9. The following piece for piano will be played three times, followed each time by a 20-second pause
in which you are to:
• complete the treble clef part by adding the missing notes to the stave provided for part (a)
(the rhythm of the missing notes is given above the stave)
• name the scale used in the treble clef part in the space provided for part (b).
After the pause the piece will be played a fourth time so that you can check your answer.

(a) q  100

(4 marks)

(b) Scale used in the treble clef part: ______________________________________________________ (1 mark)

page 10 of 21
10. A melody for violin with piano accompaniment (for which the chord progression is shown) will be
played four times, followed each time by a 20-second pause in which you are to complete the
violin part by adding the missing notes. The rhythm of the violin part is given above the stave, and
some of the notes of the melody are given on the stave.
Each time before the melody is played the tonic chord will be played to set the tonality, and one
bar of crotchet beats will be played on the metronome to set the tempo.

q  120

(7 marks)

page 11 of 21 PLEASE TURN OVER

11. Two broken chords ((a) and (b)) will each be played twice, followed each time by a 10-second
pause in which you are to indicate which broken chord was played by ticking the appropriate box.
After the pause the chord will be played a third time so that you can check your answer.

(a) Major triad.

Minor triad.

Augmented triad.

Diminished triad. (2 marks)

(b) Major triad in root position.

Minor triad in root position.

Major triad in first inversion.

Major triad in second inversion. (2 marks)

12. Two broken chords ((a) and (b)) will each be played twice, followed each time by a 15-second
pause in which you are to write the notes of the broken chord on the stave provided, and write the
name of the chord in the space provided. Add accidentals as required.
Indicate the inversion of the chord if applicable. Use either chord symbol notation (e.g. C/E) or
traditional notation (e.g. Ib in C major or I63 in C major).
After the pause the broken chord will be played a third time so that you can check your answer.

(a)

Name of chord: __________________________________________ (4 marks)

(b)
Name of chord: __________________________________________ (4 marks)

page 12 of 21
13. Two melodies ((a) and (b)), with harmonic backing, will be played twice, followed each time by a
15-second pause in which you are to tick the appropriate box to indicate which chord progression
was played as the harmonic backing. Use the chord language with which you are more familiar.
After the pause the melody and harmonic backing will be played a third time so that you can
check your answer.

(a) This melody has been harmonised with one chord for each note.

q  85

Traditional Harmony Chord Symbols

Ib I IV iib Ic V7 I G/B G C Am/C G/D D7 G

I Ib IV iib Ic V7 I G G/B C Am/C G/D D7 G

Ib I iib IV Ic V I G/B G Am/C C G/D D G

(2 marks)

(b) This melody has been harmonised with one chord for each bar.

q  95

Traditional Harmony Chord Symbols

i iv7 ii° V7 i Cm Fm7 D° G7 Cm

i VI ivb V7 i Cm Ab Fm/Ab G7 Cm

i VI iv7 V7 i Cm Ab Fm7 G7 Cm

(2 marks)

page 13 of 21 PLEASE TURN OVER

14. Refer to the score for ‘Happy Go Play’ on pages 2 and 3 of the score booklet.
The music will be played once, followed by a 3-minute pause in which you are to answer
questions (a) to (g) below and on page 15.
After the pause the music will be played a second time so that you can check your answers.

(a) Name the articulation marking used in the Violin I part in bar 1, marked (i).

____________________________________________________________________________________________ (2 marks)

(b) Circle the two passing notes in the Violin I part from bar 4.

Violin I
(2 marks)

(c) Tick the appropriate box to indicate the musical term that best describes the relationship
between the Violin I part in bar 1, marked (i), and the Violin I part in bar 17, marked (ii).

Inversion.

Imitation.

Transposition. (2 marks)

(d) (i) To which key does the music modulate in bar 17?

_______________________________________________________________________________________ (2 marks)

(ii) How does this key relate to the original key of the music?

_______________________________________________________________________________________ (2 marks)

(e) Name the chord used in bar 19, marked (iii).

____________________________________________________________________________________________ (2 marks)

page 14 of 21
(f ) The Violin II part in bars 25 to 27 is a sequence. The final two notes of bar 27 have
been omitted from the score.
Tick the appropriate box to indicate which one of the following alternatives correctly
completes the sequence.

(2 marks)

(g) Name the chord used in bar 30, marked (iv).

____________________________________________________________________________________________ (2 marks)

page 15 of 21 PLEASE TURN OVER

15. Refer to the score for ‘Get It Right’ on pages 4 and 5 of the score booklet.
The music will be played once, followed by a 2½-minute pause in which you are to answer
questions (a) to (f ) below and on page 17.
After the pause the music will be played a second time so that you can check your answers.

(a) Tick the appropriate box to indicate the musical term that best describes the relationship
between the vibraphone part in bars 3 and 4, marked (i), and the vibraphone part in bars
5 and 6, marked (ii).

Fragmentation.

Ostinato.

Phrase extension.

Augmentation. (2 marks)

(b) The notes in the vibraphone part in bars 5 and 6 have been grouped incorrectly.
On the stave below, rewrite the rhythm of bar 5 only, with the notes grouped correctly.

(2 marks)

(c) Tick the appropriate box to indicate the relationship of the chord in bar 10, marked (iii),
to the tonic key.

Relative major.

Tonic major.

Supertonic major. (2 marks)

page 16 of 21
(d) Tick the appropriate box to indicate the musical term that best describes the relationship
between the tom-tom part in bar 10, marked (iv), and the tom-tom part in bar 11,
marked (v).

Fragmentation.

Repetition.

Diminution.

Augmentation. (2 marks)

(e) Without using Italian terms, describe the dynamics in the tom-tom part in bars 10, 11,
and 12.

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

____________________________________________________________________________________________ (3 marks)

(f ) Tick the appropriate box to indicate the best description of the scale or scales used in
the vibraphone part in bars 12, 13, and 14, marked (vi).

A melodic minor.

A major followed by D major.

A major followed by A natural minor. (2 marks)

page 17 of 21 PLEASE TURN OVER

16. Refer to the score for ‘Clarinet Rag’ on page 6 of the score booklet.
The music will be played once, followed by a 3-minute pause in which you are to answer
questions (a) to (h) below and on page 19.
After the pause the music will be played a second time so that you can check your answers.

(a) Name the type of cadence and the key used in bar 4, marked (i).

Type of cadence: _________________________________________

Key: ________________________________________________________ (4 marks)

(b) (i) To which key does the music modulate in bar 9?

_______________________________________________________________________________________ (2 marks)

(ii) How does this key relate to the original key of the music?

_______________________________________________________________________________________ (2 marks)

(c) Name and describe the articulation played by the clarinet in bar 10.

____________________________________________________________________________________________ (2 marks)

(d) Tick the appropriate box to indicate the term that best describes the melodic function of
the two notes circled in bar 11.

Chord notes.

Passing notes.

Auxiliary notes. (2 marks)

(e) Describe the melodic technique used in the clarinet part in bar 12.

____________________________________________________________________________________________ (2 marks)

page 18 of 21
(f ) Tick the appropriate box to indicate the scale played (in concert pitch) in the clarinet part
in bars 15 and 16, marked (ii).

B natural minor.

C major.

C# melodic minor.

E major. (2 marks)

(g) Tick the appropriate box to indicate the best description of the compositional technique
used in the left hand of the pianoforte part in bars 17 to 19.

Syncopation.

Chromaticism.

Diminution.

Pedal notes. (2 marks)

(h) If the clarinet part in bar 20 were to be rewritten in concert pitch, which one of the
following would be the correct notation? Tick the appropriate box.

(2 marks)

No further questions refer to the recorded music.

page 19 of 21 PLEASE TURN OVER

 SECTION 2 (Questions 17 and 18)
(22 marks)

There are no recorded examples of music for this section.

Answer all questions in the spaces provided after each question. The allocation of marks is
shown in brackets at the end of each part of each question.

17. Rewrite the following melody on the stave provided, adding the beams and bar lines and using the
correct note grouping. The melody does not have an anacrusis.

(4 marks)

18. Refer to the score for ‘A Tune for Tennyson’ on page 7 of the score booklet when answering
questions (a) to (g), below and on page 21.

(a) Tick the appropriate box to indicate the technical scale degree names of the two notes
marked (i) in the tenor part in the anacrusis.

Tonic, leading note.

Dominant, subdominant.

Dominant, submediant. (2 marks)

(b) Name the interval between the two notes in the alto and tenor parts in bar 3, marked (ii).
Name the interval by both quality and size (e.g. perfect fifth).

____________________________________________________________________________________________ (2 marks)

(c) Name the compositional technique used in the soprano part in bar 7, marked (iii).

____________________________________________________________________________________________ (2 marks)

page 20 of 21
(d) (i) Name the cadence and the key in bar 8, marked (iv).

Cadence: ____________________________________________

Key: __________________________________________________ (4 marks)

(ii) What is the relationship between this key and the tonic key?

_______________________________________________________________________________________ (2 marks)

(e) Tick the appropriate box to indicate the chord used in bar 9, marked (v).

C major.

C major seventh.

C dominant seventh. (2 marks)

(f ) Tick the appropriate box to indicate the musical term that best describes the relationship
between the soprano part in bars 12 and 13, marked (vi), and the bass part in bars 13
and 14, marked (vii).

Imitation.

Inversion.

Sequence. (2 marks)

(g) What type of cadence is used in bars 19 and 20, marked (viii)?

______________________________________________ (2 marks)

page 21 of 21 — end of Question Booklet 1

 External Examination 2015

2015 MUSICIANSHIP
FOR OFFICE
SACE REGISTRATION NUMBER
USE ONLY QUESTION
CHECK
FIGURES LETTER BOOKLET
SUPERVISOR

2
SEQ BIN
CHECK

5 pages, 3 questions
MUSICIANSHIP
RE-MARKED
Monday 16 November: 9 a.m.

Part 2: Harmony

2 Write your answers to Part 2 in this question booklet.

© SACE Board of South Australia 2015

Answer one question from this part, Question 19 on Option A or Question 20 on Option B or
Question 21 on Option C. Write your answers in the spaces provided. The allocation of marks is
shown in brackets at the end of each part of each question.

OPTION A: COUNTERMELODY

19. The basic harmonic structure is given in the following melody:

(a) Alter the harmony by including:

• two examples of chord substitution
• on two of the given chords, two additional examples of chord extension to the seventh.
Write your chord symbols above the melody in the space provided on page 3.
(12 marks)

(b) Write your chords, using piano-voicing, on the stave provided on page 3. Show smooth
voice-leading.
(20 marks)

(c) Write a countermelody to the given melody on the stave provided on page 3.
(20 marks)

(d) Transpose the first two bars of the given melody to be played by a French horn in F.

(8 marks)

page 2 of 5
Melody

Countermelody

Piano

M.

C.M.

Pno.

page 3 of 5 PLEASE TURN OVER

 OPTION B: JAZZ-RELATED HARMONY

20. Harmonise the following melody in jazz-related style for keyboard, using piano-voicing and
smooth voice-leading.
Write your chord symbols above the keyboard part.
The harmonisation should include:
• the bass movement of a fourth
• at least two examples of chord extension to the ninth and/or the thirteenth
• at least two examples of altered fifths and/or altered ninths
• at least two examples of modulation using the chord progression 2 5 1. (60 marks)

Medium swing

page 4 of 5
 OPTION C: FOUR-PART VOCAL STYLE

21. Harmonise the following melody in four-part vocal style. Identify the chords under the stave,
using the appropriate Roman numerals.
Include in your answer:
• three different types of cadence, as appropriate to the marked phrasing
• some passing notes
• a dominant seventh chord, correctly resolved
• a passing 64 chord
• a cadential 64 chord. (60 marks)

page
page 5 of 5 — end of 5Question
of 5 Booklet 2 PLEASE TURN OVER
 External Examination 2015

2015 MUSICIANSHIP
Monday 16 November: 9 a.m.

Score Booklet

Refer to the scores in this booklet when answering

Questions 14, 15, 16, and 18 in Question Booklet 1.
SCORE BOOKLET

© SACE Board of South Australia 2015

14. Refer to the following score when answering the questions on pages 14 and 15 of
Question Booklet 1:

Happy Go Play
Vivace
=140 (i) 2 3 4

Violin I

Violin II

Viola

pizz.
Violoncello

5 6 7 8

9 10 11 12

13 14 15 16

page 2 of 7
 (ii)
17 18 19 20

(iii)

arco

21 22 23 24

25 26 27 28 29

subito

subito

subito
pizz.

subito

30 (iv) 31 32 33 34

page 3 of 7 PLEASE TURN OVER

15. Refer to the following score when answering the questions on pages 16 and 17 of
Question Booklet 1:

Get It Right
Allegro ( 140)
2 3

Marimba

(i)
motor on
Vibraphone

hard sticks rim

Tom-Tom

cym.
BD (mallet) (hard stick)
Sus. cymbal/
Bass drum

4 5 6

Mar. dim.

(i) (ii)

Vib.

dim.

T-T
dim.

Cym./BD
dim.

7 8 9

Mar.

Vib.

T-T

Cym./BD

page 4 of 7
 10 (iii) 11 12

Mar.

(vi)

Vib.

(iv) (v)

T-T

Cym./BD

poco rit.
13 14 15

dim.
Mar.

(vi)

Vib.

T-T
dim.

to soft mallets
Cym./BD

page 5 of 7 PLEASE TURN OVER

16. Refer to the following score when answering the questions on pages 18 and 19 of
Question Booklet 1:

Clarinet Rag
For Clarinet in B  and Pianoforte
(i)
Allegro 1 2 3 4 5

6 7 8 9 10

(ii)
11 12 13 14 15

16 (ii) 17 18 19

20 21 22 23 24

page 6 of 7
18. Refer to the following score when answering the questions on pages 20 and 21 of
Question Booklet 1:

A Tune for Tennyson

A contemporary setting of an extract from ‘The Lady of Shalott’ by Alfred, Lord Tennyson

Moderato
1 2 3 4 5
SOPRANO
ALTO

On eith - er side the riv - er lie Long fields of bar - ley and of rye, That clothe the wold and
(i) (ii)

TENOR
BASS

(iii) (iv)
6 7 8 9 (v) 10 11

meet the sky; And through the field the road runs by To ma - ny tow -ered Cam -e - lot. To Cam - e - lot?

Yes,

(vi)
And up and down the peo - ple go,
12 13 14 15 16

Up, down, they go,

Gaz - ing where the li - lies blow
Up, down, go,

Cam - e - lot. And up and down they go,

(vii)

17 18 19 (viii) 20 21 22

Round an is - land there be - low, The is - land of Sha - lott. The is - land of Sha - lott.

page 7 of 7 — end of score booklet