South Australian

1 Certificate of Education

Musicianship
2017
Question Booklet 1
• Part 1: Theory, Aural Recognition, and Musical Techniques
Section 1 (Questions 1 to 17) 121 marks
Section 2 (Questions 18 and 19) 19 marks
• Answer all questions in Part 1
• Write your answers in this question booklet

Examination information
Materials
• Question Booklet 1 (Part 1)
• Question Booklet 2 (Part 2)
• Score booklet (7 pages)
• Manuscript paper
• SACE registration number label

Reading time
• 10 minutes
• You may use manuscript paper for rough work

Writing time
• 1¾ hours
• Show all working in the question booklets
• Use a sharp dark pencil, or a black or blue pen

Total marks 200

© SACE Board of South Australia 2017

For office use only

Supervisor Re-marked
check
Attach your SACE registration number label here
 SECTION 1 (Questions 1 to 17)
(121 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. 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)  = 60

(2 marks)

(b)   = 60

(2 marks)

page 2 of 17
 (c)  = 200

(2 marks)

2. 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.

Swing =
= 100

(3 marks)

(b) This melody has an anacrusis.

 = 200

(3 marks)

page 3 of 17 PLEASE TURN OVER

3. A melody for clarinet with piano accompaniment will be played three times, followed each time
by a 20-second pause in which you are to complete the rhythm of the clarinet part on the stave
provided by adding stems, beams, dots, and ties to the note heads given, and by adding bar lines.
There are no rests in this melody. Some of the rhythm has been given.
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 dotted crotchets will be played on the
metronome to set the tempo.

  = 52

(6 marks)

4. A melody in 34 time will be played three times, followed each time by a 20-second pause in which
you are to write the rhythm of the melody on the stave provided. This melody does not have rests
or an anacrusis.
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 crotchets will be played on the metronome to
set the tempo.

 = 100

(7 marks)

5. Two intervals ((a) and (b)) 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)

page 4 of 17
6. Two eight-bar melodies ((a) and (b)) will each be played three times, followed each time by a
15-second pause in which you are to:
• identify the tonality of the melody as major or minor, and write your answer in the space
provided for part (i)
• identify the time signature as simple or compound, and duple or triple, and write your answers in
the space provided for part (ii)
• identify the interval between the last two notes and write the name of the interval in the space
provided for part (iii). Name the interval by both quality and size (e.g. perfect fourth).

(a) (i) Is the tonality major or minor? _____________________________________________________ (2 marks)

(ii) Is the time signature:

(1) simple or compound? ___________________________________________________________ (1 mark)

(2) duple or triple? __________________________________________________________________ (1 mark)

(iii) Name the interval between the last two notes. ____________________________________ (2 marks)

(b) (i) Is the tonality major or minor? _____________________________________________________ (2 marks)

(ii) Is the time signature:

(1) simple or compound? ___________________________________________________________ (1 mark)

(2) duple or triple? __________________________________________________________________ (1 mark)

(iii) Name the interval between the last two notes. ____________________________________ (2 marks)

page 5 of 17 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 15-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)  = 100

(2 marks)

(b)  = 100

(2 marks)

page 6 of 17
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 scale (major, harmonic minor, melodic minor, or natural minor) on which the melody
is based 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
• on the scale you have written for part (ii), circle the note that corresponds to the scale degree
named in part (iii).
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 viola with piano accompaniment.

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

(ii) Write the scale ascending.

(2 marks)

(iii) Circle the mediant. (1 mark)

(b) This melody is for flute with piano accompaniment.

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

(ii) Write the scale descending.

(2 marks)

(iii) Circle the dominant. (1 mark)

page 7 of 17 PLEASE TURN OVER

9. A piece for oboe and bassoon will be played three times, followed each time by a 10-second
pause in which you are to complete the bassoon part by adding the missing crotchets to the stave
provided.
After the pause the piece will be played a fourth time so that you can check your answer.

 = 60

Oboe

Bassoon

(3 marks)

10. A melody for oboe 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
oboe part by adding the missing notes. The rhythm of the oboe 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 crotchets will be played on the metronome to set the tempo.

= 100

(8 marks)

page 8 of 17
11. Two pairs of chords ((a) and (b)) will each be played twice, followed each time by a 15-second
pause. Indicate which chord was the second chord of the pair played by ticking the appropriate box.
The first chord played is given, and the chords will be played as broken chords.
After the pause the pair of chords will be played a third time so that you can check your answer.

(a) The first chord is a C dominant seventh chord.

(2 marks)

(b) The first chord is a D major chord.

(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 complete the chord by writing the other notes of the broken chord on
the stave provided. Write the name of the chord in the space provided. The lowest note of the
chord is given.
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 9 of 17 PLEASE TURN OVER

13. Two melodies ((a) and (b)), with harmonic backing, will be played twice, followed each time by a
15-second pause. Tick the appropriate box to indicate which chord progression was played as the
harmonic backing, using the chord language with which you are more familiar. The harmony uses
one chord for each bar.
After the pause the melody and harmonic backing will be played a third time so that you can
check your answer.

(a)  = 75

Traditional harmony Chord symbols

i7 III iv7 ii7 V Gm7 B Cm7 A D

i7 VImaj7 iv7 ii7 V Gm7 Emaj7 Cm7 A D

i7 ii7 VImaj7 iv7 V7 Gm7 A Emaj7 Cm7 D7

III i7 V7 VImaj7 V7 B Gm7 D7 Emaj7 D7

(2 marks)

(b) There is no chord on the anacrusis.

 = 200

Traditional harmony Chord symbols

I Ib vi V I A A/C Fm E A

I iii vi V7 I A C m Fm E7 A

I Ib IVb V I A A/C D/F E A

I iii IVb V7 I A C m D/F E7 A

(2 marks)

page 10 of 17
14. A piece for oboe and harpsichord will be played once, followed by a 40-second pause in which
you are to answer questions (a) to (c) below.
After the pause the music will be played a second time so that you can check your answers.

  = 60
2 3 4

Oboe

Harpsichord

5 6 7 8

(a) Which term best describes the musical technique used in the oboe part in bar 4?

____________________________________________________________________________________________ (2 marks)

(b) Which interval does the oboe play in bar 6? Name the interval by both quality and size
(e.g. perfect fourth).

____________________________________________________________________________________________ (2 marks)

(c) In which bar does the oboe play only chord notes and auxiliary notes?

____________________________________________________________________________________________ (2 marks)

page 11 of 17 PLEASE TURN OVER

15. A piece for flute and acoustic guitar will be played once, followed by a 40-second pause in which
you are to answer questions (a) to (c) below.
After the pause the music will be played a second time so that you can check your answers.

 = 100
2 3 4

Flute

Guitar

5 6 7 8

(a) Which articulation does the flute play at the start of bar 2?

____________________________________________________________________________________________ (2 marks)

(b) Name the rhythm used in the flute part at the start of bar 3.

____________________________________________________________________________________________ (2 marks)

(c) Which term best describes the rhythmic device used in the flute part in bar 6?

____________________________________________________________________________________________ (2 marks)

page 12 of 17
16. Refer to the score for ‘Yeah nah’ on pages 2 and 3 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.
After the pause the music will be played a second time so that you can check your answers.

(a) Name the type of non-chord note used in the trombone part in bar 5, marked (i).

____________________________________________________________________________________________ (2 marks)

(b) Name the chord used in the piano part in bar 5, marked (ii).

____________________________________________________________________________________________ (2 marks)

(c) (i) In bars 5 and 6 what key does the music modulate to?

_______________________________________________________________________________________ (2 marks)

(ii) What is the relationship of this key to the tonic key?

_______________________________________________________________________________________ (2 marks)

(d) In bar 7, the tenor saxophone plays a broken chord, marked (iii). What chord is played, in
concert pitch?

____________________________________________________________________________________________ (2 marks)

(e) Describe how the articulation in the trumpet part in bar 7, marked (iv), should be played.

_______________________________________________________________________________________________________

____________________________________________________________________________________________ (2 marks)

(f ) Without using Italian terms, describe the dynamics in the trumpet part in bars 9 and 10,
marked (v).

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

____________________________________________________________________________________________ (3 marks)

page 13 of 17 PLEASE TURN OVER

17. Refer to the score for ‘Autumn breeze’ 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 (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) Tick the appropriate box to indicate the best description for the musical technique used in the
Piano Secondo part in bars 1 to 8.

Modulation.

Ostinato.

Pedal Note.

Imitation. (2 marks)

(b) Name the chord used in bar 9, marked (i).

____________________________________________________________________________________________ (2 marks)

(c) Tick the appropriate box to indicate the best description for the musical technique used in the
Piano Primo part in bars 10 and 11, marked (ii).

Sequence.

Transposition.

Repetition. (2 marks)

(d) Name the scale used in the Piano Primo part in bar 14, marked (iii).

____________________________________________________________________________________________ (2 marks)

(e) Tick the appropriate box to indicate which two parts are in contrary motion in bar 15.

Piano Primo right hand and Piano Primo left hand.

Piano Secondo right hand and Piano Secondo left hand.

Piano Primo right hand and Piano Secondo left hand. (2 marks)

page 14 of 17
(f ) Name the term that best describes the relationship between the melody in
the Piano Secondo part in bars 17 and 18 marked (iv), and the melody in the
Piano Primo part in bar 18 marked (v).

____________________________________________________________________________________________ (2 marks)

(g) Name the musical technique used in the Piano Primo part in bars 19 to 23, marked (vi).

____________________________________________________________________________________________ (2 marks)

No further questions refer to the recorded music.

Please turn the page to complete Questions 18 and 19.

page 15 of 17 PLEASE TURN OVER

 SECTION 2 (Questions 18 and 19)
(19 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.

18. Rewrite the following musical excerpts ((a) and (b)) on the staves provided, adding the beams and
bar lines and using the correct note grouping. These excerpts do not have an anacrusis.

(a)

(3 marks)

(b)

(4 marks)

19. Refer to the short pieces for string quartet: ‘Viola’s day out: 1’, ‘Viola’s day out: 2’, and
‘Viola’s day out: 3’ on pages 6 and 7 of the score booklet.

(a) Tick the appropriate box to indicate which piece does not contain an imperfect cadence at the
end of bar 2.

Viola’s day out: 1.

Viola’s day out: 2.

Viola’s day out: 3. (2 marks)

page 16 of 17
(b) Tick the appropriate box to indicate in which piece the viola in bar 3 plays a rhythmic
augmentation of the notes played in the first two beats of the Violin I part in bar 1.

Viola’s day out: 1.

Viola’s day out: 2.

Viola’s day out: 3. (2 marks)

(c) In bar 1 the viola imitates Violin I. Tick the appropriate box to indicate in which piece the
Violin I part is a perfect fifth higher than the viola imitation.

Viola’s day out: 1.

Viola’s day out: 2.

Viola’s day out: 3. (2 marks)

(d) Tick the appropriate box to indicate in which piece the viola doubles the melody of Violin I
an octave lower in bar 4.

Viola’s day out: 1.

Viola’s day out: 2.

Viola’s day out: 3. (2 marks)

(e) Tick the appropriate box to indicate in which piece the last note played by the viola is the
tonic note.

Viola’s day out: 1.

Viola’s day out: 2.

Viola’s day out: 3. (2 marks)

(f) Tick the appropriate box to indicate in which piece syncopation is used throughout bar 3 in
both the Violin II and viola parts.

Viola’s day out: 1.

Viola’s day out: 2.

Viola’s day out: 3. (2 marks)

page 17 of 17 — end of question booklet

 South Australian
Certificate of Education

Musicianship
2017
Question Booklet 2
• Part 2: Harmony (Questions 20 to 22) 60 marks
• Answer one question from Part 2
• Write your answer in this question booklet

© SACE Board of South Australia 2017

For office use only

Copy the information from your SACE label here
Supervisor Re-marked
CHECK check
SEQ FIGURES LETTER BIN
Answer one question from this part, Question 20 on Option A or Question 21 on Option B or
Question 22 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

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

(a) Alter the harmony by including each of the following:

• 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 and second bars of the given melody to be played by a tenor saxophone
in B on the stave provided below.

(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

21. 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

22. Harmonise the following melody in four-part vocal style. Identify your chords under the stave,
using the appropriate roman numerals.
Include in your answer:
• a plagal cadence, as appropriate to the marked phrasing
• an interrupted cadence, as appropriate to the marked phrasing
• an example of a passing note
• a dominant seventh chord, correctly resolved
• a passing 64 chord
• a cadential 64 chord. (60 marks)

page 5 of 5 — end of question booklet

 South Australian
Certificate of Education

Musicianship
2017
Score Booklet
• Refer to these scores when answering Questions 16, 17, and 19
• Answer all questions
• Write your answers in Question Booklet 1
SCORE BOOKLET

© SACE Board of South Australia 2017

16. Refer to the following score when answering the question on page 13 of Question Booklet 1.

Yeah nah
Funk Style
=100 2 3

Alto Saxophone

Tenor Saxophone

Trumpet

Trombone

Piano

Electric Bass

Drum Set

1. 2.
4 5

A. Sax

T. Sax

Tpt
(i)

Trom.

(ii)

Pno

Bass

1. 2.

Dr.

This score sheet has been amended for web publication.

No student was disadvantaged in the marking from the original score sheet.

page 2 of 7
 6 7

A. Sax

(iii)
T. Sax
(iv)

Tpt

Trom.

Pno

Bass

Dr.

8 9 10

A. Sax

T. Sax

(v)

Tpt

Trom.

Pno

Bass

Dr.

page 3 of 7 PLEASE TURN OVER

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

Autumn breeze

2 3 4 5
Gently =80

Piano Primo

Piano Secondo

6 7 8 9 (i)

Primo

Secondo

10 (ii) 11 12 13
loco.

Primo

Secondo

page 4 of 7
 14 (iii) 15 16

Primo

Secondo

17 18 19 20

(v) (vi)
Primo

(iv)

Secondo

21 22 23 24 25

Primo (vi) cont.

Secondo

page 5 of 7 PLEASE TURN OVER

19. Refer to the following short pieces for string quartet when answering the question on pages 16
and 17 of Question Booklet 1.

Viola’s day out: 1

= 80
2

Vln. I

Vln. II

Vla.

Vc.

3 4

Vln. I

Vln. II

Vla.

Vc.

Viola’s day out: 2

1 = 80 2

Vln. I

Vln. II

Vla.

Vc.

page 6 of 7
 3 4

Vln. I

Vln. II

Vla.

Vc.

Viola’s day out: 3

= 80
1 2

Vln. I

Vln. II

Vla.

Vc.

3 4

Vln. I

Vln. II

Vla.

Vc.

page 7 of 7 — end of score booklet