Assessment Schedule 2015 Music Studies: Demonstrate understanding of harmonic and tonal conventions in a range of music scores (91421)

Transcription

1 NCEA Level 3 Music Studies (91421) 2015 page 1 of 8 Assessment Schedule 2015 Music Studies: Demonstrate understanding of harmonic and tonal conventions in a range of music scores (91421) Evidence Question Sample Evidence ONE (a) (1) iv (2) viib (3) ib (4) iib Identifies THREE chords using Roman numeral notation. (b) Key Chords Cadence A A minor V7 i Perfect B E minor ib V Imperfect Identifies BOTH pairs of chords AND names the cadences formed. (c) (d) Key: E minor the third of the chord is raised to make the chord major instead of minor / a Tierce de Picardie. OR Key: E major the third of the chord is raised to make the dominant chord of the tonic key. (1) Loer auxiliary / neighbour note (2) Chromatic loer auxiliary / neighbour note (3) Passing note (4) Appoggiatura Identifies the key AND explains the function of the raised third in the final chord. Identifies THREE non-essential notes. (e) Key Relationship Y A major Tonic major Z E major Dominant Identifies BOTH keys AND names the relationships.

2 NCEA Level 3 Music Studies (91421) 2015 page 2 of 8 Question Sample Evidence One (f) & 84 & n Chord considerations: fifth of chord Ic doubled root of chord V doubled leading note not doubled all chords in close position. IV Ib V7c I Voice-leading considerations: leading note rises by step to tonic each voice moves to the nearest note of the next chord. appropriate harmonic progression, only chords I, IV, V,V7 and inversions used accurate chord indications, including inversions smooth voice-leading. N1 N2 A3 A4 M5 M6 E7 E8 A partial piece of evidence at level. at level. evidence (of three) at level. THREE pieces of evidence (of three) at level. (of to) at Merit level. evidence (of to) at Merit level. appropriate harmonic progression ith errors in part (f). appropriate harmonic progression ith alloance for ONE error in part (f). N0/ = No response; no relevant evidence.

3 NCEA Level 3 Music Studies (91421) 2015 page 3 of 8 Question Sample Evidence TWO (a) (i) (ii) 7 & Chord considerations: all notes of chord V7 present seventh of V7 falls by step root of chord I doubled bass of chord Ic doubled leading note not doubled no interval greater than an octave beteen any of the upper parts. 5? vi Ic V7 I Chord considerations: root of chord V doubled third of chord vi doubled U &? all notes of each chord present U Ib ii7 b V vi no interval greater than an octave beteen any of the upper parts. given harmonic frameork by: adding to inner voices to all THREE chords AND Makes no more than ONE error in: chord voice-leading. given harmonic frameork by: adding to inner voices to all THREE chords AND Makes no more than ONE error in: chord voice-leading.

4 NCEA Level 3 Music Studies (91421) 2015 page 4 of 8 Question Sample Evidence To (b) 2 &? n Chord considerations: root or fifth of each chord doubled leading note not doubled. ii ii7d Vb I iib IV I V I U Voice-leading considerations: leading note rises by step to tonic each voice moves to the nearest note of the next chord. harmonic by: adding bass and to inner voices to all FOUR chords AND Makes no more than TWO errors in: chord voice-leading. (c) Vb &? Chord considerations: root or fifth of each chord doubled leading note not doubled I V I (G major) (D major) IV Vc I all notes of any seventh chord included no interval greater than an octave beteen any of the upper parts. U Voice-leading considerations: leading notes and sevenths resolved appropriately each voice moves to the nearest note of the next chord. Identifies the pivot chord AND Describes it in relation to both keys. appropriate harmonic progression, four-part riting accurate chord indications, including inversions smooth voice-leading.

5 NCEA Level 3 Music Studies (91421) 2015 page 5 of 8 Question To cont d N1 N2 A3 A4 M5 M6 E7 E8 (of to) at level partially correct. evidence (of to) at level partially correct. (of to) at level. evidence (of to) at level. (of to) at Merit level. evidence (of to) at Merit level. appropriate harmonic appropriate and stylish harmonic alloance for ONE error, in part (c). N0/ = No response; no relevant evidence.

6 NCEA Level 3 Music Studies (91421) 2015 page 6 of 8 Question Sample Evidence THREE (a) (1) D/F (2) Am7 (3) Gmaj7 (4) Gm Identifies the chords using jazz / rock notation. (b) harmonic of the passage, 5& D Bm,6 Gmaj7 Bm D7 Gmaj7 j n accurate notation? n smooth voice-leading. (c) appropriate harmonic progression, 15 D/F Bm7 Bm7/E E9 G/A & Πj Πj J J J J J ΠΠaccurate chord you re too fam-il - iar And I don t see you an - y more I indications &? n smooth voice-leading appropriate harmonic rhythm idiomatic keyboard riting. N1 N2 A3 A4 M5 M6 E7 E8 Identifies ONE chord in part (a). Identifies TWO chords in part (a). Identifies THREE chords in part (a). Identifies FOUR chords in part (a). harmonic, ith errors, in part (b). harmonic, ith alloance for ONE error in part (b). appropriate harmonic appropriate and stylish harmonic N0/ = No response; no relevant evidence.

7 NCEA Level 3 Music Studies (91421) 2015 page 7 of 8 Question Sample Evidence FOUR (a) (1) (2) (3) (4) 6r Identifies the chords using figured bass notation. (b) harmonic of the passage, j 5 & 6? j n n j 6 G J n 7 accurate notation smooth voice-leading. (c) appropriate 23 harmonic progression, & ٠Π٠accurate chord Πindications & & j? J j J ΠΠsmooth voice-leading appropriate harmonic rhythm idiomatic keyboard riting. N1 N2 A3 A4 M5 M6 E7 E8 Identifies ONE chord in part (a). Identifies TWO chords in part (a). Identifies THREE chords in part (a). Identifies FOUR chords in part (a). harmonic, ith errors, in part (b). harmonic, ith alloance for ONE error in part (b). appropriate harmonic appropriate and stylish harmonic N0/ = No response; no relevant evidence.

8 NCEA Level 3 Music Studies (91421) 2015 page 8 of 8 Cut Scores Not Achieved