NCEA Level 3 Music Studies (90530) 2012 — page 1 of 4

Assessment Schedule – 2012

Music Studies: Demonstrate an understanding of harmonic and tonal procedures in a range of music (90530)

Evidence Statement

Question

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Achievement

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Achievement with Merit

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Achievement with Excellence

ONE / No.3 of Seven Rhythmic Dances, by Émile Jacques-Dalcroze
(a) / THREE responses at Achievement level or higher. / THREE responses at Merit level or higher. / All THREE responses at Excellence level.
(i) /
  • Identifies BOTH keys suggested by the key signature.

(ii) /
  • Explains ONE reason that the tonality of the opening is ambiguous.

(iii) /
  • Identifies where the tonality of the music is established, with one piece of musical evidence.

(iv) /
  • Identifies TWO (of 3) modulations.
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  • Identifies all THREE modulations, each with TWO pieces of supporting musical evidence.

(v) /
  • Identifies BOTH unexpected modulations.
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  • Gives a reason why modulations might be unexpected.
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  • Identifies BOTH unexpected modulations AND explains why they are unexpected.

(vi) /
  • Identifies the location of THREE (of 5) chords.
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  • Describes THREE (of 5) chords using Roman numeral notation.

(vii) /
  • Identifies the location and pitch of THREE (of 4) non-essential notes.

(i)Keys suggested by the key signature:
  • Eb major
  • C minor
(ii)Why the tonality of the opening is ambiguous:
  • The opening chord is a diminished (7th) chord
  • G and Bb suggest Eb major, but neither C# or E§ are notes in the scale of Eb major (or Cminor)
  • When the tonic chord of Eb major appears in bar 3, it is chord I7 rather than chord I
  • There is no clear perfect (V–I) cadence or imperfect cadence (ending on chord V) to establish either key.
(iii)Where the tonality (Eb major) is established
  • Bar 11 –with a perfect cadence
  • (accept bar 5 or bar 8 – with an imperfect cadence)
(iv)Modulations
A Key: F major
  • E§
  • A§
  • (Inverted) perfect cadence over bars 21–22
B Key: C minor
  • B§
  • (Inverted) perfect cadence in bar 27 (V7d – Ib)
C Key: D major
  • F#
  • C#
  • A§
  • Perfect cadence over bars 30–31
(v)Why two of these modulations might be considered unexpected
  • D major, with a key signature of two sharps, is not closely related to a key with three flats in the key signature
  • F major (the supertonic major) is not one of the related keys – the relative minor – C minor – or the dominant or subdominant major keys and their relative minors –to which modulation might be expected.
(vi)Chords in Eb major

Chord type

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Bar no.

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Beat no.

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Roman numeral

A major chord in root position / 5, 8
10
10 / 2
3
3 / V
IV
V
A minor chord in root position / 10 / 1 / vi
A chord in first inversion / 8 / 1 / IIb
A 7th chord in root position / 3, 4, 6, 7
3, 4
9 / 1
2
1 / I7
IV7
V7
A 7th chord in first inversion / 5
10 / 1
3 / II7b
II7b
(vii)Non-essential notes (do not count repeated evidence)

Non-essential note type

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Bar no.

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Beat no.

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Pitch name

A passing note / 8
9 / 4
2 / G
B§
An unaccented lower auxiliary note / 5, 8
9
10 / 1
1
3 / Eb
G
Eb
An unaccented upper auxiliary note / 5, 8 / 1 / G
A chromatic passing note / 9 / 2 / B§

Question One cont’d

Question

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Achievement

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Achievement with Merit

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Achievement with Excellence

(b) / The harmonisation of bars 38 and 39 leads musically to a perfect cadence over bars 39–40
AND
Chord indications are mostly accurate. / The harmonisation of bars 38 and 39 leads musically to a perfect cadence over bars 39–40
AND
Chord indications are accurate
AND
The added inner parts are somewhat effective with appropriate voicing, AND show some evidence of stylistic awareness.
Possible realisation:

Question One cont’d

Question

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Achievement

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Achievement with Merit

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Achievement with Excellence

(c) (i) / The analysis includes:
  • no more than THREE errors in chordidentification
  • recognition of the tonic pedal in bars 58–59
/ The analysis includes:
  • correct chords in correct inversion
  • recognition of the tonic pedal in bars 58–59, implied by the harmonization
/ The analysis includes:
  • correct chords in correct inversion
  • recognition of the tonic pedal in bars 58–59, implied by the harmonization

(ii) / OR
The realisation includes:
  • a bass line that establishes a generally effective harmonic progression
  • an appropriate final cadence over bars 62–63.
/ AND
The realisation includes:
  • some evidence of stylistic awareness
  • a harmonisation of bars 60–62 that leads musically (with accurate voicing) to an appropriate final cadence
  • mostly accurate chord indications.
/ AND
The realisation includes:
  • evidence of a consistently secure understanding of harmonic procedures, with no significant errors – the response is effective and idiomatic, AND stylistically appropriate
  • accurate chord indications.

(i)Possible analysis:

(ii)Possible realisation:

Question

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Achievement

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Achievement with Merit

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Achievement with Excellence

TWO / “My Blue Heaven”, by Walter Donaldson
(a) (i) / Identifies FOUR (of 8) chords / Identifies SIX (of 8) chords
(ii) / AND
Notates THREE (of 5) chords
(iii) / AND
Notates NINE (of 11) chords, with smooth voicing
(OR accept
Identifies THREE chords in (i), AND notates TEN (of 16) chords in (ii) and (ii)). / (OR accept
Identifies FOUR chords in (i), AND notates THIRTEEN (of 16) chords in (ii) and (ii), with smooth voicing).
(i)Chord identification:
(1)Eb / (2)Eb/D / (3)Bb9 / (4)Gm/Bb
(5)D/Bb / (6)Eb6 OR Cm7/Eb / (7)D7 / (8)Db7
(ii)Chord notation (possible realisation – accept any voicing):

(iii)Chord notation (possible realisation):

Question Two cont’d

Question

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Achievement

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Achievement with Merit

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Achievement with Excellence

(b) / The bass line and jazz/rock chord indications establish a generally effective harmonic progression. / The harmonisation reveals a fundamental understanding of harmonic procedures / The harmonisation reveals a consistently secure understanding of harmonic procedures
AND
The harmonisation is effective AND shows some evidence of stylistic awareness / AND
The harmonisation is effective and idiomatic, AND stylistically appropriate
AND
Chord indications are mostly accurate. / AND
Chord indications are accurate.
Possible realisation:

Question

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Achievement

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Achievement with Merit

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Achievement with Excellence

THREE / Chorale: “Sollt’ ich meinem Gott nicht singen”, by J.S. Bach
(a) (i) / Identifies FOUR (of 8) chords / Identifies SIX (of 8) chords
(ii) / AND
Notates THREE (of 5) chord
(iii) / AND
Notates SEVEN (of 8) chords, with smooth voicing
(OR accept
Identifies THREE chords in (i), AND notates EIGHT (of 13) chords in (ii) and (ii)). / (OR accept
Identifies FOUR chords in (i), AND notates NINE (of 13) chords in (ii) and (ii), with smooth voicing).
(i)Chord identification (shown here in their simplest forms – accept any other correct forms):
(1)y / (2)yf / (3)R / (4)r
(5)u / (6)uf / (7)rs / (8)y
(ii)Chord notation (possible realisation – accept any voicing):

(iii)Chord notation (possible realisation):

Question Three cont’d

Question

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Achievement

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Achievement with Merit

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Achievement with Excellence

(b) / The bass line and figures establish a generally effective harmonic progression. / The harmonisation reveals a fundamental understanding of harmonic procedures. / The harmonisation reveals a consistently secure understanding of harmonic procedures
AND
The harmonisation is effective AND shows some evidence of stylistic awareness / AND
The harmonisation is effective and idiomatic, AND stylistically appropriate
AND
Figured bass indications are mostly accurate. / AND
Figured bass indications are accurate.
Possible realisation:

Original realisation (for reference):

Judgement Statement

Achievement

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Achievement with Merit

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Achievement with Excellence

2 A / 2 M / 2E