choose any three pieces from the following. · apart from the piano, ... exercise 1: 15 marks for...

Music – Practical – Form 4 (4th Year) Secondary – 2015 of 12

DIRECTORATE FOR QUALITY AND STANDARDS IN EDUCATION Department of Curriculum Management Educational Assessment Unit

Annual Examinations for Secondary Schools 2015

FORM 4 (4th Year) MUSIC (OPTION): PRACTICAL TIME: 1h 30min

The following paper is for the teacher’s use only

Apart from the piano, all three pieces of the other instruments should be accompanied on the piano by the music teacher. Teachers who are not pianists should inform the department so that an accompanist is provided.

___________________________________________________________________________

Marks:Exercise 1: 15 marks for each piece: Total 45 marksExercise 2: Scales, arpeggios and broken chords: 20 marks

All scales, arpeggios and broken chords should be played from memory, ascending and descending according to the specified range.___________________________________________________________________________

Piano

Choose any three pieces from the following. (15 marks each) (Total 45 marks)

Nichelmann: Allegro for Clavier from The Age of J.S.Bach. Intermediate Piano Book

(Peters)

Benda: Sonatina in G: Un poco allegretto from The Classical Period (Intermediate Piano

Book) (Peters)

Mozart: Rondo in F from The Best of Grade 4 Piano (Faber)

Beethoven: 1st movement from Sonatina in F major (Peters)

Kabalevsky: Dance from Four Rondos, Op. 60 (Sikorski–Boosey & Hawkes)

C. Vine: Semplice from Red Blues (Faber) or available in Keynotes, Grades 4–5 (Faber)

V. Capers: Billie’s Song: No. 7 from Portraits in Jazz (OUP)


Scales and Arpeggios (Total 20 marks)

Scales (recommended speed crotchet = 100; p and f; similar motion) hands together and separately (2 octaves)

Scales hands together (2 octaves)

B, Ab, major C# harmonic minor, F melodic minor

Contrary - motion scales (2 octaves)

Eb major D harmonic minor

Chromatic scale hands together (2 octaves)

starting on F#

Arpeggios (recommended speed crotchet = 80) hands together and separately (2 octaves)

B, Ab major (hands together) F minor (separate hands)

__________________________________________________________________________

Violin


Corelli: Allemanda: 2nd movt from Sonata in F, Op. 5 No. 10. from Corelli 12 Sonatas, Op.

5, Vol. 2 (Schott ED 4381)

Kabalevsky: Scherzo, arr. Sorokin. No. 18 from Kabalevsky Album Pieces (Peters EP 4783)

Wedgwood: Falling from After Hours – Violin (Faber)

Telemann: Sonata No. 4 in G major; 4th movt, Allegro from Sechs Sonaten (Schott)

Kreisler: Sicilienne: from Sicilienne and Rigaudon (in the style of Francoeur) (published

separately: Schott BSS 29024 ) or Fritz Kreisler Repertoire (Vol. 1) (Schott ED 8658)

Grieg: Solveig’s Song from Concert Repertoire for Violin (Faber)

Tchaikovsky: Serenade from Concert Repertoire for Violin (Faber)



Scales (recommended speed crotchet = 66; separate bows and slurred -2 beats to a bow; even notes or long tonic, at candidate’s choice; 2 octaves)

Ab, E major; B harmonic minor, C melodic minor Arpeggios (recommended speed crotchet = 66; separate bows and slurred - 3 notes to a bow; even notes; 2 octaves) Ab, E majors (separate bows) B, C minors (slurred)

Dominant Sevenths (resolving on tonic, 1 octave, separate bows, even notes)

In the keys of C (Starting on open string G)

Chromatic scales (separate bows and slurred - 4 notes to a bow; even notes; 1 octave)

Starting on E – slurred

__________________________________________________________________________

B flat Clarinet


Purcell: Rondeau, arr. Richardson. No. 19 from First Book of Clarinet Solos, arr. Davies

and Reade (Faber)

Mozart: Voi che sapete from Two arias by Mozart (OUP)

Schumann: First Loss from Learn As You Play Clarinet (Boosey & Hawkes)

Saint-Saёns: The Swan from Take Ten for Clarinet and Piano (Universal)

Rae: 5th Avenue: No. 25 from 38 More Modern Studies for Solo Clarinet (Universal UE

21554)

Gershwin: It ain’t necessarily so from Play Gershwin (clarinet) (Faber)

Norton: Gallivanting or A Walk by the Sea: No. 28 or No. 29 from The Microjazz Clarinet

Collection 2 (Boosey and Hawkes)


Scales and Arpeggios (Total 20 marks) (A breath may be taken at the top of the scale/arpeggio).

Scales (recommended speed crotchet = 66; p and f; to be played both slurred and tongued; 2 octaves)

A, Bb major slurred G harmonic minor tongued, B melodic minor tongued

Chromatic scales (2 octaves)

Starting on F

Arpeggios (recommended speed crotchet = 66)

A, Bb (1 octave) G, A minors (2 octaves)

Dominant Seventh (2 octaves) In the key of C

___________________________________________________________________________

Guitar


Anon.: Allemande in A minor or Balletto in D. No. 1 or No. 4 from Renaissance Dances

(Universal 13070/MDS)

Jelínek: Bourrée. No. 9 from The Baroque Book (Chanterelle 2111/MDS)

Carulli ed. Wynberg: Sicilienne from First Repertoire for Solo Guitar Book 1 (Faber

507093)

Robinson: Robinson’s May from Easy Pieces from Shakespeare’s Time vol.2 (Universal

UE16693)

Sor: Étude no.18 op.35 from Complete Studies for Guitar (Chanterelle 491)

Bowers: Ostinato. No. 2 from Solo Now!, Vol. 3 (Chanterelle 2103/MDS)

Cottam: Amontillado from Zebramusic for Guitar (ESG Music 076 or ESG Music

076/Guitarnotes)



Arpeggios should be played tirando (free stroke) whilst scales may be played either tirando or apoyando (rest stroke) with a clear and strong tone.

Scales (recommended speed crotchet = 66; 2 octaves)

Fingers only (tirando or apoyando) Bb major, B minor melodic

Thumb and fingers combined (thumb for lower octave, fingers for upper octave) (tirando)

F major, F# minor harmonic.

Chromatic scale (2 octaves)Fingers only (tirando or apoyando)

starting on G

Interval scales (1 octave) (together and broken; tirando)

G major in tenths, as patterns below:

Together Broken


Broken chord (1 octave) (tirando; with over-ringing) C major

Arpeggios (recommended speed crotchet = 66; 2 octaves) (tirando; without over-ringing)

Bb major; B minor

Dominant seventh (1 octave) (tirando; without over-ringing) in the key of G, resolving on the tonic, as example below:

___________________________________________________________________________

Trumpet in B flat


Purcell: Fairest Isle from Going Solo Trumpet (Faber)Rae: Study No. 44 or No. 48: from Jazz Trumpet Studies (Faber)Tchaikovsky: Mélodie antique française (Old French Song). No. 18 from First Book of Trumpet Solos, arr. Wallace and Miller (Faber) Mozart: Canzona, No. 4 from First Repertoire Pieces for Trumpet (arr. Wastall) (Boosey & Hawkes)Bennett: Twilight in Paris from Fingerprints – Trumpet (Faber) Bernstein: America or Maria (from West Side Story) from Amazing Solos for Trumpet (Boosey)Prokofiev: Troika from Lieutenant Kijé from Amazing Solos for Trumpet (Boosey)


Scales (recommended speed - crotchet = 66; p and f; to be played both slurred and tongued)

F major (1 octave) Bb major (a twelfth) F harmonic minor and D melodic minor (1 octave)


Arpeggios (recommended speed - crotchet = 66; p and f; to be played both slurred and tongued) (1 octave) F major Bb major (a twelfth) F and D minors

Chromatic Scale (a twelfth) Starting on Bb

Whole Tone Scale (1 octave) Starting on F

___________________________________________________________________________

Saxophone


Benjamin: Jamaican Rumba from Learn as you play Saxophone (Boosey BH 12469)

Saint-Saёns: The Swan Take Ten for Alto Saxophone and Piano (Universal) or Saxophone

Solos vol.1 (Tenor) Chester CH 55207

Rae: Destination Waltz, no. 15 or Full On, no. 18 from Style Workout for Solo Saxophone

(Universal UE 21232)

Rae: Rachel and the Boys from Blue Saxophone (Universal UE 19765: Eb/Bb edition)

Grant: On the Line from Mambo Merengue for Saxophone (Brass Wind: Eb or Bb edition)

Baermann: Study in C. No. 32 from 80 Graded Studies for Saxophone, Book 1 (Faber)

Blemant: Petit Jeu from First Repertoire Pieces for Alto Saxophone (Boosey & Hawkes)


(A breath may be taken at the top of the scale/arpeggio).

Scales (recommended speed crotchet = 66; to be played both slurred and tongued)

A major (1 octave) G minor (a twelfth) Eb major; B melodic minor


Chromatic Scales (2 octaves) starting on C

Arpeggios (recommended speed crotchet = 66) A major (1 octave), Eb major (2 octaves) B minor (2 octaves)

Dominant Seventh (2 octaves) In the key of G

___________________________________________________________________________

Descant Recorder


Adams: Fred’s Frolic. No. 29 from 50 Graded Studies for Recorder (Faber)

Norton: Catwalk: No. 13 from Microjazz for Recorder (Descant) (Boosey & Hawkes)

Smith: Fred ’n’ Ginger or Ragtime Razzle: No. 2 or No. 3 from Jazzy Recorder 1

(Universal UE 18828)

Purcell: Hornpipe (from The Married Beau) and Hornpipe (from The Fairy Queen).

Nos 1 and 8 from Purcell A Second Set of Theatre Tunes for Descant Recorder, arr. Beechey

(Schott ED 12294)

Bonsor: Reverie from Jazzy Recorder II (Universal UE 19364)

Babell: Concerto in D minor op.3 no.3, 3rd movt: Adagio (Universal UE 17122)

Wilson: Hey Joe – Let’s Meet from Creative Variations for Recorder Vol.1 (Camden)


Scales (to be played both slurred and tongued)

Bb major (1 octave) F major (1 octave and down to the dominant) D harmonic minor, E melodic minor (a twelfth; harmonic and melodic)


Chromatic Scales starting on G (1 octave)

Arpeggios (recommended speed crotchet = 66; common chords of the following keys) Bb major (1 octave) F (1 octave and down to the dominant) D, E minors (a twelfth)

Dominant Seventh (1 octave) in the key of G

___________________________________________________________________________

Tuba


Benson & Fisher: Your Feet’s Too Big from Vivaldi to Fats Waller for Tuba (Brass Wind

2112TC/BC)

Shearing: Lullaby of Birdland from Big Chillers for Tuba (Brass Wind 1151TC/BC)

Vivaldi: Largo from Winter from Vivaldi to Fats Waller for Tuba (Brass Wind

2112TC/BC)

Blakeson: Big Band Swing, no. 33 or Latin Lady, no. 32 from Smooth Groove for Tuba

(Brass Wind 1141TBTC or 1153TBBC)

Johnson: Ragtime Tuba: No. 6 from The Tuneful Tuba (Brass Wind)

Gregson: Folk Song from Gregson and Ridgeon Nine Miniatures for Eb Bass/Tuba (Brass

Wind)

Goddard: Daydreams: No. 4 from Party Pieces (Spartan Press)



(A breath may be taken at the top of the scale/arpeggio).

Scales (recommended speed - crotchet = 66; p and f; to be played both slurred and tongued)

F#, Ab major (a twelfth) Eb harmonic minor (1 octave) G melodic minor (a twelfth)

Arpeggios (recommended speed - crotchet = 66; p and f; to be played both slurred and tongued) F# , Ab major (a twelfth) Eb minor (1 octave; harmonic and melodic)

Chromatic Scale (a twelfth)

Starting on Ab

Whole-Tone Scale (a twelfth)

Starting on Ab

___________________________________________________________________________

AURAL AWARENESS PAPER


The student will be asked to listen to the following piece of music and to respond to the questions below.

1. State the time of the piece (2 marks)

2. Conduct / beat the time (2 marks)

The music is played a second time and the student is asked to:

3. Sing, hum or play the tune (2 marks)

4. State the interval indicated at [a] – D to B (major 6th) (2 marks)

The music is played for the third time and the student is asked to

5. - identify the cadence at the end of the piece (perfect cadence) (2 marks)

- comment about:

o the mood

o the articulation

o the dynamics of the music (3 marks)

APPENDIX


(Common to all instruments)

__________________________________________________________________________

Exercise 3: Sight-reading test (10 marks)

Sight-reading tests should be set slightly lower in level than the repertoire list in Exercise 1 of the practical exam. Students should be allowed one minute to study the test before they attempt it. During this time, they may practice the given piece. The examiner/s will only take account of the actual performance of the test.

Exercise 4: Aural Awareness (13 marks)

An eight bar melody with simple accompaniment in 4/4 or 6/8 time will be played.

Candidates are asked to

Beat/conduct time, with a clear beat shape (conducting pattern)

State the time signature. The first 4 bars of the melody will be played again.

Candidates are to sing/hum or play the tune. Two notes from the melody will be played from low to high. Candidates are

to state the interval as major/minor 2nd, major/minor 3rd, perfect 4th, perfect 5th, major/minor 6th.

The extract will be played again.

Candidates are to identify the cadence at the end as being perfect or

imperfect.

Candidates will be asked to comment on the articulation and dynamics of the extract.

Exercise 5: Public Performance (12 marks)

One or two public performances on the student’s own instrument

Music – Theory – Form 4 (4th Year) Secondary – 2015 Page 1 of 8

DIRECTORATE FOR QUALITY AND STANDARDS IN EDUCATION Department of Curriculum Management Educational Assessment Unit

Annual Examinations for Secondary Schools 2015

FORM 4 (4th Year) MUSIC OPTION: THEORY TIME: 1h 30min

Name: _______________________________ Class: ____________________________

------------------------------------ Note to student: ------------------------------------

You are required to answer all questions

----------------------------------------------------------------------------------------

Marks

for

Theory

Marks

for

Practical

TOTALFINAL

MARK

Max. Marks

100 100 200 %

Student’s mark


1. Write the following scales and mark the semitones.

1a. Write the scale of F sharp harmonic minor ascending and descending with key signature in the treble clef. (4 marks)

1b. Write the scale of A flat major ascending with key signature in the alto clef. (4 marks)

1c. Add a clef and accidentals to make this the scale of B major. (4 marks)

2. Write the following intervals.

major 3rd diminished 5th major 2nd minor 6th augmented 4th

12 marks

5 marks


3a. Group the notes in the following exercise in (3 + 2).

3b. Group the notes in the following exercise in

5 marks

5 marks

58

68.


4. Compose a rhythm to the following words. Write each syllable under its respective note.

See the pretty snow-flakesFalling from the sky;

On the wall and house-topsSoft and thick they lie.

__________________________________________________________________ ………………………………………………………………………………………

___________________________________________________________________

……………………………………………………………………………………….

__________________________________________________________________

…..…………………………………………………………………………………..

__________________________________________________________________

...…………………………………………………………………………………….

5a. Write the following triads as indicated below.

Tonic triad of A major Subdominant triad of Dominant triad of in root position with key B major in first inversion C sharp minor in signature without key signature second inversion

with key signature

10 marks

3 marks


5b. Name the following triads in F major. Identify the chord (I, IV, V) and use symbols to describe whether the triad is in root position, 1st or 2nd inversion. a. b. c. d. e.

a. _______________________________

b. _______________________________

c. _______________________________

d. _______________________________

e. _______________________________

6. Write the following cadences in root position in SATB.

Perfect cadence in G minor Plagal cadence in D flat major

without key-signature with key-signature

5 marks

10 marks


7. Write a melody to the following bass line. You are to include

some unaccented passing notes.

8. Transpose the following tune up a perfect 5th so that it will sound at concert pitch when played by a French horn.

10 marks

10 marks


9. Look at the following excerpt and then answer the following questions about it.

bar 1 bar 2 bar 3 bar 4

9a. Name the key of the music _____________________ (1 mark)

9b. Name the chords (I, IV, V, V7) numbered 1, 2, 3, 4, 5 on top of the (5 marks) stave.

1. ______ 2. _____ 3. ______ 4. _______ 5. ________

9c. In each of the 4 bars above, draw a circle around the following notes. These can be either in the treble or in the bass clef.

i. In bar 1, circle one note which is the subdominant. (1 mark)ii. In bar 2, circle one note which is the mediant. (1 mark)

iii. In bar 3, circle one note which is the supertonic. (1 mark)iv. In bar 4, circle one note which is the tonic. (1 mark)

10a. Answer the following questions by marking the correct answer/s with a √.

i. Which of the following instruments is a transposing instrument? (1 mark)Clarinet in A _____Violin _____Flute _____

ii. The trumpet in B flat sounds a major second (1 mark)lower ____higher ____

iii. Which of the following instruments belong to the string family? (2 marks)Clarinet _____Double bass _____Viola _____

10 marks

10 marks


iv. Who composed the Hungarian Dances? (1 mark) Beethoven ______Brahms ______Mozart ______

v. Are the Hungarian Dances Nos 1 and 5 in binary or ternary form? (1 mark)Binary _____Ternary _____

vi. How many different sounds does the typewriter make in the composition entitled The Typewriter by Leroy Anderson? (1 mark)1 _____2 _____3 _____

Answer the following:

vii. To which notes are the strings of the viola tuned? ____________ (2 marks)

viii. The first movement of Beethoven’s Fifth Symphony has an exposition, a

development, a recapitulation and a ___________. (What do we call the last

section of the movement?) (1 mark)

10b. Give the meaning of the following terms:

i. Accelerando _______________________________________________

ii. Con moto _______________________________________________

iii. Largo _______________________________________________

iv. Subito _______________________________________________

v. Vivace ________________________________________________

5 marks

Music Page 1 – Ex 1c

The Note D should be sharpened

Page 3 – Ex 5a

Dominant triad of C sharp minor, the B only (top note) should be sharpened

Page 5 – Ex 10 b

ii. should be con moto that is with movement instead of L’istesso

iv. should be subito that is suddenly instead of Fortissimo

choose any three pieces from the following. · apart from the piano, ... exercise 1: 15 marks for...

Documents