NCEA Level 3 Music Studies (91421) 2013 page 1 of 8
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1 Assessment Schedule 2013 NCEA Level 3 Music Studies (91421) 2013 page 1 of 8 Music Studies: Demonstrate understanding of and tonal conventions in a range of music scores (91421) Evidence Statement Question ith Merit ith Excellence ONE (a) (b) Score Extract A FOUR chords using Roman numeral notation: (1) V (2) V7d (3) Ib (4) I THREE pairs of chords AND names the cadences formed:?# # R j j p j j j j j j j V7 vi IV I I V Interrupted Plagal Imperfect (c) (d) the key AND gives TWO pieces of evidence, including bar numbers, in support, eg: Key: D minor the first chord is D minor (bar 204) there is a raised leading note, C# (bar 204, bar 226) there is a D pedal-note (bars ) the variation ends ith a perfect cadence in D minor (bars ) Other responses possible the non-essential notes: (1) (Accented) chromatic passing note (2) Suspension (3) Upper auxiliary / neighbour note (4) Accented passing note / appoggiatura
2 NCEA Level 3 Music Studies (91421) 2013 page 2 of 8 Question One (cont d) Question ith Merit ith Excellence (e) (f) Describes the relationship of THREE keys to D major A Subdominant B Supertonic (minor) C Dominant including: dominant pedal (A) in the bass in all bars only chords Ic, and V (accept chord IV in bar 12) rhythm as specified in bar 9 (ie one chord per bar, and added parts in minims) accurate chord indications, including inversions chord voicing: - fifth of chord Ic (A) doubled - root of chord V (A) doubled - leading note (C#) not doubled smooth voice-leading: - leading note rises by step to tonic (C# D) Possible harmonisation: 9 j j j j j j j j j j j?# # Ic V Ic V Ic N1 N2 A3 A4 M5 M6 E7 E8 A partial piece of level ONE piece of level TWO (of four) pieces of level THREE (of four) pieces of level THREE nonessential notes in FOUR nonessential notes in for ONE error, in part (f) progression in part (f) N0/ = No response; no relevant evidence
3 NCEA Level 3 Music Studies (91421) 2013 page 3 of 8 Question ith Merit ith Excellence TWO (a) (i) (ii) Score Extract B Completes the given frameork by: adding to inner voices to all THREE chords AND Makes no more than ONE error in: chord voicing: - roots of all chords doubled - all notes of each triad present - no interval greater than an octave beteen any of the upper parts smooth voice-leading Possible realisation: 43 & #?# Completes the given frameork by: adding to inner voices to BOTH chords AND Ib IV I Makes no more than ONE error in: chord voicing: - all notes of chord V7 present - leading note raised (C# in V7) - 7th of V7 falls by step (G F#) - no interval greater than an octave beteen any of the upper parts smooth voice-leading: - leading note rises by step to tonic (C# D) and the fifth of I (A) is omitted OR leading note falls a third (C# A) and all notes are included in I To possible realisations: & # #?#?# V7 I V7 I
4 NCEA Level 3 Music Studies (91421) 2013 page 4 of 8 Question To (cont d) Question ith Merit ith Excellence (b) (i) (ii) Completes the given frameork (bars 3 and 4) by: adding to inner voices to all THREE chords AND Makes no more than ONE error in: chord voicing: - roots of all chords doubled - all notes of each triad present smooth voice-leading - leading note rises by step to tonic (F# G) Possible realisation: & # c?# c p Completes the voicing of bars 2 and 3, for TWO cluding: four-part riting chord voicing: - root or fifth of each chord doubled - leading note (F#) not doubled - all notes of any 7th or added-6th chord included - close harmony smooth voice-leading - leading note rises by step to tonic (F# G) - seventh of the chord falls by step Ib IV6 ii7 iiib V7d Ib IV7d ii V I
5 NCEA Level 3 Music Studies (91421) 2013 page 5 of 8 Question To (cont d) Question ith Merit ith Excellence (c) (i) (ii) the pivot chord AND describes it in relation to both keys: I in C major / IV in G major Possible harmonisation: 29 & # c n n n #?# n ẇ c # including: four-part riting accurate chord indications chord voicing: - root or fifth of each chord doubled - leading note not doubled - all notes present in any 7th or added-6th chord - no interval greater than an octave beteen any of the upper parts smooth voice-leading: - leading notes and 7ths resolved ly rhythm: - generally to chords per bar idiomatic keyboard riting ẇ j C major G major I IV IV7 V7d Ib7 IV7d N1 N2 A3 A4 M5 M6 E7 E8 ONE (of three) piece of level partially correct TWO (of three) pieces of level partially correct ONE (of three) piece of level TWO (of three) pieces of level ONE (of to) piece of Merit level TWO (of to) pieces of Merit level for TWO and stylish for TWO N0/ = No response; no relevant evidence
6 NCEA Level 3 Music Studies (91421) 2013 page 6 of 8 Question ith Merit ith Excellence THREE Score Extract C (a) the chords using jazz / rock notation: (b) (1) Dm7 (accept F/D) (2) Db7 (accept Fdim/Db) (3) F7 (4) Ab9 Possible realisation: Completes the voicing of the passage, including: accurate notation (including accidentals) chord voicing smooth voice-leading 21 & bb b? b b b E 7 A 7 D Š7 D 6 µ D Š7 D 6 b b b b b j j b b b Ó b j (c) Possible harmonisation: including: accurate chord indications chord voicing smooth voice-leading rhythm idiomatic keyboard riting B B 7/D D 7 C 7 F7(#5) B 6 G 7 C 7 F7 & bb C j b b # j? b b C b j j j j j N1 N2 A3 A4 M5 M6 E7 E8 ONE chord in part (a) TWO chords in part (a) THREE chords in part (a) FOUR chords in part (a) Completes the voicing, ith alloance for TWO part (b) Completes the voicing, ith alloance for ONE error in part (b) for THREE and stylish for TWO N0/ = No response; no relevant evidence
7 NCEA Level 3 Music Studies (91421) 2013 page 7 of 8 Question ith Merit ith Excellence FOUR (a) (b) Score Extract D the chords using figured bass notation: (1) # (2) yf (3) Ey (4) yf Possible realisation: Completes the voicing of the passage, including: accurate notation (including accidentals) chord voicing smooth voice-leading 33 # # # #?# # - ta ri me - j 6 5 j S F 6 5 (c) Possible harmonisation: 8?# # # j j including: accurate chord indications chord voicing smooth voice-leading rhythm idiomatic keyboard riting 2ü N1 N2 A3 A4 M5 M6 E7 E8 ONE chord in part (a) TWO chords in part (a) THREE chords in part (a) FOUR chords in part (a) Completes the voicing, ith alloance for TWO part (b) Completes the voicing, ith alloance for ONE error in part (b) for THREE and stylish for TWO N0/ = No response; no relevant evidence
8 NCEA Level 3 Music Studies (91421) 2013 page 8 of 8 udgement Statement Not Achieved ith Merit ith Excellence Score range
Level 3 Music Studies, 2015
91421 914210 3SUPERVISOR S Level 3 Music Studies, 2015 91421 Demonstrate understanding of harmonic and tonal conventions in a range of music scores 2.00 p.m. Monday 16 November 2015 Credits: Four Achievement
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What s a Tritone Substitution? The tritone substitution is one of the most common substitution found in jazz. The basic application of a tritone chord substitution is to take any 7th chord and play another