GCE MARKING SCHEME

SUMMER 2017

MUSIC - MU3 PARTS 1 & 2 (LEGACY)

1303/01 & 1303/02

© WJEC CBAC Ltd.

INTRODUCTION

This marking scheme was used by WJEC for the 2017 examination. It was finalised after
detailed discussion at examiners' conferences by all the examiners involved in the
assessment. The conference was held shortly after the paper was taken so that reference
could be made to the full range of candidates' responses, with photocopied scripts forming
the basis of discussion. The aim of the conference was to ensure that the marking scheme
was interpreted and applied in the same way by all examiners.

It is hoped that this information will be of assistance to centres but it is recognised at the
same time that, without the benefit of participation in the examiners' conference, teachers
may have different views on certain matters of detail or interpretation.

WJEC regrets that it cannot enter into any discussion or correspondence about this marking
scheme.

© WJEC CBAC Ltd.

 GCE MUSIC MU3 PARTS 1 & 2 (LEGACY)

SUMMER 2017 MARK SCHEME

PART 1

LIST A:

AREA OF STUDY 1: ORCHESTRAL MUSIC

1. Bach: Brandenburg Concerto No.2, first movement [Pages 1-13]

(a) (i) The extract begins with a ritornello theme/section (bars 1-83). Briefly
explain what is meant by this term. [1]

Theme that returns (rondo-like) (separated by episodes)

(ii) Other than harmony/tonality, give two features of this opening ritornello
(bars 1-83). [2]

 Bars 1-2 consist of (arpeggio-like) repetitive motifs / except for bass

part, which consists of (semiquaver) scalic figures / and is more
limited in range
 similar semiquaver figures appear in recorder, oboe etc. in bars 3-4 /
while bass part is more arpeggio-like
 bars 5-6 – free inversion of opening “theme” in all but bass and
trumpet
 further variant of semiquaver figures appears in bars 64-83
 Unison between instruments (with any two correctly named
instruments)

(b) Explain how Bach uses the ritornello material in the remainder of the extract.
[2]
[1 mark for each relevant comment with bar numbers]

 2-bar fragments of theme used to punctuate new material (in concertino)

(e.g., 104-113) (opening of ritornello theme detached from later phrases)
 remainder of material (24-83) used to establish dominant key (224-283)
 theme used to “accompany” new material in concertino (e.g., bars 304-35)
 new variant (with limited melodic content) appears in Vlns & Vlas in bars
394-47) / more emphasis on rhythmic features
 opening melody appears on trumpet (404→), the first time on a solo
instrument without doubling in concerto grosso

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 (c) Comment on the harmony and tonality in bars 304-393.
[1 mark for each relevant comment with bar numbers where necessary]
[2]
Harmony
 Tonic Dm chord lasts for first two bars
 based (→bar 36/37) on circle of 5ths progression
 which includes sequence [1] of (secondary) 7th chords [1] (accept
suspensions)
 bars 36-39 consist mostly of dominant and tonic chords
 root position chords
Tonality [1]
D minor

(d) The music in bars 304-392 returns at bar 934. Other than harmony and tonality,
give two differences in the music at this later point. [2]

 Brief imitative (stretto) entries added (e.g., ob/tpt imitates fl/Vln1 in

944→952)
 semiquaver figure stated in bass only (omitted from concertino) until bar 96
 solo violin double-stopping passage also omitted
 instrumentation altered – e.g., tpt/ob imitation now on fl/vln / this figure
prefaced by 2 bars based on ritornello theme (not present in earlier passage)

2. Beethoven: Symphony No.5 in C minor, first movement [Pages 14-43]

This extract begins at bar 125.

(a) From which main section of the movement is the extract taken? [1]
Development

(b) Comment on the harmony/tonality of bars 125-1451. [3]

[1 mark for each relevant comment with bar numbers]
 Bare 5th (127-28) / suggests dominant chord in Fm
 series of dominant-tonic chords in that key (125-42) follows / Dbs in melody
dissonant with the 5th(C) in Fm chord
 music then moves to Cm / via a secondary dominant (VofV) (bar 1442)
 so making an imperfect cadence

(c) Comment on the use of instruments in these bars (i.e., 125-1451). [2]
[1 mark for each relevant comment with bar numbers]
 2nd bassoon plays bass part from 130-42
 allowing VC part to assume more melodic role
 8ve/unison WW/Brs in 125-28 (and Strings in bars 126-28)
 antiphonal effect in bars 125-28 between WW & Stgs / also engage in
dialogue-type effect in bars 130-41
 Vla & VC play in unison from bar 130 (→164)
 Bassoons play in octaves bars 130 142

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 (d) Give the bar number(s) (and beat numbers where necessary – e.g., 143) where one
example of each of the following occurs in bars 170-209. [3]

(i) a dominant 7th chord – Bars 182-86 / 190-94 / 198 / 202 / 208

(ii) reference to 2nd subject material – Bars 179(-82) / 187(-90)

(iii) antiphony – Bars 196-203 / 204-209

(e) State one way in which Beethoven highlights the F# minor chord first heard in bar
215. [1]
 Repeated (6 times) (lasts for 6 bars)
 dynamic “p→sempre piú p” is most extreme in movement so far (only
matched in entire movement in bars 483-90)
 antiphonal statements between Stgs and WW now repeat same chord (used
different chords up to this point)
 Polarised pitch between wind and strings

AREA OF STUDY 2: VOCAL MUSIC

(a) Handel: Zadok the Priest: God save the King [Pages 97-103]

[Note: Some centres may have numbered this chorus’ opening bar as bar 1, others
as bar 63. The alternative bar numbers given below take this into account.]

(b) Explain the movement’s tempo direction of a tempo ordinario. (Do not merely
translate the words into English.) [1]

At a moderate speed

(b) Comment on Handel’s use of woodwind, brass and percussion instruments in the
chorus. (Do not merely list instruments used.) [3]
[1 mark for each relevant comment with bar numbers where necessary]

 Timpani restricted to tonic&dominant notes / so tend to play in passages in

tonic key / always f
 bassoons double VC part in places (do not play throughout)
 oboes and trumpets reinforce vocal parts/strings at opening (e.g. bars 1-3/63-
65)
 trumpets omitted in repeat of “Amen” passage (bar 204→/824→)
 oboes double violin parts in “interludes” (124-16/744-78) / and, e.g., in bars
33-39/95-101)
 trumpets become more prominent in bars 47-51/109-13) (play semiquaver
figures in bar 49/111)
 trumpets and timps have own distinctive fanfare-like figure in final bar

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 (c) Other than harmony/tonality, state two features of the way Handel sets the text
in bars 1-73 [63-693]. [2]
[1 mark for each relevant comment]

 Varied texture (homophonic→monophonic→homophonic)

 vocal and instrumental resources also varied (full chorus &
orchestra→Altos & Vls/Vlas only→full chorus & orchestra)
 unequal phrase lengths (3+2+2 bars)
 articulation also varied (staccato in bars 54-73/674-693)
 syllabic

(d) Comment on the harmony in bars 1-73 [63-693]. [2]

[1 mark for each relevant comment with bar numbers]

 Begins with tonic harmony (accept tonic and dominant harmony over tonic
pedal) (bars 1-3/63-65)
 bars 4-53/66-673 remain on tonic chord / with implied subdominant chord
on B
 bars 54-73/674-693 mostly tonic-dominant progressions / with a secondary
dominant (vii of V) at (imperfect) cadence (72-3/692-3)

(e) Other than tonality, give two differences between the music in bars 17-223 [79-
843] as compared with that in bars 1-73 [63-693]. [2]

 Melody (S part) changed (vocal parts mostly re-arranged)

 Tenors join Altos in monophonic/unison passage in bars 19-203/81-823
 S part also changed in bars 204-224/824-844
 Violins add decoration in bars 212-3/832-3
 accept no staccato in bars 204-221/824-841

2. Schubert: Die Schone Mullerin: Der Neugierige [Pages 149-150]

(a) Describe the structure of bars 1-22. Give bar numbers in your answer. [3]

Introduction A1 A2 postlude/codetta
Bars: [1-4] [42-12] [122-201] [201-21/22]

Award marks as follows:

No. of correct answers Marks awarded

7-8 3
4-6 2
1-3 1
0 0

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 (b) State two features of interest in Schubert’s use of texture in bars 1-21. [2]

 Texture increases throughout bars 1-2 (3-, to 4- to 5-part chords) / 6-part

chords in bar 4
 alternating LH/RH figuration (5-10/13-18) results in quite thin texture
 though fuller texture at cadences (11-12/19-20)
 briefly monophonic (bar 20)

(c) Name in full (e.g., C major) the key tonicised (briefly visited) in bars 19-20.
[1]

F sharp major

(d) Describe one way in which Schubert brings out the meaning of the text in bars 23-
32. A translation of the lines in question is printed below. [1]

Oh, little brook of my love, why are you so silent today?

I only want to know one thing, one word, one way or the other.

 RH semiquaver figuration suggests rippling brook

 change of metre and longer note values (plus slower tempo) / and omission
of previous rests / together with slower harmonic rhythm all suggest calm
(silent) atmosphere
 change of tonic major→minor hints at singer’s melancholy

(e) Give the bar number(s) (and beat numbers where necessary – e.g., 143) where one
example of each of the following occurs in bars 23-55. [3]

(i) a diminished 7th chord – Bars 283 / 303 / 342-3 / 483 / 503 / 532

(ii) an interrupted cadence – Bar 501-2

(iii) a modulation to the flattened submediant – Bars 37-38 (40-41)

© WJEC CBAC Ltd.

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AREA OF STUDY 3 – CHAMBER MUSIC

1. Corelli: Trio Sonata in F (Allemanda) [Page 154]

(a) This Trio Sonata is an example of a sonata da camera. Briefly explain what is
meant by this. (Do not merely translate the words into English.) [1]

 Sonata intended for secular performance

 consists of a prelude followed by a series of dance movements

(b) Give two interesting features of the phrase structure of bars 1-14. [2]

 Divides into 4 (or 5) phrases / unusual phrase lengths

 second phrase divides more clearly into two halves (could even be considered
two short phrases)
 4th phrase (132-14) merely echoes end of previous phrase
 imitative entries account for unusual phrases lengths in phrase 1
 absence of initial dotted rhythm imparts feeling of new (b) phrase in bars 92-
13 / though phrase ending alludes to opening phrases’ cadence
 so giving an overall a1-a2-b (+extension/echo) structure

(c) Describe the use of instruments in bars 53-14. [3]

[1 mark for each relevant comment with bar numbers]

 Violins 1&2 combine with statement of movement’s opening dotted-rhythm

material
 while VC begins a “running” bass line
 Violins then become more differentiated in bars 64-91 / some crossing of
parts here
 Violins maintain a quasi-imitative texture in bars 9-11
 while VC changes to a differentiated “walking” bass line
 all three parts combine (without differentiation) for cadential passage in bars
12-14 / Violin 2 plays “top line” here

(d) Give two features of interest in the harmony in bars 17-21. You must supply bar
and, where necessary, beat numbers in your answers. [2]

 Diminished (accept dominant) 7th chord (bar 173-4) / initiates a brief

tonicisation of Dm
 Neapolitan 6th chord (183-4) / double accented passing notes (192) / cadential
6/4 (193)
 expected dominant chord on next beat unexpectedly appears in minor form
(Am rather than A major) / setting up a brief tonicisation of Gm (201-2) /
which hints at a return to the tonic key in bar 203-4 with a ii-V-I progression
 secondary 7th (IV6/5) at bar 211 (another subdominant→dominant→tonic
progression) confirms this in 211-3

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 (e) What is the term given to the series of numbers placed under the Violone/cembalo
part in the movement? Give one example of how this system works in the music,
supplying a bar and beat number. [2]

Term – Figured bass

Example – Accept any correct answer with location (e.g., 6 in bar 2 = 1st
inversion chord (6th above the bass note)

2. Beethoven: String Quartet in B flat, Op.18, No.6: first movement [Pages 157-163]

This extract begins at bar 1.

(a) The movement’s opening material returns briefly at bar 80.

(i) In which key does this material return?

F major

(ii) Other than dynamics/articulation, give two other ways in which this
material differs from its opening statement. [2]

 Begins with material from bar 5 (first four bars omitted)

 Vla replaces VC in dialogue (cf. 5-9 with 80-84)
 1st subject material followed immediately by transition material (84-
85) (bars 29-32 omitted)
 repeated accompanying crotchets omitted
 accompanying quaver figuration also altered (83-84)

(b) Give the bar number(s) (and beat numbers where necessary – e.g., 143) where one
example of each of the following occurs in bars 29-75. [3]

(i) a sequence - Bars 533-603

(ii) an imperfect cadence in the dominant key – Bars 42-43 / 47-48 / 51-52
/67

(iii) a cadential 6/4 chord (I/i 6/4) – Bars 551 / 591 / 611 / 631

(c) In the list below, underline the name of the exposition’s subsidiary section on
which the music in bars 113-138 is based. [1]

First Subject Second Subject Transition Codetta

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 (d) Describe Beethoven’s use of instruments in bars 113-138. [3]
[1 mark for each relevant comment with bar number(s)]

 VC begins alone / imitated (in stretto) by Viola

 Violins enter together (in 3rds) / VC omitted here to preserve previous 3-part
texture
 VC enters to begin new series of entries (overlaps Vlns’ statement) (1194)
 third set of entries begins in 1254→
 new pairing of instruments begins in bar 1314 (Vln2&Vla
→Vla&VC→Vln2&VC)
 all join forces for first time in 137-38 / though Vln1& VC and Vln2&Vla are
paired in term of pitch

© WJEC CBAC Ltd.

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LIST B:

AREA OF STUDY 4: MUSICAL THEATRE

1. Loesser: Guys and Dolls: Runyonland [Pages 214-215]

(a) Describe the structure of the extract. You must supply bar numbers in your
answer. [3]
[1 mark for each relevant comment

 Episodic (5 short sections) / does not fit into any conventional structure / a b
c1 c2 d
 two episodes (1-12, 12-28) present fragments of song tunes / followed by two
rather more complete statements of a tune (29-46, 47-52) / second of which is
curtailed after only 6 bars
 final section (53-74) fragmentary at first but giving way to slightly more
melodic material

(b) Give the bar number(s) (and beat numbers where necessary – e.g., 143) where one
example of each of the following occurs in the extract. [3]

(i) a perfect cadence – Bars 24-25 / 46-47 / 64-65 (accept 30-31. 34-35, 42-
43, 48-49)

(ii) a chromatic scale – Bars 67-701

(iii) an added 6th chord – Bars 25 / 56 / 65(4)

(c) Comment on the melodic content of bars 123-28. (You should not merely name
the theme(s)). [2]
[1 mark for each relevant comment with bar number(s)]

 Two melodic ideas used in bars 123-15 (123-141 and 142-15)

 bars 16-17 develop bars 123-141 / two notes (C&D) extended to five (C→G)
 answering phrase contains only small changes (cf. 153-4 with 193-4)
 bars 23-24 repeat bars 21-22 with chromatic alterations (to fit harmony)
 melodic figure from, for instance, bar 21 fragmented and repeated in
(descending) sequence
 bar 21 could be considered an expanded version of bar 13 / with pitch
slightly varied / and diminution of note lengths

(d) Fully name the key (e.g., B minor) in bar 47. [1]
D flat major

(e) Give one feature of interest in the rhythm/metre in bars 67-70 of the written
score. Give bar/beat numbers in your answer. [1]
Sfz accents in melody give sense of syncopation / or of a melody in 3/4 that
conflicts with the prevailing 4/4 metre

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2. Bernstein: West Side Story: Tonight [Pages 221-236]

(a) (i) Comment on the harmony/tonality in bars 1-20.

[1 mark for each relevant comment with bar number(s)] [3]

 A minor tonality implied

 harmony is dissonant in bars 1-14
 bass riff suggests a dominant (7th) chord / with jazz-like extensions /
G natural = #9 (accept false relation) / C natural = b13/#5
 this dominant chord finally resolves to A in bar 15 / but A is
harmonised as a (dominant) 9th chord
 bars 15-20 consist of a succession of dominant 9th chords (on A, G
(16) and C(17)) / that on C in 2nd inversion
 C&E of this chord used as “pivot” notes to move back into the
number’s opening E-based harmony (202→)

(ii) Give one reason why you consider that Bernstein has used the features
given in your answers above. [1]

 Harmonic dissonances suggest the conflict or antagonism between

the two rival gangs
 use of jazz harmony in certain passages projects suitable sense of
ethnicity

(b) Give two interesting features in the rhythm/metre in bars 1-19. Supply bar
numbers in your answers where necessary. [2]

 Additive time signature used

 6 beats split into 4+2 in upper parts (RH of piano accompaniment as given)
and voices / while bass riff (LH) implies 3+3 division of beats
 unanimity in all parts in bars 15-19
 though metric/rhythmic conflict still present in the alternating 4/4 (duple)
and 3/8 (triple) time signatures

(c) Other than harmony/tonality, state two changes that occur in the music in bars
37-45 as compared with the previous music. [2]

 Time signature changes to persistent 4/4

 2-note bass riff rather than three as before
 vocal melody (38-391-3) extends motifs used in bars 142-153 (quaver
movement more persistent)
 Jets and Sharks sing together for first time
 2 semiquaver-quaver motif (e.g., bar 351) extended/repeated in bar 45

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 (d) Comment on the music of the instrumental accompaniment in the final four bars
(148-151). [2]
[1 mark for each relevant comment]

 New bass riff introduced / which now implies 3/4 against 4/4 in other parts
 also consists of an arpeggio motif for first time
 its notes suggests Ab major / while upper parts move in parallel triads
 C major-minor seems the basis of the upper parts
 but auxiliary/passing D major triads introduce hint of a tritone between
upper and lower parts / an interval that is used frequently in the musical

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AREA OF STUDY 5: JAZZ, ROCK AND POP

1. Ellington: Black and Tan Fantasy [Pages 173-176]

(a) State in full (e.g., C major) the key at the start of the extract. [1]
B flat minor

(b) (i) Comment on the harmony in bars 1-12. [1]

 Uses tonic, subdominant and dominant chords only (I, iv, V(7)) /
blues progression / root position
 perfect cadence (bars 10-12)

(ii) How does this change in bars 13-191? [2]

[1 mark for each relevant comment with bar numbers where
appropriate]

 Becomes more chromatic

 Gb7 chord in bar 13 is chord on flattened submediant (German 6th)
(of new key, Bb major)
 (resolves onto) I6/4 in bar 15
 harmonic rhythm is slightly faster / even more so in 17→

(c) Explain what is meant by a “plunger” mute, which is used on the solo trumpet in
bars 29-52. [1]

 Mute was originally made from a sink or toilet plunger

 used in jazz to create a number of different sounds depending on the material
from which it is made / from a metallic buzzing sound to a warmer sound
 award mark for any relevant information

(d) Give the bar number(s) (and beat numbers where necessary – e.g., 143) where one
example of each of the following occurs in the extract. [3]

(i) cross rhythms – Bars 25-262

(ii) a plagal cadence – Bars 6-8

(iii) a turnaround (turnabout, turnback) – Bars 19-20 (27-28)

(e) State two features of the accompaniment in bars 29-52. [2]

 Banjo plays chords on every crotchet beat

 bass / on beats 1&3
 cymbal plays occasional single notes – bar 42(3) and bar 49(4)

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2. Queen: Killer Queen [Pages -203-213]

(a) Describe the phrase structure of bars 23-113. [2]

[1 mark for each relevant comment with bar numbers]

 4-bar phrase (+anacrusis) (23-6) / followed by a 5-bar phrase (7-113)

 first phrase divides into 2+2 bars / second phrase into 2+3 bars (unequal
phrases)
 give credit for comment on 6/8 bar (10) giving the feeling of a half bar
within the prevailing 12/8 time signature

(b) Give two features of the solo vocal melody in bars 23-11. [2]

 Repeated notes a feature at times (e.g., 61-2, 92-10)

 varied repetition also a feature (cf. 3-4 with 5-6, and 7 with 8 (and 92)
 repetition reduced from 2 bars to 1 bar to ½ bar (3-4, 5-6, 7-8(- 92)
 appoggiatura (G-F, bar 11)
 accept anacrusis (bar 2)

(c) Outline the tonality of bars 1-18. [3]

[1 mark for each relevant comment with bar numbers]

 Opening Cm chord and pedal note (5-6) initially suggests Cm as tonic key
 but Bb7 in bar 4 and 61-2 point to Eb major as actual tonal centre / imperfect
cadence in bars 9-11 confirms this
 brief tonicisation of Ab major in bar 8 / and Ab minor in bar 91-2
 Cm tonicised in bar 12 / Gm in bar 141-3 / effects modulation to Bb major
(dominant) for chorus / Dm tonicised in bar 173-4 / C major in bar 18
 Concise answer might read: Verse in Cm [1] / pre-chorus tonicises other
keys (one example required) [1] / Chorus in Bb major [1]

(d) State three differences in bars 264-43 as compared with bars 23-263. Supply bar
numbers in your answers. [3]

 C pedal appears from start of verse (27) (rather than 3rd bar)
 backing vocals enter earlier (in 5th bar of verse (31) (rather than half way
through 6th bar (8))
 and now in 4 parts (rather than 3)
 also participate more fully (more rhythmic (sing text rather than “Ah”) in
bars 322→ )
 respond to solo vocal in 364
 Snare drum roll bars 27-28 not in first presentation

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AREA OF STUDY 6: WELSH SONGS

1. Dilys Elwyn-Edwards: Caneuon y tri Aderyn; Y Gylfinir [Pages 269-272]

(a) Comment on the relationship between the voice and piano in bars 1-26. [2]
[1 mark for each relevant comment with bar number(s)]

 Parts are quite unconnected

 piano part presents different thematic material in introduction (bars 3-8, RH)
(more movement/shorter note lengths)
 and LH suggests 6/8 metre while vocal part is clearly in 3/4

(b) State one way in which this relationship changes in bars 27-57. [1]

 Voice and piano become more integrated from bar 27→

 piano assumes a more “supportive”/accompanimental role, filling in the
voice’s long notes
 LH accompaniment picks out crotchet beats from 38→

(c) Comment on the use of tonality in bars 1-57. [2]

[1 mark for each relevant comment with bar number(s)]
 Begins in F mixolydian mode (bars 1-28)
 bars 29-34 hint at F major
 sudden move to D mixolydian at bar 35
 bars 44-57 more unstable / with brief hints at Bb lydian mode (44-46) / and G
mixolydian (47-48)
 bars 51-54 repeat bars 45-48 a 5th lower (so suggesting Eb lydian and C
mixolydian / the latter lasting until bar 56(57)

(d) State two interesting features of the music in bars 62 to the end. [2]

 Soprano’s Eb in bar 62 moves the music back into F mixolydian mode / for
first time since opening section
 piano’s arpeggio-like figuration (58→) turns into a (partial) reminiscence of
the piano’s melody from bars 3-4 / in “free” augmentation
 melodic fragment from bar 3 then repeated in bars 65-67 (last time with final
note a 4th higher)
 rising scale in piano (68-69)
 implied perfect cadence at end

(e) Give the bar number(s) (and beat numbers where necessary – e.g., 143) where one
example of each of the following occurs in bars 26-57. [3]
2-3
(i) an appoggiatura in the piano part – Bars 27 / 32

(ii) parallel chords – Bars 35-37 / 44-48 / 50-54

(iii) a major 7th chord – Bars 35-37 / 44 / 45 / 46 / 51 / 52

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2. Caryl Parry Jones: Pan ddaw yfory: [Pages 276-285]

(a) The chord used in bar 4 is an Esus4 chord. Explain what this means. [1]
3rd of chord (G) is replaced by note a (perfect) 4th higher (A)

(b) Give two features of the vocal melody of Verse 1 (bars 5-12). [2]
 Each of first three (2-bar) phrases are similar / and begins after (almost a)
half bar’s rest
 melody moves predominantly by step
 different concluding 2-bar phrase in 104-12 / contains a brief 2-note
sequence (G-E & F#-D) (bar 11) / and begins after just a quaver rest (rests
are longer between previous phrases)
 syncopation used in vocal melody while accompaniment uses no syncopation

(c) Comment on the harmony used in Verse 1 (bars 5-12). (You should not attempt to
name every chord used). [2]
[1 mark for each relevant comment with bar numbers]

 Dissonance a feature / mostly in form of added 9ths (e.g., to Em and Am

chords in bars 5-62)
 B7sus4 chord in bar 63-4
 V used in cadences in bars 6, 8 and 10 / modal cadence (with D natural) in
bar 113-4
 3 phrases restricted to tonic, subdominant and dominant chords / final
phrase introduces VI and v

(d) Using the headings below, give one difference in the music of the chorus (bars 20-
28) as compared with that of the previous two verses.

Structure [1]

Chorus consists of two 4-bar phrases (a1-a2) rather than four 2-bar phrases (a1,
a2, a3, b)

Harmony/tonality [2]

 Chorus is based on a 4-bar progression while first three phrases of verse

repeat same 2-bar progression while
 chorus begins with iv (uses different harmonic progression) while verse’s
progression is i-iv-V / verse is more modal / with chords on flattened 7th and
minor v (VII7 & v)
 cadences in chorus are perfect and imperfect while those in the verse are
imperfect (x3) and perfect (modal) / none of chorus’ cadences have modal
inflections

(e) How does the instrumentation change in Verse 2? [1]

Verse 2 introduces bass guitar

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 (f) State one similarity between the verse and chorus in bars 29-44. Give bar numbers
in your answer. [1]

 Both are in same key (Em)

 both frequently use 7th and 9th chords (frequent use of appoggiaturas in
both/similar harmonic style)
 both rely on single vocal/melodic line even if doubled at the 8ve in chorus

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 PART 2

1. First, you will hear the opening of a work for two voices and instruments. The text
used, together with an English translation, is given below. [Pergolesi – Stabat Mater]

The extract will be played three times. You now have 45 seconds to read the
questions.

1. Stabat Mater dolorosa The grieving Mother stands

2. Juxta crucem lacrimosa, Beside the cross weeping,
3. Dum pendebat Filius. Where her Son was hanging.

(a) Underline the correct time signature of the music. [1]

3/4 4/4 6/8

(b) Which type of male voice sings in the extract? Choose from the list below. [1]

Bass baritone tenor countertenor [Underline one answer]

(c) Underline the instrument which forms part of the continuo in the extract. [1]

Bassoon harpsichord lute

(d) Tick the appropriate boxes below to indicate which two of the musical
features listed are used in the vocal parts. [2]

Suspensions 
Recitative
Unison writing
Imitation 
Octave leaps

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 (e) Other than the features given in (d), state two ways in which the composer
brings out the meaning of the words in the vocal section. [2]

 Use of minor key (traditionally associated with grief)

 much use of dissonance / voices/instruments tone/semitone apart
 use of chromaticism also heightens tension/sense of pain
 affective melisma [1] and dissonance [1] on “lacrimosa” (tearful,
weeping)
 long note used for stabat (stands)
 Violins double vocal parts 8ve higher (rather than in unison) on “dum
pendebat filius” (so highlighting the vision of Christ on the cross)

(f) Describe the use of instruments in the vocal section of the extract. You
should not merely list instruments. [2]
[1 mark for each relevant comment]

 Violins double vocal parts / but play melody of line 3 8ve higher [no
double credit if given as answer to (d) above]
 cello plays “walking” bass line (constant quavers)
 lute plays little improvisatory link at end of line 1

(g) Name the final cadence in the extract (on Filius). [1]
Imperfect

2. The next extract is for orchestra and consists of two sections, as indicated below.
[Wagner – Flying Dutchman Overture]

The extract will be played three times. You now have 45 seconds to read the
questions.

Section 1 Section 2
Allegro con brio; starts f, ends pp Andante; begins pp
with a silence

(a) Give two features of the fanfare-like melody played by the brass at the
opening of the extract. [2]

 Mostly uses (perfect) 4ths / 5ths

 repeated notes (at beginning and end)
 acciaccaturas on final repeated notes
 anacrusis

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 (b) State one way in which this melody is changed or modified later in Section 1.
(There is no need to mention instruments here.) [1]

 Extra note added to “5th segment” (crotchet becomes two quavers)

 and is repeated / shortened (fragmented) / curtailed further towards end
 opening 4th singled out and repeated in final bars of section / until only
final note remains
 which is then repeated
 acciaccatura segment omitted in statement towards end of section

(c) Tick the appropriate boxes below to indicate which two of the musical
features listed are used in Section 1. [2]
Muted brass
Tremolando 
Syncopation
Plagal cadence
Pedal 

(d) Give two differences in the harmony/tonality of Sections 1 and 2. [2]

 Section 1 minor → Section 2 major

 Section 1 chromatic → Section 2 diatonic
 Section 1 dissonant → Section 2 consonant
 Opening chord of Section 1 has no 3rd (tonality (major or minor)
ambiguous at first) → Section 2 all chords complete (no ambiguity in
tonality)
 Section 1 variety of chords used (including diminished 7ths) → Section 2
only tonic and dominant chords used

(e) Comment on the composer’s use of instruments in Section 2. (You should

not merely list instruments used.) [2]
[1 mark for each relevant comment]

 Wind (WW&FrHrn) instruments only

 Cor anglais plays melody in first phrase (half) / doubled by French horn
at first
 oboe takes over melody in second phrase (half) / flute completes oboe’s
melody at cadence

(f) From the list below, underline the name of the composer who you consider
wrote this music. [1]
Handel Mozart Wagner

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3. This extract is taken from a Piano Quintet and begins with three statements of the
same 8-bar melody, each on a different instrument. [Schubert – Trout Quintet]

The extract will be played three times. You now have 45 seconds to read the
questions.

(a) Give one difference between the first two statements of the opening melody
(on violin [1]

 Violin plays single notes → Piano plays an 8ve higher / in 8ves

 Violin statement stays in same key → Piano statement modulates [accept
melody is altered in second half of Piano statement]

(b) State two features of interest in the music when this melody is immediately
repeated for the third time. You may also comment on the accompaniment
here. [2]

 Melody appears in the bass part (acts as bass for harmony)

 melody effectively only four bars long (shortened) (becomes more of a
bass line for harmony)
 new (triplet)(scalic)idea introduced in piano
 repeated chords
 dotted rhythms

(c) Comment on how the musical material of these three statements (including its
accompaniment) is used in the remainder of the extract. (You should mention
relevant instruments where appropriate). [3]
[1 mark for each relevant comment]

 (Dotted) rhythm of accompanying chords continues to be used for next

few bars (until next section) (on piano/DB)
 piano’s triplet (scalic) figure continues / shortened
 and becomes basis of dialogue between string instruments (Vln/Vla/VC)
/ in (free) inversion
 variant of opening 8-bar melody then used (Vln/Vla)
 with VC (and bass) playing triplet figure / now restored to original length
 single bar (fragment) of triplet figure repeated [1] in sequence [1] (by
Pno)
 then used in dialogue between Vln & Pno / free inversion [no double
credit]
 Pno and Vln briefly join forces with two different versions of triplet
figure

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 (d) (i) This extract consists of a complete section from a movement in sonata
form. Which of the three sections listed below do you think this is?
[1]
Exposition Development Recapitulation [Underline one answer]

(ii) Give one reason for your answer. [1]

 Music moves through variety of keys (tonally “unstable”)
 melodically rather fragmentary in places
 music becomes rather contrapuntal (texturally complicated) /
with different motifs combined
 triplet figure subjected to melodic variation (e.g., inversion)
 ends with what sounds like dominant preparation for
recapitulation section

(e) A traditional piano quintet consists of a piano plus a string quartet. What is
unusual about the composer’s choice of instruments for this particular work?
[1]
 Double bass used (as “additional” bass instrument)
 only one violin used

(f) In which of the following years do you think the work was composed? [1]
1759 1819 1879 [Underline one answer]

4. Finally, you will hear the whole of a short piano piece by Tchaikovsky, most of the
melody of which is printed below. [Morning Prayer – Album for the Young]

The extract will be played five times.

You now have 45 seconds to read the questions on page 9.

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 (a) State in full (e.g., C major) the tonic key of the piece. [1]
G major

(b) Name the cadence in bars 33-4. [1]

Imperfect [accept Phrygian]

(c) Complete the music in bars 123-161. The rhythm has been given to you. [3]

Mark according to following table:

Number of correct pitches Marks awarded

10-12 3
5-9 2
1-4 1
0 0

(d) Give the bar number(s) of one example of each of the following in the music.
[2]

(i) Pedal – Bars 15-24

(ii) Suspension – Bar 8(1)

(e) In each of the six boxes in bars 2-4 enter one suitable chord for the given
melody. The chords you name should form an appropriate harmonic
progression. [3]

Mark according to following table:

Number of correct chords Marks awarded

6 3
4-5 2
2-3 1
0-1 0

1303-01-02 GCE Music MU3 P1andP2 LEGACY MS Summer 2017/JF

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