GCE MARKING SCHEME

SUMMER 2017

MUSIC - MU6 PARTS 1 & 2 (LEGACY)

1306/01 & 1306/02

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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.

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 GCE MUSIC MU6 PARTS 1 & 2 (LEGACY)

SUMMER DATE MARK SCHEME

PART 2
Choose either Option A, Option B or Option C

Either, Option A: Ravel: Piano Concerto in G and a study of the orchestral tradition

You will hear two extracts from the second movement of Ravel’s Piano Concerto in G. Each
extract will be played three times with a one minute pause between playings. There will be a
ten minute pause after the final playing of each extract. You now have one minute to read the
questions below.

Question 1

(a) Extract 1 [Bars 1-36]

(i) Fully state the relationship (e.g., subdominant minor) between the tonic key of
the second movement and that of the outer movements. [2]

Submediant [1] + major [1]

(ii) Describe the texture of the opening piano solo (bars 1-36/Fig.13). [2]

[1 mark for each relevant comment]

 Homophonic (melody and accompaniment)

 piano figuration arranged to approximate to a standard 4-part [1] SATB
texture [1]
 with A&T parts alternating with B part

(iii) Give the bar number/figure and, where necessary, beat numbers (e.g., 14 3),
where one example of each of the following occurs in the extract. [3]

an inversion of a dominant 7th chord – Bar 122 / 16 / 173 / 18 / 203 / 213 /

(a)
232 / 25 / 272/3 / 301 / 31 / 332
Bar and beat numbers must be given for (a)
(b) a suspension (piano right hand) – Bar 61 / 101 / 26(1) / 311 / 331/2

a chromatic passing note – Bar 263(273) / 282 / accept 213 / 252

(c)
/ 311-3
Accept bar numbers without beat numbers for answer (b) and (c)

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 (iv) Comment on the phrase structure of the opening piano solo (bars 1-
36/Fig.13), paying particular attention to the use of cadences. [5]

[1 mark for each relevant comment with bar numbers]

 Opening solo noteworthy for its (initial) lack of clear-cut

phrases/irregular phrasing
 several occasions where duration and pitch of a melody note suggests the
possibility of a traditional cadence type but none materialises / e.g., B in
bar 5 (or F# in bar 8)
 first unequivocal cadence appears (imperfect [1]) at bars 14-15
 Ravel then leads us to expect a perfect cadence in bars 17-18 / but
instead an interrupted cadence onto a G#7 chord
 from this point the phrasing becomes more regular / with a 4-bar phrase
(19-22) / and a perfect cadence suggested (in a tonicised C#m) in bars
213-22
 22-26 make another 4-bar phrase (tonicising A major) / with a clear
perfect cadence
 increased frequency of dominant→progressions in bars 27-32 suggest
shorter phrase lengths / and more rapid succession of cadences / (e.g.,
V7-I in B major – 27-28 and V7-I in A major – 31-32)
 a trill on the supertonic lead the listener finally to expect a cadence in
the tonic key (34-) / but an unexpected change of direction with a perfect
cadence / in the subdominant (36) / actually extends the section by a
further 9 bars

(v) Comment on the bass part (i.e., the bottom note of the left hand part) in the
piano solo (bars 1-36/Fig.13)? Give bar numbers/figures where appropriate. [1]

 From bar 3 (G#) it descends (entirely by step) / with occasional 8ve

displacements (to E in bar 24)
 then rises and falls by step to bar 32 [accept moves by step with suitable
bar numbers]

(vi) (a) How is the flute melody in bars 34-361/Fig.1-Fig.13 related to the
previous piano melody? [1]

 Repeats piano RH melody in bars 31-32 (with minor alteration at

start)
 accept now sounds like the start (whole) of a phrase rather than
mid-phrase as before
 accept reference to (inversion of) y

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 (b) Describe how the flute melody in bars 34-361/Fig.1-Fig.13 is changed when
played by the oboe, clarinet and flute in bars 37-43/Fig.14-10.

Oboe (bars 37-38/Fig.14-5) [1]

 Transposed version of flute melody (3rd higher)

 with note values altered (compressed from 8 beats to 4½ beats)

Clarinet (bars 38-41/Fig.15-8) [1]

 Uses flute melody’s opening rhythm but expands and alters its
intervals/melodic contour (more disjunct)
 then extends it (by a further two bars)

Flute (bars 41-43/Fig.18-10) [1]

 Decorates previous clarinet version of flute melody (e.g., opening 4th and
5th (D-G#-D#) intervals expanded to become full (G#m) arpeggio
 some (rhythmic) diminution used here

(vii) Comment on the string parts played in bars 34-44/Figs.1-2. [1]

Double (support) piano’s three (A, T and B) parts (with different

rhythms) / provides harmonic support (for WW solos)
Do not accept "imitates piano part"
Accept comment on motivic use

(b) Extract 2 [Bars 45-65]

This extract begins at bar 45/Fig.2.

(i) Using the headings below, compare/contrast the musical material in

bars 45-57/Figs.2-4 with that in the previous section (bars 1-44/Fig.2).
[1 mark for each relevant comment with bar numbers where
necessary]

Phrase structure [2]

 Consists of three / 4-bar phrases / a-a-b [accept more regular

phrasing]
 cadences more clear-cut (all perfect cadences) (accept one
example)

Melodic material [2]

 More repetitive / and motivic / triadic motifs

 Descending 4-note motif related to bars 2-3 in diminution
 second phrase repeats first in (descending) sequence / and
decorates penultimate bar (cf. bars 48 and 52)
 third phrase more similar in melodic content to that in first
section (e.g., cf. bars 55-57 with 24-26)

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 Harmony/tonality [3]

 New keys tonicised / C#m in bars 46-49 / Bm in bars 50-53

(sequential) / G major in bars 533-55 / D major in 56-57
 (harmony becomes more) dissonant / use of #9 chords (false
relation) (e.g., bars 46, 50)
 but also more “goal-directed” (preponderance of
dominant→tonic progressions in all three phrases) (all perfect
cadences – no double credit)

Use of instruments (including piano) [3]

 WW used as accompaniment for first time

 (like strings previously) double piano’s lower three “voices” / but
now given greater melodic “profile” (e.g., cor anglais, 46-49)
 piano continues with same LH accompaniment as in previous
bars/ and RH plays melody
 piano’s third phrase (53-57) (which recalls earlier material)
accompanied by similar string parts to the music it recalls (e.g.,
bars 34→)

(ii) Give a brief account of bars 58-65/Figs.4-5. You must provide bar
numbers/figures in your answers. [5]
[1 mark for each relevant comment with bar numbers/figures
where necessary]

 PianoLH continues with hemiola-like accompaniment

 LH figuration changed in bars 623-65 / becomes more “bass-like”
(lowest part doubled in 8ves from 622) / though lower 3-part ATB
texture is maintained
 new sextuplet figuration in RH (58-61) / consists of descending
(mostly stepwise) figures
 harmony is chromatic in bars 58-61 / and consists of two
dominant “function” chords / Bb9 (58-59) and B9 (60-61) / in
first inversion/some dissonances
 wind split into two dovetailing groups (bsn&hrn and fl/ob/cor
ang/bsn) / for (two) statements (58-59, 60-61) of parallel triads
(scalic figures)58→ strings support piano harmonies
 Vlns1 play melody for first time in movement (62-65) / resembles
melody from opening piano solo
 Em tonicised in bar 62 / C major in bar 63 / G major in bar 65 /
with perfect cadence / including double suspension

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 (iii) Describe the harmony/tonality in bars 66-74/Figs.5-6. [3]
[1 mark for each relevant comment with bar numbers/figures]

 G pedal (until 72)

 tonality becomes more ambiguous(chromatic)
 underlying harmony consists of dominant 7th chords (66-67 – on
G and C) [1], first inversion major and minor chords (68-712 – on
Db and E)) [1], a (G#m) root position chord (713-72) [1] / Db, E
and G#m progression ascends in 3rds
 half-diminished 7th chord (73 – on F) [1] prepares for subtle
return of tonic key (has two notes in common with E triad) [1]
 passing parallel chords in the orchestral parts / often dissonant
with the piano’s repeated LH chords

(c) You now have 15 minutes to answer the following questions.

(i) Briefly describe the form of the second movement, mentioning any
interesting or unusual features. Give bar numbers/figures in your
answer. You may refer to tonality where appropriate.

Form [4]

 Ternary (A-B-A) [1]

 A - bars 1-44(57)/Fig.2 [1] B – bars 45(58)-73/Figs.2-6 [1] A –
bars 74-end/Fig.6→ [1] Coda 103-106

Unusual/interesting features [2]

 Precise demarcation of B section within ternary design not clear

 presence of material from opening section (LH accompaniment)
throughout entire movement also blurs formal divisions / along
with references to melody of A section within the B section (e.g.,
bars 62-65)
 also the open-ended nature of Section A (typical A section in
ternary form ends with cadence in tonic key)
 piano RH figuration links both B and second A section
 cadences into tonic key (bars 73-74 and 102-03 are both “non-
standard”)
 accept further comments if reference is made to form or tonality
and are genuinely unusual or interesting
 [Only if 58 is given as the start of B]short B section
 Short coda

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 (ii) Comment on any unusual features in Ravel’s use of form in both the
first and third movements of the Concerto in G. You should provide
bar numbers/figures in your answer and briefly refer to matters of
tonality where appropriate. (A full description of the movement’s form
is not required.)

First movement [4]

 In sonata form
 transition in less dynamic than usual / and contains two distinct
ideas (one for orchestra, one for soloist) / functions as much a
section to dissipate the energy of the 1st subject material as to
change key for the 2nd subject
 2nd subject in E major rather than a more “traditional” key /
perhaps forging a link with the 2nd movement
 development section more repetitive and toccata-like than truly
developmental
 short piano cadenza (171) rather unusually interpolated between
development and recapitulation(two cadenzas)
 Ravel eliminates the traditional solo cadenza towards end of
movement / instead integrating it with the 2nd subject statement
(230→)

Third movement [4]

 Movement is unconventional in form (does not seem to adhere to

any of the standard “classical” formal structures)
 bears traces of both sonata form [1] and rondo form (Ravel
described it as “my rondo”) [1] / return of B section (2nd subject)
in tonic key at bar 246 would suggests sonata rondo rather than
conventional rondo form / rather unusually, the central
development section (C) uses elements of the B section
 Howat regards the movement as a “binary structure which
incorporates an entirely restructured second half” / with both
halves of identical length (153 bars)
 even when analysts agree on sonata form, they cannot always
decide on how the exposition is divided / since there appears to be
no theme that contains the ingredients of a typical 2nd subject
 some harmonic/tonal features (such as bitonal or octatonic
elements [1]) result in a slightly unconventional key scheme at
times / though bars 214→ (recapitulation) are mostly in the tonic
key
 no transition in the recapitulation

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 You now have 40 minutes to answer the following question.

Question 2

Discuss the similarities and differences that you consider to exist between a typical solo
concerto of the Classical era and its 20th/21st century counterpart. Give specific examples of
appropriate works from each era in your answer. Also include a brief comment on Ravel’s
Piano Concerto in G. [25]

Mark Criteria
21-25 Relevant references to representative solo concertos in the Classical era and 20th/21st
centuries are made. A convincing comparison with the Ravel and earlier works will
be made and a genuine knowledge and understanding of both Ravel and other works
mentioned will be in evidence. The essay will fully address the specific issues raised
in the question.
Material is structured effectively and includes apt use of specialist vocabulary.
Spelling, punctuation and grammar are secure.
17-20 A less secure essay on the whole, showing a reasonable contextual knowledge and
comparison, but offering less specific knowledge of works. An otherwise good essay
but with only general comment regarding representative works from the eras
concerned would fall into this category. The essay will make a good attempt to
address the specific issues raised in the question.
Material is organised coherently and uses specialist vocabulary. Spelling,
punctuation and grammar are generally secure.
13-16 A satisfactory though somewhat incomplete answer, with an insufficient level of
relevant comparison. Answers in this category generally demonstrate only adequate
musical understanding and might show limited knowledge of developments in the
genre throughout the eras concerned. The specific issues raised in the question are
only partly addressed in the essay.
Some use of specialist vocabulary; spelling, punctuation and grammar are reasonably
secure.
9-12 The material included lacks conviction and accuracy, resulting in a less than
satisfactory answer, with little reference to representative works. The essay will
make little attempt to address the specific issues raised in the question.
Scant use of specialist vocabulary; spelling, punctuation and grammar feature some
inaccuracies.
5-8 Limited understanding shown and much uncertainty, failing to make any valid
comparisons or with many unsound judgements. The essay will make very little
attempt to address the specific issues raised in the question.
Little evidence of specialist vocabulary; spelling, punctuation and grammar are weak.
0-4 Very weak, showing little or no understanding of the Ravel concerto and/or
knowledge of the development of the solo concerto in the relevant eras. The essay
will make no attempt to address the specific issues raised in the question.
Little use of specialist vocabulary. Frequent errors in expression.

Or,

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Option B: Shostakovich: String Quartet No.8 and a study of the chamber tradition

You will hear two extracts from the third movement of Shostakovich’s String Quartet No.8.
Each extract will be played three times with a one minute pause between playings. There will
be a ten minute pause after the final playing of each extract. You now have one minute to
read the questions.

Question 1

This extract begins at bar 49/Fig.38

(a) Extract 1

(i) Where in the movement’s overall structure does the extract occur? [2]
[1 mark for each relevant comment]

 Scherzo 1
 end of A section/ (whole of) B section
 (return of) A Section

(ii) State two features of the harmony in bars 49-662/Figs.38-39. You

should not merely name individual chords. Give bar numbers/figures in
your answers. [2]

 False relation in opening tonic (Gm) chord (Bb and B natural)

(possible octatonic element)
 Neapolitan flavour to harmony in bars 54-57) (flat supertonic)
 harmonic movement increases from bars 50-61 (4 bars of
alternating chords (58-61), then same two chords last one bar
only) / similar procedure in bars 62-66
 octatonic element in these two chords / both belong to semitone-
tone scale on G [no double credit if mentioned above]
 bare 4ths in VC&Vla in bars 64-651
 tierce de Picardie in bar 66 / implied perfect cadence

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 (iii) Give two similarities and two differences between the musical material
in bars 663-1011/Fig.139-Fig.141 as compared with that in bars 49-
662/Figs.38-39. Give bar numbers/figures where appropriate. [2+2]

Similarities

 anacruses
 both use DSCH motif
 repetition of melodic motifs in both melodies
 same Neapolitan character to harmony (G/Ab →C/Db) / each
chord lasting initially 4 bars
 also same major/minor element in harmony (Bb/B natural →
Eb/E natural) / octatonic element is also present in harmony of
accompanying instruments till 81 (semitone-tone scale on C)
 opening of melody from A section appears briefly in bars 79-82
 same metrical “dislocation” (syncopation) at ends of certain
phrases (cf. 64-66 with 99-101)
 Waltz like crotchets seen in viol, bars 50 and 95 [Do not give
double credit it mentioned in differences]

Differences

 Staccato/legato
 Phrasing is more regular in second section (e.g., all 8-bar
phrases as compared with opening 5+4 bar phrases in bars 49-
57)
 dynamics f/ff in second section (as compared with p/pp in 49-63)
 second section less obviously waltz-like (e.g., oom-pa-pa
accompaniment changes) [Do not give double credit if mentioned
in similarities]
 major/minor element alternates rather than combined in C
section
 harmony is more ambiguous / no full chords (triads, 7th chords)
used in bars 67-79
 pedal-like G in Viola in bars 68-78 is also new
 rather less simple “melody plus accompaniment” in second
section
 introduction of triplet rhythm

(iv) Describe the phrase structure of bars 663-1011/ Fig.139-Fig.141.[3]

[1 mark for each relevant comment with bar numbers/figures

where necessary]

 Consists of eight 4-bar phrases / arranged in pairs/B1B2B3B4

 with the first in each pair being the same in all cases
 second phrase of each pair presents different material / first and
third phrases repeat the same pairing (i.e., ab (661-742) → ac
(743-821) → ab (823-902) → ad (903-1011 – award 1 mark for
each correct set of phrases if answered in this way)
 Last phrase extended

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 (v) Comment on the tonality of the extract. [2]
[1 mark for each relevant comment with bar/figure numbers]

 G minor (bars 49-66, Fig 38)

 moves to C minor (subdominant) (bar 67, fig 39)
 tonality of sections has pervasive elements from parallel major
mode

(vi) Describe the melodic material in bars 663-1011/ Fig.139-Fig.141. [3]

[1 mark for each relevant comment with bar numbers/figures]

 Sequential in bars 661-702

 focuses on instrument’s open strings
 initial 4-bar phrase alternates with repeated 1-bar motifs (703-742
and 783-831) / that are much narrower in range (semitone a
feature)
 Vln2 states 1-bar motif from previous main theme (DSCH) (792-
821)
 new motif (943-982) also repetitive / but 2 bars long this time
 sequential in bars 983-1011

(vii) Comment on the use of accompanying instruments in bars 663-1011/

Fig.139-Fig.141. [2]
[1 mark for each relevant comment with bar numbers/figures]

 VC provides ostinato-like bass motif until bar 94

 Vla echoes first three notes of Vln1 melody (663-70)/ostinato
 Vln2 doubles/emphasises Vln1’s open string E with forceful (ff)
pizz (71-74)
 Vla&VC play inner parts in bars 95-1011 leaving Vln2 to provide
bass line (significant contrast in sonority and texture from
previous section) (oom pah pah)

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 (b) Extract 2

This extract begins at bar 117/Fig.42.

(i) State the tonality at the start of the extract. [1]

F minor

(ii) Comment on both the melody and accompaniment in bars 117-

129/Fig.42-4213. Do not repeat answers from one category in the other.

[3]
[1 mark for each relevant comment with bar numbers/figures]

[Mark as either 2+1 or 1+2]

Melody

 Based on an extended DSCH motif (extra note added) (120-21)

 repeated in sequence (122-24)
 bars 124-1251 are a reordered version of the DSCH motif ([1]-7-1-
2-3)
 while bars 125-1261 could be considered a reordered version of
the Cello Concerto theme
 bars 127-29 repeats bars 124-26 in sequence
 Reference to Danse Macabre rhythm with bar number

Accompaniment

 Monophonic at first (Vla) / and Alberti bass-like (based on notes

of Fm chord) [also acceptable for melody, but no double credit]
 repeated in sequence [no double credit]
 texture changes in bars 125-29 with lower three instruments
providing 3-part chords (homophonic)
 slightly unusual scoring with VC playing the middle note

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 (iii) Describe the structure of bars 117-1401/Fig.42-43, mentioning any
points of interest. Give bar numbers/figures in your answers. [3]

[Mark as either 2+1 or 1+2]

Structure

 ab (bars 117/120-129) ac(or b2) (bars 130/131-1401) or C1 (120)

C2 (124) C1 (131) C2 variant (135) (1 for each correct letter
with correct bar numbers)
 two sections [1] , each beginning with same phrase [1] + 1 each
for correct bar numbers

Mark as follows:

No. of correct answers Marks awarded

3-4 2
1-2 1
0 0

Point(s) of interest [award 1 mark for each correct answer]

 Similar structure to that used in Scherzo B section

 second answering phrase (c, bars 135-140) is curtailed after 5
bars (six bars long in 124-129)(irregular phrasing)

(iv) Comment on the harmony in bars 117-129/Fig.42-4213. [2]

[1 mark for each relevant comment with bar numbers/figures]

 Quite dissonant initially / e.g., combination of Fm chord (Vla)

with implied G major chord in Vln1 in bar 121
 half-diminished 7th chord in bars 123-24 also suggests this key
(vii7 in G major/minor)
 harmony becomes more ambiguous in 125-29 / with increased
dissonance between lower chords and Vln melody

(v) Name the key established in bars 139-141/Fig.143-Fig.432. Also state

how this key relates to the movement’s tonic key. [2]

Key - Bb (major)

Relationship to movement’s tonic key – Relative major (mediant)

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 (vi) Give a brief account of bars 150-189/Fig.344-Fig.46. [5]
[1 mark for each relevant comment with bar numbers/figures]

 3 part texture (viola tacet)

 Repetition of previous statement of VC Concerto theme (1502→)
takes different turn (C natural changed to C#, 1512) / and is
extended chromatically (→1531)
 joined by Vln2 playing in (parallel) perfect 5ths (152→) / both
violins play ostinato chromatic scales / spanning a diminished 5th
(153-60)
 against this VC plays a new melody / whose notes are all
contained within the DSCH motif (reordered)
 high in instrument’s register (high tessitura) / positioned mostly
in the middle of the 3-part texture
 melody begins with regular 2-bar (repeated phrases) (153-64)
 last of these phrases (161-64) introduces a variant of previous
phrases / based loosely on inversion (notes reordered)
 violin ostinato changes with new VC phrase / and becomes more
compressed / but still chromatic
 VC melody becomes slightly more expansive (165-68)
 at which point Vln1 reverts to original “ostinato” motif / Vln2
now plays in parallel perfect 4ths below rather than 5ths
 bars 169-76 repeat bars 153-60
 final phrases of melody (177-189) based on different
arrangement (ordering) of transposition of DSCH motif / the
phrasing of which becomes more irregular
 violins play similar compressed chromatic quavers as in bars 161-
64 / which peter out in fragmentation in bars 188-89
 harmonically/tonally equivocal / VC’s insistence on B in melody
could possibly suggest B as a focal centre/tonic (C minor)

(vii) The material in bars 140-1511/Fig.43-Fig.244 returns in bars 270-

283/Fig.51-Fig.352. Other than dynamics, state two differences in
Shostakovich’s use of this material at this later stage. Provide bar
numbers/figures in your answers. [2]

 Alterations in melody from 274→ as compared with 144→

 includes repetition (2742-761) instead of sequence (144-45)
 with overall downward, rather than rising, trajectory in pitch
here
 triadic outline of Cello Concerto theme not maintained in bars
278, 280 and 282
 harmonic content changed (returns to tonic chord) (275-6&277-
8) / harmonic rhythm also increases in bars 275 and 277 (from 1
to 2 chords per bar)
 change in harmony supporting Vln1’s Bb in bars 279-82
 repetitions of Concerto theme (2782-2831) not present earlier

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 You now have 15 minutes to answer the following questions.

(c) (i) Give a brief description of the form of the third movement,
mentioning any interesting or unusual features. Supply bar
numbers/figures in your answer. You may refer to tonality where
appropriate.

Form [4]

 (Double) Scherzo (16-116) [1] and Trio (117-89) [1] / Rondo

(Arch) (Ternary) with bar numbers as given in published notes
 with Intro (1-16) [1]
 abbreviated return of Scherzo (190-259) [1] and Trio (260-282)
[1]
 lacks return of final section of Trio (movement remains
structurally incomplete) [1]

Unusual/interesting features [2]

 Scherzo does not reappear after Trio

 Scherzo itself also incomplete (E section does not return)
 key scheme of movement descends in perfect 5ths (from Gm
(Scherzo A section)→C (Scherzo B section)→Fm (Trio C
section)→Bb major (Trio D section)) / but Trio’s E section breaks
the cycle of 5ths / possibly refers to the unusual presence of B
natural in Scherzo’s A theme

(ii) Comment on any unusual features in Shostakovich’s use of form in

both the second and fourth movements of the 8th Quartet. You should
provide bar numbers/figures in your answer and briefly refer to matters
of tonality where appropriate. (A full description of the movement’s
form is not required.)

Second movement [4]

 Form is a (Double) / Scherzo and Trio

 rather unusually, individual sections of both sections become
progressively more concentrated / with materials combined rather
than juxtaposed / any development in earlier sections is
eliminated in later sections
 both the final Trio [1] and the entire “expected” return of the
Scherzo [1] are missing / (partly) completed by opening of next
movement
 choice of tonic key for movement is unusual (G#m) / as, perhaps,
is the use of the quartet’s tonic Cm as the key of the Trio sections

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 Fourth movement [4]

 Form is somewhat unusual in itself

 being three Arioso sections framed and linked by “outbursts”
 also unusual is that two Arioso sections (1&3) are musically
unrelated
 yet again movement remains incomplete / music peters out
(tonally/harmonically “unresolved”) to link into final movement
 movement is (deliberately) tonally ambiguous (which affects
sense of form)
 key signature of 4 sharps suggests C#m but this key is only briefly
established in bars c.56-64 / elsewhere C# is juxtaposed by its
“tonal opposite” (Gm) (e.g., 1-18) / or “clouded” by flat modal
degrees (e.g., bars c.28-50 or c.75-101)
 Accent "Rondo like."

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 You now have 40 minutes to answer the following question.

Question 2

Discuss the similarities and differences that you consider to exist between a typical string
quartet of the Classical era and its 20th/21st century counterpart. Give specific examples of
appropriate works from each era in your answer. Also include a brief comment on
Shostakovich’s 8th Quartet. [25]

Mark Criteria
21-25 Relevant references to representative quartets in the Classical era and 20th/21st
centuries are made. A convincing comparison with the Shostakovich and earlier
works will be made and a genuine knowledge and understanding of both
Shostakovich and other works mentioned will be in evidence. The essay will fully
address the specific issues raised in the question.
Material is structured effectively and includes apt use of specialist vocabulary.
Spelling, punctuation and grammar are secure.
17-20 A less secure essay on the whole, showing a reasonable contextual knowledge and
comparison, but offering less specific knowledge of works. An otherwise good essay
but with only general comment regarding representative works from the eras
concerned would fall into this category. The essay will make a good attempt to
address the specific issues raised in the question.
Material is organised coherently and uses specialist vocabulary. Spelling,
punctuation and grammar are generally secure.
13-16 A satisfactory though somewhat incomplete answer, with an insufficient level of
relevant comparison. Answers in this category generally demonstrate only adequate
musical understanding and might show limited knowledge of developments in the
genre throughout the eras concerned. The specific issues raised in the question are
only partly addressed in the essay.
Some use of specialist vocabulary; spelling, punctuation and grammar are reasonably
secure.
9-12 The material included lacks conviction and accuracy, resulting in a less than
satisfactory answer, with little reference to representative works. The essay will
make little attempt to address the specific issues raised in the question.
Scant use of specialist vocabulary; spelling, punctuation and grammar feature some
inaccuracies.
5-8 Limited understanding shown and much uncertainty, failing to make any valid
comparisons or with many unsound judgements. The essay will make very little
attempt to address the specific issues raised in the question.
Little evidence of specialist vocabulary; spelling, punctuation and grammar are weak.
0-4 Very weak, showing little or no understanding of the Shostakovich quartet and/or
knowledge of the development of the string quartet in the relevant eras. The essay
will make no attempt to address the specific issues raised in the question.
Little use of specialist vocabulary. Frequent errors in expression.

Or,

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Option C: William Mathias: This Worlde’s Joie and a study of the choral tradition

You will hear two extracts from the third movement (Autumn (Decline)) of This Worlde’s Joie.
Each extract will be played three times with a one minute pause between playings. There will
be a ten minute pause after the final playing of each extract. You now have one minute to read
the questions below.

Question 1

(a) Extract 1

(i) To which well-known style of twentieth century music does Mathias

allude in the extract? [1]

12-note (serial) music (dodecaphony)

(ii) Comment on Mathias’ use of harmony/tonality in bars 1-141/Fig.931.

[3]
[1 mark for each relevant comment with bar numbers/figures]

 Pedal B throughout
 dissonant overall / with 12-note motif adding a highly chromatic
element
 possible phrygian (or locrian) basis for the more “diatonic”
aspects (vocal parts and WW chords in bars 3-6, for instance)
 vocal harmonies also quite dissonant in themselves – intervals
such as major 2nd and major/minor 7ths prominent (e.g., bars 6-8)

(iii) Briefly discuss the use of the orchestra in the same bars
(1-141/Fig.931). You should not merely list instruments used. Supply
bar numbers/figures where appropriate. [3]

 Brittle, percussive sounds used at opening (“12-note” passage)

(e.g., vibraphone, glockenspiel etc.)
 non-sustaining instruments (timps, bell and pizzicato strings) also
used for accompanying pedal
 contrasting passage in bars 32-6 also has different
sonorities/timbre – i.e., WW/“sustaining” instruments
 instrumentation also used to underline structure, dividing the
opening 14 bars into short aba phrases

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 (iv) Give two examples of word painting in bars 14-23/Fig.931-Fig.31. [2]

 “Bright” set with high-pitched notes and brief (3-note) melisma

(bar 171-2) / also uses interval of 6th for initial note (first instance
of true consonance in passage)
 “death shall not pass by” – descending sequence (by 3rds –
A→F→D, bars 18-212) / and repetitions of same portion of text
by additional descending 3rds (21-22)
 final sustained dissonant major 7th in bar 23 also suggests
“death”
 change of rhythm to longer note values (22-23) suggests
weakening of spirit at the onset of death / as does the extension of
alto’s repeated descending 6-note figure (e.g., D→F in bars 18-
192) to a 9th (G→F) in bars 21-23

Give three features of interest in the treatment of the opening celeste

figure (bars 12-21) in bars 232-30/Fig.31-Fig.318. Give bar
numbers/figures in your answers. [3]

 Bars 242-25 (first quaver beat) – motif transposed down a 5th to F

/ quaver rest in bar 2 (2nd quaver beat) omitted
 second statement dovetails with first (curtailed to 12 notes rather
than 14)
 repetition in bar 25 restores quaver rest and repeat of first two
notes
 12-note motif split into two halves (26-271)
 second group of 6 notes (264-271) repeated down tone / with
alteration of opening G to Ab
 final two notes (Gb-F) repeated four more times (“sighing”
semitone figure highlighted)
 C-B added to motif from 264-271 in 283-291 / these two notes
repeated in augmentation (bars 292-303)

(v) What do you consider to be the function of bars 232-30/Fig.31-

Fig.318? [1]

 Functions as short coda-like (closing) section to prepare for first

solo section
 dissipates any sense of energy in previous section to prepare for
following more recitative-like vocal section (somewhat akin to a
cinematic “dissolve”)

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 (vi) Using the headings below, comment briefly on the setting of the text in
bars 31-40/Fig.319-18.
[1 mark for each relevant comment with bar numbers/figures]

Vocal writing [2]

 Begins in syllabic style (→372) / then melisma introduced (e.g.,

“heart”, “full”)
 becomes rhythmically more “intense” as passage progresses
 higher register exploited in bars 36-39 (pitch content gets
progressively higher in bars 31-40

Harmony/tonality [2]

 Pedal B (→ bar 401)

 harmony/tonality ambiguous at first (→ bar 35) (2 parts give little
clue to tonality)
 though vocal part (and celeste motif) frequently dissonant with
pedal
 hints of octatonicism in bars 31-37 become more evident in bars
38-40 / Collection 1

Phrase structure [1]

Two 4-bar phrases (312-351 and 354-401)

(b) Extract 2

This extract begins at bar 124/Fig.234

(i) Describe the structure of the entire section from which the start of the
extract is taken (i.e., soprano solo, bars 71-159/Fig.132-Fig.135). [3]
[1 mark for each relevant comment with bar numbers/figures
where necessary]

 Strophic
 consists of three verses (713-941, 973-1201, 1253-160)
 separated by trumpet links (932-971, 1192-231)
 Verse 3 has short intro (124-25) / and is extended (1513-160)

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 (ii) Comment on features of interest in the accompaniment in bars 119-
125/Fig.7-134. You may mention instruments in passing, but there are
no marks available for this. [3]
[1 mark for each relevant comment with bar numbers/figures]

 Dissonant D# pedal continues

 remainder of material (string chords and trumpet figures) is
octatonic / E semitone-tone scale
 reminiscent of harmony and melodic outline (as well as wind
timbre) to WW passage in bars 3-6
 part of z cell (used frequently elsewhere in movement) in trumpet
figures
 pedal moves to C# in bar 124 / becomes bass of a C#m chord with
added flattened 2nd / octatonic – C# semitone-tone scale
 introduces a new (more dissonant, ominous) underpinning to
final verse

(iii) Give two differences between bars 1253-160/Fig.34-Fig.35 as

compared with bars 973-120/Fig.33-Fig.634. Provide bar
numbers/figures where appropriate. [2]

 Different chord accompanies (same) melody

 more closely scored/spaced (cluster-like) in bars 127-28
 melody extended (by repetition) in bars 1433-1472 and 1513-160
 falling semitone (bars 117-18) inverted [1] to become major 7th
[1]

(iv) Briefly outline the structure of bars 160-195/Figs.35-36. [3]

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

 Strophic
 Consists of 3 verses / 160-71 / 172-83 / 184-95 / 196-215 [1 mark
each for verse and correct bar number]
 last verse extended (by word repetition)
 verses 1-3 consists of two unequal phrases of 4+8 bars

(v) Describe the harmony/tonality of these bars (i.e., bars 160-

195/Figs.35-36). [1 mark for each relevant comment with bar
numbers/figures where appropriate] [2]

 Strictly octatonic throughout / C# tone-semitone scale /

underpinned by pedal C#
 dissonance quite unpredictable – e.g., organ’s RH chords in bars
160-163 sound like a series of (unrelated) triads / with which the
pedal is consonant
 only minor dissonances (e.g., D#/E in bar 163)
 harmony becomes more dissonant in bars 164-71 (triadic “basis”
less obvious)

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 (vi) Other than the use of instruments, give a brief account of bars 238-
269/Figs.38-39. You must provide bar numbers/figures in your
answers. [5]
[1 mark for each relevant comment]

 12-note motif used constantly / use approaches true serial writing

 continuous use of various forms (inversion etc.) creates complex
contrapuntal texture (example needed – e.g., bar 244 – P (beat
2), R (beat 3)) / though sequential patterns of the “row” suggest a
more tonal basis for music
 “pedal notes” create sense of structure / ascend by semitones
from F# (238)→G (254)→G# (262)→A (268)
 dissonant chords on these notes are identical
 with strong octatonic implications / consisting of combination of
two dominant 7th-type chords
 final chord in bar 269 is completely octatonic
 stretto entries of 12-note motif in bars 251-52
 12-note motif also subjected to rhythmic alterations (e.g., bar 252
(LH of piano part))
 fanfare figures in bars 268-69 are purely octatonic / reminiscent
of first movement (e.g., bar 8)

(c) You now have 15 minutes to answer the following questions.

(i) Give a brief description of the form of the third movement,

mentioning any interesting or unusual features. Supply bar
numbers/figures in your answer.

Form [4]

A B [Tenor C [Soprano D [Boys A A [Coda]

solo] solo] choir]
1-30 31-71 713-159 160-215 216-237 238-269

[accept any suitable nomenclature for sections above – particularly sections 2-4]

Mark as follows:

No. of correct answers Marks awarded

10-12 4
7-9 3
4-6 2
1-3 1
0 0

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 Unusual/interesting features [2]

 No standard form used

 elements of A section appear in B/C sections / both melodically and as
accompaniment
 statements of 12-note motif on celeste in B and C sections not integrated
(particularly harmonically) with section’s own material
 conversely, D section totally unrelated to any of the other sections

(ii) Comment on any unusual features in Mathias’ use of form in the first
movement (Spring (Youth)). You should provide bar/figure numbers in
your answer and briefly refer to matters of tonality where appropriate.
A full description of the movement’s form is not required. [4]

 Form strongly resembles ritornello (A-B-A-C-A-D-E-A) / except

for final three sections, which omit the traditional return of an A
section between sections D and E
 second and third ritornello sections are curtailed, especially the
third (only 4 bars long)
 D section is out of proportion in length (160 bars as compared,
for instance, with opening ritornello section’s 69 bars)
 some unusual tonal elements / e.g., contrasting sections lack the
usual distinctive change in tonal centre
 rather, the octatonic scale and the frequency (or relative
importance of its use) is the source of contrast (along with the
use of particular orchestral or vocal resources)

(iii) Outline Mathias’ use of musical material from the first movement in
the fourth movement (Winter (Death)). [4]

[1 mark for each relevant comment with bar numbers/figures

where appropriate]

 1st movement’s opening “ritornello” material briefly stated at

opening of 4th movement
 also reappears in last movement’s final section (169→) to
conclude entire work
 orchestral accompaniment in bars 152-64 reappears (with
additional material) bars 177-853 of 1st movement
 semiquaver scalic figurations (and octatonicism) in bars 1644-168
recall similar passages in 1st movement’s bars 233-47
 as do the vocal parts - cf., e.g., bars 159-84 of 4th movement with
bars 320-47 of 1st movement
 contrapuntal use of soloists and chorus (each with its own
material) is also very similar
 strongly suggests the cyclic nature of the work (seasons of the
year)

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 You now have 40 minutes to answer the following question.

Question 2

Discuss the similarities and differences that you consider to exist between a typical cantata of
the Baroque era and its 20th/21st century counterpart. Give specific examples of appropriate
works from each era in your answer. Also include a brief comment on Mathias’ This
Worlde’s Joie. [25]

Mark Criteria
21-25 Relevant references to representative cantatas in the Baroque era and 20th/21st
centuries are made. A convincing comparison with the Mathias and earlier works
will be made and a genuine knowledge and understanding of both Mathias and other
works mentioned will be in evidence. The essay will fully address the specific issues
raised in the question.
Material is structured effectively and includes apt use of specialist vocabulary.
Spelling, punctuation and grammar are secure.

17-20 A less secure essay on the whole, showing a reasonable contextual knowledge and
comparison, but offering less specific knowledge of works. An otherwise good essay
but with only general comment regarding representative works from the eras
concerned would fall into this category. The essay will make a good attempt to
address the specific issues raised in the question.
Material is organised coherently and uses specialist vocabulary. Spelling,
punctuation and grammar are generally secure.

13-16 A satisfactory though somewhat incomplete answer, with an insufficient level of

relevant comparison. Answers in this category generally demonstrate only adequate
musical understanding and might show limited knowledge of developments in the
genre throughout the eras concerned. The specific issues raised in the question are
only partly addressed in the essay.
Some use of specialist vocabulary; spelling, punctuation and grammar are reasonably
secure.

9-12 The material included lacks conviction and accuracy, resulting in a less than
satisfactory answer, with little reference to representative works. The essay will
make little attempt to address the specific issues raised in the question.
Scant use of specialist vocabulary; spelling, punctuation and grammar feature some
inaccuracies.

5-8 Limited understanding shown and much uncertainty, failing to make any valid
comparisons or with many unsound judgements. The essay will make very little
attempt to address the specific issues raised in the question.
Little evidence of specialist vocabulary; spelling, punctuation and grammar are weak.

0-4 Very weak, showing little or no understanding of the Mathias cantata and/or
knowledge of the development of the cantata in the relevant eras. The essay will
make no attempt to address the specific issues raised in the question.
Little use of specialist vocabulary. Frequent errors in expression.

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Either, (a) Ravel’s music has been influenced by a number of styles. Describe the
elements in his musical language which show some of these influences,
referring to works from a variety of genres in your answer. [25]
or, (b) Shostakovich’s musical style has been described by some as “strikingly
individual” and by others as “influenced by a range of composers”.
Describe the elements in his musical language that you consider might
account for these views, referring to works from a variety of genres in
your answer. [25]
or, (c) Mathias is often called an eclectic composer, that is, selecting the best
from other composers’ styles. Describe the elements in Mathias’ musical
language that you consider to support this view, referring to works from a
variety of genres in your answer. [25]
Mark Criteria
21-25 A convincing presentation, which shows detailed knowledge and thorough
understanding of the chosen composer’s overall compositional musical style. Relevant
references to the required information are fully explained, with well detailed musical
examples (including quotes).
A very good response to the challenge of the extended research.
Material is structured effectively and includes apt use of specialist vocabulary. Spelling,
punctuation and grammar are secure.
17-20 A less secure essay on the whole, showing a reasonable contextual knowledge and
understanding of the chosen composer’s overall compositional style, but offering less
specific information. An otherwise good essay, but with only general comment
regarding musical examples would fall into this category.
A good response to the challenge of the extended research.
Material is organised coherently and uses specialist vocabulary. Spelling, punctuation
and grammar are generally secure.
13-16 A satisfactory though somewhat incomplete answer, with an insufficient level of
relevant detail and examples. Answers in this category might demonstrate an adequate
knowledge of the composer’s compositional style, but the material presented tends to
lack depth.
A reasonable response to the challenge of the extended research.
Some use of specialist vocabulary; spelling, punctuation and grammar are reasonably
secure.
9-12 A more limited answer, which does not fully meet the requirements of the chosen topic.
The material included lacks conviction and accuracy and musical detail, producing a
response which shows limited knowledge of the composer’s compositional style
A less than satisfactory response to the challenge of the extended research.
Scant use of specialist vocabulary; spelling, punctuation and grammar feature some
inaccuracies.
5-8 Limited understanding shown and much uncertainty, failing to make any valid
observations regarding the composer’s compositional style, or with many unsound
judgements. An essay lacking in musical substance and examples.
Rather an unsatisfactory response to the challenge of extended research.
Little evidence of specialist vocabulary; spelling, punctuation and grammar are weak.
0-4 Very weak, showing little or no understanding of the compositional and musical style of
the chosen composer. Lacks evidence of any appropriate research or preparation.
A poor response to the challenge of extended research.
Little use of specialist vocabulary. Frequent errors in expression.

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 PART 1

1. The first extract is taken from a work for small chorus, small orchestra and a solo
string instrument. A brief outline of the extract is printed below. It will be played
three times. [Vaughan-Williams – Flos Campi]

You now have 45 seconds to read the questions.

Section 1 Section 2
Includes voices who sing “Ah” For instruments only; faster and
throughout. march-like; begins with dotted motif
over sustained note on French horn
and the solo instrument.

(a) Name the solo string instrument that plays in the extract. [1]

Viola

(b) Comment on the vocal music/use of voices in Section 1. [3]

[1 mark for each relevant comment]

 Female voices (S) (S&A) only

 sing in parallel [1] triads(thirds) (sixths) [1] at first
 some repetition here / and use of sequence / “undulating” pattern
(mostly conjunct)
 music later becomes more contrapuntal (imitation between S&A)
 music in latter part of section based on ideas/motifs from start of section
 triplets become a feature in second half of section
 vocal parts briefly revert to parallel triads at very end of section
 homorhythmic (accept homophonic)

(c) Give two features of the music played by the solo string instrument when it
appears later in Section 2. [2]

 Rhapsodic (improvisatory)(cadenza like) in nature

 pentatonic (folk like) (oriental)
 repeated notes a feature
 some repetition of melodic motifs
 takes up dotted motif later on / played as series of double-stopped [1]
(perfect) 4ths [1]
 syncopated
 Triplets

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 (d) Comment on the harmony/tonality in Section 2. [3]
[1 mark for each relevant comment]

 Opens with (perfect) 4ths / over pedal note / dissonant harmony here
 parallel triads / phrase cadences on bare 5th(open chords)
 (passage begins in) minor key / but with some chromaticism [answers
above could be described as dissonant and consonant harmony
alternates at start of Section 2]
 dissonant 4ths-based music returns in slightly different harmonisation
[also reappears later on; no double credit if mentioned twice]
 harmony becomes modal / with internal [1] pedal [1] / harmony is more
static here
 short bitonal passage towards end [accept false relations as answer
here]

(e) Suggest a date of composition for the extract. [1]

1925 [accept 1905-1945]

2. Next, you will hear the whole of a very short (fourth) movement and the opening of
the following (fifth) movement of a twentieth century piece of chamber music. The
movements are separated by a distinct silence. The extract will be played three times.
[Hindemith – Kleine Kammermusik, Op.24, No.2]

You now have 45 seconds to read the questions.

(a) Describe the structure of the fourth movement. [2]

[1 mark for each relevant comment]

Structure [2]

 (Short) statements of repeated chordal motif / alternate with (short) solo

sections for each of the wind instruments in turn/quasi ritornello (rondo)
 which each consist of rather different melodic material
 accept a-b-a-c-a-d-a-e-a-f-a (or a-b1-a-b2-a-b3-a-b4-a-b5-a) or similar
answer / also credit sections in strict tempo alternate with sections in
more flexible tempo with one mark
 final chordal section modified to give sense of a concluding coda

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 (b) Describe one feature of the solo music played by the flute and one different
feature of that played by the bassoon in the fourth movement. [1+1]

Flute
 Ascending arpeggios in first half / different pattern of descending
arpeggios in second half / accept triadic patterns in second half
 interval of 3rd prominent throughout
 sequence
 slurred (smoothly articulated) throughout
 quite wide range used
 mostly plays semiquavers (beat divides into two)
 rubato

Bassoon
 Sequence also a feature (no double credit)
 3rds / (no double credit) and semitones (chromatic) /account for most of
the melodic content
 (slurred and) staccato articulation
 range quite limited
 some repeated notes later
 triplets used (beat divides into three)
 rubato (no double credit)

(c) State two features of the rhythm/metre in the extract from the fifth
movement. [2]

 Syncopation
 6/4 (accept 6/8 (or triplets) or 2/4)(compound time) / but with occasional
changes to 9/4 (or 9/8 or 3/4) [accept changes between duple and triple
metre [1]]
 homorhythmic

(d) Comment on the harmony in the extract from the fifth movement. [2]
[1 mark for each relevant comment]

 Opens with bare 5th [1] so is tonal/modal at start (and briefly elsewhere)
[1]
 some dissonant [1] linear [1] harmony
 occasional pedal points
 and false relations
 occasional hints of bitonality
 some parallel harmony in second half
 also some quartal harmony
 occasional 7th/9th chords

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 (e) Name the type of work (e.g., String Quartet) from which the extract is taken.
[1]
Wind Quintet

(f) Suggest a school of composition for the music. [1]

Neoclassical

3. You will hear an extract from a piece of orchestral music. The extract will be played
three times. [Stravinsky – Le Chant du Rossignol]

You now have 45 seconds to read the questions.

(a) Comment on the composer’s use of each of the following in the extract. Credit
will not be given for repeated answers. [You should not merely list
instruments].
[1 mark for each relevant comment]

Use of instruments [3]

 Vlns play alternating arco&pizz notes at start / (solo) VCs [1] play
ostinato-like figure here
 acciaccaturas in flute/Violins / triangle and gong play ostinato rhythmic
accompaniment
 bassoons play (pentatonic) melody in parallel (4ths) near start /
pentatonic fragments also played by horn, tuba, timps and piccolo (only
one needed for mark)
 trombones take over previous bassoon melody / and majority of
instruments briefly play pentatonic figure together / percussion
(cymbals, gong, bass drum) join in with punctuating orchestral chords
 short passage for solo violins [1] in parallel (5ths) [1] / another solo
violin plays high harmonics
 followed by more melodic use of parallel 5ths on flutes and clarinets
 piano plays ostinato accompaniment / also based on 5ths
 celesta features prominently with ascending/descending pentatonic
figures / accompanied by harp ostinato / and pizz VC&DB
 this melody then taken up by piano and Vlns&Vlas (in 8ve/unison) / with
percussion ostinato ( triangle, snare and bass drums – one instrument
required for mark) / string glissandi near end of extract
 trumpets play pentatonic motifs

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 Harmony [2]

 Initially quite dissonant (chords and ostinato figure)

 layered with parallel (pentatonic) touches
 (double) pedal (drone) throughout first section
 harmony becomes more overtly based on pentatonicism (more
consonant) / much parallel / quartal/quintal / harmony here / though
still with some dissonant elements at first
 short dissonant episode with “sliding” semitones in parallel 5ths
(strings) / with inverted pedal
 then becomes completely diatonic (still with a strong pentatonic element)
 final bars become more chromatic and dissonant

Melodic material [2]

 Almost entirely pentatonic / based on repetitive (pentatonic) scalic motifs

 melodic material frequently doubled in parallel intervals (4ths/5ths)
 heterophonic treatment of melodic material frequently results in slightly
different versions of same melodic motif
 melodic material more chromatic (moves semitonally) in short solo
string episode / but still repetitive
 melody becomes much more fragmentary / and conjunct towards end

Rhythm/metre [2]

 Some cross rhythms (at start)/accents shifting

 some quite frequent changes of time signature at times
 metrically ambiguous passages alternate with sections (e.g., solo violins
section, celesta passage) with “regular” time signature
 use of triplets, quintuplets etc. occasionally obscure beat somewhat
 occasional use of ostinato figures that sound in different metre to melody
they accompany / e.g., celesta melody (2/4) and harp ostinato (3/8)

(b) Suggest a suitable composer for the music. [1]

Stravinsky

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4. Finally, you will hear part of a piece of music for violin and piano, most of the
melody of which is printed below. The music will be played six times.
You now have 45 seconds to read the questions on page 7.

Score inserted here

(a) There are three errors in bars 54-93, two in pitch and one in rhythm. Circle the
notes that are incorrect and above each write what you actually hear. [6]

(b) Tick the appropriate box in each statement below to indicate the type of chord
used in each of the given locations. [2]

(i) The chord in bar 113-4 is a:

Dominant 7th
Minor 7th
Diminished 7th 

(ii) The chord in bar 121-2 is a:

Dominant 7th 
Minor 7th
Diminished 7th

(c) Write in the missing pitch and rhythm in bars 133-15. [8]
Mark according to the following table:
Number of correct pitches/rhythms Marks awarded
21-22 8
19-20 7
16-18 6
13-15 5
10-12 4
7-9 3
4-6 2
1-3 1
0 0

(d) Fully name the key (e.g., A major) and cadence in bars 19-20. [2]

Key – G major Cadence - Perfect

(e) Name the interval (e.g., 2nd) used in the violin part in bars 204-21. [1]
8ve

(f) Identify one example of a chromatic passing note in the extract. [1]
Bar - 2 Name note – A#

1306-01-02 GCE Music MU6 P1andP2 LEGACY MS Summer 2017

JF 04.04.2017

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