YHSS Prelims Music Paper 1 (Answers + Extracts)

1 Part 1 Western Classical Music Q/No. Marking Scheme and Solution Marks Guidance Extract 1: Friedrich Kuhlau, “Sonatina in A Major, Op.59 no.1”, Bartje Bartmans https://www.youtube.com/watch?v=3tlsw9bNAuo Timing: 0’ 07” – 1’ 07” 1(a) A Major 1 1(b) Minor 3rd 1 No marks awarded if quality or size of interval is wrong 1(c) 3 Award marks as follows: 3 – Entirely correct 2 – No more than 1 error in pitch 1 – General contour is observed 0 – entirely wrong, contour not evident 1(d) Upper auxiliary/neighbour note 1 Accept auxiliary/neighbour note 1(e) E major 1 1(f) V7 2 Award 1 mark if only Chord V is written 1(g) Exposition 1

2 Q/No. Marking Scheme and Solution Marks Guidance Extract 2: “Symphony No. 9, II. Andante con moto”, Franz Schubert, Performed by Berliner Philharmoniker · Herbert von Karajan (1969) https://www.youtube.com/watch?v=wrzFUkS7VyQ Timing: 0’ 00” – 1’ 26” 2(a) Block Chords 1 2(b)(i) Oboe 1 2(b)(i) Bar 8 Beat 2 1 2(c) Accept any two of the following or other relevant answers: • Addition of clarinet to double the melody [1] • Changing of melodic contour of bar 18, where the melody ascends to an A instead of descending [1] • Addition of ornament (trill) on the D on the last quaver beat of beat 18 [1] • The sequence at bar 20 —21 starts on a higher pitch compared to that of bars 11—12 [1] • Shortening of the phrase from 4 bars (bar 13—16) to two bars (bar 22—23) [1] • Rhythmic diminution of bar 15—16 to bar 23 [1] • Addition of acciaccaturas in bar 23 as compared to bars 15—16 [1] 2 2(d) Accept any three of the following or other relevant answers: • A clear homophonic texture throughout [1] where the melody is played clearly by the strings (bars 30 —31, 34 —35) and the woodwinds (bar 32—33, 36—37) with the rest of the orchestra accompanying it. • Call and response between the strings and woodwinds [1] o The strings play the melody in bars 30—31 and 34 —35, while the winds responds with another melody in bars 32—34 and 36—37 [1] • When the woodwinds are playing the response melody, the strings accompany with a demisemiquaver figuration that is imitated [1] between the double bass/cello, the viola/violins, and then the timpani (bars 32— 34, 36—37) 3 2(e) Accept any three of the following or other relevant answers: • Modulation to A major from bar 24 —29 (parallel major of the tonic key) [1] o Use of the pedal point in the cello/double bass [1] • Sudden modulation back to A minor (tonic key) from bar 30—32 [1] 3

3 o Perfect cadence in A minor heard in bar 31—32 [1] o Brief modulation to C major (relative major of A minor) in bar 33 [1] • Modulation to D minor in bar 36 [1] o Perfect cadence in D minor heard in bar 35—36 [1] o Brief modulation to F major (relative major of D minor) in bar 37 [1] • A series of plagal cadences (iv -I) from bar 38—41 in A minor [1] • Sudden emphasis on chord V of