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 A minor in bars 42—44 [1] • Return to tonic key of A minor in bar 45 with a perfect cadence [1] 2(f)(i) Second Movement 1 2(f)(ii) It has a slow tempo, which is typical of a second movement. 1 2(f)(iii) Similarity: Use of double woodwinds [1] that is similar to classical orchestration. Difference: Larger brass section [1], use of trombones [1] 2

4 Part 2 Jazz and Popular Music Q/No. Marking Scheme and Solution Marks Guidance Extract: “Black Bottom Stomp”, Jelly Roll Morton, performed by Potato Head Jazz Band https://www.youtube.com/watch?v=viPOk75F_3Q Timing: 0’ 00” – 2’ 22” (edited) 3(a) Accept any two of the following: • Banjo • Double Bass • Drum-set 2 3(b) Accept any three of the following and other relevant answers: • Introduction is in polyphonic texture [1] o All three of the frontline instruments are doing collective improvisations [1] • Chorus 1 is homophonic / chordal texture [1] o The frontline instruments playing in the same rhythm as the melody written in the lead sheet [1], while harmonizing one another [1] 3 3(c) Key: Eb Major [1] Cadence: Imperfect Cadence [1] 2 3(d) Bar 49 or 50 1 3(e)(i) The trumpet is muted / using a mute [1] 1 3(e)(ii) Accept any two of the following and other relevant answers: • They are playing chords [1] • In the same rhythm [1] / homorhythmic [1] • Syncopated rhythm [1] 2 3(e)(iii) Stop Time [1] 1 3(f) Traditional Jazz 1

5 Q/No. Marking Scheme and Solution Marks Guidance Extract: The Animals, ‘Don’t Let Me Be Misunderstood’ (1965) https://www.youtube.com/watch?v=L61Tjo8cim4 Timing: 0’ 00” – 1’ 25” 4(a) Accept any two of the following: • Guitar • Organ 1 1 Accept Keyboard, do not accept synthesizer 4(b) Accept any two of the following and any other relevant answers: • Both the bass guitar and drums play the same one-bar groove/pattern throughout the entire verse [1] o The bass guitar is playing in the same rhythm as the drums (bass/kick drum) [1] o On first two beats, the bass guitar plays on the on-beat while the drums (hi-hat and snare drum) play on the off-beat [1] o The drums play alternating bass and snare groove in the first two beats [1] o The drums play in unison rhythm in the last three quavers each bar [1] • The bass guitar is playing a descending bassline chord progression [1] that repeats twice [1] 2 4(c) Accept any two pairs of the following and other relevant answers: • Change in the groove that the drum plays [1] o In the Verse, the groove is more syncopated o In the Chorus, the drums play a straight 8th groove, with the use of the ride cymbal playing quavers [1] o The addition of a break in the chorus from bars 15—16 [1] • Brief change of time signature to 2/4 in the chorus (bar 15) that breaks the regularity of the meter [1] • Change in chord progression [1] o The verse consists of a descending chord progression of 4 chords which repeats o The chorus only uses 3 chords [1] • Change in tonality / key [1] o The verse is in key of B minor / minor tonality o The chorus is in key of D major (relative major of B minor) / major tonality [1] 4

6 • The length of the chorus is much shorter than the verse [1] o The Verse has 8 bars but the Chorus has 4 bars [1] • Change in vocal range [1] o The lead male singer sings in a higher register in the chorus as compared to the verse [1] • The backup vocals is humming softly in the background in verse to accompany the lead vocal [1], while it doubles the lead vocal’s melody in the chorus [1] 4(d) Chord M: G Chord N: A 1 1 4(e) Accept any two of the following and any other relevant answers: • Simple singable melodies • Use of catchy hook (such as in the opening riff) • Use of clear verse/chorus structure in the music where there is clear contrast between both sections • Strong and steady rhythmic groove throughout such as in the chorus and bridge • Standard pop band line up with lead vocal backed up by guitar, keyboard, and drums • Use of conventional chord progressions such as in the Chorus that revolve around chords I, IV, and vi • Lyrics revolve around ideas of love and relationships 2

7 Part 3 Asian Music Q/No. Marking Scheme and Solution Marks Guidance Extract: ‘Lancaran Suwe Ora Jamu (Pelog)’ https://www.youtube.com/watch?v=-e-wusfVx78 Timing: 0’ 08” – 1’ 10” 5(a)(i) Bonang barung 1 5(a)(ii) Accept any three of the following or other relevant answers: Construction: • Twelve bronze kettle gongs in two rows of six located in square openings [1] • in rectangular teakwood frame, suspended by string threaded through channels carved into frame [1] Playing technique: • The bonang is played with the soft end of two mallets [1] • The previous note will be dampened as the next is played using the mallet’s soft end [1] 3 5(b) Polyphonic Stratification 2 5(c) Accept any two of the following or other relevant answ