Music P2 Nov 2025 MG Eng

GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12 MUSIC P2 NOVEMBER 2025 MARKING GUIDELINES MARKS: 30 These marking guidelines consist of 18 pages. Copyright reserved Please turn over

Music/P2 2 DBE/November 2025 NSC – Marking Guidelines SECTION A: AURAL (COMPULSORY) Note to the marker: Candidates must be credited for any correct answers not given in the marking guidelines. QUESTION 1 Track 1 1.1 Notate the rhythm of the missing notes in bars 3 and 4. Answer: ½ ½ ½ ½ ½ ½ 6x½ (3) Track 2 1.2 Notate the missing notes at (A) and (B) in staff or sol-fa notation. Answer: Pitch and rhythm must be correct: 2 x ½ (1) [4] Copyright reserved Please turn over

Music/P2 3 DBE/November 2025 NSC – Marking Guidelines QUESTION 2 2.1 Identify the cadences at the end of EACH of the following TWO extracts. Track 3 2.1.1 Answer: Imperfect cadence 1 mark (1) Track 4 2.1.2 Answer: Perfect cadence 1 mark (1) 2.2 Answer the following questions by making a cross (X) in the appropriate block. Track 5 2.2.1 Identify the most prominent texture at the beginning of this extract. CRITERIA ANSWER Monophonic X Polyphonic Homophonic Call and response 1 mark (1) Track 6 2.2.2 Identify the most prominent compositional technique. CRITERIA ANSWER Melodic sequence Rhythmic repetition X Diminution Imitation 1 mark (1) Copyright reserved Please turn over

Music/P2 4 DBE/November 2025 NSC – Marking Guidelines Track 7 2.2.3 Which ONE of the following describes the metre? CRITERIA ANSWER Triple time Quadruple time Irregular time X Compound time 1 mark (1) Track 8 2.2.4 Which ONE of the following describes the choir? CRITERIA ANSWER SATB X TTBB SAB SSA 1 mark (1) Track 9 2.3 Indicate TWO descriptions from COLUMN A that relate to the music in Track 9. Make a cross (X) in TWO appropriate blocks. COLUMN A ANSWER Pentatonic scale passage, descending movement X Wholetone scale, ascending movement Piano and descending parallel octaves X Ascending parallel fifths and polyphonic Glissando-like passage over a wide range X (2 x 1) (2) (8 ÷ 2) [4] TOTAL SECTION A: 8 Copyright reserved Please turn over

Music/P2 5 DBE/November 2025 NSC – Marking Guidelines SECTION B: RECOGNITION OF MUSIC CONCEPTS Answer QUESTION 3 (IAM) OR QUESTION 4 (JAZZ) OR QUESTION 5 (WAM). Note to marker: if a candidate selected more items than requested, only the first answers must be marked. QUESTION 3: INDIGENOUS AFRICAN MUSIC (IAM) 3.1 Listen to the following tracks. Indicate THREE items in COLUMN A that relate to the music in Tracks 10–12. Make a cross (X) in THREE appropriate blocks for EACH track. Track 10 3.1.1 COLUMN A ANSWER Moderate quadruple time Call by chorus, response by soloist Syncopated rhythmic patterns X Crepitation in introduction X Umrhubhe accompaniment Leg rattles and body percussion X Melody in unison Lively tempo in triple time X (3 x 1) (3) Track 11 3.1.2 COLUMN A ANSWER Bass voice soloist Ululation and vocal sound effects X Male and female chorus Upbeat and festive mood X Polyrhythms between instruments Acoustic guitar accompaniment Cyclic chord progression: I – IV – I64 – V X Ostinato on the drums and bass X (3 x 1) (3) Copyright reserved Please turn over

Music/P2 6 DBE/November 2025 NSC – Marking Guidelines Track 12 3.1.3 COLUMN A ANSWER Repetitive body percussion patterns X Parallel movement in melody X Isicathamiya Descending melodic sequences Overtone singing/umngqokolo X Improvisation Call and response between soloist and group X Regular phrases (3 x 1) (3) Track 13 3.2 Answer the following questions regarding this extract. 3.2.1 Identify the following features that you hear in this extract: Answer: Tonality • Minor Compositional technique in chorus accompaniment • Repetitive motive/ostinato Chorus • Female-voiced chorus/SA/Soprano and alto voice types (3 x 1) (3) 3.2.2 Which style is represented in this extract? Answer: Malombo 1 mark (1) Copyright reserved Please turn over

Music/P2 7 DBE/November 2025 NSC – Marking Guidelines Track 14 3.3 Answer the following questions regarding this extract. 3.3.1 Name ONE popular artist/group associated with this extract. Answer: Ladysmith Black Mambazo/Joseph Shabalala 1 mark (1) 3.3.2 Describe the following elements that you hear in this extract: Answer: Harmony • Use of primary chords: I – I – IV – V • Cyclic chord progression • Parallel movement in voices Rhythm • Syncopated rhythms • Repetitive rhythmic motives Metre • Simple quadruple (3 x 1) (3) Track 15 3.4 Indicate THREE items in COLUMN A that relate to the music in Track 15. Make a cross (X) in THREE appropriate blocks. COLUMN A ANSWER Izihlabo in free time followed by a regular rhythm X Descending chord progression Concertina plays a chord on every beat X Backing vocals singing in unison with soloist A repeated chord played in moderate tempo X Izibongo in a fast tempo Concertina, guitar, idiophone and bass guitar accompaniment X (3 x 1) (3) Copyright reserved Please turn over

Music/P2 8 DBE/November 2025 NSC – Marking Guidelines Track 16 3.5 Answer the following questions regarding this extract. 3.5.1 Describe the introduction in this extract. Answer: • It starts with the organ. • The organ plays sustained chords with an added melodic line. • The bass guitar and drums then set the beat. • The organ plays freely in the beginning, then plays a regular rhythm when the drum kit, guitar and bass guitar join in. • The electric guitar then adds melodic fills. • The band repeats a chordal pattern twice before the vocals enter. (2 x 1) (2) 3.5.2 Identify the style and group of the song from which this extract is taken. Answer: Style: Mbaqanga Group: Soul Brothers (2 x 1) (2) Track 17 3.6 Answer the following questions regarding this extract. 3.6.1 Name the instrument playing the melody. Answer: Saxophone 1 mark (1) 3.6.2 Name the melodic instrument that was originally associated with this style. Answer: Penny whistle 1 mark (1) 3.6.3 Describe the melody. Answer: • It consists of short repetitive motives. • The melody consists of mainly chordal notes with some stepwise movement. • The melody starts with a short theme that is repeated four times. • The melody remains within the tonal framework. • The melody has a syncopated rhythmic feel. (2 x 1) (2) (28 ÷ 2) [14] TOTAL SECTION B: 14 OR Copyright reserved Please turn over

Music/P2 9 DBE/November 2025 NSC – Marking Guidelines QUESTION 4: JAZZ 4.1 Listen to the following tracks. Indicate THREE items in COLUMN A that relate to the music in Tracks 18–20. Make a cross (X) in THREE appropriate blocks for EACH track. Track 18 4.1.1 COLUMN A ANSWER Blues influences Syncopated rhythms and homophonic texture X March tempo in simple duple metre X Syncopated left-hand stride Repetitive melodic figures in the upper part X Cyclic four-chord progression March tempo in compound duple metre Ascending chromatic movement in X accompaniment (3 x 1) (3) Track 19 4.1.2 COLUMN A ANSWER Syncopated melody line on piano X Homophonic texture in triple metre Avant-garde jazz Introduction begins on the first beat X Swing rhythm with improvisation in horn section Upbeat dance tempo in quadruple metre X Walking bass line X Bass trombone and drum kit in rhythm section (3 x 1) (3) Copyright reserved Please turn over

Music/P2 10 DBE/November 2025 NSC – Marking Guidelines Track 20 4.1.3 COLUMN A ANSWER Irregular time and fast tempo Main melody is in a minor X Two-chord cycle X Main melody on trumpet Bass guitar doubles up the ostinato figure Ostinato figure on muted electric guitar X Orchestral jazz style influences Chordophone and percussion accompaniment X (3 x 1) (3) Track 21 4.2 Answer the following questions regarding this extract. 4.2.1 Identify the following features that you hear in this extract: Answer: Voice type of soloist • Alto/Contralto/Mezzo-soprano Time signature • (2 x 1) (2) 4.2.2 Briefly describe the guitar accompaniment. Answer: • It has an arpeggiated introduction. • It starts on a dominant chord. • The accompaniment is light. • Both melodic and chordal fills are heard. (2 x 1) (2) 4.2.3 Which other instrument plays the accompaniment? Answer: Double bass 1 mark (1) Copyright reserved Please turn over

Music/P2 11 DBE/November 2025 NSC – Marking Guidelines Track 22 4.3 Answer the following questions regarding this extract. 4.3.1 Name TWO marabi influences heard in this extract. Answer: • Cyclic chord progression • Prominence of the piano part • Prepared percussive piano sound (2 x 1) (2) 4.3.2 Describe the following elements that you hear in this extract: Answer: Harmony • Use of primary chords I – IV – V • Harmonic cycles in four-bar patterns/Cyclic chord progression • Use of a dominant 7th on the tonic chord Rhythm • Steady beat and ostinato on the snare drum • Syncopated rhythms used by all instruments Metre • Simple quadruple (3 x 1) (3) Track 23 4.4 Indicate THREE items in COLUMN A that relate to the music in Track 23. Make a cross (X) in THREE appropriate blocks. COLUMN A ANSWER Open hi-hat and bass drum play on the beat Cyclic chord progression with brass and woodwind arrangements X Ragtime and blues influences Syncopated melodies X Free improvisation with alternating four-chord cycle Regular metre with driving riff by drum kit and bass guitar X Rhythmic layering in piano and horn parts X (3 x 1) (3) Copyright reserved Please turn over

Music/P2 12 DBE/November 2025 NSC – Marking Guidelines Track 24 4.5 Identify the title and style of this song. Answer: Title: Jikel’ Emaweni Style: Marabi (2 x 1) (2) Track 25 4.6 Answer the following questions regarding this extract. 4.6.1 Name the instrument playing the melody. Answer: Saxophone 1 mark (1) 4.6.2 Name the melodic instrument that was originally associated with this style. Answer: Penny whistle 1 mark (1) 4.6.3 Describe the melody. Answer: • It consists of short repetitive motives. • The melody consists of mainly chordal notes with some stepwise movement. • The melody starts with a short theme that is repeated four times. • The melody remains within the tonal framework. • The melody has a syncopated rhythmic feel. (2 x 1) (2) (28 ÷ 2) [14] TOTAL SECTION B: 14 OR Copyright reserved Please turn over

Music/P2 13 DBE/November 2025 NSC – Marking Guidelines QUESTION 5: WESTERN ART MUSIC (WAM) 5.1 Listen to the following tracks. Indicate THREE items in COLUMN A that relate to the music in Tracks 26-28. Make a cross (X) in THREE appropriate blocks for EACH track. Track 26 5.1.1 COLUMN A ANSWER Adagio assai Simple quadruple metre in a minor key X Allegro moderato X Guitars playing in a contrapuntal style X Arpeggiated accompaniment Compound duple metre in a minor key Opening theme in a monophonic texture X Repetition in different voices (3 x 1) (3) Track 27 5.1.2 COLUMN A ANSWER Orchestral accents on the main beat with ostinato X bass Standard Classical orchestra SSA Pedal point on strings X Prominent unison singing X Prestissimo Voices, strings and orchestral bass drum X (3 x 1) (3) Copyright reserved Please turn over

Music/P2 14 DBE/November 2025 NSC – Marking Guidelines Track 28 5.1.3 COLUMN A ANSWER Major key with pedal point Compound duple metre Rubato X Diminished chords in introduction X Glissando Tonic pedal point in introduction X Lyrical melody with imperfect cadence Extract ends with a perfect cadence X (3 x 1) (3) Track 29 5.2 Answer the following questions regarding this extract. 5.2.1 Describe the following features that you hear in this extract: Answer: Voice type of soloist • Bass Time signature • Type of chorus • Male-voiced chorus/TTBB/Tenor and bass voice types (3 x 1) (3) 5.2.2 What is the symbolic role of this solo character in the opera? Answer: • High priest of wisdom • Symbol of moral good/calm/peace/light 1 mark (1) Copyright reserved Please turn over

Music/P2 15 DBE/November 2025 NSC – Marking Guidelines Track 30 5.3 Describe or name the following features of the aria in this extract: Answer: • Character: Queen of the Night • Voice type: Coloratura soprano • Melody: o The first four-bar phrase makes use of a melisma. o It is sung in a very high register. o It has a very wide range. o It includes a four-bar broken chord/arpeggiated melody towards the end of the extract. o Virtuosic melody o The melody is embellished by the use of auxiliary notes o Imitation between the vocal melody and that of the orchestra o The melody contains descending sequences o The melody contains repeated phrases Character = 1 mark Voice type = 1 mark Melody = 2 marks Soprano= 1/2 mark Coloratura= 1/2 mark (4) Track 31 5.4 Indicate FOUR items in COLUMN A that relate to the music in Track 31. Make a cross (X) in FOUR appropriate blocks. ITEMS ANSWER First theme on cellos and bassoons Beginning of the recapitulation Exposition X Woodwinds do not play a prominent role Lyrical and lilting theme on the cellos and bassoons X Repeat of theme on woodwinds and strings Wide range of dynamics and use of sforzando X Symphony Standard Classical orchestra X Motive development only in the cello melody (4 x 1) (4) Track 32 5.5 Answer the following questions regarding this extract. 5.5.1 Name the TWO wind instruments that play the theme in this extract. Answer: Clarinet and flute (2 x 1) (2) Copyright reserved Please turn over

Music/P2 16 DBE/November 2025 NSC – Marking Guidelines 5.5.2 Identify the genre and composer of the work from which this extract is taken. Answer: Genre: Concert overture Composer: F Mendelssohn (2 x 1) (2) Track 33 5.6 Answer the following questions regarding this extract. 5.6.1 Describe the importance of this extract in Beethoven's Symphony No. 6 in F Major Op. 68. Answer: • It is the linking passage between the fourth (Thunderstorm) and the fifth (Shepherd’s Song) movements. • It creates a continuous flow of musical ideas linking the two different programmatic settings. 1 mark (1) 5.6.2 Describe TWO ways in which this music evokes a change of mood. Answer: • The orchestral tutti at the beginning portrays the end of a dramatic storm with the last distant thunder being heard. • The oboe and flute melodic solos (linking the two movements) suggest that the storm has ended and a calm mood has returned to the pastoral setting. • The opening and answering (four-bar) phrases are played by the solo clarinet followed by the solo French horn, which simulates the Alpine horn evoking the idea of a relaxed country life. • The melodies evoke a folk-like peaceful quality. • The tempo picks up with the opening phrase of the clarinet, changing the atmosphere from ominous to relaxed. (2 x 1) (2) (28 ÷ 2) [14] TOTAL SECTION B: 14 Copyright reserved Please turn over

Music/P2 17 DBE/November 2025 NSC – Marking Guidelines SECTION C: FORM ANALYSIS (COMPULSORY) QUESTION 6 Read and study the questions for ONE minute. Track 34 Listen to the piece below while you study the score. Copyright reserved Please turn over

Music/P2 18 DBE/November 2025 NSC – Marking Guidelines 6.1 This piece is in an unusual ternary form. Give the bar numbers of the possible B section. Answer: SECTION BAR NUMBERS   B Bar 8 – 113 4 (2 x 1) (2) 6.2 Name ONE way in which this B section differs from a typical B section. Answer: • It is much shorter than usual. • It is only 3 bars in length. • It is not in a contrasting key. • The material does not differ significantly from that of the A section. 1 mark (1) 6.3 Name the key and cadence in bars 74 to 81. Answer: Key: A flat major Cadence: Perfect cadence (2 x 1) (2) 6.4 Name the rhythmic device in bars 7 and 9. Answer: Syncopation 1 mark (1) 6.5 D.C. (in bar 11) is the abbreviation for Da Capo. What does this mean? Answer: Repeat from the beginning (usually up to Fine). 1 mark (1) 6.6 Circle the non-harmonic note in bar 6 on the score. Answer: See score 1 mark (1) TOTAL SECTION C: 8 GRAND TOTAL: 30 Copyright reserved