Music Grade 12 IEB Paper 1 2018 Memo

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE EXAMINATION NOVEMBER 2018 MUSIC: PAPER I MARKING GUIDELINES Time: 3 hours 100 marks These marking guidelines are prepared for use by examiners and sub-examiners, all of whom are required to attend a standardisation meeting to ensure that the guidelines are consistently interpreted and applied in the marking of candidates' scripts. The IEB will not enter into any discussions or correspondence about any marking guidelines. It is acknowledged that there may be different views about some matters of emphasis or detail in the guidelines. It is also recognised that, without the benefit of attendance at a standardisation meeting, there may be different interpretations of the application of the marking guidelines. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 2 of 15 QUESTION 1 Listen to Track 1: [Extract from Bolero – Maurice Ravel: Ravel Bolero and other orchestral works. Track 14; CSR Symphony Orchestra (Bratislava), Kenneth Jean; Naxos 8.550173 1988] 1.1 Identify the repetitive compositional technique heard in the extract. Ostinato (some may answer Riff). 1.2 Place a tick next to the rhythm of the compositional technique you have named above. x 1.3 Listen to Track 1a. It is the main melody from Track 1. [Set on Sibelius © by the examiner.] 1.3.1 Place a tick next to the phrase that matches what you hear. 1.3.2 Add ties where necessary to match the rhythm that you hear. ANSWER: 0,5 per tie x Continuous accuracy: if incorrect melody is chosen but ties are correctly placed, then the mark for ties will be credited. However, they will lose the mark for 1.3.1. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 3 of 15 Listen to Track 2. [Waltz 2 from Jazz Suite No. 2 – Dmitri Shostakovich: Shostakovich The Jazz Album, Track 13. Royal Concertgebouw Orchestra, Riccardo Chailly. The Decca Record Company Limited, London, 1993] 1.4 Place four (4) ticks to identify features NOT present in the music. Compound time x Quadruple metre x Dissonant harmony x Snare drum and cymbal Minor tonality Monophonic texture x Major tonality Pizzicato Polyphonic and Ritardando – a tempo homophonic texture Listen to Track 3. [Minuet from Piano Sonata H XVII/11 by Franz Joseph Haydn performed by Andrew Remillard: <https://www.youtube.com/watch?v =msjjvrRWncE>. Accessed: 11 February 2018] 1.5 Printed below in random order are the eight bars from Track 3. On the stave provided below, re-write them in the correct order to form the 8-bar melody heard in Track 3. Include the time signature. MARKING: 2 PHRASES × 1 MARK = 2 MARKS. No time signature: -0,5 Marking changed to 0.25 per bar X 8. Bars need to match bar numbers. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 4 of 15 1.6 Listen again to Track 3, and identify the cadence in bar 8. Imperfect Listen to Track 4. It is the whole piece from Track 3. 1.7 Tick the structural pattern that your hear. a b a b b a a a b a x Whilst listening to ClassicFM™, you hear this announcement, followed by the piece of music on Track 5: [Joyeuse Marche: Emmanuel Chabrier Orchestra of the Royal Opera House, Covent Garden CD 2 Track 1 from the CDs accompanying Fortissimo for GCSE by Roy Bennett, Cambridge University Press, 1995] Announcer: "And next up, we hear The Sorrow of the Daughter by the Classical composer, Mozart. The soloist is Susan Mitchell on cello." 1.8 With reference to Track 5, comment on the accuracy of the information given by the announcer. Motivate your response with reference to three different features of the music. This announcement is not accurate for the following reasons: (no mark given for this statement) The title given refers to "sorrow", which leads one to expect a slow piece, possibly in a minor key. It also indicates that it is a Classical work, and that there is a solo cellist. However, the piece that we hear is fast, in a major key, and features an orchestra with a large brass and percussion section, which is more likely to be Romantic because the brass only became an important section of the orchestra in the 19th century. There is also a noticeably large percussion section, which is also not typical of a Classical orchestra. A piece that refers to "sorrow" is also likely to be soft, whereas the dynamics of this work are loud. There is no solo cellist present in the recording – only a large orchestra. Mozart, being a Classical composer is unlikely to have given a piece a title, as he wrote mainly absolute music – having a title indicates a programmatic element, which is more common in Romantic music. Other valid points will be credited. Three different features must be referred to in order to achieve full marks. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 5 of 15 QUESTION 2 Listen to Track 6 [Leporello's Opening Aria from Don Giovanni – Mozart. Music – An Appreciation by Roger Kamien. CDs to accompany the 9th Edition: Disk 3 Track 60; McGraw-Hill Companies/Sony BMG Music 2006], Track 7 ["Pick a Pocket or Two" from Oliver! by Lionel Bart; 1991; National Symphony Orchestra conducted by John Owen Edwards; TER Ltd CDTER1184] and Track 8 [Erlkönig – Schubert: Erlking's 2nd verse: Dietrich Fischer-Dieskau, baritone; Gerald Moore, piano. Courtesy of EMI Classics Ltd under licence from EMI Music Special Markets: Music – An Appreciation by Roger Kamien. CDs to accompany the 9th Edition; CD 4 Track 52; McGraw-Hill Companies/Sony BMG] 2.1 Complete the table below. Take note of the mark allocation for each heading. Track 6 Track 7 Track 8 Name the Leporello Fagin Erlking/Erlkönig character [1 mark per track × 3 = 3 marks] State two facts Patter singing – Shows his Erlking sings in about the way in comic element of Jewish roots the major key to which the the character. through the use show his enticing character is Melodic of the Jewish nature – as flourishes when Phrygian opposed to the depicted in the he sings about Dominant scale/ other characters music wanting to be a tambourine/ in the minor key. gentleman. flexibility of The piano [2 marks per tempo – accompaniment track × 3 = 6 Sudden forte – reminiscent of is arpeggiated, marks] his need to be Klezmer style. which is different Only 0,5 if no heard because as from the explanation is a servant, he Oom-pah. repetitive triplet included. generally isn’t. Syllabic setting – pattern that simple character. characterises the Anxious, pacing rest of the song. – V – I bass line Lyrical melody middle register State one fact Balanced It is a musical It is a lied, which about the work phrases, which developed is a typical that indicates the orchestra with in the 20th Romantic work. stylistic period in paired winds, century – sung in Supernatural homophonic English. elements. which it was texture. Any Orchestra has Chromatic, written. other valid point. more brass and programmatic Written by percussion. Any elements, e.g. the Mozart. other valid point. horse galloping. Written by Bart. Any other valid point. Written by [1 mark per track Schubert. × 3 = 3 marks] IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 6 of 15 Listen to Track 9. [End of the Introduction to Don Giovanni: the Commendatore's death – Mozart. Music – An Appreciation by Roger Kamien. CDs to accompany the 9th Edition: Disk 3 Track 62; McGraw-Hill Companies/Sony BMG Music 2006]. 2.2 Identify the texture of the extract, and describe how it is created by the soloists. Polyphonic: there are three characters (Leporello, Don Giovanni and the Commendatore) each singing their own melodic line because they are expressing their own feelings/ideas, at the same time. 2.3 What is happening at this point in the opera, and how does the composer convey the action in the music? The Commendatore has been stabbed by Don Giovanni and is dying. Mozart uses a suspended/held/paused chord as the Commendatore is stabbed. Then the music changes tempo – slows down. Uses a descending chromatic scale to show that he has died. Minor key, appoggiaturas. Diminished 7ths, short phrases, limited range Other possible answers. QUESTION 3 Listen to Track 10. [Development section from Symphony No 40 in g minor by W A Mozart. Music – An Appreciation by Roger Kamien. CDs to accompany the 9th Edition; Disk 3 Track 14; McGraw-Hill Companies/Sony BMG Music 2006] 3.1 Identify the section of the work from which this extract is taken. Development 3.2 Comment on Mozart's use of keys in this section. The expectation in a Classical symphony is that the development will modulate to closely-related keys. However, in this symphony, Mozart modulates instead to the minor of the 7th degree (f# minor) and then passes through a number of other distantly-related keys. The harmony is more chromatic than one would expect in a Classical symphony. Works through the Cycle of 5ths which destabilises the tonic key. Restless atmosphere (0.5), tension (0.5) Listen to Track 11. [Bridge from Symphony No 40 in g minor by W A Mozart. Music – An Appreciation by Roger Kamien. CDs to accompany the 9th Edition; Disk 3 Track 11; McGraw-Hill Companies/Sony BMG Music 2006] 3.3 Name the theme heard in Track 11, and state its purpose in the exposition. Bridge passage/Transition – to modulate from the Tonic to the relative major in preparation for the 2nd subject. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 7 of 15 QUESTION 4 Listen to Track 12. ["Der stürmische Morgen" (The Stormy Morning) from Winterreise by Franz Schubert. Performed by Dietrich Fischer-Dieskau and Gerald Moore. <https://www.youtube.com/watch?v=8l8l0HPDMOE> Accessed: 10 February 2017]. The score [IMSLP60822-PMLP02203 Schubert_Werke_- Breitkopf_Serie_XX_Band_9_F.S.878-904.pdf] and the lyrics, with an English translation, are printed as APPENDIX A in the Resource Booklet. [The LiederNet Archive: Text added to archive between May 1995 and September 2003. Last modified 22/11/2017 <http://www.lieder.net/lieder/get_text.html?TextId=11861>. Accessed: 10 February 2018] 4.1 Identify the key of the piece. D minor 4.2 What is the form (structure) of this Lied? Through-composed 4.3 Evaluate the musical setting of this Lied in comparison with your set work, Der Erlkönig. Refer to word painting and programmatic elements, texture and harmony. Give your opinion as to which Lied is more effective, giving a reason for your choice. The answer must be written as a paragraph – the table is just for easy reference. Valid points not listed in the table will be credited. 6 marks for the comparison: 2 per element. All three listed elements must be discussed. 1 mark for reason for opinion – no mark for opinion IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 8 of 15 "Der stürmische Morgen" Der Erlkönig Word Painting Relatively little word A lot of word painting: and painting. In fact, a number Rising fear of the child: Programmatic of opportunities for word chromatic melody that rises Elements painting are not used: each time he sings, "Torn apart" – is sung in reflecting his growing panic. unison with the piano, which indicates unity rather Enticing nature of the than being torn apart. Erlking: in a major key with Begins loudly – like a storm. a change of accompaniment "Shreds of cloud flit about" pattern. – the melody is disjunct reflecting clouds being Galloping of the horse blown in the sky. depicted in the consistent The triplets in the interlude triplet pattern in the after verse one could be accompaniment. reminiscent of "shreds of clouds flit about" in verse 1. The calming voice of the Fortissimo on "fiery red father in a lower register. flames" combined with Not chromatic like the son. dotted values creates the drama of a fire. Recitative at the very end – Dynamics are softer on the depicting death. words "my heart sees its own image …" Use of accents Torn apart – staccato Texture Monophonic in the Homophonic throughout introduction and verse 1. with melody in left hand Homophonic in verse 2. against the repetitive triplets Monophonic again at the in the right hand. Very short beginning of verse 3 but recitative – monophonic – at becomes homophonic as the end. The sudden change the song reaches its climax. from the homophonic The texture alternates texture that dominates the between monophonic and lied is a shock to the homophonic which creates listener which emphasises interest for the listener and the tragedy of the boy's emphasises the death. wildness/changing patterns of the storm. Harmony Minor in Verse 1 and 3, Minor tonality. Also Major in Verse 2: links to chromatic and use of lyrics “This is to my liking”; diminished chords to create use of chromaticism and tension and emphasise the diminished triads fear. emphasise the destruction Changes to Major for of the storm. Erlking. More harmonically complex Opinion Needs to be backed up with reference to one of the elements (doesn't have to be one mentioned in the body of the answer). Cannot just be "I like it better". IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 9 of 15 QUESTION 5 Listen to Track 13, [Mozart 40th in G minor, arranged by Gordon Goodwin Played by Jazz Music Orchestra (Belgium) Clarinet: Arnaud Dupire 20 avril 2013 <www.jazzmusicorchestra.be>. Published on May 16, 2013 <https://www.youtube.com/watch?v=QZciKBBrXP8>. Accessed: 15/12/2017] which is an arrangement of one of your set works. Track 14 is the original version of the same work. [Mozart Symphony No 40 in g minor from Music – An Appreciation by Roger Kamien. CDs to accompany the 9th Edition; Disk 3 Track 10; McGraw-Hill Companies/Sony BMG Music 2006] Write an essay in which you compare Track 13 to the ORIGINAL work, heard in Track 14. Also include the following information in your discussion: • The name of the work and the composer. • A definition of, and brief background to, the genre. • Comment on the jazz influences / styles in the arrangement heard in Track 13. Offer your own opinion as to which track you prefer, and justify it with reference to the use of at least two elements of music. Ensure that the comparison forms the body of the essay, and that you discuss both similarities and differences. Your essay will be marked using the following rubric: RUBRIC FOR ESSAY Clearly demonstrates an understanding of the question, cites factual evidence, completes all requirements, and provides an insightful comparison of the works, 20–16 with reference to both the general characteristics of the genres and the specific features of the two tracks. Own opinion of the works is offered with insight and specific reference to the use of the elements of music. Demonstrates an understanding of the question, completes all requirements, cites factual evidence and provides some comparison of the works, with some reference 15,5–10,5 to both the general characteristics of the genres and the specific features of the tracks. Own opinion of the works is offered with limited insight and some generalisation in terms of the use of the elements of music. Meets all of the requirements, but demonstrates only a partial understanding of the question and limited factual evidence. Comparison of the works is limited with only 10–5,5 partial reference to either the general characteristics of the genre or the specific features of the tracks. Own opinion is limited with little or no reference to the use of the elements of music. There is an imbalance between the sections of the essay. Demonstrates minimal understanding of the question, does not complete all 5–0,5 requirements, and provides only a vague reference to, or no use of, the facts. No comparison or opinion is offered. There is no balance within the essay. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 10 of 15 THE ANSWER TO THIS QUESTION MUST BE WRITTEN IN ESSAY FORM – THE MEMO IS TABULATED FOR EASE OF REFERENCE. Title and Mozart: 1st Movement – Symphony No 40 Composer (2) Genre and Symphony: multi-movement work for orchestra – usually 4 –movements Background (2) contrasting each other in tempo, key and mood. Fast-Slow-Minuet and Trio-Fast. The 1st and 4th movements are usually in Sonata form. Background info Developed from the single-movement Italian overture of the Baroque offered may period. The three sections developed into three independent movements. include other "Standardised" in the Classical period by composers like Haydn, Stamitz historical (Mannheim School) and Mozart. Minuet and Trio added between the references Slow and Fast movements. Influence of Baroque Suite. Comment on Elements of Cool and Big Band jazz. Improvisatory sections – solo Jazz Style(s) (2) clarinet. Can hear audience clapping after solos, which is typical of jazz styles. The ensemble is essentially a big band but because at times only a solo clarinet and rhythm section are used, it sounds like a Cool combo. There are also elements of Bebop in the virtuosic clarinet solo. Track 13 (Goodwin) Track 14 (Original) Tonality Minor and Blues Minor. 2nd subject is in the relative major. Development modulates to distantly related keys. Metre Quadruple/Duple Quadruple/Duple Tempo Slower and with more tempo Moderately fast – Allegro. Remains changes/greater flexibility of tempo the same throughout the especially between solo movements. improvisation sections. Some really upbeat sections where the drum kit drives the rhythm and some laid- back sections. Melody Call and response between saxes 1st subject (Mannheim sigh) and trombones. And between solo constructed from 3-note motive clarinet and other winds. Elements using compositional techniques like of the original 1st subject appear repetition, variation and sequence. throughout but there are extended Contrasting 2nd subject based on improvisatory sections – generally the chromatic scale. by clarinet. Bridge passage based on a Based mainly on 1st subject Mannheim rocket. material. No Bridge/2nd subject Limited range material is used. No improvisation Wider melodic range in No ornaments in melody improvisations. A lot of improvisation Melody is ornamented Rhythm Swung and syncopated in a jazz Straight – very few syncopations. style. Mainly a sense of the accent on the Emphasised by the cymbals – as in first beat of the bar. cool jazz. Alteration of the original rhythm. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 11 of 15 Timbre Piano – not in original. Classical orchestra with strings, Clarinet solo acc. by piano opens paired winds, 2 horns. No timpani the work. Drum kit – light cymbals or trumpets. Depending on version, – typical of Cool jazz. no clarinet – only flute, oboes and Starts off like a Cool jazz ensemble bassoons. – solo instrument(s) with rhythm Woodwinds have a fair amount of section. melodic material. Gradually a big band sound emerges with saxophones and muted brass (trombones). Multiple trumpets, trombones and saxophones. Double bass. Later returns to the Cool jazz combo sound and then just before the end, there is another "big band" moment. Ends with clarinet, light cymbals and piano. Reeds & Horns Texture Homophonic in early improvisatory Mainly homophonic although there sections and in some of the "big are some imitative sections. There band' sections. are also some places where the Polyphonic later on when clarinet is strings/woodwinds play improvising together with the rest countermelodies to the main of the ensemble. melody. Phrases Some balanced phrases but some Balanced, periodic – typical of irregular phrases in the Classical period. Clear cadences at improvisatory sections. the end of phrases. Indefinite ending. Very definite perfect cadence at the end of the movement leaving the audience in no doubt that it is finished. Dynamics Begins softly. Dynamic level Crescendi and diminuendos with increases as more instruments join some sudden forte and piano parts. the ensemble. Quite a lot of Gradual dynamic changes are variation between piano/mezzo typical of the Classical period. forte and forte. Articulation Clarinettist makes use of a variety Two note slurred "Mannheim Sigh" of articulation: slurs, tongued, long dominates the movement. Mainly and short phrases. Little staccato – legato throughout. mainly legato Structure Solo improvisatory sections Sonata form: Exposition, alternating with ensemble sections. Development and Recapitulation Improvisations are quite virtuosic. with two clear themes/subjects in Arch-type form: Piano/Sax – Big the exposition. Short development Band/Swing – "bebop" – Big Band section. – piano/sax No introduction Improvisation is like a development Definite ending section. Head Short introduction On repeat – a lot more improvisation Ending fades out. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 12 of 15 QUESTION 6 Listen to TRACK 15 [Imizamo Yam'] and TRACK 16 [Kwela Celebration]. 6.1 Place three ticks in Column A to identify unique features of Track 15 and place three ticks in Column B to identify unique features of Track 16. Place 2 ticks in Column C to identify features common to both tracks. Place ticks for common features only in Column C – do not tick in all three columns. COLUMN C COLUMN A COLUMN B Common Unique features Unique features features of Track of Track 15 of Track 16 15 and Track 16 3 ticks 3 ticks 2 ticks Call and response x Acoustic guitar x A capella x Cyclical x 4-bar introduction Walking bass x iib-Ic-V Multi-part male voices x I, IV and V x 8-bar introduction x 6.2 Identify the style of music represented by each track and name one other musical style that influenced each style. Track 15: Isicathamiya/Mbube Influenced by Hymns/SATB singing and African American spirituals from missionaries / traditional African Music – call and response Track 16: Kwela/Pennywhistle Jive: Influenced by Marabi/American Big Band Jazz MARKING: Name of style = 0.5 and other musical style = 1: 1.5 × 2 = 3 6.3 Explain the role that the media played in the development, and spread, of South African Urban music in the 1950s under the apartheid government. Growth of radio stations aimed at black listeners – this increased demand for recorded music that could be played on these stations. Growth of the recording industry – a result of the need for music that could be played on the radio stations, and also because people wanted to buy recordings for themselves. Publications like DRUM magazine brought news of fashion, styles and music from America, which in turn influenced the development of SA Urban music, e.g. the influence of Big Band jazz on Mbaqanga and Township Jazz. Very little South African Urban music was spread via "white" radio stations, magazines or newspapers. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 13 of 15 Black radio was segregated by culture/language. Spread SA Music worldwide. Exposed SA Urban music to the White population, Opened the world’s eyes to the reality of Apartheid. Film Listen to Track 17. [Meadowlands – Dysfunctional Family Jazz Band] 6.4 Name the composer of this work, and state the issue of protest in the song. Strike Vilakazi – against the forced removals from Sophiatown to Meadowlands. Apartheid – not accepted. 6.5 On the stave below, write out the basic chord progression on which this song is constructed. State the key, and figure the chords. MARKING: 0,5 per chord. Subtract 0,5 for no key and 1 for no figuring. Listen to Track 18. [Meadowlands performed by the Dysfunctional Family Jazz Band June 2009 <https://www.youtube.com/watch?v=O_o6e2ETLt0> Accessed: 18 February 2018.] 6.6 With reference to the error in the statement made by the singer at the beginning of the track, comment on the lyrics of this song and state how they were interpreted by the authorities. She says that the lyrics are in Zulu, whereas in fact the verse that she starts to sing is the Sesotho verse (1). Three languages are used in Meadowlands: isiZulu, Sesotho and Tsotsitaal. (1) The authorities interpreted the lyrics as being supportive of the removals to Meadowlands because they refer to "let's go to Meadowlands" and "Meadowlands, our beloved place". (1). However, this phrase is used sarcastically/ironically because in Verse 3, the reference to "our beloved place" clearly refers to Sophiatown because it says "staying here in our beloved place" (1) "Hell no, we won’t go" – but the song does not state this as obviously/overtly/explicitly. It is more subtle. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 14 of 15 QUESTION 7 Listen to Track 19. It is an extract from one of your set works. [Koko – Charlie Parker from the album The Genius of Charlie Parker; 2005; Savoy Jazz] 7.1 Identify the work. Koko 7.2 Why is the recording of this piece considered so important in the history of jazz? It is the first known recording of Bebop made in 1945. Bebop had begun to develop in the early 1940s but, because of the ban on all commercial recordings owing to issues of royalty payments, no recordings of the style's early development were made. It was Parker's first recording as a leader. The head was partly improvised in the recording – leading to it being called the "most famous recorded solo". Performed by some of the most important Bebop performers/artists. 7.3 Highlight or underline three characteristics from the list below that are unique to this style of jazz. 7.3.1 Collective improvisation 7.3.6 Swung quavers 7.3.2 Walking bass 7.3.7 Bass drum "bombs" 7.3.3 Unusual time signatures 7.3.8 Front line instruments: saxophone, trumpet, trombone 7.3.4 Motivic melodies 7.3.9 Highly virtuosic, very fast 7.3.5 Syncopation improvisation Listen to Track 20 [Take 5 – Dave Brubeck Quartet/Paul Desmond original: <https://www.youtube.com/watch?v=PHdU5sHigYQ>. Published: 22 December 2010. Accessed: 15 February] and Track 21. [Take 5 – Dave Brubeck Quartet/Paul Desmond from Time Out Not Now Music Limited 2011] 7.4 Write out the blues scale on which the melody of this work is based. The scale will be accepted with or without a key signature. Blues on C also acceptable. Any other correct Blues scale 0,5 IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: MUSIC: PAPER I – MARKING GUIDELINES Page 15 of 15 7.5 Use the headings in the table below to describe and compare the introduction and the improvisations on Track 20 and Track 21. Do not refer to the difference in tempo between the two versions. Track 20 Track 21 (Set work) Introduction (2) Shortened drum intro – 4-bar drum intro – very doesn't seem to get into steady from beginning. the groove immediately. Sets up the groove then Only 4-bar piano vamp. joined by the piano for 8-bar intro 8-bars (piano vamp) Freer drum part Tighter drum part “Hot” jazz “Cool” jazz Improvisation 1 Saxophone – different Saxophone – 28 bars and improvisation from set over piano/drum Accompaniment work. Much longer kit/double bass vamp. (2) improvisation – approx. Unlike the other version, 96 bars. Distinctive the piano maintains the groove is maintained by distinctive groove drum kit while piano throughout. plays chords. The piano isn't as obvious. Improvisation 2 Piano improvisation – Drum Kit – 88 bars over and relatively short – ends piano/bass vamp. Begins Accompaniment with the piano picking up with the drum kit playing (2) the vamp again to lead the vamp and gradually back into the head. moving into a virtuosic Cymbals dominate solo. accompaniment. Refer to APPENDIX B, which is the lead sheet of Cry me a River, [Arthur Hamilton: Chappell & Co and Momentum Music 1953, 1955 from The Definitive Jazz Collection; 2nd Edition; Hal Leonard Corporation] and answer the questions that follow: 7.6 With reference to APPENDIX B, identify each section of the form using a letter (e.g. A) followed by the bar numbers of the section. A: bar 1 to bar 8 A: bar 9 to bar 16 B: bar 17 to bar 24 A: bar 25 to bar 32 7.7 Name the compositional technique in bars 23 and 24. Repetition Total: 100 marks IEB Copyright © 2018