NCEA Level 2 Music (90269) 2007 — page 1 of 9

Assessment Schedule – 2007

Music: Demonstrate an understanding of the materials and processes of music in a
range of scores (90269)
Evidence Statement
Achievement with Achievement with
Q Evidence Achievement
Merit Excellence
One EXTRACT A: “Mack the Knife” by Kurt Weill
(a) Bass Any TWO
• even crotchet pulse instruments
chosen from the
• walking bass
list, with ONE
Hi-hat correct response
• repeated even off-beat pattern (on for each.
beats 2 and 4)
• swing triplet rhythm, blues swing,
jazz triplet feel
Brass
• syncopated rhythm
• block chords punctuate the texture
• fills between and accompanies the
vocals
• emphasises the piano chords
(b) (i) Syncopation TWO correct FOUR correct
(ii) Both pitches required: responses. responses.

(iii) Vocal techniques (bar number

AND word required):
Technique Bar(s) Word
3 “dear”
7 “spread”
Vocal Slide 11 “dear”
27 “corner”
37 “bag’s”
6 “start”
13 “not”
Melisma 14 “trace”
21–23 “ooz[ing]”
38 “dropping”
Word- 21–23 “ooz[ing]”
painting 38 “dropping”
 NCEA Level 2 Music (90269) 2007 — page 2 of 9

Achievement with Achievement with

Q Evidence Achievement
Merit Excellence
One (i) SIX out of seven parts of table Part (i) correct. BOTH parts correct.
(c) required:
Key Bar nos.
Ab major 1 16

A major 17 32
Bb major 33 40

(ii) Effect of the (rising chromatic) key

changes is to add tension to /
create excitement / suspense in
the music as it moves to a climax,
and reinforce the impact of the
lyrics.
One The piano and the brass continue Correct response.
(d) (“similarly”) with the pattern of
articulation / accent markings
established in the preceding bars, for
the duration of the extract (or until the
context changes).
(e) (i) 5 instruments. Part (i) correct.
(ii) See extract below. No more than No more than ONE
THREE errors in: error in:
• pitch • pitch
• rhythm • rhythm
• tails • tails
• key signature • key signature

OR
Allow incorrect octave transposition:
 NCEA Level 2 Music (90269) 2007 — page 3 of 9

Achievement with Achievement with

Q Evidence Achievement
Merit Excellence
Two EXTRACT B: Suite for Cello and Jazz Piano Trio by Claude Bolling
(a) • Bass All THREE correct.
• Drum Kit
• Piano
(b) (i) Instrumental techniques: BOTH correct.
(1) Cello: arco / bowed / playing
with the bow / down-bow
(2) Bass: pizz(icato) / plucked
(with the fingers)
(ii) See extract below. Correct response.

(iii) See table below. Correct bar number Correct bar number
and beat(s) and beat(s)
identified for THREE identified for FOUR
chords. chords.

Chord Bar number Beat(s) Chord Bar number Beat(s)

7 7
F#dim / A 93 1 and 2 F 90 1
7
G 90 (or 92) 2 (or 4) Eb 91 3 and 4
7 7
D 91 2 Am 90 3

(c) See table below. THREE time

signatures correctly
identified, with
correct bar number
and quaver grouping
given.

Time Bar number One bar of quaver beats

signature

ONE from 94, 95, 97, 98, 104, 105 ŘŘŘ Åıı˜

Ed OR 104, 105, 108–110 ŘŘŘŘŘ

OR 107 ŘŘ Åı˜Åı˜

ONE from 96, 99, 106

Jh ŘÅı˜ ŘÅı˜

ONE from 89–93, 100–103

Dd Åıı˜ Åıı˜
 NCEA Level 2 Music (90269) 2007 — page 4 of 9

Achievement with Achievement with

Q Evidence Achievement
Merit Excellence
Two See extract below. Mostly accurate Highly accurate
(d) transcription of transcription of
notation and notation and
performance performance
directions. directions.

Note: Allow ×-noteheads, and slashes in bars 94–95, beats 2–5.

(e) (i) Cello: Doubles RH of piano a TWO correct
10th / compound 3rd lower. responses, one from
First and third notes of each each of (i) and (ii).
group of four semiquavers
double the upper voice of LH of
piano.
(ii) Bass: Doubles LH of piano part
(sounds an octave lower than
written, so doubles the lower
voice until b.110, beat 1, then
upper voice).
Note: other responses possible.
(f) How rhythm reinforces the “jazz” TWO correct THREE correct
nature of the work: responses. responses.
• Syncopation, eg Piano, bar 89
• Walking bass line, eg Bass, bars
94–95
• Accented off-beats, eg Drum Kit,
bar 108
• “Swing tempo” indication, eg
Drum Kit bar 94
• Frequent changes of metre / us
of less-common metre (eg bars
94, 96, 97).
Note: other responses possible.
 NCEA Level 2 Music (90269) 2007 — page 5 of 9

Achievement with Achievement with

Q Evidence Achievement
Merit Excellence
Three EXTRACT C: Piano Concerto No. 19 in F major by W.A.Mozart
(a) (i) English names: All FOUR instrument
Woodwind names, listed in
order.
• Flute
• Oboes
• Bassoons
Brass
• (French) Horns (in C)
(ii) English meanings: BOTH correct
• Viola 1 and 2 responses.
• Cello and (Double) Bass
(b) See extract below. No more than TWO
errors in:
• pitch
• rhythm
• tails
• performance
markings.

(c) See extract below. In Stave A, no more No more than No more than ONE
than ONE error in: THREE errors error overall in:
• pitch overall in: • pitch
• rhythm • pitch • rhythm
• tails • rhythm • tails
• performance • tails • performance
markings. • performance markings
markings • key signature.
• key signature.

(d) A No change / exact repeat. TWO out of three All THREE correct
B Transposed up a P4. correct responses. responses.

C Any ONE of:

• Transposed up a P4
• slurring / phrasing changed
• syncopated note on the “A”
• last 4 notes are different,
• melody ends on tonic instead
of dominant, no accented
passing note.
 NCEA Level 2 Music (90269) 2007 — page 6 of 9

Achievement with Achievement with

Q Evidence Achievement
Merit Excellence
Three See example below. Chords correctly Chords correctly Chords correctly
(e) identified identified identified
AND AND AND
Appropriate Mostly accurate Correct realisation of
realisation of bass realisation of bass ALL parts.
part AND melody part AND melody
line. line AND inner
harmony notes.

Note: other responses possible.

(f) Material originally from bars 1–6 Identifies bar 1 as Identifies bars 1–6
• Piano plays same music as starting bar
orchestra originally played (exact AND AND
repetition – same melody / makes THREE valid makes THREE
harmony / bass) comparisons. specific and detailed
• Melody is ornamented comparisons.
• Phrasing / slurring changed
• No dynamic markings in piano
• Oboe phrase in bars 30–31 is
same as in bars 5–6.
Note: other responses possible.
(g) See table below. Correctly identifies Correctly identifies
THREE chords. all FIVE chords.

Bar no. Chord no. Chord

7
Cm / Eb
① add6
18 or Eb

② Fm
7
③ Bdim / D
19
④ C/E
Dm / F
⑤ add6
20 or F
7
⑥ G
 NCEA Level 2 Music (90269) 2007 — page 7 of 9

Achievement with Achievement with

Q Evidence Achievement
Merit Excellence
Three See extract below. THREE correct FOUR correct FIVE correct
(h) A Syncopated melodic theme responses. responses. responses
ONE or more motifs from:
• Ob. / Vn. I – bars 10–14
• Fag. – bars 12–14
B Three instruments playing unis.
• Fl. & Ob. & Vn. I, bar 14
C Held dominant pedal
• Cor – bars 11–14
D “Alberti”-type accompaniment
• Vn. II – bars 10–14
E Tonic and dominant bass notes
• Vc. & B. – bars 10–14
 NCEA Level 2 Music (90269) 2007 — page 8 of 9

Achievement with Achievement with

Q Evidence Achievement
Merit Excellence
Three See list below. TWO correct FIVE correct FOUR elements with
(i) responses from ANY responses from ANY TWO correct
element in list. elements in list. responses each.
Dynamics
• detailed dynamic markings on the score
• contrasting markings
• use of “crescendo” markings
• use of contrasting instrumental groupings combined with dynamic markings gives a stronger contrast
between loud and soft
Rhythm
• Repeated quavers, eg Vc. & B.
• Contrasting subjects show a different use of rhythm
• Opening subject – simple rhythm pattern stresses the metre and the tonality
• Second subject – use of syncopation against the flowing classical “Alberti” accompaniment pattern
Texture
• Use of “pillars” of sound from tutti sections to smaller combinations of instruments / contrasting bodies
of sound
• Homophonic throughout
• Piano solo enters as a solo instrument with a very light texture
• Bar 26–end of extract – lighter orchestral texture, in keeping with the classical period and stylistic
writing in the concerto
Phrasing
• Well-defined phrases
• Balanced / regular / even
• “Question and answer” phrases
• Highlighted by cadence points
• Simple, short question-answer phrases
Timbre
• Typical classical orchestration / combination of instruments
• Main themes in Vn. I doubled in the woodwinds
• Strong supportive bass line
• Vc. and B. – double each other
• Vn. II – “Alberti” figure
• No clarinet, suggesting this is from early classical period
• Horns used sparingly so as not to overpower the light texture
Note: Other responses possible.
 NCEA Level 2 Music (90269) 2007 — page 9 of 9

Judgement Statement

Achievement Achievement with Merit Achievement with Excellence

TEN pieces of evidence of As for Achievement As for Achievement

Achievement. plus plus
SIX pieces of evidence of Three pieces of evidence of
Achievement with Merit. Achievement with Excellence.

Twenty opportunities are offered in:
Question 1: a, b, c, d and e(i)
Question 2: a, b(i), b(ii), b(iii) and c
Question 3: a(i), a(ii), b, c, d, e, f, g,
h and i
Thirteen opportunities are offered in: Six opportunities are offered in:
Question 1: b, c and e(ii) Question 1: e(ii)
Question 2: b(iii), d, e and f Question 2: d and f
Question 3: c, d, e, g, h, and i Question 3: c, e and i

10 A 6 M + 10 A 3 E + 10 A

Note: Assessors take into account the quality as well as the quantity of the evidence provided when judging the
appropriate level of candidate achievement.