NCEA Level 2 Music (90269) 2011 — page 1 of 7
Assessment Schedule – 2011
Music: Demonstrate an understanding of the materials and processes of music in a
range of scores (90269)
Evidence Statement
Each question part should be marked holistically. If the candidate does not quite meet the requirement for
Achievement or Merit, then the marker may look for evidence from a higher level (Merit or Excellence) in that
question part to contribute to the awarding of the lower grade.
Question Achievement
ONE Score Extract A: “Dirge for a Soldier” by Kurt Weill
(a) (i) Identifies BOTH keys:
• Major key: F major
• Minor key: D minor
(b) (i) Identifies the texture AND
gives a correct description:
• Texture: monophonic
• The men are singing in
unison / all singing the
same pitches.
Achievement with Merit
(ii) Describes ONE way the first
chord is unusual, eg:
• The Ab makes it an F
minor chord, which does
not (help to) establish the
key indicated by the key
signature.
• The chord suggests the
tonic minor key.
(ii) Identifies the texture AND
gives a correct description:
• Texture: homophonic
• The girls are singing in
(three) parts and have the
same rhythm, but different
pitches
AND
(iii) Explains a challenge for the
choral director, eg:
• The notation specifies a
change from three to two
parts in bar 23, with no
indication whether one
voice rests or if the choir
divides into two equal
parts.
Achievement with Excellence
(iii) Identifies BOTH keys, giving
ONE different piece of
evidence in support of each:
A – D minor
• Perfect cadence (V–I)
in bars 8–9
• Raised / sharpened
leading note (C♯) in bar 8
B – E minor
• Perfect cadence (V7–
I) in bars 19–20
• Raised / sharpened
leading note (D♯) in
bar 19.
(iv) Describes TWO ways the
piano texture contrasts with
the voice parts, eg:
• In bars 1–16:
- the piano RH has
chords in rhythmic
unison with the voices
(homophonic texture, in
contrast to the
monophonic texture of
the unison voices)
- the piano LH has drum-
like dotted figures and
trills that intersperse the
notes of the vocal
melody.
• In bars 17–24:
- the piano has a
(thinner) 2-part texture
which contrasts with the
(thicker) chords of the
vocal part
- the piano RH decorates
/ has a countermelody
to the vocal melody
- the piano LH has
constant quaver
movement, contrasting
with the mainly crotchet
movement of the vocal
 NCEA Level 2 Music (90269) 2011 — page 2 of 7
Question One cont’d
Question Achievement Achievement with Merit
(c) (i) Draws a diagram with (ii) Identifies TWO musical
accurate bar numbers (see elements and describes
below). how they are used to
achieve contrast EITHER
within the second section,
eg:
• Timbre
- The vocal melody is
contrasted against the
piano accompaniment.
• Articulation
- The legato style of the
accompaniment is not
maintained in vocal
parts.
OR between the second
section and the outer
sections, eg:
• Pitch
- The girls’ voices are
higher in pitch than the
men’s.
• Rhythm
- The dotted quaver +
semiquaver rhythm that
predominates in the
men’s melody only
appears later in the
girls’ melody.
• Melody
- The range of the
melody is narrower in
the second section (a
major 6th, compared to
a compound minor 3rd).
• Tonality
- The key is D major
(instead of F major /
D minor).
Other responses possible.
Example diagram for (i):
Section A Section B Section A1
Bars 1–16 Bars 17–24 Bars 25–40
melody.
Achievement with Excellence
(iii) Explains TWO ways that
bars 1–16 are structured,
eg:
• bars 1–8 contrast
rhythmically and
melodically with bars 9–
16
• first phrase (bars 1–4)
ends on C chord
(dominant of F)
• second phrase (bars 5–8)
is the same as the first,
transposed a minor 3rd
lower; ends on A major
(dominant of D)
• third phrase (bars 9–12)
introduces contrasting
rhythm and melody; ends
with a (perfect) cadence
in D (minor)
• fourth phrase (bars 13–
16) has the same rhythm
as the third; ends with a
perfect cadence in
D (minor)
• rhythmic and melodic
motifs are used in the
vocal and accompanying
parts
• the opening rhythmic
motif (bar 1) is subject to
augmentation (bar 9).
 NCEA Level 2 Music (90269) 2011 — page 3 of 7
Question One cont’d
Question Achievement
(d) (i) Describes how ONE (ii) Describes how TWO
element contributes to the
“military” feel, eg:
• Rhythm
- The dotted (semiquaver
+ quaver) rhythm is a
characteristic march
rhythm.
- The up-beat
demisemiquavers in the
piano LH imitate the
characteristic drum
“drag”.
• Metre
- Common time is
characteristic of
marches.
Other responses possible.
Other responses possible.
Achievement with Merit
different elements
contribute to the “dirge-like”
feel, eg:
• Tempo
- The tempo (Andante
sostenuto) is a slow
walking pace.
• Tonality
- The music is mostly in a
minor key.
• Melody
- The range of the first
phrases is very narrow,
and hovers around a
central tone.
Achievement with Excellence
(iii) Explains THREE (of four)
examples of word painting,
eg:
• “Drawn to the earth”
- The descending minor
3rd suggests a fall
“earthwards”.
• “roll, roll the drum”
- The piano LH imitates a
drum-roll.
• “bolder”
- The octave leap is
surprising, emphasises
the word.
- The word is at the peak
of a crescendo to mf,
the loudest dynamic
marking in the song.
- The beat of silence in
all parts which follows
adds emphasis to the
words.
• “leave him where he’s
lying”
- The top vocal line
maintains the same
pitch (A), suggesting
that he is lying flat,
unmoving.
Other responses possible.
 NCEA Level 2 Music (90269) 2011 — page 4 of 7

Question Achievement Achievement with Merit Achievement with Excellence

TWO Score Extract B: First movement of String Quintet No. 1 by Johannes Brahms
(a) (i) Identifies one instance of
any THREE compositional
devices (see over):
(1) Bar 33, violin 1 or 2
(2) Bar 33, cello
(3) Bar 28, viola
(4) Bars 32–33, any except
cello
(5) Bar 31, violin 1 or 2, or
viola 2.
Rewritten groupings in (ii)
(ii) Any TWO of: (iii) Explains how TWO types of
• Identifies ONE unusual articulation contribute to a
feature, eg: specified effect, eg:
- Violin II: The dotted • Staccato marks (all parts,
quaver + semiquaver bars 28–33): help to
pattern is usually “lighten” the dense / dark /
grouped in (crotchet) bass-heavy texture.
beats • Marcato (accent) marks
- Viola I: A bar of quavers (viola parts, bar 33): draw
attention to the long / off-
in common time is
beat notes.
usually grouped 4 + 4.
• Explains ONE reason why
the notes are grouped
irregularly, eg:
- The first quaver of the
bar is the last note of
the previous phrase
- The grouping gives
prominence to the
viola’s triple stopping,
and the violin part is
grouped similarly to
match.
• Correctly rewrites the
music, with accurate note
alignment and stem
direction (see below).

° b œ. ≈ nœ. ≈ œ ≈ ° b œ. ≈ nœ. . ≈ . œ ≈
& #œ. œ. . œ#œ. ≈ œ. & #œ œ . œ#œ. ≈ œ.
. .
f f
#œ #œ
¢B b n œœ. œ. œ. #œ œ
. # œ. . œ. n œ ¢B b n œœ. œ. œ. #œ œ
. # œ. . œ. n œ
f
. f
.
 NCEA Level 2 Music (90269) 2011 — page 5 of 7

Question Two cont’d

Compositional devices in (i)

œ. œ. œ. œ. œ. œ. œ. # œ. œ.
°
28
J J ‰ Œ
Violine I &b ‰ Œ Ó ‰ Ó
f

œ. .. œ. œ. . . œ
≈ œ#œ ≈ œ œ. j œ œ.. œ.. œ œ œ #œ J ≈ nœ ≈ œ . ≈ œ œ. ≈ œ.
. . . æ ææ ææ æ æ
Violine II & b J ≈nœ. #œ. ≈ œ. œ. .
f
3 j
f
#œ .
Bb n œ œ œ. œ ‰ ‰ œj nœ. œ. œ. bœ œ. œ œ. nœ. œ
Bratsche I
œ. œ. . #œ. # œ. . n œ. # œ.j . J . #œ. . œ. nœ.
f
j . j
B b #nœœ ‰ Œ Ó ‰. œr œ. ≈nœ. œ. ≈bœ œ. ≈ œ. nœ. ‰ Œ Ó
Bratsche II
. .
f

? ‰. œr œ. ≈nœ œ ≈bœ. œ. ≈ œ. nœj ‰ Œ

¢ b œj
‰ Œ Ó Ó
Violoncell
. . .. .
f

1 œ.
° b ‰ œ.
4. . œ. . œ. n œ. œ. . œ. # œ. n œ. . .
≈ n œ ≈ œ œ. ≈ œ. œ. ≈#œ.
.œ bœ œ œ. œ. n œ
b
5
31
. œ nœ
&
1 œ.
.. .. bœ.. b 4œ
œ 5
œ nœ œ n œ œ nœ œ # œ
œ œ
æ æ æ æ æ æ æ æ
. J ≈nœ. nœ. ≈ œ. œ ≈
& Jæ æ æ æ æ æ æ
b œ œ œ ≈
. œ. œ. #œ.
>
bœ. . .
œ. œ. œ. bœ nœ. œ. nœ. œ œ. # œ. œ >œ.
4
. .
Bb j ‰ ‰ œ bœ œ œ.
. J J
œ. J
5 .. 4
œ .. bœ.. bœ nœ b œ nœ œ œ #œ œ. >œ. œ >
œ
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Bb ‰ œ œ œ œ nœ J J œ.

. . . .
? b ‰. œr bœ. ≈ œ. œ. ≈bœ. œ. ≈ œ. œ. ≈bœnœ. ≈ œ. nœ. ≈ œnœ ≈ œ. #œ. 2 nœ. œ
¢ J nœ œ .
œ. . œ .
œ
.
.
f

(b) Bass line matches chord Bass line matches chord Bass line and inner parts
indications indications (pitches, rhythms, and stems)
AND AND are correct with smooth voicing
(with allowance for minor errors)
Inner parts are correct for final Inner parts (pitches and
cadence (see below). rhythms) are correct for final
cadence AND any TWO other
consecutive chords (see below).

°
œ œ
œj œ œ œ œ œœ œ œ
&b Ϫ
˙ œ œ œ œ œ œ

˙ œ œ œ œ œ œ œ
?
¢ b œ œ œ œ œ œ œ
˙
 NCEA Level 2 Music (90269) 2011 — page 6 of 7

Question Achievement Achievement with Merit Achievement with Excellence

THREE Score Extract C: “Bohemian Rhapsody” by Queen (arr. for concert band)
(a) (i) Identifies BOTH tuned (iii) Describes TWO functions of (iv) Identifies the strong beats in
percussion instruments: the percussion parts, eg bar 9 as 1 and 4, with ONE
• timpani they: piece of supporting
• add colour evidence, eg:
• bells
• provide sound effects • the beats are clearly
AND
grouped as 3+2 in many
(ii) Explains the meaning of the • play on the beat to help
parts, shown by the
note in the timpani part, eg: the ensemble stay in time
dotted minim + minim rest
• Bb, Eb, and F are the • reinforce the change of (eg Bass Clarinet)
pitches to which each of metre.
• In Percussion I, the ride
the three timpani are cymbal has hits on the
tuned. strong beats in bars 10
and 11, so the hits on
beats 1 and 4 of bar 9
must indicate they are
strong beats too.
Other responses possible.
(b) (i) Identifies FOUR (of four) (ii) Identifies THREE (of four) (iii) Inserts the correct key
transcription errors (see chords, including the correct signature
below). inversions (see below). AND
Makes no more than TWO
errors in pitch (see below).
Transcription in (i)
23 ˙œ . b œ œ n œœ ˙˙ œœ œ œœ
? b Œ ‰œ œ ‰œ œœœœ
a2
b Œ ∑ ∑
Trombone 1, 2
J J
f

B bb Œ ˙œ . bœ œ Œ nœœ ˙˙ ∑ ‰ œj œ œ œ œ
a2
∑ ‰ jœ œœ œ œ
Staff A
œ œ
f
Chords in (ii)
Jazz / rock chord
(1) C7
(2) F7/C
(3) Bb
(4) Gm
(5) Bb7/F

°
Transposition in (iii)

b
& b 45 ˙ œœ
‰
œ œ œ
44 bœ œ
œ œ œœ #n œœ œœ œœ
˙ bœ œ œ
# 5˙ œœ ‰ nœœ œœ œœ 44 bœœ œœ œœ ##œœ œœ œœ
b ¢ 4˙
&
 NCEA Level 2 Music (90269) 2011 — page 7 of 7

Judgement Statement
Eight opportunities are offered to show evidence of Achievement, Achievement with Merit, or Achievement with
Excellence.
Achievement Achievement with Merit Achievement with Excellence
5A 5M 5E