Answer sheet/ Marking rubric

Question 1

(A) Describe the composers use of Texture within section 1 of this excerpt
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Criteria Mark
Contains both thick textures with block chord passages and phrases in thin 2
textures, constructed from rhythmic or melodic motifs
Texture contains rhythmic and melodic motifs 1

(B) Based on Bars 1-8, describe the Sequence the composer has developed
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The accompanying chords move in a descending two measure sequence which leads
onto section 2.

(C) Describe unity or contrasting ideas which change through the accompaniment in Bars
13-15
possible answers
The accompaniment changes to a triplet quarter note pattern
Arpeggio style covering a wide range of the piano
Provides sonata with a forward motion

Mark (__/1

(D) What is the pitch center of measure 1
D

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(E) What is the pitch center of measure 13
A

Mark (__/1)

(F) Describe how harmony and structure have been composed within this excerpt from
bars 155-166, include melody and other techniques to answer.

Contrasting dynamics are recognised through extreme changes between bars 155-
162, fortissississsimo is heard within Bars 161 onwards, whereas the section prior
has a very soft dynamic level in the rhythm, this is quite static due to long held,
arpeggiated chords and a slow moving, improvisatory like melody.

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Criteria Mark
Comprehensive understanding, provides specific examples with reference 5
to the source.
Discusses different aspects, demonstrating musical observations and 4
analytical skills
Identifies a number of aspects and makes basic observations 3
Identifies some aspects with minimal observations understood 2
Shows very limited understanding with little to no observations 1



Question 2

(A) On the score bellow, notate the OBOE from Bar 3-11.
Note: The first 2 bars have been provided, all other score material will be located on page
11 to help notate.

Criteria Mark
Comprehensive melodic dictation, correctly notated showing 5
comprehensive understating of notation and melody.
Completes the task, minimal errors, shows highly developed 3-4
understanding of melody.
Notates 2-3 bars, showing understating, 2
Shows minimal to no melodic dictation, incorrectly notated 1




(B) What is the Harmonic Function of the following note.
Mark (___/1
Pedal note effect, harmonic tonal bass of E

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(C) Describe how Robert Schumann makes use of TEXTURE in bars 10-26
Thick, active homophonic texture. Individual strings and wind parts create quaver
chord progressions. Wind double strings at bar 16. Pedal point becomes a walking
Bass.

Criteria Mark
Comprehensive understanding of texture through the excerpt with correct 4
analysis and terminology understood.
Developed understating of excerpt between bars 10-26, shows good 3
examples with reference to texture.
Aspects of texture expressed through analysis, makes minimal reference 2
towards ideas and terminology.
Identifies limited ideas towards texture, showing minimal concepts with no 1
reference to how this links towards texture within excerpt

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 Criteria Mark
Student shows comprehensive knowledge of all questions showing
multiple examples with detailed response
Student answers all questions correctly
Excelled understanding of score reading and melodic dictation 19-20
Well written responses showing comprehensive language with
metalanguage to justify responses.
Comprehensive responses

Student show highly developed understating of most questions
Students answers most of all questions correctly
Developing higher order thinking towards responses
Shows reference towards ideas and analysis of questions 15-18
Metalanguage is identified correctly within responses
Highly developed responses

Student shows developed knowledge of task

Shows good reference with ideas and analysis towards justifying
response
Ideas clearly identified, with minimal mistakes 10-14
Metalanguage identified
Articulate response towards long answer responses with some
comprehension mistakes

Students shows good understating of responses

Developing knowledge connecting thoughts to analysis
Answers some questions correctly, identifying some knowledge of
musical reference 5-9
Minimal metalanguage identified
Comprehensive responses minimal quantity

Student demonstrates minimal understating towards questions

Little to no metalanguage identified through responses
Mixes up ideas with reference towards musical analysis
Not all question in full detail of response 1-4
Shows minimal reference towards answers being disjunct and
difficult to understand

Total Mark /20

Comments:
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