Deb Smith Practice Exam 2 TEACHER

Teacher Paper
Music Performance
Practice Aural & Written Examination 2
2017
Reading time: 15 minutes

Writing time: 1 hour 30 min Logo refresh
Question & Answer Book

Structure of this book
Number of Number of questions Number of
Section
questions to be answered marks
A 3 3 30
B 10 10 50
C 7 7 20
Total: 100
Instructions for students:
This exam consists of 20 questions, all of which need to be answered in the spaces provided.
Students are advised to use pencil NOT pen to complete this examination.
There are a total of 100 marks available. The marks allocated to each question are indicated
beside each individual question title.
Aural material is provided for Sections A and B of this examination.

Blank manuscript for rough work is included on page 15.
This practice examination has been produced by Deborah Smith Music.

This publication is not associated with, or endorsed by, the Victorian Curriculum and Assessment Authority (VCAA).
The VCAA is the ONLY official source of advice on this examination.
This practice examination should only be used for practice purposes and all information herein should be
considered in the context of the information, guidelines and parameters set by the VCAA.
© Deborah Smith Music 2017

Ownership of this publication is non transferable and
may only be used and copied by the purchasing school.
This Practice Examination may not be distributed, shared or copied by any other party.
Practice Aural & Written Examination 2 2017
Teacher Information
This Music Performance, Practice Aural & Written Examination 2 2017 has been written to
assist teachers in the preparation of students undertaking the VCE Music Performance Aural
& Written Examination and should be used for practice purposes only.
The Victorian Curriculum and Assessment Authority (VCAA) is the ONLY official source for
advice on this examination. Teachers should use this practice examination in the context of
the information, guidelines and parameters provided by the VCAA.
In particular, teachers should only use the information given by the VCAA when advising
students of terminology for use in answering questions, question format and wording, possible
question types etc.
The "Examination specifications" document and the "Sample aural and written examination"
(published online at www.vcaa.vic.edu.au) give parameters and content for each question type.
Teachers and students should be aware of these parameters etc.
The VCE Report for Teachers, based on previous VCE Aural and Written Examinations, also
contains useful advice on how to approach and answer questions. A list of official resources is
available on the VCAA website.
Practice Examination Instructions
This Practice Aural and Written Examination 2 2017, teacher version includes:
o Section A: answer suggestions and interactive links to audio recordings e.g. "Who can it
be now";
o Section B transcriptions and interactive links to the mp3 files e.g. 1/12 ;
o Section C answers and
o The student practice examination pages (on the facing right pages).
The full printable student version of this Practice Aural and Written Examination 1 2017 is
also included as a separate download.
Teachers are advised to refer to the following texts: "Musicianship & Aural Training for the
Secondary School, Level Three 2nd Edition" by Deborah Smith and "Music Analysis: Listening
Beyond Hearing 3rd Edition" by Jenny Gillan for further information, teaching strategies and
approaches for the question types included in this practice examination.
Acknowledgements
Many thanks to Jenny Gillan for the analysis questions and suggested answers and to everyone
who has helped bring this paper to fruition.
Teacher Page i © Deborah Smith Music 2017

Audio Material Instructions

Section A:
For each question in Section A of this teacher version, an interactive link is provided e.g.
"Who can it be now". Clicking on this link will take you to the associated page on the
dsmusic.com.au website.
Due to copyright restrictions, related videos (for audio use only) have been embedded in the
website individually (but with appropriate timing set where necessary so the required
portion of the track will play when clicked). Follow the instructions given on the linked page
to give the audio material required by the students for that question. A stopwatch timer has
also been included on these pages for teachers to use when giving students writing time. It
is advised that teachers familiarise themselves with this material prior to giving this practice
examination to students.
Section B:
An interactive link is given for the audio material required in Section B of this teacher
version of the practice examination in two ways:
1. A complete audio file link, designed to run from beginning to end of Section B, is
included at the beginning of Section B (Teacher Page 8) and
2. Individual question playings (without speaking) are available by clicking on the CD icon
beside each Section B question.
All Section B audio files can be downloaded onto the purchaser's computer by clicking on the
download link button: in the audio file and saving the file into a folder of choice. Once
this has been done, the file can be played using a program (such as Windows Media Player or
VLC Media Player) that gives the user more control over pausing, replaying etc if required.
Practice Examination Timing Information

Section A
Section A should take approximately 28 minutes. This allows between 15 and 20 seconds
reading time for each question before the first playing of the audio material and approximately
30 seconds at the end to prepare for the next question.
Section B
Section B should run for approximately 36 minutes. The complete audio file link lasts for
this length of time.
Section C
Section C should take approximately 18 minutes.
Following the above timing leaves approximately 8 minutes review time at the end of the
writing time for students to review their answers.
Suggested Practice Examination Timing Chart:
Section Question No Approximate Start time Approximate End time

1 00:00 07:00
A 2 07:00 16:00
3 16:00 28:00
B 4 to 13 28:00 66:00
C 14 to 20 66:00 82:00
Review 82:00 90:00
Teacher Page ii © Deborah Smith Music 2017

Teacher: Unit 4 - Practice Examination 2

Section A - Listening and Interpretation
Question 1 (8 marks)
Work: "Who can it be now"

Composer: Colin Hay
Performers: Men at Work
Album: Business as Usual (CBS Records International, 1981)
The excerpt will be played twice. There will be silent working time after the second playing.
First playing (1'47") - 10 seconds of silence

Second and final playing (1'47") - 3 minutes of silence
a. Describe how the performers have used tone colour in this excerpt. 4 marks
Possible points to be included in answer:
‹ The opening pounding, reverberant bass drum contrasts with the intensity of the biting, harsh snare
drum.
‹ The bass guitar has a more mellow, resonant tone colour, which has more in common with the re-
verberant bass drum than the cutting snare.
‹ Use of word painting with ‘knocking at my door’ followed by a few hits on the sharp, biting snare,
resembling knocking.
‹ The voice initially has a warm, aspirate tone colour due to the low, comfortable register of the male
voice.
‹ The rhythm guitar has some reverberant, mellow tones in the lower strings while upper strings are
brighter and more nasal. This instrument bridges the two extremes of tone colours in this work.
‹ Chorus
o Initially there is a great contrast between the saxophone and voice. The voice sings down the 8ve
so it is mellow and resonant. This contrasts with the nasal, harsh tone colour of the saxophone
played up an octave and with forceful blowing. They play the same phrase in call and response
format.
o At the repeat of the chorus, the male voice is doubled at the 8ve and the upper 8ve has more in
common with the harsher saxophone. The vocal tone colour becomes brighter and more nasal,
complementing this colour.
Section A - Question 1 - continued
Teacher Page 2 © Deborah Smith Music 2017

Student: Unit 4 - Practice Examination 2

Section A - Listening and Interpretation
Work: "Who can it be now"

Composer: Colin Hay
Performers: Men at Work
Album: Business as Usual (CBS Records International, 1981)
First playing (1'47") - 10 seconds of silence

a. Describe how the performers have used tone colour in this excerpt. 4 marks
Student Page 2 © Deborah Smith Music 2017


Section A - Listening and Interpretation cont.
b. Describe the ways in which the performers have used dynamics to create 4 marks
character in their performance.

‹ The character of the piece is energetic and excited. Initially this character is a little restrained but
increases in intensity as the piece develops.
‹ Increasing excitement is created through having a softer dynamic to build from. Initially, the
dynamic is soft through a thinner texture, with few instruments playing.
‹ The male voice sings down the 8ve with a warm, mellow tone colour resulting in a soft dynamic.
‹ The saxophone is quite loud in comparison due to higher pitch and harsher tone colour.
‹ The contrast between these tone colours and resulting dynamic levels at the start is quite marked
and creates a sense of anticipation, hinting at the increasing dynamics and sense of excitement that
build throughout the work.
‹ Initially the rhythm guitars play sparse chords of short duration resulting in soft dynamics and a
restrained, energetic character. These chords become fuller in the chorus. Here, the rhythmic
durations are shorter and there is less use of silence. This creates a fuller sound and adds to the
energy of the piece. The chords are allowed to resonate further, rather than having the staccato
articulation of the verse. The thicker texture adds to the increasing sense of excitement.
‹ A sense of increased energy and louder dynamics are created through the doubling of parts. A
louder dynamic is created when the chorus is repeated by the male voice doubled at the 8ve.
Saxophone playing at a higher 8ve is louder due to the higher pitch but also due to the resulting
penetrating tone colour.
‹ With the doubled male voice and fuller harmonic accompaniment, this no longer creates contrasts
in dynamics, rather the other parts have risen to match the loud dynamic of the saxophone.
Section A - continued


b. Describe the ways in which the performers have used tone colour to create 4 marks
character in their performance.



Work: "Veil - for 7 Instruments"
Composer: Liza Lim
Performers: Ensemble für Neue Musik Zürich
Album: The Heart’s Ear (ABC Classics 1999)
First playing (2'10") - 1 minute of silence
Discuss how the performers create expressive outcomes through their use of dynamics,
articulation and phrasing.
Dynamics
‹ The character of this work is eerie, foreboding at times, while quite relaxed at other times.
‹ The dynamics change often and unexpectedly adding to the eerie character.
‹ Unexpected dynamic increase, and the creation of an eerie character, caused through
o thicker texture - overlapping parts
o thicker harmony - dissonant tones in particular
o changing instrumental tone colour from warm/aspirate eg low flute, to nasal and
penetrating - at high register.
o Silence - short pauses before a louder outburst - helps increase the tension.
‹ Dynamic swells are created with single notes through the use of greater pressure on the bow or
greater air pressure.
‹ The increase in force and dynamic level increases the sense of urgency. Crescendos are caused
through an increase in the rapidity of repetition the same note. The texture remains fairly thin but
the overlapping of parts increases the dynamic level.
‹ The mute on the trumpet is moved in and out to change the tone colour from warm to nasal, and to
increase or decrease the dynamic level, creating an eerie tension.
Articulation
‹ An upward bend and the use of flutter tongue in woodwind instruments opens the work, setting the
foreboding character through its intensity
‹ Articulation changes suddenly and unexpectedly effecting the dynamics and creating the foreboding
character. Here, flutter tonguing brightens and distorts the tone colour a little, increasing the
dynamic level.



Work: "Veil - for 7 Instruments"
Composer: Liza Lim
Performers: Ensemble für Neue Musik Zürich
Album: The Heart’s Ear (ABC Classics 1999)
First playing (2'10") - 1 minute of silence

Discuss how the performers create expressive outcomes through their use of dynamics,
articulation and phrasing.


Continued from previous page:
Articulation continued
‹ The intensity of the work or phrase tends to increase through adding more extended techniques,
working towards a climax. These phrases begin in a tranquil manner, especially playing legato,
aspirate notes, but increase eerie character as the sounds change and become more unexpected
through extended techniques - trills growls etc.
‹ The use of the mute on the trumpet creates a gradual attack as the note gently emerges increasing
the tension.
‹ Dissonance makes the dynamics seem louder, increases the tension and when played with legato
articulation, maintains this feel.
‹ Tremolo on the violin and trills on bass clarinet overlap, increasing the dynamic level and
interrupting the dissonant, legato lines. This interruption increases the tension by sharper, more
unusual sounds with sudden attack.
‹ The low flute uses upward bends from one note to the other increasing tension while a more
tranquil feel is given through use of slow glissando over a fairly large range. This is pared with the
use of diminuendo and occurs both in the trumpet and the flute.
‹ Overlapping legato lines creates tranquility while the interruption by unexpected staccato, accented
notes - both in the flute and the clarinet at different times - increases the sense of foreboding
Phrasing
‹ There is much use of silence, which aids the sense of foreboding.
o Sometimes sound logically ends. Other times, it is prematurely cut off or extends
unnaturally. The contrast between silence and loud interjections of harsh nasal tone colour in
the woodwinds, increases the tension.
o Silence sometimes splits phrases. Other times, there are short phrases of only a few notes,
increasing the sense of foreboding.
‹ Phrases are often long and drawn out. The overlapping nature of the work means that the start
of one phrase and the end of the other is not always obvious. Phrases are, unpredictably, uneven in
length which adds to the mood of insecurity and tension of the work.
‹ Sometimes new phrases in long lines is signalled by an unexpected change in register as in the flute
near the start. This adds to the foreboding nature of the work.
‹ There is a lack of form in phrases. Occasionally there is a repeat of a motif - such as three repeated
notes in the clarinet - but the lack of repetition of phrases contributes to the unease of the work.





This question relates to excerpts from the work "Iko Iko", composed by James Crawford,
Barbara Hawkins, Rosa Hawkins and Joan Johnson.
Interpretation A
Work: "Iko Iko"
Performer: The Dixie Cups
Album: Chapel of Love (Red Bird 1965)
Interpretation B
Work: "Iko Iko"
Performers: Doctor John
Album: Dr. John’s Gumbo (Atco Records, 1972)
The excerpts will be played twice. There will be silent working time after each playing of the
pair of excerpts.
First playing of Interpretation A (1'40") - 10 seconds of silence
First playing of Interpretation B (1'44") - 1 minute of silence
Second and final playing of Interpretation A (1'40") - 10 seconds of silence
Second and final playing of Interpretation B (1'44") - 3 minutes of silence
Discuss the ways in which the approach taken in the two interpretations towards the following
elements of music have resulted in different expressive outcomes:
• Tempo
• Dynamics
• Articulation
Version 1 (V1) Version 2 (V2)
Expressive Outcome: Relaxed, energetic Expressive Outcome: Excited, laid back. Both
versions have similar outcomes in terms of
character but they go about them in slightly
different ways. Both have an energetic aspect
and a relaxed or laid-back aspect.
Tempo - The tempo of V1 is a little faster than Tempo - Relaxed though fairly slow tempo. V2
V2, so while relaxed, V1 has a slightly more has a whole band playing with different rhythmic
energetic feel through the faster tempo. Both and melodic motifs overlaid. The use of smaller
versions have a consistent approach to tempo. subdivisions – semiquavers, particularly in the
They both use layered polyrhythms, although V1 piano - and fast arpeggiated ‘rolls’, contributes to
has this only through the use of tapped together the energy of the piece, even though the tempo is
drum sticks. slower.
Example answers continued on next page. Example answers continued on next page.



This question relates to excerpts from the work "Iko Iko", composed by James Crawford,
Barbara Hawkins, Rosa Hawkins and Joan Johnson.
Interpretation A
Work: "Iko Iko"
Performer: The Dixie Cups
Album: Chapel of Love (Red Bird 1965)
Interpretation B
Work: "Iko Iko"
Performers: Doctor John
Album: Dr. John’s Gumbo (Atco Records, 1972)
The excerpts will be played twice. There will be silent working time after each playing of the
pair of excerpts.
First playing of Interpretation A (1'40") - 10 seconds of silence
First playing of Interpretation B (1'44") - 1 minute of silence
Second and final playing of Interpretation A (1'40") - 10 seconds of silence
Second and final playing of Interpretation B (1'44") - 3 minutes of silence
Discuss the ways in which the approach taken in the two interpretations towards two of the
following elements of music has resulted in different expressive outcomes:
• Articulation
• Tempo
• Phrasing
• Improvisation/embellishment/ornamentation


Version 1 cont. Version 2 cont.
Dynamics - Fairly consistent and limited range Dynamics - the level overall is louder than V1.
due to minimal instrumentation - just singers This adds to the more energetic character. The
and tapping sticks, though a bass does come in dynamic range is greater and occurs through
later it is quite muted and much softer in addition and subtraction of instruments. The
comparison to V2. This is due to the melody intro uses silence after two rhythmic unison
being further back in the mix and low in pitch. chord phrases.
There is very simple harmony – just parallel
The dynamics get louder like V1 when the vocals
6ths/3rds in some places. This adds to the laid
enter but this time it is solo vocals. The call and
back character.
response section alternates solo vocals vs a
Otherwise, the melody is sung in unison which harmonized chorus – 3 part.
results in a relaxed mf dynamic. Singers are not
The thicker texture creates louder dynamics
straining and are singing in a comfortable
which suggests a more energetic character.
register which adds to the relaxed feel of the
music. The overall tonal colour is more forced and
strained which adds to the sense of energy and
Dynamic changes happen, such as when tapped
the louder dynamic level of the work. There is a
drumsticks are heard on their own, adding to
gradual crescendo that occurs through the whole
the energetic feel, or during the vocal call and
piece as more layers are added.
response sections – both creating quieter
dynamics and a relaxed feel. Upper harmonic lines in the call and response
go on to harmonise with the male soloist making
the dynamics louder. The instrumental interlude
is loud and energetic due to the bright, nasal
tone colour of the sax and trumpet played at a
fairly high pitch.
Example answers continued on student page Example answers continued on student page
opposite. opposite.
End of Section A
Turn Over


Student page has additional lines if required.
Version 1 cont. Version 2 cont.
Articulation - Limited range due to limited Articulation - V2 also has a laid-back approach
instrumentation. to articulation from the male vocalist.
Consonants/vowels are swallowed to the extent
The tapping sticks have a sudden attack with
that it is not really possible to understand all
tapered decay. Slightly echoing due to acoustics
words.
but not ringing adds to the energetic character.
There are many sharp attacks on instruments.
Vocals have a fairly ‘laid-back’ approach to
This adds to the energy. In the percussion, the
articulation - ‘sitting’ is ‘sittin’. The response of
snare drum uses sudden attack with tapered
‘ohhh’ is almost incidental.
decay and sometimes uses grace notes – adding
Vocals are quiet in dynamics and almost thrown to the energetic character.
away, as an echo. There is a use of slap on bass
Piano/bass and guitars have fairly staccato
with a slightly echoing decay.
articulation and sharp attack adding energy to
Female vocalists use slight pitch bends between the rhythm section. The piano tends to use a
notes - eg “told-your” which adds to the relaxed bit of pedal once the introduction is complete,
character. Clap articulation has a sudden attack so while the attack is still quite short there is a
but is not exactly together all the time which ringing decay which helps thicken the texture
adds to the relaxed/laid back feel. and add to the louder dynamic/more energetic
character.
Staccato in the piano also gives quite an

energetic feel. Vocals use of bends and ends of
words not properly articulated - ‘set’ is ‘se’ -
adds a playful rhythmic dynamism to the feel.
Both versions have elements of energy - V1 mainly through the sharp attack of sticks, use of
polyrhythms and the faster tempo; V2 through a thicker texture, faster rhythmic durations, use of
staccato articulation and an overall louder dynamic. Both versions also have elements of a laid-back,
relaxed character. Both have a relaxed approach to vocal articulation. The relaxed character is
suggested in V2 through a slower tempo and V1 through a thin texture and limited harmony. They have
similar characters but approach them in different ways.
End of Section A
Turn Over


Section B - Music Language (Aural)
Click on CD icons for individual question playings or click here for full Section B Audio File.
Question 4 (3 marks) 1/12
Listen to the following intervals.

Each interval will be played twice:
a. harmonically and/or melodically,
b. ascending or descending.
Identify the size and the quality of each interval.
First playing - 5 seconds of silence
Second and final playing - 5 seconds of silence
1. Major 6th
2. minor 2nd
3. Perfect 4th
Listen to the following scales and/or modes.

Each scale will be played twice ascending and/or descending.
Identify each scale and or mode form.

1. blues scale
2. melodic minor
3. dorian
Section B - continued


Section B - Music Language (Aural)
Listen to the following intervals.

Each interval will be played twice:
a. harmonically and/or melodically,
b. ascending or descending.
Identify the size and the quality of each interval.
1.
2.
3.
Listen to the following scales and/or modes.

Each scale will be played twice ascending and/or descending.
Identify each scale and or mode form.

1.
2.
3.


Section B - Music Language (Aural) cont.
a. Listen to the following four-bar melody. The melody will be played three times. The rhythm of
the melody is provided. A one-bar count in will precede each playing.
7 jœ j
&8 j
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œj œ œ œ œ œ
œ œ

Second playing - 10 seconds of silence
Third and final playing - 10 seconds of silence
i. Identify the size and quality of the intervals marked with a bracket. (2 marks)
• minor 3rd
• Perfect 4th
ii. Identify the tonality of the melody. (1 mark)
minor pentatonic
b. Listen to the following four-bar melody. The melody will be played twice. 1/15
The rhythm of the melody is not provided. A two-bar count in will precede each playing.
Identify the tonality of the melody. (1 mark)

Lydian
Listen to the following triads/chords. Each triad/chord will be played twice, in block harmony
and/or as an arpeggio.
Identify the quality of each triad/chord.
First playing of each triad/chord - 10 seconds of silence

Second and final playing of each triad/chord - 10 seconds of silence
1. Dominant 7th chord
2. half diminished chord
3. minor triad
4. Augmented triad`


a. Listen to the following four-bar melody. The melody will be played three times. The rhythm of
the melody is provided. A one-bar count in will precede each playing.
7 œj œ œ œ œ œ œj œ œ œ œ j j
œ œ œ œ œ œ œ œ œ œ œ œ
/ 8

i. Identify the size and quality of the intervals marked with a bracket. (2 marks)
ii. Identify the tonality of the melody. (1 mark)
b. Listen to the following four-bar melody. The melody will be played twice. The rhythm of the melody is
not provided. A two-bar count in will precede each playing.
Identify the tonality of the melody. (1 mark)


Listen to the following triads/chords. Each triad/chord will be played twice, in block harmony
and/or as an arpeggio.
Identify the quality of each triad/chord.
First playing of each triad/chord - 10 seconds of silence

Second and final playing of each triad/chord - 10 seconds of silence
1.
2.
3.
4.


Listen to the following chord progression. The chord progression begins on the tonic chord and will
be played three times, with silent working time between each playing. Each chord is in root position
and the progression ends with a common cadence. The first two chords are given. A one-bar count-
in will precede each playing.
Identify the bass note and quality of chords 3 and 4 in the blank spaces of the harmonic grid below.

Harmonic Grid 1. la, 2. si, 3. mi 4. fa
Bass note F # E # C # D
Quality minor dim 7 Dom 7 Major
Listen to the following chord progression. The chord progression begins on the tonic chord and will be
played five times, with silent working time between each playing. Each chord is in root position. The
first two chords and the last two chords are given. A one-bar count-in will precede each playing.
Identify the bass note and quality of chords 4 to 5 in the blank spaces of the harmonic grid below.

Third playing - 10 seconds of silence
Fourth playing - 10 seconds of silence
Fifth and final playing - 10 seconds of silence
Harmonic Grid 1. do 2. re 3. fa 4. so 5. do 6. ti 7. fa 8. do
Bass note F G B b C F E B b F
Quality Major minor 7 Major Dom 7 Major half dim Major Major 7


Listen to the following chord progression. The chord progression begins on the tonic chord and will
be played three times, with silent working time between each playing. Each chord is in root position
and the progression ends with a common cadence. The first two chords are given. A one-bar count-
in will precede each playing.
Identify the bass note and quality of chords 3 and 4 in the blank spaces of the harmonic grid below.

Harmonic Grid 1. 2. 3. 4.
Bass note F # E #
Quality minor dim 7
Listen to the following chord progression. The chord progression begins on the tonic chord and will be
played five times, with silent working time between each playing. Each chord is in root position. The
first two chords and the last two chords are given. A one-bar count-in will precede each playing.
Identify the bass note and quality of chords 4 to 5 in the blank spaces of the harmonic grid below.

Fifth and final playing - 10 seconds of silence
Harmonic Grid 1. 2. 3. 4. 5. 6. 7. 8.
Bass note F G B b F
Quality Major minor 7 Major Major 7


Listen to the following four-bar work for horn and double bass. The work will be played four times.
A transcription of this work is printed below; however, the notation is missing for bars 5 and 6 of
the horn part. The rhythm of the missing horn part is given in the top line. A two-bar count-in will
precede each playing.
Transcribe the missing melody for bars 5 and 6 of the horn part.
Note: a key signature has not been used in this transcription exercise.

Fourth and final playing - 30 seconds of silence
3
1 2 3 4
/ 8
3œ œ œ œ œ œ
Horn &8 œ #œ œ œ #œ œ.
? 38 œ. œ. œ œ œ œ œ
Double Bass œ
/ œ.
5 6 7 8
œ œ œ œ œ œ œ
l, t, d m f m d l,
& œ. œ œ œ œ
C Hn. #œ œ œ #œ. œ #œ œ.
? œ œ œ œ œ œ œ.
Db. J œ œ


Listen to the following four-bar work for horn and double bass. The work will be played four times.
A transcription of this work is printed below; however, the notation is missing for bars 5 and 6 of
the horn part. The rhythm of the missing horn part is given in the top line. A two-bar count-in will
precede each playing.
Transcribe the missing melody for bars 5 and 6 of the horn part.
Note: a key signature has not been used in this transcription exercise.

3
1 2 3 4
/ 8
3œ œ œ œ œ œ
Horn &8 œ #œ œ œ #œ œ.
? 38 œ. œ. œ œ œ œ
Double Bass
œ œ
/ œ.
5 6 7 8
œ œ œ œ œ œ œ
C Hn. & #œ. œ #œ œ.
? œ œ œ œ œ.
Db. J œ œ œ œ


THIS PAGE IS BLANK


THIS PAGE IS BLANK


Listen to the following ten-bar melody. The melody will be played six times. A transcription of this
melody is printed on page 14; however, the notation is missing for bar 3 of the trumpet part, bars
4 and 6 of the flute part and bar 9 of the bass guitar part. The rhythm of the missing notation is
given in the top line. A two-bar count-in will precede each playing.
Transcribe the missing melody for:

• bar 3 trumpet part
• bars 4 and 6 flute part
• bar 9 of the bass guitar part.
Fifth playing - 30 seconds of silence
Sixth and final playing - 1 minute of silence
Section B - Question 11 - continued


Listen to the following ten-bar melody. The melody will be played six times. A transcription of this
melody is printed on page 14; however, the notation is missing for bar 3 of the trumpet part, bars
4 and 6 of the flute part and bar 9 of the bass guitar part. The rhythm of the missing notation is
given in the top line. A two-bar count-in will precede each playing.
Transcribe the missing melody for:

• bar 3 trumpet part
• bars 4 and 6 flute part
• bar 9 of the bass guitar part.
Sixth and final playing - 1 minute of silence
Section B - Question 11 - continued


3
1 2 3
/ 4 œ œ œ œ œ œ
m r m s d' t
### 3 œ. œ œ œ. œ œ œ
Flute & 4 J J ˙
### 3
& 4 œ œ œ œ
œ œ œ œ œ œ œ œ
Trumpet in Bb
? ### 43 œ œ œ
Bass Guitar ˙. œ œ œ
j
œ œ œ œ. œ. œ œ œ.
4 5 6
/ œ
r m f r s s f m d
### œ œ œ œ. œ œ. œ œ œ. œ œ œ.
Fl. & J J
###
& œ ˙ œ œ œ œ œ
Tpt.
œ œ
Bass
? ### œ ˙ ˙. ˙.
j
œ. œ œ œ.
7 8 9 10
/ d' s f r
### œ. œ œ œ ˙. ˙. ˙.
Fl. & J
### œ œ
Tpt. & œ œ œ œ œ ˙. ˙.
? ### œ œ œ œ. œ œ œ.
Bass œ œ œ J ˙.


3
1 2 3
/ 4 œ œ œ œ œ œ
### 3 œ. œ œ œ. œ œ œ
Flute & 4 J J ˙
### 3
& 4 œ œ œ
œ œ œ
Trumpet in Bb
? ### 43 œ œ œ
Bass Guitar ˙. œ œ œ
j
œ œ œ œ. œ. œ œ œ.
4 5 6
/ œ
### œ. œ œ
Fl. & J
###
Tpt. & œ ˙ œ œ œ œ œ œ œ
Bass
? ### œ ˙ ˙. ˙.
j
œ. œ œ œ.
7 8 9 10
/ ∑
### œ. ˙. ˙. ˙.
& œ œ œ
Fl. J
### œ œ
Tpt. & œ œ œ œ œ ˙. ˙.
? ### œ œ œ
Bass œ œ œ ˙.






Listen to the following four-bar excerpt. The excerpt will be played four times. A two-bar count-in
will precede each playing.
Transcribe the missing rhythmic notation for bar 3 of the side drum part.

9 j 2
/ 4 œ œ œ œ.
2
Side Drum
° œœ œ ˙ œ œ œ œ œ œœœœœœ
#9
œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ ˙.
Steel Drums ¢ 4J
& J J J J J J
2
j j
œ. œ œ œ œ œ œ œ œ œ œ œ. ˙.
3 4
°/ œ œ œ œ œ œ
#œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. ˙.
¢ & J J J J


Listen to the following four-bar excerpt. The excerpt will be played four times. A two-bar count-in
Transcribe the missing rhythmic notation for bar 3 of the side drum part.

9 j 2
/ 4 œ œ œ œ.
2
Side Drum
° œœ œ ˙ œ œ œ œ œ œœœœœœ
#9
œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ ˙.
Steel Drums ¢ 4J
& J J J J J J
j
œ œ œ œ œ œ œ œ. ˙.
3 4
°/
#œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙. ˙.
¢ & J J J J


Listen to the following eight-bar excerpt. The excerpt will be played six times. A two-bar count-in
Transcribe the missing rhythmic notation for:
• bars 3 and 4 of the congas part

• bars 6 and 7 of the tambourine part. First playing - 15 seconds of silence
Sixth and final playing - 30 seconds of silence
2
° 3
Congas / 8 œ œ œ œ œ. œ œ œ
3
Tambourine ¢/ 8 œ œ œ œ œ œ œ
3 4 2 5
°/ œ œ œ œ œ œ œ œ. œ œ œ
¢/ œ œ œ œ œ. œ. œ œ
6 7 8
°
/ œ. œ œ œ œ œ œ œ œ.
2
¢/ œ œ œ œ œ œ œ œ œ œ œ œ


Listen to the following eight-bar excerpt. The excerpt will be played six times. A two-bar count-in
Transcribe the missing rhythmic notation for:
• bars 3 and 4 of the congas part

• bars 6 and 7 of the tambourine part. First playing - 15 seconds of silence
Sixth and final playing - 30 seconds of silence
2
° 3
Congas / 8 œ œ œ œ œ. œ œ œ
3
Tambourine ¢/ 8 œ œ œ œ œ œ œ
3 4 5
°/ œ. œ œ œ
¢/ œ œ œ œ œ. œ. œ œ
6 7 8
°
/ œ. œ œ œ œ œ œ œ œ.
2
¢/ œ œ
End of Section B
Turn Over


Section C - Music Language (Written)
Identify the size and quality of each interval.
? ww
& bw
w
1. Augmented 4th 2. Major 2nd
Write each interval using semibreves in either the treble or the bass clef.
& ‹w bw #w
w
‹w bw
Perfect 8ve below D ‹ minor 6th above E b Major 3rd above A
OR
‹w bw #w
w
? ‹w bw
a. Identify the following scale or mode form. A key signature has not been used.
? bw bw nw bw bw
bw bw
Scale or mode form Blues scale (on B ) b

b. Identify the scale or mode form of the following melody.
b 5 œ œœ œ œ œ œœ œ œœ œœœœœ œ œ œœœœœ
& 4œ œ œ œ œ œ
Scale or mode form (G) dorian mode
Section C - continued


Section C - Music Language (Written)
Identify the size and quality of each interval.
? ww
& bw
w
1. 2.
Write each interval using semibreves in either the treble or the bass clef.
&
OR
a. Identify the following scale or mode form. A key signature has not been used.
? bw bw nw bw bw
bw bw
Scale or mode form
b. Identify the scale or mode form of the following melody.
b 5 œ œœ œ œ œ œœ œ œœ œœœœœ œ œ œœœœœ
& 4œ œ œ œ œ œ
Scale or mode form


Section C - Music Language (Written) cont.
Write an ascending Major pentatonic on the printed stave below. The mode should:
• be written in semibreves
• begin on the printed note.
& #w #w w
w #w #w
Identify the quality of each of the following chords.
? bbwbw bw
w
w
b w w w
1. Suspended 4th chord 2. half diminished chord
Write any three of chords 1-5 below. Use treble clef, An example has been provided. A key signature
has not been used.
Only three out of these four chords need to be written.
w #w bw
& bw bw
w #w bbw #w
w w
w
w w
w w
w bbw
w
w
w
{
Electric
Piano
? w bw #w w
w bw
G minor b
1. B Aug 2. D Dom 7 b
3. E Major #
4. F dim 7 C minor 7


Write an ascending Major pentatonic on the printed stave below. The mode should:
• be written in semibreves
• begin on the printed note.
&
w
Identify the quality of each of the following chords.
? bbwbw bw
w
w
b w w w
1. 2.
Write any three of chords 1-5 below. Use treble clef, An example has been provided. A key signature
has not been used.
w
& bw
w bw
bw
w
w
{
Electric
Piano
? w
w
G minor b
1. B Aug 2. D Dom 7 b
3. E Major #
4. F dim 7 C minor 7


Use the following notation to answer the questions below.
b4
2 3
& b b4 ˙ œ œ œœ Œ œ œ œ œ œ™ œ œ œ
Clarinet in Bb
œ œœœ œ
b4 j j œœœœœœœ
f p
Glockenspiel & b b 4
{ œ œ œ œ œ œ œ œ œ œ œ™ œ œ
œ p
2 3 f
œ œ œ œ œ ™ œ 87
b 4 j œ ‰ œj œ œ ‰ œœ ‰ œœj ‰ œœ œœœ
œœ Œ & b b 4 ‰ œœœ œœœ œ œœœ œœ œœ œJ œ œ ∑
œ œ œ œœ
œ J
Marimba
œ
? 4
f
p bbb 4 ˙ ˙ œ™ œœœœ
j œ 87 œ œ œ œ
œ œ œ œ
Violoncello
œ
œ œœ œ œ œ œ ™ œ œ 4 ¿ œ¿ ¿œ ¿ ¿ ¿ ¿ ¿
f p
/ 4œ œ ‰ œ œ œ œ ‰ œœ ∑
J J
Drum Set
p
œ j œœ œœ &7bbb43 œ. œ. œ. œ. œ ‰ œ 42 ‰ ‰ >œ œ 44 w
œ
4 5 6
œœ œœ ‰ œœ ‰ œœ ‰ œJ œ 8 -œ™ ∑- . œ. œœ
œœ
Cl.
J b3 >
œ œ. . œ. œ. 2 œ œ ™ > œ 4 w
f
{& b b4 J œ 4 œ 4
7 ™
Glock.
8 œœœœ
œ b 3œœ. œ. œ. œ. œ™ œ œ œ 2 œj œ œ 4 www
f
œ œ œ
& b bp4 ‰ 4 ‰ œœ œœ œœ 4 w
> >
¿œ ¿ ¿œ ¿ ¿œ ?7b 3
Mar.
.œ œ.
‰ ∑
f
‰ 42 œ œ œ 4
œ3 Vc.
œJ 8b b4 ˙ 4w
7
f
3 2 4
4 œ œ™ œ œ œ
œ5™ œ 8 œ œ œ 6œ œ œ / 4 Dr. ∑ 4 ∑
œ >œ
2 ‰ a. Identify 4 wor mode form. 1 mark
‰œ œœthe scale
4 7 4œ œ
p
œ™. œ œ 8œ œœ œ œ
> p> œ 4w
Mixolydian (on Bfb)
œ. 42 œ b.œ ™Identify œ the bracketed

4
œœ œœ 7
interval between bars 2 and 3 in the Clarinet part 1 mark
œJ œ 8minor 7th ∑ f
2 ‰ 87œœj œ ™œœ œœ œ 4œ œœ œ œ. œ. œ. œ ˙
c. What is the correct time signature for bar 3. 1 mark
4œ œ œ œ 4
p > > f
2 ¿œj 7 4
d. Re-write the tied note from bar 5 of the the violoncello part as a single note. 1 mark
œJ4 œ 8œ ™ ∑4w
2 e. Identify 4
f
¿ played
¿ ¿ by ¿marimba¿ ¿in ¿the last bar of the piece.
4 ∑ 4œ
the chord œ™ œ œ œ
1 mark
4 w Dominant 7th chord

4
4w
f End of Question and Answer Book
4 Teacher Page 20 © Deborah Smith Music 2017


Use the following notation to answer the questions below.
b4
2 3
& b b4 ˙ œ œ œœ Œ œ œ œ œ œ™ œ œœœœœ
œœ
Clarinet in Bb
b4 j j œœœœœœœ
f p
œ
Glockenspiel
{& b b4 œ œ œ œ œ œ œ œ œ œ œ œ™ œ
f p
b4 j j œœ ‰ œœj ‰ œœ œœ
Marimba & b b 4 ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœœ ‰ œJ œ œJ œ ∑
f
? bb 44 œœœœ
Violoncello b ˙ ˙ œ œ œ œ œ™
f p
4¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
/ 4œ œ ‰ œ œ œ œ ‰ œœ ∑
J J
Drum Set
b . œ. . .
œ >œ œ 4 w
4 5 6
3
Cl. & b b 4
œ œœ ‰ œ 4‰ 2 ‰ 4
- . œ. œœ
-œ™
bb 3 œ œ. œ. œ. œ. 2 >œ œ ™ >œ œ 4 w
f
Glock. & b 4 J 4 4
{
f
b3 . . . . œ 2 j 4w
w
& b b 4 œ œ œ œ œ™ œ œ ‰ 4 ‰ œœœ œœœ œœ 4w
w
> >œ
Mar.
œ. œ. ‰
f
? bb 43 ˙ 2
4œ œ œ
4
4w
Vc. b
f
3 2 4
Dr. / 4 ∑ 4 ∑ 4 œ œ™ œœ œ
a. Identify the scale or mode form. 1 mark
b. Identify the bracketed interval between bars 2 and 3 in the Clarinet part 1 mark
c. What is the correct time signature for bar 3. 1 mark
d. Re-write the tied note from bar 5 of the the violoncello part as a single note. 1 mark
e. Identify the chord played by marimba in the last bar of the piece. 1 mark
End of Question and Answer Book

Deb Smith Practice Exam 2 TEACHER

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Deb Smith Practice Exam 2 TEACHER

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Teacher Paper

Reading time: 15 minutes

Question & Answer Book

Instructions for students:

Aural material is provided for Sections A and B of this examination.

This practice examination has been produced by Deborah Smith Music.

© Deborah Smith Music 2017

Practice Examination Instructions

o Section C answers and

Teacher Page i © Deborah Smith Music 2017

Audio Material Instructions

Practice Examination Timing Information

Suggested Practice Examination Timing Chart:

Section Question No Approximate Start time Approximate End time

Review 82:00 90:00

Teacher Page ii © Deborah Smith Music 2017

Teacher: Unit 4 - Practice Examination 2

Work: "Who can it be now"

First playing (1'47") - 10 seconds of silence

Possible points to be included in answer:

Section A - Question 1 - continued

Teacher Page 2 © Deborah Smith Music 2017

Student: Unit 4 - Practice Examination 2

Work: "Who can it be now"

First playing (1'47") - 10 seconds of silence

Section A - Question 1 - continued

Student Page 2 © Deborah Smith Music 2017

Teacher: Unit 4 - Practice Examination 2

Possible points to be included in answer:

Teacher Page 3 © Deborah Smith Music 2017

Student: Unit 4 - Practice Examination 2

Student Page 3 © Deborah Smith Music 2017

Teacher: Unit 4 - Practice Examination 2

Question 2 (10 marks)

Possible points to be included in answer:

o thicker texture - overlapping parts

o thicker harmony - dissonant tones in particular

Section A - Question 2 - continued

Teacher Page 4 © Deborah Smith Music 2017

Student: Unit 4 - Practice Examination 2

Question 2 (10 marks)

First playing (2'10") - 1 minute of silence

Section A - Question 2 - continued

Student Page 4 © Deborah Smith Music 2017

Teacher: Unit 4 - Practice Examination 2

Continued from previous page:

Teacher Page 5 © Deborah Smith Music 2017

Student: Unit 4 - Practice Examination 2

Student Page 5 © Deborah Smith Music 2017

Teacher: Unit 4 - Practice Examination 2

Question 3 (12 marks)

First playing of Interpretation B (1'44") - 1 minute of silence

Second and final playing of Interpretation A (1'40") - 10 seconds of silence

Second and final playing of Interpretation B (1'44") - 3 minutes of silence

Version 1 (V1) Version 2 (V2)

Section A - Question 3 - continued

Student: Unit 4 - Practice Examination 2

Question 3 (12 marks)

First playing of Interpretation B (1'44") - 1 minute of silence

Second and final playing of Interpretation A (1'40") - 10 seconds of silence

Second and final playing of Interpretation B (1'44") - 3 minutes of silence

Section A - Question 3 - continued

Teacher: Unit 4 - Practice Examination 2

Version 1 cont. Version 2 cont.