Past Paper 2022 Q01-03

Question 1

😀01
Track 1: The operas of Mozart (1:07)

01.1
Which one of the following terms best describes the structure of the excerpt?

Answer 1

Fugue

Question 2

01.2
At the beginning of the excerpt, the violins play the melody shown below. In the next bar, this melody is played at a higher pitch. Describe fully the interval between the start of the first bar and the start of the second bar.

Answer 2

Perfect 5th

Question 3

01.3
Which one of the following is the last chord heard in the excerpt?

Answer 3

Dominant of the Dominant

Question 4

Track 2: The piano music of Chopin, Brahms and Grieg (0:23)

02
The excerpt is from Chopin’s Piano Sonata no.3 in B minor. Complete the bracketed sections of:
* the right-hand part in bars 2 and 4
* the left-hand part in bars 2–3.
The rhythm is shown.

Answer 4

RH Bar 2
E5, G4 natural

RH Bar 4
D5 (sharp), G4 (sharp)

LH Bars 2-3
D2 (sharp), E2 (natural)

Question 5

Track 3: The baroque solo concerto (1:22)

03
The excerpt is taken from the first movement of JS Bach’s Harpsichord Concerto no.1 in D minor, BWV 1052.
Analyse the excerpt, explaining how it is typical of Bach’s concerto style.

Answer 5

*Excerpt starts with contrapuntal texture with rhythmic imitation

*Rising stepwise sequence followed by falling sequence

*Orchestral texture thins out, harpsichord comes to the fore

*Harpsichord plays two-note chords in right hand and octaves in left hand

*Orchestra plays a single tonic chord on the first beat of the bar

*Harmony repeats a circular pattern

*Harpsichord solo with descending sequence of 7-6 suspensions

*Orchestra returns with light in chords

*Harmony changes to a diminished 7th and harpsichord figuration changes

*Strings sustain chords while harpsichord figuration moves into double time

*Harmonic tension built up with dominant pedal and various progressions

*Tension released as harmony resolves to tonic and texture changes to unison/octaves presentation of a vigorous theme featuring syncopation

Question 6

07 Music for media Track 7 (0:48)

07.1
Which one of the following correctly describes the articulation used in the woodwind
ostinato in the opening of the excerpt (0:02-0:15)?

Answer 6

legato in the upper register, staccato in the lower registe

Question 7

07.3
Name two instruments heard in the excerpt that are not members of the woodwind
family

Answer 7

*Harp
*Tambourine

Question 8

08 Track 8 (0:49)

08.1
What is the tonality of the excerpt?

Answer 8

Modal

Question 9

08.2
Which one of the following is a feature of the rhythm of the excerpt?

Answer 9

Syncopation

Question 10

08.3
Excluding percussion, state how many instrumental lines are played in 0:19-0:27.

Answer 10

3

Question 11

8.4
State the interval formed by the range of the highest melodic line in 0:30-0:40.

Answer 11

Minor 6th

Question 12

09 Track 9 (1:23)
The excerpt is taken from the cue ‘Consider Yourselves Undermined’ from the soundtrack to the film Incredibles 2 composed by Michael Giacchino.
Explain how the use of musical elements in the except helps to create an atmosphere of fast paced, dangerous action.

Answer 12

*The piece starts with a tremolo string chord and minor triad with major seventh.

*Saxophones play a threatening descending motif.

*String chords crescendo with harp glissando.

*Saxophone melody returns agitatedly with added instruments.

*Shift to another minor key with ‘Incredibles theme’.

*Climax with high trumpet and intense trill in quiet violins/flutes.

*Funky riff with syncopated rhythm and French horn descending melody.

*Growl-toned brass low register melody with menacing descending semitone.

*Drum fill leads to resumption of bass guitar and drum kit groove with trumpet leaping figure treated chromatically.

*Repeats of 3-chord stabs.

Question 13

13
Area of study 5: Jazz Track 13 (1:11)

13.2
The key of the excerpt is Ab major. Which one of the following correctly shows the chord progression heard at 0:20-0:28?

Answer 13

F min - Bb7 - Eb7

Question 14

13.3
Name the scale degree used for the highest note in the unaccompanied trumpet solo
break heard at 0:34-0:36.

Answer 14

2nd/supertonic

Question 15

13.4
Identify one alteration to the usual pitches of the major scale made in the trumpet solo
part in 1:02-1:08.

Answer 15

Flattened/blue 7th note

Question 16

14 Track 14 (0:39)
Identify two ways in which the trumpet sound is altered in 0:02-0:17.

14.1
Identify two ways in which the trumpet sound is altered in 0:02-0:17.

Answer 16

*Mute
*Growling tone

Question 17

14.2
In the baritone sax solo which follows the trumpet at 0:17, a melodic figure using three triplet quavers is frequently heard. Which one of the following terms best describes the middle note of the triplet group the first four times it is played?

Answer 17

Auxiliary note

Question 18

14.3
Which one of the following best describes the effect in the accompanying parts at
0:26-0:28 in the baritone sax solo?

Answer 18

Stop time

Question 19

15 Track 15 (1:46)
The excerpt is taken from ‘Au Lait’ by the Pat Metheny Group. Explain how the use of musical elements in the excerpt helps to create a mysterious and haunting atmosphere.

Answer 19

*Quiet dynamic throughout, with occasional subtle swells

*Minor key

*Small, Intimate ensemble - just guitar, piano, bass and drums

*Plaintive melody, growing from an obsessive falling semitone motif

*Rhythmically elusive; begins in 4/4, but frequently slips into what sounds
like 6/8

*Much chromaticism in melody and harmony makes it sound melancholy and
tonally elusive at times

*Vocals in background sound eerie
Occasional sound-effect like rushing wind/ghostly breath

*Small amount of reverb in the recording helps to create atmosphere.

Question 20

22.4 Analyse Bach’s handling of tonality and texture in the excerpt. In your answer, you should make reference to specific details in the score.

Answer 20

Tonality:
* The first 4 bars use e minor (I-V, V- pattern)
* Then there is a circle of 5ths progression to a minor, d minor, G major, C major, and F major
* Bach moves to its relative, a minor, from F major using iv-i-V-I progression
* Bars 102-105 are in d minor for a brief moment
* A circle of 5ths progression begins at 105 using g minor and F major and ends up in d minor at 117
* Another circle of 5ths progression starts at 117 using a minor and a G diminished chord
* The piece ends in a minor with a perfect cadence at 123.

Texture:
* In the first 8 bars, the orchestra accompanies the soloist in a quasi-mirrored or antiphonal way.
* From 89-99, the continuo drops out while the violins and violas play sustained harmony and shadow the main notes of the solo part in a heterophonic manner.
* At 102-105, the middle parts play the ritornello theme with some imitation between 1st and 2nd violins. The soloist and 1st violins play in parallel 6ths in 104.
* From 105-116, the texture is reduced, with the continuo playing every two bars, and the violas playing in unison with 2nd violins while 1st violins use a pedal note during the soloist’s continuous semiquaver passages.