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1.1Name the key to which this extract modulates. (1\
1.2Motivate your answer to QUESTION
1.1(1\
1.3Insert the correct time signature on both staves in the block provided on the score. (1\
1.4Name the interval at (a\ording to type and distance. (1\ Music/P1 DBE/202 SC/ NSC Copyright reserved
1.5Name the inversion of the interval at (b\ccording to type and distance. (1\
1.6Describe the triad at (M\ording to type and position. (1\
1.7Rewrite the triad at (N\the alto clef keeping the same pitch. (1\
1.8Rewrite (X\using a corresponding compound time signature. Ensure that the music sounds the same. Add the new time signature. (2\
1.9Transpose (Y\major second lower. Indicate the new key signature. (2\
1.10Give an Italian term for the hairpin sign in bar 5 (1\
1.11Which TWO notes will have to be omitted in bar 5 (treble clef\ to form major pentatonic scale starting on E flat Circle the se
1.12Change the given scale from bar 4 below into an ascending melodic minor scale starting on E flat. (1\
1.13Circle ONE melodic inversion of the motif (Z\ in bars 6 to 7 in the upper voice. (1\ [15] Music/P115
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2.1Complete the opening below to form a twelve bar melody in ternary form for any single line melodic instrument of your choice. Name the instrument and supply a suitable tempo indication. Add dynamic and articulation indications in
2.2Complete the opening below to form a twelve bar melody in ternary form for any single line melodic instrument of your choice. Name the instrument and supply a suitable tempo indication. Add dynamic and articulation indications at
2.3Complete the opening below in sol fa notation to form a twelve bar melody in ternary form for voice. Name the voice type and supply a suitable tempo indication. Add dynamic indications at appropriate places.
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3.1Study the extract below and answer the questions.
3.1.1Figure the chords at (a\to (h\on the score using Roman numerals, e.g. vii o6 /vii (8\
3.1.2Name the cadence at b ar 7 to 8. (1\
3.1.3Comment on the bass line in bars 1 to 3 (1\ Music/P1 10 DBE/202 SC/
3.1.4Identify the faulty voice leading indicated by the brackets in bars 7 to 8
3.1.5Name the type of non chordal notes at (i\ to (iv\ (i\ (ii\ (iii\ (iv\
3.2Study the extract below and answer the questions.
3.2.1Identify the chords at (a\to (h\and write chord symbols in the space above the staves , e.g. B
3.2.2ame the cadence which is formed at (Z\ Music/P1 12
3.2.3Comment on the harmonic function of the B note in the treble clef at bar 12. (1\
3.2.4What is unusual about the subdominant chord in bar 10? (1\
3.2Name the type of non chordal notes at (i\ (iv\ (i\ (ii\
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4.1.1Demonstrate a cadential second inversion chord progression with an interrupted cadence. (3\
4.1.2Complete the four part vocal harmonisation below by adding the alto, tenor and bass parts. The harmonisation will be marked according to the criteria below DESCRIPTION
4.2.1Complete the harmonic progression below by filling in chords in the bass clef. Use semibreves. (3\
4.2.2Complete the piece below by adding suitable harmonic material. Continue in the style suggested by the given material in bars 1 and 2. The answer will be marked according to the criteria below. DESCRIPTION
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5.1Various options are provided as possible answers to the following questions Write only the letter (A D\ next to the question number (5.1.1 to
5.1e.g.
5.1.6E.
5.1.1The function of a music rights company is to issue digital licences commission new compositions. control copyright of music
5.1.2The ownership which a songwriter has over his/her music is called royalties. a trademark
5.1.3ntellectual property (IP the personal or group ownership of an idea or concept. a potential source of revenue for artists
5.1.4Pirated recordings are only downloaded from online platforms. unlawful copies of legitimate recordings
5.1.5Performance rights royalties are paid to the songwriter each time the song is reproduced or
5.2xplain the process including the role players
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6.1Various options are provided as possible answers to the following questions Write only the letter (A D\ next to the question number
6.1.5e.g. 6.1.6 E.
6.1.1The s kif le like beat is com only used in
6.1.2The e Le gacy is a modern isicathamiya group. uses beat boxing in their performance.
6.1.3The guitar was adopted in m askanda because t was closest to the makhweyane in sound.
6.1.4A term that refers to alternating singing between a soloist and group is called .. crepitation. all and response
6.1.5A typical characteristic of the music of Soul Brothers is a prominent organ sound cap ella singing
6.2Describe the use of harmony in marabi. (1\
6.3Name TWO instruments which are commonly used in malombo (2\
6.4Indicate whether the following statements regarding isicathamiya are TRUE or FALSE. Write down only true or
6.4.1Isicathamiya was popularised in the United States of America by Paul Williams .4.2 Isicathamiya
6.5Name TWO influences (international or local\ on Phil ip Tabane music. (2\
6.6xplain the term polyrhythm in indigenous African music
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9.1Name the song and artist for the extract below (2\
9.2Discuss the vocal (3 marks\ and instrumental (3 marks\ style characteristics of ma kand
9.1(6\ [8] Music/P1 18 DBE/202 SC/ NSC8
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11.1Various options are provided as possible answers to the following questions Write only the le tter (A D\ next to the question
11.1.5e.g. 11.1.6 E.
11.1.1Tremolos and tone clusters are common pianistic feature kwela
11.1.2The Blue Notes was an avant garde jazz band. came to prominence in the 1960s.
11.1.3Feya Faku collaborat ed musically with Chris McGregor Abdullah Ibrahim
11.1.4A 32 bar song form is represented as ABA coda AABA
11.1.5A typical style characteristic of the music of Zim N qawana is a blend of bop, funk, vocal chants, Indian, Xhosa and Western classical music elements the use of a
11.2Give a short description of the use of harmony in marabi. (1\
11.3Name TWO instruments besides the drum kit and guitar which are commonly used in marabi
11.4Indicate whether the following statements regarding Cape jazz are TRUE or FALSE. Write only true
11.4.3\the ANSWER BOOK.
11.4.1Melodies combine in fluences from the Khoi Khoi and San melodies with Polynesian syllabic styles.
11.4.2It features portable instruments for street festivals, e.g. brass instruments, banjos, guitars and percussion
11.4.3Many songs have a strong underlying ghoema beat (3 x 1\ (3\ 11.
11.6Briefly describe Chris McGregor s contribution to the development of big b and jazz. (2\ [15]15
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14.1Name any TWO artists associated with the Jazz Epistles. (2\
14.2Discuss how the Jazz Epistles advanced South African jazz and ensured international recognition. (6\ [8] Music/P1 21 DBE/202 SC/8
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16.1.1The correct mea ning of senza is with.
16.1.2A piccolo is a ... transposing brass instrument single reeded woodwind instrument
16.1.3An episode in music may re fer to a connecting passage. a section in rondo form. the contras
16.1The key of the second theme subject in an exposition in Sonata in G Major
16.1.5A melisma is only found in vocal music. a group of notes sung to one syllable of text. part of a melod ic line
16.2Define the term symphony (2\
6.3Give the key and form of the fifth movement of Beethoven Pastoral Symphony (2\
16.4Indicate whether the following statements regarding Beethoven Pastoral Symphony are TRUE or FALSE. Write down only
16.4.3\the ANSWER BOOK. 16 .4.1 Beethoven added two trombones to the fourth and fifth movements 16 .4.2 The second, third and fo
6.5What nspired Mendelssohn to compose the Hebrides Overture (1\
6.6Name the type of orchestra that Mendelssohn uses in the Hebrides Overture (1\
6.7Comment on Mendelssohn s use of harmony in the Hebrides Overture (1\ [15]15
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