NCEA Level 2 Making Music 91275 (2.5) (Audio Transcript) — page 1 of 7
SAMPLE AUDIO TRANSCRIPT
NCEA LEVEL 2 MAKING MUSIC
MAKING MUSIC 91275 (2.5): Demonstrate aural understanding through written
representation
For the purposes of this sample examination, please read the transcript and play the respective
audio tracks as indicated in the transcript.
Full audio recordings of both the instructions and the audio material are created for the annual
NCEA aural music examinations.
Before you being the sample examination, check that you have:
• the music extracts CD for Level 2 Making Music 91275 (2.5)
• a CD Player
• a stopwatch or clock.
READER New Zealand Qualifications Authority. NCEA Level 2 Music, 2011.
To start with, you will hear a 20-second extract of music to ensure the playback volume
of the recording is at a satisfactory level. You will not have to answer any questions on
this extract.
PLAY SOUNDCHECK MUSIC
READER I will now check for audibility.
(Check that candidates can hear your voice)
PLAY TRACK 1
(Check that candidates can hear the audio track and adjust the volume accordingly.)
PAUSE FOR 10 SECONDS
READER You may wish to write your answers in pencil while the recording is playing, but your
completed answers must be in ink. You will have time to go over your answers in ink
after the recording ends. Answers in pencil or erasable ink will not be eligible for
reconsideration.
Question One (a)
Extract One – Chord recognition.
You will hear the theme My Country from The Moldau by Smetana played on the violin,
with piano accompaniment.
Identify the chords you hear. Write your answers in the boxes above the stave using
either the jazz /rock notation or the Roman numerals for the chords, as shown in the table
below.
It will be played five times, with a pause of 20 seconds after each playing.
NCEA Level 2 Making Music 91275 (2.5) (Audio Transcript) — page 2 of 7
Several of the chords are written in for you.
PAUSE FOR 5 SECONDS
READER A crotchet-beat pulse will be head before the extract starts.
Here is Extract One for the first time.
PLAY TRACK 2 (Extract One) – PAUSE FOR 20 SECONDS
READER Here is Extract One for the second time.
PLAY TRACK 2 (Extract One) AGAIN – PAUSE FOR 20 SECONDS
READER Here is Extract One for the third time.
PLAY TRACK 2 (Extract One) AGAIN – PAUSE FOR 20 SECONDS
READER Here is Extract One for the fourth time.
PLAY TRACK 2 (Extract One) AGAIN – PAUSE FOR 20 SECONDS
READER Here is Extract One for the fifth and final time.
PLAY TRACK 2 (Extract One) AGAIN – PAUSE FOR 20 SECONDS
READER Question One (b)
Extract Two – Elements and expressive features
You will hear an extract from an orchestral recording of The Moldau.
There are two distinct melodies in this extract.
In the table below:
identify the predominant timbre of each melody
describe at least one melodic feature of each
NCEA Level 2 Making Music 91275 (2.5) (Audio Transcript) — page 3 of 7
describe at least one rhythmic feature of each
describe the effect of each feature on the music.
It will be played three times, with a pause of 20 seconds after each playing.
PAUSE FOR 5 SECONDS
READER A crotchet beat pulse will be heard before the extract starts.
Here is Extract Two for the first time.
PLAY TRACK 3 (Extract Two) – PAUSE FOR 20 SECONDS
READER Here is Extract Two for the second time.
PLAY TRACK 3 (Extract Two) AGAIN – PAUSE FOR 20 SECONDS
READER Here is Extract Two for the third and final time.
PLAY TRACK 3 (Extract Two) AGAIN – PAUSE FOR 20 SECONDS
READER Question Two (a)
Extract Three – Melodic and rhythmic dictation.
You will hear the following 25–bar extract played on the violin, French horn (at concert
pitch) and cello. The key is Eb major and the time signature is ¾.
Complete BOTH the rhythm AND the pitches of the two missing parts that are shaded on
the score on pages 6 and 7:
the French horn line in bars 7–11 (page 6)
the cello line in bars 20–24 (page 7).
Find the shaded parts now.
The extract will be played ten times, as shown below, with a pause of 30 seconds
between each playing.
PAUSE FOR 5 SECONDS
READER A crotchet-beat pulse will be heard before each extract begins.
Here is the first playing, of the whole extract.
PLAY TRACK 4 (Extract Three) – PAUSE FOR 30 SECONDS
READER Here is the second playing, bars 1 to 12.
PLAY TRACK 5 (Extract Three 1) – PAUSE FOR 30 SECONDS
READER Here is the third playing, bars 1 to 12.
NCEA Level 2 Making Music 91275 (2.5) (Audio Transcript) — page 4 of 7
PLAY TRACK 5 (Extract Three 1) – PAUSE FOR 30 SECONDS
READER Here is the fourth playing, bars 1 to 12.
PLAY TRACK 5 (Extract Three 1) AGAIN – PAUSE FOR 30 SECONDS
READER Here is the fifth playing, of the whole extract.
PLAY TRACK 6 (Extract Three) – PAUSE FOR 30 SECONDS
READER Here is the sixth playing, bars 12 to 25.
PLAY TRACK 7 (Extract Three 2) – PAUSE FOR 30 SECONDS
READER Here is the seventh playing, bars 12 to 25.
PLAY TRACK 7 (Extract Three 2) AGAIN – PAUSE FOR 30 SECONDS
READER Here is the eighth playing, bars 12 to 25.
PLAY TRACK 7 (Extract Three 2) AGAIN – PAUSE FOR 30 SECONDS
READER Here is the ninth playing, of the whole extract.
PLAY TRACK 8 (Extract Three) – PAUSE FOR 30 SECONDS
READER Here is the tenth playing, of the whole extract.
PLAY TRACK 8 (Extract Three) AGAIN – PAUSE FOR 30 SECONDS
READER Question Two (b) – Elements and expressive features
Extract Four
You will hear an extract from The Marriage of Figaro by Mozart. It is 9 seconds long and
will be played three times with a 20 second pause after each playing.
Describe at least one of the ways this introductory music signals the entry of the solo
voice.
PAUSE FOR 5 SECONDS
READER Here is Extract Four for the first time.
PLAY TRACK 9 (Extract Four) – PAUSE FOR 30 SECONDS
READER Here is extract Four for the second time.
PLAY TRACK 9 (Extract Four) AGAIN – PAUSE FOR 30 SECONDS
NCEA Level 2 Making Music 91275 (2.5) (Audio Transcript) — page 5 of 7
READER Here is Extract Four for the third and final time.
PLAY TRACK 9 (Extract Four) AGAIN – PAUSE FOR 30 SECONDS
READER Extract Five
You will now hear Extract Four with a further 30 seconds of the piece of music added. It
will be played to you five times with a 30 second pause after each playing.
In this extract you will hear: the introduction, two sections where the instruments
accompany the voice, and two sections of instrumental interludes.
Explain how the elements and features listed in the table below are used in the vocal
accompaniment sections compared with the instrumental interlude sections.
PAUSE FOR 5 SECONDS
READER Here is Extract Five for the first time.
PLAY TRACK 10 (Extract Five) – PAUSE FOR 30 SECONDS
READER Here is Extract Five for the second time.
PLAY TRACK 10 (Extract Five) AGAIN – PAUSE FOR 30 SECONDS
READER Here is Extract Five for the third time.
PLAY TRACK 10 (Extract Five) AGAIN – PAUSE FOR 30 SECONDS
READER Here is Extract Five for the fourth time.
PLAY TRACK 10 (Extract Five) AGAIN – PAUSE FOR 30 SECONDS
READER Here is Extract Five for the fifth and final time.
PLAY TRACK 10 (Extract Five) AGAIN – PAUSE FOR 30 SECONDS
NCEA Level 2 Making Music 91275 (2.5) (Audio Transcript) — page 6 of 7
READER Question Three (a)
Extract Six – General perception of elements and expressive features
You will hear an extract from Teddy Bears’ Picnic by J K Bratton. It will be played five
times, with a pause of 45 seconds after each playing.
On the score below, write in:
the instrument you hear playing
the opening tempo marking
the time signature
the bar lines
the dynamic changes where indicated by the dotted lines below the staves (the
opening dynamic is given)
a crescendo marking
a change of tempo and the return to original tempo
a second change of tempo
two missing tie marks
a pause mark
markings of articulation (eg, staccato).
PAUSE FOR 5 SECONDS
READER A dotted crotchet pulse will be heard before the extract starts.
Here is Extract Six for the first time.
PLAY TRACK 11 (Extract Six) – PAUSE FOR 45 SECONDS
READER Here is Extract Six for the second time.
PLAY TRACK 11 (Extract Six) AGAIN – PAUSE FOR 45 SECONDS
READER Here is Extract Six for the third time.
PLAY TRACK 11 (Extract Six) AGAIN – PAUSE FOR 45 SECONDS
READER Here is Extract Six for the fourth time.
PLAY TRACK 11 (Extract Six) AGAIN – PAUSE FOR 45 SECONDS
READER Here is Extract Six for the fifth and final time.
PLAY TRACK 11 (Extract Six) AGAIN – PAUSE FOR 45 SECONDS
READER Question Three (b)
You will hear two extracts from two different versions of Teddy Bears’ Picnic.
Extract Seven – A 1932 recording by Henry Hall and His Orchestra.
Extract Eight – A 2003 recording for the TVNZ programme Kidzone.
NCEA Level 2 Making Music 91275 (2.5) (Audio Transcript) — page 7 of 7
You will hear each extract twice. Both extracts will be played right through. There will be
a pause of one minute before both extracts are played again.
Choose at least three elements and expressive features from the list below and explain
and compare their use in both versions of the piece.
Form
Melody and countermelody
Rhythm
Style
Tempo
Timbre
PAUSE FOR 5 SECONDS
READER Here is Extract Seven for the first time.
PLAY TRACK 12 (Extract Seven)
READER Here is Extract Eight for the first time.
PLAY TRACK 13 (Extract Eight) – PAUSE FOR 60 SECONDS
READER Here is Extract Seven for the second time.
PLAY TRACK 12 (Extract Seven) AGAIN
READER Here is Extract Eight for the second time.
PLAY TRACK 13 (Extract Eight) AGAIN
READER You now have time to check your answers and go over them in ink.