2011 HSC Music 2 paper

(i) Identify the chord on beat 1 in bar 2. (ii) Explain ♭7 (bar 6).

George Gershwin — Rhapsody in Blue, bars 1–40; Score Attachment A

How is duration used in bars 1–14?

George Gershwin — Rhapsody in Blue, bars 1–14; Score Attachment A

Describe the dynamics and expressive techniques used in bars 15–23.

George Gershwin — Rhapsody in Blue, bars 15–23; Score Attachment A

How is musical interest created in bars 24–40?

George Gershwin — Rhapsody in Blue, bars 24–40; Score Attachment A

Identify and describe THREE different uses of pitch.

J S Bach — Prelude and Fugue in A Major, BWV 536 (the Prelude); Score Attachment B (NOT included in the exam PDF)

Notate the pitch and rhythm of the melody on the staves provided.

J S Bach — Prelude and Fugue in A Major, BWV 536 (the Fugue, bars 1–9); Score Attachment B (NOT included in the exam PDF)

Describe the musical relationships between the instruments.

Larry Sitsky — Samsara (Trio No. 6 for flute, clarinet and piano), bars 1–33; Score Attachment C (i)

How is tension created in this excerpt?

Larry Sitsky — Samsara (Trio No. 6 for flute, clarinet and piano), bars 52–78; Score Attachment C (ii)

With reference to the score, describe the compositional devices which reflect music of the last 25 years.

Larry Sitsky — Samsara (Trio No. 6 for flute, clarinet and piano), bars 1–33 and 52–78; Score Attachment C (i) and (ii)

How have composers manipulated the concepts of music to achieve unity in their works? In your answer refer to significant compositions that you have studied in your Higher School Certificate course. Note: the works in Questions 1, 2 and 3 are not to be used in your answer.

Extended response (no set work; candidate's own studied compositions)