General Report on the First Music Craft Session in NSW

August 2007

Over 1000 candidates across five grades entered for the first session of Music Craft to be held in NSW. This report is intended to assist teachers who are preparing candidates by highlighting some of the more common errors and omissions that were identified by the examiners. Teachers should consult the relevant Grade Report for a more detailed discussion of problems peculiar to a particular grade. Any question that fell outside a grade or contained an error was awarded full marks. In general, the overall standard was variable, some candidates scoring very high marks and many failing to reach the pass mark.

Regardless, congratulations to all candidates and the teachers who have prepared them for these very important examinations. Music Craft is a new, integrated and exciting syllabus that has so much to offer our music students.

[Dr Rita Crews, Syllabus Advisor, Written Subjects]

Preliminary Grade Music Craft - Written Paper

Q1: Adding paired quavers to complete the timing of bars

The main problems with this question were (a) writing crotchets instead of quavers, (b) writing quavers as white notes, or (c) misplacing the stems on the wrong side of the note head.

Q2: Writing the time signature for two melodies

There were variations of incorrect answers — the first melody in 2/4 time was frequently answered as 2/5 time

Q3: Writing letter names using words for sharp and flat signs

Some candidates used the Helmholtz Pitch Notation demonstrated on page 20 of the current syllabus, eg c¹, d² and others simply used letter names. Either was accepted, but it should be noted that in higher grades the correct Helmholtz notation will be required. It was essential that the sharp and flat signs were identified as words, not as signs.

Q4: Writing four notes, two of which required accidentals

The question asked students to specify whether the notes were to be written on a line, or in a space, which gave many candidates a problem. The greater problem was the incorrect placement of the specified accidentals either after the particular note, or not on the same line or not in the same space as the note heads themselves. There was a small number of candidates who mistook the sharp sign for the flat sign. These fundamental notation faults need to be addressed adequately before attempting higher grades.

Q5: Writing F major scale with a key signature using crotchets

The key signature for F major was frequently given as F sharp, or, if given as B flat, was misplaced on the staff. Semibreves were frequently written instead of crotchets. Many candidates offered a time signature instead of a key signature. This question highlighted further aspects of fundamental notation that need to be addressed:

There were many valiant attempts to draw the difficult-to-draw treble clef.

Q6: Identifying the key of a given melody, and writing the scale degree numbers above the notes of the melody.

  1. the key was often identified as either G major, or as "B flat", or just "flat" - presumably mistaking the key signature for the name of the key.
  2. the only problem that recurred with identifying scale degree numbers was with the supertonic above the upper octave.

Everyone seemed to remember to include a caret over the scale degree number.

Q7: Writing the size of given intervals

Responses giving just a cardinal number instead of an ordinal number, eg 3 not 3rd, were accepted but in higher grades however, intervals must be identified as ordinal numbers, as shown on the exam paper itself in the next question. The most frequent fault was the number of the interval being one number below the required number – presumably by not including both notes of the interval when counting

Q8: Writing intervals

The only problem interval was with number (i) write an octave above c¹ (middle C) – frequent answers were a scale from the given note to its octave, or it was just not attempted.

Q9: Writing the G major tonic triad as an arpeggio

The key word here was 'arpeggio'. This question produced a large number of incorrect answers, the most frequent of which was writing a G major scale instead of the tonic triad arpeggio. Using other note values instead of the prescribed semibreves was a close second.

Q10: Writing the English meanings of given terms and signs

The main problem candidates had with this question was the confusion of the two terms that started with the letter 'a' – allegro and adagio. Frequently these were answered with the other one’s meaning or with the meaning of andante (one more word starting with 'a').

Q11: Identifying the family name of a pictured trumpet

Percussion, strings, woodwind and keyboard were all named. Some candidates did recognise it as a trumpet, but did not identify its family name.

Preliminary Grade Music Craft - Aural Paper

Q1–3:

These questions were not difficult for most candidates.

Q4: Adding signs for loud and soft

Either the full words or the signs (as stipulated in the question) for forte and piano were accepted. However, the use of the words 'soft' and 'loud' or the letters 'S' and 'L' were not accepted. It was part of the test to determine the correct signs for these dynamics and to apply them in the appropriate places.

GENERAL

It was pleasing that such a very high percentage of candidates attained full marks, or very close to that, and they are to be heartily congratulated for their achievements.

Also of merit was the high degree of clear, neat and precise notation presented on so many papers.

Grade One Music Craft - Written Paper

Q2: Rhythm and Metre

Few problems here - the double bar line at the end was forgotten by many.

Q3: Pitches, scales and keys

The most common errors here involved incorrect accidentals or incorrect semitone slurs. Some candidates mistakenly used a key signature instead of accidentals.

Q6: Intervals

There were few problems with these intervals - just the occasional miscount.

Q7: Triads

(i) The most common error here was to write the tonic triad instead of the dominant, or to omit the leading note accidental from the dominant triad.
(ii) Tonic triad was handled better, yet quite a few failed to notice the change to bass clef here.

Q9: Terms

(ii) Ritenuto was commonly incorrectly given as "gradually becoming slower".
(iv) rf was generally not well known.

Q10: Instruments

This was mostly well answered, though some candidates offered the names of instruments that do not belong to the woodwind category.

Q11: Set works

c. When describing the metre, be sure to specify either simple or compound, and the number of beats in the bar. In this case the correct answer was 'simple duple' time. Some candidates tried to suggest a tempo instead.
d. This question was misunderstood by some. The requirement was to identify which 2 bars include the interval of a perfect 4th (ie within each bar).

Grade One Music Craft - Aural Paper

Q4: Rhythm and metre

Quite a few candidates mistakenly included the 2 bars of beats given for tempo as part of the rhythm. This is explained on the recording, so take care here.

Q6: Melodic contour

Generally well done. The best answers were able to represent the overall shape and relative pitch level in comparison to the starting point. The weaker answers tended towards over-exaggeration of the change of pitch, resulting in a much more zig-zag like pattern than was needed. For some, trying to follow every little change resulted in incorrect details and a lack of awareness of the overall shape.

Q8: Dynamics

Dynamics must be written below the staff - this is also specified in the wording of the question. Don’t forget to include dynamic levels at the end of crescendo and diminuendos. Also, either the word or sign may be used for crescendo or diminuendo, but not both at the same time.

Q9: Tempo

Tempo marking was mostly well answered, except for the few who wrote it under the staff or too far along the line (the question specifies 'above the first note' which is as it should be).

Q10: Phrasing and articulation

(ii) ritenuto was commonly incorrectly given as "gradually becoming slower".
(iv) rf was generally not well known.

Q11: Timbre

Most recognised the bassoon in this excerpt.

Q12: Set works

The set works were recognised by the vast majority, though Botany Bay was better known than Sleep Baby Sleep.

Grade Two Music Craft - Written Paper

Rhythm and metre

Five bar lines were required to bar a rhythmic phrase and created little problem for the majority. Either a double or single bar line was accepted at the end of the last bar but marks lost if it was left unbarred.

The two time signatures, 3/8 and 9/8 were generally recognised.

Pitches, scales and keys

Candidates lost marks if the pitch register was not included in naming notes or the superscript number was incorrectly placed; 'sharp' or 'flat' also needed to be included if applicable.

Writing notes as opposed to naming them, produced a more successful outcome for most candidates.

Scale degree numbers must include carets as they indicate that the number concerned does in fact, identify a scale degree and is part of the identification process. This is specific to Music Craft and many candidates lost marks by neglecting to include them. It should also be noted that scale degrees use cardinal, not ordinal numbers. Candidates who used Roman numerals which identify chords not scale degrees, lost all marks.

Transposition was often written an octave too high to that required or in the wrong direction.

Writing the scale of F# harmonic minor produced all kinds of errors. Candidates are advised to read the question carefully to avoid mistakes that range from using wrong note values, marking [in this case] tones instead of semitones, misplacing leading notes, neglecting to add accidentals and writing more, or less, than the correct number of notes.

Triads and intervals

Most candidates could successfully write a minor 3rd and a major 7th above the given notes.

Although no marks were removed, when naming intervals, candidates should take care to write ordinal, not cardinal numbers ie. '3rd', '5th' etc not '3', '5' etc. Identifying the interval quality was not always correct.

Identifying two intervals as 'consonant' or 'dissonant' was easily achieved by the majority of candidates.

Writing a subdominant triad in C# minor and the supertonic triad in Ab major were both outside the Grade 2 syllabus and the mark was automatically awarded; similarly for the next question, identifying the dominant triad in F minor.

Cadences

Q12:

The question asked for an imperfect authentic cadence in 4-part vocal style in G minor. Many candidates were unable to cope with the concept of vocal style and produced either piano or a strange mix of piano and vocal styles with stems and notes in odd places. In many cases, only the key signature was correct. Those that were able to construct the cadence successfully, were cognisant of the fact that an imperfect authentic cadence has the 3rd or 5th of the tonic chord in the soprano. The dominant’s leading note is therefore in an inner voice.

Q13:

Nearly all candidates failed this question which was simply to complete the working for 4 figured chords: I - IV - V - I in vocal style. The many candidates who wrote a melody line as opposed to the required vocal style, lost all marks. Most workings contained an extraordinary number of errors in the space of two bars, producing a very insecure progression. The most common errors were:

Terms

In general, giving the English meanings was well done but candidates are advised to consult the published Music Craft material for the acceptable meanings of the various terms and signs that appear in the syllabus. One that caused a great problem was 8vb which means to "play an octave lower than the written pitch".

Form

The majority of candidates successfully marked the main divisions of the melody and identified its form as 'binary'.

Instruments

There was a mixed response to these 3 questions involving clefs and ranges, with many candidates simply not attempting the question.

Set works

Surprisingly, many candidates were unable to score full marks for this question. One problem arose due to not understanding the difference between describing metre and describing a time signature. The answer to 'Describe the metre of this work' was just: Simple Triple not "3 crotchet beats to the bar" which describes the time signature. The other problem was allied to naming the key of the piece, the answer to which was 'G pentatonic' or, 'G major pentatonic'. Simply naming 'G major' was not accepted.

Grade Two Music Craft - Aural Paper

Scales, intervals and triads

Melodic dictation

Two questions here, both in simple quadruple time: the first in G major and the second in D major. Some managed to identify all the pitches and note values whilst very few were unable to identify at least one or two pitches.

Rhythm and metre

Motion

Similarly, a surprising number of candidates could not identify the two passages as oblique and similar, respectively.

Dynamics and tempo

Phrasing and articulation

This was mostly well -handled by the majority; in all, 4 slurs and 2 sets of staccato were to be recognised.

Timbre

Set works

A mixed response here, with some candidates correctly naming both set works in the right order; some candidates named one correctly, some were unable to name either, and some simply failed to attempt the question.

Grade Three Music Craft - Written Paper

Rhythm and metre

Pitches, scales and keys

Triads and intervals

Terms

In general, giving the English meanings was well done but candidates are advised to consult the published Music Craft material for the acceptable meanings of the various terms and signs that appear in the syllabus

Q12-14: Harmony and voice leading

Allowance was made for the printing error in bar 2 of the harmonic progression ie. chord ii appeared in root position not lst inversion although this did not seem to impact on the majority of answers.

This was a very simple exercise requiring 7 figured chords to be written out fully in 4-part vocal style. The standard was very poor with most candidates being unable to carry out this task successfully. Common errors included:

Q12:

Q13:

Whilst most candidates recognised the chords, figuring was often for a major, not minor, key. Marks were lost accordingly.

Q14:

This caused endless problems and disappointing results because many candidates did not understand the question and wrote in 4-part vocal style instead of simply adding a melody based on the figuring of the given bass line. As a result, marks were lost and unless the soprano line of the 4-part had some real merit, all marks were lost.

In terms of the available harmonic resources, [an allowance was made at bar 3, where the figuring should have been IV6 instead of IV], and the cadential 6/4 and its resolution clearly figured, even so few candidates actually recognised it. Those that did answer the question in the correct style often produced a poor melodic contour with unnecessary leaps and a series of consecutive 5ths and/or 8vas, and often a restricted range. Candidates are also advised not to change or add to, given parts.

Instruments

The first part of this question asked for the clef and lowest note of 4 particular instruments. Some candidates gave the range of the instruments and in those instances, only the lowest note was marked. Often the clef was correct but the note inaccurate. The second part of the question concerning brass instruments was fairly well answered.

Set works

The majority of candidates correctly answered the 3 parts of this question concerning mode and intervals.

Grade Three Music Craft - Aural Paper

Q1–3: Pitch

Scales, intervals and triads

Form

Candidates are advised to read the question carefully: it did not ask to 'name' the form, but to 'describe' it by using the letters A and B. Those who simply named the form as 'binary' received 2 of the 3 available marks.

Melodic dictation

Regardless of whether candidates answered the first melodic dictation correctly or not, the full 4 marks were given as the question was defective. In the second question, apart from pitch errors, candidates lost marks if only note heads were written.

Rhythm

Writing rhythms was generally well answered but it should be realised that bar lines are expected as part of the answer and marks lost if they were omitted.

Texture

Nearly all candidates gave the correct answer: polyrhythmic.

Articulation, Dynamics and Tempo

There were a number of resources to be recognised in this 8 bar melody: 5 variations in dynamics, staccato and legato, accents and one tempo change. Many candidates were able to recognise most of the changes – and write the correct sign or term – but few were able to hear them all.

Timbre

Identifying horn and trumpet did not cause many problems

Set works

Identifying the set works produced an astonishing variety of names!

Grade Four Music Craft - Written Paper

Rhythm and Metre

Adding a time signature and bar lines created little problem for the majority of candidates. Either a double or single bar line was accepted at the end of the last bar but marks lost if it was left unbarred.

Pitches, scales and keys

Terms

Q11-12: Harmony and voice leading

Figuring and resolving the lst inversion of V7 of F minor onto its tonic, was mostly secure. However, there were instances of candidates resolving the chord correctly but losing marks if they figured for a major, instead of minor, key. The same principle of resolution and identification applied to the second part of the question, this time figuring and resolving V7 of E major.

Q11: Harmonising 4 bars to a given figured bass elicited many poor responses, demonstrating a lack of understanding of basic harmonic techniques. This was by far, the question where the majority of candidates lost most of their marks, very few scoring above half marks and only 3 scoring the full mark. Common errors included: not understanding that the given minim beat in bar 1 [tonic chord] carried for 2 beats - candidates added notes; neglecting to raise the leading note; ignoring or incorrectly resolving the two dominant 7ths; poor voice leading and chord layout with consecutive and exposed 5ths and 8vas, overlapping and part crossing and spacing errors; very little understanding of how to construct and resolve a cadential 6/4; and an overall misunderstanding of working in a minor key which led to augmented intervals when the 6th and 7th degrees appeared in adjacent chords.

Q12: Figuring a given 4 bars was less of a problem although some candidates were not sure how to figure the last two modulating bars where the figuring for both old and new keys needs to be shown. The suspension was mostly recognised. As with all figuring, chords must be identified as either major or minor and marks were lost if this was not demonstrated.

Instruments

Set works

The majority of candidates scored full marks for this question; the main problem was understanding the difference between describing metre and describing a time signature. The answer to 'Describe the metre of this work' was just: Simple Duple not "2 crotchet beats to the bar" which describes the time signature.

Grade Four Music Craft - Aural Paper

Pitch

Q6: Form

Elicited various responses. Candidates are advised to read the question carefully: it did not ask to 'name' the form, but to 'describe' it by using the letters A and B. Those who simply named the form, even if recognised, received only half a mark of the 2 marks available.

Melodic dictation

These questions require time signatures and bar lines as well as notes with correct values, not note-heads. Candidates lost marks if these items were neglected or omitted.

Rhythm

Writing rhythms was generally well answered.

Texture

This question elicited a mixed response; in fact both parts of the question required the same answer ie. non-canonic.

Timbre

Set Works

Identifying the set works (Joplin and Schubert) caused little problem.

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