NCEA Music 2016 — page 1 of 3
Music conventions common to scores in any style
For use with the externally assessed standards 91094, 91276.
Level 1
Terms and
signs /
Performance
markings

“simple” articulation markings/indications (including slurs,
ties, staccato, legato, accent)

articulation markings (including phrase marks, tenuto,
staccatissimo, semi-staccato)

“common” dynamic markings (words and symbols) pp, p,
mp, mf, f, ff, crescendo, diminuendo/decrescendo

dynamic markings including Italian terms: sf, fz, ppp, fff,

“common” metronome and tempo markings: adagio, largo,
lento, moderato, andante, allegro, presto.
Rallentando/ritardando, accelerando, a tempo, pause

metronome and tempo markings: andantino, vivace, allegretto,
allargando,

expression markings: espressivo, grazioso, cantabile, tranquillo,
poco a poco, molto, piu, meno

performance directions (words and symbols) including description of
timbral effect: up-bow, down-bow, harmonics, con sordini, tremolo,
una corda

common drum kit techniques.

structural markings (e.g. “DC / DC al Coda, DS/DS al fine”)

performance directions (word and symbols): pizzicato,
arco, ped, arpeggio, slide, hammer on, pull off, 8ve
 “common” structural markings (e.g. double bars, repeat
bars, first- and second-time bars)
Rhythm / Metre
Level 2 (cumulative)
Limited to 2/4, 3/4, 4/4 and 6/8 [including C]
Limited to “commonly used” simple, compound and irregular time”
[including ₵, and 5/4, 5/8, 7/8]
 above time signatures –identification and understanding of
rhythmic groupings and classifications: simple/compound,
duple/triple/quadruple
 as for L1, but including all time signatures above
 durations – notes, rests, (to semiquaver), ties
 as for level 1 but including duplets/triplets/quintuplets, anacrusis
 description of rhythmic feel (e.g. syncopation, swing)
Pitch / Tonality
Harmony
Limited to major and minor keys, up to three sharps and
three flats
Limited to major and minor keys, of up to four sharps and four flats
[no modes]

clefs – treble, bass, alto C-clef, percussion, and “vocal
tenor” (i.e. treble-octave)

as for L1, plus tenor C-clef, guitar TAB

key signatures and scales– recognition of major and minor
keys (harmonic and melodic), plus addition of Blue notes

key signatures and scales- as for L1 plus natural minor, and
chromatic

key relationships (scale degrees) – tonic, subdominant,
dominant, relative major and minor

as for L1, plus tonic minor and supertonic

pitch names: tonic↔leading note

intervals – recognition of major, minor and perfect intervals
within an octave; lower note can only be the tonic of one of
the permitted major keys (i.e B-flat, F, C, G, or D)

as for L1, plus augmented 4th/diminished 5th; same limitation on
lower note (but range of possibilities is greater)

transposition – upwards only, sounding pitch → written
pitch only, limited to instruments in B-flat and F also
instruments transposing 8ve

transposition upwards or downwards, sounding pitch
pitch, limited to instruments in B-flat, E-flat, and F,

transcription – from treble clef ↔ bass clef, from alto
clef↔ other clefs, open ↔ closed score, written
pitch → sounding pitch (i.e. vocal tenor, double bass,
piccolo)

as for L1, plus from tenor clef↔ other clefs, written
pitch → sounding pitch (guitar/bass guitar)
Limited to chords I, IV, V, V7, and VI, in major and minor
keys, in root position only
↔ written
Limited to chords I, Isus4, II, IV, V, V7,Vsus4 and VI, in major and
minor keys, in root, first, and second inversion

chords – identification of individual chords using Roman
numerals and jazz / rock notation

as for L1, with a wider range of chords and inversions

chord progressions – identification of cadences (perfect,
plagal, imperfect I-V and IV-V only, interrupted)

add imperfect cadence II-V, and no restriction on inversions

chords – notation of individual chords

chord progressions – notation of cadences in root position (perfect
[V–I only, no V7], plagal, imperfect [I–V only]); no interrupted
cadence

modulation – identification of modulation (via perfect
cadence) to related keys (subdominant, dominant, relative
major and minor)

as for L1, plus tonic minor
Instrumentation
Limited to scores of no more than 16 instruments.
Limited to common orchestral and jazz / rock instruments,
and common voice types

Form /
Structure
score layout – recognition of family / instrument order,
English names
Limited to identification and supporting evidence of:
 introduction
 A–B / binary
Scores of varying levels of complexity including common symphonic,
chamber, choral and jazz / rock ensembles.

add Italian names
Identification, and some analytical description required.
No constraints on types of forms
e.g. rondo, theme and variations, strophic
 A–B–A / ternary
 verse–chorus
 12-bar blues
 bridge
 outro / coda
Compositional
devices
Melodic / rhythmic / textural devices e.g.
As for L1, plus:
 sequence

motifs/riffs and their development
 repetition

phrases - regular and irregular
 ostinato

augmentation and diminution
 motif/riff

inversion
 imitation

canon / fugato
 Pedal note

variation and thematic development
 Syncopation

melodic range and contour
 Similar/contrary motion
Texture
textural features e.g.
 monophonic
 homophonic
 polyphonic
 melody and accompaniment,
 layering (e.g. background, foreground)
 textural density
textural features e.g.

heterophonic

countermelody

antiphonal

imitation, fugue

textural density