Music Memo 1 (English)

November 2025 — Grade 12 / Matric — Music

Memo 2025 Grade 12 English

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Q1— Section header —

1.1Indicate the correct time signature change on the staff below each asterisk (*\. Answer: 2 x 1 (2\

1.2

1.5

1.5.3 Write the enharmonic equivalent of the note at (i\ Answer: (1\ 1 mark Any note value is acceptable

1.5.4 How should this melody be performed? Make a cross (X\in the appropriate block. Graceful ly Precisely Joyfully With power 1 mark

1.6Identify the scales/modes used in the following melodies

1.6.1Consider only the given notes whe n identifying this scale Answer: (major\ pentatonic

1.6.2Identify the mode built on F in this melody. Answer: Dorian mode 1 mark (1\

1.7Write the scales below according to the given instructions.

1.7

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2.1Use the opening below to create a twelve bar melody in ternary form. Write in staff notation OR in sol fa

2.2Write an original twelve bar melody in ternary form in staff notation OR in sol

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3.1OR QUESTION

3.1Study the extract below and answer the questions. Answer: Music/P1 10 DBE/November 2025 NSC Marking Guidelines

3.1.1Figure the chords at (a\ (g\n the score using Roman numerals, e.g. iii /iii Answer: See score 1 mark per chord = 7

3.1.2Figure the chords at (X and name the cadence on the score Answer: See score Chords Cadence

3.1Comment on the in the bass clef

3.1.4Name the type of non harmonic notes at (i\nd (ii\. Answer: (i\ Passing note (ii\ (Lower\ Auxiliary note 2 x 1

3.1Notate the following non harmonic notes at (i ii\nd (iv \n the score. Use a quaver note value

3.2Study the extract below and answer the questions. Answer: Music/P1 12 DBE/November 2025 NSC Marking Guidelines

3.2.1

3.2.2Write the chord symbols at (m\and (n\nd name the cadence at (X\ on the score Answer: See score Chords Cadence

3.2.3Comment on the in the bass clef in bar 11 Answer:

3.2.4Name the type of non harmonic notes at (i\nd (ii\. Answer: (i Passing note (ii

3.2Notate the following non harmonic notes at (i ii\nd (iv \n the score. Use a crotchet note

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4.1OR QUESTION

4.1Complete the four part vocal harmonisation below by adding the alto, tenor and bass parts. Include the following in your harmonisation: Passing progression with the given vii

4.2Harmonise the given melody below by adding at least three notes in minims for each chord , as suggested in bar 1. Include the following: Harmonic realisation of the given chord symbols ii I progression in G

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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 numbers (5.1.1 to 5.1.4\ e.g. 5.1.5 E.

5.1.1Music creators are entitled Answer: (All the above mentioned\

5.1.2Answer: (None of the above mentioned\

5.1.3Which ONE of the following groups benefits from synchronisation rights? Answer: A recording artist, session musician and composer

5.1.4Which ONE of the following explains the term public domain Answer: The space where non copyrighted compositions are

5.2Complete the table below by matching each collect ing agency with the relevant rights. Write only the letter (A E\next to the question numbers (5.2.1 to

5.2.3\, e.g. 5.2.4 F. COLLECTI NG AGENCY RIGHTS

5.2.3SAMRO SAMPRA CAPASSO

5.2.3(3\ (3 x 1\

5.3Answer the following questions regarding SAMRO music licences

5.3.1Who needs to apply? Answer: Any music user e.g. restaurants, prisons, schools, shopping centres, gymnasiums, etc. (1\

5.3.2What is permitted by the licence Answer: The licence permits music to be broadcast (radio, television, internet\ in public. It allows

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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 numbe rs (6.1.1 to

6.1.4\, e.g. 6.1.5 E.

6.1.1Which element refers to the tone quality of an instrument? Answer: (Timbre\

6.1.2Which of the following could be fou nd in traditional African music? Answer: (All the above mentioned

6.1.3Which other name is used for mbaqanga? Answer: (Umgqashiyo\

6.1.4Name the traditional dance type that is the driving source of mbaqanga Answer: (Indlamu\ (4 x 1\ (4\

6.2Indicate whether the following statements are TRUE or FALSE. Write only 'true' or 'false' next to the question numbers (6.2.1 to 6.2.4\ e.g. 6.2.5 False.

6.2.1Songs and dances are used specifically to communicate with the ancestors at various ceremonies. Answer: True

6.2.2In African divinity all songs and dances may induce a trance. Answer: False

6.2.3Traditional healers may have personal songs that connect them to the ancestors. Answer: True

6.2.4The tempo of dancing is determined by the beat of the drum. Answer: True (4 x 1\ (4\ Music/P1 20 DBE/November 2025 NSC

6.3Define the following terms: Answer

6.3.1Overlapping When the response to the call begins before the call ends

6.3.2Crepitation Spontaneous vocal ounds used to show excitement or approval

6.3.3Ukupika Guitar played in a picking style

6.3.4Isicathamiya Traditional a cappella music for male voices/ TTBB in a call and response style which includes ukucothoza (walking slowly\ (4 x 1\ (4\

6.4Define the word call in call and response. Answer: A call is a melodic or a rhythmic fra gment which is sung /played by a soloist

6.5Answer the following questions on malombo music

6.5.1Name the TWO South African cultures that Philip Tabane fused in malombo music. Answer: Bapedi and vhaVenda

6.5.2How did these two cultures influence malombo s popularity? Answer: These cultures exposed malombo to a greater variety of resources: the drum and pipes from the Bapedi the malombo and murundzi drums from the vhaVenda

6.6Name the instrument that replaced the penny whistle in mbaqanga music. Answer: Saxophone 1 mark (1\ Music/P1 21 DBE/November 2025 NSC

6.7Describe the role of izihlabo in maskanda. Answer: It introduces the individual performer (guitarist/concertina player\ and his playing technique. It serves as the introduction to the song before the band enters.

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8.1Marabi and kwela Harmony Four chord cyclic harmony of primary triads: IV

8.2Melodies Short repetitive melodies

8.3Instrumentation

8.4Guitar/ rgan driven Vocal or instrumental

8.5Uses lyrics in African languages Answer:

8.1Marabi and indigenous penny whistle music

8.2Uses four chord cyclic harmony of primary triads

8.3Mbaqanga melodies are layered and repetitive in nature.

8.4Penny whistle /S axophone /Guitar driven

8.5Instrumental music with yrics added in the more modern kwela style. (5 x 1\

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11.1Various options are provided as possible answers to the following questions. Write only the letter (A D\ next to the question numbers (11.1.1 to 11.1.5\e.g.

11.1.6E.

11.1.1Which type of form is also known as AABA form? Answer: (32 bar form\

11.1.2A saxophone is a ... Answer: single reeded wind instrument

11.1.3A style of jazz with a syncopated melody and a steady non syncopated rhythmic accompaniment Answer: (Ragtime\

11.1.4A gliss or glissando is Answer: (a continuous slide upwards or downwards between notes\

11.1.5Which element refers to the tone quality of an instrument Answer: (Timbre\ (5 x 1\ (5\

11.2Indicate whether the following statements are TRUE or FALSE. Write only 'true' or 'false' next to the question numbers (11. .1 to 11.

11.2.1Blues is a style of music that was most popular between 1910 and 1940, and still influences compositions written today. Answer: True

11.2.2Call and response is a singing style in which a group usually sings a phrase to which a soloist replies with an answering phrase. Answer: False

11.2.3Swing jazz was predominantly meant as dance music. Answer: True

11.2.4Comping is chords, rhythm and counter melodies that the rhythm section uses to support a solo line Answer: True (4 x 1\

11.4Describe how quavers are performed in a swing rhythm Answer: Straight quavers are played with a triplet feel. Fast swing creates an accentuated feel on the second quaver

11.5Explain the 12 bar blues progression. Answer: The 12 bar blues progression is a repeated/cyclic harmonic progression

11.6Choose the instrument in COLUMN that matches the artist in COLUMN

11.6.1Feya Faku iano

11.6.2Zim Ngqawana axophone

11.6.3Chris McGregor enny whistle rumpet

11.6.3(3\ (3 x 1\ [20]20

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14.1Developed from American azz and African traditional songs. Instrumental or ocal

14.2Both vocal and instrumental Introduction Songs usually start with a penny whistle introduction.

14.3Rhythmic influences Rhythmic influences of marabi

14.4Melody

14.5Piano has melodic role Answer:

14.1It developed from marabi.

14.2Kwela instrumental

14.3Songs often start with a brief introduction featuring the piano /keyboard

14.4Rhythmic inf uences of ragtime

14.5Penny whistle or saxophone ha a melodic role. (5 x 1\ [5] Music/P1 32 DBE/November 2025 NSC5

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Q16— Section header —

16.1Various options are provided as possible answers to the following questions. Write only the letter (A D\ next to the question numbers (16.1.1 to 16.1.4\e.g.

16.1.5E.

16.1.1In rondo Answer: (a refrain\

16.1.2Answer: (between the first and second theme\

16.1.3Which ONE of the following is an example of a non transposing instrument? Answer: (Viola\

16.1.4Which ONE of the following does NOT refer to tempo? Answer: Senza (4 x 1\ (4\

16.2Define the following terms: Answer:

16.2.1Tutti An indication in an orchestral score showing that all instruments (plus singers\ play together.

16.2.2Ostinato A persistently repeated musical phrase or rhythm while other music material changes around it

16.2.3Chorus A piece sung by a large group/ensemble of people on stage, e.g. as part of an opera A part of a song which is repeated after each verse A sound effect available on a pedal/amplifier/keyboard (3 x 1\

16.3Indicate whether the following statements are TRUE or FALSE. Write only 'true' or 'false' next to the question numbers (1 .1 to 1

16.3.1Another term for sonata form is first movement form. Answer: True

16.3.2Answer: False

16.3.3The symphonic poem and concert overture are independent, single movement work for orchestra. Answer: True

16.3.4The A section of nary form mostly ends in the tonic key. Answer: True (4 x 1\ (4\

16.4Answer the following questions on Beethoven Symphony No. 6 in F major Op. 68

16.4.1Write down the title and tempo indication of the fourth movement. Answer: Title: Gewitter Sturm/Thunderstorm Tempo indication: Allegro (2\ (2 x 1\

16.4.2

16.4.3Name the form type of the third movement. Answer: Scherzo and rio 1 mark (1\

16.4.4Give TWO performance or playing techniques of the Mannheim school. Answer: The use of tremolo sudden sfz opening arpeggios crescendos and decrescendos

16.5Write ONE word or term for EACH of the following descriptions:

16.5.1The group of musicians, poets and intellectuals in the late Renaissance that are associated with the origin of opera Answer: (Florentine\ Camerata

16.5.2The voice type of Papagena in The Magic Flute Answer: (Lyrical\ soprano

16.5.3non transposing brass instrument using the bass clef Answer: Tuba/Trombone (3 x 1\ (3\ [20]20

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Q18— Section header —

18.2Instrumentation

18.4Tempo indication

18.5Answer:

18.1B minor

18.2D major

18.3Violas, cellos and bassoons play the theme, accompanied by the rest of the (standard Classical orchestra.

18.4ello s and bassoons play the theme, accompanied by the rest of the (standard Classical orchestra.

18.5Allegro moderato (5 x 1\ [5] Music/P1 39 DBE/November 2025 NSC Marking Guidelines Copyright reserved5

Q19— Section header —

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Topics Identified

Music TheoryPerformanceComposition

Mark Allocation

Total50 marks

Sections15 + 15 + 15 + 15 + 15 + 15 + 15 + 20 + 5 + 5 + 5 + 15 + 20 + 5 + 5 + 5 + 15 + 20 + 5 + 5 + 5 + 15 = 255 marks

Paper information

SubjectMusic

Year2025

SessionNovember

TypeMemo

PaperPaper 1

LanguageEnglish

Pages42

Downloads2

Examination context

Decade2020s

Years ago1y

SeasonSpring (SH)

Start dayWednesday

Exam periodNovember 2025

Days since exam356

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