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GCSE Music

Unit 2 Guidance

There are recordings to accompany this document.

Teacher Resource Bank / GCSE Music / Unit 2 Guidance / Version 1.0

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Unit 2: Composing and Appraising Music

This unit is worth 20% of the final assessment, with the Composition and its Appraisal each being worth 10%. Both elements are marked out of 20 and this is an examined component, with the final submission being sent to an AQA examiner. The final submission will be:

• the score of the composition (as explained below) • a recording on CD or mini-disc (playable on conventional equipment) • the Candidate Record Form • the Appraisal Booklet.

The composition submitted for Unit 2 must be different from that submitted for Unit 4. Composition One composition is required for this Unit: it must link to the strand of learning selected by AQA for that examination year and each candidate must choose at least two Areas of Study as the basis of the composition. Each Area of Study (AoS) contains two of the Elements of Music and, therefore, by choosing two of these Areas of Study, a candidate has a range of four possible routes to form a link into the given Strand of Learning. For example, choosing AoS1 Rhythm & Metre and AoS2 Harmony & Tonality, the candidate is able to link to the given strand through any one of these four distinct elements (though it is, of course, quite permissible to link through more than one, even all four). Candidates do not have to compose a piece of music based particularly closely on the strand: they are simply to choose two (or more) Areas of Study and link their composition to the strand. The two Areas of Study and the link must be identified in the Appraisal and a range of possible links will be explored in this document. There are ten possible combinations of the Areas of Study and many possible links with each strand, whether specific (a characteristic instrument, a scale, a rhythmic device, a form or structure) or more general (contrast of timbre and/or texture as in the concerto principle, contrast of dynamics). There is no suggestion as to the minimum duration of the composition but it is unlikely that very short pieces will enable candidates to demonstrate sufficiently their ability to develop musical ideas to satisfy the criteria of the higher mark bands. Initial teaching for this unit can be combined with that for Unit 4 Composing Music. Many teachers will have their own tried and tested methods of teaching composition and what follows are merely suggestions for possible approaches. Teaching composition: possible approaches As all compositions are based on the Areas of Study which, in turn, combine pairs of the Elements of Music, early work could be to revise and build on aspects of compositions undertaken as part of the Key Stage 3 course. Though some of these will have been done in groups, it is essential for GCSE that candidates get used to working individually. Some candidates may already have developed a preference for composing in a particular style/genre or for a specific medium, such as voice and piano, voice and guitar, their own instrument, the instrumental group in which they play, or the rock band of which they are a part. If this is so and their work has already shown promise, it would seem sensible to help


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them to build on this knowledge and expertise and develop their techniques further. However, it is important that as wide an understanding and appreciation of compositional techniques as possible can be gained prior to deciding on the type of piece to be submitted and then undertaking various preparatory tasks. Additionally, skills as a performer – whether they are vocal or instrumental – or preferences in listening and appraising should be harnessed wherever possible. For example, Melody (AoS3) could be illustrated through simple pieces such as ‘question and answer’ phrases, moving on, perhaps, to look at longer forms, including binary, ternary and rondo. From there, more complex structures could be explored (AoS5). The starting point could be as simple as Twinkle, twinkle, little star: The first four bars are a good example of ‘question and answer’ phrasing and the whole tune follows a ternary pattern. An example of a variation on this form can be found in the traditional song made famous by Elvis Presley – Love me tender. In this song, the first four bars are repeated exactly. Subsequently, there is a different, contrasting line before an altered version of the opening bars returns to complete the melody, giving an overall structure of A¹ A¹ B A²:

Many other examples can be found of similar melodic structures and forms. Extension work can take in AoS5 Structure & Form: Binary Form, as in Bach’s Minuet in G, Rondo Form, perhaps using the last movement of a Mozart Horn Concerto or Beethoven’s First Piano Concerto, and Variations Form, with examples such as Mozart’s Ah! Vous dirai-je, maman, the second movement of Haydn’s Surprise Symphony, Britten’s Young Person’s Guide to the Orchestra, Rachmaninov’s Variations on a Theme of Paganini and/or the last movement of Shostakovich’s Leningrad Symphony. Examples of Minuet and Trio Form can be found in most symphonies from the ‘Classical’ period or within Baroque Suites (though here they might be identified simply as Minuet I and Minuet II). Similar structures using other dances, such as the Bourrée or Gavotte can also be found in Baroque music or, in the case of the Gavotte, in Prokofiev’s First Symphony – the Classical. Songs can provide examples of strophic, varied strophic, through-composed and verse and chorus forms, whether in the songs of Schubert, in folk music, or in popular song.



The Rondeau from Abdelazar by Henry Purcell, perhaps already known to candidates through its use by Benjamin Britten in his Young Person’s Guide to the Orchestra, features a melody which demonstrates triadic movement, stepwise movement and sequence (in this instance, an example of a modulating sequence), even the idea of the ‘note of anticipation’.

Texture (AoS3) could start with unaccompanied melody before moving on through duets, accompanied melodies and trios to more and more complex textures until reaching a full symphony orchestra. Musical terms such as ‘homophonic’ and ‘polyphonic’ should be introduced (if not already known) and explained through examples. A similar approach could be made with vocal compositions: the possibilities are virtually endless. Candidates in the group can demonstrate different examples of Timbre (AoS4) through their performances, either alone or in groups. From this, extension work could provide examples of chamber music groupings (violin & piano, string quartet, clarinet quintet, woodwind trios, wind quintets), before moving on to the string orchestra, symphony orchestra, brass band and military band. Examples from the world of popular music will incorporate guitars, percussion, synthesisers and the manipulation of sound through the use of technology. Centres will be able to draw on their own library of recorded music, and candidates should be encouraged to bring in their own music to exemplify or extend areas studied in a lesson. At all stages and no matter which Area of Study is the focus, performances by candidates within the group should be encouraged as these can stimulate discussion of the use of specific elements as well as the idiomatic use of voices and instruments. Such study can also lead quite easily to practice compositions. There are many approaches to the teaching of composition, including:

• presenting the idea of a link through a specific compositional brief • seeing how the compositional skills and interests of individual candidates develop

before suggesting possible pairings of Areas of Study and then introducing exercises and compositional tasks which will further enhance abilities and techniques

• look to the performing skills of candidates and focus compositional techniques around these, looking to aspects of timbre and idiomatic writing

• give candidates appropriate listening and appraising tasks that will stimulate ideas • being aware that some candidates will come to the course with preferences in

composition already established, such as song-writing, working through piano, writing for a particular combination of voices and/or instruments, and so on: such candidates should be encouraged to continue with their preferred medium.



Links to the Strand When deciding on the style or genre of the composition to be undertaken, teachers and candidates should not be intimidated by the thought that the music must link very closely to the designated strand of learning. Links can include: Western Classical Tradition AoS1: Rhythm and Metre Crisp dotted rhythms Regular time signatures Contrast of rhythms Specific rhythmic patterns Syncopation Waltz rhythms AoS2: Harmony and Tonality Use of major/minor scales and/or modes Musical devices such as pedal, drone Exploring modulation Contrast of consonance and dissonance Clearly marked cadences Chromatic harmony Contrast of keys AoS3: Texture and Melody Imitative writing Contrapuntal writing Use of ornaments Use of sequences Melody with accompaniment Homophonic writing Dialogue between soloist and orchestra/ small group and large group/ voices and instruments/ solo voice and choir Antiphonal writing Ornamentation Unison Single melody line AoS4: Timbre and Dynamics Contrast of groups of instruments Dynamic contrast Instrumental (pizzicato, tremolando, use of pedal, etc)/vocal techniques (falsetto/vibrato) String Quartet Piano Trio − also encompassing the idea of small ensembles not directly related to the Western

Classical Tradition, such as electric instruments, tuned and un-tuned percussion instruments, including electronic sound sources and sampled sounds.



AoS5: Structure and Form Main dance forms (binary, ternary etc) Ground bass Rondo form Use of continuo Variations Linking movements Use of cadenza Da capo aria Through composed Strophic Since the western classical tradition underpins much of the musical development also found in popular music and to some extent world music, a link can be found in any piece - in any style or genre - in binary/ ternary/sonata/rondo/variation/arch shape/minuet and trio/through composed/da capo aria/ ground bass/continuo/strophic or any other appropriate structure/form for any combination of instruments and/or voices. The piece need not necessarily be in a ‘western classical’ style or genre. Popular Music of the 20th and 21st Century AoS1: Rhythm and Metre Use of syncopation Strong pulse Rhythmic improvisation AoS2: Harmony and Tonality Harmonic patterns Use of 7th chords Melody harmonised using 3rds and 6ths AoS3: Texture and Melody Rhythmic and melodic riffs Blues scale Decoration of melody (single words sometimes) Passing notes Syllabic underlay, using original or existing lyrics AoS4: Timbre and Dynamics Big Band combination Strong bass line Instrumental techniques (pizzicato bass) Use of brass mutes Use of accents Small/large jazz combos Solo instrumental/vocal feature within a larger ensemble Vocal ensembles as found in musicals Electronically-produced sounds Samples sounds



AoS5: Structure and Form Arch shape Verse/Chorus Use of Middle 8 Improvised sections within compositions World Music AoS1: Rhythm and Metre Syncopation Polyrhythms Rhythmic imitation Cross-rhythm AoS2: Harmony and Tonality Singing in harmony (3rds /5ths) Use of chords I, IV & V Use of a drone AoS3: Texture and Melody Pentatonic scale Modal scale Raga Ornamentation Improvisation AoS4: Timbre and Dynamics Generic instruments, such as the sitar, dilruba or tabla Steel bands Instrumental techniques AoS5: Structure and Form Call and response Sectional compositions Pieces which gradually evolve/develop Latin-American dance forms



For 2010 and 2011 the strand chosen by AQA is The Western Classical Tradition. The strand for subsequent examination years will be announced two years before the examination to which it applies (so, for the 2012 examination year, the announcement will be made in the Summer Term of 2010). Assessment of the composition It is important that all candidates understand the need for transparency of process while composing. They should also be made fully aware of the assessment criteria against which their composition will be assessed. These can be found on page 10 of the specification and fall into six bands of three or four marks. The composition is marked in the light of the selected Areas of Study and its overall success will be measured against the realisation of the key elements with due consideration paid to the following musical aspects:

• the imaginative use of sound • a sense of musical balance • the creation and development of musical ideas • an understanding of the chosen medium • the appropriate and idiomatic use of instruments, voices and other sound sources • appropriate uses of musical elements, devices, techniques and conventions.

Choosing the Areas of Study Although the task is to write a piece of music which contains two of the Areas of Study, it is likely that compositions will include more than these. In such cases, the candidate can select the two areas which are best illustrated for the focus of their assessment or may choose a wider brief. The link to the given strand must also be stated. Initial composition tasks might well focus on specific elements or pairs of elements, using the two elements contained within each Area of Study. For example: work for AoS4 Timbre & Dynamics might start by exploring the sounds of a single instrument/voice and then a duet before moving on to a small group of instruments and/or voices, possibly those readily available within the group. Short research tasks could be undertaken to find out about the characteristics and ranges of the different instruments/voices with, wherever possible, candidates demonstrating range and techniques available. From there, compositions might move on to combining pairs or small groups of instruments, trying, wherever possible, to encourage candidates to incorporate their own specialism into their piece. Finally, in terms of this Area of Study, candidates should experiment with the application of dynamics and dynamic shading. Related listening could include music for individual instruments from both western music and world music, a capella and antiphonal singing, call and response techniques as a means of contrast, excerpts from concertos, chamber music and pop groups. The final decisions as to which Areas of Study will form the focus of the composition may come about in advance of starting to compose – eg music using AoS1 Rhythm & Metre and AoS4 Timbre & Dynamics and using a range of percussion sounds – or the composition might be started and well-developed before deciding that the best combination of Areas of Study would be, for example, AoS2 Harmony & Tonality and AoS5 Structure & Form (where the composition is in a set form for pitched instruments/voices).



The score and recording Alongside composition should be an increasing understanding of notation, as appropriate to the style or genre. Wherever possible, there should be encouragement of traditional staff notation as it is such a precise way of conveying musical information. However, other forms of notation can also be used – TAB, graphic, a written account/annotation – or any combinations of two or more. The important thing to be borne in mind is that the final score submitted, using whichever form of presentation, is capable of conveying the detailed, final intentions of the composer. A recording of the final completed composition must be submitted. It will not be assessed separately but it is important that the score as presented corresponds to the recording, and that both accurately reflect the candidate’s intentions. The score and recording complement each other and must both be submitted. If candidates receive help during the recording of the composition which has an impact on the composition, then this must take place within the supervised time allocation and must be clearly acknowledged on the Candidate Record Form. In this way, the examiner will know precisely what the candidate’s contribution was to the final submission. Supervised Time: informal supervision The composition will be done in 20 hours of supervised time: this means that candidates will, in general, work under the supervision of a teacher, more often than not their Music teacher, but not necessarily so. The teacher must, at the end of the compositional process, be able to authenticate the work as that of the candidate unless specific details are given of input by others. More information is provided in the leaflet Controlled Assessment Guidance (which includes guidance on supervised time for this unit). It is possible, and indeed is to be encouraged, that candidates continue to think about and develop their pieces in between these supervised sessions. This additional work may take the form of research into a particular instrument’s characteristics, or listening to how other composers have written for a particular instrument/voice or ensemble or used a specific structure/form, or continuing to improve a harmonic technique they wish to incorporate. The results of this work can be brought along to the next session, but the teacher must be satisfied that any additional work done towards the composition is of a standard consistent with the candidate’s abilities and with work done up to that point. To this end, candidates must be made fully aware of their own responsibility in respect of declaring any specific help received. It is for individual centres to decide how the 20 hours are to be assigned and at what stages of the course the final compositions for units are undertaken, but a record needs to be kept. It is inevitable that a reasonable amount of time will be spent teaching, extending and refining compositional skills, as soon as possible making them specific to each individual candidate’s declared intentions. Once the final composition has been started, teacher feedback should be restricted to the general, rather than the specific.



Appraisal The Appraisal, worth 10% of the final assessment and half the marks for Unit 2, is completed in an Appraisal Booklet which will be provided by AQA. Candidates can write their appraisal directly into this booklet or can word-process it and attach the document to the booklet. The appraisal will consider the process of composition and its final outcome. The booklet will list some points to give candidates a framework around which to structure their response, thus ensuring that all areas will be covered. Responses can be prepared in advance and it would be sensible to encourage candidates to develop a habit of keeping a log or diary of the composition and recording processes. Assessment of the Appraisal Candidates should be made aware of the assessment criteria for the appraisal so that they can better appreciate exactly what needs to be done to access the higher mark bands: these criteria are set out on page 11 of the specification and fall into four bands of five marks. Teachers and candidates should note that the appraisal should be written in continuous prose. Marks will be awarded for the candidate’s ability to:

• use good English • organise information clearly • use specialist vocabulary where appropriate

Suggestions for approaches to the Appraisal The points which candidates are asked to address are set out below, with suggestions on how they might be approached. What Areas of Study did you choose and what is the focus of your composition within the given strand? Here, the candidate makes a simple statement as to which two Areas of Study were chosen and makes clear the focus within the given strand. This focus might be a form, a scale, an instrument or group of instruments, a characteristic rhythm or one of many other possibilities. Why did you choose these Areas of Study and the particular focus within the given strand? Reasons might include a preference for using these elements, the fact that they afford appropriate possibilities in terms of the desired composition or a conviction that composing strengths lie in the use of these two Areas of Study in particular. How did you go about composing your music and how was the final recording achieved? This is best approached chronologically: candidates should keep a record of their progress with their composition to help them prepare for this question. Similarly, when it comes to recording the finished composition a careful log of the process should be kept, mentioning as appropriate, positioning of microphones, adjustments to dynamics and/or placement of performers, how any matters of poor intonation were resolved, and so on.



What difficulties did you encounter during the task and how did you overcome them? This might include reference to access to the chosen medium, computer software problems, a realisation that the original choice of Areas of Study might not be the best; it might be a problem more directly related to a compositional matter, including use of imitation, modulation, sequence, instrumental techniques and/or range. Whatever the difficulty mentioned, explain the steps taken to overcome it. What makes your composition successful in relation to the Areas of Study and the focus chosen within the given strand? Success in relation to the chosen Areas of Study will arise if the finished piece really showcases the elements within the chosen Areas of Study. Candidates will need to explain how their composition successfully exploits the chosen link, be it a rhythm, a form, an instrument or group of instruments, and so on. What is the relationship of your composition to its context? Any piece of music written will fall into a particular context and reflect the style of a particular genre. It is in this section that candidates will set out how their piece relates to this context. It might be that the composition is a pop song, a string quintet, a percussion piece, a piece in a minimalist style, a showcase for a single instrument, a pastiche in the style of a specific composer, style or period. Candidates should explain the extent to which their composition reflects the genre or style and, where appropriate, a historical period. Controlled time: formal supervision Candidates have up to 2 hours under formal supervision to complete the Appraisal. Any work prepared in advance can be taken into the room where the appraisal is to be written. Although up to two hours are allocated for this task, this is for the final writing process: much of the work should be prepared in advance to ensure that best use is made of the time available. The two hours do not have to be taken continuously but any work completed during the supervised time for final submission must be retained securely between sessions. The leaflet on Controlled Assessment also includes information about controlled time for this unit.



Exemplar compositions and appraisals The scores for these five compositions are in the Appendix and the track numbers refer to the recordings. These examples show various combinations of Areas of Study and, although a particular link to a strand is given, alternatives are also discussed. Example 1 Day of Celebration AoS1: Rhythm & Metre AoS4: Timbre & Dynamics Link to the strand:

1. Western Classical Tradition: links could be though the choice of western instruments, through the use of a regular rhythmic basis, through the use of tiered dynamics as was prevalent in the Baroque Period.

2. Popular Music of the 20th and 21st centuries: use of a strong pulse, harmonisation of melody using 3rds and 6ths, contrast of dynamics.

3. World Music: using a variety of rhythms, instrumental techniques. Alternatively, the Areas of Study could easily have included AoS2: Harmony & Tonality, AoS3: Texture & Melody or AoS5: Structure & Form with many possible links being available, including a strong sense of key/tonality, a clear, sectional structure, variety of texture (linking to the concerto principle), development of ideas. Commentary on the composition This commentary is based on the following premises:

• the strand is The Western Classical Tradition the links to that strand are: − the use of western instruments and, − the use of tiered dynamics in part of this composition.

NB Either one of these would have sufficed as the link. A range of western instruments is used and, although the actual realisation is via Sibelius software, all written parts are playable on acoustic instruments. The composition has a clear structure and obvious tonal basis with interesting and effective use of G natural within the context of A major towards the end (bars 65 & 67). The lift engendered by the move from the opening C major to A major, following the silent bar (bar 53), is both effective and dramatic. Instruments are used idiomatically as are a range of rhythms within the overall common time (4/4) signature. There is a contrast of timbre, not only through variety of texture but also of register. The passage of tiered dynamics (bars 23 – 44) gradually builds up, though perhaps a wider range of chords than I, II, V, I would have been beneficial and given this section a greater sense of harmonic drive and progression.



The composition is satisfying and shows imagination in the use of the Areas of Study and the links to the strand. The music has a sense of completeness and there is some sense of development of the musical ideas, though this is, to some extent, by repetition. The score as presented shows the detailed intentions of the candidate as far as performance directions are concerned and the instrumental writing is idiomatic. The final mark would need to weigh up the positives and negatives within this piece and might decide that, overall, it is ‘largely satisfying’ (16 – 13) rather than ‘musically stimulating, interesting and satisfying’ (20 – 17) and then fine tune with regard to all features and the response to the two chosen Areas of Study and the focus. The Appraisal I chose Area of Study 1: Rhythm and Metre and Area of Study 4: Timbre and Dynamics. The given strand was The Western Classical Tradition and my composition links to it by its use of different western classical instruments and, in the middle section, the idea of contrasting, tiered dynamics which was a feature of music in the baroque period. I chose these Areas because I like the sounds of western classical instruments and thought that contrasting dynamics would be quite effective. I worked out an opening idea based on a simple, repetitive idea and then gradually built up the texture till I had all the instruments playing. The middle section – where the dynamics are contrasted – is based on a simple chord sequence and was something I wanted to try after we were played Zadok the Priest by Handel. The final recording was done directly from Sibelius and so I had to make sure that all dynamics and other performance details were included for every part. I also had to check the balance using the mixer in Sibelius. I didn’t really encounter any problems after I had worked out my main ideas and decided on the form of my piece. My composition is successful because it uses western classical instruments and all parts can be played by acoustic instruments. It is also effective in the way it contrasts dynamics in the middle section. My music is in a traditional style with a start in C major and then a change to A major after a silent bar for dramatic effect. The harmonies are quite simple and the music is consonant. Commentary on the Appraisal Although this responds to each of the questions, it does so in a very brief manner with little real detail offered. There is some, albeit limited, use of specialist musical vocabulary and the writing is coherent with no errors in spelling, grammar or punctuation. As a response representing half of this unit’s assessment, this appraisal is short and superficial. It fulfils the criteria for the lowest band and rather more, leading to a view that a mark in the 10 – 6 band would be most appropriate.



Example 2 Melody in D major AoS2: Harmony & Tonality AoS3: Texture & Melody Link to the strand:

Traditional western harmony with a strong sense of key. It could also have linked to:

• Popular Music of the 20th & 21st centuries as a piece of mood music for use within a film

• World Music as music which is a sectional composition or as one which gradually evolves or develops

Commentary on the composition This composition has a clear sense of structure and of tonality: it has an introduction and follows a rondo pattern with regular returns of the main theme. The central tonality is D major and the music modulates to G major (subdominant) and to B minor (relative minor) to create effective contrasts. The form can be summarised thus: Intro – Main theme in D major (tonic) – Episode in B minor (relative minor) – Main theme in G major (subdominant) – Episode in D major (tonic) – Main them in D major/Coda. The choice of instruments allows for a variety of texture and of timbral combinations. The candidate has used the appropriate characteristics of the chosen instruments well to provide clear melodic lines, countermelodies and a range of accompaniment figuration. The link to the strand is traditional western harmony with a strong sense of key and this is well represented within this composition. In terms of the aspects of music, the piece is, overall, quite imaginative, although there could possibly have been further development of the main theme, the addition of additional countermelodies, greater variation in the accompaniment patterns and/or exploration of other tonal centres, even within those closely-related to the tonic: other keys could include A major, E minor and/or F# minor, thus creating the opportunities for greater tonal variety while still keeping to the stated link. The use of instruments is appropriate without being over-adventurous: all writing is quite idiomatic and is playable on acoustic instruments. There is attention to performance detail in terms of dynamics, phrasing and articulation. Some indication of bowing for the stringed instruments, breathing for the flute and a greater use of the sustaining pedal in the piano part would have enhanced this composition further. The episodes are somewhat weaker than the main tune where the main attraction is its simplicity. Overall, the composition fits the criteria for a mark in the 16 – 13 band.



The Appraisal Taking each of the questions in turn, my composition is based on Areas of Study 2 (Harmony & Tonality) and 3 (Texture & Timbre). The strand given was The Western Classical Tradition and my link to it is through the use of traditional western harmony with a strong sense of key. I chose these Areas of Study and this type of link because I like writing music which has a nice tune and is clearly in a key, using mainly primary chords. I chose these instruments because I like their sound and thought they would combine well and would suit the type of tune I had written. I worked out the opening tune first aiming to write something which was simple and gentle. I then worked out the chords which went with it best and from there I went on to look at different ways of accompanying it and possibilities of adding countermelodies. We had studied different ways of spreading a chord in earlier lessons and I drew on this to work out how to spread the triads I was using. Ideas for contrasting sections – the episodes – took longer and I found these parts of the composition the most difficult. Finally, I thought of ways of starting and ending the piece. Although I was able to talk to friends in the class who played all the instruments I used – except the harp – I knew that I would have to record my piece from Sibelius software. We have Sibelius 3 in school and so I spent time adding details to the score to try and make it sound as close as possible to a live performance, even though the soundcard would never be as good as real instruments but I couldn’t of got hold of a harp player and so I had to use the computer. As well as adding dynamics, phrasing and accents, I had to use the mixer to get the balance better and this took quite a long time to get right. I am very pleased with the way my piece has worked out, especially the main theme, which I really like still and I think it uses the Areas of Study well and fits the link I chose. I have written a piece which uses traditional western harmony and has a strong sense of key and I think that, in this context, it is successful. It establishes D major clearly at the beginning and uses the 3 primary chords of D, G and A. It then moves to the relative minor, on to G major (the subdominant) and then returns to D for the rest of the piece. Commentary on the Appraisal This appraisal is concise but quite detailed, focusing on the main questions in the Appraisal Booklet and responding to each in turn. There could have been more detail as to how:

• the chords were decided upon • the episodes were composed • the countermelodies were worked out • the accompaniment patterns were arrived at • the intro and outro decided upon.

There is some use of appropriate musical vocabulary and the use of spelling, punctuation and grammar is mainly good, with just a few errors. All of this points to a mark in the 15 – 11 band.



Example 3 Percussion Piece AoS1: Rhythm & Metre AoS5: Structure & Form Link to the World Music strand:

Some use of ethnic percussion instruments and the use of rhythmic cells. This could also link to:

• The Western Classical Tradition: use of traditional western percussion instruments and/or use of a type of rondo form

• Popular Music of the 20th & 21st centuries: the exploration and expansion of the use of percussion and/or a link to fusion music

Commentary on the composition This composition is in a modified rondo form with each return of the main idea being compressed by having its entries occurring at shorter and shorter intervals: this produces an interesting cumulative effect and nicely varies what might otherwise so easily have become yet another example of simple ‘cut and paste’. The candidate has chosen a wide range of percussion timbres, all untuned, and has contrasted individual timbres and used them in their ‘world’ groupings to a limited extent. There is definite contrast between ‘western’ percussion and ‘world’ percussion as well as a range of textures. Rhythm is certainly well explored and there are changes of metre which enhance this composition and the passage beginning in bar 30 gives the effect of 6/8 alternating with 3/4. Bars 43 – 46 are quite striking where the rhythm is passed through the different instrumental timbres. There is generally good use of dynamic contrast although the score does not set the level of all parts at times, leaving the setting either to the Sibelius default of mf or relying on the last setting given. Against this, there are times when the rhythms are repeated rather too often without any variation. As a response to the chosen Areas of Study and to the aspects of music, this is an imaginative and largely satisfying piece. There is some understanding shown of the techniques involved in playing these instruments, although there are few examples of the use of anything other than fairly basic percussion writing. Overall, it is more than ‘competent’ but not successful, imaginative and stimulating (20 – 17): the 16 – 13 band is, therefore, most appropriate.



The Appraisal As I am a drummer I thought it would be a good idea to write a piece of music which used lots of percussion instruments. I didn’t want to worry about chords or a key and so I decided to choose instruments which did not have any real pitch. Obviously I wanted to use a drum kit as I can play that but I wanted to use a range of other instruments even though most of them weren’t available in the school and it would mean that I would have to rely on ICT to get a recording. My teacher said that it was a good idea to have a plan in mind for the form of the piece so I decided that the two Areas of Study were quite obvious and so I went for AoS1 – Rhythm and Metre and AoS5 – Structure and Form. I decided to include percussion instruments that I knew as well as some from other countries so that my music would link to the World Music strand. I started to work out different rhythm ideas and tried different ways of putting them together. In the end I decided to add them one after the other and slowly build up the sound and effect. My teacher suggested that I should alter the main pattern each time it came back and so I decided to bring the different ideas in quicker each time so it took less time to build them back up, I then had to come up with some contrasting ideas and as one of the areas of study included metre I thought I should change the time signature or give the idea that I had moved from beats with two quavers to a crotchet to beats with three. As I play the drums quite well I know that changing the volume can be effective and so I thought I would use this idea in my piece as well. The recording was done straight from the computer to a CD and I am pleased with the way it sounds and I think it fits the areas of study and the strand well. As I used a computer there weren’t any problems with the recording. I just connected a cable from the computer to the CD recorder and pressed start. My piece makes good use of percussion and would work well in a live performance if I could find all the instruments and people to play them. Commentary on the Appraisal The candidate has responded quite well to some of the questions. There is some discussion as to why the Areas of Study and the link to the strand were chosen. The form has been developed following a rondo pattern and taking on board a general suggestion from the teacher that the main section – or ‘A’ music – should be varied on its return each time. This is part of the candidate’s response to the third question as are the following sections about the episodes and varying the dynamics. There is no response to the question about the perceived level of success of the composition in terms of the chosen Areas of Study or the link to the strand. As for reference to a context, there is only the comment that it ‘makes good use of percussion’. Rather an uneven response and one which meets some of the criteria for the 10 – 6 band but other elements are in the 5 – 1 band, largely because of the missing sections. The total appraisal would need to be read carefully to weigh up in which band the final mark should be.



Example 4 Nocturne for Flute, Clarinet, Glockenspiel and Piano AoS3: Texture & Melody AoS5: Structure & Form Link to the Popular Music of the 20th & 21st centuries strand:

A piece of mood music appropriate for a gentle peaceful interlude in a film or musical. This could also link to:

• The Western Classical Tradition: the use of western instruments and/or the use of rondo form

• World Music: the use of a modal scale and/or the use of melodic cells Commentary on the Composition This is a well-structured piece – in varied Binary Form – which makes good use of the chosen instruments, varying the texture well within this quartet. Melodically, it is strong, with balanced phrases producing a memorable piece. The focus is clear and acceptable as it is stated precisely: ie the particular feature of Popular Music of the 20th & 21st centuries as well as defining the intended situation: ie to create a gentle, peaceful piece of mood music for an interlude. The focus would have been less clear without this description. Instrumental writing is largely idiomatic, with the piano using arpeggiated chords; the clarinet its chalumeau and lower middle registers; the flute writing making use of its upper range to contrast with the clarinet writing. The tinkling, metallic sound of the glockenspiel is used sparingly but to telling effect. The musical ideas are relatively simple but work extremely well in this piece. Writing is idiomatic within this slower tempo and the phrasing of the woodwind parts allows for breathing. Musical ideas are developed and there is a sense of wholeness and completeness within the composition. Phrasing, dynamics, pedalling and tempo indications are detailed and clear. There is a clear appreciation of the relevant conventions and the resultant composition wholly fits the composer’s clear intention. A mark in the top band is clearly warranted.



The Appraisal I chose AoS3 – Texture and Melody – along with AoS5 – Structure and Form. The link to the Popular Music of the 20th & 21st centuries strand is through a piece of mood music appropriate for a gentle peaceful interlude in a film or musical. I chose these Areas of Study because I play both the piano and the clarinet and recently listened to Gymnopédie by Erik Satie. I played them through and was really taken with the mood achieved by the use of such interesting chords in the left hand. I thought I would like to try to write a piece of music using this style and also being able to include the clarinet in its lower registers – a sound I have always liked since hearing Prokofiev’s Peter and the Wolf in Junior School. I have always thought that music should have good tunes in it and tried to write something which was quite simple but memorable. As I had chosen Area of Study 3 – Texture and Melody – it was a good idea to add in other instruments to provide opportunities for contrast and variety. The flute seemed to go well with both the piano and clarinet and the glockenspiel provided a really different sound. I decided to stick with a fairly simple form and go for binary, though I varied the repeat by changing the instruments and adding in countermelodies. I also altered the way the piano played the chords by using a pattern which was more like that in Satie’s Gymnopédie. Within the first main section, the main melody is played over the chords and a short piano passage forms an interlude before the tune comes back, slightly altered to complete this first section. One of the main difficulties was deciding which chords to use. I wanted to use the same idea as Satie but I didn’t want it to sound as if I had just copied his chords. To get round this, I wrote the main tune first and then worked out which chords sounded right with it. The main pattern relies a lot on F major 7 (F A C E) and D minor 7 (D F A C). However, I decided to experiment with a lot of different chords while still keeping a sense of using both F major and D minor, as these are closely related keys (tonic and relative minor). This took a long time and I used the piano a lot during this, playing different chords and sequences until it sounded just right. The final recording was made straight from Sibelius, as this was the easiest route given that I had used Sibelius to produce a good, neat score of my piece, showing all the dynamics and phrasing clearly. I really think that my piece is successful as it uses the elements within the chosen strands well and clearly fits the link that I chose. It reflects the style of Satie’s music well and, therefore, fits the context of music written in that period: it combines a flowing melody with some interesting and often non-functional harmony, but it also has an underlying sense of key and feels finished when it comes to rest on F major, just as Satie’s Gymnopédie did, ending in D. Commentary on the Appraisal A good, logically-approached appraisal which tackles each question in turn and responds in some detail. It demonstrates a good level of understanding in all areas and its use of spelling, grammar and punctuation is very competent. It clearly warrants a mark in the top band.



Example 5 Sadness? AoS4: Timbre & Dynamics AoS5: Structure & Form Link to World Music:

Use of the Sitar Commentary on the Composition The piece starts really effectively with a simple, descending sequence. The choice of timbre is appropriate and also presents the timbre of the sitar from the beginning. Subsequently, the piece is characterised by its rather disjointed and sectional structure. An attempt to round things off is made through the return of the opening idea and this works, if only to a limited extent. There is little attempt to develop ideas save through repetition. There is some variety of dynamics and the large instrumental group is used sparingly for the most part and in a range of combinations – a good feature. None of the instrumental writing is particularly idiomatic, though there is some appreciation that the sitar produces a drone effect. The overwhelming feeling having heard this piece is that it lacks any real sense of cohesion and is only partially effective. The mark band which best reflects this is the 9 – 7 band. The Appraisal I have chosen the two areas of study timbre and dynamics and structure and form. The focus within the world music strand is through the use of the sitar, an indian instrument. I chose these areas because I thought it would be good to write a piece of music which used lots of different instruments and I was able to do this because I wrote the piece on Sibelius 3. I decided to use the sitar as a link because I first heard the sound of the instrument when my teacher played me a song by The Beatles and I thought then that I would like to write some music for it. I started off by listening to that Beatles song again to remind me of the sound of the sitar. I decided to use it right at the beginning and at the same time as the harp, as they are both string instruments. I then thought of lots of other ideas and wrote them down before putting them into my composition. I didn’t really have any big problems writing this but my teacher said that I should do something called hide empty staves so that the score wasn’t mostly empty lines and didn’t need as many pages. The trouble is that it looks like a really short peace now and I spent a lot of time on it. I think it is successful because I have used different instruments. I have put in lots of dynamics and the peace has a clear form, starting and ending with the same idea and then having new ideas in the middle. Although it doesn’t really sound like the peace by the Beatles, I think it fits in well with other pieces written for the sitar. I am really proud of it.



Commentary on the Appraisal This is a very brief, superficial appraisal. It lacks any real perception and fails to answer any of the questions fully. There is only limited understanding of the success of the composition in relation to its chosen Areas of Study and focus: this last never shows any appreciation of writing for the sitar: there is no evidence that the candidate did any research into its capabilities or range apart from having heard its use in a song by The Beatles (never actually identified) and being aware that it has a drone sound. Information as to the composing process is sketchy with no real indication as to how musical ideas were conceived or the overall form developed. There is no reason given for the choice of a particular timbre apart from the sitar. Knowledge of the musical elements is limited and, apart from the musical vocabulary contained within the titles of the chosen Areas of Study, none is used. There are no errors in punctuation, one in grammar and just a few incorrect spellings. There is no problem with following the candidate’s answer. Overall, this response matches the descriptors for the 5 – 1 band.

Appendix

SCORES FOR EXEMPLAR WORK

1 Day of Celebration Track 1

2 Melody in D Major Track 2

3 Rondo Track 3 4 Nocturne Track 4 5 Sadness? Track 5

Day of CelebrationA

A

Piccolo

Flute

Trumpet in C

Trombone

Timpani

Violin I

Violin II

Viola

Violoncello

f

f

f

3

Picc.

Fl.

Vln. I

Vln. II

Vc.

f

f

f

f

5

Picc.

Fl.

C Tpt.

Tbn.

Timp.

Vln. I

Vln. II

Vla.

Vc.

f

ff

fff

f

ff

fff

f

ff

fff

ff

fff

f ff

fff

f

ff

fff

f

ff

fff

ff

fff

f

ff

fff

8

Picc.

Fl.

C Tpt.

Vln. I

Vln. II

Vla.

Vc.

f

f

f

f

f

f

f

2

12

Picc.

Fl.

C Tpt.

Vln. I

Vln. II

Vla.

Vc.

ff

ff

ffff

ff

ff

ff

ff

16

Picc.

Fl.

C Tpt.

Vln. I

Vln. II

Vla.

Vc.

3

20

Picc.

Fl.

Vln. I

Vln. II

Vla.

Vc.

f

f

f

f

24

Vln. I

Vln. II

Vla.

Vc.

p

f

p

p

f

p

p

f

p

p

f

p

27

Vln. I

Vln. II

Vla.

Vc.

f

p

f

f

p

f

f

p

f

ff

p

f

4

30

Picc.

Fl.

Vln. I

Vln. II

Vla.

Vc.

f

p

f

p

p

f

p

p

f

p

p

f

p

p

f

p

33

Picc.

Fl.

Vln. I

Vln. II

Vla.

Vc.

f

p

f

f

p

f

f

p

f

f

p

f

f

p

f

f

p

f

36

Picc.

Fl.

Vln. I

Vln. II

Vla.

Vc.

p

f

p

f

p

f

p

f

p

f

p

f

5

39

Picc.

Fl.

C Tpt.

Vln. I

Vln. II

Vla.

Vc.

fff

mf

fff

fff

mf

fff

fff

mf

fff

fff

mf

fff

fff

mf

fff

fff

mf

fff

fff

mf

fff

42

Picc.

Fl.

C Tpt.

Vln. I

Vln. II

Vla.

Vc.

mf

fff

f

mf

fff

f

mf

fff

f

mf

fff

f

mf

fff

f

mf

fff

f

mf

fff

f

6

45

Picc.

Fl.

C Tpt.

Vln. I

Vln. II

Vla.

Vc.

mf

mf

mf

mf

mf

mf

mf

48

Picc.

Fl.

C Tpt.

Vln. I

Vln. II

Vla.

Vc.

p

p

p

p

p

p

p

7

53

Picc.

Fl.

Vln. I

Vln. II

f

f

f

f

56

Picc.

Fl.

C Tpt.

Tbn.

Vln. I

Vln. II

Vla.

Vc.

ff

ff

ff

ff

ff

ff

ff

ff

8

58

Picc.

Fl.

C Tpt.

Tbn.

Vln. I

Vln. II

Vla.

Vc.

60

Picc.

Fl.

C Tpt.

Tbn.

Timp.

Vln. I

Vln. II

Vla.

Vc.

9

62

Picc.

Fl.

C Tpt.

Tbn.

Timp.

Vln. I

Vln. II

Vla.

Vc.

64

Picc.

Fl.

Tbn.

Vln. I

Vln. II

Vc.

fff

fff

fff

fff

fff

fff

10

66

Picc.

Fl.

C Tpt.

Tbn.

Timp.

Vln. I

Vln. II

Vla.

Vc.

fff

fff

fff

11

Melody in D major

Flute

Piano

Harp

Violin

Viola

Violoncello

q = 100

p

p

5

Fl.

Hp.

Vln.

mf

mf

10

Fl.

Hp.

Vln.

Vla.

15

Fl.

Hp.

Vln.

Vla.

2

19

Fl.

Pno.

Hp.

Vln.

Vla.

Vc.

mf

23

Fl.

Pno.

Hp.

Vla.

Vc.

mp

mf

sub mp

mf

mp

f

mp

sub mp

p

3

28 rall.

rall.

Tempo primoq = 100

q = 100

Fl.

Pno.

Hp.

Vln.

Vla.

Vc.

mf

p

mf

f

3

3

mf

mf

33

Fl.

Hp.

Vc.

mf

38

Fl.

Hp.

Vln.

Vc.

mf

mf

4

43

Fl.

Hp.

Vln.

Vc.

48

Fl.

Pno.

Hp.

Vln.

Vla.

Vc.

mp

mp

53

Pno.

Vla.

Vc.

3

3

3

3

p

5

58

Pno.

Hp.

Vla.

Vc.

p

63

Hp.

Vln.

Vla.

Vc.

pp

mf

mf

pp

pp

6

70

Fl.

Hp.

Vln.

Vla.

mf

mf

rall.

rall.

73

Fl.

Pno.

Hp.

Vln.

Vla.

Vc.

p

p

p

p

p

p

p

p

7

q = 100

Moderato

'Nocturne'For Flute, Clarinet, Glockenspiel & Piano

Flute

Clarinet in Bb

Glockenspiel

Piano

p

legato

p

p

sim.

11

Cl.

Pno.

19

Cl.

Pno.

28

Cl.

Pno.

sim.

37

Cl.

Glock.

Pno.

p

mf

46

Cl.

Glock.

Pno.

mf

p

p

55

Fl.

Cl.

Pno.

p legato

p

sim.

64

Fl.

Cl.

Glock.

Pno.

2

73

Fl.

Cl.

Glock.

Pno.

sim.

81

Glock.

Pno.

mf

sim.

89

Fl.

Cl.

Glock.

Pno.

3

95

Fl.

Cl.

Glock.

Pno.

100

rall.

rall.

Fl.

Cl.

Glock.

Pno.

4

Date post:	23-Feb-2018
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