NCFE Level /2 Technical Award in Music Technology (603/2959/2) Sample June 208 Unit 0 Understand the principles and practices of music technology Mark Scheme Version All the material in this publication is copyright NCFE.
This mark scheme has been written by the Assessment Writer and refined, alongside the relevant questions, by a panel of subject experts through the external assessment writing process and at standardisation meetings. The purpose of this mark scheme is to give you: examples and criteria of the types of response expected from a learner information on how individual marks are to be awarded the allocated assessment objective(s) and total mark for each question. Marking guidelines General guidelines You must apply the following marking guidelines to all marking undertaken throughout the marking period. This is to ensure fairness to all learners, who must receive the same treatment. You must mark the first learner in exactly the same way as you mark the last. The mark scheme must be referred to throughout the marking period and applied consistently. Do not change your approach to marking once you have been standardised. Reward learners positively, giving credit for what they have shown, rather than what they might have omitted. Utilise the whole mark range and always award full marks when the response merits them. Be prepared to award zero marks if the learner s response has no relevant material. Do not credit irrelevant material that does not answer the question, no matter how impressive the response might be. The marks awarded for each response should be clearly and legibly recorded in the grid on the front of the question paper. If you are in any doubt about the application of the mark scheme, you must consult with your Team Leader or the Chief Examiner. Guidelines for using extended response marking grids Extended response marking grids have been designed to award a learner s response holistically and should follow a best-fit approach. The grids are broken down into levels, with each level having an associated descriptor indicating the performance at that level. You should determine the level before determining the mark. When determining a level, you should use a bottom up approach. If the response meets all the descriptors in the lowest level, you should move to the next one, and so on, until the response matches the level descriptor. Remember to look at the overall quality of the response and reward learners positively, rather than focussing on small omissions. If the response covers aspects at different levels, you should use a best-fit approach at this stage, and use the available marks within the level to credit the response appropriately. When determining a mark, your decision should be based on the quality of the response in relation to the descriptors. Standardisation materials, marked by the Chief Examiner, will help you with determining a mark. You will be able to use exemplar learner responses to compare against live responses, to decide if they are the same, better or worse. You are reminded that the indicative content provided under the marking grid is there as a guide, and therefore you must credit any other suitable responses a learner may produce. It is not a requirement either that learners must cover all of the indicative content to be awarded full marks. 2
Assessment objectives This unit requires learners to: AO AO2 AO3 Recall knowledge and show understanding. Apply knowledge and understanding. Analyse and evaluate knowledge and understanding. The weightings of each assessment objective can be found in the qualification specification. 3
Question Number Section Mark scheme Marks Total for this section: 8 marks Adding RAM to your computer is most likely to have which one of the following effects on the performance of your Digital Audio Workstation (DAW)? Answer: D (Allows more software applications to function at the same time) 2 Which one of the following terms best describes the C section of the musical form represented in Figure? Answer: A (Bridge) 3 Applying a distortion effect to an instrument would be most likely to have which one of the following audible effects? Answer: D (Produces a fuzzy, growling or gritty tone) 4 You have been asked to produce a piece of music for a form of media. You have been told that the main purpose of this form of media is to promote a product. Which one of the following forms of media best fits this description? Answer: C (TV advert) 5 Which one of the following terms best describes an arch form melody? Answer: D (A melody that goes up to a higher note then goes down to a lower note) 6 You have produced a stereo mix and want to save it as the smallest available type of audio file to send to an artist. Which one of the following file types would be the most suitable? Answer: C (MP3) 4
7 To save time, keyboard shortcuts can be used to select the most common editing tools within a DAW. Which one of the following is the default keyboard shortcut for Paste? Answer: D (Ctrl/Cmd + V) 8 Which one of the following definitions best describes an online Commercial library used for sound creation? Answer: A (A website where you can download sound effects for a cost) 5
Question Number Section 2 Mark scheme Marks Total for this section: 5 marks 9 (a) Mia is a producer and is setting up a studio to undertake the creation of a project. The studio includes a computer, audio interface, MIDI controller and DAW software. Mia has decided to use a MIDI guitar controller. Describe one way in which MIDI information is generated from a controller of this type. Award one mark for the following responses up to a maximum of one mark; Plucking / Strumming Strings Fretting Notes 9 (b) Mia s MIDI guitar controller has a DIN connection. Explain how a DIN connector may be used to input musical ideas to the DAW software using the controller. Award one mark for identification of MIDI output. 2 AO2= Award one further mark for expansion, e.g.: A DIN connector carries MIDI note / velocity / expression / controller information (), which can be recorded using the DAW (). 6
9 (c) Mia s audio interface has two different types of audio input. Name two types of audio inputs that you would typically find on an audio interface and explain how they differ in use in terms of input signals. 4 AO=2 AO2=2 Award one mark for naming each input type and one mark for an explanation of its use, e.g.: Microphone (also accept Mic/XLR ) () which is used for input of balanced microphone level signals (). Line / Instrument (also accept Jack & Phono/RCA ) () which is used for input of unbalanced line / Instrument level signals (). 0 (a) Charlie is a sound engineer and is recording a band in the studio using a DAW. Name the device that is commonly used in sound recording to convert an unbalanced output signal to a balanced input. Award one mark for D.I. Box also accept DI, D.I, D.I. Unit, Direct Injection Box and Direct Injection Unit. 0 (b) Charlie has played a melody into a DAW via MIDI. The melody has some dynamic and timing errors. Name two MIDI editing functions that Charlie could use to correct the errors. 2 AO=2 Award one mark for Quantise/Quantisation and one mark for Velocity/Velocity editing. 0 (c) The song Charlie is working on features a chord progression which repeats throughout and is played back on a software instrument. Identify one method of inputting the chords into the DAW and justify your choice of method. 3 AO3=2 Award one mark for identifying a correct input device, eg: Controller keyboard or other polyphonic MIDI controller Mouse or other peripheral input device 7
Award one mark for justification and one further mark for expansion, e.g.: Using a controller keyboard means I could record the chords quickly () and would allow for a more natural performance (). Using a mouse would allow me to programme the chords accurately () and edit the note lengths or timing (). 0 (d) Charlie has recorded a drummer performing to a clicktrack in the studio. Charlie wants to use DAW audio editing tools to remove the sound of the drummer entering the room and clicking his sticks together to count in the performance. 4 AO=2 AO3=2 Charlie has the option of using one of the following audio editing modes to complete the edit: Mode Works independently from the bar lines determined by the tempo of the DAW session. Mode 2 Works with the bar lines determined by the tempo of the DAW session. Explain one potential benefit of each audio editing mode for completing the required editing task. Award one mark for each benefit and one further mark for explanation, e.g.: Mode this allows Charlie to trim/edit the audio freely (), which means that the edit can be refined closely by ear/eye (). Mode 2 the edits/trims will snap to grid (), which allows precision in locking edits to specific musical points (). 8
0 (e) Explain one way in which Charlie could improve the file management of the session. Award one mark for reference to naming of audio tracks before recording and one further mark for explaining why this will be an improvement, e.g.: 2 AO2= AO3= Naming audio tracks () would make them easier to find at a later date/easier to visually differentiate/less likely to be lost or erased by accident (). 0 (f) Charlie has recorded an electric guitar as part of the project. Identify one technical feature of an electric guitar not present in an acoustic guitar and explain one advantage of this feature when using an electric guitar to create music, in comparison to an acoustic guitar. 3 AO3=2 Award one mark for specific technical feature, e.g.: Pickup(s) Adjustable bridge Tremolo/vibrato arm/whammy bar Award one mark for an explanation of the feature and one further mark for how it is an advantage compared to an acoustic guitar, e.g.: Pickups allowed guitars to be amplified (), which led to guitar becoming a lead/main instrument (). Pickups allowed guitars to be amplified (), which led guitar amplifiers/effects being applied to create entirely new sounds (). Pickups allowed guitars to be amplified (), which led players to reproduce nuances in performance/make use of new techniques individual to the instrument (). Adjustable bridge allowed accurate intonation () to allow players to make full use of the neck/play in tune consistently/experiment with guitar as solo instrument (). Tremolo bar allowed new techniques to be developed (), adding to creativity of players/vocab instrument (). 9
(a) Describe how the texture of the composition shown in Figure 3 changes over time. Award one mark for identifying that layers/parts/instruments are being added and one further mark for identifying the effect upon texture, e.g.: 2 AO2= Parts are added to create layering (), making texture thicker over time (). Layers of instruments increase over time () to create a denser texture (). (b) Identify the musical form that best describes the example shown in Figure 4 and explain one way that this form differs from Binary form. Award one mark for Ternary Form (also accept Song Form ). 3 AO2=2 Award one mark for explanation of a feature of ternary form that differs from binary form and further mark for expansion, e.g.; In Ternary form the B section provides contrast harmonically () often changing to a related key (). In Ternary form the B section provides contrast melodically () often introducing entirely new melody ideas (). In Ternary form the B section provides contrast texturally () often introducing new instruments / sounds (). 0
(c) Safia is experimenting with changing the time signature in a section of her composition. Safia intends to change to a a time signature indicates. time signature. Explain what 2 AO2= Award one mark for description of what a time signature is. Award one further mark for description related to given time signature: The time signature specifies how many beats are in each bar () in this case, there are three beats in a bar (). The time signature specifies the number of beats there are in each bar () and that these are crochet beats (). (d) Safia is writing some parts of her composition to be played by musicians who use musical notation. In musical notation, chords are often represented by Roman numerals. In the key of C major, identify the chord represented by vi and describe its relationship to chord I in the same key signature. AO2= Award one mark for Am or A minor. Award one mark for an accurate description, eg: Chords I and vi share two notes. Chord vi is the relative minor of chord I. (e) Safia has used a number of different chords in her composition. Identify the type of chord that would be formed from ROOT (e.g. note C), Perfect 4th (e.g. note F) and Perfect 5th (e.g. note G). Award one mark correctly identifying Suspended also accept sus, sus4 and Suspended 4 th.
(f) Safia has decided that her composition would benefit musically from tempo changes. Explain one way to create tempo changes in a DAW and give one advantage of using this approach. 2 AO2= AO3= Award one mark for explaining how to achieve a tempo change within a DAW and one further mark for providing appropriate justification, e.g.: Automation could be used to draw in tempo information () to allow for graphic realisation of tempo changes/quick entry of tempo changes (). Automation could be used to draw in tempo information () to allow for smooth tempo change curves (). The tempo track can be edited to alter the tempo/bpm () to map out precise specific points at which the tempo changes (). The tempo track can be edited to alter the tempo/bpm () and make detailed modifications to specific individual tempo commands (). (g) Safia has decided to include percussion instruments in her composition. Instruments in the percussion family can be divided into tuned and untuned types. Explain one advantage of using tuned percussion and one advantage of using untuned percussion in a musical composition. 4 AO2=2 AO3=2 Award one mark for explanation of each type of percussion and further mark for advantage of each, e.g.: Tuned percussion can produce musical notes of one or more pitches (), which allows for the development of melodic / harmonic material in a composition (). Untuned percussion produce sounds of indefinite pitch (), which can be used to provide special effects / rhythmic ideas independent of harmonic considerations in a composition (). 2
2 (a) Muhammad is a musician and is mixing down a piece of music for his band in the studio using a DAW. Muhammad has access to a variety of plug-ins which can be used for dynamics processing in his mix. 2 AO=2 Identify one type of dynamics processor and describe its function. Award one mark for correctly naming a dynamic processor. Award one further mark for correct description of specified processor, e.g.; Compressor () reduces the dynamic range of an audio signal by attenuating signals above a certain level/threshold (). Gate () cuts out signals once they drop below a certain level/threshold (). Limiter () sharply reduces (limits) the gain of the signal above a certain level/threshold (). Expander () increases the dynamic range of a signal by attenuating the signal below a certain level/threshold (). 2 (b) Muhammad has been listening to the mix and has decided that he needs to use a low pass filter (LPF). Explain the function of a low pass filter and how it could be used during the mixing process. 2 AO2= Award one mark for correctly defining low pass filter and one further mark for expansion related to mix processing, e.g.: An audio filter or device that attenuates signals above a certain frequency (), used to soften unwanted high frequencies (). Passes signals with frequencies that are lower than the cutoff (), used to define the low frequencies (). 3
2 (c) Muhammad is making use of automation in his mix. Explain one benefit to using volume automation during mixing. Award one mark for identification of benefit of using volume automation and one mark for contextual expansion 2 AO2= AO3= Volume automation allows fine control of track volume levels (). This can be used during mixing to make detailed adjustments to the level of individual instruments or notes (). Volume automation can be applied globally (). This can be used during mixing to balance the volume between sections of a song (). Volume automation can be applied to the master output () to create detailed fade ins / outs (). Volume automation is stored within the DAW project () making volume adjustments in the mix easy to recall (). Volume automation allows independent volume control of multiple tracks at the same time () which would not be achievable manually (). Volume automation can be applied to effects sends / returns () to facilitate dynamic changes in effects application (). 3 (a) Tom is a sound designer who is employed by a variety of different media companies to create sounds. Tom has been asked to use a sampler to create sounds for a film soundtrack. 4 AO2=2 AO3=2 Explain one advantage of using the mapping function in a sampler and one advantage of using the looping function in a sampler to manipulate sampled sounds. Award one mark for explaining each sampling method and one further mark for the advantage, e.g.: Mapping allows playback across a pitch range () to extend musical / creative use of sounds (). Looping allows selection of parts of the audio to playback continuously () to extend decay portion of the sounds envelope (). 4
3 (b) Tom has been tasked with adding the sound of rain to a film soundtrack and has decided to produce this sound by sprinkling rice onto a metal tray. Name the type of sound creation used in creating this sound and describe one reason why this type of sound creation is used by sound designers. 2 AO2= Award one mark for identifying Foley. Award one mark for description of purpose of Foley, e.g.: Foley () is used to replicate sounds that would be potentially hard to capture by other means () Foley () is used to create a dramatic representation of a sound () Foley () allows sound designers to emphasise elements of sounds for dramatic effect () Foley() allows sound designers to perform sound creation in sync with visual media () 3 (c) A local radio station has asked Tom to supply them with a short recording of a creaking door to use in one of their radio dramas. What type of sound creation is a short recording of a creaking door? Award one mark for sound effect. 5
Section 3 Total for this section: 2 marks 4 Evaluate the performer requirements for a studio live recording (recording the band all at the same time) versus a studio tracked recording (overdubbing the band one instrument at a time). Level Marks Description 3 5 6 A wide range of relevant knowledge and understanding is shown, which is accurate and detailed. Subject specific terminology is used consistently throughout. 6 AO=2 AO2=2 AO3=2 Application of knowledge and understanding is appropriate, with clear relevance to the context. Analysis and evaluation is present and very effective. The conclusions drawn are fully supported by judgements. 2 3 4 A range of relevant knowledge and understanding is shown, but may be lacking in sufficient detail, with a few errors. Subject specific terminology is used, but not always consistently. Application of knowledge and understanding is mostly appropriate, but sometimes lacks clarity, and there may be a few errors. Analysis and evaluation is present and effective, but may be lacking appropriate development. There are attempts to draw conclusions, which are supported by judgements, but it is likely that some will be irrelevant. 2 A limited range of relevant knowledge and understanding is shown, but is often fragmented. Subject specific terminology, if used, is often inappropriate and a lack of understanding is evident. Application of knowledge and understanding is inappropriate, with any attempt showing fundamental errors. Analysis and evaluation, if present, is of limited effectiveness. Attempts to draw 6
Indicative content Studio-live : conclusions are seldom successful and likely to be irrelevant. 0 No relevant material. Reference to directional microphones, and relationship to microphone bleed. Reference to the band being prepared/rehearsed/skilled to execute a live-take. Reference to reliability of band members must all attend the recording session and must all be good time-keepers. Recording issues (monitoring, mixing), i.e. separate headphone mixes/isolation requirements. Cost a studio-live recording could take less time, resulting in cheaper recording costs. Equipment resources (e.g. instruments, backline). Technical issues (instrument failure, DAW failure). Studio-tracked : Reference to a more controlled environment as sources are recorded in sequence. Allows for multiple takes, which allows for mistakes to be corrected without rerecording all parts. Allows for additional musical parts to be created/overdub experimentation in session. Allows for flexibility in regards to band members attending recording sessions. Recording issues (monitoring, mixing), i.e. separate headphone mixes/isolation requirements. Cost multiple recording sessions could incur higher costs. Compatibility of resources (instruments, music files, project files, format). Technical issues (instrument failure, DAW failure). 7
5 To help Pat decide which to use, evaluate the suitability of samplers and synthesisers when creating the drum loops. Level Marks Description 3 5 6 A wide range of relevant knowledge and understanding is shown, which is accurate and detailed. Subject specific terminology is used consistently throughout. 6 AO=2 AO2=2 AO3=2 Application of knowledge and understanding is appropriate, with clear relevance to the context. Analysis and evaluation is present and very effective. The conclusions drawn are fully supported by judgements. 2 3 4 A range of relevant knowledge and understanding is shown, but may be lacking in sufficient detail, with a few errors. Subject specific terminology is used, but not always consistently. Application of knowledge and understanding is mostly appropriate, but sometimes lacks clarity, and there may be a few errors. Analysis and evaluation is present and effective, but may be lacking appropriate development. There are attempts to draw conclusions, which are supported by judgements, but it is likely that some will be irrelevant. 2 A limited range of relevant knowledge and understanding is shown, but is often fragmented. Subject specific terminology, if used, is often inappropriate and a lack of understanding is evident. Application of knowledge and understanding is inappropriate, with any attempt showing fundamental errors. Analysis and evaluation, if present, is of limited effectiveness. Attempts to draw conclusions are seldom successful and likely to be irrelevant. 0 No relevant material. 8
Indicative content Samplers recording sounds into the sampler from various sources (drum kits, records, CDs, tapes). Samplers importing drum sounds into the sampler. Samplers editing samples (trimming, looping, tuning, adjusting envelope settings). Samplers creating loops within the sampler. Samplers triggering sounds from the keyboard and inputting sounds into a DAW to create loops. Synthesisers using pre-set synth patches. Synthesisers creating original sounds by using editing techniques (filter, envelope, ADSR, pitch, oscillators). Synthesisers using different wave types to create drum sounds (sine, triangle, square, sawtooth). Synthesisers layering multiple patches to create drum sounds. Using the DAW to arrange the samples and synth sounds into ready to use loops. Using MIDI editing tools to produce the drum loops (quantise, velocity, pitch automation). EQ using equalisation to shape the drum sounds and loops. Balancing the sounds within the DAW mixer and adding appropriate effects where necessary (compression, reverb limiter, etc). Bouncing/converting the loops into an appropriate format (WAV, MP3). 9
6 Evaluate how you would apply DAW arrangement tools to create the radio edit. Level Marks Description 3 7 9 A wide range of relevant knowledge and understanding is shown, which is accurate and detailed. Subject specific terminology is used consistently throughout. 9 AO=3 AO2=3 AO3=3 Application of knowledge and understanding is appropriate, with clear relevance to the context. Analysis and evaluation is present and very effective. The conclusions drawn are fully supported by judgements. 2 4 6 A range of relevant knowledge and understanding is shown, but may be lacking in sufficient detail, with a few errors. Subject specific terminology is used, but not always consistently. Application of knowledge and understanding is mostly appropriate, but sometimes lacks clarity, and there may be a few errors. Analysis and evaluation is present and effective, but may be lacking appropriate development. There are attempts to draw conclusions, which are supported by judgements, but it is likely that some will be irrelevant. 3 A limited range of relevant knowledge and understanding is shown, but is often fragmented. Subject specific terminology, if used, is often inappropriate and a lack of understanding is evident. Application of knowledge and understanding is inappropriate, with any attempt showing fundamental errors. Analysis and evaluation, if present, is of limited effectiveness. Attempts to draw conclusions are seldom successful and likely to be irrelevant. 0 No relevant material. 20
Indicative content Using the trim/scissors tool to cut out sections of the original track. Using Copy and Paste to edit sections of the radio edit. Using the cropping tool for shortening parts of the arrangement. Use of fades and cross-fades to clean up edits. Automation tools can be used to control the arrangement (volume, muting, effects, panning). Using automation to ensure that stereo image is radio appropriate (mono compatible) Arranging the new version into appropriate sections using the arranger track, featured on many DAWs. Editing out any inappropriate language using arrangement tools such as trim and mute. Adding additional material such as sound effects to mask lyrical content & considerations of artistic effect. Consideration of structural arrangement for radio e.g. chorus to start of structure / adding talk over intro. Exporting the arrangement to a suitable format (WAV, MP3) using bounce function/tool. 2
Assessment Objective Grid Question AO AO2 AO3 Total Section 2 3 4 5 6 7 8 Total 8 0 0 8 Section 2 9 (a) 9 (b) 2 9 (c) 0 (a) 2 2 4 0 (b) 2 2 0 (c) 2 3 0 (d) 2 0 (e) 2 0 (f) (a) 2 (b) 2 3 (c) 2 2 4 (d) 2 (e) 2 (f) 2 2 4 (g) 2 2 (a) 2 2 (b) 2 2 2 (c) 3 (a) 2 3 (b) 2 2 4 3 (c) 2 3 Total 2 7 3 5 Section 3 4 2 2 2 6 5 2 2 2 6 6 3 3 3 9 Total 7 7 7 2 Paper Total 36 24 20 80 22