Peason Edexcel GCE Music Technology Advanced Subsidiay Unit 1: Music Technology Potfolio 1 Release date: Tuesday 1 Septembe 2015 Time: 60 hous Pape Refeence 6MT01/01 You must have: A copy of the oiginal ecoding as specified fo Task 1A Instuctions to Teaches The Potfolio, compising Tasks 1A, 1B and 1C, must be pesented fo assessment as steeo ecodings on ONE AUDIO CD, along with the Logbook and Declaation Fom. Centes ae eminded that each candidate submission should be pesented on a sepaate CD (NOT on MiniDisc o cassette tape) and this must be clealy maked with the pape efeence (6MT01/01), cente numbe, candidate name and candidate numbe. Task 1A must be pesented as tack 1, Task 1B as tack 2, and Task 1C as tack 3. Centes must etain backup copies of all candidate ecodings fo Tasks 1A, 1B and 1C and popietay softwae files fo all tasks. CDs must be checked befoe sending, and packaged so they will not be damaged in tansit. The CD and Logbook with signed Declaation Fom must be sent to the examine to aive by 15 May 2016. Instuctions to Candidates Complete all THREE tasks. Complete the Logbook. Sign the Declaation Fom. Infomation fo Candidates The total mak fo this unit is 140. Task 1A: Sequenced Realised Pefomance (40 maks). Task 1B: Multi-tack Recoding (40 maks). Task 1C: Ceative Sequenced Aangement (40 maks). Logbook questions 9 and 10 (20 maks). 2015 Peason Education Ltd. 1/1/1/1 ** Tun ove
Contolled Conditions Unit 1 has thee tasks within the Music Technology Potfolio: 1A Sequenced Realised Pefomance, 1B Multi-tack Recoding and 1C Ceative Sequenced Aangement. Thee is also a Logbook that must be submitted along with the potfolio. The equiement fo Contolled Conditions does not mean that a submission has to be caied out, fom stat to finish, unde close supevision in the school o college music technology depatment. It can boadly be divided into two pocesses, eseach and pepaation and witing, with only the time spent on the witing pat of the pocess counting towads the maximum of 60 hous stated in the specification. Reseach and pepaation Boadly speaking, this is any wok that is done pio to completing the final atefact to be sent to the examine. Reseach and pepaation can be completed outside the cente. Thee is no time limit fo it. The esults can be ecoded in witing o electonically, and can be taken in and out of the cente and efeed to duing contolled witing time. Howeve, the teache must inspect them, and be satisfied that they ae the student s own wok. Task 1A: Sequenced Realised Pefomance Reseach and pepaation will include time spent woking out the pats fom the oiginal audio tack, leaning how to use the sequencing package, expeimenting with timbes, eseaching the oiginal tack and pactising the pats to be played into the sequence. Task 1B: Multi-tack Recoding Reseach and pepaation will include time spent eseaching the tack to be ecoded, listening to the oiginal and deciding on what effects and pocessing have been used, pepaing and eheasing the ensemble to be ecoded, checking and testing equipment, leaning micophone technique and placement, testing levels and getting eveything set up and pepaed eady fo the actual ecoding pocess. Task 1C: Ceative Sequenced Aangement Reseach and pepaation will include time spent listening to the oiginal stimulus tack, listening to music in the specified styles, expeimenting with suitable melodic o hamonic ideas, expeimenting with developments of the oiginal stimulus and woking out ough dafts of the aangement. 2
Witing Boadly speaking, this is any wok involved in completing the final atefact to be sent to the examine. Students have a maximum of 60 hous witing time. Teaches must keep a witten ecod to ensue that each student s witing time has not been exceeded. The 60 hous may be split acoss the 3 tasks as appopiate the 20 hous pe task as stated in the specification should be used as a guide, but is not compulsoy it is the 60 hous total fo the whole potfolio which must not be exceeded. Witing time will take place inside the cente, eithe in timetabled lesson times o outside them, as most convenient to all concened. It must be unde supevision. Task 1A: Sequenced Realised Pefomance Any input of notes into the sequencing package o subsequent editing of any data, including the editing of timbes, pitch, hythm, contolle infomation etc., which will fom pat of the final ecoding sent to the examine, is consideed to be pat of the witing of the task. The final bounce (mixdown) to a steeo audio file of the finished sequence is also consideed witing time, though pepaing and buning the CD fo submission is not. Task 1B: Multi-tack Recoding Anything that will fom pat of the finished audio tack to be sent to the examine falls unde witing time. This will include the ecoding of the musicians, any subsequent editing including timming tacks, level setting, adding effects and pocessing, mixing and masteing. The final bounce (mixdown) to a steeo audio file of the finished ecoding is also consideed witing time, though pepaing and buning the CD fo submission is not. Task 1C: Ceative Sequenced Aangement Anything that is input into the final sequenced tack to be sent to the examine falls unde witing time. This will include time spent inputting all the ideas the candidate has come up with duing the pepaation time and any subsequent alteations, editing and additions made to the final sequenced aangement. The final bounce (mixdown) to a steeo audio file of the finished aangement is also consideed witing time, though pepaing and buning the CD fo submission is not. Logbook The completion of the Logbook does not contibute to the 60 hous limit, but it must be completed unde limited supevision. Declaation Fom Candidates must sign the Declaation Fom located on page 16 of the Logbook stating that the wok is thei own. Teaches will not countesign the declaation if the wok appeas not to be oiginal. 3 Tun ove
Task 1A: Sequenced Realised Pefomance Rathe Be (featuing ess Glynne) Clean Bandit Using the oiginal Clean Bandit ecoding as you stimulus (tack 1 fom Rathe Be (feat. ess Glynne) 2014, Atlantic Recods. Copyight 2013 Wane Music UK Limited.) make a sequenced ealisation of this song, including all vocals, instumental pats and poduction featues. You should ty to match timbes and pefomance details as closely as possible to the oiginal ecoding, but you must substitute an appopiate instumental timbe fo the vocal. A skeleton scoe has been included to assist you. Howeve, you ae eminded that this is pedominantly an aual task. As indicated in the skeleton scoe you sequenced ealisation must end at ba 89 with the solo lead vocal. You must not include the synth pat in ba 89. You ae not equied to ealise the end section which begins at 2:56. You must input all sequenced data by playing o pogamming the pats youself. You must not use any MIDI files downloaded fom the intenet o copied fom any othe souce. You must not use pe-pogammed audio o MIDI loops in this task. You may use sampling to eplicate poduction techniques whee appopiate. Each sample must consist of only one pitch; any hythms must be sequenced. Any samples longe than one note will be consideed to be continuous audio and so will not be assessed. You must not sample audio fom any commecial vesion of the stimulus. You should submit you completed pefomance as tack 1 on you Music Technology Potfolio 1 CD. (Total fo Task 1A 40 maks) 4
Rathe Be Lead Vocal q 115 As pefomed by Clean Bandit featuing ess Glynne 4 Backing Vocal 4 Synthesise 4 4 Piano Solo 4 Piano Stings 4 4 & # # #..... #..... # 4 4. j j... j j.... j j... j j... 4 Pecussion / 4 Dums 4 5 Tun ove
2 5 j j Ah St. Oh & # # #...>. #.. #... j. j.... j j.. R. 8 q 121 j We'e a thou sand Synth............. R R - miles fom com - fot, we have 11 tav Synth. 14 Synth. - elled land and sea. But as long as you ae with & # # #.... #... # #... ##....... R R R j me, thee's no place I'd a-the be. & # # #. #.. #...... R R. & j.. R R R j 6
17 j I would wait fo ev j j 3 - - e, ex - al - ted in the scene. As hi hat patten evolves thoughout j 21 j long as I am with you, my heat con-tin - ues to beat. sim. Synth. 25 j j With ev ey step we take Ky - o-to to The Bay, sto - lling so cas ual -.......?# # R R R R - ly. j j j j j j j j j j j j Pec. / j sim. 7 Tun ove
4 28 Synth. j j We'e diff-eent and the same.... K R R j j j j j j j Y 30 Synth. j j gave you a - noth-e name, switch up the bat - te - ies. & # # # #. # R R R R..... R R R K Piano j j j j j j j j j j 8
33 j j If you gave me a chance I would take it. It's a shot in the dak 5 B. Voc. Piano Solo Piano If take it. It's j j 36 j j but I'll make it. Know with all of you heat B. Voc. Piano Solo make it. & # # # # # Piano 9 Tun ove
6 38 B. Voc. you can't shame me; when I am with you thee's j when I am with you thee's Piano Solo Piano j j Y 40 no place I'd a the B. Voc. Piano Solo Piano - be. N-n-n - no no, no place I'd a - the be. j j no place I'd a - the be. N-n-n - no no, no place I'd a - the be. additional snae fill j Y Y 10
43 7 B. Voc. N-n-n - no no, no place I'd a - the be. N-n-n - no no, j j N-n-n - no no, no place I'd a - the be. N-n-n - no no, Piano <#> j j <#> j j j 46 j B. Voc. no place I'd a the be. Ooh We j j no place I'd a the be. Piano St. j..... & j. ww w ww w R R R... 11 Tun ove
8 49 j j staked out on a mis - sion, to find ou in - ne peace. R j R 53 Make it ev - e last j St. - ing, so no - thing's in - com-plete. R j 56 j j It's ea - sy be - ing with you, 59 sa j - ced sim-pli - ci - ty. As long as we'e to - ge - 62 - the, j thee's no place I'd a - the be. 65 j With ev ey j - step we take Ky - o - to to The Bay, 12
67 j sto j - lling so cas - ual - ly. We'e diff-eent and the same 9 70 j j gave you a-noth-e name, switch up the bat - te - ies. B. Voc. te - ies. Piano 73 Bas 73-80: epeat bas 33-40 with vaiations 81 B. Voc. N - n - n - no no, no place I'd a - the be. N - n - n - no no, j j N - n - n - no no, no place I'd a - the be. N - n - n - no no, 13 Tun ove
10 84 B. Voc. no place I'd a-the be. N-n - n - no no, no place I'd a-the be. j j j j no place I'd a-the be. N-n - n - no no, no place I'd a-the be. 87 When I am with you thee's no place I'd a -the be. Finish task hee. 14
Task 1B: Multi-tack Recoding Make a ecoding of a piece of music of you own choice in a style elating to Aea of Study 2: Popula Music Styles since 1910. You must ecod a piece of music that has been made available fo geneal elease, o an accepted ock, pop o jazz standad. It must not be an oiginal student composition. Stimulus mateial may be aanged to suit the availability of esouces but the aangement will not be assessed. The esouces chosen must be enough to ceate a viable and ecognisable aangement. You ecoding should: last between 2 and 4 minutes use a minimum of 8 tacks have a minimum of 4 tacks captued using micophones make use of ovedub techniques use only live musicians, and contain no MIDI sequenced pefomances, looped audio o samples be a noise-fee steeo poduction, with use of appopiate effects and pocessing. You must be in sole chage of the ecoding pocess fom captue of audio to mixdown. Shaing of audio files between candidates is not pemitted. You should submit you completed ecoding as tack 2 on you Music Technology Potfolio 1 CD. (Total fo Task 1B 40 maks) 15 Tun ove
Task 1C: Ceative Sequenced Aangement You ae equied to ceate an oiginal aangement between 2 and 3 minutes in length based on one of the following stimuli and in one of the following styles: Stimuli Happy (Phaell Williams) Smells Like Teen Spiit (Nivana) A lead sheet fo each stimulus has been included to assist you. Some ecodings may diffe fom the lead sheet. Style Electo Pop c. 2009 onwads (suggested listening: Lady Gaga, Owl City, Calvin Hais) 1950 s Rock n Roll (suggested listening: Elvis Pesley, Little Richad and The Plattes) This task must be sequenced. You ae eminded that if you use any pe-ecoded loops and samples they must be manipulated/shaped/edited/pocessed in ode to gain cedit. All samples and loops must be oyalty-fee and not taken fom any commecial ecodings. Any samples o loops must not exceed two bas in length. Live pefomances ecoded as continuous audio tacks o edited to fom continuous audio tacks ae not pemitted in this task. You should submit you completed aangement as tack 3 on you Music Technology Potfolio 1 CD. (Total fo Task 1C 40 maks) TOTAL FOR PAPER 120 MARKS 16
Happy Phaell Williams F7 F7 B C B & b b b b 4 It might seem ca - zy what I'm 'bout to say. 6 & b b b b F7 F7 B C B Sun- shine she's hee you can take a beak. I'm a 10 & b b b b F7 B C B hot ai bal- loon that could go to space. With the ai 14 & b b b b F7 F7 B n like I don't cae ba-by by the way. & b b b b C B Be-cause I'm 18 & b b b b D Š7 C7( 4) F7 & b b b b Clap a-long if w w you feel like a oom with-out a oof. n Hap- py. Be-cause I'm 22 & b b b b D Š7 C7( 4) F7 & b b b b b Clap a-long if w w you feel like hap-pi-ness is the tuth. n Hap- py. Be-cause I'm 17 Tun ove
2 26 & b b b b D Š7 C7( 4) F7 & b b b b b Clap a- long if w w you know what hap-pi-ness is to you. n Hap- py. Be-cause I'm 30 & b b b b D Š7 C7( 4) F7 & b b b b b Hap- py. Clap a-long if w w you feel like that's what you wan-na do. n 18
Smells Like Teen Spiit 4 & b b b b 4 F Load up B on guns, A D bingyou fiends. sim Kut Cobain, Kist Novoselic and Dave Gohl j j It's fun to lose and to pe tend. 5 & b b b b j j j n b She's o - ve boed, self as- sued Oh, no, I know a di - ty wod. 9 & b b b b j j j j Hel-lo hel-lo hel- lo. How low? Hel- lo hel-lo hel- lo. How low? 13 & b b b b 16 & b b b b 19 & b b b b j j j now; Hel- lo. hel - lo hel- lo. How low? Hel- lo, hel - lo, j hel-lo. With the lights out it's less dan - geous. Hee we ae en-te- tain us. I feel stu - pid and con-ta - gious. Hee we ae 23 & b b b b now; en - te- tain us. A mu - la - to, an al - bi - 26 & b b b b - no, a mos- qui - to, my li - bi - do yeah! 19
BLANK PAGE Evey effot has been made to contact copyight holdes to obtain thei pemission fo the use of copyight mateial. Peason Education Ltd. will, if notified, be happy to ectify any eos o omissions and include any such ectifications in futue editions. 20