CCEA GCE - Music (Summer Series) 2013 Chief Examiner s Report
Foreword This booklet contains the Chief Examiner s report for CCEA s General Certificate of Education (GCE) in Music from the Summer Series 2013. CCEA s examining teams produce these detailed reports outlining the performance of candidates in all aspects of the qualification in this series. These reports allow the examining team an opportunity to promote best practice and offer helpful hints whilst also presenting a forum to highlight any areas for improvement. CCEA hopes that the report will be viewed as a helpful and constructive medium to further support teachers and the learning process. This booklet forms part of the suite of support materials for the specification. Further materials are available from the specification s microsite on our website at www.ccea.org.uk
Contents AS and A2 Performance 3 AS Optional and Core Composition Tasks (AU112 and AU115) 6 AS Multi-track Recording Task (AU113) 9 AS Sequenced Arrangement Task (AU114) 11 AS Test of Aural Perception (AU121) 12 AS Written Examination (AU122) 14 A2 Optional and Core Composition Tasks (AU212 and AU215) 16 A2 Multi-track Recording Task (AU213) 19 A2 Sequenced Arrangement Task (AU214) 21 A2 Test of Aural Perception (AU221) 22 A2 Written Examination (AU222) 24 Contact details 27
Subject Code QAN QAN 7010 500/2618/5 500/2605/7 A CCEA Publication 2013
GCE MUSIC Chief Examiner s Report AS and A2 Performance The standard of performance is in general very high, with large numbers of candidates presenting confident performances of well-chosen material which demonstrates their strengths. The overwhelming majority of candidates chose core solo performance this year, with a significant minority choosing to perform in ensembles. Optional performances were rare. Some practical reminders when organising the exams There is a period of several weeks during which the performance exams must all take place. This examining period is publicised early in the academic year, and it is not reasonable for teachers to claim only to be available in the final days of the period. Please do everything to facilitate an appointment at the time requested and note the following points in preparing for the examination visit. Choose a room which is large enough for music to be listened to at comfortable volumes and where the examiner and candidate have adequate personal space. Standard classrooms are normally fine practice rooms are not. Set the room up wisely, with the piano s soundboard facing away from the examiner. If there is a drum kit, make sure the snare is off if it is not being used. Use a good piano if possible and have it tuned before the examination. If possible, arrange for the school bell or buzzer to be disabled in the examination area. Ideally, try to avoid the possibility of music in an adjacent room, as this can be very distracting. Ensure candidates instruments are in tune with the piano. If using PA equipment, set it up and sound check in advance. Have spare leads to hand in case of a technical failure. If using backing tracks, make sure they are of a sufficiently high standard to help the candidate play expressively. Please do not ask the examiner to operate the backing track. Make sure the correct Candidate Assessment Forms are completed in advance of the examiner s visit. If necessary, download these from the CCEA music microsite. When timetabling, please allow 15 20 minutes for each AS Candidate offering Core Performance and around 20 25 minutes for A2 candidates. This provides enough time for tuning, sound checks and the completion of forms, and minimises the stress for everyone involved. Candidates must be ready to be assessed by the time the examiner arrives. Several examiners were ushered into staffrooms and asked to wait for substantial periods of time while lastminute rehearsals took place. Examiners work to a tight schedule and may need to move to another school promptly. Examiners are not permitted to divulge marks at the end of the assessments. 3
Special Circumstances Occasionally examiners are given oral or written information about candidates which asks for certain circumstances to be taken into account. This can include medical or pastoral information. Examiners are not permitted to take this information into account while assessing and are instructed to simply mark what they hear. The correct procedures in applying for special consideration is through the centre s Examinations Officer. Practices which are not allowed Candidates will not meet criteria to access high marks if they engage in the following Mixing solo and ensemble performance within the one programme. Playing in an ensemble with a conductor. Playing in an ensemble where the candidate s part is doubled by another player. Playing along with a backing track which contains the candidate s own part. In addition, candidates sometimes fail to access high marks because of poor choices made in relation to their programme: Examples include: Choosing music which the candidate cannot perform fluently because of insufficient technical ability. Performing music which highlights musical weaknesses rather than strengths e.g. the classically trained singer who attempts musical theatre for variety s sake. Choosing music with no variety at all, thus losing the opportunity to demonstrate the ability to interpret a range of music sensitively. Opting to play two instruments when the candidate is clearly less proficient in one of them. Singers who choose to use sheet music thereby forfeiting the chance to gain top marks for communication. Performing for longer than the required time which may turn the examination into an unnecessary test of stamina. Failing to sound-check or tune instruments properly in the few seconds before the performance begins. Accompanists The standard of accompanists varies widely, with too many accompanists sounding like they are struggling to keep going. Accompanists should practice in advance with candidates (having already learnt the music) so that both parties have an agreed understanding about all aspects of interpretation. A sensitive accompaniment contributes to better performances. It may be good practice for the candidate to make a recording of their performance in advance of the examination, so that both participants can hear the balance in volume level and listen for ways to improve the final performance. 4
Viva Voce Examiners will base their questioning on the following script: Choice of Programme How did you go about choosing your programme? Which piece you would like to talk about first? Technical Issues Arising From The Performance What challenges have you encountered when learning this piece? what did you find technically challenging? (examiners may encourage candidates to show what they mean on the score or demonstrate on their instrument) How have you overcome those difficulties? Ensembles Only Tell me a little about the challenges of playing in an ensemble. How have you overcome those challenges? Expressive Features Of The Music Once you had learned all the notes of the piece, what other aspects did you consider in relation to the style of the piece? What aspects in relation to the style did you start to focus on with your teacher? Singers only How do you communicate the meaning of the words of the song? Recordings Have you listened to any recordings how did that assist you in preparing your performance? Wider Repertoire A2 Only Have you heard or played any other pieces in a similar style/by this composer? Finishing Off Is there any other aspect of your performance you d like to talk about? Is there anything else about your performance you d like to mention? Teachers should practice this part of the examination with students to build up their ability to offer appropriate answers. However, candidates should not be taught to give answers which contain rehearsed sentences which they do not understand. To access top marks, candidates need to be able to speak fluently about all of these areas, demonstrating a depth of knowledge and a personal viewpoint. 5
Candidates should focus on the musical demands of their performance rather than on background details. The best conversations will include exemplification of points made, either by pointing at the score or demonstrating on an instrument. The more specific candidates can be in their examples, the more likely they are to access the top marks. Biographical information is usually not relevant. AS Optional and Core Composition Tasks (AU112 and AU115) Overview The majority of candidates for the AS Music award submitted Optional Composition with only 10 candidates taking Core Composition. Candidates who choose Core Composition must carefully consider how they will be successful in this component: this aspect is worth more percentage marks of the overall AS result and should reflect a natural propensity for this skill. Many of the submissions for Core were within the time limit for the Option. When presenting folios for examination, teachers must ensure that all aspects of the folio have been labelled with the centre number and candidate details. Teachers are not required to comment on the Declaration of Authenticity sheet. As far as possible, packaging should be kept to a minimum while ensuring protection of CDs/MDs. AS Music is a step-up from GCSE and preparation for A2 Music. The table of progression across the three levels of GCSE, AS and A2 is available for teachers on the Music microsite. This is a useful guide, suggesting some of the expected characteristics for successful AS compositions. The following report is appropriate for both Core and Optional composition. Brief Compositions that are musically shaped and coherent are built on a strong brief with clear intentions. Some candidates set extravagant briefs which were ambitious for the allowed time frame and abilities of the candidate. Teachers should guide students to compose pieces that are within their experience, using skills taught in class that can be incorporated confidently. Students who tackled briefs that were outside of their musical experience lacked the inherent understanding and familiarity of the style or genre and often errors and misjudgements were made. A wide-range of genres were submitted covering such styles as jazz, traditional, Classical string quartet, pop songs, solo piano pieces and ambient programmatic pieces. Choosing a suitable brief is crucial to the success of the composition. Teachers should guide students with consideration of the mark scheme. Examiners use the brief to assess the success of outcome of the composition. The journey from setting the brief to reflection on the completed composition should be annotated analytically in the commentary, demonstrating to examiners that a methodical and well thought out process has been followed. Candidates who state a specific style, genre or period will be judged on the successful execution of such a stylistic composition, e.g. a Baroque piece should reflect Baroque characteristics. Harmony and Structure Many candidates showed a good level of basic chord understanding with the ability to create a good harmonic pulse and cadences. Tonal shifts are acceptable at AS, but these are not recognised as modulations. More advanced use of secondary chords and chromatic harmonies were used with mixed levels of success. Often poor harmonic pulse inhibited the sense of 6
phrasing and structure, which in turn affected the shaping of motifs and consequent development of ideas. The most popular choices of structure were ternary form for instrumental pieces and strophic form for vocal pieces. However, the return of the A idea in ternary and the repeated verse and chorus sections in strophic often lacked development of material beyond a change of accompanimental style or change of texture. Through-composed pieces also lacked development due to the organic nature of the music with sections constantly evolving rather than developing. Successful development was seen in some ternary pieces, rondo form pieces and some that were built on sonata form. As creation, structure and development of ideas are assessed in criteria (i), it is essential that candidates consider how they are meeting these requirements as they compose. Texture and Use of Resources Variety can be experienced through imaginative use of the chosen timbres and texture. Careful consideration of the instrumentation is required to show knowledge of the chosen genre. Some common weak areas are double-stopping in strings that are unplayable, woodwind parts which are pitched in a low register, doubling of melodic lines across several parts. The space within the texture should be managed to allow all parts to be clearly heard. Variety within the textural presentation of themes needs to be imaginative and may use contrasts of homophony, polyphony, antiphony and so on. Merely changing the accompanimental style or adding/removing a part does not constitute use of texture at this level. The chosen resources must be used idiomatically and reflect the style. Software such as GarageBand and Logic offer a wide range of timbres, including sound effects. The vast array of timbres in these packages must be used purposefully and in a musical way, always considering how the brief can be achieved. Candidates were mostly more successful in criteria (ii), showing understanding of the nuances of genres and use of articulation. Weaker candidates struggled to capitalise on the potential of the resources and lacked the imagination needed to exploit this area fully. Recordings and Scores Most recordings were submitted on CD with some on MD. It is imperative that centres check CDs carefully before submission: recordings must not be saved as MIDI or MP3 files and all CDs must be playable on a standard CD player. A large amount of CDs were problematic this year with replacements required from several centres. Recordings should be clear and must present the composition in the best version possible. While it is not required to provide a live recording of the composition, vocal pieces, particularly those in choral settings benefit hugely from live recordings. The specification states that a recording must be included: a score is optional. Therefore, centres must refrain from directing examiners to mark from the score rather than the recording. As the recording is the required element, it takes precedence over the score. Scores are a useful addition to the folio and may allow the examiner to observe as well as hear musical devices that are used. It is understood that some styles do not lend themselves to the provision of a score, in which case a lead sheet or timeline is useful. Lyrics of songs should be included, preferably with chords above. 7
Time Limit The time limit for the Optional Composition is 1½ 2½ minutes, increasing to 2 3 minutes for the Core Composition. This year s submissions were mostly within these time frames, however, within the Optional component, there were three compositions under 1½ minutes and thirtyeight over 2 minutes and 45 seconds. Teachers and candidates should note that a penalty may be applied in future series for those candidates that fail to observe the time limit in the specification. Commentaries Most commentaries were well presented and showed a good level of understanding of the process. Musical terminology was used to demonstrate knowledge of the chosen style and devices. Less successful commentaries lacked analytical depth and included harmonic errors and mis-used musical language. Candidates should refrain from including extensive background of either a personal or historical nature. Excessive detail becomes confusing and often is repetitive. The purpose of the commentary is to reveal the clear intentions and understanding of the compositional process with reference to musical devices used, developmental techniques, structure and harmony. Teachers should encourage candidates to use headings to structure their commentary. The detail available in the mark scheme can be used to develop these headings. The following aspects should be covered: brief/intentions, instrumentation, key, modulations and harmonic progressions, structure, generation of ideas, developmental devices, personal reflection. It is not essential to include both a full score and individual parts as well. Rock and pop songs should include the lyrics and a listening guide as this can greatly assist the examiners. Detail about the composition of individual parts within a rock/pop submission is essential in establishing the full ownership of the candidate. Following the establishment of a clear brief, an analytical overview is expected, showing the main structural, harmonic and developmental features of the piece. A good level of musical terminology is expected at AS, beyond that required at GCSE. Successful candidates wrote eloquently about the process and showed a good level of knowledge and understanding of the devices used. Less successful candidates lacked the depth of knowledge required and often described the music in very basic terms. Use of Technology Many compositions were recorded using GarageBand, Logic or Sibelius, either as a recoding tool or sequencer. Candidates should consider using the mixer tool on Sibelius to create a better sense of space in the ensemble. Some compositions using technology lacked structure and felt quite organic at times. However, some candidates fully utilised the software to great effect, creating imaginative pieces. Final Comments Teachers should take careful note of communications from CCEA during the year. Both teachers and candidates should avail of the resources on the Music microsite. Materials include: Compositional skills progression table (from GCSE-AS-A2). Mark sheet used by examiners for both core and optional composition. The back of this sheet is the mark scheme for these components. 8
Teacher guidance materials with resources pertinent to composition for both teachers and students. Exemplifying Examination Performance materials. AS Multi-Track Recording Task (AU113) With a growing number of candidates choosing this option each year the work submitted this year was generally of a fairly good standard although only a small number of candidates managed to secure full marks. Time Although candidates and teachers are building on, and learning from, their experiences of the recording process and those of their peers, there remains each year a sizeable number of candidates who significantly underestimate the amount of time required (and work involved) to produce a recording of a high standard. To someone new to recording, the multi-track recording process may at first appear to be rather straightforward - once you have been shown how to connect the microphones and instruments and hit the record button. However, as people soon discover, the process can and often do go wrong, for example equipment might not work as expected or might not even be where you left it, carefully recorded tracks can get erased or deleted by accident, the key may not suit the singer. These situations can happen in the recording business all the time. Therefore it is vital to allow for the possibility of things not going to plan or not sounding as good as anticipated, and to ensure there is plenty of time to correct mistakes or redo what needs to be improved. Whilst a general naivety about the time required was a common problem this year, there were some candidates who appeared to think that it all could be done in one day. In such circumstances, the results were rarely satisfactory. Recording the Tracks Most problems encountered in the recording sessions or the mix can be avoided or minimised by careful planning and preparation and all candidates should familiarise themselves with the useful guidance issued by CCEA about this option. The more successful candidates this year got fully involved with the musicians or group they were recording, whether attending or arranging rehearsals, insisting on additional rehearsals where required, changing the choice of song, replacing one of the instrumentalists, changing the key, writing the chords out in a different way and listening to lots of recordings by professionals. This year, the majority of tracks were well recorded to a good level with an effective choice and placement of microphones. Instances of background noise are now quite rare. However it is important to ensure that there is no noise present on any track either directly before, or immediately after, the final mix. The standard of intonation required on a recording is much higher than that which can be expected or accepted during a live concert, particularly a school concert where nerves and lights can have such an effect. However intonation on a recording can be corrected on another take and the stronger candidates used an array of techniques to improve the tuning. These ranged from changing the key to suit a singers preferred range, changing the singer, changing the guitar or the guitar strings, recording in a guide melody track or starting note and playing it prominently into the performers headphones as they sing their part. More candidates are also now using some form of auto tuning or pitch correction software to improve the intonation of a rogue passage. Guitar and bass guitars players could use an electronic tuner before recording. 9
However, the three essential things needed to ensure accurate intonation are your two ears and enough time (and patience) to get it right. There were still a few instances of plosives or popping on vocal tracks and, once again, we would advise candidates to experiment with different mic positions before recording their final tracks. Most candidates appear to have access to a decent, high quality condenser microphone. These tend to produce better results if not held too close to the mouth as, say a standard stage mic such as an SM58. The distance between the mic and the instrument or singer can have a significant impact on the quality of the track. As it has been mentioned on previous reports, most candidates/centres now appear to understand the requirement in the specification for a minimum of four live tracks. However there were still a few candidates who were penalised this year for using MIDI tracks or prerecorded loops as some or all of their four tracks. Centres are also reminded of the requirement in the specification for each candidate to record a different or unique piece of music from other candidates from the same centre. The Final Mix Centres are also reminded of the requirement in the specification for each candidate to record a different or unique piece of music from other candidates from the same centre. Candidates who were able to devote sufficient time to the post-production or mixing process achieved the best results. Essentially, there are four areas which need to be addressed when producing the final mix: EQ, effects, panning and balance of tracks. Again, don t forget to use your ears and general musicianship. As a general guide, if it sounds good, keep it the way it is, if you think it could be improved then change it. Some young students at this level can easily get carried away with the massive array of possibilities offered by the technology or software and sometimes end up ruining a track which didn t need too much adjusting in the first place. Digital effects processors, compressors and limiters were greatly over used by some candidates, whilst some tracks would have benefited by much closer attention to the EQ. For example vocal tracks were often too boxy (too much mid ). In terms of reverb, remember most recordings will benefit from some reverb no matter how subtle. With regard to balance, there were quite a few weaker examples this year with some bass guitars too quiet and lead and rhythm guitar tracks often too loud. Again, there is a temptation to spend a long time adding effects to the vocals or a guitar track and then failing to ensure that the singer (and therefore the lyrics) can be heard in the final mix. Panning was generally effective with only a few examples of no panning evident or, in some cases, severe panning where tracks were assigned to either left or right with no in-between (of course this effect is desirable in some instances). Commentary What is required here is that you provide an honest and detailed account of your recording process and that you demonstrate that you have a clear understanding of the entire recording process and the equipment used. A list of equipment used is essential. Whilst the vast majority provided a detailed account of the mixing process, there were a significant number of commentaries which failed to mention the recording sessions at all. Others provided great detail of the setting up of the equipment but didn t refer to the actual session(s). Put simply, the recording process is a very important aspect of the recording process. 10
By contrast, some commentaries were overly lengthy, providing elaborate and unnecessary manual-style descriptions of the capability or potential of the equipment. The stronger commentaries included a track sheet giving details of each track. Please ensure that all recordings are labelled correctly and playable on a standard CD player and not just on a computer. The above points represent some learning points highlighted by the examiners. Since most candidates are new to the recording process at AS, the overall standard of work was generally quite impressive and centres and students are to be congratulated for the high standard of work submitted. AS Sequenced Arrangement Task (AU114) The arrangements this year included a wide variety of styles and genres including military band, brass ensemble, chamber orchestra, string ensemble, string quartet, woodwind group, Caribbean, French café style, folk, bluegrass, film, Disney and jazz. Often the ensembles included a standard rhythm section of piano, bass and drums. The most common structure used this year was Theme and Variations often topped and tailed with a short intro and coda. Successful candidates chose and maintained a style with which they were quite familiar. In the stronger submissions, a consistent style was established at the outset and maintained throughout. Arrangements which struggled to maintain a single clear style suffered from a lack of cohesion. The majority of candidates managed to realise the stated chords accurately and with the correct inversions. Many included at least one modulation usually to the relative minor although some brightened up their arrangement by shifting the key up a semitone or a full tone to D major. Most managed to execute the triplet rhythm in bars 17 and 21 successfully with the correct use of the quantize tool and many made this a feature of their arrangement. Again, as in previous years, a number of candidates scored well for their arrangement, but scored poorly for the quality of the sequenced performance. The choice of timbres was mostly appropriate for their chosen ensemble with some very effective instrumental combinations. In assessing the organisation of musical ideas (22 marks available), examiners were listening for a clear presentation of all musical ideas throughout a consistent style, the wholeness and coherence of the arrangement, the use of harmony and the control of musical elements and devices such as sequence, repetition or use of pedal notes, for example. The most successful arrangements made use of some of these devices or similar. With the understanding, control and use of resources, (22 marks available) candidates are reminded that the quality, accuracy and impact of the sequenced performance are also being assessed. The stronger submissions had an idiomatic choice of instruments or sounds in a register or range suitable for each instrument. Instrumental parts were accurate in terms of pitch, rhythm articulation and phrasing. The more advanced arrangements had idiomatic part writing, with an appropriate balance of consistency and variety, and an accompanying texture which perhaps included a harmony part or counter-melody. The more successful arrangements for string or brass groups included a variety of the timbres available such as the use of pizzicato and mutes to add effect or maintain interest. Candidates should note that flutes normally play in the higher register which starts an octave above middle C especially if they have the tune or significant counter melody. 11
Regarding the use of sequencing technology (22 marks available) consideration was given to the choice of tempo and control of any tempo changes, the balance of parts, appropriate panning or stereo placement appropriate to the ensemble, added effects such as reverb as well as the use and control of dynamics and expression throughout the arrangement. Centres are reminded that the quality of the final recording (the mastered CD) is also taken into account. Although most are transferred successfully, there were some recordings which ended rather abruptly and this detracted from the overall impact. This year, few candidates secured full marks for their commentaries with insufficient detail being provided regarding the sequencing process. Candidates should include details about how the compositional process (how they built up their arrangement), a brief description or analysis of their arrangement including stating clearly their chosen form or structure and should include details of any development techniques and harmony used. A detailed account of the sequencing techniques used is also required. This year, some commentaries focused more on an analysis of the arrangement at the expense of providing details of the creative process followed by the candidate. Candidates and teachers should ensure that all submissions are correctly formatted and playable on a standard CD player. All CDs must be checked on a standard CD player (not a computer) before submission. Finally, candidates and centres are reminded to print out the full 3 or 4 pages of the pre-release stimulus material. It is clear from some of the submissions this year that candidates were working only from the page of music and were unaware of the clear guidance and specific requirements stated on page 2 of the stimulus material. This resulted in key information being missed for example the requirement for at least four independent parts or the fact that arrangements outside the time limit of 1½ to 2½ minutes may be penalised. This is to ensure fairness to all candidates. AS Test of Aural Perception (AU121) This paper was very accessible and it provided a balanced test for all candidates with a range of questions across set works and unfamiliar music. The questions were generally fair with plenty of opportunities for candidates with even a passing knowledge of the set works to gain marks whilst more aurally perceptive students scored highly. At times candidates misread questions or did not read the full question resulting in valuable marks being lost, for example, when asked to circle two answers many candidates often circled just one. There was quite a wide spread of marks and only a few candidates seemed to be able to answer all five questions to a consistently high standard. Even the weakest students were able to recall some basic information about the set works in questions one and three but when real aural perception was called for, in the unfamiliar extracts (question 2 in particular), a lack of general musical knowledge and experience of music beyond the AS specification became apparent. Teachers and candidates should maximise the use of past paper mark schemes in their classroom teaching as many candidates are still not using the required musical vocabulary in their answers. Q1 Dvorak, Symphony in E minor, op. 95, movement two, bars 46 64 Nearly every candidate was able to access at least four or five marks in this opening set work question. However, several answers to (a), (f), (g) and (h) suggested that the candidates believed they were listening to an extract from Mozart s Symphony No. 40 or even the Beethoven Violin Concerto. In 1(a) quite a few candidates misinterpreted this question and, rather than identify the key at the beginning of the extract (C# minor), cited the key at the beginning of the movement (Db major) or even the key at 12
the beginning of the symphony (E minor). In 1(b) some candidates struggled to identify the two instruments playing, with cor anglais and clarinet frequently appearing as alternatives to oboe. In 1(c) the majority of candidates correctly identified tremolo but failed to recognise inner strings or specify that they were playing chords. Strings was given as a general answer displaying a lack of specific detail. In 1(d) answers given were mostly correct but some candidates mentioned that the double bass was playing ascending and descending patterns, arpeggios and staccato, none of which gained credit. In 1(e) many candidates correctly identified syncopation but many candidates circled ostinato rather than Scotch Snap. Answers given in 1(f), (g) and (h) were mostly correct. Q2 Britten, Rejoice in the Lamb, Figure 23 29 This question differentiated well between candidates who must use the reading time at the start of the aural paper constructively as there was too much vague generalisation in (a) and (b) despite the fact that the rubric was very specific as to the information which was expected. Thick and thin are not terms which should be used to describe vocal texture. In 2(a) (i) the majority of candidates correctly recognised the SATB choir and diminuendo but the texture was often incorrect. Part 2(a) (ii) was generally well answered though there were three recurrent errors: harpsichord was occasionally mentioned instead of organ, descending sequence or glissando were stated instead of descending scale and candidates identified semiquavers rather than quavers. 2(b) was, on the whole, not well answered. Many candidates answered homophonic and fugal appeared on many scripts. Few candidates answered 2(c) correctly, possibly because melodic features were the focus of the question. Rising (but not linked to arpeggio ) and repetition featured in many papers but were not linked to text and common errors made included references to sequence and melisma. 2(d) was well answered but quite a few candidates circled only one answer rather than two. In 2(e) all four periods of composition were circled but Baroque and Twentieth Century were the two most popular answers. Q3 Haydn, Symphony No. 94 Surprise, movement 2, variation 3, bars 75 106 Most candidates coped well with this relatively straightforward question. 3(a) was reasonably well answered with many candidates recognising oboe and staccato. However, many candidates failed to identify repeated or answered quaver as opposed to semiquaver. 3(b) (i) was well answered and in (ii) it was surprising how many candidates circled both pairing in thirds and pairing in fifths. All options were circled at some point and most gained two marks out of the maximum three available. 3(c) was quite well answered but many candidates failed to identify the modulation at the end of A. 3(d) was poorly answered with horn often mistaken for a bassoon, cor anglais or cello. The pedal was widely recognised but only some candidates correctly identified it as being dominant. In 3(e) the structure was correctly identified in many scripts but binary incorrectly appeared with the occasional sonata rondo and even symphony offered as possible answers. In 3(f) answers given were mostly correct. Q4 Piazzolla, Libertango, 0.00 1.23 In part (a) many candidates ignored the direction to identify instruments performing in the introduction but astute candidates easily picked up four marks. Candidates should note that they are expected to write double bass rather than simply bass and marks could have been gained by naming the constituent parts of the drum kit such hi-hat, bass drum, crash cymbal and tom toms. Candidates lost marks here as they were often not specific enough in their answers. Too often cymbal, bass, keyboard, or drums were given as general answers and bongos were frequently 13
confused with the tom toms on the recording. In 4(b) dominant seventh and descending sequence were widely recognised but many candidates were confused between tonic and dominant pedal. In 4(c) (i) answers given were mostly correct with the majority of candidates answering violin. The identification of the correct pitch outline in c (ii) was correct in less than half of the answers. The majority of candidates incorrectly ticked option 2 rather than 3. In 4(d) answers given were mostly correct, however, the question was occasionally misread or misunderstood as some candidates commented on the metre or dynamics instead of tonality. Q5 Handel, Oboe Concerto No. 1 in Bb, bars 5 19 There was plenty of opportunity for all candidates to accumulate marks in this final question but there were, nonetheless, some avoidable mistakes. Only melodic features should have been cited in (b) and only features of instrumentation in (e). In 5(a) answers given were mostly correct. The most popular incorrect answer was clarinet. In 5(b) trill, descending sequence and repetition were the most popular answers but some candidates incorrectly referred to the texture. In 5(c) plagal cadence and augmentation were often circled in error but most candidates gained two out of three marks. In 5(d) many candidates answered concerto without the solo therefore only accessing half marks. It was surprising how many candidates answered concerto grosso with the occasional concertino cited. In 5(e) answers given were mostly correct. In 5(f) harpsichord was the most popular answer though most candidates are still not referring to it as a continuo instrument. Some candidates answered predominance of/dependence on strings but most candidates are still making vague comments about strings and the use of ornamentation. Again familiarisation with past paper mark schemes will assist candidates with the correct, detailed and accurate way of answering this type of question. AS Written Examination (AU122) This paper appeared to successfully differentiate between candidates of varying abilities. Several candidates produced answers of a very high standard but, at the lower end, a number of candidates struggled to achieve marks throughout the paper. This might be attributable either to misunderstanding or misinterpretation of the question or, in most cases, a basic lack of knowledge. Section A Q1 Beethoven: Violin concerto in D, op 61, movement 3, bars 255 294 Responses ranged from those gaining full marks to candidates who failed to score any marks at all in this question. Most candidates correctly identified (sonata) rondo form in (a) with a minority of candidates stating simply sonata. Part (b) was generally answered correctly by the majority of candidates. Parts (c) (i) and (ii) offered mixed responses with some candidates scoring well while others scored poorly. In particular, candidates failed to correctly comment on the use of the motif for part (i) by not mentioning either the changing arpeggio/pitch/chord or the key word of imitation even though the instruments were correctly identified. Some candidates did not describe the accompaniment correctly in part (ii). A number of candidates put information for part (i) in their part (ii) answer and also demonstrated confusion by incorrectly assuming the thematic motif to be in the principal violin part. Consequently, answers were frequently in reverse. Only a small number of candidates mentioned the chromatic rising bass line in part (ii) with the better candidates commenting correctly on the sustained woodwind chords and the solo violin part. 14
Section B Part (d) was generally quite well answered with many candidates achieving full marks, however, a small number found this question very difficult and left it completely blank. Candidates need to appreciate the different and accurate ways of naming chords. D7 implies D major with an added 7th which was the correct option here. Part (e) was a more open-ended question. It was answered well and most candidates gained good marks. Most candidates missed marks by not linking parallel or paired to the thirds in both the oboe and horn parts. Part (f) had a mixed response with some candidates achieving full marks and recognising the many examples of pedal notes. Some candidates did not cite two consecutive bars even though it was clearly highlighted in the paper. The majority of the candidates who recognised the pedal failed to describe it as being a dominant pedal. Likewise, part (g) ranged in marks with many candidates misunderstanding the question and leaving out cadenza as the answer. In addition, very few named the Ic chord in part (ii), simply describing either what a cadenza is or commenting on the concluding trill normally present. In part (h) many candidates listed general features, many irrelevant to the question which asked specifically about the development of the theme. In the weaker scripts specific musical vocabulary was often completely omitted. In part (i) most candidates correctly identified the perfect cadence but many identified the key incorrectly. In general the basic structure and quality of written essays was disappointingly poor. The majority of answers showed some breadth but very limited depth of knowledge and few candidates were able to exemplify general points made through appropriate musical examples. As a result musical detail was often lacking with too many essays made up of irrelevant biographical information. Candidates are still writing long introductions and conclusions which do not gain them any marks and very few achieved full marks for spelling and grammar with spelling and hand-writing becoming increasingly weak. Q2 (a) This was the most popular option of the two essays although still being the least popular Area of Study. The most popular pieces discussed were The Trout Quintet, Death and the maiden, String Quartet in G and the String Quintet in C. Answers were often lacking in musical detail, often contained a lot of irrelevant biographical and general information and often contained inaccuracies, such as incorrect musical references. Introductions and conclusions were often much too long and usually completely irrelevant to the question being asked. Candidates need to realise that they do not gain any marks for this. (b) This was the less popular question and the answers were generally very weak with many candidates not focusing on first movements. Many scripts contained an analysis of all four movements of various chamber pieces rather than focusing solely on the first movements. Many responses gave very limited musical detail on chosen pieces and answers were again, too often bulked out with unnecessary biographical information. Although many candidates referred correctly to the use of sonata form they did not offer any specific musical explanation of the form and simply went on to discuss the other movements. Q3 (a) This was a very popular and straightforward question producing a wide range of marks. It allowed candidates scope to demonstrate their knowledge of the two types of musical composition synonymous with these three Romantic piano composers. The majority of candidates listed a general output and characteristics of polonaises, études and rhapsodies but failed to clearly 15
(b) illustrate points being made by referring to specific pieces and a lot of inaccurate opus numbers and pieces were cited. Others candidates had clearly learnt information on specific études but omitted to identify general important characteristics. In terms of études Chopin was the most popular composer discussed, often to the detriment of the other two composers, and the discussion of Liszt s rhapsodies was generally quite good, with reference to Nationalism, gypsy scale and virtuosic elements. There were mixed responses to this question with a wide variety of works chosen. Weaker responses simply named pieces without giving any musical detail, or provided biographies of Schumann. It is important that candidates adhere to the question and, for each technique/development discussed, cite an appropriate musical example. Schumann s use of structure, in particular, was not well addressed and often comments made about melody and harmony were vague and buried within irrelevant information. Again, there were many inaccurate musical examples given with over-long introductions and conclusions. Most responses made reference to Carnaval, Papillons, Abegg Variations, Des Abends with Humoreske and Bunte Blatter very occasionally. Q4 (a) This was easily the most popular Optional Area of Study with this being the most popular question. There was a wide range of responses although many were in the lower band with no musical examples to illustrate points being made. Many candidates went into a lot of detail regarding earlier or later musicals which were irrelevant and therefore could not be credited. Once again candidates offered too much background information and simply explained the plotlines of the musicals discussed. As a result many answers were vague and weighed down with non-musical detail. The main musicals referred to were: Oklahoma, Carousel, West Side Story and Guys and Dolls. (b) This question was very poorly answered with many vague answers which contained a wealth of irrelevant information. Candidates often listed examples of chorus and solo numbers from different musicals, which could not be credited as they were not a vocal ensemble. Again many candidates concentrated on recounting the narrative of the musical and very few candidates achieved a top band answer in this section due to a clear lack of appropriate musical detail. A2 Optional and Core Composition Tasks (AU212 and AU215) A2 composition is designed to be taken by students who have an interest in composition. It requires that the student have good, musical ideas about creating and developing themes in a coherent manner. Students should be able to use developmental techniques such as: Repetition. sequence, imitation, inversion, alternative harmonisations, augmentation, diminution. The creation of good countermelodies and figuration is also useful. While by no means an imperative, nor exhaustive list of techniques, it is expected that an A2 composer will have the facility to use techniques such as these to present a well-developed and coherent piece of music. Candidates are also compelled to compose a tonal work, showing advanced use of tonal harmony. The use of basic cadences, primary and secondary chords is expected at GCSE level. A2 Core composition expects the candidate to show an ability to use harmony purposefully; to create a strong harmonic pulse, to use more added/chromatic chords, to be aware of the possible effect of the harmony on the direction of the composition, to use it as a means of expression. Candidates should be able to modulate easily and cleanly and to progress the work to more distant related keys. Tonal and enharmonic shifts are also possible at this level. 16
It is strongly recommended that candidates and teachers keep the Progression of standards across GCSE, AS and A2 document to hand. While not an obligatory recipe, this document does demonstrate very clearly the levels expected at A2. The free choice nature of the task allows for proficient composers to really excel. The choice of resources can make or break the piece. Candidates need to consider very carefully the ensemble for which they will compose. There are very few candidates who are capable of composing idiomatically for more than five or six instruments or voices. While there are a few excellent works for full orchestra presented each year, these number one or two out of the whole cohort. Candidates should be able to compose idiomatically for the chosen group. The candidates should be able to show some instrumental techniques within the context of the composition e.g (from Arco to double-stopping, Muted to sur la touché). The work should demonstrate an ability to use texture to achieve variety e.g homophony, antiphony, polyphony and unison. Other musical directions such as dynamics, use of register, accuracy of word setting and word painting all fall into this category and need careful consideration by the candidate. An A2 candidate should have developed this palette of knowledge and be able to choose from it to create a personalised composition. A2 Optional Composition AU212 Optional composition requires the same standards and level as Core Composition but with a shorter time limit and free choice of stimulus. In most cases the time limit was adhered to which is a great improvement on previous years. Most compositions were under three and a half minutes in length. There was a huge variety in styles; Indie rock, SATB, Organ, String Quartet, Praise songs, Country and Western, Heavy metal and orchestral. Candidates seemed to have a better grasp of the task this year, with many scoring higher marks. Popular forms included: Ternary, Rondo (although the development of the Rondo was often poorly managed), Sonata form, Theme and variations and song compositions in strophic forms. In choosing a form, it is important for the candidates to ensure that there are developmental possibilities within the form. Strophic works will need counter melodies and bridge sections to show developmental techniques. The wider access to software such as GarageBand, Logic and Cubase has greatly improved the attention to timbre and to the recordings submitted. Candidates were clearly able to make better informed musical decisions based on these sequencers than had previously been possible. The only downside is that the availability of so many sounds overwhelms some candidates and the work turns into a kaleidoscope of timbral colour but lacking in instrumental detail e.g. a work for 5 instruments finished with 15. The use of Sibelius as a composition software package is still ill advised. Candidates creating work on Sibelius tend towards mechanistic lines with little sense of part writing or voice leading evident. While it may help with range, the candidate should really be able to know the ranges of the chosen instruments without the need for Red notes. It s comparable to handing Word or Pages to an A2 student of English and telling him/her to use it as a creative tool. Sibelius should be used to create a final score for performance purposes. There is no requirement to submit a score at A2 so it is quite possible to stay away from the package altogether. The musical quality of the submissions varied from minimum achievable marks to maximum achievable marks. Candidates score well when they create and develop good musical ideas, above a strong harmonic pulse with plenty of harmonic interest. Timbral colour, use of instruments and textural variety help the framework of developmental techniques and harmony to blossom. 17