GCSE Music Specimen Assessment Materials For first teaching from September 2009 For first award in Summer 2011 Subject Code: 7010
Foreword The awarding bodies have prepared new specifications to comply with revised GCSE criteria. The specimen assessment material accompanying new specifications are provided to give centres guidance on the structure and character of the planned assessments in advance of the first assessment. It is intended that the specimen assessment materials contained in this booklet will help teachers and students to understand, as fully as possible, the markers expectations of candidates responses to the types of tasks and questions set at GCSE level. These specimen assessment materials should be used in conjunction with CCEA s GCSE Music specification.
GCSE Music Specimen Assessment Materials Contents Specimen Papers 1 Part 1: Listening and Appraising 3 Part 2: Listening and Appraising 13 Mark Schemes 33 General Marking Instructions 35 Part 1: Listening and Appraising 39 Part 2: Listening and Appraising 45
Subject Code QAN 7010 500/4515/5 A CCEA Publication 2008 You may download further copies of this publication from www.ccea.org.uk
Specimen Papers 1
2
71 Centre Number Candidate Number General Certificate of Secondary Education 2011 Music Part 1 Listening and Appraising [CODE] SPECIMEN PAPER TIME 45 minutes INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number in the spaces provided at the top of this page. Write your answers in the spaces provided in this question paper. Answer all six questions. INFORMATION FOR CANDIDATES The total mark for this part is 60. Figures in brackets printed down the right-hand side of pages indicate the marks awarded to each question or part question. Quality of Written Communication will be assessed in question 4(a). For Examiner s use only Question Marks Number 1 2 3 4 5 6 Total Marks 3
Answer all questions 1 Here are four short extracts of music. You will hear extract (a), followed by extract (b), followed by extract (c), followed by extract (d). You will hear each of them twice. (a) (i) Which of the following describes the dance style of the piece? (Circle the correct answer) Minuet Reel Strathspey Tango [1] (ii) Which of the following describes the form of the piece? (Circle the correct answer) Aria Folk Song Lied Recitative [1] (b) (i) What term best describes the bass line of this piece? [1] (ii) Name the solo instrument. [1] (c) (i) What type of ostinato is this? [1] (ii) Name the instruments playing the ostinato. [2] (iii) Name the type of voice. [1] (d) (i) Name the percussion instrument playing the ostinato. [1] (ii) Give a term to describe how the accompanying strings are being played. [1] 4
2 You will hear this extract three times. (a) (i) Name the musical device played by the strings in the opening section. [1] (ii) Name the four other instruments playing in this extract. 1 2 3 4 [4] (b) (i) Which time signature is used in this extract? (Circle the correct answer) 2 3 4 5 6 4 4 4 4 8 [1] (ii) Complete the following: The title of this work is This movement is called The composer is [3] (c) (i) To which of these periods does this music belong? (Circle the correct answer) Baroque Classical Romantic Twentieth Century [1] (ii) Give three reasons for your answer. 1 2 3 [3] 5
3 You will hear this extract three times. The text of the extract is printed below: 1 Dies irae, Dies illa, Dies irae, Dies illa, Dies irae, Dies illa, solvet saeculum in favilla, Teste David cum Sibylla 5 Quantus tremor est futurus, quando judex est venturus, Cuncta stricte discussurus! Dies irae, Dies illa, Dies irae, Dies illa, Tuba mirum spargens sonum 10 Per sepulcra regionum, coget omnes ante thronum. (a) (i) Name four instruments which play the ostinato in the introduction. 1 2 3 4 [4] (ii) Which statement describes the texture of the vocal parts at the beginning? (Tick the box next to the correct answer) Men s voices sing homophonically Mixed voices sing in unison Ladies voices sing in unison Mixed voices sing homophonically [1] (b) (i) At the end of which line does the ostinato stop for the first time? [1] (ii) What kind of scale does the Horn part play in Line 8? [1] (c) (i) Name the work this extract is taken from. [1] (ii) Name the composer of this work. [1] 6
4 You will hear this music three times. (a) Write a short description of the piece, commenting on the ostinato, the electronic effects and any other interesting features. [6] (b) Circle whether you liked or disliked the music and give two reasons for your choice. I liked/disliked the piece because: 1 2 [2] 7
5 You will hear this music four times. A skeleton score is provided on the opposite page. (a) (i) On the stave below, write two bars of the ostinato rhythm. The time signature and the first note are given. [3] (ii) Name the cadence at bar 15/16. Cadence: [1] (b) (i) Which two instruments play the melody from bar 1 24? 1 2 [2] (ii) Which family of instruments plays this part of the movement? [1] (c) (i) Two grace notes are missing on the score. In which bar should they appear? Bar [1] (ii) Which instruments play for the first time in bar 25? [1] (d) (i) Which of the following describes the speed of the music? (Circle the correct answer) Allegro Allegretto Presto Vivace [1] (ii) Complete the following: This music comes from the slow movement from by [2] 8
9
6 Read the following paragraph: The British Phonographic Institute, (the UK record companies association) recently released figures which showed that sales of CDs dipped in 2007 by 10.8%. This amounts to 19.6m fewer albums sold compared with 2006 figures. British Phonographic Institute (a) (i) Give two reasons for the drop in CD sales in the United Kingdom last year. 1 2 [2] (ii) Give one consequence for retail outlets if this trend continues and provide one example to support your answer. [2] (b) (i) List three pieces of electronic equipment invented in recent years which we use to listen to music. 1 2 3 [3] (ii) Of your three answers above, which electronic equipment do you prefer? Give a reason for your answer. I prefer because [1] Total [60] 10
THIS IS THE END OF THE QUESTION PAPER 11
12
Centre Number 71 Candidate Number General Certificate of Secondary Education 2011 Music Part 2 Listening and Appraising [CODE] SPECIMEN PAPER TIME 45 minutes INSTRUCTIONS TO CANDIDATES This paper is in 3 sections: Section A Musical Traditions in Ireland Section B Incidental Music Section C Vocal Music Choose any two sections and answer all questions in each of them. Write your Centre Number and Candidate Number in the spaces provided at the top of this page. Write your answers in the spaces provided in this question paper. Quality of Written Communication will be assessed in question 3 in each section. INFORMATION FOR CANDIDATES The total mark for this paper is 80. Figures in brackets down the right-hand side of pages indicate the marks awarded in each question or part question. Section For Examiner s use only Question Number A 1 2 3 B 1 2 3 C 1 Total Marks 2 3 Marks 13
Section A: Musical Traditions in Ireland Answer all questions 1 You will hear this extract three times. (a) (i) Give the title of the piece. [1] (ii) Name the instrument that plays at the beginning of the extract. [1] (b) (i) Which of the following describes the form of the piece? (Circle the correct answer) ABABA ABBAA AAABB AABBA [1] (ii) Describe eight features of the music in verse two. 1 2 3 4 5 6 7 14
8 [8] (c) Name the performers of the piece. [1] 15
2 You will hear two performances of a well known song. Performance A followed by Performance B will be played three times. (a) List two similarities and twelve differences between Performance A and Performance B. (i) Similarities: 1 2 [2] (ii) Differences: 1 2 3 4 5 6 7 8 16
9 10 11 12 [12] (b) Which of the two performances did you prefer? (Circle your choice) A B Give two reasons to support your choice. 1 2 [2] 17
3 You will hear this extract four times. Write a short description of the music referring to its instrumentation, rhythmic colour and any other interesting features of the music. [12] Section A [40] 18
(QUESTIONS CONTINUE OVERLEAF) 19
Section B: Incidental Music Answer all questions 1 You will hear an extract from one of your set works. The music will be played four times. (a) (i) Give the title of the piece. [1] (ii) Which of the following describes the tempo? (Circle the correct answer) Adagio Allegretto Allegro Maestoso [1] (b) (i) Name the two instruments which play the opening melody. Instrument 1 Instrument 2 [2] (ii) Describe how the two instruments relate to each other in this opening section. [2] (c) (i) After the opening there is a big crescendo and the melody is played again. Which instruments play at this point? [1] 20
(ii) How does the composer illustrate this title through the music? [5] (d) (i) Give the title of the play for which this music was written. [1] (ii) Name the composer. [1] 21
2 You will hear this extract three times. (a) (i) On the score on page 23, complete the pitch outline for bar 4. [4] (ii) Which of the following describes the opening? (Circle the correct answer) Intro Middle 8 Riff Sequence [1] (b) Which of the following describes the tempo? (Circle the correct answer) (i) Allegro Lento Moderato Presto [1] (ii) Describe how digital technology has altered this extract to make it suitable for a science-fiction television series. [5] (c) How effective do you think this TV theme is? [3] 22
BBC, composed by Ron Granier 23
3 You will hear this music three times. Describe the piece commenting on the form, orchestration and musical themes. [12] Section B [40] 24
(QUESTIONS CONTINUE OVERLEAF) 25
Section C: Vocal Music Answer all questions 1 You will hear this extract three times. A skeleton score of the first 19 bars is printed opposite. (a) (i) Name the four types of voices. 1 2 3 4 [4] (ii) Which voices sing in bars 5 7 and 14 16? [2] (b) (i) Which of the following describes the kind of notes which the violins play in bars 2 4 and 11 14? (Circle the correct answer) Crotchets Minims Quavers Semiquavers [1] (ii) What happens in the music in bars 12 and 13? [1] (c) (i) Give a word which describes the texture of the music in the opening bars. [1] (ii) Give a word which describes the texture of the music from bar 18. [1] (d) To which period does this music belong? [1] 26
27
2 You will hear two extracts, Performance A and Performance B. You will hear Performance A performed three times followed by Performance B performed three times. Performance A Due to copyright restrictions the intended lyrics cannot be printed for this question. For live examinations this restriction does not apply. (a) (i) Name four of the instruments played in this extract. 1 2 3 4 [4] (ii) How are each of these instruments used in this extract? Instrument: 1 2 3 4 [4] 28
Performance B Due to copyright restrictions the intended lyrics cannot be printed for this question. For live examinations this restriction does not apply. (b) Comment on the differences of the vocals and the instrumentation between Performance A and Performance B. [9] 29
3 You will hear this extract four times. The words of the song are printed on the opposite page. Comment on the structure, instruments, voices, tempo, dynamics and any other interesting features of the music. [12] Section C [40] 30
Mr Mistoffelees 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 You ought to ask Mr Mistoffelees the original conjuring cat The greatest magicians have something to learn From Mr Mistoffelees conjuring turn. Presto! CHORUS: And we all say Oh well I never was there ever A cat so clever as magical Mr Mistoffelees? He is quiet and small, he is black, From his ears to the tip of his tail. He can creep through the tiniest crack He can walk on the narrowest rail. He can pick any card from a pack He is equally cunning with dice. He is always deceiving you into believing That he s only hunting for mice. He can play any trick with a cork Or a spoon and a bit of fish-paste If you look for a knife or a fork And you think it is merely misplaced You ve seen it one moment and then it is gawn! But you ll find it next week lying out on the lawn. CHORUS: And we all say Oh well I never was there ever A cat so clever as magical Mr Mistoffelees? His manner is vague and aloof, You would think there was nobody shyer But his voice has been heard on the roof When he was curled up by the fire. And he s sometimes been heard by the fire When he was about on the roof (At least we all heard that somebody purred) Which is incontestable proof Of his singular magical powers. And I have known the family to call Him in from the garden for hours When he was asleep in the hall. And not long ago this phenomenal cat Produced seven kittens right out of a hat! CHORUS: And we all say Oh well I never was there ever A cat so clever as magical Mr Mistoffelees? Ladies and Gentlemen, I give you the marvellous, magical Mr Mistoffelees! Presto! Faber and Faber Ltd, Old Possum s Book of Practical Cats by T.S. Eliot. Adapted by Andrew Lloyd Webber. 31
THIS IS THE END OF THE QUESTION PAPER 32
33 Mark Schemes
34
General Certificate of Secondary Education Music GENERAL MARKING INSTRUCTIONS 35
General Marking Instructions Introduction Mark schemes are intended to ensure that the GCSE examinations are marked consistently and fairly. The mark schemes provide markers with an indication of the nature and range of candidates responses likely to be worthy of credit. They also set out the criteria which they should apply in allocating marks to candidates responses. The mark schemes should be read in conjunction with the general marking instructions. Assessment Objectives The following are the objectives for GCSE music. Candidates must demonstrate aural perception, musical skills, knowledge and understanding and communication through a series of interrelated assessment objectives. All candidates must develop the following skills: performing skills: performing/realising with technical control, expression and interpretation (AO1); composing skills: composing/creating and developing musical ideas with technical control and coherence (AO2); and listening and appraising skills: analysing and evaluating music using musical terminology (AO3). Quality of candidates responses In marking the examination papers, examiners should be looking for a quality response reflecting the level of maturity which may reasonably be expected of a 16-year-old which is the age at which the majority of candidates sit their GCSE examinations. Flexibility in marking Mark schemes are not intended to be totally prescriptive. No mark scheme can cover all the response which candidates may produce. In the event of anticipated answers, examiners are expected to use their professional judgement to asses the validity of answers. If an answer is particularly problematic, then examiners should seek the guidance of the Supervising Examiners. Positive Marking Examiners are encouraged to be positive in their marking, giving appropriate credit for what candidates know, understand and can do rather than penalising candidates for errors or omissions. Examiners should make use of the whole of the available mark range for any particular question and be prepared to award full marks for a response which is a good as might reasonably be expected of a 16-year-old GCSE candidate. Awarding zero marks Marks should only be awarded for valid responses and no marks should be awarded for an answer which is completely incorrect or inappropriate. Types of marks schemes Mark schemes for tasks or questions which require candidates to respond in extended written form are marked on the basis of levels of response which take account of the quality of written communication. Other questions which require only short answers are marked on a point for point basis with marks being awarded for each valid piece of information provided. 36
Levels of response Tasks and questions requiring candidates to respond in extended writing are marked in terms of levels of response. In deciding which level of response to award, examiners should look for the best-fit bearing in mind that weakness in one area may be compensated for by strength in another. In deciding which mark within a particular level to award to any response, examiners are expected to use their professional judgement. The following guidance is provided to assist examiners. Treshold performance: Response which just merits inclusion in the level and should be awarded a mark at or near bottom of the range. Intermediate performance: Response which clearly merits inclusion in the level and should be awarded a mark at or near the middle of the range. High Performance: Response which fully satisfies the level description and should be awarded a mark at or near the top of the range. Quality of written communication Quality of written communication is taken into account in assessing candidates responses to all tasks and questions that require them to respond in extended written form. These tasks and questions are marked on the basis of levels of response. The description for each level of response includes references to the quality of written communication. For conciseness, quality of written communication is distinguished within levels of response as follows: Level 1: Quality of written communication is limited. Level 2: Quality of written communication is appropriate. Level 3: Quality of written communication is good. Level 1 (Limited): The organisation of the material may lack clarity and coherence. There is some use of appropriate specialist vocabulary. Presentation, spelling, punctuation and grammar are sufficiently competent to make meaning clear. Level 2 (Appropriate): Relevant material is organised with some clarity and coherence. There is some use of appropriate specialist vocabulary. Presentation, spelling, punctuation and grammar are sufficiently competent to make meaning clear. Level 3 (Good): Relevant material is organised with a good degree of clarity and coherence. There is widespread use of appropriate specialist vocabulary. Presentation, spelling, punctuation and grammar are of sufficiently high standard to make meaning clear. 37
38
General Certificate of Secondary Education 2011 Music Part 1 Listening and Appraising [CODE] SPECIMEN MARK SCHEME 39
1 (a) (i) Tango [1] (ii) Aria [1] (b) (i) Drone [1] (ii) Uilleann pipes [1] (c) (i) Ground bass [1] (ii) Cello and organ [2] (iii) Soprano [1] (d) (i) Side drum (or snare drum) [1] (ii) Pizzicato [1] [10] 2 (a) (i) Ostinato [1] (ii) Any four of: timpani harp gong horns bassoons clarinets oboes trombones trumpets [4] (b) (i) 5/4 [1] (ii) The Planets Suite [1] Mars [1] Holst [1] [3] 40
(c) (i) 20 th Century [1] (ii) Any three valid comments: irregular beat dissonant harmonies no definite melody irregular time signature [3] [13] 3 (a) (i) Any four of: violin viola cello double bass horn trombone tam-tam floor tom toms bass drum cymbals [4] (ii) mixed voices singing homophonically [1] (b) (i) Line 4 [1] (ii) chromatic scale [1] (c) (i) Requiem [1] (ii) (Karl) Jenkins [1] [9] 41
4 (a) Mark on three levels: [0] is awarded for a response not worthy of credit. Level 1 ([1] [2]) Limited use of musical vocabulary. Presentation, spelling, punctuation and grammar may be such that the intended meaning is not clear. Mention of the repeated ostinato on percussion Lyrics consist mainly of the one phrase repeated Music sung by a rock group Level 2 ([3] [4]) Appropriate use of music vocabulary. Presentation, spelling, punctuation and grammar are sufficiently competent to make meaning clear. Some of the above comments, mentioning the instruments playing the ostinato Bass guitar/drum kit Much of the vocal part is sung in unison There are all kinds of electronic effects The ostinato is not only rhythmic but also melodic Level 3 ([5] [6]) Good use of musical vocabulary. Presentation, spelling, punctuation and grammar are of sufficiently high standard to make meaning clear. Clear and coherent organisation of reformation. Some of the above comments fleshed out Some attempt to describe the electronic synthesised effects The subtle variations in the rhythmic ostinato The bass line in the introduction is the music of the repeated phrase another one bites the dust This bass line repeats throughout in different guises Any other relevant detail will be accepted as an answer. [6] (b) Answers should be related to any musical aspect of the piece (i.e. dynamics, textures, rhythm, instrumental) to gain full marks. [2] [8] 5 (a) (i) [1] mark per beat (ii) Perfect cadence [1] [3] 42
(b) (i) Viola and Cello [2] (ii) Strings [1] (c) (i) Bar 23 [1] (ii) Violins [1] (d) (i) Allegretto [1] (ii) Symphony No. 7 [1] Beethoven [1] [2] [12] 6 (a) (i) Any two of: Digital downloads of individual tracks Too expensive to buy albums/cheaper to download CD s too bulky to carry around Mobiles/MP3 players more portable and can t play CDs Any other relevant detail will be accepted as an answer. [2] (ii) [2] marks for a reasonable answer backed up by an example Greater use of special deals [1], e.g. sales, bulk purchases [1] Smaller retailers going out of business or being bought over need to change how they sell music [1], e.g. provide download stations/provide an online download facility in competition to, e.g. itunes [1] Any other relevant information will be accepted as an answer. [2] (b) (i) Any three of: mobile phones phone walkmans PC or imac Xbox or Playstation MP3 or MP4 Any other relevant information will be accepted as an answer. [3] (ii) [1] mark for any reasonable answer which is backed up by a valid reason, e.g. convenience cost ease of use [1] [8] Total [60] 43
44
General Certificate of Secondary Education 2011 Music Part 2 Listening and Appraising [CODE] SPECIMEN MARK SCHEME 45
Section A: Musical Traditions in Ireland 1 (a) (i) Carrickfergus [1] (ii) Harp [1] (b) (i) AABBA [1] (ii) [1] mark awarded for each of the following for a maximum of [8]: Melody played by Uilleann pipes Tune is played in unison The harp plays an arpeggio accompaniment The structure of the piece remains the same Part B of the tune is played by the fiddle Part B of the tune is played down an octave Tin whistle and pipes play at the same pitch as before A section at the end of the verse is played by solo fiddle Harp plays accompaniment at the end of section A [1] mark for any other relevant answer. [8] (c) The Chieftains [1] [12] 2 (a) (i) Any two relevant similarities: The same traditional melody is played in both Only one verse of the song is heard Both have a crescendo into the second half of the song Both are at a similar slow temp Both feature melody with solo time accompaniment [2] 46
(ii) Any twelve relevant differences: They are in different keys Harmony in A 2 nd verse additional harmony in A B is in a higher key A melody by solo voice/b on a solo brass instrument The accompaniment in A is a choir/b features a brass band Longer introduction into B The harmonies in A are homophonic/b is more contrapuntal Different free rhythmic treatment of melodic line in B Much slower in B Improvisatory style of trombone solo in B In B there are little phrases on Glockenspiel/A has no instruments B is purely instrumental/a has voices only In B there is a brief link by the band into the second part of the verse there is no passage inserted here in A There are many little solo contributions by different instruments in B there are no such effects from the choir in A There are more dynamic contrasts in B than in A which has little variation in dynamics The harmonies in B are quite discordant in places A follows a traditional harmonisation of the piece [1] mark for any other relevant answers. [12] (b) Any two reasons backed up by valid comments about the music. [2] [16] 47
3 Mark on three levels: [0] is awarded for a response not worthy of credit. Level 1 ([1] [4]) Limited use of musical vocabulary. Presentation, spelling, punctuation and grammar may be such that the intended meaning is not clear. The piece has a strong rhythmic beat It is in two sections one fast, the other slow The music sounds like an Irish dance The first part is loud and the second very quiet Level 2 ([5] [8]) Appropriate use of music vocabulary. Presentation, spelling, punctuation and grammar are sufficiently competent to make meaning clear. The above comments developed The insistent rhythm on bodhrans and percussion The Irish reel flavour of the piece The violins play the main melody in the first part The sudden stop and contrasting calm section with its long held note in the bass and flute solo Level 3 ([9] [12]) Good use of musical vocabulary. Presentation, spelling, punctuation and grammar are of sufficiently high standard to make meaning clear. Clear and coherant organisation of reformation. More detail on the comments from Level 1 and 2 Comment on the plaintive nature of the solo flute The incessant beat and effect of the instant change of mood The traditional style of the violin tune Any other relevant details will be accepted as an answer. [12] 48
Section B: Incidental Music 1 (a) (i) Morning [1] (ii) Allegretto [1] (b) (i) Flute and Oboe [2] (ii) Flute phrases answered by the oboe [1] oboe an octave lower [1] [2] (c) (i) The Strings [1] (ii) Any five relevant points: The quiet, still mood of the opening The sustaining of the mood through the opening music The solo flute answered by the solo oboe The rising and falling nature of the phrases The gradual thickening of the texture The building up to the entry of the full strings to indicate the sunrise The echo effect produced by the instruments answering each other The gentle flowing tempo of the melody/music evokes a feeling of tranquility and stillness The suggestion of bird calls by the woodwind in the final bars [5] (d) (i) Peer Gynt [1] (ii) Grieg [1] [14] 2 (a) (i) [1] mark per beat (4 beats) [4] (ii) Riff [1] (b) (i) moderato [1] 49
(ii) [1] mark per relevant comment from the following: Digital technology altered the sound of the notes (not the notes themselves) Unrecognisable conventional instruments appear to sound many octaves above what is written in score Gives a lot of reverb/echo to distort the actual pitch Digital effects give shaky (vibrato) feel to the main melody and also to the bass riff Driving pulse maintained by the bass riff with no need for extra percussion Any other musically relevant answers will be accepted. [5] (c) [1] mark per relevant comment from the following: instantly recognisable, short intro leads into memorable tune unconventional musical sounds mirror the content of the programme (i.e. Sci-fi) tune has gone through many changes from original (1964) to latest series theme (2005) [3] [14] 3 Mark on three levels: [0] is awarded for a response not worthy of credit. Level 1 ([1] [4]) Limited use of musical vocabulary. Presentation, spelling, punctuation and grammar maybe such that the intended meaning is not clear. Two different tunes The first tune is bold and strong, the second very fast The tunes keep being repeated and are played together at the end The first tune is like a march, the other like a dance The second tune is played by the flute Level 2 ([5] [8]) Good use of music vocabulary. Presentation, spelling, punctuation and grammar are sufficiently competent to make meaning clear The above comments in a little more detail The first tune is very fast when it returns after the second tune The piece seems to get faster and faster At the end when the tunes are combined the full orchestra plays with the brass playing the first tune 50
Level 3 ([9] [12]) Appropriate use of musical vocabulary. Presentation, spelling, punctuation and grammar are of sufficient high standard to make meaning clear. Clear and coherant organisation of reformation. The first tune is homophonic initially It is then played in canon (Question and Answer) The flute solo is accompanied by a strong drum beat on a side drum without snares (or tambour) In the middle section we hear parts of the first tune and the second tune combined The whole piece careers to the end with huge chords on the full orchestra Any other relevant detail will be accepted as an answer. [12] 51
Section C: Vocal Music 1 (a) (i) Soprano/Alto/Tenor/Bass [4] (ii) Tenor and Bass [2] (b) (i) Semiquavers [1] (ii) The music changes key/modulates [1] (c) (i) Homophonic [1] (ii) Contrapuntal [1] (d) Baroque [1] [11] 2 (a) (i) Any four of: acoustic guitar lead guitar rhythm guitar kit percussion bass guitar keyboard [4] (ii) Any four of: Acoustic guitar and strumming in rhythm Lead guitar (The Edge) and constant pulse Rhythm guitar blurred (distorted) strumming Lead guitar wailing /sliding into note Standard percussion kit marking main and sub beats [4] (b) Mark on three levels: [0] is awarded for a response not worthy of credit. Level 1 ([1] [3]) Simplistic answers, including Different words/lyrics A has one singer/b has more than one singer A is performed by U2, B is not Female voices heard in B but not in A More instruments/voices used in B than A 52
Level 2 ([4] [6]) More complex analytical comments including Loosely defined difference in style from Rock = A and Rhythm and Blues = B Male/female participation both in lead and backing vocals Identify studio sound of B without highlighting how this has been achieved Use of rhythm guitar in A but a combination of rhythm guitar and other rhythm tracks in B Level 3 ([7] [9]) Advanced and non-detailed analytical comments including Vocal style of A is rock, vocal style of B is Rhythm and Blues (R&B) A has a raw quality, whereas B is a more polished/produced sound Higher key for A, B lower and in more comfortable male vocal range, yet with sufficient scope for backing vocals throughout the female and male vocal range A much stronger rock feel to A created with lead, rhythm and bass guitars with percussion B makes much greater use of layered rhythm tracks giving a fuller texture to the sound B makes more use of kit and other percussion instruments than A Melody in octaves Background vocals in harmony Any other relevant detail will be accepted as a answer. [9] [17] 3 Mark on three levels: [0] is awarded for a response not worthy of credit. Level 1 ([1] [4]) Limited use of musical vocabulary. Presentation, spelling, punctuation and grammar maybe such that the intended meaning is not clear. A man talks at the start of the piece Clapping in the background Other voices join in Some oohs in the background There is a drum beat It is in a major key The chorus is repeated A loud bang can be heard at the end 53
Level 2 ([5] [8]) Appropriate use of music vocabulary. Presentation, spelling, punctuation and grammar are sufficiently competent to make meaning clear. Female vocalists join in with the male singer Strophic in structure Singing in unison at chorus Drum kit along with keyboard/piano is used throughout Regular rhythm, 4 beats in every bar Live performance with clapping heard in the background Level 3 ([9] [12]) Good use of musical vocabulary. Presentation, spelling, punctuation and grammar are of a sufficient high standard to make meaning clear. Clear and coherent organisation of reformation. Recitative like quality of the opening The use of the dominant 7 th chord on the words The greatest magicians have something to learn... Use of jazz like improvisations on keyboard, piano and electric guitar, glissando just before presto Use of sequence at the start of the chorus Syncopated rhythms of the melodic line Use of flattened blue notes i.e. on the word black Drum link anticipates vocal figures Hi-hat semis over bass drum, brass harmonic fillings, prominent bass part Several brass counter melodies heard especially at the last repeat of chorus Any other relevant detail will be accepted as an answer. [12] Total [80] 54