GCE AS

Music
Summer 2007

Mark Schemes
Issued: October 2007
NORTHERN IRELAND GENERAL CERTIFICATE OF SECONDARY EDUCATION (GCSE)
AND NORTHERN IRELAND GENERAL CERTIFICATE OF EDUCATION (GCE)
MARK SCHEMES (2007)

Foreword

Introduction

Mark Schemes are published to assist teachers and students in their preparation for examinations.
Through the mark schemes teachers and students will be able to see what examiners are looking
for in response to questions and exactly where the marks have been awarded. The publishing of
the mark schemes may help to show that examiners are not concerned about finding out what a
student does not know but rather with rewarding students for what they do know.

The Purpose of Mark Schemes

Examination papers are set and revised by teams of examiners and revisers appointed by the
Council. The teams of examiners and revisers include experienced teachers who are familiar
with the level and standards expected of 16- and 18-year-old students in schools and colleges.
The job of the examiners is to set the questions and the mark schemes; and the job of the revisers
is to review the questions and mark schemes commenting on a large range of issues about which
they must be satisfied before the question papers and mark schemes are finalised.

The questions and the mark schemes are developed in association with each other so that the
issues of differentiation and positive achievement can be addressed right from the start. Mark
schemes therefore are regarded as a part of an integral process which begins with the setting of
questions and ends with the marking of the examination.

The main purpose of the mark scheme is to provide a uniform basis for the marking process so
that all the markers are following exactly the same instructions and making the same judgements
in so far as this is possible. Before marking begins a standardising meeting is held where all
the markers are briefed using the mark scheme and samples of the students’ work in the form
of scripts. Consideration is also given at this stage to any comments on the operational papers
received from teachers and their organisations. During this meeting, and up to and including
the end of the marking, there is provision for amendments to be made to the mark scheme.
What is published represents this final form of the mark scheme.

It is important to recognise that in some cases there may well be other correct responses which
are equally acceptable to those published: the mark scheme can only cover those responses
which emerged in the examination. There may also be instances where certain judgements may
have to be left to the experience of the examiner, for example, where there is no absolute correct
response – all teachers will be familiar with making such judgements.

The Council hopes that the mark schemes will be viewed and used in a constructive way as a
further support to the teaching and learning processes.

iii
CONTENTS

Page

AS 3: Part 1 1

AS 3: Part 2 11

v
 ADVANCED SUBSIDIARY (AS)
General Certificate of Education
2007

Music
Assessment Unit AS 3: Part 1
Test of Aural Perception
assessing
Module 1: Making and Responding
to Music with Understanding
[ASP31]
MONDAY 4 JUNE, MORNING

MARK
SCHEME

ASP31S7P ASP31S

1
1 Corelli, Concerto Grosso Op. 6 No. 8, third movement, first Adagio and Allegro AVAILABLE
MARKS

[1] each for any six of the following points:

• Concerto grosso scoring [12], with separate concertino [12] and ripieno [12] groups
– String trio [12] or (two violins and cello [12]) (as concertino)
– String orchestra [12] with continuo (as ripieno) [12], harpsichord [12]
• Range of relationships between concertino and ripieno: [12]
– Ripieno accompanies concertino [1]
– Concertino plays alone [1]
– Both groups play together/doubling [1]
• Melodic material based on triadic motifs/arpeggio [1]
• Contrapuntal/imitative [12] textures (e.g. between first and second violins in
opening bar) [12]
• Use of melodic [12] and harmonic [12] sequence [12]
• Tonality: modulation to dominant [1] and back to tonic [1] (in Adagio); series
of perfect cadence/Vb-I progressions [1] (in Allegro), modulating through a
range of keys [1], details of keys [1]
• Suspensions [1]
• Comment on structure/use of, e.g. (contrast of) Adagio/Allegro, sectionalised
form [1]
• Limited level of difficulty of solo writing [1] [6] 6

2 Mozart, Horn Concerto No. 3 in E flat, K447, first movement, bars 28–60

(a) Classical [1]

(b) • Statement of Theme 1/main melody/first subject [12]; in tonic key [12];
in (solo) horn [12]
• New/following material (Bar 40) [12]; introduced by (solo) horn [12]
• Statement of Theme 2/second subject [12]; in dominant key [12];
in strings/violins [12]
• Melodic material presented by horn or violins [12]
• Accompanied by strings [12]; repeated quaver figuration [1]
• Melodic features – arpeggios [1]; chromatic [12] (rising) appoggiaturas [1];
specific comment on use of repetition [1]; sequence [1]; 2 or 4 bar
phasing [1]; trill [12]
• Major key [12]; modulates to dominant [12]; via dominant of dominant [1]
• Harmony based on primary triads [1]; use of pedal [12], in final bars [12],
in lower strings [12]; first subject ends perfect cadence
• Detailed comment on instruments of the orchestra [1]; woodwind
reinforce phrase endings [1]; comment on the challenging nature of solo
part of natural horn [1]
• Theme 1/first subject in extended version
• Strings/violins echo horn [12] in extension section [12]
• New material (Bar 40) – dialogue between horn and violins [12]
• Theme 2/second subject echoed by horn [12] in extension section [12] [6] 7

ASP31S7 2
3 Beethoven, Piano Concerto No. 5 in E flat, third movement, bars 173–220 AVAILABLE
MARKS

[1] each for any six of the following points:

• Virtuosic piano figuration [1]
– Scalic [12]
– Arpeggio [12] figures
• Rising octave/figures [1], as accompaniment on strings [12]
• Hunting motif/dotted rhythm [1], as accompaniment on strings [12], played by
brass [12], bassoon [12] (maximum [1] for instrumentation)
• Dynamic contrast [12]
– Entry of woodwind and strings [1]
– Quiet passage from solo oboe/bassoon [1]
– Sudden loud passage for piano [1]
• Use of sforzandi [1]
• Sudden key changes/shifts [1], moves to unexpected/unrelated key [12]
– A flat major to E major [1]
– E major to E minor [1], major to minor [12]
– Circle of 5ths [1]
• general comment on textural contrast [12],
specific comment [1], contrast of mood [12]
• Use of full/high range/register of the piano [1]
• Fast/allegro tempo [12] [6] 6

4 Mendelssohn, Violin Concerto in E minor, second movement, bars 579–597

[1] each for any six of the following points:

• (Full) orchestra used to introduce main theme (for this section of the
movement) [1];
• Solo violin echoes/repeats this theme [1]; double stopped [1] with oscillating
demisemiquavers [1]
– Ending of theme extended [1]; played in (chromatically rising)
octaves [1]
– (Orchestral) violins take over the demisemiquaver figuration/solo violin
part [1]
– Tutti chord (at cadence point of extended theme) [1]
• Passage of dialogue between orchestra and solo violin [1]
– Features rising sequence [1], sequence [12] pedal [12]
– (Violin accompanied by) pizzicato strings [1]; (very light) woodwind [12]
• Orchestral theme again (extended) by solo violin [1]
– By means of rising sequence [1] sequence [12]
– Pizzicato string accompaniment [1]; imitative entries [1]
– (Orchestral) violins take over demisemiquaver figuration again [1] [6] 6

ASP31S7 3
5 Handel, Chandos Anthem No. 10, The Lord is My Light and My Salvation AVAILABLE
MARKS

(a) [1] each for any two of the following points:

• Sung by SATB/mixed voice/full choir
• Homophonic setting; syllabic
• Trill on “but”, trill [12]
• Accompanied by string orchestra [1], orchestra [12]
• Line 1 modulates; to dominant; with perfect cadence
• Line 2 modulates; to (relative) minor; with imperfect cadence
• Silent pauses; accurate comment on phrase structure
• Major tonality [1] [2]

(b) [1] for the following points up to a maximum of three for each part
of the question:
• “Trembled”
– Trill-like figuration for voices and instruments/melisma
– Repeated notes for instruments
– Use of crescendo [3]
• “Lightnings”
– Sudden loud/accents/abrupt, short setting
– Full choir, in contrast to male voices only/female voice added
– Comment on melodic contour [3]
• “Thunder”
– Long passage [12]
– Male voices/use of lower pitch
– Doubled by instruments
– Melismatic
– descending [12] sequence [12]
• “And destroyed them”
– loud
– full choir/female voices added
– homophonic; syllabic
– abrupt followed by silence [3]

(c) Baroque [1] 12

6 Schubert, String Quartet in C, No. 4, second movement, bars 1–20

(a)

[4]

(b) G major/tonic; imperfect; I–V; Ic–V [2]

ASP31S7 4
 (c) [1] each for any two of the following: Bars 8, 9, 10 [2] AVAILABLE
MARKS

(d) [1] each for any four of the following points:

• Repetition [12] of opening bars
• Alteration of melody
• Ornamentation; turns; semiquavers; added to first violin part
• Alteration of harmony
• Perfect cadence at end; suspension
• Ends in tonic key
• Accurate comment on cello part
• Modulation [12] to minor [12] [4]

(e) String quartet [1] 13

7 Ashman/Menken, Grow for Me from Little Shop of Horrors, final sections

(a) Lines 1 and 2; Lines 6 and 7 [2]

(b) quadruple/44/128 [1]

(c) Diminished seventh [1]

(d) [1] each for any six of the following points:

• Line 9 begins with full accompaniment; high wailing effect/sound;
wordless harmony/voice
• “Please” set to sustained note
• Repeated/broken “oh, oh, oh”; instruments double voices
• “Grow for me” sung unaccompanied; diminuendo on “me”
• Instrumental ending:
– (Tonic) pedal on piano and bass [12]; quaver bass
– Strings: series of rising [12] major chords; first chromatically; then
diatonically
– Piano [12] tremolo; cymbal roll [12], clashes [12]
– Chords change more often; re-establishment of beat; off-beat
drums [12]
– Triplet rhythm towards end of scale; homophonic
– Ends with loud, sustained tonic chord
– Crescendo
– Final instrumental flourish
– Final ritardando [6] 10

Total 60

ASP31S7 5
1 This is the Northern Ireland Council for the Curriculum, Examinations and Assessment
General Certificate of Education, Advanced Subsidiary Level Music June 2007
Assessment Unit AS 3 Part 1, Test of Aural Perception.

Now look at Question 1.

Pause 15 seconds

Here is the music for Question 1. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds

2 Now look at Question 2.

Pause 15 seconds

Here is the music for Question 2. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds

ASP31S7 6
3 Now look at Question 3.

Pause 15 seconds

Here is the music for Question 3. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds

4 Now look at Question 4.

Pause 15 seconds

Here is the music for Question 4. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds

ASP31S7 7
5 Now look at Question 5.

Pause 30 seconds

Here is the music for Question 5. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds

6 Now look at Question 6.

Pause 30 seconds

Here is the music for Question 6. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds

ASP31S7 8
7 Now look at Question 7.

Pause 30 seconds

Here is the music for Question 7. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and final time, after which you will be allowed five minutes to check
your answers before the examination ends.

Pause 5 minutes

This is the end of the recording.

ASP31S7 9
 ADVANCED SUBSIDIARY (AS)
General Certificate of Education
2007

Music
Assessment Unit AS 3: Part 2
Written Examination
assessing
Module 1: Making and Responding
to Music with Understanding
[ASP32]
MONDAY 4 JUNE, AFTERNOON

MARK
SCHEME

ASP32S7P ASP32S

11
CONTEXT FOR MARKING

Each answer should be marked out of 30 marks distributed between the two criteria as follows:

Criterion 1 – content focused

knowledge and understanding of the area of study applied to the context of the question (27 marks); and

Criterion 2 – quality of written communication

structure and presentation of ideas, including quality of language and appropriate musical vocabulary
(3 marks).

The criteria have been set out in a way which will not discriminate against candidates who may have a
high level of musical knowledge and understanding, but whose essay-writing skills may be of a lesser
standard.

MARKING PROCESS

Knowledge and Understanding of the Area of Study Applied to the Context of the Question

Marks should be awarded according to the mark bands stated below.

Marks

[1]–[6] An answer which is limited by insufficient breadth of knowledge. The answer may contain
irrelevant or incorrect detail in relation to the question.

[7]–[13] An answer which displays some breadth, but limited depth of knowledge and understanding
of the area of study. There is some attempt to relate the content of the answer to the context
of the question.

[14]–[20] An answer which displays breadth and some depth of knowledge and understanding of
the area of study and ability to include some musical examples to support and exemplify
comments. The content of the answer will generally be related to the demands of the
question.

[21]–[27] An answer which displays a competent grasp of the area of study in terms of both breadth
and depth. There will be evidence of the candidate’s ability to relate the music to its
historical, social and/or cultural context and to provide appropriate musical examples to
support points made or positions taken. Knowledge and understanding will be applied to
and set within the context of the question.

ASP32S7 12
Marks should be awarded also for the candidate’s ability to communicate effectively in written format.
Each answer should be awarded up to three marks according to the following criterion:

Structure and Presentation of Ideas, Including Quality of Language and Appropriate Musical
Vocabulary

Marks should be awarded according to the mark bands stated below

Marks

[1] There is little evidence of attention paid to structure and presentation of ideas or to the
quality of language, including spelling, punctuation, grammar or the use of appropriate
musical vocabulary. Alternatively, there may be inconsistency within and/or across any of
the areas.

[2] Ideas and/or arguments are expressed clearly and with correct use of spelling, punctuation,
grammar and appropriate musical vocabulary. The answer may not be wholly satisfactory
in terms of structure and/or presentation.

[3] Comments, ideas and arguments will be well-structured and presented. The standard of
English will be good and include an appropriate and accurate musical vocabulary.

ASP32S7 13
 (Answer one question) AVAILABLE
MARKS

Compulsory area of study: The Concerto (approximately 1700–1897)

1 (a) Comment on different types of concerto composed during the Baroque period.
Illustrate your answer by referring to works you have studied.

Answers may comment on:

Concerto grosso
• Features solo group (concertino) and larger orchestral group (ripieno)
(e.g. works by Corelli, Handel and J.S. Bach)
• Concertino heard in alternation, contrast and combination with ripieno
• Initially in several movements, similar to the contemporary sonata or
suite (e.g. works by Corelli and Handel)
• Later in three movements (Vivaldi and J.S. Bach)
• Binary, ternary, through-composed and ritornello structures used for
individual movements

Solo concerto (e.g. works by Torelli, Handel, Vivaldi and J.S. Bach)
• Features solo instrument and orchestra
• Solo instrument heard in alternation, contrast and combination with
orchestra
• Increasing virtuosity of solo parts
• Some use of the cadenza as a vehicle for solo display (e.g. some
concertos by Handel and Vivaldi)
• Eventual common use of three-movement structure
• Frequent use of ritornello form, with modulatory solo episodes, for
outer movements
• Contrasting second movement, often with reduced orchestral scoring

Orchestral/Ripieno concerto
• Features orchestral ensemble only, without soloist(s)
• Contrasts passages for tutti (full ensemble) with passages for a smaller
subgroup, either constant or variable in composition
• Structured as solo concerto, with ritornello form used for outer
movements
• Examples by Vivaldi, J.S. Bach (including Brandenburg Concertos
Nos. 3 and 6) and Handel [27]

Quality of written communication [3] 30

ASP32S7 14
 (b) Identify the main musical characteristics of the concerto genre between AVAILABLE
MARKS
1700 and 1897. Illustrate your answer by referring to works you have studied.

Answers may refer to:

Scoring for soloist(s) and orchestra

• Contrast between soloist(s) and orchestra
– E.g. contrast between concertino and ripieno textures in Corelli’s
concerti grossi, or more dramatic contrast between soloist and
orchestra in Romantic concertos such as Tchaikovsky’s first piano
concerto
• Dialogue between soloist(s) and orchestra
– E.g. exchange of thematic material between soloist and orchestra in
Beethoven’s concertos

Element of display on part of soloist(s)

• Considerable level of virtuosity generally demanded of soloist(s),
although this tended to increase during the course of the period
• Cadenza as a vehicle for solo display, e.g.:
– Improvised cadenza of Classical period
– Notated Romantic cadenzas
– Concertos with frequent cadenza-like passages throughout (e.g.
Liszt’s second piano concerto)
• Concerto has always been an important part of repertoire for virtuoso
players
– Role of performers in advising concerto composers on matters of
technique

Structure in a number of movements

• Three-movement-fast-slow-fast structure remained popular from the
Baroque period onwards (although earlier Baroque composers such as
Corelli used more movements and some Romantic composers used
other formats)
• Use of ritornello and sonata forms for fast movements
• Binary, ternary and other frequently-used forms [27]

Quality of written communication [3] 30

ASP32S7 15
 (Answer one question) AVAILABLE
MARKS

Optional area of study: Oratorio

2 (a) Choose three oratorios, each composed during a different period. Comment
on the musical style and features of each oratorio.

Answers may comment on:

• Nature of libretto and subject matter

• Overall structure, i.e. in a number of parts or acts
• Vocal forces, e.g. SATB chorus, four soloists
• Chorus
– Function, e.g. providing narration or commentary or playing a part
in the dramatic action
– Nature of choral writing, i.e. textures etc.
– Specific movements
• Recitative
– Types used, e.g. secco and accompagnato/stromentato
– Specific movements
• Arias and ensembles
– Forms, e.g. da capo aria
– Specific movements
• Orchestral forces
– Specific movements, e.g. overture, interludes
• Word painting, musical symbolism etc.
• Inclusion of popular elements, e.g. chorales or spirituals
• Use of leitmotif
• General musical style
• Links with operatic style of the period [27]

Quality of written communication [3] 30

(b) Comment on the use of word-painting in oratorios you have studied.

Answers may comment on word-painting by such means as:

• Melodic contour, e.g.:

– Rising or falling contours
– Stepwise or leaping contours (e.g. angular melodic contour for the
line “Thou shalt dash them in pieces” in Handel’s Messiah)
– Use of high or low notes
– Use of sequence
• Rhythmic devices, e.g.:
– Metre
– Note length (e.g. violin demisemiquavers depicting the plague of
flies in Handel’s Israel in Egypt)
– Use of dotted rhythms
– Syncopation
• Tonality, e.g.:
– Use of major or minor keys
– Modal passages

ASP32S7 16
 • Harmonic devices, e.g.: AVAILABLE
MARKS
– Use of major or minor chords
– Use of consonance or dissonance (e.g. expressive use of dissonance
in Haydn’s The Creation)
• Vocal timbre and techniques, e.g.:
– Choice of vocal resources
– Ornamentation, such as trills
• Textural techniques, e.g.:
– Unison, homophonic or polyphonic passages or movements
– Use of imitation
– Use of antiphony (e.g. in Lift Up your Heads, O ye Gates from
Messiah)
• Use of dynamics (e.g. the fortissimo C major chord on “And there was
light” in The Creation) [27]

Quality of written communication [3] 30

ASP32S7 17
Optional area of study: The Evolution of Jazz (approximately 1890–1929) AVAILABLE
MARKS

3 (a) Comment on blues features in jazz of the period up to 1929. Illustrate your
answer by referring to specific recordings.

Answers may refer to:

Musical structures
• Use of the blues scale, modality (e.g. flattened thirds in King Oliver’s
three-chorus solo in Dippermouth Blues)
• Twelve-bar blues form (used in numerous jazz standards, e.g. the work
of Jelly Roll Morton; less common in big-band jazz)
– Strophic structures
– Chordal substitutions sometimes made
– Some tunes, such as King Oliver’s Riverside Blues, use more than
one twelve-bar sequence
• Call and response techniques, sense of dialogue
• Structural “open-endedness”: the feeling that a piece has no set number
of verses and could go on forever

Performance practices
• Use of improvisation, a fundamental element of the blues (e.g. collective
improvisation in New Orleans jazz; later examples of solo improvisation
by Louis Armstrong etc.)
• Use of vocalised tone (e.g. Franklin Street Blues, recorded by Louis
Dumaine’s Jazzola Eight)
– Bent notes and blue notes transferred to wind and brass instruments
(e.g. Johnny Dodd’s piercing blue notes on Lonesome Blues)
– Vocal timbre and rasp mimicked on trumpet and trombone,
including use of mutes (e.g. King Oliver’s solo on Dippermouth
Blues, Bubber Miley’s growl technique on Creole Love Call)
• Emotional intensity [27]

Quality of written communication [3] 30

(b) Comment on ways in which jazz changed and developed during the period up
to 1929. Illustrate your answer by referring to specific recordings.

Answers may refer to:

Changing instrumental line-ups:

• Small New Orleans ensembles (e.g. the Original Dixieland Jazz Band)
• Addition of second cornet (e.g. King Oliver’s Creole Jazz Band)
• Increasing use of saxophone (e.g. Singin’ the Blues by
Frankie Trumbauer and his Orchestra)
• Increasing use of trumpet rather than cornet
• Big bands of ten or more players (e.g. the Fletcher Henderson Orchestra,
Duke Ellington and his Washingtonians)
• Changing roles of rhythm section and front line
`
Role of the voice
• Blues/jazz singers
• Scat singing

ASP32S7 18
 Changing approaches to form: AVAILABLE
MARKS
• Blues-based forms
• Multithematic works based on ragtime forms
• Influence of the popular song

Increasing harmonic sophistication and complexity

Increasing importance of the solo

Improvisation style:
• Original collective improvisation based closely on the orginal tune or
harmony (e.g. ensemble choruses in Dippermouth Blues)
• Increasing rhythmic and melodic freedom (e.g. solos by Louis Armstrong
in West End Blues)
• Increasing independence from the original tune

Changes in playing style

• Development of technique in specific instruments (e.g. developments in
piano style by James P Johnson, Earl Hines, Duke Ellington)
• Use of special effects, e.g. jungle style

Growing emphasis on written arrangements

Growing importance of the jazz composer (e.g. Jelly Roll Morton,
Duke Ellington)
Influence of recording [27]

Quality of written communication [3] 30

ASP32S7 19
Optional area of study: Folk Traditions of Ireland and Scotland AVAILABLE
MARKS

4 (a) Comment on characteristic features of melody, rhythm and structure in Irish

folk music. Illustrate your answer by referring to specific examples.

Answers may refer to:

Melody
• Use of modes (Ionian, Mixolydian, Dorian and then Aeolian are most
frequently used)
• Popular keys (with one or two sharps)
• Inflection of notes (use in both sharpened and unsharpened forms;
particularly on the seventh and fourth degrees of the scale)
• Predominance of particular melodic motifs
• Ornamentation as an element of melody; types of ornamentation peculiar
to specific instrumental or vocal styles
• Limited pitch range of melody

Rhythm
• Common metres for songs (3/4, 4/4 and 6/8)
• Common metres and rhythm patterns for instrumental dances, including
reel, jigs and hornpipe
• Rhythmic effects created by percussion instruments, e.g. bodhrán
• Use of rubato in slow airs and in the sean-nós style

Structure
• Song structures, e.g. AABA for Gaelic airs and ABBA for English
language songs
• Dance music structures
– Generally two parts of equal length (eight bars for most dance types)
– Lower pitched “tune” followed by higher pitched “turn”
– Each part usually played twice, often with variation [27]

Quality of written communication [3] 30

(b) Comment on the use of ornamentation as a feature of the folk music traditions
of Ireland and Scotland. Illustrate your answer by referring to specific
examples.

Answers may refer to:

• Use of ornamentation as a vehicle for individual expression and
personalisation of a song
• Types of ornamentation appropriate to particular instruments or vocal
styles
• Regional variation in use of ornamentation

Ireland
• Grace notes, single and double (including pat, tip and cut)
• Triplet: upwards or downwards run of three grace notes
• Roll, long and short
• Slide (fiddle, voice)
• Double stopping (fiddle)
• Treble: long note divided into three shorter notes (especially fiddle)
• Pop: stressing a note by lifting the chanter from the knee (uilleann pipes)
ASP32S7 20
 • Crann: staccato effect on chanter’s low D (uilleann pipes) in alteration AVAILABLE
MARKS
with different grace notes
• Run: filling in of intervals
• Variation as a form of ornamentation
• Use of rubato in solo performance

Scotland
• “Movements”: ripples of notes of increasing complexity used to vary
pìobaireachd (Highland bagpipe)
• Grace notes
• Highly ornamented singing style of travellers [27]

Quality of written communication [3] 30

Total 60

ASP32S7 21