Professional Documents
Culture Documents
Name:
Teacher:
Congratulations!
You have completed your GCSE’s and now you’re embarking on an even more exciting and challenging
journey into the depths of A level Music!
You’ll find yourselves stuck at some times when composing, listening, performing or writing your essays –
but do not worry! Ask your teachers for help when you need it- don’t struggle alone!
If you use this book as instructed, research and read around your set works and other units, listen carefully
to your teachers’ advice, you will hit your target grade or above. We hope you enjoy the course as much as
we do – we’re looking forward to teaching you for two years.
Good luck!
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Contents
Content Sub sections Page
number
1. What exams to expect 4
2. Important Dates 5
3. Feedback from Tests 6-9
4. Specification Content 11-22
Component 1: Appraisal 11-13
Component 2: Performance 14-19
inc. Performing log
Component 3 : Composition 20-22
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1. What Exams to Expect
As part of your A level you will be expected to develop the following skills:
Theoretical understanding
Listening
Writing essays about music
Composing
Performing
A Level Examinations
Component 1 2 hours 30 minutes written examination
Appraising Music (40% of A Level: 120 marks)
4
2. Important Dates
Minimum target grade:
Type of Specific content Date Raw Mark % Grade
Assignment
Theory test
Performance
deadline
Composition
deadline
Year 12 Set work 1
tests and essays
2
3
4
5
6
7
8
9
10
Year 12 Mock Past Paper 1
Listening Papers Past Paper 2
Past Paper 3
Mock
Year 12 Mock Exam Section A: Listening – 56 marks
Section B: Analysis – 34 marks
Section C: Essay – 30 marks
Year 13 Set work 1
tests and essays
2
3
4
5
6
7
8
9
10
Year 13 Mock Past Paper 1
Listening Papers Past Paper 2
Past Paper 3
Mock
A level External Section A: Listening – 56 marks
exam Section B: Analysis – 34 marks
Section C: Essay – 30 marks
5
3. Feedback from Tests
After each test or essay, your teacher will give you written or verbal feedback, you must make a note of it
here. The premise is that you will act on this feedback. We may check your actions on feedback at any
time.
6
7
8
9
4. Specification Content and Criteria
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Component 1: Appraisal (Set Works and Listening Paper)
Assessment will be by written paper with some questions using Strand C (The piano music of Chopin, Brahms and Grieg):
a CD of musical excerpts. The examination paper will be marked - Chopin – Ballade no.2 in F major op.38
by AQA examiners. The question paper will have three sections. - Chopin – Nocturne in E minor op/72 no.1
- Brahms – Intermezzo in A major op.118 no.2
Section A: Listening – 56 marks (65mins) - Brahms – Ballade in G minor op.118 no.3
- Grieg – Norwegian march op.54 no.2
Students must be able to listen attentively to unfamiliar music, - Grieg – Notturno op.54 no.4
from all the named artists in each of the three Western classical
strands and the jazz and musical areas, to identify and accurately Section C: Essay [Jazz and Musical Theatre] – 30 marks (45mins)
describe musical elements and use musical language (including One essay question will be set on one of these topics.
staff notation, for tasks such as dictation). For three of the named artists from jazz and musical theatre
You will need to answer one set of questions linked to AOS1: strands, students must also be able to critically appraise music
Western classical, including aural dictation, one set of questions using knowledge and understanding of:
on jazz and another set on musicals. Students have a CD each How the artists’/ composers’ use of musical elements
and can control number of playings. for at least two published works reflects the style of
the genre and their purpose and intentions for the
Section B: Analysis [Western Classical Music]–34 marks (40mins) work
How the style of the artists’/ composers’ music has
For two of the strands, students must also be able to critically varied over time through comparison of published
appraise music through analysing excerpts from the set works works
using knowledge and understanding of: Musical vocabulary and terminology relevant to the
The effect of audience, time and place on how the set work and Area of study.
works were created, developed and performed
How and why the music across the selected strand is Named artists:
different
How the composer’s purpose and intention for the set AOS4: Music for Theatre
works is reflected in their use of musical elements - Kurt Weill
Relevant musical vocabulary and terminology for the - Richard Rogers
set works - Stephen Sondheim
The complex interdependencies between musical - Claude-Michel Schönberg
elements - Jason Robert Brown
The sophisticated connections between music and its
context. AOS5: Jazz
Here you will answer two sets of questions – both short and long - Louis Armstrong
answers on two extracts from the set works and a further two - Duke Ellington
sets of questions from the two selected strands. Scores of the - Charlie Parker
extracts will be included. - Miles Davis
- Pat Metheny
Set works: - Gwilym Simcock
Strand A (Baroque solo concerto): BOTH SECTION B AND SECTION C MUST BE WRITTEN IN PROSE.
- Purcell – Sonata for trumpet and strings in D major Z.850
- Vivaldi – Flute concerto in D Il Gardellino op.10 no.3 RV428 Study for all three sections will involve listening to music from
- Bach – Violin concerto in A minor BWV1041 within the two AoS, study of scores and gaining an awareness
of the context in which the music was composed.
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Musical Elements you will need for your written exam:
Element Type Element
Melody Contour – ascending, descending, stepwise, conjunct, disjunct, scalic, triadic and arpeggio, angular
Intervals, including compound intervals
Phrase length – equal, unequal and balance
Ornaments – trill, mordent, turn, acciaccatura and appoggiatura
Passing notes – accented, unaccented and chromatic
Auxiliary notes – upper, lower and chromatic
Note of anticipation
Echappée note
Portamento
Melodic devices – sequence, motif, fragmentation, repetition, intervallic augmentation and
diminution.
Pitch bend, slide, glissando, smear, spill/ fall-off, rip
Melisma, syllabic
leitmotif
Harmony Consonant and dissonant
Diatonic – primary and secondary triads, dominant 7th and all inversions
Chromatic – diminished 7th, secondary dominant 7th, substitution chords (borrowing from opposite
mode), chord of the Neapolitan, Neapolitan 6th and augmented 6th chords (Italian, German, French)
Cadences – perfect, imperfect, interrupted, plagal, half close, Phrygian and tierce de Picardie
Circle of 5ths progression, harmonic sequence
Pedal notes – tonic, dominant, inverted and inner
Suspensions (4-3, 7-6, 9-8 and bass), preparation and resolution
Cadential 6/4
Power chords, sus 4th chords
Chord extensions – secondary 7th, 9th, 11th, 13th, added 2nd, 6th , sus 4th
Chord symbols eg C/E, C7, Cø and C+.
Substitution (especially triton substitution)
Commonly used jazz harmony symbols
Turn-around
Tonality Major, minor, and their key signatures
Modulation to dominant, subdominant, and their relatives, also to tonic minor, relative minor and
tertiary keys
Enharmonic keys
Modality
Blue notes
Blues scale
Diminished (octatonic) scale
Knowledge of specific modes for modal jazz
Structure Binary, rounded binary and ternary
Ritornello and episode
Sonata form
Through-composed
Introduction and coda/ outro
Recitative and aria
Foursquare
Antecedent and consequent phrases
Ostinato
Bridge/ instrumental/ middle 8
Verse/ chorus
12 bar blues
Song form/ standard form
Head
Fours
break
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Sonority Standard orchestral and vocal types
Basso continuo
(Timbre)
Pizzicato, arco, col legno, con sordino, sul ponticello, sul tasto and double stopping
Sotto voce, vibrato
Una corda, pedalling
Studio/ technological effects eg reverb
Standard contemporary instrumental types eg electric guitar, synthesisers
Vocal timbres eg falsetto, belt, rap
Specific instrumental techniques eg slap bass, tremolo, growl/ talking trumpet, rim shot
Harmon mute, wah-wah mute
Ghosted notes
Standard big band instruments
Texture Solo, monophonic, unison, octaves, parallel 3rds
Melody and accompaniment, homophonic, chordal
Polyphonic, contrapuntal, imitative, fugal
Antiphonal
Trio sonata texture
Polarised
Countermelody, descant
Canon
A capella
Colla voce
heterophonic
Tempo, metre Simple and compound time
Common Italian tempo terms including ritenuto, rallentando and accelerando
and rhythm
Rubato, pause
Syncopation, hemiola, cross-rhythm, motor-rhythm
Bpm (beats per minute)
Mm (metronome marking)
Irregular metre
Swing and straight rhythm
Push and drag
Double time
Ametrical
Stop time
Riff
Dynamics/ Common Italian dynamic terms including sfz and fp
Accent, tenuto, staccato, marcato, legato
articulation
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Component 2: A level Performance- Content
Students will be assessed on how they interpret musical ideas through performing, with technical and expressive control and an
understanding of style and context.
Candidates must offer a minimum of 10 minutes (less than this will result in a mark of 0) of performances chosen from the following:
Recordings will take place between 1st March and Easter holidays in Year 13. This unit will be externally assessed and externally
moderated.
For each performance, candidates may submit a single piece or a programme of shorter pieces.
Candidates must submit a score with the recording of their performance and a Candidate Record Form (CRF).
Instrumental/ vocal grades refer to nationally recognised accredited music grades.
Ambition of project
Mark Instrumental/ Vocal Production
5 The chosen programme will make high musical and technical demands.
The standard expected will be greater than grade seven or its The chosen programme will demonstrate a highly
equivalent and will demonstrate considerable expressive variety complex texture and considerable expressive variety.
across the programme.
4 The chosen programme will make a substantial range of musical and/ or technical demands.
The standard expected will equate to grade seven or its equivalent The chosen programme will demonstrate complex
with expressive variety across the programme or greater than grade texture and expressive variety.
seven or its equivalent without expressive variety.
3 The chosen programme will make a reasonable range of musical and/ or technical demands.
The standard expected will equate to grade six or its equivalent with The chosen programme will demonstrate moderately
expressive variety across the programme or equate to grade seven or complex texture and some degree of expressive
its equivalent without expressive variety. variety.
2 The chosen programme will make a range of musical and/ or technical demands.
The standard expected will equate to grade six or its equivalent The chosen programme will feature relatively simple
without expressive variety. texture and demonstrate little or no expressive
variety.
1 The chosen programme will make some musical or technical demands upon the student.
The standard expected will equate to grade five or its equivalent with The chosen programme will demonstrate
expressive variety across the programme. rudimentary texture and basic skills.
0 No work submitted or not worthy of credit.
Technical Control
Mark Instrumental/ Vocal Production
13-15 At the top of the band there will be no discernible flaws and Excellent accuracy if pitch and control of all
pitch/ intonation will be completely secure rhythmic elements to produce a musically
Towards the bottom of the band inaccuracies will be limited to satisfying recording
small but noticeable errors Detailed and musically effective articulation and
A performance which is entirely fluent and rhythmically secure, phrasing
without any hesitations Well considered choice and placement of
The techniques demanded are fully mastered with a mature tone microphones which have produced clear, clean
quality across the whole range. capture for all tracks with no noise or distortion.
14
10-12 A performance which is generally accurate in pitch and security of A few minor slips which do not inhibit the overall
intonation musicality or fluency of the recording
Rhythmically stable with only a few small errors not affecting the Close attention to all performance detail with
overall fluency effective articulation and phrasing
Tone production is generally good but the quality suffers at the Appropriate choice and placement of
extremities of the pitch range, or at moments of technical microphones, a few tracks have occasional
difficulty, or is uneven between registers clipping or a slight noise.
Techniques demanded by the music are met.
7-9 A performance which is achieves consistency of pitch overall with Slips in pitch and rhythm become increasingly
reasonably secure intonation frequent interrupting the fluency of the
Weaknesses of rhythm or pulse may be evident recording
Evidence of good tone quality over most of the pitch range but Generally effective articulation and phrasing
with occasional weaknesses Largely appropriate choice and placement of
In general techniques demands are met but there will be microphones, however some tracks are not
evidence of loss of integrity. captured cleanly.
4-6 A performance in which the basic outline of the music is More significant errors in pitch and rhythm
appreciable but either errors of pitch are significant and affecting the overall sense of ensemble
intonation may be consistently flat or sharp or rhythmic problems Some attempts, which are not always successful,
are sufficient enough to interrupt the flow. to create articulation and phrasing
Tone produced is inhibited, with only some technical demands Some appropriate choice of microphones but not
being met. all placement is appropriate
There is likely to be some intrusive noise or
distortion.
1-3 A performance which achieves limited consistency of pitch and Significant lapses in the accuracy of pitch and
rhythm or fluency rhythm resulting in an unmusical performance
Accuracy is only evident in the more straightforward passages Mechanical with limited attention to articulation
Intonation is rarely secure and is inconsistent and phrasing
Technique and tone production are problematic. Poor microphone choice and placement results
in a noisy and problematic recording.
0 No work submitted or worthy of credit.
Expressive control
Mark Instrumental/ Vocal Production
13-15 A highly musical performance in which tempo is entirely well-chosen timbres which have been
appropriate throughout appropriately edited
The composer’s expressive and performance directions have been excellent management of dynamics in ways
fully observed resulting in accurate, effective and broad-ranging completely appropriate to the music
dynamics, phrasing and articulation dynamic shaping appropriately used
subtlety and control will be a feature at the top of the band compressions and EQ have been used
appropriately to good effect
10-12 musical performance in which the main chosen tempi are appropriate choice of timbres but without
appropriate, but there are one or two misjudged moments further editing
the majority of the composer’s expressive and performance good overall dynamic contrast but lacks some
directions have been carefully observed shaping
dynamics, phrasing and articulation are successfully varied and some occasional miscalculations of over or under
mostly effective use of compression so tracks do not sit well in
the mix
there are some slight errors in the use of EQ.
7-9 a performance in which the main chosen tempi are slightly The majority of chosen timbres are appropriate
misjudged and the performance mechanical on occasion Some misjudgements with dynamic contrast and
the composer’s expressive and performance directions have been shaping
largely observed and phrases are generally well shaped There are some occasional intrusive
articulation and dynamics are mostly accurate, if rather bland. misjudgements with the use of compression and
more frequent errors in the application of EQ.
4-6 A performance in which the main chosen tempi are generally Partially successful choice of timbres
misjudged and the performance is very mechanical Sections where attempts to create dynamic
There is a basic control of phrasing, articulation and dynamics; contrast and/ or the dynamic processing is
these are often misjudged misjudged and EQ has been applied
inconsistently.
15
1-3 The main chosen tempi are inappropriate Chosen timbres are largely inappropriate
There is little or no application of dynamics, phrasing and Limited dynamic contrasts
articulation. A mechanical or unmusical result
Limited or no use of dynamic processing and EQ.
0 No work submitted or worthy of credit.
Performance Quality
Mark Instrumental/ Vocal Production
13-15 An engaging and commanding performance in which the student Complete awareness of the stylistic
demonstrates total involvement in the music with real flair requirements of the music including musical
A mature and sensitive understanding of both period and style is shaping
evident; communicated through an assured, convincing and well- Excellent sense of balance and effectively
projected performance. blended throughout the recording
Musically appropriate use of the stereo field
Excellent and judicious use of stylistically
appropriate effects.
10-12 Performance which is mostly commanding and convincing A consistent sense of style with attention to
There is clear commitment and the performance is mostly musical detail
assured Most tracks are well balanced and blended with
A good sense of style is evident but there is lack of individual flair. some minor slips
Effective placement in the stereo field
Well controlled use of appropriate effects.
7-9 A performance which demonstrates some level of commitment Broadly successful creation of the required style
but lack an overall assurance More frequent miscalculations as to balance and
There is still an overall sense of conviction blend
The style of the music is appropriate with a clear sense of Largely effective use of the stereo field but with
character some misjudgements
Occasional miscalculations as to the use of
effects.
4-6 A performance which lacks conviction and commitment on Some sense of the required style but achieved
occasions inconsistently
There is limited sensitivity to the demands of the music although There are also inconsistencies in balance and
there is a general understanding of the overall character. blend with key tracks or features obscured
Largely inappropriate use of the stereo field
Inconsistency in the application of effects.
1-3 A performance which is limited in conviction and displays Limited sense of style with little attention to
rudimentary sensitivity to the style of the music musical detail
There is a limited sense of assurance leading to an anxious Poorly balanced resulting in a misjudged final
experience for performer and listener. product
Little or no use of the stereo field
Inappropriate use of effects.
0 No work submitted or worthy of credit.
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A level Performance feedback and log
Here is a space for you and your teacher to make comments on the progress of your solo/
ensemble or production performances:
17
18
19
Component 3: Creating Musical Ideas (Composition): Content
Composition is externally marked by AQA out of 50.
Each student must compose two pieces. One composition must be in response to an externally set brief and the
other composition is freely composed by the student.
Together the compositions must last a combined minimum time of four and a half minutes. Compositions not
meeting this time will be awarded 0 marks.
All compositions must be recorded (this includes mp3 exports from Sibelius) and the candidate name and number
must be spoken by the candidate at the start of each recording. Each candidate must provide written evidence in
the form of a programme note (approx. 150 words) to support their composition, as well as a completed CRF and
score.
You must complete your composition whilst being supervised by your teacher.
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Composition 2: Free Composition
22
5.
THEORY CONTENT FOR A LEVEL MUSIC
1: Texture p.31-34
2: Instruments and the Score p.35-42
3: Rhythm p.43
4: Harmony p.44-47
5: Tonality p.48-50
6: Melody p.51-54
7: Form and Structure p.55-56
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Pre-A level Theory Content
Notes of the treble clef, bass clef, tenor clef and alto clef.
TREBLE CLEF:
BASS CLEF:
Accidentals
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Intervals
C# D# F# G# A#
Db Eb Gb Ab Bb
b. Intervals
In a major key:
Major 2nd
Major 3rd
Perfect 4th
Perfect 5th
Major 6th
Major 7th
Perfect 8ve
Compound intervals are those where you go beyond an octave. For example; a 9th becomes compound major 2nd.
C-D major 2nd, or major 9th when over an octave = compound major 2nd
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Major keys and key signatures
SHARPS: Go to the last sharp and go up a step in the alphabet to find the key eg:
C major F major
Basic signs and symbols Start repeat, go back to repeat mark. Ist time bar, 2nd time bar, DS-go back to the sign.
26
MINOR KEYS. Every major has a relative minor which shares the same key signature. To find the relative minor go
DOWN a minor 3rd (3 semitones):
B♭ F major D minor
C major A minor
F♯ G major E minor
Metre
Simple time – 4/4, 3/4, 2/4
Compound – 3/8, 6/8, 9/8, 12/8
Regular - above
Irregular – 7/8, 5/4 etc.
BPM – beats per minute
Metrone markings – You should know the typical MM/ BPM for each tempo marking.
Dynamics – volume
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Tempo
Directions
Techniques
29
Degrees of the Scale:
1 Tonic
2 Supertonic
3 Mediant
4 Subdominant
5 Dominant
6 Submediant
7 Leading note
8 Tonic
You should learn the above theory, or revisit it from GCSE, over the summer before your A
level begins.
You will be expected to revise this throughout the year, along with the further theory
knowledge below.
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A LEVEL MUSIC THEORY
1. TEXTURE
TEXTURE is the word that describes the relationship between the music going on in different parts at the same time.
Are they playing the same? Is one playing chords whilst the other plays a tune? Is there a call and response between
two instruments? Most composers use a wide variety of textures, changing sometimes every few bars.
THE ‘ONICS’ These words describe overall common textures and you must learn them.
Try to remember to say how many different parts are going on at the same time, e.g. three part Counterpoint.
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ANTIPHONY/ ANTIPHONAL WRITING
A group of instruments play the first two bars
then another group take over. It’s a bit like ‘call
and response’
PEDAL NOTES
Other textures:
A CAPELLA – Unaccompanied voices. E.g. ‘Homeless’, Ladysmith Black Mombaza.
TRIO SONATA TEXTURE – two melodic instruments
and basso continuo
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Look at these extracts and complete the descriptions of the texture.
Vln I
Vln II
Vla
Cello
In bars ______ to ______ the lower three parts are playing harmonies.
In bar 3 the two violins play in union for the first ___________ notes, then in
GIGA
Allegro
The ___________________ plays a solo until bar 3, when the ________________ comes in, playing
in ______________________.
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The following piece uses a variety of textures. Can you identify the texture of each numbered phrase?> Try teaming
up with other students to play different phrases in turn and agree on what each texture is. You should find that the
phrases can be played in different orders which will keep everyone on their toes.
Phrases 5 and 6 have the same texture, but can you say how these two phrases are related?
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2. INSTRUMENTS AND THE SCORE
On Spotify: Young Person’s Guide- listen to an instrument one at a time.
Strings:
The strings form the ‘backbone’ of the orchestra – more than half
the members of an orchestra play string instruments. The string
section of a large orchestra may include:
Notice that the violins are divided into two groups: first violins and
second violins. The difference is not the instruments themselves
(which are exactly the same of course) but in the music which
they play – the first violins usually playing higher notes than the
seconds.
Violins, violas, cellos and double basses all produce their sounds in
exactly the same way. Four strings – of gut, metal or nylon – are
stretched across a hollow wooden body. They are fixed to the
tailpiece at one end, then taken across the bridge to the tuning-
pegs. Sometimes the player uses his fingertips to pluck the strings
(called pizzicato) – but the more usual way of causing them to
vibrate is by drawing a bow across them. This is a wooden stick
with more than 200 strands of horsehair stretched tightly along it.
Vocab:
Pizzicato plucking the strings with the fingertips; when
the player is to use the bow again the composer writes
the word arco (bow);
con sordino (with the mute) a comb-like device is
clipped onto the bridge, damping the vibrations to give
a hushed, silvery tone;
tremolo (trembling) an agitated, rather dramatic,
quivering effect, usually consisting of quick repetitions
of a note by making very rapid up-and-down
movements of the bow;
col legno (with the wood) the player turns his bow over
The harp: Although the harp is counted as a string instrument, its and uses the wooden part on the strings instead of the
construction and the way in which it is played set it apart from the horsehair.
other members of the string section. The harp is always plucked. It Sul ponticello with the bow kept near the bridge so as
has 47 strings. Two typical harp ‘effects’ are arpeggios – spreading to bring out the higher harmonics and thereby produce
out the notes of a chord; and the glissando – sweeping the fingers a nasal tone
across the strings. Sul tasto "on the touch" - a direction to string players
to bow over the fingerboard producing a warmer,
mellower sound.
Double stopping the sounding of two strings at once
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Woodwind:
Although instruments of the woodwind section were originally made of wood, nowadays other materials may be
used instead.
Expect for the flute and piccolo, each of these instruments has either a single or double reed. The flute and piccolo –
which are held horizontally rather than straight in front of the player – produce their sounds by what is called ‘edge-
tone’. The player directs a stream of air across an oval-shaped hole. The farther edge of this mouth-hole splits the
stream of air and causes the air column inside the instrument to vibrate and so produce a note.
The clarinet has a single reed – a flat piece of cane shaved to delicate thinness at the end – which fits over an oblong
hole in the mouthpiece. The player’s breath causes the reed to vibrate, which in turn sets the air column vibrating
inside the tube.
The oboe, cor anglais (meaning ‘English horn’, but really a larger kind of oboe), bassoon and double bassoon each
have a double reed – two strips of thin cane bound together, with the ends finely tapered. As the player blows, the
two reeds vibrate against each other (in a similar way to the edges of a folded leaf, held between the thumbs and
blown). The vibrations of a double reed set the air column vibrating inside the instrument.
36
Brass:
Each instrument in the brass section is a length of hollow tubing with a mouthpiece at one end and a flaring ‘bell’ at
the other. Although ‘brass’ is a convenient name for these instruments, they are more likely to be made of mixed
metals nowadays than pure brass.
4 horns
3 trumpets (and occasionally, cornets)
3 trombones (2 tenor, 1 bass or ‘tenor- bass’)
1 tuba
The pitch-range of each instrument depends upon its length of tube. For instance, the tube of the horn is longer than
that of the trumpet, enabling it to sound lower notes.
Percussion:
The percussion section includes those instruments which are struck or shaken, crashed or banged. These
instruments can be divided into two groups. The first group contains pitched, or tuned, percussion – those
instruments which can play one or more notes of definite pitch, and so could possibly play a tune. Included among
these are:
The second group is larger and includes all unpitched, or non-tuned, percussion instruments – those which make
sounds of indefinite pitch, and so can only play rhythms, not tunes. However colourful and exciting these
instruments may sound, they must really be classed as ‘noise-makers’. Included among these are:
Piano: una corda (soft pedal) this pedal shifts the whole action including the keyboard slightly to the right, so that
hammers which normally strike all three of the strings for a note strike only two of them.
Pedalling – to sustain the notes played.
37
Mini assignment:
1. Identify the instruments which are illustrated in the box below. Give the name of the section of the
orchestra to which each instrument belongs:
B
A
C
D
I
H F E
G
A
B
C
D
E
F
G
I
J
2.See how many percussion instruments you can 3.As you listen to the beginning of each of these
identify in these pieces. Afterwards, make 3 lists, pieces, identify the instrument which is featured solo:
entering each instrument according to the vibrating a) Vaughan Williams: The Lark Ascending
material which produces its sounds: skin, metal, b) Mendolssohn: ‘Nocturne’ from A Midsummer
wood. Night’s Dream
a) Fandango Asturiano’ from Spanish Caprice by c) Holst: The Hymn of Jesus
Rimsky-Korsakov d) Bach: ‘Badinerie’ from Orchestral Suite No.2 in B
b) Polka, from The Age of Gold by Shostakovich minor
c) Overture: Tam O’Shanter by Malcolm Arnold e) Sibelius: Symphony No.1 in E minor
f) Musorgsky: ‘Bydlo’ from Pictures at an Exhibition
a) a)
b)
b) c)
d)
c) e)
f)
38
How the Orchestra Grew
The grouping together of various kinds to form an orchestra first came about in the early 1600s. The first orchestras
were haphazard collections of bowed and plucked strings and various types of wind instrument together with a
keyboard instrument such as a harpsichord. Often a composer would include whatever musicians were available to
him at the time, and so the number of players and types of instrument would vary considerably from one
composition to another.
Towards
the end
of the
18th century, the four main types of woodwind instrument
(flute, oboe, the recently invented clarinet, and bassoon) were
combined in pairs to form a self-contained woodwind section.
The harpsichord continuo fell out of use, and instead a pair of
horns helped considerably to bind together the texture of the
music. Often, a pair of trumpets and a pair of kettle drums were
included. For some time, this formation of the orchestra was
accepted as standard. It is often called the ‘Classical orchestra’;
it is precisely this combination of instruments which is required
to play Haydn’s last symphonies, and the early symphonies of
Beethoven and Schubert.
During the 19th century, both size and range of the orchestra
increased enormously. Trombones, which had earlier been
used only in operas and church music, now found a regular
place. The number of horns was increased to four, and the
brass section was finally completed by the addition of the
tuba. This section now took on far greater importance as its
range and flexibility was increased by the invention of the
valve system. Extra woodwind – piccolo, cor anglais, bass
clarinet, and double bassoon – were available, and the choice
of percussion instruments became more varied and excitingly
colourful. It became necessary to increase the number of
string players in order to keep a balance of sound between the
four sections.
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The Orchestral Score
The music on this page shows the opening of the final movement of Tchaikovsky’s Fourth Symphony. This is the first
four bars of the music taken from the conductor’s orchestral score.
The instruments are arranged down the page of an orchestral score according to the four sections of the orchestra.
The order is always: woodwind, brass, percussion, and strings.
Woodwind
Brass
Percussion
Strings
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This score sows the beginning of the second movement of Dvorak’s Symphony No.9 in E minor (‘From the New
World’). Listen to these opening bars, then answer the questions below.
a) Note down the sections of the orchestra represented here. Then below each one, list the English names of
the instruments included.
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Voices
Typical voice types and terms:
Contemporary instruments
A few contemporary instruments and techniques/ effects:
Slap On the double bass, slap bass refers to a percussive style of playing used in rockabilly and psychobilly in
bass which the strings are pulled away from the fingerboard until they snap back onto the fingerboard.
Tremolo a lever on an electric guitar, used to produce a tremolo effect.
Rim shot A percussion technique used to produce an accented snare drum backbeat on the side of the snare drum.
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3. RHYTHM
METRE- means the time signature TRIPLETS- 3 notes played in the time of 2 of them!
ANACRUSIS – an ‘up beat’ eg DOTTED RHYTHMS-
STRONG BEATS AND WEAK BEATS: If the natural accents in a rhythm do NOT coincide
with the natural strong beats, it produces a ‘jazzy’
effect called SYNCOPATION
SWUNG QUAVERS-found in jazz and some pop music HEMIOLA two groups of three beats are replaced by
Pairs of normal quavers are played almost like dotted three groups of two beats, giving the effect of a shift
notes- between triple and duple metre
long short, long short
DIMINUTION AND AUGMENTATION. A composer takes a fragment and repeats it with shorter note values or longer
note values
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4. HARMONY
TRIADS: Three note chords
Triads can be created built on any note of a scale. They are numbered using Roman Numerals:
PRIMARY TRIADS. The most important triads are I IV and V. These are known as the primary Triads. It is possible to
harmonise and tune just using these three chords. Inversions with Roman Numerals:
Major Triad has a major third with a minor third over the top
Minor triad had a minor third with a major third over the top
Diminished has two minor thirds on top of each other
Augmented has two major thirds on top of each other.
Sometimes they are shown as:
C major- C C augmented- C aug or
C minor- Cm C/E – C major with an E in the bass
C diminished- Cdim or C7 – C 7 chord.
In C major
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NEAPOLITAN 6th AUGMENTED 6TH CHORDS
The Neapolitan most commonly occurs in first inversion so
that it is notated either as ♭II6 or N6. In C a Neapolitan
sixth chord in first inversion contains an interval of a minor
sixth between F and D♭.
CADENCES
Pairs of chords played one after the other, usually at the ends of phrases, which create the ‘punctuation’ of music.
THE FULL STOPS: THE COMMAS: One extra cadence -
Perfect V-I (The most IMPERFECT ?-V (The second most PHYRGIAN CADENCE: An imperfect
common cadence) common cadence – also known as a cadence iv6–V in minor. From
Plagal (Amen) IV-! half-close cadence) Baroque era, sounds archaic.
INTERRUPTED V-vi
ADDED NOTE CHORDS: Adds extra notes so you have more than three in a chord.
HARMONIC RHYTHM:
Means the rate at which chords change. In a hymn this is often 1 per beat. In most pop songs it is more likely to be 1
per bar
FUNCTIONAL HARMONY:
This is the way that most composers of the Baroque and Classical period used chords and harmony.
Functional harmony uses chords to clarify the key and to confirm any modulations by:
Using lots of primary triads, mainly in root position
Regular cadences at the end of phrases
Mainly diatonic chords (only contain notes of the key you’re in-see later)
You can use ii7b before V at an imperfect cadence, or before V the I at a perfect cadence.
HARMONIC DEVICES
These are chordal ‘tricks of the trade’.
EXAMPLE 1: THE CADENTIAL 6
4
To understand this you need to know that 6 over 4 is a
way of showing a SECOND INVERSION chord. It means a
particular chord pattern that goes
Ic – V at an imperfect cadence, or
Ic-V-I at a perfect cadence
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CIRCLE OF 5ths. This is a chord progression which moves around the circle
Sometimes the composer uses it to briefly pass through several keys: Play it to see how it works and try to fill in the
next bar to continue the chord sequence
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SUSPENSIONS
Produce a very pleasant momentary dissonance. You need to know about 4 types:
TIERCE DE PICARDIE
This when a piece in a minor key ends on a chord I made into a MAJOR chord
This particular broken chord pattern is called an ALBERTI BASS and was very popular during Mozart’s lifetime:
Arpeggios:
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5: TONALITY
Tonality means KEY
During the course of a piece of music, composers often modulate-they change key.
When thinking about the tonality of a piece we consider the key that the music starts in and which keys it changes
to.
If music modulates it generally goes to a closely related key. How are keys closely related? - they have very similar
key signatures.
For instance, C major has no sharps of flats so it is closely related to G major, which has one sharp. It is only very
distantly related to F# major which contains six sharps.
If the piece starts in a minor key, the closely related keys are:
Piece starts in a minor Subdominant Dominant
key
Relative major Relative major Relative major
How can you tell by looking at the music that it has modulated?
The two big signs
1. Accidentals appear which belong to the new key.
2. A perfect cadence in the new key
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Activity 1:
Identify the starting key (the tonic) and the key it has modulated to.
a.
b.
c.
d.
Research task:
How would you modulate from C to the tonic minor? Find examples of all three.
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Activity 2:
a. Identify the three keys in the following passage by Handel:
*
Notice the chord marked * in the final cadence of this passage. It is chord viib and is used as a substitute for V(7) in
this perfect cadence.
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b. In the above passage, write Ic below the example of a cadential 4
c. Study the modulation in the following passage, which includes a pivot chord indicated by a shade box, and the
complete the sentences below.
This passage begins in the key of and ends in the key of . The pivot chord is chord
in the starting key, and chord in the final key of the passage.
INFO
There are some other scales/ modes which you need to know about beyond major and minor:
For home work research the different modes and compile a list – here’s a clue to get you going…
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6. MELODY
(scalic)
(angular)
A repeat:
(ostinato when the repeat is numerous times
throughout the song)
Phrases- sections of melody, often 2-4 bars long with a ‘breath’ at the end. They are often made
into pairs, called question and answer phrases. The question ends with an imperfect cadence, the
answer ends with a perfect cadence.
This is an equal, balanced phrase. Unequal phrase lengths might consist of phrases of different
lengths within a piece.
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Each individual note has a function depending on how it relates to the chord going on at the same time. Each
function has a specific name:
Echappée note
Identify the melodic function of each of the numbered notes in this melody:
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
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Activity 1
Write ‘PN’ over each (unaccented) passing note in the melody of the following dance, and ‘APN’ above each
accented passing note.
A major: viib Ib vi V I
Activity 2
Label each auxiliary note ‘Aux’ and each passing note ‘PN’ in the piece below.
Activity 3
Write x above each diatonic appoggiatura in the following passage and * above each chromatic appoggiatura. The
key is C minor and the first chromatic appoggiatura has been marked for you.
*
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ORNAMENTS:
Trill
Turn
Appoggiatura
Acciaccatura
Mordent
Here is a short tune littered with trills, turns and mordents. Ask someone to play it to you with some of the
ornaments omitted. Circle those that are actually played.
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7. FORM AND STRUCTURE
Form and structure means the same thing. Both describe the way that new material and repeated ideas are set out
in a composition. All successful pieces have a satisfying balance between REPETITION and CONTRAST. Too much
contrast and a composition will become confusing and hard to make sense of. Too much repetition, on the other
hand, soon gets boring!! Traditionally in music we label ideas using letter names, with A meaning the first section. So
a piece in three sections with the outside two being exactly the same but a different bit in the middle would be ABA
If the second section is almost the same as the first apart from a small change, we would label that A then A1
STROPHIC FORM.
Verse 1 Verse 2 verse 3 etc. Creates AAAA
A very simple song structure. Great for community singing (eg hymns) when everyone needs to be able to join in
quickly, but gets boring rather quickly
eg While Shepherds Watched their Flocks by Night
Sometimes enlivened to verses and chorus so
Verse Chorus Verse Chorus etc =ABABAB etc.
Still quick to learn for community singing but less boring than just AAAA. Eg O Come all ye Faithful-the chorus ‘O
come let us adore him’ repeats after each verse.
Many contemporary pop songs are essentially more or less decorated versions of this, which may include an intro,
an outro, a bridge, middle 8, instrumental or pre-chorus. Try listening to a pop song and labelling the sections.
Another song structure is common in songs from musicals: 32 bar song form. This is arranged as follows:
A 8 bars long
A 8 bars long
B new material 8 bars
A 8 bars long =32 bars in total.
BINARY FORM
simple structure used in classical music
II:A:II:B:II
TERNARY FORM
ABA
RONDO FORM
ABACADA etc
RITORNELLO and EPISODIC/ EPISODE are similar to rondo form, in that the same passage keeps returning.
RECITATIVE/ ARIA are forms most often used in opera. Recitative is usually a connecting passage, or introduction to
an aria which keeps the pace of the story going and fills us in on what is happening in the plot. The voice is often only
accompanied by minimal orchestra and the tempo is often rubato. Arias are the ‘big numbers’ where the main
characters explore their feelings and the time of the plot tends to be suspending for these moments. The full
orchestra is normally used here and the structure will be much more formal – for example da capo aria form.
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MORE COMPLEX STRUCTURE: SONATA FORM
Binary and ternary forms were used extensively in the Baroque when individual movements were quite short. From
1750 onwards compositions became longer and a new more complex structure was needed.
Sonata Form was based on Ternary Form in having three distinct sections
A B A
EXPOSITION DEVELOPMENT RECAPITULATION
The section in which the In ABA form this section If you ‘recap’ something, you
composer’s main ideas are would contain new, go back over it.Here the
first presented to the contrasting ideas composer repeats the
listener. Ie the ideas are BUT in sonata form the Exposition but with two big
exposed/shown composer takes differences. (See below)
ideas/themes from section
A and in this middle
section, ‘plays about with’
them –develops them
There are two main ideas Themes/ideas from the Ist subject in the tonic
here: exposition are played Transition
1st subject in the tonic key about with/disguised and 2nd subject now in the tonic
2nd subject in a new key, treated in a variety of (we’re nearly at the end of the
usually the dominant. different ways, often the piece so we need to be back in
They have a section in music moves through a the home key here!!!)
between called a Transition number of other keys, Bigger ending than the
to get you from the tonic taking us on a journey Exposition, called a CODA
key to the dominant. away from the tonic key.
Then there is a little ending
called a CODETTA to finish
off
The exposition is then
repeated
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6.
Marking criteria,
Specimen questions and
Sample Answers for:
Component 1 (Set Works) (p.58-71)
Guide on how to analyse and express how musical ideas
affect the listener’s emotions – the effect created by the
Music (p.72-73)
Suggested listening list for each area of study (p.74-76)
(it would be useful to listen to all of these and analyse them as unfamiliar pieces,
even in the Areas of study we aren’t studying)
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Component 1 - (Set works – Section B/C) Marking Criteria
Section B (34 marks – 40 mins) Section C (30 marks – 45 mins)
You must answer two questions of the 3, each connected You must choose one question from the available
to a strand from Area of Study 1 (Western Classical music). questions on Area of study 2 – 7. You will only have one
You will be given an extract to listen to and a score for question within each area of study, and you should only
each question. Each question has a number of 1 mark sub- answer from an area of study you have been doing in your
questions and a number of long answer sub-questions – lessons. This is one essay question and must be answered
these must be answered in prose. in prose.
Each long answer question in both sections is marked according to a general fit criteria seen below, and AQA also provide
detailed suggested responses individual to each question. In all Areas of Study the examiners will look for an awareness
of the music – essay writing which convinces them that candidates have heard and understood something of the flavour
of the works they have studied. Examiners will credit musical detail (such as reference to melody, harmony, use of voice/
instruments) and evaluate the answer against the criteria as a best fit.
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Specimen essay questions
Here are some questions which may well end up on your exam paper. The best way to revise is to plan each of them
so you are prepared to answer anything!
Be thorough – plan with the details within each paragraph (PEAL) and the argument, intro and conclusion.
1. In the first movement, how does the introduction provide an effective start to the symphony?
2. Identify the main melodic motifs in the first movement and show how widely they are used.
3. What is the role of the development section in sonata form? Using either movement show how the
composer handles this aspect of structure.
4. Describe the ways in which the composer makes use of form and tonality in this symphony.
5. Describe the ways in which the composer uses melody and texture in this symphony.
6. Write an informative account of the exposition in the first movement of this symphony. You should refer to
structure, melody, texture, instrumentation, rhythm, harmony and tonality.
7. Describe how the composer develops his ideas in the symphony. You should refer to melody, texture,
instrumentation, rhythm, harmony and tonality.
8. Describe the ways in which the composer uses the orchestra in this symphony.
9. Describe the ways in which the composer uses rhythm and tonality in this symphony.
11. How does the composer build a sense of dramatic tension in the symphony?
12. How does the composer build his first-subject material in the first movement from a motif?
13. What is the standard format of a late 18th century symphony? Does the composer adhere to it?
14. Describe and analysis ways in which the musical language of this symphony is clearly of the 20th century.
15. Give examples of the composer’s innovative and distinctive orchestra in this symphony.
16. Evaluate the importance of the tonal centres through this symphony.
18. Discuss passages that show the emotional range in this symphony.
20. How does the composer achieve formal coherence across the whole of his Symphony?
21. Discuss the composer’s use of motivic and thematic development in his Symphony.
22. Discuss the composer’s use of the orchestra and explain how he uses it to introduce colour as well as to help
define musical design. Give specific score references to support your answer.
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23. How modern is the composer’s harmonic language as represented in his Symphony?
24. Discuss the composer’s melodic style as represented in his Symphony. Give precise references from the
score to support your answer.
26. Discuss the importance of (a) tonality, and (b) texture in the composer’s musical language, using examples
from the Fifth symphony to illustrate your answer.
27. Identify passages from this symphony which you consider to be characteristic of the composer’s writing.
28. What influences from past symphonies are to be heard in this symphony?
29. Analyse how Bach uses musical elements to create contrast in this excerpt and explain how the excerpt
relates to the 2nd movement as a whole.
30. Analyse Bach’s approach to rhythm in the solo violin part of the excerpt, discussing ways in which this is
typical of the Baroque concerto.
31. Analyse Mozart’s handling of phrase structure and melodic shape in the voice part in bars 1-20, discussing
ways in which this is typical of classical period melody.
32. Explain how the music in this aria helps to convey the dramatic situation.
33. Analyse Chopin’s approach to rhythm in bars 1-8 of the excerpt, discussing ways in which this is typical of his
style.
34. Explain Chopin’s approach to melody, harmony and rhythm in this excerpt, explaining how the excerpt
relates to the Nocturne as a whole.
35. Any question asking you to talk about/ compare/ describe the development of:
a. Form
d. Melody
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Specimen essay questions - Musicals
1. Compare and contrast two character songs.
2. Compare and contrast an early musical and a late musical. How have the composers created different moods
and used different techniques to develop musicals through time?
3. What are the functions of character songs, compared to chorus numbers in musicals? Give an example from
specific pieces you know.
4. Compare and contrast the function of the overture in musicals, using examples of specific pieces in detail.
5. Write an essay describing how composers have used music to help portray different characters. Refer to
suitable passages from the Musicals that you have studied.
6. Choose two contrasting dance passages from the Musicals that you have studied and show how rhythm and
metre, instruments and texture have been used to convey the mood and distinctive dance features.
7. Choose two contrasting passages from different musicals and describe the ways in which the music has been
used to enhance the drama.
8. Choose two contrasting ensembles and write in detail about each. Refer to melody, harmony, use of
instruments and rhythm, as appropriate.
10. Choose two contrasting solos and write an essay commenting on how melody and harmony have been used
in each.
11. Choose and discuss two different songs from musicals that you feel successfully reflect the characters being
portrayed.
12. Discuss the role of the chorus in any one of the musicals that you have studied.
13. Compare two scenes from the works that you have studied in which you feel that the music makes an
especially dramatic impact.
14. Examine the musical features of any one show of your choice that you regard as contributing most to its
popular appeal.
15. Compare and contrast two duets or vocal ensembles (but not choruses) from the works that you have
studied.
16. Choose two contrasting musical numbers intended for dancing on stage, and comment on how rhythm and
instrumentation are used to bring out the character of the dance.
17. Explain what is meant by ’32-bar song form’ and show how composers achieved variety in its use, drawing
on examples from at least two different musicals in your answer.
18. Examine two solo numbers from different musicals you have studied and, with reference to melody and
harmony, discuss the way the two pieces are structured.
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19. Compare two solo songs of a similar type by different composers from the works you have studied and
present your findings in an essay. For example, you could choose two comic songs, two romantic ballads or
two waltz songs.
20. Write an account of the word-setting in one of the songs you have studied, showing how the composer has
treated significant words and/ or important rhymes.
21. Choose a musical that you have studied which has a potpourri overture, and explain which numbers from
the show appear in the overture and how they are treated. (Consider if they are shortened, expanded,
transposed and so forth, and how they are linked).
22. To which part of a song does the term ’32-bar song form’ usually refer? How typical is the use of this form?
Give examples to illustrate your answer.
23. What is meant by a production number in a musical? Compare and contrast two.
24. Where in a musical might you hear each of the following numbers: (i) the finale, (ii) incidental music, (iii)
play-out music, (iv) an overture? Compare the structure of two musicals.
25. Choose two songs from the works that you have studied and use them to show how a composer adopts a
specific musical style to suggest a certain period in history or a foreign location.
26. ‘For a show to succeed, it needs at least one top song’. Analyse two songs by two different named
composers you have studied and explain the musical features that make them memorable parts of their
show.
27. Discuss the works of Kurt Weill and his influence on the genre of musicals.
28. Discuss the works of Richard Rodgers and his influence on the genre of musicals.
29. Discuss the works of Stephen Sondheim and his influence on the genre of musicals.
30. Discuss the works of Claude-Michel Schonberg and his influence on the genre of musicals.
31. Discuss the works of Jason Robert Brown and his influence on the genre of musicals.
32. How did musicals develop during the 20th and 21st centuries?
33. Any question asking you to talk about/ compare/ describe the development of:
a. Form
d. Melody
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Specimen essay questions – Jazz and Blues
1. Early jazz style of the 1920s was clearly influenced by Ragtime and Blues. Discuss the main features of both
genres, referring in detail to specific pieces you know.
2. Compare and contrast the rhythm and the instrumentation used in classical music, which is inspired by jazz,
commenting on the context, other interesting features and making reference to specific pieces.
3. Compare and contrast the melody and the texture used throughout the Bebop era, commenting on the
context and making reference to specific pieces.
4. Discuss the aftermath of the bebop jazz era. Compare and contrast two songs.
5. Compare and contrast the melody and the rhythm of All The Things You Are, Stomping at the Savoy and
Mysterioso, commenting on the context of the songs where relevant.
6. Compare and contrast the harmony/ tonality and the instruments/ texture of West End Blues, Muskrat
Ramble and Black and Tan, commenting on the context of the songs where relevant.
7. Choose one chamber work which marked a new departure in style or form during the period. Give an
account of your chosen work.
8. Show how the size and composition of jazz ensembles changed between 1920 and 1950. What effect did
these changes have on the arrangement of the music?
10. How has jazz developed over the years? Use specific pieces from each key period to give evidence to your
answer.
11. Write an essay explaining the different types of music which existed in the early 20th Century which gave rise
to jazz. In your answer you should refer to specific composers and specific compositions commenting on
their use of musical form, melody, harmony, rhythm, texture and timbre as appropriate.
12. Plot the progress of the development of jazz formations from the five-instrument combos to the big band.
Refer to specific bands and pieces of music in your answer.
13. Some composers were more closely associated with music in the European orchestral tradition but still
found much inspiration from jazz. Choose two pieces of music and write about the jazz influences that are
evident.
14. Write an essay explaining the different types of music which existed in the early 20th century which gave rise
to jazz. In your answer you should refer to specific composers and specific compositions commenting on
their use of musical form, melody, harmony, rhythm, texture and timbre as appropriate.
15. Choose two jazz musicians. Write an essay assessing the contribution of each to the development of jazz.
Refer to specific pieces of music in your answer.
16. How did jazz influence mainstream music in Europe during the 20s and 30s? Refer in detail to specific pieces
of music by at least two composers in your answer.
17. Write an essay tracing the development of jazz from 1910 up to the beginnings of the ‘swing’ era in the early
1930s. Refer to specific pieces of music, commenting on melody, harmony, rhythm and use of instruments.
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18. Assess the contribution of one of the following musicians to the jazz world. Refer to at least one piece of
music, commenting on melody, harmony, rhythm and use of instruments. [Charlie Parker/ Louis Armstrong/
Gwilym Simcock/ Duke Ellington]
19. ‘The best jazz has at its centre a balance between composition and improvisation.’ Discuss this view through
referring to the music of at least two names jazz artists in detail.
20. Discuss the works of Louis Armstrong and his influence on the genre of musicals.
21. Discuss the works of Duke Ellington and his influence on the genre of musicals.
22. Discuss the works of Charlie Parker and his influence on the genre of musicals.
23. Discuss the works of Miles Davis and his influence on the genre of musicals.
24. Discuss the works of Pat Metheny and his influence on the genre of musicals.
25. Discuss the works of Gwilym Simcock and his influence on the genre of musicals.
26. Any question asking you to talk about/ compare/ describe the development of:
a. Form
d. Melody
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Sample Essay Guide
Essay Tips
Always do a plan
Always have a structure:
o Intro- including some context for the reader, an argument and a clear direction for your essay
o Individual paragraphs for the different elements of music – See PEAL
o Conclusion- sum up main points, link back to argument/ question
USE PEAL – Point/ Example/ Analysis/ Link
Link back to the title regularly – make sure you actually answer the question set, not just pour out
information you know!
Use signpost sentences – tell them where you are taking the essay
o I will discuss/ explore/ evaluate/ develop/ investigate…
o In terms of texture/ instrumentation/ rhythm/ melody/ harmony/ tonality/ structure/ form…
Have an argument – it will make the essay sound focused
Always use detail – bar numbers, which part, which motif/ rhythm/chord etc.?
Don’t assume that the examiner will know which section of a piece you are talking about when you use bar
numbers – be explicit – ‘in the development section, bar x…’
Grammar, spelling etc. are very important, so make sure you take time to check your work.
Don’t use ‘you’ ‘we’ or ‘I’ if you can help it! Use words such as ‘the composer’, ‘the listener’, ‘critics’ and
‘academics’.
Here is my plan:
How Does Beethoven develop material from the exposition in the development?
There are plenty of other points to be made – but these are the main ones to look out for!
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Sample Essay One – What is the grade? Mark this!
How Does Beethoven develop material from the exposition in the development?
Material is developed from the exposition in the development. Beethoven wrote this symphony in C major.
This is the second movement.
The violins play some dotted rhythms in bar 71, this carries on until bar 80. Then the timpani play some
dotted rhythms until they become a drum roll in bar 89.
There is a triplet in the first violin part in bar 45.
The key changes a lot in the development.
There are flutes, oboes, clarinets, bassoons, horns, trombones, timpani, violins, viola and cellos in this
movement. Beethoven liked to use this combination a lot.
There is a slurred quaver movement in the first bar of the exposition, which comes back later, in the
development.
The recapitulation is often the same as the exposition, but the material used in the development is not used
here. In this movement the recapitulation is similar but different to the exposition.
How Does Beethoven develop material from the exposition in the development?
Beethoven experimented in this symphony. Sonata form is traditional and was used a lot in Classical Music. I will
explore how Beethoven uses rhythm, melody, texture, harmony and different instrumentation to expand ideas seen
in the exposition in the development section.
The development section was considered to be the strongest point of sonata form, and a point of most change and
experimentation in the piece. Traditionally, material from the exposition was always explored in the development –
such as the slurred quaver idea and the dotted rhythm idea in this movement. For example; the dotted rhythms
from the exposition are seen in the strings, then bassoon from bar 70. The slurred rhythms, first seen in the first bar
of the exposition, are later developed in the woodwind, staggered from oboe.
The slurred quaver idea is passed between oboe, bassoon and the flute antiphonally in bar 72. The rising fourth
interval is here developed to a rising 7th and octave. A countermelody is added, creating a two part counterpoint in
the second violin and cello parts. The rhythms are especially passed between completely different families of
instruments – for example; it is possible to see the dotted rhythm developed in the timpani. Beethoven takes the
listener through various keys, resuming the original key at the end of the section. He uses chromatic harmony.
In conclusion, it is clear that Beethoven extends his ideas from the composition, namely the dotted rhythms and
slurred quaver motifs. We can see developments in his use of harmony, melody, rhythm, texture and
instrumentation.
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Sample Essay Three – What is the grade? Mark this!
How Does Beethoven develop material from the exposition in the development?
Beethoven was a pioneering composer – he used traditional Classical forms, such as sonata form, and experimented
with them to take his music forward into the Romantic era. This symphony, is just such an example of this
experimentation. In this movement, which is in sonata form, it is possible to see that Beethoven has based his
compositional technique on Classical foundations by exploring many of his ideas from the first and second subject in
the development section. Unusually however, he also develops some of his ideas within the exposition itself. I will
explore how Beethoven uses rhythm, melody, texture, harmony and different instrumentation in an innovative way
to expand ideas seen in the exposition in the development section.
In order to ascertain how advanced Beethoven’s compositional technique was here, it is important to begin with the
structural points. The development section was considered to be the strongest point of sonata form, and a point of
most change and experimentation in the piece, so this was to be crucial to Beethoven and his forward thinking.
Traditionally, material from the exposition was always explored in the development – such as the slurred quaver
idea and the dotted rhythm idea in this movement. For example; the dotted rhythms first seen in bar 9 of the
exposition are later seen in the strings, then bassoon from bar 70. The effect of this continuous underlying dotted
rhythm is one which propels the music forward. The slurred rhythms, first seen in the second violin part in the first
bar of the exposition, are later developed in the woodwind, staggered from oboe in bar 72 onwards. As I mentioned
in the introduction, Beethoven also develops ideas within the exposition itself, which was very unusual for the time,
as can be seen in the rising fourth, slurred quaver movement which returns in the first violin part in bar 61-3 at
different octaves.
A key way in which to develop ideas was to present them in different instruments and textures. For example, the
slurred quaver idea is passed between oboe, bassoon and the flute antiphonally in bar 72, the effect of which allows
the listening to hear different timbres. Melodically, this section is interesting also – the rising fourth interval is here
developed to a rising 7th and octave, augmenting the interval and exploring its potential. In another melodically
interesting point, a countermelody is added, creating a two part counterpoint effect in the second violin and cello
parts in bar 96. This allows Beethoven to further extend the dotted rhythm idea from the exposition. The rhythms
are especially passed between completely different families of instruments – for example; as well as the string and
bassoon playing a continuous dotted rhythm idea, it is possible to see this developed in the timpani going from a
continuous dotted rhythm effect to a drum roll (in bar 82 onwards) and as part of a solo in the first violin (in bar 94).
Harmonically, the development does much as one would expect of this section – Beethoven takes the listener
through various keys, resuming the original key at the end of the section. Here, however, it is possible to see how
much the composer is experimenting with tonality, as we can see a chromatic harmony, rather than a circle of 5ths
expected (such as the Db chord in bar 70, following the section in C at the beginning of the section).
In conclusion, it is clear that Beethoven uses a mixture of traditional and pioneering compositional techniques to
extend his ideas from the composition, namely the dotted rhythms and slurred quaver motifs. We can see
developments in his use of harmony, melody, rhythm, texture and instrumentation, which all experiment to the
limits of the traditional Classical structure, sonata form.
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Shostakovich Essay A - What is the grade? Mark this!
Compare and contrast the first and second subjects in the first movement of
Shostakovich’s Fifth Symphony. Consider aspects of texture and instrumentation, tonality
and harmony, melody and rhythm as appropriate. (30)
The first subject is I D minor and begins loudly with lots of accents. The tempo is moderato and the strings
play in canon and then the music quietens down and the violins then play a chromatic melody which is
really the first subject Later the opening returns with the bassoons added and now the ‘cellos are playing
pizzicato which means plucking the strings and the violins do a tremolo to make it sound shuddering. This
carries on with not many instruments playing until the music gets much higher and louder and the violins
and flutes keep repeating a top A which is the highest note on their instrument. Then it’s the woodwind
playing and the oboe starts with a scale which is Phrygian which is like the beginning and then the first
subject reappears with the ‘cellos and bassoons playing a countermelody. Horns play the dotted rhythms
and finally the music gets very loud with all the melodies played together so it sounds like a cacophony and
there is a piccolo clarinet. Flute play the notes E, F, G and A in that order which is the opposite way round
from the first time in the violins and the trumpets play a fanfare in a different key at the same time.
The second subject is when the harp comes in for the first time. Its written not arpeggiated which means
play all the notes at once. This tune is supposed to have been written by Bizet because he was in love with
Carmen but actually Shostakovich was in love with another woman but didn’t marry her so the music is in a
minor key and he’s changed some of the pitches too. It sounds very mournful and often the chords don’t fit
with the melody so there are lots of clashes. Shostakovich did this deliberately because he didn’t like the
way Stalin was interfering with the way music should be written in Russia at the time. After the violins have
finished the violas start the same melody, but this time it is lower and only accompanied by cellos. At the
end, both the flute and the clarinet have solos which are unaccompanied and these show Shostakovich
being lonely because he’d fallen out with the soviet regime. He often uses the word morendo which means
dying. Just at the end – near figure 14 the violins and flutes play the repeated high notes which are similar
to the ones in the first subject, but now the notes are Bb which is a semitone higher. It’s the way the
composer is able to tie together the music of both subjects at the same time.
In conclusion, both the first subject and the second subject are very different in texture and
instrumentation, tonality and harmony, melody and rhythm but as I’ve pointed out some bits are the
same. I’ve really enjoyed studying this piece.
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Shostakovich Essay B – What is the grade? Mark this!
Compare and contrast the first and second subjects in the first movement of Shostakovich’s Fifth
Symphony. Consider aspects of texture and instrumentation, tonality and harmony, melody and rhythm
as appropriate. (30)
Shostakovich stated in his response the Stalin’s criticisms of his previous works (Muddle instead of music) that this
Fifth Symphony was intended ‘to show the making of man’. It is possible to presume that the first subject material
(beginning to fig.9) represents the outward-looking, masculine attributes and the second subject (fig 9 – 17) the
more intimate, personal and tender characteristics.
The first subject is striking in its opening statement with its bold and authoritative treble- dotted rhythms, wide
minor leaps, spare contrapuntal texture, ambiguous tonality and slow tempo. The second subject starts with an
abrupt change of tempo, slightly quicker than twice the pace, and an insistent ostinato rhythm in the
accompaniment above which the melody soars quietly in long sustained legato phrases. Both passages are scored for
just strings, but whilst in the first subject the upper and lower strings appear to be in opposition, in the espressivo
second subject the violin melody is supported by a chordal texture with the addition of a harp providing extra
warmth and comfort.
Having grabbed the audience’s attention, the first subject subsides into a clear D minor key with repeated tonics and
dominants in the still canonic accompaniment above which Shostakovich brings in a plaintive melody descending
through four notes of the whole tone scale which might possibly be an inversion of the phrase from Bach’s Cantata
‘It is enough’, a poignant reference at this point in Shostakovich’s career. The chromatic Eb which is highly dissonant
against the D minor accompaniment begins a three note motif which will become very important in the
development. The Eb resolves downwards to D representing Shostakovich’s own initials. The second subject begins
most securely in Eb minor giving a sombre mood to the ‘L’amour’ melody from Bizet (originally in D major) which
uses mostly rising intervals of octaves and sevenths.
Both subjects develop much more chromatically, the first using all the notes of the chromatic scale in a winding
melody which appears to meander aimlessly, although the intervals are largely conjunct and continue to use the
dotted rhythms of the start. The opening melody returns at fig.2, this time at a quieter more menacing dynamic with
the low bassoons doubled by pizzicato ‘cellos and basses underneath a shivering tremolo in the violins. Shostakovich
then contrasts this with a passage (starting a t fig.3) which uses just the upper strings and flutes in a high register in a
contrapuntal texture freely using the four- note whole tone scale idea in various developments and inversions. Later
at fig.7 these ideas and motifs all combine in a defiant climax as the tessitura rises, the brass enter with military-
sounding fanfares and the violins and flutes repeat high As which will become even more frightening again at the
end of the whole symphony.
The second subject develops much more peacefully, although again very chromatically as the Eb minor tonality
dissolves and at fig.12 the upper violas take up the melody over a canonic accompaniment which develops the three-
note motif from the first subject in retrograde (now starting on C- Eb – D in the second violas which adds the third
letter of the composer’s name). Similarly low chords from the clarinets in their chalumeau register, bassoon and
double bassoon again darken the mood before the flute, and then the clarinet take up another wandering legato
melody starting in F# minor and using the same three-note idea. Finally at fig. 15 the original second subject returns,
this time high in the violas above four-note repeated chords in the ‘cellos and basses starting in B minor and
suggesting Shostakovich’s loneliness and sense of isolation from society. Finally the exposition ends with violas, and
then ‘cellos, using the three-note motto idea in descending sequence completely unaccompanied.
The exposition of this first movement clearly outlines the sense of conflict between the public and personal in
Shostakovich’s life as seen by the contrasting musical elements in the two subject groups, although integrated
through small details of rhythm and motif.
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Sample Essay
Jazz Essay Candidate A – Below is a real essay as marked by the examiner in 2013. This got
29/30 – ‘Detailed knowledge and good understanding found here.’
Choose two of the following terms associated with the development of jazz. For each one,
write an essay about a specific piece of music which you think is a good example of the
style. You should refer to melody, harmony, rhythm, texture and use of
instruments/voices, as appropriate. (30)
The bebob style can be readily exemplified by the 1945 recording of ‘Kp-Ko’ made by Charlie Parker and Dizzee
Gillespie, the piece showcasing the melodc, instrumental, rhythmic and harmonic aspects of the genre. Benny
Goodman’s 1935 recording of ‘Stompin’ At the Savoy’ too can be seen as exemplifying the swing style of jazz.
Ko-Ko opens with an 8 bar theme, played in unison by both Parker on Saxophone and Gillespie on trumpet. The clear
move away that jazz took from the polypohony that defined the Dixieland era, on Joe Oliver’s ‘Willie the Weeper’
(on the final chorus) for example, is continued in bebop. There is also however a clear aversion to the antiphony that
defined swing; unison themes with no counter melodies were a defining feature of bebop. Structurally, the
‘sandwich structure’ of a theme sandwiching sections of improvisation, came about partly as a result of the
impossibility for antiphonic playing. The complex, extended harmony of bebop prohibits polyphonic playing, as
clashes become inevitable. Thus the stating of a unison theme became a common tool for beboppers.
Rhythmically, ‘Ko-Ko’ demonstrates the move away from the use of swung rhythms, up until this point, a defining
feature of jazz. Gillespie’s solo, beginning in bar 9 following the theme, slows a move to straight quavers, rather than
the convention of splitting the beat between the first part and slow second part. Bar 9 begins with a crotchet,
followed by a run of quavers. There is an example of rhythmic anticipation. Gillespie plays runs of quavers
consistently across the bars. The crotchet breaks up the momentum of the run momentarily, creating a rhythmic
tensions that is released when the run of quavers begins in bar 9 beat 2. This serves as an effective means of
phrasing the solos, even at the tempo of over 300 beats per minute that ‘Ko-ko’ was recorded at. The straight runs of
quavers and lack of swing showcases a more philosophical ideal of bebop; bebop was a music intended as an
expressive artform, a reclaiming of jazz by African-Americans disillusioned with the swing era. The lack of swing
makes ‘ko-ko’ difficult to dance to- the emphasis is on creating a complex music that stands as a piece of art, not
music for people simply to dance to.
‘Ko-ko’ demonstrates some of the idiomatic harmonic features of bebop also. Gillespie makes use of chromatically
descending runs to extend the underlying harmony, as in bar 9 beat 2. These chromatic runs are countered with
melody based upon rapid arpeggio figures, as in bar 10 where Gillespie plays a rapid E major 7 ascending melodic
run.
Instrumentally also, ‘Ko-ko’ showcases the typical bebop style. Kenny Clarke on drums showed a progression from
the style of Count Basie’s drummer, Jo Jones. Whereas Jones transferred the beat from the bass drum to the highest
to create a unique style of swing, Charlie transfers the beat onto the cymbal. The effect of this is to create a
consistent beat which is less easy to follow, as well as to create a more ‘shimmering’ timbre to the drums. The
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technique of ‘dropping bombs’, interspersing random accented bass notes, is showcased also. Present also is the
‘comping’ piano style, moving away from the constant harmonic underpinning of stride piano, again to avoid clashes.
Benny Goodman’s 1935 recording of ‘Stompin’ at the Savoy’ showcases many features idiomatic of the swing style.
Instrumentally, emphasis is put on the brass and saxophone sections, which engage in a typical antiphonal call and
response throughout the second chorus. During the first chorus, a demonstration of the further move away from
polyphony can be seen – saxophones, playing in unison, as is often the case in swing, the alternative often being
sections playing in parallel motion, play a melodic statement over a rhythm section which homophonically outlines
the harmony in regular crotchets. The saxophones being given to melodic emphasis was a typical feature of the style.
The size of the orchestra employed by Goodman reflects the grandeur of the setting of swing and the affluence of
the young, wealthy, predominantly white Americans who were drawn to Goodman’s music.
Rhythmically, the piece showcases many typical features of swing. The piece is played at a swung, leisurely tempo.
However, as the size of swing bands grew, true swing became an impossibility. ‘Stompin’ at the Savoy’ showcases
‘formal swing’, rhythmic effects being used to create the swung feeling. For example, during the first chorus, the
saxophones hold a sustained minim at the end of each melodic phrase, as at the end of beats 2 and 4. This held
minim anticipates the downbeat, resulting in an emphasising of the overall feeling of swing.
‘Stompin’ at the Savoy’ was arranged by Fletcher Henderson and shows Henderson’s frequent use of antiphony,
drawing from the call and response of African American church songs, notably in the second chorus. Brass and saxes
frequently ‘trade two’s, one playing a two bar phrase, answered by the other.
Thus, it can be seen that both ‘Ko-ko’ and ‘Stompin’ at the Savoy’ showcase the styles of bebop and swing
respectively. Both showcase also the progression and development that has been made from the proceeding jazz
era.
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HOW MUSICAL IDEAS AFFECT THE LISTENER’S EMOTIONS/ WHAT IS THE EFFECT CREATED
BY THE MUSIC – at A level
Difference between Affect and Effect There is often confusion over the words effect and affect.
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6/8 or waltz (um pa pa)
Appoggiaturas and suspensions can HELP Nostalgic/ yearning for eg lost love
create: That’s because they sound a bit like someone sighing
(especially in a minor key)
Minor key/ major key Broadly and crudely associated with sad/happy but be
careful as many composersuse them to mean the opposite
so it depends on other features of the music!
Gentle/soft Tender and moving
Lively quite dance like major key happy Jollity.
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Suggested Listening
Area of Study 2: Pop music
Thomas Newman
American Beauty
Skyfall
Saving Mr. Banks
The Shawshank Redemption
Finding Nemo
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Area of Study 6: Contemporary traditional music Area of Study 7: Art music since 1910
Bellowhead
Sloe Gin, from Burlesque
The Outlandish Knight, from Burlesque
New York Girls, from Hedonism
Roll the Woodpile Down, from Broadside
Roll Alabama, from Revival
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Command words
Command words are the words and phrases used in exams and other assessment tasks that tell students how they should
answer the question.
Acknowledge
To give credit for, recognise, and highlight something, such as a selected source or the work of others.
Analyse
To examine in depth, study thoroughly, question, investigate and consider your own opinion or visual investigation of
something.
Apply
To use knowledge, skills and understanding and to employ appropriate techniques when developing and progressing ideas.
Appropriate
Suitable, relevant, applicable to intention.
Consider
To think through, review, reflect on and respond to information or a theme, subject or starting point.
Demonstrate
To show, exhibit, prove or express such things as subject specific knowledge, understanding and skills.
Develop
To take forward, change, improve or build on an idea, theme or starting point.
Discuss
To deliberate, consider, talk over, debate or examine something.
Explore
To investigate, examine and look into with an open mind about what might be found and developed.
Evidence
To show, prove, support and make clear or verify something.
Identify
To recognise links and associations between things such as sources and connections with personal work, accounting for
choices and decisions made.
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Present
To give a response to an idea, theme or starting point that shows a personal, meaningful and organised fulfilment of
intentions.
Realise
To achieve, attain and/or accomplish your intentions.
Record
To document ideas, thoughts, insights and responses to starting points in visual and written annotated form.
Refine
To improve, enhance and change elements of your work for the better.
Research
To study in detail, discover and find information about.
Respond
To produce personal work generated by a subject, theme, starting point, or design brief.
Show
To indicate, explain, present and display your own thoughts and findings.
State
To express clearly and briefly your intentions.
Study
To examine, consider, investigate, research and show an in-depth understanding of what you have found or experienced.
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7. Reading list and Useful websites
Recommended:
AQA study Guides from Rhinegold/ ZigZag education or AQA Online.
Spotify - for your musical topic
Set Work CD – we will provide these for you
Scores for annotation – we will provide these for you
Blank scores – we’ll keep these until your exam
Websites:
AQA A level Music site: http://www.aqa.org.uk/subjects/music/a-level/music-2270
It also helps to look up the official site of each composer and artist you are studying.
Youtube and BBC iplayer can be very useful for videos of documentaries about the songs/ composers/
artists/ periods you are studying
8. Resources
Resource When you need it Period/
Week
Your Instrument All performance lessons
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9. Music Expectations at A level
Your teachers will periodically check that you have filled this in, or what you are doing to improve.
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10. Homework monitoring
Homework Monitoring Teacher 1:
Homework task I have completed home learning for the following lessons and have RAG Date
made a note here of anything I got wrong or need to work on.
Information for this will be obtained from self-marking thoughts,
peer marking feedback, teacher feedback (both written & verbal)
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Homework Monitoring Teacher 2:
Homework task I have completed home learning for the following lessons and have RAG Date
made a note here of anything I got wrong or need to work on.
Information for this will be obtained from self-marking thoughts,
peer marking feedback, teacher feedback (both written & verbal)
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11. Personal Statement Log
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