MARK SCHEMES. Mark schemes ‘The mark schemes in this section are as comprehensive as possibl but inevitably there will be some valid answers that are not listed. Reponses that are accurate and unambiguous, and that answer the question posed, will always receive credit. Broadly speaking, key words and musical vocabulary are the student's most effective tools in this exam. Phonetic spellings will be accepted. ‘These mark schemes are based on the structure of the mark scheme published by Edexcel in their Sample Assessment Materials for the examination, PTT 1 @B (b) Harpsichord @B (@) Pedal note/pedal point/tonic pedal © Any two of: = Teil = (Chromatic) appoggiatura * (Inverted) mordent ™ Accented passing note = Chromatic passing note NB. Reject ‘sequence’ (Any two of: = Reduced texture/concertino only at the beginning = Two-part/three-part texture ™ Use of melody and accompaniment = Some polyphony = Antiphony in the middle of the extract, ™ Imitative/contrapuntal towards the end of the extract, @) Any two of ™ Lively tempo Compound ‘feet’ Triplets Dotted notes. Clear sense of pulse Constant quaver movernent Use of fast rhythmic values (e.g. semiquavers)MARK SCHEMES. GCSE MUSIC LISTENING TESTS 2. (@) One mark for each correct nate value (max 3) nyen age cele laseaintete alee eh=) Sess inted oh 4 (6) One mark tor oach correct pich (max 3} toey Te 2 we wc © Any two of # Begins loudly/with a loud chord 1 Immediately followed by a soft phrase ® Alternates loud and soft 1 In the faster section it starts quietly and crescendos 1 Repeated passages that start quietly and crescendo ) Any two of ¥ Spread chords/chords containing many notes * Vivid dynamic contrasts Fast rhythms/tempo Tremolo/oscillating notes Left hand melodic part Large leaps Variety of articulation Variety of tone Wide range/tessitura Parallel octaves (©) Any three of: Wide ranging melodies Lyrical melodies Melodies in both hands Chromatic harmony Diminished (7th) chords Dissonance Sudden accents/sf Wide variety of rhythms Wide range of keyboard Modulations to distant keys Frequent modulations Full-textured chords Use of pedal Reappearance of introduction in the middle of the movement. ‘Any other valid pointMARK SCHEMES co 4. (@) One mark for each correct note value (max 3) i ID LIL LLL ! (b) One mark for each correct pitch (max 3) po NS = Ss 5. (2) Soprano (b) “Wondiring’: Any two of: 1 Descending ' Scale/conjunct "Sequence = Imitated/repeated by harpsichord = Repetition ‘Eastd': Any two of ™ Appoggiaturas 1 Falling pairs of notes = Auxiliary notes '™ Repetition (if not credited for ‘wond'ring’) oc (d) Any three of = Continuo = Embellishes chords 1 Imitates voice = Trils/ornaments 1 Passing notes, 1 Fills the texture 6 (a) One mark for each correct note value (max 3): nytt wg pain Baas AL TAT TAs ke = ea Ae fo ee edd (©) One mark for each correct pitch (max 3) ooay Brood fhe dead, Ace 1a fee. the| GCSE MUSIC LISTENING TESTS SECTIONS© o © 10. (@) © © @ © Any three of: = Pauses on chords Most chords are minor Strummed guitar enters Bass guitar enters Pitch of chords is lower ‘Stop time/slower tempo/treer tompo '™ Modulation on ‘any more’ ‘Any two of: = Entry of hi-hat Regular beat/tempo established ‘Tempo speeds up Syncopated/push chords Fast notes/quavers in keyboards Repetition Drum fills Crescendo 8 Syncopation/push chords 8 Any two of; = Rit/Rall/Allargando/broader/slower = Chords on each beat "= New chord on each beat/taster harmonic rhythm. = Full texture/full band/all instruments = Homophonic = Homorhythmic = Cymbals/drum and cymbal hits 1 Vocal melody starts high and descends ‘= ‘Fly'Is shouted. Any two of: Fills Double time Prominent snare drum ‘Strong backbeat/emphasis on beats 2 and 4 Use of ride cymbal/bell/top of ride Pushes/syncopation Use of crash cymbal on strong beats Any other valid point ‘Any two of: ‘Sudden drop in texture Sudden drop in dynamics Piano chords String tremolo Horn countermelody Drums stop suddenly Slower tempo Ounenane MARK SCHEMESMARK SCHEMES GCSE MUSIC LISTENING TESTS ML (@) Strings ip Pedal (e) Any three of = Crescendo ' Build up of texture * Rise in pitch * Entry of brass instruments * Rit/slow down = Dominant preparation = Homophonic = homorhythmic © Any three of ' Glockenspiel doubles part of melody ' Snare drum used to double rhythm = Snare drum rolls '= Timpani rolls/timpani underpin brass chords Bass drum Clash cymbals 12. (@) One mark for each correct note value (max 3) arston ayl 1 Ty (b) One mark for each correct pitch (max 4) a oe ven ie) SSS SSI srl 33. (@) Any two of: © Two) Descending phrases Repetition Long notes at end ™ Higher pitch at end = Appoggiaturas = Revers (®) Credit one mark per instrumental part: '= Percussion: syncopated ' Percussion: polyrhythm/many parts Percussion: strong backbeat/emphasis on beats 2 and 4 Bass: based around tonic/root note ass: fast rhythms Keyboards: broken chords/arpeagios Keyboards: regular (fast) rhythms Keyboards: piano/bell-like sound1s. a MARK SCHEMES (© Polyphonic/contrapuntal (2) Any two of 1 Reduction of texture 1= Mainly melody-dominated homophony after opening polyphony = Reduces to just percussion and bass = Keyboard parts added # Solo instrument and female vocal added 1 Octave doubling introduced at end ‘One mark for each correct note value (max 3): «) (2) Instrumental/solo/guitar solo (b) A melodie (picked) part and harmonic/chordal (strummed) part ccan be heard at the same time. (©) Any two of: Improvisation Fast rhythms Fast picking Fast broken chords ‘Ornaments (give extra credit for detail) Octave doubling ‘Wide tessitura/pitch range Wide range of dynamics (2) Any two of 1 Provides 3 regular rhythm Plays root notes of chords Fills in other notes of chords/fils in passing notes ‘Adds harmonic colour ‘Adds chromaticism Maintains samba rhythm ‘syncopated Any other valid point (©) Any three of: = Syncopation = Improvisation = Added chords = Chromaticism/colourful harmony = Complex rhythms/polyrhythm = Instrumental solo = Latin-American rhythmGCSE MUSIC LISTENING TESTS 16. (2) One mark for each correct note value (max 3): ; sev tho ——— te lore a oes aed eee Pra TTA Cute nec iC lit 7 (@)C (©) One of ® Violin = Oboe © Any two of: ® Viola added 1 Collo added 1 Bassoon added 1 Double bass added 1 Harpsichord added 1 Basso continuo added @ Aandc (©) Minor (P Polyphonic/contrapuntaV/imitative (2) Baroque 18. (2) (Tonic) pedal (b) It is played an octave higher © Any three of 1 Rising then falling = Arpeggio/broken chord = Quavers 1 Triplets 1 Outlines the tonic chord = Covers a wide range = Any other valid point (A) Perfect/V-1 ©) Any two of: ® Itis repeated at a different pitch 1m Its higher (by a Sth) 1 Itisa sequence 1 Its repeated in a different key = Any other valid point OA 18. (8) D minor/F major (b) Any two of = Some quavers shortened (to semiquavers) 1 Passing notes/extra notes inserted, 1 “Air turned into a rising appoggiatura/ suspension © Any two of: ‘= Long rising passage for ‘gentle’ '= Long melismas for ‘gentlo’ and ‘prepare’ '= Scotch snap/reversed dotted figure for ‘spirits’ 1 Rising broken chords for ‘appear’ (A) Any three of: 1 Basso continuo 1 Cello/violone 1 Harpsichord'= Introduction sets the mood with dotted notes = Chordal/emphasises harmony = Tends only to be rhythmic when singer isnot singing fast rhythms 1 Bass line copies semiquavers of singer's ‘prepare’ = Mainly primary chords 20. (2) Any two of: 1 Piano © Bass/bass guitar 1 Gultar/acoustic guitar/electric guitar ‘= Drums/drum kit (b) G major/s (© Any two of: = Fast thythms/semiquavers Triplets. ‘= syncopation/push rhythms/ anticipations 1 Cross-rhythms = Complex rhythms = Dotted rhythms ' Scotch snaps/reverse dots = Any other valid point (@) Backing vocals added/other vocals ‘added/vocal harmony/homophony (©) Any two of: 1 Piano chords '= syncopation/syncopated chords = Punchy beat/crotchet beat/heavy beat = Drum fills = Piano fills/piano melody = Plano octaves ® Any other valid point oe 21. (2) Any two of ™ Clarinet = Trumpet 1 Piano (b) Any three of = syncopation/off beats Cross rhythms ‘Swing rhythms Quaver-based/lots of quavers ‘Triplets/triplet crotchets Scotch snaps/reverse dots ‘Strong crotchet beat Any other valid point MARK SCHEMES, (© Any two of: = Repeated a tone lower '= Same shape ‘= Larger falling interval (a Sth in bar 7, 2 6th in bar 9) Both contain syncopation Descending, Sequence "wear it’ uses quicker note values than fair it = Any other valid point (2) Any two of: Regular crotchets ‘= Emphasis on the beat © Change of metre 1 Faling interval = Rises by step to right” = Any other valid point 22, (a) Guitar/classical guitar/Spanish guitar/ Cuban guitar. (b) Any two of 1 Grace notes/crushed notes/ acclaccaturas "= Notes approached from the note below 1 Variations on rhythm/altered rhythms/ ‘syncopations/push rhythms 1 Free rhythm/loose rhythm (© Amajor (@) Cmalor (© Any three of: Use of guitar Strumming patterns with fingers Syncopated rhythms Bossa Nova rhythm Laid back style/mellow style Decorated melody Melody has loose rhythms Lyrical melody/song-like melody Samba rhythm = Jazz-influencedGCSE MUSIC LISTENING TESTS ‘Answers must demonstrate an equal emphasis on demonstrating and applying musical knowledge (AOS) and using appraising skills to make evaluative and critical judgements (AO4), A maximum of 6 marks should be awarded for evidence of AO3; and a maximum of 6 marks for AO4, The following grid, published by Edexcel in the Sample Assessment Material, shows the levels of marks available: vs 1 Makes limited isolated points about either or both extracts (AO3) marks Limited or no vocabulary used (AOS) = Appraising points made are basic and undeveloped (AO4) 1 Limited attempts to draw conclusions about the extracts (AO4) 46 14 Makes points about either or both extracts, with little supporting evidence (A03) marks Some basic musical vocabulary used (AO3) = Appraising points cover similarities and differences in a mainly descriptive way (AQ4) = Attempts at drawing conclusions are not necessarily successful (AO4) 7-9 ‘= Makes points about both extracts, using some evidence to support points made marks ‘and demonstrating some stylistic awareness (AO3) Good range of musical vocabulary used (AOS) = Appraisal demonstrates straightforward analysis of similarities and differences (AO4) 1» Some attempt at comparing, contrasting and drawing conclusions (A04) 10-12 # Makes points about both extracts, fully supported by evidence, demonstrating ‘marks stylistic awareness of both pieces (AO3) = Extensive and sophisticated use of musical vocabulary (AQ3) = Appraisal presents 2 cohesive critical argument of both pieces (AO4) ‘= Demonstrates the ability to compare, contrast and draw conclusions (AO) 23. Killer Queen’ and ‘Seaside Rendezvous’ Mark Scheme The following observations are true of both extracts 1= Use of unusual/interesting sounds (AO4) such as jangly’ piano (AO3) 1 Creative use of percussion for colour (AO4) such as drum rolls, triangle, ‘choked! cymbal, bell sounds (403) 1 Use of studio effects (AOA) such as stereo panning (e.. ‘Killer Queen’ bar 19 ‘anytime’) (AQ3) = Upbeat swung rhythmic feel (AO4) created by compound time in ‘Killer Queen’ (AO3) and ‘swung four-in-a-bar chythm in Seaside Renclezvous’ (AO3), and both have strong chordal piano accompaniment backed up by bass and drums (AO3) Backing vocals answer in close harmony (AO3) create light almost comedy dialogue (AO4) High vocal pitches used (AO3) to ive effect of music-hall or theatre (AO4) Upbeat tempo (AO3) creates excitement (A04) Syncopation (AO3) creates rhythmic excitement (AO4)Observations about " 1 Use of unusual/interesting sounds (AO4) such as finger clicks (bars 1-2) (AO3) 18 Use of studio effects such as flanger (A03) (bart) 1& Minor key for verses, major key for choruses (AO3) creates a change in mood (AOA) 1 Use of guitar effects (AOS) to create different sounds (AO4) (e.g. bars 23-26) 1 Bass guitar fils (AOS) add Interest (AOA) (eg. bar 6) ‘= Guitar countermelodies with vibrato (AO3) (eg. bars 7-8) 1 Sophisticated chord progressions With lots of use of circle of Sths (AQ3) (eg. bars 20-21) = Change of metre (AO3) creates interest (A04) (bar 10) = Multitracked guitar (AO3) after chorus (bars 23-26) creates textural interest (AO4) Queen’ ‘Observations about ‘Seaside Rendezvous’ 1 Bass guitar octaves (AO3) drive the rhythm (A04) (e.. bar 6) = Oom-pah feel (AO4) (from bass and piano) 18 Overdub lead vocals (AO3) ~ sounds like more than one main singer (AO4) '= Chromatic melodies (403) create melodic interest (AO4) (e.g. bar 8) = Major key (AO3) '= Modulation for bridge (AO3) creates variety (AO4) (bar 26) ‘= Using voices creatively (AO3) to imitate wind and brass instruments (AO4) (eg. bars 38-56) = Sound effects (give credit for detail) (AO3) add comedy effect (AO4) ‘= Glissando/fall offs in vocal solos (AO3) Imitate the sound of a jazz band (AO4) (eg. bar 43) 1» Tap-dancing/tapping interlude (created with fingers using thimbles!) (A03/4) (eg.bar 52) = Spealcsinging (AO3) such as ‘cest la vie mesdames et messiours’ Seaside Rendezvous’) creates comedy and engagement with singer (AO4) ‘= Any other valid and relevant point MARK SCHEMES, 24, Bach Brandenburg Concerto and Corelli Concerto Grosso Mark Scheme ‘Observations and Indicative Content Gigue style (A04) is typical of dance ‘music of the period (AO3/4) ‘Two-in-a-bar metre (AO3) with triplet rhythms (403) (e9. Bach bar 2; Corelli bar 3) Solo instruments (concertino) with string, orchestra (ripieno) (AO3) Basso continuo (AO3) is common in Baroque instrumentation (AO4) Harpsichord (AOS) is a common Baroque keyboard instrument (AO4) ‘Monothematic (AOS) ~ one small motivic idea (Bach bars 1-2; Corelli bar 3) developed throughout the whole extract (AO4) ‘small rhythmic ideas repeated and developed (e.g. Bach bars 8-9; Corelli bar 3 ‘and bar 6) (AO3) Contrapuntal texture (particularly in tthe Bach) (43) common in Baroque music (AQ4) Some melody dominated homophony (AO3) (more common in the Corelli (AO4) e, bars 1-2) Virtuosic writing (e.g. Bach bars 25 ‘onwards) (AO3) to allow performers to ‘excel (A04) Busy/complex rhythmic and textural writing (AO4) (e.g. Bach bars 17-19) Functional harmony (AOS) usual in Baroque style (AO4) '= Use of primary chords in harmony (AO3) ‘= Major tonality (D major in both cases) (AO3) communicates a single positive mood (A04) Modulations to related keys - e.g. dominant ln Bach bars 17-18 and Corelli bars 1-12) (AO3) - a feature of functional tonality (aoa) Perfect cadences (AO3) - a feature of functional harmony (AO4) Sequences (e.g. Bach bars 58-60; Corelli bars 12-18) (AO3) to extend melodic ideas (A04) Lack of dynamic or other musical instructions (403) - these are left to the performer in Baroque practice (AO4) Terraced dynamics (e.g. Corelli bars 30 to the end) (AO3) typical of Baroque (AO4) Any other valid and relevant pointMann SCHEMES GCSE MUSIC LISTENING TESTS 25, Afro Celt Sound System and The Corrs Mark Scheme The following observations are true of both extracts 1 Use of Celtic instruments such as pipes, bbodhrén, whistle, fiddle (AO3) underline Caltic influence (404) = Melodies are highly decorated (AO3) ~ typical of Celtic style (AO4) = Melodies are rhythmically exciting (AO4) consisting of slides, semiquavers, triplets etc (403) = Fast thythms are relentless with little break (AO3) - virtuosic playing typical of the style (AO4) = Modal harmony (03) emphasises folk style (AO4) Observations on Afro Celt Sound System 1 First solo played on uilleann pipes (AO3) 1» Second solo played on whistle (AOS) '= Accordion and hurdy-gurdy feature in the accompaniment and at the end (AO3) # Solos are accompanied by drum loops, bodhran loops, shaker loops, synth loops and bass loops among others (AO3) - combination of folk styles with music technology (A04) Section A L@c (b) Any two of = Slow moving ™ Repetition * Limited range/tessitura Long notes = Phrases gradually rise ‘= Twornote fragment at end is taken from earlier phrase © Any two of: = Polyrhythms/many rhythmic parts © Repetitive/cyclic 1 syncopated = Melodic rhythm is complex/lots of short notes Strong first beat/downbeat/fourth and first beat 1 African kora also present at times (AO3) 1 Melody is highly decorated with slides, ‘grace notes and pitch bends (e.g. bar 2) (AO3) - typical of the style (AO4) 1 Repetitive rhythms and strong beat with African influences (AC4) '= Simple harmonies (AO4) based on drones (403) The Corrs 1 Solos played on violin and whistle (AO3) 1 Piano also doubles solos from time to time (AO3) ~ combination of Celtic and pop styles (Ada) 1m Rock drums (403) © Rock (distorted) guitar features in the accompaniment (AO3) - to emphasise fusion of styles (AO4) = Punched chords (AO3) add rhythmic impetus (A04) '= Syncopations (AO3) make rhythms exciting (aoa) = Drum fills and drum break (AO3) '= Mainly semiquaver rhythms in solo (AO3) - Uunrelenting/virtuosic (AOA) 1» Any other valid and relevant point (2) Any four of = Combination of African and attic influences 1 Use of Music Technology = Combination of African/Coltic with Music Technology African instruments (e.g. percussion, ora) Celtic instruments ¢e.g. Bodhran, pipes) African rhythmic style Electronic sounds Use of African, Gaelic and English language ‘= Any other valid reason ‘To get full marks, justification needs to be given for both African and Caltic influences.2 @ co) © o @ © © @ © ° OF} © Harpsichord; cello/violone AB Any three of: = Passing notes ™ Auxiliary notes/notes below/ notes above Scales/runs Syncopations Appoggiaturas Accented passing notes Mordents, Anticipations © 5. @ © © @ Any two of; Repetition Sequence (rising or falling) Passing notes Intervallic jumps/disiunct Appoggiaturas Mordents/auxilary notes ny two of cymbal Pause/held chord High woodwind ‘Tempo is slower Drums stop = Texture becomes sparser A B A o © Any three of = Cymbal roll Crescendo/swoop - Full texture Horn countermelody Singers are in harmony Held high note Fast bell-like keyboard notes Modulation 6 @) OF} © (solo/principale) violin; (Baroque) flute (traverse/transverse); accept recorder ‘A malor ~ dominant; 8 minor ~ relative minor ‘One mark for each valid point (up to 3). No marks for vague or unsupported statements such as it has a lot of notes’ Plays as a soloist = Virtuosic © MARK SCHEMES Has dialogue with the other instruments Both hands have equal parts Both hands often play in parallol Both hands often imitate each other Two-part counterpoint Develops the main theme of the movement sawanos wav Plays almost constant quavers Sequences Arpeggios/disiunct Stopwise/conjunct Trlls Band E Bass/acoustic bass Two 8 Any two of: 1 Picking/finger style/plucking © Strumming = Hammer-on = Pulloff Any three of: = Simple duple/quadruple time 1» syncopated rhythms/accents on off-beat Repetitive rhythms on bass 1 Polyrhythmic texture between bass and guitar = Complex rhythms: = Emphasis on tonic and dominant in bass line @ Quartal / based on ths ip Timpanifkettledrum(s) ( Piccolo id Any two of Celeste Dissonance Fast notes/fast rhythms Ostinatos High pitct/hiah strings ‘Tremolo Pedal note ‘Any other valid point () It slows down/there is a Rit/Rall 8 di) BCEMARK SCHEMES GCSE MUSIC LISTENING TESTS 7 (a) One mark for each correct note value (max 3) a 3 =a a 3. pe tT As (©) One mark for each correct pitch (max 4) Fa: Hyp — Noe Ges ales etsy sae aienane rand ante teeny ere care streets (2 Any two ahaa sean eee ae eter ances eee eapecne es © Octave notes which link verse and chorus ® Any other valid point Strings: any one of = Held/sustained chords Countermelody High pitches. Rising (semiquaver) run into ‘Let the children lose it ‘Any other valid point Section B 9. Beethoven/Schubert Mark Scheme Candidates must demonstrate an equal emphasis on demonstrating and applying musical knowledge (AO3) and using appraising skills to make evaluative and critical judgements (AO4). See the section B mark scheme on page 62 for marking criteria grid ‘Observations and Indicative Content # Strong influence of Classical period but with increasing Romantic characteristics (AO4) 1 Lyrical melodies (e.g, Schubert bars 1-8) (AO3) typical of Romantic period (AO4) '= Chromaticism in melody (e.g, Beethoven bars 1-4; Schubert bars 52-35) (AOS) shows Increased melodie colour (AO4) '= Balanced phrasing but with some irregularity (e.g. Schubert first subject is 9 bars long) (AO3) shows a move from Classical to Romantic style (AO4) ‘Combination of conjunct and disjunct melodic writing (e.g, Beethoven bars 1-4) (AOS) 1 Clear tonal structure (AO4) with modulations to related kays (@.9. to relative major In Beethoven bar 79) (AOS) '= But also modulations to more distant keys (e.g. to Eb minor in Beethoven bar 41 to Gb major in Schubert bar 21)) (AO3)1 Dissonance in the harmony (eg. Beethoven bar 35; Schubert bar 3) (AO3) = A lot of chromatic colour (e.g. Schubert bars 30-31) (A04) 1 Diminished chords (e.g. Beethoven bar 32) and augmented chords (e.a. Schubert bar 35) (AO3) - harmony becoming more colourful (A04) 1 Sonata form ~ both extracts are expositions (AO3) - a popular form of the time (AD) '# Melody-dominated homophony (AO3) shows Classical tendencies (AQ4) ‘= Full textures - thick chords in both hands (e.g. Beothoven bar 122; Schubert bars '35-36) (AO3) explolting the piano (A04) = As much interest in the left hand as in the right (e.g. Schubert bar 9) ~ often three or four parts (e.g, Schubert bar 37 onwards) (a03) '# Virtuosie piano writing (@.9, Beethoven bars ‘= Much rhythmic interest and diversity (AO4) MARK SCHEMES. oo 1 Cross hands (e.9. Beethoven bar 41) (AO3) ~ virtuosity (A04) 19-20; Schubert bars 32-34) (AO4) (eg. use of triplets in Schubert bar 37 ‘onwards (AO3)) 18 Use of wide tessitura/wide range of the piano (A04) 18 Wide range of dynamics (A04) 1 Dotallad performance instructions (AO4) - eg. staccatos, slurs, phrasing, dynamics (eg. Beethoven bar 41; Schubert bar 23) (a03) 18 Use of ornaments (e.g. Beethoven bars 47-48; Schubert bar 9) (AO3) ‘= Any other valid and relevant points Portail eo ed Section A 1. Beethoven oes (b) Any three of = Sudden changes in dynamic 1 Use of accents = Sudden changes of harmony/ chord/key * Sudden changes of tempo = Contrasts between fast rhythms and declamatory chords ™ Contrasts of tonality (between major ‘and minor) oc (@) Any three of = Fast rhythms/somiquavers = Dotted rhythms (in the slow section) © Long silences/rests '= Contrasts between simple and ‘complex rhythms 1 syncopation/accents on weak beats of the bar = Accented chords on strong beats 1 Any other valid point (@) Perfect/V-I/V7-I/Full close 2. (a) Bass/acoustic bass (©) Simple quadruple time © @ Any three of = Same chord sequence/harmony ‘same key Bass and female vocal part remain Mainly the same melody ™ Same metre/tempo 1 syncopated rhythm i) Any three of: © Second verse has guitar # End is extended/repeated in second 1 Bass part has more notes in second '= Bass part plays root notes of chords in second verse 1 Bass part is more dissonant in first 1 Bass part rises and falls in a regular way in first verse "= Guitar plays chords in second verse/ chords are outlined by bass in first (@) Baroque (b) Cmajor/relative major; E minor/ Dominant (minor) (©) Any three of = Repetition ® Short notes/staccato 1 Falling/descending from a high note ® Disjunct/jumps/intervals,MARK SCHEMES: GCSE MUSIC LISTENING TESTS (@) Short note followed by a long note/ syneopation/scotch snap ©) Any two of ™ Return to the opening section/ ‘opening words ® Return to tonic key '= Embellishment of opening melody @e (b) Any three of 1 Use of stereo panning (1)/different parts are panned left and right (1) ' Reverb (1) used on the voice (1) = Flange (1)/Phaser (1) EQ altered (1) fon the synth sound! (1) Use of synth pads (1) (©) Any two of: 1 Use of African drums/any detail of drum types (max 1) Aftican/West African/Mandinka language words spoken = Repetitive drum rhythms = Polyrhythms = syncopation = Pentatonic scale ac (@) Accept any two valid musical reasons, for example: 1 Repetitive rhythms/melodies '= Ambient atmosphere created by reverb/echo ® Use of synth pads 1 Build up of texture (2) Ritornelio; concertino; continuo (b) One mark for each valid point (up te 2) Rit/Rall/slow down, ‘Texture becomes homophenic/chordal 1 The main theme is played = There is a perfect cadence There is a trill (© One mark for each valid point (up to 3) Conjunct and disjunct melodies Monothematic/one main theme ‘Sequences = imitative 1 Contrapuntal/tugal texture '" Monophonic at the beginning = Homophonic at the end 1 Functional harmony 1 Perfect cadences 6. Que 1 Gigue = Ritornello form = Use of harpsichord "= Use of basso continuo = Dotted/dance-lke rhythms 1 Modulations to related keys = Any other valid point (@) Similarities Instrumentation ~ any one of: 1 Piano. Drums Boss guitar Electric/lead guitar Drum fills Melody: © Overall melodic shape is the same Differences Melody: any one of: ® Different melody ' Last part of melody is repeated/ extended in second extract Instrumentation: = Backing vocals in first extract Lead vocal in first extract/guitar solo In second extract, = Multiple guitar parts in second extract, (©) Any two of 1 Backing vocals sing ‘ooh’ /vocalise "= Backing vocals sing harmonias/chords = Backing vocals rise and fall "= Backing vocals fil/add to the texture © Any two of 1 Descending On-beat notes/crotchets/quarter notes = Regular rhythm = Short fils at beginnings of phrases "= Enters mid-way through each extract ' Plays minims/longer notes towards lend of first extract @) Any two of "= Creative/interesting use of stereo field/panning "= Multi-tracking vocal harmonies = Multi-tracking guitars 1 Varied guitar timbres/sounds 1 Use of reverbMARK SCHEMES: ‘Musical Dictation ~ Defying Gravity (2) One mark for each correct note value (max 3) ug odd td dtp dhl, Weim © may emt, "i ot he ty dee pa and poveat pul me don (b) One mark for each correct pitch (max 4) as zs 3. Unfamiliar listening ~ Purcell (@) Soprano (b) G minor (©) Any three of 1 Repetitive bass line/ground bass ¥ Falling/descending ® Chromatic 1 (Sustained) chords Dissonances "© Suspensions/appoggiaturas ® Any other valid point (2) Any three of 1 Minor key 1 Dissonances/accidentals Falling/descending scales Falling/descending intervals, Diminished intervals Melisma/lots of nates to one syllable Highest note for ‘remember me! OrnamentsGCSE MUSIC LISTENING TESTS Section B 9. Star Wars/Gladiator Mark Scheme Candidates must demonstrate an equal ‘emphasis on demonstrating and applying ‘musical knowledge (AO3) and using appraising skills to make evaluative and critical judgements (AOA). See the section B mark scheme on page 62 for marking criteria gr. Observations and indicative Content 1u Melodies are fanfare-ike (AO4) (e.g. Star Wars bars 4-7; Gladiator bars 34-37 (AO3)) 1m Melodies are repetitive/contain repetitive notes (ADS) (e.9, Star Wars bar 3 (AO3)) 1 Triadic melodies (o.9. Star Wars bars 4: Gladiator bars 17-21) (AOS) create rousing effect (Ada) = Conjunct melodies (e.g. Gladiator bars 9-14) (AO8) are lyrical (AD) 1m Melodies rise and fall (e.g. Gladiator bars 113 (AO3)) to give a sense of growth and decay (AO4) 1 Use of high pitches (AO3) at significant moments (A04) (e.g, Star Wars bar §, Gladiator bar 17) = Complex rhythms (@.9. Star Wars bars 4-5) (AO3) create excitement (ADA) = Repetitive rhythms (e.g, Star Wars bars 2-3) (AO3) create relentiessness (AO4) = Triplet rhythms (e.9. Star Wars bars 2-3) (03) = Sense of triple time but with Tin a bar (Gladiator) (A03) gives the music a ilting” character (A04) = Pedal/inverted pedal notes (eo, Star Wars ‘opening and bars 12-14; Gladiator bars 1-16) (AO3) a common feature in film music (aoa) f Strong sense of pulse Ce, Star Wars from bar 25) (03) creates dramatic effect (aoa) 1= Diatonic harmony/use of primary chords (@. Gladiator througout) (AO3) - music is accessible to the listener (AO) = Fully textured chords (e9. Gladiator bars 34-47) (AO3) - declamatory effect (AD4) 1s Use of dissonance for effect (AO4) (e.g. Star Wars bar 28: Gladiator bar 31 (AO3)) = Major key (Star Wars and climactic parts of Gladiator) (AO3) - uplifting (ACA) = Modulations to unrelated keys (e.g. Gladiator bar 22) (AO3) create surprise (204) ‘Accelerandos and rits/variations in tempo (e.g. Star Wars bar 20; Gladiator bar 16)) (AOS) create build and excitement (A04) ‘Added chords/7th chords/9th chords (ea. Star Wars bar 20; Gladiator bars 24-27) (AOS) to add richness to the harmony (AO4) Use of brass for melodies (Star Wars) and harmonies (Gladiator) (AO3) adds to the ddeclamatory nature of the music (AO4) Use of strings for melodies (e.g. Star Wars br 12 onwards, Gladiator throughout) (AO3) - lyricism and contrast with the brass (04) String flourishes (e.g. Star Wars bar 7) (aos) Loud dynamics/contrasts of dynamics (eg. Star Wars opening, Gladiator bar 17 onwards) (AQ3) for effect (AOA) CCrescendos (e.g. Star Wars bar 17 Gladiator bars 14-17) (AO3) build the excitement (A04) Accented chords (e.g. Gladiator bars 34-37 ‘and 46-47) (A03) Use of timpani rolls (AO3) create tension. ‘and drama (A04) Use of percussion - e.g. cymbals (ea. Star Wars opening) (AO3) Full orchestra (AO3); Gladiator's very string dominated (AO3) which creates an atmosphere of wonder (AO) Full and busy texture (AO3) creates drama andl awe (AO4) Melody dominated homophony (AOS) - music is accessible (AO4) Contrasts in texture (AO3) create dramatic effect (A04) Instruments at the top of their range (eg. trumpets, horns, violins) (AO3) ~ tension (A04) Syncopation (e.g. Star Wars bar 24; Gladiator bar 34) (AO3) creates rhythmic ‘excitement (A04) Fast rhythms (e.9. Star Wars bar 25) (AO3) = unrelenting feel (AO) Slow rhythms (e.g. Gladiator throughout) (AO3) - sense of wonder and awe (A04) Chord clusters (ea, Star Wars bars 22-23) (AOR) create tension (AO4) Any other valid and relevant points