gcse music handbook - highfields · pdf filegcse music at a glance 4 component details and...

AQA GCSE

MUSIC

Name:

Class: Teacher: Target Grade:

2

ASSESSMENT SCHEDULE

TERM YEAR 10 YEAR 11

1

Performing: Solo performance (in progress performance) to assess students’ performance level Date Due:

Performing: Solo and/or performance assessment Date Due:

Composition: Core compositions skills assessment. Date Due:

Composition: Component 2: Free composition (final) deadline assessment Date Due:

Listening: Baseline Test Date Due: End of Term Listening Examination Date Due:

Listening: End of term listening examination Date Due:

2

Performing: Solo performance – formal assessment of a polished performance piece. Date Due:

Performing: Component 2: Final solo and ensemble performance task deadline Date Due:

Composition: Free Composition (in progress) assessment. Date Due:

Composition: Component 3: Composing to a brief deadline Date Due:

Listening: End of Term Listening Examination Date Due:

Listening: Unit 1: Mock GCSE listening examination Date Due:

3

Performing: Ensemble Performance – formal assessment of a polished performance piece. Date Due:

Composition: Free Composition (draft) deadline assessment Date Due:

Listening: End of Year (Mock GCSE) exam. Date Due:

Listening: Component 1: Listening Examination Date Due: Early to Mid-May

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CONTENTS

GCSE Music at a Glance 4

Component Details and Marking Criteria 5

Component 1: Key Vocabulary 13

Analysing Your Set Works at Home 17

Component 2: Performing – Practice Log 19

Performance Feedback Log 23

Peer Assessment Log 26

Component 3: Free Composition 30

Quick Reference Guide to Using Sibelius 38

Composition Log 40

Composition Feedback Log 49

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AQA GCSE MUSIC AT A GLANCE

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COMPONENT DETAILS and MARKING CRITERIA

Component 1: Understanding Music (40% of your GCSE grade) In this component of the course you will learn about four areas of study. For each area of study, you will learn about the basics of that style and period as well as the context that the music was originally created. Your knowledge of these areas of study will be assessed by a 90-minute listening examination at the end of the course. For each AoS there are also set study pieces, but you only need to look at study pieces for two AoS. One of these has to be from AoS1, whilst the others must come from only one other AoS. The Areas of Study and set study pieces are:

• AoS1 – Western Classical Tradition 1650-1910 o Symphony No. 101 in D Major, Movt. 2 (The Clock Symphony)

By Joseph Haydn

• AoS2 – Popular Music o With a Little Help from my Friends o Within You, Without You o Lucy in the Sky With Diamonds

All three by the Beatles taken from the album “Sgt. Peppers Lonely Hearts Club Band”

• AoS3 – Tradtional Music o Smooth o Migra o Love of My Life

All three by Santana taken from the album “Supernatural”

• AoS4 – Western Classical Tradition Since 1910 o Saturday Night Waltz o Hoe Down

Both by Aaron Copland from his work Rodeo

Your listening examination will be marked out of 96 and will be split into two sections. Section A is based on all four AoS and will be based on unfamiliar music (music that you haven’t necessarily listened to in lessons). Questions in this section will be a mixture of multiple choice and short answer questions. Section 2 is worth 28 marks and is based on your set study pieces. Some of these questions will require longer answers. The examination will be marked externally by the exam board.

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Component 2: Performing Music (30% of your GCSE grade) You will need to prepare and record two performances with a combined time of no less than four minutes. Performances that fall under four minutes will be awarded no marks. Your ensemble performance must be at least one-minute long. You will get marked on the difficulty of your piece and the quality of your playing. There is no point playing a piece that is more difficult than your capabilities. (If you have chosen the music technology option then you will also be marked on balance, panning, effect and style). You must provide a score for each of your performances. This can be a traditional score, a lead sheet or an audio score. Music tech performances require an annotation of your performances describing how you have produced your piece. The total marks awarded for your performances is 72 (36 for your solo and 36 for your ensemble).

• Solo performance – You must play a solo piece of your own choice. It can be a traditional performance, a DJ performance or a realisation using music technology (multi-track performances must have a minimum of three tracks, one of which must be performed live). Your solo can be accompanied. If the piece is composed to be played with an accompaniment, then the accompaniment must be played. Two solo performance pieces may be submitted if required to make up the four-minute total performance time.

• Ensemble Performance – An ensemble performance requires a at least two performers playing or singing, and your part cannot be doubled. This can be a traditional performance, a DJ performance (with another DJ or live musician) or a realisation using music technology (for multi-track performances, you must perform at least three tracks, one of which must be live, and there must be one or more other parts performed live. This piece must be different than your solo piece.

Performing Marking Criteria – Overall Breakdown of Marks

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Performing Marking Criteria – Level of Demand Descriptors

Performing Marking Criteria – Technical Control (and accuracy) and Expression and Interpretation Descriptors (Instrumental/Vocal and DJ Performances)

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Performing Marking Criteria – Technology performance assessment grid

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Component 3: Composing Music (30% of your GCSE grade) You need to compose two pieces of music with a combined time of no less than three minutes. Compositions that fall under three minutes will be awarded no marks. One of your compositions has to be to a brief set by the exam board and the other is a free choice. You don’t have to be able to perform your compositions yourself and you can compose for any combination of instruments, voices, DJ’s and can use technology (unless the composition brief specifies otherwise). Each composition is worth 36 marks each (72 in total). Each composition is marked on two different categories, each worth 18 marks (Descriptions of these categories can be seen in the marking criteria below. You need to use at least two different elements from each category if you wish to have any chance of achieving maximum marks for your composition. The elements for each category are listed below. Composition Marking Criteria

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COMPONENT 1: KEY VOCABULARY

When studying component 1, for each area of study there is a set of key vocabulary that you must know and understand in order to answer questions in your listening examination. It is important that you not only understand what these words mean, you also need to be able to identify them in musical examples. Below are vocabulary tables for each AoS. Whilst the tables have been separated for each AoS you will find that a lot of these key words are transferable across multiple AoS. Each table shows a list of the musical elements on the left hand side, and the words associated with that element in the right hand column. AoS1: Western Classical Tradition 1650 – 1910

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AoS2: Popular Music

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AoS2: Traditional Music

15

AoS4: Western Classical Tradition Since 1910

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BEGINNING ANALYSIS OF STUDY PIECES AT HOME Below are some useful starting questions to ask when listening to a piece of music for the first time. Your set works are listed at the beginning of this booklet. For each piece, write answers down on a separate piece of paper in the form of notes. You can use these questions when you are studying your set works, or for when you are listening to other pieces of music. Be sure to answer the questions in as much detail as possible. Do not just write 'high', but 'woodwinds are playing in a high tessitura', for example. As you continue to develop your key vocabulary you will be able to analyse the music in greater detail. And remember that these questions are just starting points, if you feel there are any other features of interest when listening to a piece of music then be sure to make a note of them. Melody:

• Big or small range? • Which instrument performs the main melody? • Does the melody stay in that one instrument? • Is the rhythm of the melody mainly made up of quavers, minims or a mixture? • Is there a wide range of the dynamics? • Is the tessitura (average note) high or low? • Is the melody syllabic or melismatic? • Is the melody pentatonic/minor/major? • Is the melody conjunct (scalic) or disjunct (leaps)?

Rhythm:

• What is the time signature – does it change? • Is the rhythm on the beat or off the beat? • Are there polyrhythms, cross rhythms, hemiolas? • Is the rhythm of the melody the same as the accompanying instruments? • Are the rhythms complicated/straightforward in the verse/chorus/A section/coda etc. • Are the rhythms improvised in the verse/chorus/A section/coda etc.? • Are the rhythms repetitive?

Harmony:

• Is the music mainly major, minor or modal? • Are there many different chords used in the piece? • What is the key signature – does it change? • Any added/chromatic notes in the harmony? • Are there any ostinati? • Which instrument(s) play(s) the accompaniment?

Structure:

• How many sections are there? • How many themes are there? • How does the composer suggest a new section? • Are there any ostinati? • Do the sections repeat? If so, are they the same each time or different?

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Texture:

• What is the texture at the beginning/end of the piece? • How are the instruments layered? • Is there any use of canon? • Polyphonic/monophonic/heterophonic or monophonic? • Does the texture change?

Dynamics:

• Is there a big range of dynamics? • Do the dynamics change? If so, is it a sudden change?

Timbre:

• What is the function of the clarinet/oboe/violin/guitar/bass guitar? • What instruments can you hear in this extract? • What ensemble is this piece written for? • What instrument(s) can you hear at the start/end of this extract? • Is word painting used in this piece? If so, how?

You will have a separate workbook for all of your component 1 work. The information above should be used as a starting point for your home study, and will complement what you do in your music lessons.

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COMPONENT 2: PERFORMING

As previously mentioned, you will need to perform a recital consisting of a solo and an ensemble piece that is at least 4 minutes long. If your recital is less than 4 minutes you will be awarded no marks for this component of the course. Some of you may choose to do a “technology performance” which will follow a slightly different format and will be explained to you separately. For those doing traditional performances, you need to ensure that you are completing daily practice on your instrument/voice (ideally a minimum of 30 mins a day – including weekends and school holidays). Your final coursework performance must be recorded when you are in year 11, however it is vital that you have your pieces prepared well before this time if you wish to achieve a high mark in this aspect of the course. Over the next few pages is a weekly practice log to show evidence that you are practising. You need to fill in how many minutes practising you have completed each day, and your parents need to sign it off each week to confirm that this has taken place. This will be monitored by the teacher at specific intervals over the course of each term and parents will be notified if there are any concerns with the amount of practice taking place.

Week Beginning Mon Tue Wed Thur Fri Sat Sun Parent Sign Teacher Sign

Example 30 min

60 min

10 min No 20

min No 90 min Mrs. Smith Mr. Powell

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20


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PERFORMING ASSESSMENT FEEDBACK Use the following pages to record any feedback (teacher, peer etc…) related to your performance coursework. This can include formal teacher assessment feedback, hand writing of verbal feedback, etc…

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PERFORMING ASSESSMENT FEEDBACK (cont….)

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PERFORMING ASSESSMENT FEEDBACK (cont….)

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PERFORMING - PEER ASSESSMENT

Use the following templates to record your own assessments of your classmate’s performances. Use the marking criteria on pages 6-9 to help you come up with a final mark for the performances. Be sure to make fair judgements and make sure any feedback given is constructive.

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COMPONENT 3: COMPOSING

FREE COMPOSITION Starting Your Composition

Schöenberg's Chord Chart This chart helps you work out what chords fit with the key you want. Capital letters are for major keys and the lower case are for minor keys. The immediate letters around any given letter are chords that belong to that key and/or are chords you would expect.

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Around any given letter are eight chords which relate to that key. Decide on an initial key and write below sixteen chords (i.e. two eight-bar progressions). Remember to write major chords with capitals and minor chords in small letters.

For each chord above, now write out the notes in that chord. For major chords, you will need the note of the chord, plus the note four semitones up, plus the note three semitones up. For minor chords it is the other way around (i.e. the note of the chord, plus the note three semitones up, plus the note four semitones up).

Remember that a chord with # in its name must not have notes spelt with a b and vice versa. Check that each of your chords is spelt with letters that are a third apart (i.e. note-skip-note-skip-note). Write the three notes in each of your chords in the table below. The root of the chord (the note the chord is named after) should go at the bottom of each row of three.

You now have a sixteen bar chord sequence. To every other chord now add either a note that is another three semitones above the highest note in the chord, or a note that is seven semitones above the highest note in the chord. This adds a minor seventh (it is seven letters away from the root of the chord) or a major ninth (nine letters away from the root of the chord). If you are writing in a jazz style you may want to use both added notes. Again, if the chord involves #s the note should not be spelt with a b and vice versa. Write these added notes above or below the table.

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The Harmony Matrix It is important to consider voice-leading when writing chords. Voice leading refers to how smooth an individual path is between, for example, the top notes in each chord, or the notes second from top, etc. In order to write music that flows, voice leading must be secure. The harmony matrix allows you to achieve smooth voice leading in your harmonic progressions. Your first chord must be written in root position (i.e. the note that the chord is named after must be at the bottom). So, for G major, I would write:

D B G

The letters of each subsequent chord need to be placed in to the row of the matrix closest to the letters in the previous chord. Say I wanted to then write a chord of C major (C, E, G). My harmony matrix would now look like this:

Part 1 D ⟶ E Part 2 B ⟶ C Part 3 G ⟶ G

For the voice leading to be smooth, the C major chord has to be written in first inversion (i.e. tipped up once so that the root (C) is now in the middle. The arrows show the resulting smooth voice leading between each of the parts. It also means that this is now easily playable on the piano, rather than having to jump. Remember that since you have added sevenths and/or ninths to your chords, some chords will have four notes. This does not matter – concentrate on getting the main three parts as smooth as possible and then put whichever note is left in the fourth row. Now fill in your harmony matrix for the first sixteen bars.

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You now have a harmonic progression which has smooth voice leading. This is your first musical section. Your piece must have a number of musical sections, and the order in which they come determines the form (the overall structure or plan). Below are some suggested structures that you could use in your composition. Binary: A B Rounded Binary: A B (where the B section ends with a return of part of the A section) Ternary A B A Compound Ternary: A B A (where each section is AB AB AB ) Rondo: A1 B A2 C A3 etc. (where each A section is varied) Once you have decided on a structure, use the matrices below to plan your sixteen bar sections in the same way as before.

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Writing a Melody Below are some ideas for how to start writing your melody.

• Start by writing crotchets that use each note of your chord. Do this across your sixteen bar section. Fill in any thirds with a quaver on the note in between (this is called a 'passing note'). You can then begin to add rhythmic interest by changing the rhythm of the bar around; or you can start adding chromatic notes (other sharps or flats). Make sure that any chromatic notes are added between the beats and not on them – otherwise it will sound strange.

• Play your chord progression at the piano and sing over the top. Try to work out on the piano what you naturally sing to the chord progression. Or you could input the chords into Sibelius and use the playback function to play the chords as you sing over the top.

• Who says you have to use a major or minor scale? Why not try an octatonic scale, which alternates semitones and tones (i.e. semitone, tone, semitone, tone, semitone, tone, etc.). Or why not experiment with modal melodies? Modes were used by musicians before the rules for forming major and minor scales were decided. The formulas below start on the tonic (1st) note of the key you have chosen.

o Ionian mode: tone, tone, semitone, tone, tone, tone, semitone. (this was later renamed the major scale)

o Dorian mode: tone, semitone, tone, tone, tone, semitone, tone. (sad sound; often used in medieval churches for chant and now often in folk music)

o Phrygian: semitone, tone, tone, tone, semitone, tone, tone. (often used in Spanish music)

o Lydian: tone, tone, tone, semitone, tone, tone, semitone. (has an air of mystery to it because the fourth note is higher than you expect)

o Mixolydian: tone, tone, semitone, tone, tone, semitone, tone. (often used in folk music)

o Aeolian: tone, semitone, tone, tone, semitone, tone, tone. (called the natural minor scale; often used for representing the countryside)

o Lochrian: semitone, tone, tone, semitone, tone, tone, tone. (called the devil's mode – sounds very angry)

• Why not create a small rhythmic cell of a bar or two, and then base the rest of the section on successive developments and variations of that cell? You could then base your piece on that melody and its various developments: a. Double/halve the rhythm? b. Up/down an octave? c. Syncopated/tripletised/metric displacement (4 beats in a time signature of 3?)? d. Fragmented? e. Inverted? f. Retrograded?

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• If you feel more confident thinking in rhythm rather than pitch, why not compose your

piece rhythmically? You could use some of the ideas from the previous bullet point and layer up your rhythms, or concatenate them (string them together). You could then input the rhythms into Sibelius and move the individual notes up and down with the up/down arrows. Make sure that the notes fit with the chords from your matrix though.

Writing for instruments If you have chosen to write for a number of instruments, you need to demonstrate to the examiner that you are aware of the idiosyncrasies of that instrument (i.e. the peculiar effects you can get from it, or the way that the music is written for them). There are several good places to start to understand the effects that various instruments can create. The Philharmonia have released a number of videos on YouTube which explain about each instrument and the effects they can produce. YouTube '*instrument name* philharmonia' and you will find it. The AB Guide to Music Theory, Part II, also has chapters on each family of instruments. Wikipedia also often contains interesting sections on techniques you can use for each instrument. When in doubt though, always ask! Here are some suggestions you may wish to consider putting in your piece.

Section Techniques Typical Uses

Strings

Pizzicato, arco, double stopping, mutes, harmonics, tremolo, use of their huge range, slow moving chords, cello repetitive ostinato to create suspense, etc.

• Cello ostinati • Slow moving

violin/viola melodies • Double bass to add

depth

Woodwind

Huge range of instruments, warm timbre, mainly used to double the strings for a thicker sound/texture, characterful instruments such as the bassoon and clarinet etc.

• To double strings • Flute for light sound • Clarinet for warm

sound and large range

Brass

Slow moving chords to create suspense, dramatic crescendos/diminuendos/accents, mutes, trumpets create military/action feeling etc.

• Horns to pad out texture

• Trombones to add to double bass

Percussion

Timpani/snare drum/cymbals to create suspense; Glockenspiels/marimbas/xylophones for warmer/brighter sound, hand percussion to add brightness, piano can be used percussively or more ‘musically’ and harp for lighter feel etc.

• Percussive use of piano • Timpani to create

suspense • Sporadic snare drum to

create tension/action

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Making Your Composition Even Better Have you considered using:

• Cluster chords – useful for rhythmic effect – low on piano or high in woodwind – eerie!

• Ostinati – based on an arpeggio or first 3 degrees of the chosen scale – creates sense of motion.

• Pedal notes – in bass instruments whilst chords change around on top – more options and suspense.

• Melodies – use most of the notes in the chord with upper and lower auxiliary notes/passing notes.

• Dialogue – imitation, canon, call and response between instruments – pads out the texture.

• Added chords – add in a D to a C major chord or a G to an A minor chord – more options and softens the sound of the chord.

• Inversions – use a mixture of root/1st inversion chords – provides variety and smoothness between chords.

• Tempo changes – use dramatic or gradual tempo changes – creates instability. • Layering – adding one note at a time to a clashing chord – creates tension. • Motor rhythms – repeated rhythm in an instrument/group of instruments – creates

motion and suspense. • Harmonising – try harmonising the same melody with different chords e.g.

harmonising a C in the melody with a C chord, then an A minor chord then an F major etc. – gives a sense of development.

• Triplets/quintuplets – use polyrhythms and cross-rhythms across parts – sense of chaos/tension.

• Rhythmic augmentation/rhythmic diminution – double or halve the rhythms of a melody or ostinato – creates a sense of speeding up or coming to a halt.

Quick Reference Guide to Using Sibelius To use panoramic mode (to see your music appearing from right to left rather than scrolling around the document manually)

• Hold ‘shift’ and press ‘p’ • To go back to normal view hold ‘shift’ and press ‘p’

Add in dynamics • Click on the note where you want to add the dynamics • Press “Control and E” • A flashing cursor will appear – right-click just to the side of the flashing cursor • Options for dynamics will appear • Once you select it you can copy and paste it around the music

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Tempo marking • Right-click anywhere on the music (without selecting a note) • Click “Text” • Click “Tempo” • Click where you want the tempo to start • A flashing cursor will appear – right-click just to the side of the flashing cursor • Your options will appear

Press the letter “L” on the keyboard • Lines such as trills, diminuendos and rallentandos will appear

Press the letter “Z” on the keyboard • Symbols such as ornaments will appear • Click on the ornament then click where you would like it to appear on the screen. Once

you click on the ornament you can drag it around using the mouse whilst holding down the left click button

Press the letter “K” on the keyboard • It’ll change your key signature • Click “K” • Click on the key you want • Click on the bar you want it to start

Press the letter “T” on the keyboard • It’ll change your time signature • Follow the directions for changing your key signature

Press the letter ‘I’ on the keyboard • It’ll add an instrument

Keypad • Staccato (short, detached notes), accents (make the note louder) and tenuto (where

youcslightly pause on a note) marks are available on the keypad

Slurs • Select two consecutive notes or more • Press the letter “S” on the keyboard • A slur will appear between the two • Useful for writing lyrics or for slurring notes for a woodwind instrument in particular

Bars • Add a bar at the end of your music – click on last bar and press ‘Control’ and ‘b’ • To delete a bar – hold ‘Control’ and left click on the bar you want to delete (it should turn

a pink/purple colour) – then press delete • To add a bar in the middle of your music – click where you want to add and press ‘control’

and ‘shift’ and ‘b’

General tips • The ‘escape’ button is your best friend – if Sibelius doesn’t seem to be working press

‘escape’ and carry on • Undo – ‘Control’ and ‘z'

Remember to save your work every few minutes!

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COMPOSITION LOG This composition log is for you to plan what you are going to do each lessons, and to record what you have achieved, and any feedback you have received in lessons. Be sure to use it at the beginning and end of each composition session. DATE Plan for the session

– write this up at the end of the previous lesson

What have you achieved? Be specific and highlight areas for development as well.

Feedback when applicable (peer or teacher)

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DATE Plan for the session – write this up at the end of the previous lesson



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COMPOSITION ASSESSMENT FEEDBACK Use the following pages to record any feedback (teacher, peer etc…) related to your composition coursework (separate from your composition log). This can include formal teacher assessment feedback, hand writing of verbal feedback, etc…

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COMPOSITION ASSESSMENT FEEDBACK (cont….)

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COMPOSITION ASSESSMENT FEEDBACK (cont….)

gcse music handbook - highfields · pdf filegcse music at a glance 4 component details and...

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