Music A Level Handbook

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!

Your teachers will be:

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

5. Theory Content 24-56

Pre- A level theory 24-30
1: Texture 31-34
2: Instruments and the score 35-42
3: Rhythm 43
4: Harmony 44-47
5: Tonality 48-50
6: Melody 51-54
7: Form and structure 55-56
6. Marking criteria for Also including specimen questions and sample 57-86
component One answers, command words, music vocabulary and
suggested further listening
7. Reading list/ Useful websites 87
8. Resources 87
9. Music Expectations at A level 88
10.Homework monitoring 89-92
11.Personal statement log 93

Minimum Target Grade

Challenge Target Grade

1 2 3

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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)

Component 2 A minimum of 10 minutes solo or ensemble

Performance Externally Assessed Coursework
(35% of A Level: 50 marks)

Component 3 Composition 1: to a brief (25 marks)

Composition Composition 2: Free (25 marks)
Externally Assessed Coursework
(25% of A Level: 50 marks)

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 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

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 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.

Assessment Feedback Action Taken

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7
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 4. Specification Content and Criteria

Component 1: Appraisal (listening and set works) p.11-13

Component 2: Performing p.14-19

(including performance log/ feedback)

Component 3: Composing p.20-22

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 Component 1: Appraisal (Set Works and Listening Paper)
Students must study:
 Area of study 1: Western classical tradition 1650-1910
and choose two remaining topics. At HGS we will study:
 Area of Study 4 – Music for theatre
 Area of Study 5 – Jazz
Western classical strands:
 Baroque: the solo concerto
 Classical: the operas of Mozart
 Romantic: the piano music of Chopin, Brahms and Grieg
Assessment will be by written paper with some questions using
a CD of musical excerpts. The examination paper will be marked
by AQA examiners. The question paper will have three sections.
Section A: Listening – 56 marks (65mins)
Students must be able to listen attentively to unfamiliar music,
from all the named artists in each of the three Western classical
strands and the jazz and musical areas, to identify and accurately
describe musical elements and use musical language (including
staff notation, for tasks such as dictation).
You will need to answer one set of questions linked to AOS1:
Western classical, including aural dictation, one set of questions
on jazz and another set on musicals. Students have a CD each
and can control number of playings.
Section B: Analysis [Western Classical Music]–34 marks (40mins)
For two of the strands, students must also be able to critically
appraise music through analysing excerpts from the set works
using knowledge and understanding of:
 The effect of audience, time and place on how the set
works were created, developed and performed
 How and why the music across the selected strand is
different
 How the composer’s purpose and intention for the set
works is reflected in their use of musical elements
 Relevant musical vocabulary and terminology for the
set works
 The complex interdependencies between musical
elements
 The sophisticated connections between music and its
context.
Here you will answer two sets of questions – both short and long
answers on two extracts from the set works and a further two
sets of questions from the two selected strands. Scores of the
extracts will be included.
Set works:
Strand A (Baroque solo concerto):
- Purcell – Sonata for trumpet and strings in D major Z.850
- Vivaldi – Flute concerto in D Il Gardellino op.10 no.3 RV428
- Bach – Violin concerto in A minor BWV1041
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Strand B (The operas of Mozart):
Le Nozze di Figaro k.492, Act 1
- Overture
- No.1 Duettino (Figaro and Susanna, including following recit.)
- No.3 Cavatina (Figaro, including the previous recit.)
- No.4 Aria (Bartolo)
- No.5 Duettino (Susanna and Marcellina)
- No.6 Aria (Cherubino)
- No.7 Terzetto (Susanna, Basilio, Count)
- No.9 Aria (Figaro)
Strand C (The piano music of Chopin, Brahms and Grieg):
- Chopin – Ballade no.2 in F major op.38
- Chopin – Nocturne in E minor op/72 no.1
- Brahms – Intermezzo in A major op.118 no.2
- Brahms – Ballade in G minor op.118 no.3
- Grieg – Norwegian march op.54 no.2
- Grieg – Notturno op.54 no.4
Section C: Essay [Jazz and Musical Theatre] – 30 marks (45mins)
One essay question will be set on one of these topics.
For three of the named artists from jazz and musical theatre
strands, students must also be able to critically appraise music
using knowledge and understanding of:
 How the artists’/ composers’ use of musical elements
for at least two published works reflects the style of
the genre and their purpose and intentions for the
work
 How the style of the artists’/ composers’ music has
varied over time through comparison of published
works
 Musical vocabulary and terminology relevant to the
work and Area of study.
Named artists:
AOS4: Music for Theatre
- Kurt Weill
- Richard Rogers
- Stephen Sondheim
- Claude-Michel Schönberg
- Jason Robert Brown
AOS5: Jazz
- Louis Armstrong
- Duke Ellington
- Charlie Parker
- Miles Davis
- Pat Metheny
- Gwilym Simcock
BOTH SECTION B AND SECTION C MUST BE WRITTEN IN PROSE.
Study for all three sections will involve listening to music from
within the two AoS, study of scores and gaining an awareness
of the context in which the music was composed.
 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:

(a) a solo performance on an instrument/ voice

(b) an ensemble performance
or
(c) production: via music technology

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.

The Performance is assessed on:

 Ambition of project (5 marks)
 Technical control (15 marks)
 Expressive control (15 marks)
 Performance quality (15 marks)
Total marks – 50

Component 2: A level Performance Assessment Criteria

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.
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10-12  A performance which is generally accurate in pitch and security of
intonation
 Rhythmically stable with only a few small errors not affecting the
overall fluency
 Tone production is generally good but the quality suffers at the
extremities of the pitch range, or at moments of technical
difficulty, or is uneven between registers
 Techniques demanded by the music are met.
7-9  A performance which is achieves consistency of pitch overall with
reasonably secure intonation
 Weaknesses of rhythm or pulse may be evident
 Evidence of good tone quality over most of the pitch range but
with occasional weaknesses
 In general techniques demands are met but there will be
evidence of loss of integrity.
4-6  A performance in which the basic outline of the music is
appreciable but either errors of pitch are significant and
intonation may be consistently flat or sharp or rhythmic problems
are sufficient enough to interrupt the flow.
 Tone produced is inhibited, with only some technical demands
being met.
1-3  A performance which achieves limited consistency of pitch and
rhythm or fluency
 Accuracy is only evident in the more straightforward passages
 Intonation is rarely secure and is inconsistent
 Technique and tone production are problematic.
0 No work submitted or worthy of credit.
Expressive control
Mark Instrumental/ Vocal
13-15  A highly musical performance in which tempo is entirely
appropriate throughout
 The composer’s expressive and performance directions have been
fully observed resulting in accurate, effective and broad-ranging
dynamics, phrasing and articulation
 subtlety and control will be a feature at the top of the band
10-12  musical performance in which the main chosen tempi are
appropriate, but there are one or two misjudged moments
 the majority of the composer’s expressive and performance
directions have been carefully observed
 dynamics, phrasing and articulation are successfully varied and
mostly effective
7-9  a performance in which the main chosen tempi are slightly
misjudged and the performance mechanical on occasion
 the composer’s expressive and performance directions have been
largely observed and phrases are generally well shaped
 articulation and dynamics are mostly accurate, if rather bland.
4-6  A performance in which the main chosen tempi are generally
misjudged and the performance is very mechanical
 There is a basic control of phrasing, articulation and dynamics;
these are often misjudged
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 A few minor slips which do not inhibit the overall
musicality or fluency of the recording
 Close attention to all performance detail with
effective articulation and phrasing
 Appropriate choice and placement of
microphones, a few tracks have occasional
clipping or a slight noise.
 Slips in pitch and rhythm become increasingly
frequent interrupting the fluency of the
recording
 Generally effective articulation and phrasing
 Largely appropriate choice and placement of
microphones, however some tracks are not
captured cleanly.
 More significant errors in pitch and rhythm
affecting the overall sense of ensemble
 Some attempts, which are not always successful,
to create articulation and phrasing
 Some appropriate choice of microphones but not
all placement is appropriate
 There is likely to be some intrusive noise or
distortion.
 Significant lapses in the accuracy of pitch and
rhythm resulting in an unmusical performance
 Mechanical with limited attention to articulation
and phrasing
 Poor microphone choice and placement results
in a noisy and problematic recording.
Production
 well-chosen timbres which have been
appropriately edited
 excellent management of dynamics in ways
completely appropriate to the music
 dynamic shaping appropriately used
 compressions and EQ have been used
appropriately to good effect
 appropriate choice of timbres but without
further editing
 good overall dynamic contrast but lacks some
shaping
 some occasional miscalculations of over or under
use of compression so tracks do not sit well in
the mix
 there are some slight errors in the use of EQ.
 The majority of chosen timbres are appropriate
 Some misjudgements with dynamic contrast and
shaping
 There are some occasional intrusive
misjudgements with the use of compression and
more frequent errors in the application of EQ.
 Partially successful choice of timbres
 Sections where attempts to create dynamic
contrast and/ or the dynamic processing is
misjudged and EQ has been applied
inconsistently.
1-3  The main chosen tempi are inappropriate
 There is little or no application of dynamics, phrasing and
articulation.
0 No work submitted or worthy of credit.
Performance Quality
Mark Instrumental/ Vocal
13-15  An engaging and commanding performance in which the student
demonstrates total involvement in the music with real flair
 A mature and sensitive understanding of both period and style is
evident; communicated through an assured, convincing and well-
projected performance.
10-12  Performance which is mostly commanding and convincing
 There is clear commitment and the performance is mostly
assured
 A good sense of style is evident but there is lack of individual flair.
7-9  A performance which demonstrates some level of commitment
but lack an overall assurance
 There is still an overall sense of conviction
 The style of the music is appropriate with a clear sense of
character
4-6  A performance which lacks conviction and commitment on
occasions
 There is limited sensitivity to the demands of the music although
there is a general understanding of the overall character.
1-3  A performance which is limited in conviction and displays
rudimentary sensitivity to the style of the music
 There is a limited sense of assurance leading to an anxious
experience for performer and listener.
0 No work submitted or worthy of credit.
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 Chosen timbres are largely inappropriate
 Limited dynamic contrasts
 A mechanical or unmusical result
 Limited or no use of dynamic processing and EQ.
Production
 Complete awareness of the stylistic
requirements of the music including musical
shaping
 Excellent sense of balance and effectively
blended throughout the recording
 Musically appropriate use of the stereo field
 Excellent and judicious use of stylistically
appropriate effects.
 A consistent sense of style with attention to
musical detail
 Most tracks are well balanced and blended with
some minor slips
 Effective placement in the stereo field
 Well controlled use of appropriate effects.
 Broadly successful creation of the required style
 More frequent miscalculations as to balance and
blend
 Largely effective use of the stereo field but with
some misjudgements
 Occasional miscalculations as to the use of
effects.
 Some sense of the required style but achieved
inconsistently
 There are also inconsistencies in balance and
blend with key tracks or features obscured
 Largely inappropriate use of the stereo field
 Inconsistency in the application of effects.
 Limited sense of style with little attention to
musical detail
 Poorly balanced resulting in a misjudged final
product
 Little or no use of the stereo field
 Inappropriate use of effects.
 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:

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 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.

Composition 1: Composition to a brief

The composition must be in response to one brief from a choice of seven externally set briefs. The briefs will be
released on or as near as possible to 15 September in Year 13.
The briefs may include different stimuli, such as:
A poem or a piece of text
Photographs, images or film
Notation

Composition 2: Free composition

Free compositions need not reference areas of study or a given brief.

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.

Component 3: Creating Musical Ideas (Composition): Assessment criteria

Composition 1: Composition to a brief

Mark Composition 1: Requirements Requirements

composition to a brief Brief 1 - Chorales Briefs 2-7
21-25 An authoritative  Stylistic detail is evident  The composition has a sustained mastery of technical
composition throughout, using imaginative control
 Lower marks in the and interesting features  The quality of contrasting ideas and their
band suggest some  Cadences are varied and there is development creates a commanding structure that is
less imaginative an inventive exploration of keys more than just a standard form, providing a musical
elements or passage,  A wide variety of chords is used journey
and/or some fluently and with few significant  Musical elements are used with flair and imagination,
inconsistencies in the errors complementing each other with strong creative
supporting written  Grammatical errors are purpose to give a consistently fluent and successful
material. insignificant and part-writing is result
fluent and sophisticated.  The style of the composition is convincing, fluent and
used perceptively to give a compelling musical
experience
 Imaginative use of the brief fundamentally informs
the composition
 The music is communicated fluently on paper with
comprehensive score or commanding annotation.
16-20 A confident composition  There is interesting stylistic  The composition has a largely successful technical
 Higher marks in the detail but the result is secure control
band represent music rather than imaginative  The quality of contrasting ideas and/ or their
that has some signs of  Main keys and cadences are development has led to a successful musical structure
imagination well-chosen but there is scope  Musical elements are used with variety and secure
 Lower marks in the for more interest and variety, for handling, though some may be used with more
band suggest greater example with passing creative purpose than others, combining to give a
inconsistencies in modulation largely successful, if not always consistent, result
20
 technical control  Chord choice is mostly secure  The style of the composition is assured and used
and/or elements of and varied with some proficiently to give a clear musical experience
the style. adventurous moments  Interesting use of the brief significantly informs the
 Some grammatical errors occur composition
but they have little effect on the  The music is communicated clearly on paper with a
aural result good score or helpful annotation, despite some
 Part-writing has melodic imprecision
direction and few difficulties.  This band may also be appropriate for compositions
of top band compositional quality which have very
weak supporting written material (score or
annotation)
11-15 A secure composition  Stylistic awareness is evident at  The composition has largely competent technical
 Higher marks in the times, but inconsistently, control
band represent music throughout the composition  There is a clear musical structure, though this may
that has some signs of  Cadences are largely effective lack effective contrast or development of ideas
creative exploration despite some errors; key choices  Musical elements are used with moderate
or a superior score/ may lack some variety effectiveness and some control, providing evidence of
annotation  Chord choice is often suitable creative purpose, which is not always fully explored
 Lower marks in the but there will be errors and or realised, to give a partially successful result
band suggest greater some lack of variety  The style of the composition is evident but used in a
concerns with  There is some awareness of generic manner to give a predictable musical
technical control, part-writing, but errors are experience
little creative frequent, and there is a lack of  Satisfactory use of the brief informs the composition
exploration or a less interest.  The music is communicated on paper through a score
convincing sense of or annotation, but not always clearly, accurately or
style. with sufficient detail.
6-10 A composition of some  Stylistic awareness is apparent  The composition has some persistent issues with
limitations only occasionally technical control
 Higher marks in the  Some understanding of  There are some signs of a musical structure, but these
band represent music cadences, but errors frequently are not always clear
that has more signs of occur and the key is insecure at  Musical elements are used with some effectiveness,
technical competence times but there are sustained difficulties in some aspects
and/ or a stronger  Chord choice is weak and and little sense of creative purpose leading to a
sense of intended progression is often ineffective composition of limited success
style  errors are significant but a few  There is evidence of an intended style in the
 Lower marks in the passages have successful part- composition but this is dilute, inconsistent or
band suggest serious writing. ineffectively contradictory, leading to a restricted
concerns regarding musical experience
technical control, or  Limited use of the brief evident at times
music with no  The music is only partially communicated on paper
discernible sense of through an incomplete, confusing or only outline
style. version provided as score or annotation.
1-5 A rudimentary  There is no evidence of stylistic  The composition is dominated by issues with
composition awareness technical control
 Higher marks in the  Important key centres have not  There is little or no evidence of musical structure
band represent music been grasped; cadences are  Musical elements are used with little control, making
that has few signs of mostly inaccurate genuine creative intentions hard to discern in a
musical awareness  Chords are often incomplete, rudimentary or confused result
 Lower marks in the inaccurate or inappropriate  There is no sense of style evident in the composition,
band represent  Errors are frequent and there is leading to a lack of musical experience
compositions that little awareness of part-writing.  Rudimentary use is made of the brief
have strongly random  The written material in no way enhances the
elements and/or are composition and is likely to be poor in its detail and
very simplistic, scant layout (whether score or annotation).
or short.
0 No work submitted or worthy of credit

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 Composition 2: Free Composition
Mark Composition 2: Free
composition
21-25 An authoritative composition
 Lower marks in the band
suggest some less imaginative
elements or passages, and/or
some inconsistencies in the
supporting written material.
16-20 A confident composition
 Higher marks in the band
represent music that has some
signs of imagination
 Lower marks in the band
suggest greater inconsistencies
in technical control and/ or
elements of the style
11-15 A secure composition
 Higher marks in the band
represent music that has some
signs of creative exploration or
a superior score/ annotation
 Lower marks in the band
suggest greater concerns with
technical control, little creative
exploration or a less
convincing sense of style
6-10 A composition of some limitations
 Higher marks in the band
represent music that has more
signs of technical competence
and/ or a stronger sense of
intended style
 Lower marks in the band
suggest serious concerns
regarding technical control, or
music with no discernible
sense of style.
1-5 A rudimentary composition
 Higher marks in the band
represent music that has few
signs of musical awareness
 Lower marks in the band
represent compositions that
have strongly random
elements and/or are very
simplistic, scant or short.
0 No work submitted or worthy of credit
Requirements
 The composition has a sustained mastery of technical control
 The quality of contrasting ideas and their development creates a commanding
structure that is more than just a standard form, providing a musical journey
 Musical elements are used with flair and imagination, complementing each other
with strong creative purpose to give a consistently fluent and successful result
 The style of the composition is convincing, fluent and used perceptively to give a
compelling musical experience
 The music is communicated fluently on paper with comprehensive score or
commanding annotation.
 The composition has a largely successful technical control
 The quality of contrasting ideas and/or their development has led to a successful
musical structure
 Musical elements are used with variety and secure handling, though some may be
used with more creative purpose than others, combining to give a largely
successful, if not always consistent, result
 The style of the composition is assured and used proficiently to give a clear musical
experience
 The music is communicated clearly on paper with a good score or helpful
annotation, despite some imprecision
 This band may also be appropriate for compositions of top band compositional
quality which have very weak supporting written material (score or annotation).
 The composition has largely competent technical control
 There is a clear musical structure, though this may lack effective contrast or
development of ideas
 Musical elements are used with moderate effectiveness and some control,
providing evidence of creative purpose, which is not always fully explored or
realised, to give a partially successful result
 The style of the composition is evident but used in a generic manner to give a
predictable musical experience
 The music is communicated on paper through a score or annotation, but not
always clearly, accurately or with sufficient detail.
 The composition has some persistent issues with technical control
 There are some signs of a musical structure, but these are not always clear
 Musical elements are used with some effectiveness, but there are sustained
difficulties in some aspects and little sense of creative purpose leading to a
composition of limited success
 There is evidence of an intended style in the composition but this is dilute,
inconsistent or ineffectively contradictory, leading to a restricted musical
experience
 The music is only partially communicated on paper through an incomplete,
confusing or only outline version provided as score or annotation.
 The composition is dominated by issues with technical control
 There is little or no evidence of musical structure
 Musical elements are used with little control, making genuine creative intentions
hard to discern in a rudimentary or confused result
 There is no sense of style evident in the composition, leading to a lack of musical
experience
 The written material in no way enhances the composition and is likely to be poor in
its detail and layout (whether score or annotation).
22
 5.
THEORY CONTENT FOR A LEVEL MUSIC

 Pre- A level theory content p.24-30

 A level music theory –

 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

23
 Pre-A level Theory Content
Notes of the treble clef, bass clef, tenor clef and alto clef.

TREBLE CLEF:

BASS CLEF:

ALTO CLEF-used by violas

TENOR CLEF- used occasionally by trombone and bassoon

Note values, rests, time signatures

Accidentals

24
Intervals

a. Tones and semitones

C# D# F# G# A#
Db Eb Gb Ab Bb

The Keys (This pattern is repeated throughout the entire piano

keyboard.)

b. Intervals

In a major key:

Major 2nd
Major 3rd
Perfect 4th
Perfect 5th
Major 6th
Major 7th
Perfect 8ve

Semitone Semitone smaller NORMAL in a Semitone Bigger

smaller major scale

Diminished Minor 2nd Major 2nd Augmented 2nd

2nd

Diminished Minor 3rd Major 3rd Augmented 3rd

3rd

Diminished 4th Perfect 4th Augmented 4th

Diminished 5th Perfect 5th Augmented 5th

Diminished 6th Minor 6th Major 6th Augmented 6th

Diminished 7th Minor 7th Major 7th Augmented 7th

Diminished 8ve Perfect 8ve Augmented 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

25
Major keys and key signatures

ORDER OF SHARPS: Father Charles Goes Down And Ends Battle

SHARPS: Go to the last sharp and go up a step in the alphabet to find the key eg:

The last sharp is a D. Go up a letter in the alphabet= E major.

ORDER OF FLATS: (order of sharps backwards)

Battle Ends And Down Goes Charles Father

FLATS: Go to the flat before last. That is the key

The flat before last is Eb, so the key is Eb major

We have to remember these:

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):

Key signature Major key Minor key

B♭, E♭, A♭, D♭, G♭, C♭, F♭ Cbmajor A♭ minor

B♭, E♭, A♭, D♭, G♭, C♭ G♭ major E♭ minor

B♭, E♭, A♭, D♭, G♭ D♭ major B♭ minor

B♭, E♭, A♭, D♭ A♭ major F minor

B♭, E♭, A♭ E♭ major C minor

B♭, E♭ B♭ major G minor

B♭ F major D minor
C major A minor
F♯ G major E minor

F♯, C♯ D major B minor

F♯, C♯, G♯ A major F♯ minor

F♯, C♯, G♯, D♯ E major C♯ minor

F♯, C♯, G♯, D♯, A♯ B major G♯ minor

F♯, C♯, G♯, D♯, A♯, E♯ F♯ major D♯ minor

F♯, C♯, G♯, D♯, A♯, E♯, B♯ C♯ major A♯ 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

Crescendo growing Becoming louder

Decrescendo shrinking Becoming softer
Diminuendo dwindling Becoming softer
Forte strong Loud
Fortissimo very strong Very loud
Mezzo Forte half-strong Moderately loud
Piano gentle Soft
Pianissimo very gentle Very soft
Mezzo piano half-gentle Moderately soft
Sforzando strained Sharply accented

27
Tempo

Tempo time The speed of a piece of music

Largo broad Slow and dignified
Larghetto a little bit broad Not as slow as largo
Lento slow Slow
Adagio ad agio, at ease Slow, but not as slow as largo
Adagietto little adagio Faster than adagio; or a short adagio composition
Andante walking Moderately slow, flowing along
Moderato moderately At a moderate speed
Allegretto a little bit joyful Slightly slower than allegro
Largamente broadly Slow and dignified
Allegro joyful;lively and fast Moderately fast
Fermata stopped Marks a note to be held or sustained
Presto ready Very fast
Prestissimo very ready Very very fast, as fast as possible
Accelerando accelerating accelerating
Affrettando becoming hurried accelerating
slowing down and broadening, becoming more stately and
Allargando to slow and broaden
majestic, possibly louder
Ritardando to slow decelerating
becoming progressively
Rallentando decelerating
slower
Rubato robbed free flowing and exempt from steady rhythm
Tenuto sustained holding or sustaining a single note
The accompaniment must follow the singer who can speed
Accompagnato accompanied
up or slow down at will
alla marcia as a march In strict tempo at a marching pace (e.g. 120 bpm)
Return to previous tempo
a tempo to time

To pause the pulse of the

Pause Hold the note under the pause marking for expression.
music

Musical expression (general)

Molto very Used with other terms, such as molto allegro

Assai very Used with other terms, such as allegro assai
Più more Used with other terms, such as più mosso
Poco little "a little". Used with other terms, such as poco diminuendo
"little by little", "slowly but steadily". Used with other terms, such as poco a poco
Poco a poco little by little
crescendo
ma non but not too
But not too much, such as allegro ma non troppo
troppo much
Meno less Used with other terms, such as meno mosso
28
Moods

Agitato agitated Excited and fast

Animato animated Animated
Cantabile singable In a singing style
Con fuoco with fire with fiery manner
Con brio (Con Spirito) with spirit With spirit
Con moto with movement With movement
Dolce sweetly Sweet
Grazioso graciously or gracefully With charm
Maestoso majestic Stately
Misterioso mysterious Mysteriously, secretively, enigmatic
Scherzando playfully Playfully
Sotto subdued Subdued
Semplicemente simply Simply
Vivace vivacious up-tempo

Directions

Attacca Proceed to the next section without pause

Da Capo (al from the beginning Abbreviated as D.C., informs the performer to go back to the beginning (capo)
fine) (to the end) (finishing where the part is marked "fine")
Abbreviated as D.S., informs the performer to repeat a specific section marked
Dal Segno to the sign
by a sign (segno)
Instructs one section to divide into two or more separate sections, each playing
Divisi divided
a separate part. Often these separate parts are written on the same staff.

Techniques

Arpeggio harp-like A chord with the notes spread out in time

Appoggiatura leaning A type of ornament
Basso continuous
Continuous bass accompaniment (see figured bass.)
continuo bass
Cancels "col legno" and "pizzicato" (in a string passage, arco is usually expected
Coll'arco with the bow
and is not written.)
A note to accompanists to play with (in time with) the singer, especially when
Colla voce with the voice
slowing for textual effect
Con sordino with mute Calls for mute to be applied, esp. to string instruments.
Senza sordino without mute Calls for mute to be removed, esp. from string instruments.
Pizzicato plucked Calls for a bowed instrument to be plucked
Staccato detached The player cuts of the note to leave a detached effect.
Marcato marked To add extra emphasis to the note in question
Legato Smoothly To play the phrase smoothly without breaks.

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.

30
 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.

MONOPHONIC. (MONO means ONE). It means

an unaccompanied solo or everyone playing the
same in unison or doubled in octaves. There are
no chords. Here the only music is the flutes,
oboes and bassoons all playing the same notes in
octaves:

It still counts as Monophonic if a rhythm is

playing along (rather than pitches)

HOMOPHONIC means a tune with an accompaniment based

on chords. Here the top two instruments have a melody in
octaves and the bottom part is playing a chord pattern:

Sometimes Homophonic texture looks more like a hymn: you

could call this ‘Chordal’.
An interesting composing technique is to write your melody in
parallel 3rds.

Sometimes a homophonic texture of melody and chords can

have a different, independent melody coming in over the top.
This would be called a COUNTERMELODY. Countermelodies
which are consistently higher than the original melody can
also be called DESCANT. For example; Christmas carols often
make use of a descant in the final verse.

POLYPHONIC or CONTRAPUNTAL (several melodic

parts heard at the same time)
a. parts copy each other exactly on the same
notes eg London’s burning is a CANON
b. Parts copy each other with the same tune but
starting on different notes: IMITATIVE
COUNTERPOINT e.g.
c. FREE COUNTERPOINT: Independent parts going
on at the same time, but not playing the same
tune. Also known as FUGAL.

Try to remember to say how many different parts are going on at the same time, e.g. three part Counterpoint.

31
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

The composer is repeating the TONIC (Key note)

in the bass, even though the chords are
changing. This is called a TONIC PEDAL.
Sometimes a composer uses the 5th note of a
scale, the dominant, in which case it would be
called a DOMINANT PEDAL.

If the PEDAL NOTE appears at a high pitch it is

called an INVERTED PEDAL.

BROKEN CHORDS: This is melody dominated

homophony where the chord notes have been
broken up.

Other textures:
A CAPELLA – Unaccompanied voices. E.g. ‘Homeless’, Ladysmith Black Mombaza.
TRIO SONATA TEXTURE – two melodic instruments
and basso continuo

HETEROPHONIC – Simultaneous variation of the

same melodic line.

32
Look at these extracts and complete the descriptions of the texture.

Vln I

Vln II

Vla

Cello

Violin _____ has the melody throughout.

In bars ______ to ______ the lower three parts are playing harmonies.

In bars 3 and 4 the ______________ has a countermelody.

In bar 3 the two violins play in union for the first ___________ notes, then in

___________________ (interval) for the next three notes.

GIGA
Allegro

The ___________________ plays a solo until bar 3, when the ________________ comes in, playing

in ______________________.

33
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?

34
 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:

16 first violins 10 cellos

14 second violins 8 double basses
12 violas 2 harps

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.

The harp: Although the harp is counted as a string instrument, its
construction and the way in which it is played set it apart from the
other members of the string section. The harp is always plucked. It
has 47 strings. Two typical harp ‘effects’ are arpeggios – spreading
out the notes of a chord; and the glissando – sweeping the fingers
across the strings.
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
and uses the wooden part on the strings instead of the
horsehair.
 Sul ponticello with the bow kept near the bridge so as
to bring out the higher harmonics and thereby produce
a nasal tone
 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

35
Woodwind:
Although instruments of the woodwind section were originally made of wood, nowadays other materials may be
used instead.

Bass Oboe Cor

Flute Piccolo Clarinet Bassoon Double
Clarinet Anglais
Bassoon

The woodwind section of the modern orchestra often includes:

2 Flutes and piccolo 2 clarinets and bass clarinet

2 oboes and cor anglais 2 bassoons and double bassoon

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.

The brass section of the modern orchestra often includes:

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:

Kettle drums glockenspiel (metal bars) tubular bells

(or timpani) xylophone (hard wood bars) celesta

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:

Bass drum triangle woodblock

Snare drum (or side drum) tambourine whip (slapstick)
Cymbals castanets tamtam (or gong)

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.

Later in the 17th century, the development of the violin family

led to the string section becoming established as a balanced
and self-contained unit. This became a central ‘nucleus’ to
which composers attached other instruments in ones and
twos as occasion offered: flutes (or recorders), oboes,
bassoon, perhaps horns, and occasionally trumpets and kettle
drums. A constant feature at this time was the harpsichord
continuo – the player ‘continuing’ throughout the music to fill
out the harmonies and, in fact, to hold the ensemble together.

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.

39
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

40
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.

b) Explain: Largo. M.M. = 52

c) Which instruments have a 2 above their notes? What does this mean?
d) Explain: dim. ppp con sordino
e) The violas are marked div. (short for divisi). What does this mean? Name the first two notes these
instruments play.
f) What do you think the slanting bars across the stem of the kettle drum’s first note indicate to the player?
g) Clarinets ‘in A’ are used. Name the first note which they play:
i. As it is written ii. As it usually sounds.
h) Which other transposing instruments take part in this music?
i) Which solo instrument eventually introduces the melody? Write the notes it plays at the pitch they actually
sound. (Include a clef, key signature, time signature, and dynamic marking.)

41
Voices
Typical voice types and terms:

Soprano High female

Alto Low female
Tenor High male
Bass Low male
SATB Most common choir formation – soprano/ alto/ tenor/ bass
Baritone Rich and dark male voice between high and low register
Mezzo-soprano Rich and dark female voice between high and low register
Coloratura Agile, light, often high female voice
Treble A boy’s voice before it has broken
Falsetto Male voice singing high beyond the passagio
Belt To force the sound from your chest.
Rap To use rhythm and words, rather than melody.
Sotto voce Using a quiet voice
Vibrato Where the voice wobbles, often heard in opera or musicals.
portamento To slide from one note to another. E.g. Summertime

Contemporary instruments
A few contemporary instruments and techniques/ effects:

Electric Bass guitar

guitar

Drum kit Synthesiser

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.

42
 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

CROSS RHYTHM MOTOR-RHYTHM driving rhythmic force behind a

A variety of different rhythms playing at once. Also known section or piece of music, especially in the Baroque
as polyrhythm. era. Ie semiquaver accompaniment

DIMINUTION AND AUGMENTATION. A composer takes a fragment and repeats it with shorter note values or longer
note values

43
 4. HARMONY
TRIADS: Three note chords

This chord is in root position

This is the same chord in 1st inversion

This is the same chord in 2nd inversion

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, Minor, Augmented and Diminished Chords.

 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.

Other chords of interest:

SUBSTITUTION CHORDS (from the opposite mode)
the substituting chord needs to be a dominant chord
whose root is a diminished fifth above (or below) the root
of your original chord. This means if you see a G7 chord
you can substitute it with a chord whose root is a
diminished fifth higher than the G. In this case, that note
would be a Db (D-flat).
NEAPOLITAN
a major chord built on the lowered second (supertonic)
scale degree.
SECONDARY DOMINANT 7th
This is the dominant 7th of the dominant of the key you
are in. For example; In C major the dominant is G
major. The dominant of G is D major. So the secondary
dominant of C major is D7.
DIMINISHED 7th CHORD

In C major
44
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.

There are also added 2nd, 4th (sus4)

and 6th chords too

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)

DIATONIC v. CHROMATIC HARMONY

Diatonic chords contain only notes belonging to the key you are in (consonant). Chromatic chords contain notes that
do not belong to the key (dissonant). Here is an easy one to use yourselves: ii7b Chromatic eg

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
45
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

46
SUSPENSIONS
Produce a very pleasant momentary dissonance. You need to know about 4 types:

4-3 suspension 7-6 suspension

9-8 suspension 2-3 bass suspension

TIERCE DE PICARDIE

This when a piece in a minor key ends on a chord I made into a MAJOR chord

BROKEN CHORDS and ARPEGGIOS.

Sometimes chord notes are broken up and played in various patterns.

This particular broken chord pattern is called an ALBERTI BASS and was very popular during Mozart’s lifetime:

Arpeggios:

47
 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.

Degrees of the scale reminder:

Piece starts in a major Subdominant Dominant

key
Relative minor Relative minor Relative minor

Here’s how it works if the piece started in G major:

Piece starts in a major Subdominant Dominant
key G major C major D major
Relative minor Relative minor Relative minor
E minor A minor B minor

Work out the closely related keys for F major below

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

Work out the closely related keys for G minor below

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

48
Activity 1:
Identify the starting key (the tonic) and the key it has modulated to.
a.

b.

c.

d.

Research task:

 What does the tonic minor mean?

 What does tertiary keys mean?
 What does enharmonic keys mean?

How would you modulate from C to the tonic minor? Find examples of all three.

49
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.
6
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…

50
 6. MELODY

Contour of the melody = shape of the melody

(scalic)

(angular)

If the disjunct notes come from a chord they could be

called TRIADIC (coming from a triad, a 3 note chord)

An ascending sequence: Can you complete the missing 4th bar?

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.

Proper names ANTECEDENT and CONSEQUENT. Play them:

This is an equal, balanced phrase. Unequal phrase lengths might consist of phrases of different
lengths within a piece.

51
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

52
Activity 1
Write ‘PN’ over each (unaccented) passing note in the melody of the following dance, and ‘APN’ above each
accented passing note.

D major: I iib V7d Ib I

V

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.
*

53
 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.

A composer needs to use some devices to create

interest and to develop a musical idea.
For example, here’s the opening of Beethoven’s Third
Piano Concerto and some ways in which it can be
varied:
Device Description Written
Decoration When ornaments are added to a
melody

Sequence A phrase of music which is immediately

repeated higher, or lower
Imitation A phrase of music which is then copied
by another part
Inversion A phrase which is then turned upside
down
Augmentation The rhythm of the melody notes is
drawn out
Diminution The rhythm of the melody notes is
shortened.

Ostinato A melodic fragment which is repeated

over and over again
Syncopation The notes are played off the beat

54
 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.

The opposite to this is THROUGH COMPOSED. Entirely non-repetitive and linear.

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

ROUNDED BINARY (a cross between Binary and Ternary)

II:a:II:BA:II

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.

55
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
EXPOSITION
The section in which the
composer’s main ideas are
first presented to the
listener. Ie the ideas are
exposed/shown
There are two main ideas
here:
1st subject in the tonic key
2nd subject in a new key,
usually the dominant.
They have a section in
between called a Transition
to get you from the tonic
key to the dominant.
Then there is a little ending
called a CODETTA to finish
off
The exposition is then
repeated
DEVELOPMENT
In ABA form this section
would contain new,
contrasting ideas
BUT in sonata form the
composer takes
ideas/themes from section
A and in this middle
section, ‘plays about with’
them –develops them
Themes/ideas from the
exposition are played
about with/disguised and
treated in a variety of
different ways, often the
music moves through a
number of other keys,
taking us on a journey
away from the tonic key.
A
RECAPITULATION
If you ‘recap’ something, you
go back over it.Here the
composer repeats the
Exposition but with two big
differences. (See below)
Ist subject in the tonic
Transition
2nd subject now in the tonic
(we’re nearly at the end of the
piece so we need to be back in
the home key here!!!)
Bigger ending than the
Exposition, called a CODA

56
 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)

Command Words (p. 79-86)

Subject Specific Vocabulary (p.79-86)

57
 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.

Marks Questions out of 5 (Section B) Marks Questions out of 10 (Section B)

5 An authoritative response which is 9-10 A comprehensive and authoritative response which is
consistently coherent and logically consistently coherent and logically structured
structured 7-8 A wide-ranging and confident response which is mostly
3-4 A wide-ranging response which is coherent and well structured
mostly coherent and well structured 5-6 A relevant response despite some inaccuracy/ omission and
weaknesses in terms of coherency and structure
1-2 A limited response with some
significant inaccuracy/ omission and a
lack of clarity 3-4 A limited response with some significant inaccuracy/
omission and a lack of clarity
1-2 A rudimentary response
0 No work submitted or worthy of credit.
0 No work submitted or worthy of credit.
Marks Marks out of 30 (Section C)
25-30  The essay shows a commanding grasp of relevant issues and an assured and comprehensive musical understanding
 There is a convincing sense of conveying the aural experience of the music under consideration
 The writing utilises a wide range of appropriate musical examples
 Technical vocabulary is comprehensive, accurately used, and incorporated into a mature writing style.
19-24  The essay has a confident involvement with relevant issues and a clear and largely complete musical understanding
 There is a good sense of conveying the aural experience of the music under consideration
 The writing utilises a varied selection of appropriate musical examples
 Technical vocabulary is frequently and well used, within a consistent writing style.
13-18  The essay shows some involvement with relevant issues and a partial musical understanding
 Some awareness of the aural experience for the music under consideration is conveyed
 There are some appropriate musical examples, though the selection is somewhat restricted
 Technical vocabulary is used quite frequently, though not always successfully, within a somewhat uneven writing style.
7-12  The essay shows some acknowledgment of relevant issues, though musical understanding tends to be superficial
 There is occasional awareness of the aural experience for some of the music under consideration
 Appropriate musical examples are sparse
 Technical vocabulary is used at times, though sometimes inaccurately, within a limited writing style.
1-6  There is no clear awareness of relevant issues, and mu sical understanding is rudimentary
 There is no convincing sense that the aural experience of the music under consideration is familiar
 No effective musical examples are given
 Technical vocabulary is not used appropriately, within an overall rudimentary writing style.
0  No work submitted or worthy of credit.

58
 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.

Western Classical Tradition

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.

10. What elements bring cohesion and unity to the 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.

17. Give examples of rhythmic diminution and augmentation in this symphony.

18. Discuss passages that show the emotional range in this symphony.

19. Discuss reasons for this symphony’s popularity, or lack thereof.

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.

59
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.

25. Analyse the first movement of the Symphony.

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

b. Harmony and tonality

c. Instrumentation and texture

d. Melody

e. Rhythm and metre

60
 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.

9. Choose two contrasting choruses and write in detail about each.

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.

61
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

b. Harmony and tonality

c. Instrumentation and texture

d. Melody

e. Rhythm and metre

62
 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?

9. Assess the contribution of one composer to the development of jazz 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.

63
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

b. Harmony and tonality

c. Instrumentation and texture

d. Melody

e. Rhythm and metre

64
 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?

 Intro – context/ sign post sentences

 Form/ Structure – sonata form movement
o development considered to be the strongest point, and point of most change/ experimentation in
the piece
o Material from exposition always explored in the development – such as the slurred quaver idea and
the dotted rhythm idea in this movement. (example of dotted rhythms – in strings, then bassoon
from bar 70, from bar 9 in exposition/ example of slurred rhythms in woodwind, staggered from
oboe in bar 72 onwards, from bar 1 in exposition)
o We also see some development of the ideas within the expositions itself, which is unusual (example:
the slurred quaver movement (a rising fourth) is in the first violin part – bar 61-3)
 Instruments/ texture – antiphonal writing seen in the development as part of the exploration of the rising
slurred quaver idea between oboe, bassoon, and flute from bar 72.
 Harmony/ tonality – The key goes from F to C, to Db and onwards in a chromatic fashion, only settling back
in the original key at the end of the development (see Db chord in bar 70).
 Rhythm – As well as the string and bassoon playing a continuous dotted rhythm idea, we 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).
 Melody – rising fourth idea extends to rising 7th in bar 72 (oboe) and a counterpart melody is added in the
second violin and cello to extend the dotted rhythm idea (bar 96)

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.

Sample Essay Two – What is the grade? Mark this!

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.

66
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.

69
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)

Be-bop blues ragtime swing

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

70
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.

A LITTLE TRICK TO SPOT EFFECT

The word effect has several meanings. It can mean outcome, consequence, or appearance. Try using one of
these instead of effect. If the sentence still makes sense, then effect is almost certainly correct.

A LITTLE TRICK TO SPOT AFFECT

Try using the verb to transform(in its various forms, e.g., transforming, transformed,transforms) instead of
affect

Musical idea Effect that can be created

Building up texture/ dynamics/ rising in
pitch/ becoming more dissonant
Opposite of above
A completely new musical idea
Hymn like homophonic texture
Eg soft gentle with flutes/oboes
horns
Brass, especially trumpets
Very low pitch and minor keys can sound
sinister and threatening.
Still in same key / return to tonic
Going to more distant keys
Monophonic texture
The brass/percussion military combination
Extremes of pitch both extremely low and
high
Any music with a strong sense that you
could dance to it
Especially if a recognisable dance style eg jig
Creates tension builds excitement. Adds drama.
Calming, decreasing tension, release from tension
Stillness, peace, tranquillity, innocence.
Fresh idea/ contrast of mood
Hymn-like
May sound pastoral (to do with the countryside) mimicking
nature bird calls, babbling brooks
Can be used to sound like distant hunting horns may also
be added to a pastoral effect.
Can be used to suggest a military/ warlike mood particularly
in conjunction with percussion like side drum
Shostakovich may use this to imply the military strength of
the Soviet union SEE CELEBRATORY LATER
can sound sinister and threatening. rumbling
Familiarity a sense of homecoming.
Unfamiliar
A single instrument playing can evoke a sense of loneliness/
vulnerability
COMICAL: Difficult to give precise examples but occasionally
composers aim for comical effect eg by giving a very low
pitched instrument a little dance tune which has the same
effect as a cartoon elephant in a tutu would visually
May also be used in a celebratory/ victorious way eg 1812
overture Russians beat Napoleon’s army.
Can sound very alarming. Think of the opening of the movie
Jaws and of the music for the shower scene in Psycho.
(screeching violins)
Dance-like

72
6/8 or waltz (um pa pa)
Appoggiaturas and suspensions can HELP
create:
(especially in a minor key)
Minor key/ major key
Gentle/soft
Lively quite dance like major key happy
Nostalgic/ yearning for eg lost love
That’s because they sound a bit like someone sighing
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!
Tender and moving
Jollity.
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 Suggested Listening
Area of Study 2: Pop music

Stevie Wonder Beyoncé

 For Once in my Life, from For Once in my Life
(1968)
 Signed, Sealed, Delivered, from Signed, Sealed,
Delivered (1970)
 Superstition, from Talking Book (1972)
 You Are the Sunshine of My Life, from Talking
Book (1972)
 Sir Duke, from Songs in the Key of Life
Joni Mitchell
 Big Yellow Taxi, from Ladies of the Canyon (1970)
 River, from Blue (1971)
 Carey, from Blue (1971)
 A Case of You, from Blue (1971)
 Help Me, from Court and Spark (1974)
Muse
 Stockholm Syndrome from Absolution (2003)
 Supermassive Black Hole, from Black Holes and
Revelations (2006)
 Uprising, from The Resistance (2009)
 Supremacy, from The 2nd Law (2012)
 Crazy in Love, from Dangerously in Love (2003)
 Listen, from B’day (2006)
 Single Ladies, from I Am… Sasha Fierce (2008)
 Best Thing I Never Had, from 4 (2011)
Daft Punk
 Around the World, from Homework (1997)
 One More Time, from Discovery (2001)
 Harder, Better, Faster, Stronger, from Discovery
(2001)
 Get Lucky, from Random Access Memories
(2013)
Labrinth
 Earthquake, from Electronic Earth (2012)
 Express Yourself, from Electronic Earth (2012)
 Beneath Your Beautiful, from Electronic Earth
(2012)
 Let It Be, from Take Me To The Truth (2015)
Jealousy, from Take Me To The Truth (2015)

Area of Study 3: Music for media

Film scores - Gaming Music –

Bernard Herrmann Nobuo Uematsu
 Psycho  Opening Medley
 Vertigo  Rebel Army (II)
 Citizen Kane  Terra’s Theme (VI)
 North by Northweat  Aerith’s Theme (VII)
 Taxi Driver  One-winged Angel
 Fragments of Memories (VIII)
Hans Zimmer  Vamo alla Flamenco (IX)
 Pirates of the Caribbean  At Zanarkand (X)
 Inception  Ronufaure (XI)
 Gladiator
 12 Years a Slave Lost Odyssey
 The Dark Knight Rises  Light of Blessing/ A Letter
 Rain Man
 The Lion King Blue Dragon
 Cave
Michael Giaccino
 Call of Duty or Medal of Honour
 Lost
 Up
 The Incredibles
 Mission Impossible III
74
  Star Trek into Darkness
Thomas Newman
 American Beauty
 Skyfall
 Saving Mr. Banks
 The Shawshank Redemption
 Finding Nemo
*Area of Study 4: Music for Theatre*
Kurt Weill
 Alabama Song, from Rise and Fall of the City of
Mahagonny
 Havana Song, from Rise and Fall of the City of
Mahagonny
 Ballad of Mack the Knife, from The Threepenny
Opera
 Jealousy Duet, from The Threepenny Opera
 Pirate Jenny, from The Threepenny Opera
Richard Rogers
 Oh, What a Beautiful Mornin’, from Oklahoma!
 Lonely Room, from Oklahoma!
 Oklahoma!, from Oklahoma!
 Louise’s Ballet: Pas de deux, from Carousel
 What’s the Use of Wond’rin?, from Carousel
Stephen Sondheim
 Prelude, from Sweeney Todd
 Green Finch and Linnet Bird, from Sweeney Todd
 A Little Priest, from Sweeney Todd
 My Friends, from Sweeney Todd
 On The Steps of the Palace, from Into The Woods
 Agony, from Into The Woods
 Giants in the Sky, from Into The Woods
 Last Midnight, from Into The Woods
Claude-Michel Schönberg
 I’d Give my Life for You, from Miss Saigon
 Bui Doi, from Miss Saigon
 I Still Believe, from Miss Saigon
Jason Robert Brown
 Still Hurting, from The Last Five Years
 Moving Too Fast, from The Last Five Years
 This is Not Over Yet, from Parade
 All the Wasted Time, from Parade
75
*Area of Study 5: Jazz*
Louis Armstrong
 St. Louis Blues (1924, Louis Armstrong and Bessie
Smith)
 Muskrat Ramble (1926, Louis Armstrong and his
Hot Five)
 West End Blues (1928, Louis Armstrong and his
Hot Five)
 Stardust (1931, Louis Armstrong and his
Orchestra)
Duke Ellington
 The Mooche (1928, Duke Ellington and his
Orchestra)
 Ko-Ko (1940, Duke Ellington and his Orchestra)
 Come Sunday, from Black, Brown and Beige
Charlie Parker
 Ko-Ko (1945, Charlie Parker’s Reboppers)
 A Night in Tunisia (1946, Charlie Parker Septet)
 Bird of Paradise (1947, Charlie Parker Quintet)
 Bird Gets the Worm (1947, Charlie Parker All
Stars)
Miles Davis
 So What, from Kind of Blue (1959)
 Shhh, from In a Silent Way (1969)
Pat Metheny
 (Cross the) Heartland, from American Garage
(1979)
 Are you Going With Me?, from Offramp (1982)
Gwilym Simcock
 Almost Moment, from Perception (2007)
 These Are the Good Days, from Good Days at
Schloss Elmau (2011)
Area of Study 6: Contemporary traditional music
Astor Piazzolla
 Libertango, from Libertango
 Knife Fight, from Rough Dancer and the Cyclical
Night
 Milonga del Angel, from Tango: Zero Hour
 Yo Soy Maria, from Maria de Buenos Aires
 Fear, no.5, from Tango Sensations (with the
Kronos Quartet)
Diabete
 Bi Lamban, from New Ancient Strings
 Ali Farke Toure, from Mandé Variations
 Kala, from In the Heart of the Moon
Shankar
 Swarna Jayanti’ (Golden Jubilee), from Anourag
(with Ravi Shankar)
 Prayer, in Passing, from Rise
 Oceanic part 1, from Breathing Under Water
 The Sun won’t Set, from Traces of You (with
Norah Jones)
Mariza
 Loucura, from Fado em min
 Oiça lá ó senhor vinho, from Fado em min
 Silêncio da guitarra, from Fado curvo
 Recurso’, from Terra
 Mais uma lua, from Fado tradicional
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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Area of Study 7: Art music since 1910
Shostakovich
 Symphony no. 5 in D minor, movt. 1
 Piano concerto no.2 in F major, movt. 2
 String quartet no.8 in C minor, Movt. 1
 Jazz Suite no.2, waltz
Messiaen
 L’Ascension, part 1 – in the version for solo organ
 Quatour pur la fin du temps, movt. 2
 Turanglîla-symphonie, movt. 1
 L’alouette calandrelle, from book 5 of Catalogue
d’oiseaux
Reich
 Different Trains, movt. 1
 Music for 18 musicians, 1 movt. 1 Pulses
 Tehillim, movt. 2
MacMillan
 Veni, Veni, Emmanuel, movt. 3 Dance
 Momento for String Quartet
 Strathclyde Motets, no. 5 O radiant dawn
 Seraph for Trumpet and String Orchestra, movt.
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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

Your A level folder Every lesson

Your Course Booklet Every lesson

Paper Set work lessons

Pen, pencil and rubber Every lesson

Highlighters Set works 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.

Targets/ Actions Actions taken/ Details

I understand that I must follow the 6th form school policy in terms
of behaviour in lessons and around school.

I understand that I must have the correct equipment at all times

– see Resources.

I have set up a named file for my work

I understand that if I miss a lesson I must catch up on work and

complete the homework (this must happen before the next lesson unless I
return to school on the day of the next lesson).
I understand that checking what homework is set is my
responsibility and I must check before the next lesson to ensure I
have the full details
I understand that I must bring in my homework on time in order
to have it marked, and to improve by feedback.
I understand that the responsibility to learn and improve is mine,
and that I may be able to ask my teacher for support in this.

I understand that I must practice my performance pieces in my

own time and be ready to record.

I understand the theory issues (by Christmas of Year 12)

I understand the context surrounding and musical features of the

Western Classical Set Works

I can write an essay comparing and exploring the musical

features, development and context of Musicals, especially
looking at chorus numbers, duets, character songs and dance
numbers.
I can write an essay comparing and exploring the musical
features, development and context of jazz between 1900-50.

I will have finished my composition coursework by Easter of Year

13.
I will have performed and recorded all my performances by
Easter of Year 13.

I have revised to the best of my ability for my mock papers and

final written exam.

I know my target grade, it is

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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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