2010 gce markscheme

GCE MARKING SCHEME

MUSIC AS/Advanced

SUMMER 2010

INTRODUCTION The marking schemes which follow were those used by WJEC for the Summer 2010 examination in GCE MUSIC. They were finalised after detailed discussion at examiners' conferences by all the examiners involved in the assessment. The conferences were held shortly after the papers were taken so that reference could be made to the full range of candidates' responses, with photocopied scripts forming the basis of discussion. The aim of the conferences was to ensure that the marking schemes were interpreted and applied in the same way by all examiners. It is hoped that this information will be of assistance to centres but it is recognised at the same time that, without the benefit of participation in the examiners' conferences, teachers may have different views on certain matters of detail or interpretation. WJEC regrets that it cannot enter into any discussion or correspondence about these marking schemes.

Paper Page MU3 - Part 1 1 MU3 - Part 2 15 MU6a - Part 1 21 MU6a - Part 2 26 MU6a - Part 3 41

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MU3 Part 1 LIST A: AREA OF STUDY 1 – ORCHESTRAL MUSIC 1. Bach – Brandenburg Concerto No.2 – First movement This extract begins in bars 67-8. (page 8 – 13 of anthology) (a) State the key at the beginning of the extract and say how it is related to the

movement's tonic key. [2] Key – C minor Relationship to tonic key – Dominant minor (b) (i) Name the three keys through which the music passes in the following

bars: [3]

1 - Bar 75 - G minor 2 - Bar 88 - D minor 3 - Bar 94 - A minor (ii) What is interesting in Bach's choice of keys here? [1] They ascend in (make) a series/sequence of perfect 5ths (c) Give the bar number(s) where an example of each of the following occurs in

the extract: [2] syncopation – bars 72-4, 82, 101, 107-12 sequence of 7th chords – bars 77-9, 96-98, 107-12 (d) (i) In which bar does the music return to the movement's tonic key? [1] Bar number – Bar 103 (1024) (ii) What is different about the opening of this final statement of the

ritornello theme compared with any other statement in the movement? [1]

• Apart from the trumpet, which is unable to play the required notes, all the instruments play in 8ve/unison

• not harmonised • almost completely monophonic • Tassto solo • Tromba not playing a countermelody

2

2. Mendelssohn – Violin Concerto in E minor – First movement (page 58 – 62; Bars 131 – 192) (a) (i) Identify the main section from which this extract is taken. [1] Name of main section - Exposition (ii) Also give the name of the subsidiary section heard at the start of the

extract. [1] Name of subsidiary section – Second group (subject) (b) Give the key in which the extract begins and state its relationship to the tonic

key of the movement. [2] Key – G major Relationship to tonic key – Relative major (c) Comment on the music heard in the first half of the extract. Include some

detail on the orchestration (use of instruments). [3]

• New theme (2nd subject) first appears on first clarinet • texture much reduced • use of flutes providing harmonic accompaniment in their lower

register while solo violin merely plays a sustained tonic pedal on open G string

• 4-bar phrases • from bar 1392 violin solo takes up the melody previously heard in

clarinet, with 2 flutes "voiced" between the two clarinets • second phrase of melody (1352-) altered in solo violin, the

rhythm of which recalls the rhythm (and melodic outline) of the first subject

• tonicisation of A minor in bars 148-51 • theme repeated on clarinets (155) now starting over dominant

harmony rather than tonic, with violin countermelody • Bar 148 strings replace woodwind

[1 mark for each correct observation, with some reference to use of instruments – if no instruments mentioned – max 2 marks – just listing instruments = 0 mark]

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(d) In the second half of the extract (shortly after the pause) another melodic idea is heard. Identify this melody and comment on its use until the end of the extract. [3]

• In bar 168 the first (4-bar) phrase of the/ first subject appears/ in

the new key of G major • presentation is similar to opening of movement – i.e., in solo

violin. • The second half of this idea (bars1704-1723) continues to be used

in the orchestra (from 1724-189) • It is repeated in (descending) sequence from bar 1764, this being

"extended" by further overlapping statements in Vlas and VCs/DBs.

• Two further statements appear in Flts and Obs in bars 183-89, with a final overlapping statement in VCs/DBs in bars 189-90.

[1 mark for each correct observation]

4

AREA OF STUDY 2 – VOCAL MUSIC 1. Haydn – Nelson Mass: Quoniam tu solus

(page 121 – 125 ; bar 21 – end) (a) Give the key and bar number(s) of a dominant pedal in the extract. [2] Key – D major Bar number(s) – Bars 543-573 (b) Give a brief account of the first 16 bars of the extract, mentioning any features

of interest. [4]

• Beginning of a new contrapuntal section – the music up till now having been homophonic

• texture here becomes fugal, with successive entries in all four vocal parts of a short 2-bar theme

• music begins in D major (tonic) but the first statement (on basses, bar 22) is on the dominant

• answered by tenors (24) on the tonic – a tonal answer – while the basses sing a countersubject

• this procedure is copied by altos and sopranos in bars 26-29, and sopranos sing the countermelody to a further entry (on the dominant) by basses in bar 30

• bass part in bars 263-4 is treated almost like a second countersubject, appearing in tenors and altos, too

• subsequent entries occur on A (basses - 30), F# (tenors – 32), F# (sopranos – 33, therefore in stretto) and B (basses - 35), these last three being in B minor and without the (first) countersubject

• an entry on E (tenors – 37) return the music to D major • orchestral parts double the voice parts. (Candidates should

discuss bars 21 – 38 in the response) [1 mark for each correct observation]

(c) Name the final cadence in this movement. [1] Final cadence – Perfect (V7-I) (d) Give bar numbers where an example of each of the following occurs in the

movement as a whole. [3] (i) syncopation – Bar 13, 17-21, 26 - 27, 46 – 47, 70 and 79 (altos) (ii) stretto imitation – Bars 32 – 33, 443-50, 62-68, 71-76 (iii) antiphonal writing – Bars 1-6

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2. Schubert – Der Neugierige (Page 150 – bar 33 to end)

(a) Complete the boxes below to indicate the form of the entire song from which

the extract is taken. [4]

Section Intro A B C B Key B major B major B major G major B major Bar 1-4 5-22 23-32 33-42/ or 40

or 41 43 or 41or

42-end Mark according to following table:

No. of correct answers Marks allocated

10-11 4 7-9 3 4-6 2 2-3 1 0-1 0

(b) Give the bar numbers (and beat numbers where necessary – e.g., 143) where

an example of each of the following occurs in the extract: [3]

(i) Interrupted cadence – Bars 49-50 (ii) Recitative-like vocal part – Bars 33-34 (iii) Augmented (German) 6th chord – Bar 413

(c) Comment on the piano part throughout the song. [3]

• Piano plays introduction alone, prefiguring the melody of Section

A • merely provides simple harmonic support for the voice, mostly

alternating left and right hands through-out A • bars 20-21 - plays a solo link into Section B (ending on an

unresolved V7), the semiquavers preparing those of Section B • here the right hand arpeggios suggest the rippling brook • simpler homophonic texture in Section C, but also thicker

texture with 6-part chords • doubles the vocal part at times here • rippling arpeggios reappear for remainder of song (B). • Use of dotted rhythms in introduction and short codetta.


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AREA OF STUDY 3 – CHAMBER MUSIC 1. Beethoven – String Quartet in Bb major, Op.18, no.6, First movement

(page 157 – 159; bars 1 – 91) (a) Give the name for the main section of the movement from which the extract is

taken. [1] Name of main section - Exposition (b) State the main key of this section and two other key centres that are passed

through. [1] Main key centre – Bb major Other key centres – (C major), F major, F minor, Ab major [any two for marks] [2]

(c) Give bar numbers of an example of each of the following in the extract: [3] (i) a diminished 7th chord – Bars 31, 74, 77 (ii) a pedal point – Bars 33-39 (iii) triple stopping – Bars 90, 91 (d) (i) Give the bar numbers where the opening thematic material of the

extract is used in a different key elsewhere in the movement. [1]

Bar numbers – Bars 93-99, 102-110 (ii) In which new key does this material appear? [1]

Bars 93 - 99 Bars 102-110 Key – F major/Dominant G minor/relative minor

(accept D major- accept median major).

(Keys must match bar numbers quoted in q(i))

(iii) How does the material differ from its first appearance? [1]

Bars 93 - 99 Bars 102-110 theme is curtailed, more fragmentary, more persistent use of instruments answering each other (more antiphonal) played unaccompanied/monophonic

original 2-bar idea now expanded to 4 bars with a slightly varied repetition; the underlying chord is now a dominant chord - dominant or diminished 7th;less dense texture)

[note comments must link to bar number select in q(i)]

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2. Brahms – Clarinet Sonata in Eb, Op. 120, No.2, Third movement (Page 168- 170; bars 56- 98)

(a) State the form of the movement from which the extract is taken. [1]

Form – Theme and Variations (b) How does the music of the extract fit into this formal plan? [2]

Extract – Variations 4 and 5 (c) Comment on any features of interest in the first half of the extract. To what

extent does the music relate to earlier material in the movement? [3]

• No real trace of theme here, though the bass line of the very opening of the movement's "Theme" appears in the piano's right hand part towards the top of the texture

• clarinet supplies the bass line at the opening of this variation and in bars 65-6

• in places rhythmically quite complex and syncopated, often more like 3/4 than 6/8, or a combination of both

• suspensions and appoggiaturas a feature, also anticipatory notes;

• 4- and 2-bar phrasing of original theme obscured • low range • tonic pedal (bar 61/67); dominant pedal (65) • slow tempo • [to get full marks must answer both parts – features and relation

to earlier in the movement]

[1 mark for each correct observation] (d) State the key in which the second half of the extract begins. [1]

Key – Eb minor

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(e) Mention three features of interest in this second section. [3]

• "Theme" returns in almost original form – except for change to tonic minor key and time signature of 2/4

• occasional notes changed to accommodate the change of key • tempo also changed to allegro • first 4-bar phrase almost entirely on piano only, but lasts 8 bars

in this variation because of differences mentioned above • clarinet repeats this 8-bar theme with piano accompaniment,

including slight changes in harmony early on and in the imperfect cadence

• next 4-bar phrase on piano only in Gb major – ending with plagal cadence

• traces of these bars' counterparts (bars 86-) are discernible in the repeated Gbs and the leap up to Eb

• both hands are slightly out of sync here – typical of Brahms, and slightly recalling Variation 1

• feeling of hemiola in bars 902-91 with its implied four 3/8 bars • outline of original theme again recognisable but some intervals

and notes altered • returns to Eb minor; but bars 942-95 are "echoed" at "original"

pitch in bars 962-98 • variation overlaps with Coda; • use of fp and sfz • piano dominates.


9

LIST B: AREA OF STUDY 4 – MUSICAL THEATRE

1. Loesser – Guys and Dolls: Runyonland (page 214 – 215 )

(a) Name two songs from the full musical that are heard in this extract. [2] "Guys and Dolls"/ "Luck be a lady tonight" (b) Name two tuned percussion instruments in the extract. [2]

Tubular bells, xylophone (accept piano) (c) State the two main key centres in the extract. [2]

C major and Db major (d) Give the bar number(s) of one imperfect cadence in the extract. [1]

Bars 113-12/27-28 (e) (i) Give two differences between bars 1-28 and bars 29-70. [2]

• Bars 29-70 include a complete statement of a show tune

rather than just fragments • they settle in an established key (C major) • not so chromatic • use a chordal riff – repetitive two-chord "sequence".

(ii) Give one similarity between these bars. [1]

• Jazz element still retained – e.g. blue notes in the melody

(Bbs) and the use of the Db7 chord (plus #11s in the melody) for the second chord of the riff

• a tritone substitution for what might have been a more expected G7

• bars 53- are similar to the opening music with their use of fragmentary phrases;

• they also revert to a more chromatic idiom – as at the very beginning.

• Similar dense texture [1 mark for each correct observation]

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2. Bernstein – West Side Story: Tonight (Quintet) (page 227 – 236 – bars 67 to end)

(a) State the key at the start of the extract. [1] Key – A major (b) Give three differences between the music heard at the opening of this extract

and the music that comes before it in the score. [3]

• Regular beat, though with continual syncopation • no changing time signatures • more stable tonality – firmly in A • less dissonant than previous music • one solo vocalist rather than several • different thematic material.

(c) Give one example of each of the following in the extract. [Give bar numbers

- and also beat numbers where appropriate – e.g., bar143.] [4]

(i) a short canon – Bars 84-90 (ii) augmentation – Bar 130-31 (augmentation of , e.g., bar 126) (iii) parallel major triads – Bars 982-101, 1482-151 (iv) a brief pedal – Bars 68-723/76-783/92-943/118-223/142-1442

(d) Mention two influences from jazz in the extract, giving bar numbers where

necessary. [2]

• persistent syncopation • complicated (extended)jazz/ blues chords (e.g., bars 112-16),

such as added 6ths (1331-2), 9ths and 13ths • use of blue notes • use of instruments is also jazz-like at times – e.g., subtle piano

accompaniment, trumpet in high register, pizz DB, rhythms on kit etc.

11

AREA OF STUDY 5 – JAZZ, ROCK AND POP 1. Duke Ellington – Black and Tan Fantasy (page 173 – 175; bars 1 – 65) This extract consists of four sections. (a) On what well-known musical structure is the opening section based? [1]

12-bar blues

(b) State the tonic key at the opening of the extract. [1] Tonic key – Bb minor

(c) Name the string instrument (other than the piano) that plays a chordal accompaniment in the band's rhythm section in the extract. [1] String instrument - banjo

(d) (i) Comment on the harmony of bars 19 and 20. (There is no need to

name the chords). (1 mark for each correct observation) [2] Sequence [1] of dominant 7th chords [1] moving through the circle of 5ths [1] chromatic [1] increased harmonic rhythm [1]

(ii) What word is given to a short passage such as this in jazz? [1]

Turnaround/Turnabout/Turnback/

(e) What term is given to the style of playing used for the piano in its solo in the fourth section of the extract? Give two features of this style heard in the music.

[3] Name of piano style – Stride piano/New Orleans Features of style – Large leaps ( in the left hand) from a single note or octave to a higher, mid-range chord; the leaps of 10ths in bars 55&61; improvised right hand melody/High right hand

(f) Which famous tune is quoted at the very end of this piece? [1]

(Chopin's )"Funeral March" (Piano Sonata in Bb minor, Op.35)

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2. The Beatles – Hey Jude (page 300 – 302; bars 1 – 10 second time)

(a) Complete the plan below, inserting suitable letters to indicate the structure of

the entire song. [2]

A A B A B A Coda

Number of correct letters Marks allocated 4-5 2 1-3 1

(b) Comment on the harmony and tonality of the extract. [3]

• Harmony is simple – in a diatonic (F) major except for the F7

(V7ofIV) that leads into the middle-8 • chords used generally restricted to I, IV and V (Gm7 (ii7) used in

bar 19) • chords are mostly in root position, though there are rather more

examples of first inversion chords in the middle-8. • One chord per bar or sim. [Must comment on both harmony and tonality to achieve full marks]


(c) Give three interesting features of the writing for the solo vocal part in the first

half of the song – i.e., excluding the coda. [3]

• Wide-ranging melody • (some) melismatic writing • melody contains both conjunct and disjunct movement • syncopation;scat/vocalising • mainly syllabic • arch shape melody.


(d) Using bar and beat numbers (e.g., bar 103), give the location of a sus4 chord

in the music. [1] Bar 31-3 or 111-3

(e) What is the technical term given to the upbeat at the start of the vocal solo? [1]

anacrusis

13

AREA OF STUDY 6 – WELSH SONGS 1. Caryl Parry Jones – Y Nos yng Nghaer Arianrhod (a) Which instrument provides the bass line for the music in the extract? [1]

(Acoustic) guitar (b) Give a brief account of the phrase structure, tonality and harmony of the first

eight bars of the extract. [4]

• Opening is verse 2 (C major), which divides into 2x4, or 4x2, phrases

• second 2-bar phrase begins as a sequential repetition of the first (tonicising D minor)

• then returns to C major with a tonicisation of G major in bars 334-34

• ends on imperfect cadence (ii7sus4-Gsus(F/G)-G13) • chords are reminiscent of jazz – e.g., use of dominant minor 9th

(bar 293-4), G13 (bar 354) • music uses several ii-V-I patterns, also suggesting jazz style • vocal melisma in bar 35 ("Ond…") • also blue note in same bar (Eb) • close vocal harmonies.

[1 mark for each correct observation -1+1+2 for any features – must comment on all three elements to achieve full marks]

(c) (i) Explain the term middle 8, which appears on the score over bar 45. [2]

Section contrasting with the verse (and also, sometimes, as here, chorus), not always 8 bars long, in the middle of a song; usually with different arrangement of instruments and/or chords.


(ii) Give an account of the music in this middle 8 (bars 45-52). [3]

• This is the only section to begin on an F major chord (others begin on C major)

• new vocal melody • different use of vocal accompaniment – confined mostly

to sustained minims up till now, the part here punctuates the solo vocal line in a type of call-and-response/antiphonal style

• unexpected tonicisation of Eb major (IV-V-I) in bars 49-502 (F major was expected)

• ends with another imperfect cadence (ii-V) with b9 and 13th colourings on the vocal response on "Amser da", which overlaps with final chorus (in C)

• close vocal harmonies if not already mentioned in (b) • 2 bar phrases • no anacrusis • chromatic harmony.


14

2. Dilys Elwyn-Edwards – Caneuon y Tri Aderyn: Mae Hiraeth yn y Môr (a) What type of voice is singing here? [1]

Type of voice – Soprano (b) Which of the three words below best describes the tonality in the last five

bars of the song (bars 43-7)? [1]

Major Minor Modal [Underline answer] (c) Name the key and cadence in bars 93-103. [2]

Key – Ab major Cadence – Imperfect

(d) Give the bar numbers (with beat numbers where appropriate – e.g., bar 103)

where each of the following can be found in the song. [3]

(i) an appoggiatura in the vocal part – Bar 201/331 (ii) an inverted pedal – Bars 40-5 [Accept bars 12-14] (iii) a major chord on the flattened mediant- Bars 11-12

(e) Other than in dynamics and lyrics, give three differences between bars 1-4

and bars 27-30. [3] Bars 1-4 Bars 27-30 Ab Major start with tonic chord in root position four bass notes in LH of piano part in bars 28-30 differ from those in bars 2-4 - notes slightly more sporadic ("displaced" in bars 28-29 from original position in bars 2-3) larger gap between second and third notes (8ve and a 5th compared to a 5th for reasons of word accentuation the vocal part has been "amended", resulting in three quaver "upbeats", augmentation of the first two notes in bar 2 (crotchets become minims in bar 28) and a necessary alteration of the original melody in bars 273-293 as compared with bars 24-33 – diminution of dotted crotchet and quaver (bar 31-2) to two quavers (bar 292).

F major tonic chord is in 2nd inversion at first, despite the F from the previous bar still "resonating four bass notes in LH of piano part in bars 28-30 differ from those in bars 2-4 - notes slightly more sporadic ("displaced" in bars 28-29 from original position in bars 2-3) larger gap between second and third notes (8ve and a 5th compared to a 5th for reasons of word accentuation the vocal part has been "amended", resulting in three quaver "upbeats", augmentation of the first two notes in bar 2 (crotchets become minims in bar 28) and a necessary alteration of the original melody in bars 273-293 as compared with bars 24-33 – diminution of dotted crotchet and quaver (bar 31-2) to two quavers (bar 292).

15

MU3 Part 2 1. First, you will hear extracts from two consecutive movements of a large vocal work.

The text of both extracts is printed below: Extract 1 – But the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and the kings to the brightness of thy rising. Extract 2 – The people that walked in darkness have seen a great light.

(a) Which of the following types of voice is singing in both extracts? [Underline or circle one answer] [1]

Countertenor Tenor Baritone Bass

(b) Which of the following harmonic devices is used in the final cadence of the

first extract? [Underline or circle one answer] [1] Tierce de Picardie suspension appoggiatura

(c) Describe an example of "word painting" in this first extract. [2]

"rising"; "arise" – upward/ rising sequence; melismatic; "glory" – descending scale; melismatic. 1 mark for word, 1 mark for description.

(d) Which of the following tempo indications is the most appropriate for the music

of the second extract? [Underline or circle one answer] [1] grave larghetto allegro lento

(e) (i) State from what type of large work both extracts come [1]

Oratorio/cantata (ii) From what type of single movement vocal composition does the

second extract come? [1]

Aria

16

(f) Other than in dynamics, how does the composer attempt to portray the difference between the words "darkness" and "light" in the second extract? Give three ways. [3]

Darkness Light Low register/ unison writing or sparse texture/ minor key/ High register/ harmony or dense texture /major key Imperfect (Phrygian cadence) on lowest note Perfect cadence on highest note More disjunct melodic line, especially in the strings at end of extract (after "Light") Overall pitch moves downward Overall pitch moves upward Melismatic writing more syllabic writing Larger range of notes Diatonic Chromatic writing Check for opposites when marking – if not done as a comparison then use the following grid:

Observations Mark

1-3 1 4-5 2 6 3

Award a max. of 3 observations on each side.

17

2. Next, you will hear an extract in which the same melody is stated three times. (a) Name the solo instrument that plays the melody the first time, and briefly

describe the accompaniment at the beginning. [1] Instrument – Cor anglais Accompaniment – Pizzicato/ strings/syncopated/tonic and dominant chords [1 mark for each correct observation] [2]

(b) Which string instrument plays the second statement of this same melody? [1]

Violas

(c) Which musical device is used for the presentation of the third statement of this melody by the full orchestra? [1] Canon/(close) imitation/(tonic) pedal/stretto

(d) Name one percussion instrument that plays in the third and final statement. [1] Timpani/triangle/tambourine

(e) Give the time signature and tonality of the extract. [2] Time signature – 3/4 accept 3/2 Tonality - Major

(f) State two features (other than instrumentation) of the main melody. [2] Triadic at first or broken chords or arpeggios (and towards the end); some disjunct movement (disjunct needs qualification); quite wide-ranging; some use of sequence; scalic in parts(or conjunct – again needs qualification); dotted rhythms a feature/regular phrasing at the start/each phrase has a new melodic idea Award one mark per line

18

3. You will now hear an extract consisting of two different sections together with the start of a third section of the same movement.

(a) What is the time signature of the music? [1]

Time signature – 3/4 (or 3/8) accept 6/8 or 6/4

(b) Suggest an Italian term for the tempo of the extract. [1] Tempo- allegretto, allegro or allegro non troppo or similar

(c) Comment briefly on the rhythm of the first section. [1] Syncopated; occasional strong accents on weak beats of the bar and rests on the first beat; some rhythmic "dislocation or broken or staggered rhythms.

(d) In the second section describe the accompaniment to the more lyrical

melody. [2] cello – pizzicato; walking bass-type line; viola – broken chord

(e) Give the name of such a movement and also of the type of larger work from

which it is taken. [1] Name of movement – Minuet and Trio (1 mark for Minuet only) Type of larger work – String Trio/Serenade/Divertimento (String Quartet – 1 mark) [2]

(f) All three sections have the same form. What is it? [2]

Form – Binary/ Minuet (Trio) Sonata Form

19

4. Finally you will hear a piece for a solo instrument and accompaniment. A skeleton score is given below.

20

(a) Name the cadences in the following bars: [2] (i) bars 34- 4 – Perfect (ii) bars 173-18 – Interrupted (b) State the key in which the music cadences in bar 10. [1]

Key – A (major)/Dominant

(c) Give the bar number and beat (e.g., bar 43) where you hear a dominant 7th

chord in 3rd (last) inversion. [1] Bar/beat – bars 61+2/ bar 143

(d) Complete the pitch of the music in bars 11-14. The rhythm has been given to

you above the stave. [3] Mark according to the following table:

No. of correct pitches Marks allocated

10-12 3 5-9 2 1-4 1 0 0

(e) Suggest a suitable chord at each of the six asterisks in bars 15-16. The

chords you name should form an appropriate harmonic progression. [3] If using letter names minor chords must be indicated. E.g. Em

The progression is entirely characteristic of the style [5-6] 3 marks

Most chords are used stylistically [3-4] 2 marks

Some chords are used stylistically [1-2] 1 mark

No chords are appropriately used within the style 0 marks

21

MU6a - Part 1 1. The first extract is taken from an orchestral work. (a) Comment on the harmony used in the extract. Give three features. [3]

Use of whole-tone scale and harmonies derived from it; parallel chords – (dominant) 7ths and first inversion triads; pedals; chromatic; non-functional; accept major tonality; extended chords; augmented fourths; slow harmonic rhythm; more tonal latterly; tonally ambiguous. [1 mark for each correct observation]

(b) Describe three features of the instrumental writing. [3]

Muted brass and strings; divisi strings; sustained strings; main thematic material appears on woodwind instruments (including piccolo); important parts for celesta and harp; string glissandi; violins often in very high register – e.g., opening; some pizz in VC&DB; low strings; some antiphonal writing; quiet repeated rhythm on tambourine. (Must mention specific instruments to get credit) [1 mark for each correct observation]

(c) Give one feature of the melodic writing. [1]

Tends to be restricted to a limited range and notes; repeats short melodic fragments; irregular phrase lengths; based on stepwise movement from the whole-tone scale at the opening; fragmentary early on but becomes slightly more lyrical later – e.g., oboe melody.

(d) Basing your answer on your comments above, of which school of composition

is the extract a typical example? [1] School of composition – Impressionism (e) Suggest a composer and date of composition for the piece. [2]

Composer – Debussy, Ravel Date – 1909 (accept 1892-1929)

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2. Next you will hear a complete movement from a short instrumental work. (a) State the number of instruments playing the music. [1]

Three (b) What do you consider to be the form of the movement? Give one reason for

your answer. [2] Form – Rondo (Rondeau); sonata rondo; ritornello; accept any arrangement of letters that gives a reasonably accurate account of the movement – e.g., A B A C A D A B A Reason – Main theme repeated mostly in the tonic major/minor key (once in the subdominant); separated by short episodes using different material.

(c) Of which school of composition is the movement an example? [1]

Neoclassicism

(d) State four features of the music that led you to this conclusion. [4]

Uses triadic harmony (and melody) at times (opening is almost purely triadic); also deliberately dissonant at others – sometimes for exaggerated humorous effect; mixture of (tonic) major and minor (F sharp and F natural/C sharp and C natural, sometimes simultaneously); “wrong-note” harmony/style; use of ‘blues’ notes; occasional syncopations – giving the impression of a change of time signature – e.g., start of B section; polymodal; very dissonant (non-triadic) writing at the end; tends to keep to 2- or 4-bar phrases – i.e., Classical phrase structure; unusual combination of instruments; regular cadence points; use of traditional structures or forms. [1 mark for each correct observation]

(e) Suggest a composer and date of composition for the movement. [2]

Composer – Poulenc, Ibert, Stravinsky, Hindemith, Prokofiev, Shostakovich Date – 1922 (accept 1902-42)

23

3. You will now hear an extract in which a solo instrument is accompanied by an orchestra.

(a) Name the solo instrument. [1] Flute

Avoid double credit between (b), (c) and (d)

(b) Of which three styles of music printed below is the extract an example? Give two reasons for your choice. [1+2]

Minimalism Aleatoricism Electronic Music

Reasons for choice – Absence of any sense of pulse – though the synchronised string chords at various points throughout suggest some direction/signal given by a conductor; improvisatory character of the instrumental writing in general, but especially that of the soloist; atonal harmonic style or dissonant; abandonment of traditional form; fragmentary writing for the instruments (including much angular, disjunct melodic movement) - all suggesting aleatoricism – and precluding minimalism. [1 mark for each correct observation]

(c) Give three features of the music played by the solo instrument in the extract. [3]

Begins with a narrow range of notes (restricted to tones and semitones) in low register; gradually expands and brings in higher pitches and wider intervals; begins with small melodic fragments and becomes more expansive, with melodic “phrases” becoming longer; technically difficult/demanding; quite frequent tremolo-like figures, moving rapidly between two notes; bird song like; some rapidly repeated notes of same pitch towards the end, giving an almost syncopated effect; occasional dynamic variations on adjacent notes early on; improvisatory; unusual articulation; chromatic or 12 tone; rhythmic freedom. [1 mark for each correct observation]

(d) Comment on any interesting features in the accompaniment. It is important

that you name the instrument(s) whose part(s) you are describing. [3]

Harp – plays little clusters of notes(dissonance), but becomes more active as the music progresses; also starts with notes within a very restricted range but expands into wide leaps, though still maintaining the use of clusters. Piano – plays a series of single, sustained notes at fairly regular intervals – mostly extremely softly. Strings (any specified instrument) – series of dissonant punctuating chords; getting louder each time; pizzicato . Woodwind (any specified instrument) – sustained notes (entries mostly overlapping); often forming note clusters (dissonance); their notes occasionally double those of the soloist. [1 mark for each correct observation]

24

4. The following melody for violin with piano accompaniment by Delius will be played five times.

(a) Write in the missing pitch and rhythm in bars 2-5. [8] Mark according to the following table:

No. of correct pitch/note lengths Marks allocated 21-22 8 19-20 7 16-18 6 13-15 5 10-12 4

7-9 3 4-6 2 2-3 1 0-1 0

25

(b) There are three errors in bars 6-11, two in pitch and one in rhythm. Circle the notes that are incorrect and above each write what you actually hear in the music. [6]

(c) Name the cadence in bars 17-18. [1]

Cadence - Plagal

(d) The same chord is used in bars 12-14 and bar 16. What type of chord is this

– e.g., diminished 7th. [2] Type of chord – Major 7th (allow 9th)(one mark for major and one mark for or 7th 9th)

(f) The chord in the piano on the first beat of bar 19 is a minor chord in root

position. Describe the chords in the piano on beats 2, 3 and 4 of this bar. [3] All major chords (1 mark); in root position (1 mark) (one with added 6th); moving down; in semitones (1 mark); parallel harmonies (1 mark). [Give “extra” credit if added 6th or (dominant) 7th is given.] [1 mark for each correct observation]

26

MU6a Part 2 Choose either Option A, Option B or Option C Either, Option A – Ravel: Piano Concerto in G and a study of the orchestral tradition Question 1 – 50 marks (a) Extract 1 (bars 1 – 18) (i) State fully the key at the start of this extract? [2]

E major (award 2 for E major//E award 1/anything else 0)

(ii) Describe the overall structure of the movement, giving bar/figure numbers for the different sections. [6]

Ternary [ABA] – A (Opening - Fig.2) (Bars 1-45); B (Fig.2 - 16) (Bars 45-73); A (Fig.6 -10) (Bars 74-103); Coda (Fig.10 – end) (Bars 103-08)

[1 mark for Ternary/ABA – 1 additional mark for bar numbers of sections [=3], 1 for stating there is a Coda, 1 for identifying the correct fig or bar numbers]

(iii) Comment on the harmony and the writing for the piano in the

section from which this extract is taken. (note that comments can be made about the entire Section A) [5+5]

Harmony

Mostly diatonic; deliberate use of dissonances; some 7th and/or 9th chords or extended and one example; C# minor tonicised in bars 18-22/27-28; A major in bars 24-26, 31-32 and 35-36; “Mozartean” secondary dominant chords; lack of emphatic cadences; D# major chord (Tierce de Picardie) in bar 48 (Fig.2); imperfect cadence in bar 18; stepwise descending bass line.

Piano writing –Single-line melody in RH; LH provides harmonies; “Ped” marking in first bar only; LH sticks to the same “vamp-like” pattern(or sim); bass notes imply 6/8 rather than 3/4; 4-part texture in same register similar to SATB; simple; Satie-like or Mozartean; arabeseques or turns; Bach or Baroque style ostinato (nothing for ostinato on its own)

[1 mark per valid observation]

27

(b) Extract 2 (end of bar 44 to bar 58)

(i) Where does this section fit into the movement’s formal plan? [Refer to your answer in (a)(ii) on the previous page.] [1] Opening of the B section

(ii) Name the chord found in bar 45/Fig.2. [1]

D# major

(iii) How does the use of tonality/harmony in the section from which this extract is taken compare with that in extract 1? (comments up to fig.6 ) [8]

• Harmony more chromatic - e.g., parallel diminished 8ves

between the “soprano” and “bass” parts in bars 46 and 50 [Fig.2+2 and 2+6](false relations) ;

• Harmonies more “classically” structured and goal-oriented; sequential phrases; C# and B minor tonicised - 46-49/Fig.22-5 and 50-53/Fig.26-Fig.3;

• Tonicisation of G major leads to unambiguous cadence in D major in bars 56-7/Fig.34-(less dissonant); “parallel” cadence in G major in bars 64-5/Fig.2-15; brief tonicisation of C major in bars 62-3/Fig.4-35;

• bars 58-61/Fig.36-9 - passing chords in orchestra “collide” with underlying chord in piano (e.g., 58-9) (accept dissonance); still some dominant-tonic progressions.

• Still uses extended chords [1 mark per valid observation]

(iv) Compare and contrast the piano writing in this section with that in the

section from which the first extract was taken. [8]

• Same melody and accompaniment pattern as before; melody becomes slightly more active; addition of a 3-note semiquaver “upbeat” figure;

• decorative sextuplet figuration; often dissonant with the LH harmonies;

• more accompanimental role (bar 58/Fig.36); adopts an entirely secondary role in bars 62-5/Fig.4-15; LH and RH double orchestral lines;

• bar 66/Fig.5 - reverts to same figuration as in bars 58-61; basic 3-part LH accompaniment expands to 6 parts in bars 72-3/Fig.2-

16 (thicker texture but requires location); more powerful bass 8ves; increased rhythmic decoration in the RH ( bars 71-2).


28

(c) Compare and contrast bars 74 to the end with the opening of the movement,

up to bar 45. [14]

• Melody and underlying harmony almost identical to original statement; melody now appears on a solo cor anglais;

• Vln.2, Vlas and VC play a simplified version of the piano’s original LH part; • LH part of the piano from bar 74 virtually identical to that in earlier section;

slight alterations in the inner parts of the harmony [“duplicated” in the string parts]; RH part continues with the decorative figuration found in middle (B) section; but then breaks out into demisemiquaver scalic passages, too, at first sporadically, then more persistently;

• bars 19—28 are omitted in the final A section; instead of the trilled F# leading to a brief tonicisation of IV, Ravel inserts an interrupted cadence (V7-VI);

• over C# major harmony in bars 97-9 flute states arpeggio-based melodic line (similar to that in bars 91-2/Fig.8-2); final notes imitated by oboe and cor anglais, slightly altered and augmented; no counterpart to these bars in opening A section; bass line and harmony are more static here; slower harmonic rhythm - prepares for the “prolonged” tonic harmony of the ensuing coda;

• second A section denied most of the tonicisations of its earlier

counterpart; “deceptive” cadence onto C# major chord provides harmonic interest; WW dialogues in bars 97-103/Fig.9-10 - counterpart of those in bars 34/Fig.1-;

• deceptive cadences punctuate movement and help delineate overall formal plan;

• bars 103[Fig.10]-end - essentially consist of one (tonic) E major chord; remaining notes are mostly passing/auxiliary notes; coda could possibly be regarded as a slightly extended/more developed version of the movement’s opening 3 bars;

• last 6-bar phrase includes instrumental sonorities new to movement; • piano continues its “pulsating” quaver figure; • mild dissonances result from combination of essential and non-

harmonic notes; • bar 107 - only time in the movement the piano’s LH plays

unequivocally on beats 1, 2 and 3 without any trace of 6/8; • brief Lydian flavour (A# in bar 104); • root position tonic E major chord restricted to opening and closing

bars, together with its use at the start of the reprise of A in bar 74/Fig.6.


29

Question 2 – 25 marks Essay To what extent do you consider that Ravel’s Piano Concerto in G falls into the tradition of the 19th and 20th century solo concerto? Refer to representative works from both centuries in your answer. [25]

Mark Criteria 21-25 Relevant references to virtuoso concertos of the early and later Romantic

era as well as to those in a lighter vein should be given together with representative works from both groups from the 20th century. A convincing comparison with Ravel’s work will be made and the argument (to whichever conclusion) will be made not on generalisations but through a genuine knowledge and understanding of both Ravel and earlier, contemporary and later examples. Material is structured effectively and includes apt use of specialist vocabulary. Spelling, punctuation and grammar are secure.

17-20 A less secure essay on the whole, showing a reasonable contextual knowledge and comparison, but offering less specific knowledge of 19th and 20th century works. An otherwise good essay but with only general comment regarding representative works from each century would fall into this category. Material is organised coherently and uses specialist vocabulary. Spelling, punctuation and grammar are generally secure.

13-16 A satisfactory though somewhat incomplete answer, with an insufficient level of relevant comparison. Answers in this category generally demonstrate only adequate musical understanding and might show limited knowledge of 19th century concerto models and of later concertos. Some use of specialist vocabulary; spelling, punctuation and grammar are reasonably secure.

9-12 The material included lacks conviction and accuracy, resulting in a less than satisfactory answer, with little reference to 19th and 20th century works. Scant use of specialist vocabulary; spelling, punctuation and grammar feature some inaccuracies.

5-8 Limited understanding shown and much uncertainty, failing to make any valid comparisons or with many unsound judgements. Little evidence of specialist vocabulary; spelling, punctuation and grammar are weak.

0-4 Very weak, showing little or no understanding of the Ravel and/or knowledge of the development of the concerto form in the relevant eras. Little use of specialist vocabulary. Frequent errors in expression.

30

Or, Option B – Shostakovich: String Quartet No.8 and a study of the chamber tradition Question 1 – 50 marks (a) Extract 1 (from end 121 of movement ends figure 14 movt II) (i) State fully the key at the very start of the extract. [2] C minor (C = 1 mark)

(ii) In which key does the second movement begin? [2] G# minor (G# = 1 mark) (iii) Explain the way in which the first and second movements are linked in

the extract, paying attention to the keys employed. [5]

Motif from bars 122-23 begins to repeat itself [Vln2] in bar 124; Ab, instead of falling to G, is sustained; notated enharmonically as G#; and joined by Vla and VC in unison; becomes the tonic of the 2nd movement; crescendo leads to a sfff chord of G# minor; G# is a diminished 4th below - cf. DSCH motif. [1 mark per valid observation]

(iv) Comment on the Ist Violin’s opening melody in the second movement.

Also explain the reason for the composer’s direction sul G.(consider first 8 bars) [5]

Variant of that heard in the first movement – e.g., bars 50-2; also appeared in bars 122-23; some intervals altered and dactylic rhythm used for both bars of the motif. Sul G = play all notes on G string until bar indicated; produces a more strained, intense and “rougher” tone quality; matches the aggressive atmosphere demanded here. Chromatic ( sequence) [1 mark per valid observation]

(v) Explain the structure of this extract - i.e., first page of movement -

briefly referring to the harmony employed at the outset. [Give bar/figure numbers in your answer.] [4]

• Transition and modulation between movement 1 and 2; drone;

pedal • In three (expanding) sections - bar 1/Fig.11, bar 9/Fig.119 and

bar 26/Fig.13; • begins over a G# minor chord; tonic pedal; touches on the

Neapolitan/flattened 2nd degree (A minor) in bar 13/Fig.412; moves back to G# minor chord in bar 26/Fig.13.


31

(b) Extract 2 (Fig 21 – 22) (i) From which part of the movement does this extract come? [2] Trio 1 – section B (accept bar numbers or figs)

(ii) The theme with which the extract begins is taken from another work by Shostakovich. Which work is this? [2]

Second Piano Trio [finale]

(iii) With what type of musical style was this earlier music associated? [2]

Jewish folk music [klezmer](1 mark for Jewish) (iv) Comment on the unusual texture and sonority of this opening music.

[6]

• Theme stated by Vlns1&2; doubled at a two-octave distance; taken directly from the RH/LH disposition of the piano trio;

• Vln2 directed to play “sul G” ; • Vla&VC have wide-ranging triplet arpeggio figures all based

on a C minor triad; widely spaced; ostinato; thicken texture • Shostakovich alters the chordal pizzicato accompaniment of

original; this achieves extreme rhythmic and textural differentiation from the preceding scherzo; more powerful and dramatic effect achieved.

• Extreme dynamics • Open strings (Vla and Vlc); drone


(v) This same music is restated towards the end of the movement. Give

the bar/figure number where this begins and state how the music differs from that of the last extract. [6]

Bar/Figure number – Bar 324/Fig.33 [1 mark] Differences – • Texture reversed with Vlns1&2 playing the arpeggio

figuration; theme doubled in 8ves (rather than double-8ves) in Vla&VC;

• one extra repetition of the four-crotchet figure (A-G-G-F#); • change of harmony in the arpeggio figuration (in bar

334/Fig.34) from a Cm chord to a C# diminished 7th chord; • Vln2’s figuration on this change of chord starts below Vln1

(as for the Cm chord); overlaps that instrument’s part for notes 3-5 of the bar’s 6 notes.

• Ends abruptly [1 mark per valid observation – up to 5 marks]

32

(c) You now have 15 minutes to answer the following question.

Give a brief account of the overall form of the movement, tracing its use of the DSCH motif. [1 mark per valid observation] [14]

• A, B, A1 ,B1 (or smiliar) award one mark for identification of

structure and one mark for each correct location – max 5) 2nd movement is a scherzo substitute (in 2/2 rather than the traditional 3/4);

• formal basis is an incomplete double Scherzo and Trio whose sections become progressively shortened;

• second Trio cuts off abruptly; expected final return of the Scherzo fails to materialise;

• in second Trio the order of the two constituent sections is reversed; • form is, therefore: Scherzo 1: [A1, B1] – Trio 1: [C1, D1] – Scherzo 2: [A2, B2] – Trio 2: [D2, C2]

DSCH motif forms part of the basic motivic material of the movement; it generates related motifs, initiates the main theme of Section D in the Trio, and also punctuates several of the main sections; its intervallic content is also pervasive – e.g.,

Scherzo (A)1: • the interval of a diminished 4th in evidence in the opening theme

(Fx-B) and in its extension (A-Db in bars 21-2 [Vln1] and E-Ab in bars 35-6 [Vla&VC], for instance);

• in bars 51-6 Vla&VC introduce a version of the DSCH motif in dactylic rhythms, so linking this germinal motif and the main theme more directly;

• this leads to the movement’s first statement of the DSCH motif in its “original” form – in imitation between all four instruments (bass upwards) in bars 62-661, and then in reverse order (Vln2 downwards, omitting Vla) starting in bar 662;

• the statement in VC becomes an ostinato (joined by Vla) against which Vlns1&2 have repeated statements of the same motif in augmentation and stretto;

• diminished 4th interval is highlighted in the variant of the movement’s opening theme in Vla in bars 89-106; from 93, as an ostinato, it accompanies Vln1’s statement of this theme with original intervals restored; reiterated in bars 105-6 with a sequential repetition of the second version tagged on the end;

• a repetition of this (bars 109-10) “accompanies” two statements of the augmented version of the DSCH motif in VC;

33

Trio 1(B): • melody from Piano Trio also has links with the DSCH motif; bounded

by two semitones (F#/G and Db/C); diminished 4th interval span is replaced by perfect 5th;

• diminished 4ths reappear in bar 156/Fig.22; four statements of the DSCH motif (original pitch) in bars 172-5 – cf. bars 62-8; stretto ostinato (in diminution) is set up in Vla&VC;

• both theme and accompaniment become saturated by the motif; Vlns1&2 prefix a new melodic fragment with a statement of it in augmentation (bar 178);

• DSCH motif stated in bar 2173 by VC; its repetition in bar 2213 (with Vla) again becomes the prefix of the “klezmer” theme, replacing its previous augmented version; increases momentum as the movement reaches a return of its opening material.

Scherzo 2 (A1):

• Contains no trace of the original DSCH motif.

Trio 2 (B1): • Begins (Vlns1&2) with the DSCH-related version of the main scherzo

theme in a form similar to that found in the Vla in bars 89-92; motif’s diminished 4th boundary prominent in the VC’s ostinato;

• “klezmer” theme returns; augmented version of the DSCH motif as prefix in 297.

34

Question 2 – 25 marks Essay “The 15 quartets of Shostakovich represent one of the most important contributions to the form of the 20th century.” (Michael Tilmouth) To what extent do you consider the 8th Quartet continues or develops the tradition of quartet writing of the 18th, 19th and 20th centuries? Refer to relevant works in your discussion. [25]

Mark Criteria 21-25 Relevant references to string quartets of all three centuries should be

given. A convincing evaluation of Shostakovich’s work within this tradition will be made and some detail should also be given on the less traditional content of this quartet – e.g., its self-quotation. The argument (to whichever conclusion) will be made not on generalisations but through a genuine knowledge and understanding of both Shostakovich and earlier and contemporary examples. Material is structured effectively and includes apt use of specialist vocabulary. Spelling, punctuation and grammar are secure.

17-20 A less secure essay on the whole, showing a reasonable contextual knowledge and comparison, but offering less specific knowledge of 18th, 19th and 20th century works. An otherwise good essay but with only general comment regarding representative works from each century would fall into this category. Material is organised coherently and uses specialist vocabulary. Spelling, punctuation and grammar are generally secure.

13-16 A satisfactory though somewhat incomplete answer, with an insufficient level of relevant detail. Answers in this category generally demonstrate only adequate musical understanding and might show limited knowledge of 18th, 19th and 20th century quartet models. Some use of specialist vocabulary; spelling, punctuation and grammar are reasonably secure.

9-12 The material included lacks conviction and accuracy, resulting in a less than satisfactory answer, with little reference to 18th, 19th and 20th century works. Scant use of specialist vocabulary; spelling, punctuation and grammar feature some inaccuracies.

5-8 Limited understanding shown and much uncertainty, failing to make any valid comparisons or with many unsound judgements. Little evidence of specialist vocabulary; spelling, punctuation and grammar are weak.

0-4 Very weak, showing little or no understanding of the Shostakovich and/or knowledge of the development of the string quartet in the relevant eras. Little use of specialist vocabulary. Frequent errors in expression.

35

Or, Option C – William Mathias: This Worlde’s Joie and a study of the vocal tradition Question 1 – 50 marks

(a) Extract 1 (i) Compare the instrumental and vocal music in the extract. [5]

Bars 1-13

Instrumental music - chromatic (almost atonal); polyphonic or multi-layered; also combined with homophonic (WW/Stgs) material in bars 3-6; repetitive, but with shifting accents, which partially obscure sense of beat at first; variety of timbres used; instrumental and vocal music are distinct here. Vocal music – diatonic or modal; totally homophonic; more lyrical and contains no motivic repetition; more regular metrically; similar vocal sounds – female voices only.

Bar 14-

Instrumental and vocal music identical; instrumental timbres also identical – i.e., only muted trumpets used. [1 mark per valid observation]

(ii) Comment on Mathias’ choice of instruments in the extract. [5]

• Prominent use of sharp, brittle, percussive sounds – e.g., vibraphone, celesta, bell and glockenspiel;

• pedal-point also uses pizz strings rather than arco; also harp (glissandi);

• Mathias uses instruments/techniques that lack ability to sustain notes – possibly a link with the sense of decline mentioned by the composer in relation to the movement, though also a feature of his orchestral writing in general;

• when more sustained sounds are employed mutes give a sharper attack to the trumpets, whose doubling of the choral parts gives the female voices a more hard-edged quality;

• emphasis on reed sound when WW are used – (doubled by pizz strings).


(iii) Give an example of “word-painting” in the extract. [2]

Falling sequences on “death shall not pass by”, including wide vocal tessitura – from E to top A in sopranos and bottom F to a high D on altos – and word repetition, both of which highlight the sense of the text – also long diminuendo over these bars, with punctuating harp glissandi, each statement softer than the one before; semitonal dissonance on “death”.

36

(b) Extract 2

(i) Comment on the instrumental music at the start of the extract. Give some detail on the tonality in these bars. [4]

• Pedal B returns; • in opening 5 bars of extract (before vocal entry) semiquaver

figure in celesta at first is extended to 14, rather than 12 notes - repetition of the first two pitches at the end fails to trigger a wholesale repeat at the same pitch; instead, the motif is transposed down a perfect 5th (starting on F) for two statements, the second extended to 14 notes as before;

• after one more statement on C (8ve lower than original) statements become even more fragmentary, including snippets of the full motif, as well as repetitions of the prominent falling semitone figure (on Gb(-F) and C(-B)) – highlighting an important note aggregate heard elsewhere in the movement – e.g., Bb/B and E/F in bar 38 – this aggregate being part of an octatonic scale, whose distinctive sounds are to appear as part of the ensuing tenor solo;

• up to this point, however, “tonality” has been vague, perhaps approaching a chromatically-enhanced locrian mode;

• there is also a link here with the WW figures from bars 3-6; • note the brief augmentation of the falling semitones in bars

29&30, approximating to a written out “rit.”; • music finally “contracts” onto a unison B. [1 mark per valid observation]

(ii) Briefly describe the word setting in the extract. [2] Mostly syllabic, but melismatic in parts – e.g., “full” (bar 38) and “burst”

(bars 51-55).

(iii) Give an analysis of the music after the entry of the tenor solo, paying attention to both the vocal and instrumental writing. You can either limit your answers to the extract only or include the setting of “Wherefore my heart will burst”. [6]

Vocal:

• Initially recalls the previous celesta figure – e.g., “piteously complain”(a variant of the previous phrase, “The other day”) uses the opening 4 notes of the celesta figure with notes 3&4 transposed down (displaced) an 8ve in augmentation;

• next phrase (“She said alway…”) is constructed more sequentially, outlining a series of rising perfect 4ths (F-Bb, A-D and C-F), the last (because of the melismatic writing) more decorated;

• next phrase could be considered a more chromatic variant of this;

37

• next three bars (44-46) use the notes of an octatonic scale (Collection II/G# semitone-tone ordering);

• from bars 47-55 this becomes Collection I/G# tone-semitone ordering.

• melodic line on “forsaken me” is subjected to repetition to underline the piteous plaint of the maid;

• this section begins with two 4-bar phrases, but the next two phrases are contracted to 3 bars, while the next four bars (47-50) are broken up by rests as the vocal range gradually expands upwards (reaching its highpoint on Ab (ff) in bar 52). This increasingly more fractured phrasing helps underline the maid’s mounting dismay/anger at the infidelity of her love;

• finally breaks out into more sustained melismata on “burst”, ending with a repeated “sobbing” descending semitonal figure (Db-C), the Db of which is dissonant with the orchestra’s supporting F major/minor chord.

Instrumental: • For the first time in the movement the orchestra provides a

more sustained backdrop for the voice – one more appropriate and customary for recitative;

• the pedal B from the previous section persists, but now on a slightly sinister viola tremolo;

• the first three vocal phrases are punctuated by the movement’s opening celesta semiquaver figure – the first (at its original pitch) extended to two repetitions, a third transposed down a minor 3rd (following the direction of the pedal’s descent to G#);

• its expected repetition is replaced by a bar consisting of two oscillating chords on strings, emphasising the opening falling semitone of the celesta figure – the first chord merely continuing that of bar 38;

• instrumental and vocal parts are often in dissonant relation; • subsequent sustained harmonies (bars 41-) tend to be major

or minor triads with an added dissonant note (against which the sinuous celesta figures create further uneasy dissonances);

• the notes of the chords in bars 44-51, apart from D#, like the vocal part they accompany, all fit into octatonic Collection I/G# tone-semitone ordering;

• as the vocal line becomes more urgent (48-51) so do the rhythms of the repeated chords - as well as more syncopated;

• all of the F major/minor chords appear on weak beats of the bar. [This F “major/minor” chord could be considered as being constructed from notes of octatonic Collection II/F semitone-tone ordering.]


38

(c) Extract 3

(i) In what way does Mathias attempt to link the tempo of the section from which the extract is taken with that of the sections that precede and follow it? [2] One bar of the preceding section is half a bar of this section, which then becomes one beat (quarter of a bar) in the following section. Thus, there is a feeling of a constant beat throughout all three sections, despite it being worth a different fraction of a bar each time.

(ii) Describe the phrase structure of the extract, relating it to the structure of the poem. [This is printed at the start of the score.] [4]

First “verse” (“Maiden in the moor lay …… full and a day”, i.e. covering 5 lines of the poem) is 12 bars long and consists of three 4-bar phrases. A second 12-bar phrase follows (with a similar melodic line) but Mathias sets only two lines of the poem here, with word repetition accounting for the same 12-bar phrase length. A third “verse” (184-95) also uses word repetition to achieve its 12-bar length. [1 mark per valid observation]

(iii) Compare this phrase structure with the phrase structure in bars 196-

215/Fig.36-37. [3]

Essentially the same as the previous phrases – 12 (3x4) bars with word repetition (only two lines of text set) – but this phrase is extended by twice repeating the last line (“the red rose and the lily flower”), so totalling 20 bars rather than 12 – i.e., phrase structure of 5x4 bars.


(iv) Account for the harmony/tonality of the extract. [3]

• Music is underpinned by a pedal C#; • the section is octatonic, based on Collection III/C# tone-

semitone ordering; • the vocal part adheres strictly to this octatonic scale with no

“chromaticisms”/unessential notes; • in the organ part the only discrepancy from octatonic writing

is the B natural in the opening bar of each “verse” (e.g., in the “alto” part in bar 160), which could be explained as a chromatic decoration (with the following D#) of the C#s in bars 160-61. [1 mark per valid observation]

39

(d) You now have 15 minutes to answer the following question.

Trace the use of the opening (celesta) semiquaver figure throughout the movement, paying particular attention to its use in the coda [Fig.38 – Lento (ma poco a poco più agitato)]. (Do not refer to the music of the tenor solo between Figs. 32 and 33.) [14]

• At opening the successive statements of the 12 notes are

“internally” broken up by rests or are repeated immediately with shifting accents to prevent too regular repetitions;

• rests occur between different adjacent notes each time; • the motif remains untransposed in this opening section.

• The falling semitones in bars 27-30 trigger the opening phrase of the tenor

solo; • throughout the opening section of this solo the music continues to be

punctuated by sporadic statements of both the 12- and 14-note version of the motif, both with repetitions (34-5), singly (39) and in transposition (43) – this transposition down a minor 3rd governed by the bass pedal B’s transposition down by the same interval;

• up to this point all statements of the motif had occurred over a pedal B.

• Like the preceding tenor solo, the soprano solo (starting in bar 72/Fig.32) is punctuated by statements of the celesta motif, but the statements, though more sporadic, are more regular, consisting of three statements of an incomplete (9-note) form appended by a longer 17-note (12+5) version – all starting on F. However, the motif also generates portions of the soprano melody – e.g., “Now myself” (bars 843-86)(A#-B-E) could be regarded as a transposed retrograde of notes 7-9 of the original motif; “the truth I” (bars 873-882)(B-F-E) – notes 9-11, also transposed; “that he is” (bars 893-91)(B-Bb-F) – notes 2-4). [Note the motivic link between these figures and the note aggregate mentioned above – Extract 2(b)(i)].

• The motif’s use in bars 216-29 is identical to that in bars 1-14.

• Coda is saturated with the motif; its use in a variety of forms here almost approaching serial writing;

• forms used are: original (e.g. bar 238/Fig.38 on tremolo strings), retrograde (e.g., bar 258 in stretto, the “answer” being transposed down a perfect 4th), inversion (e.g., bar 240 on flute with the more disjunct 6th and 7th intervals of the original “smoothed out” into 3rds and 2nds by octave displacement) and retrograde inversion (e.g., bar 251 on strings, starting on C);

• various transpositions are used; • motif also appears in augmentation – in quavers, crotchets, triplet

crotchets and minims – sometimes in combination within the same statement, e.g., the RI version in strings, starting on C, in bars 2512-253.

• stretto statements occur (see above); • throughout the section pedal notes rise from an initial F# up by semitones

to G and G#;

40

• in some statements of the 12-note motif the pitch of the pedal note is

omitted from the statement above it – e.g., G is omitted from the brass statement in bars 254-57, perhaps suggesting a link with dodecaphonic technique/principles.

• some statements overlap – e.g., the RI statement in the strings starting in bar 252 is “fused” by the last G with the following statement;

• occasionally individual notes are transposed up/down an octave – e.g., G on beat 1 in bar 253 “should be” an 8ve lower.

• Bars 246-67 consist of two 8-bar phrases (the second a semitone higher than the first) followed by what would appear to be a third statement a semitone higher again on G#. However, this last statement is only 6 bars long – the original transposed 4 bars appended by two bars that repeat material of the foregoing bars with a different arrangement of its constituent parts;

• all statements in this section are 12 notes long – i.e., there are no 14-note statements;

• the complex punctuating chords in bars 250, 258 and 268, with their combination of two incomplete dominant 7th chords a major 3rd apart – e.g., G7 and Eb7 in bar 250 - both separated spatially by a “dissonant” note (an E in the example just given) – strongly suggests octatonic harmony, but do not fit in any one octatonic collection; in the example given, however, 5 out of the 6 different chord notes belong to Collection I (E, F, G, B, Db), while 4 belong to Collection III (G, C#, Eb, E). They appear to have no link with the all-pervasive “celesta” motif, however. [1 mark per valid observation]

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MU6a - Part 3

Either (a) “The music of Ravel, while absorbing numerous features from composers of various national backgrounds, primarily joins techniques from the two main contrasting stylistic spheres of early 20th century French music: impressionism and neoclassicism”. (Antokoletz) Comment on this statement with respect to Ravel’s vocal music. [25]

Or, (b) What do you consider to be the typical stylistic features of the music of Shostakovich? Support your answer with reference to his orchestral music.

[25]

Or, (c) What are the main features of Mathias’ musical style with respect to harmony/tonality and his use of instruments? Support your answer with reference to both vocal and instrumental works. [25]

Mark Criteria 21-25 A convincing presentation, which shows detailed knowledge and thorough

understanding of the chosen composer’s overall compositional musical style. Relevant references to the required information are fully explained, with well detailed musical examples (including quotes). A very good response to the challenge of the extended research. Material is structured effectively and includes apt use of specialist vocabulary. Spelling, punctuation and grammar are secure.

17-20 A less secure essay on the whole, showing a reasonable contextual knowledge and understanding of the chosen composer’s overall compositional style, but offering less specific information. An otherwise good essay, but with only general comment regarding musical examples would fall into this category. A good response to the challenge of the extended research. Material is organised coherently and uses specialist vocabulary. Spelling, punctuation and grammar are generally secure.

13-16 A satisfactory though somewhat incomplete answer, with an insufficient level of relevant detail and examples. Answers in this category might demonstrate an adequate knowledge of the composer’s compositional style, but the material presented tends to lack depth. A reasonable response to the challenge of the extended research. Some use of specialist vocabulary; spelling, punctuation and grammar are reasonably secure.

9-12 A more limited answer, which does not fully meet the requirements of the chosen topic. The material included lacks conviction and accuracy and musical detail, producing a response which shows limited knowledge of the composer’s compositional style. A less than satisfactory response to the challenge of the extended research. Scant use of specialist vocabulary; spelling, punctuation and grammar feature some inaccuracies.

5-8 Limited understanding shown and much uncertainty, failing to make any valid observations regarding the composer’s compositional style, or with many unsound judgements. An essay lacking in musical substance and examples. Rather an unsatisfactory response to the challenge of extended research. Little evidence of specialist vocabulary; spelling, punctuation and grammar are weak.

0-4 Very weak, showing little or no understanding of the compositional and musical style of the chosen composer. Lacks evidence of any appropriate research or preparation. A poor response to the challenge of extended research. Little use of specialist vocabulary. Frequent errors in expression.

GCE Music Marking Scheme - Summer 2010/JSM 14.07.10

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2010 gce markscheme