GCE A2 Music Teachers' Guide pdf

GCE A2 MUSIC Teachers' Guide 1

Contents

GCE A2 Music Teachers’ Guide

Page 1. Introduction 2 1.1 Rationale 3 1.2 Overview of New A2 Specification 4 1.3 Changes for teaching from September 2009 5 2. Delivering the specification 8 2.1 Pathways through the Specification 8 2.2 Examples of Approaches 8 3. Support for Teachers 19 3.1 Generic Resources 19 3.2 General Websites 19 4. Unit Guides 20 4.1 MU4 Performing 20 4.2 MU5 Composing 22 4.3 MU6 Listening and Appraising 42 5. Assessment Guidance 46 5.1 MU4 Performing 46 5.2 MU5 Composing 48 5.3 MU6 Listening and Appraising 63 Appendices

Contributors to the Teachers’ Guide 64

Issued July 2009


1. INTRODUCTION

The WJEC A2 Music specification has been modified and updated for delivery from September 2009. The first A level awards will take place in summer 2010. For the first availability of units, see page 2 of the specification. The specification can be delivered and assessed in centres throughout the UK.

This guide is one of a number of ways in which WJEC provides assistance to teachers delivering the new specification. Also essential to its introduction are the Specimen Assessment Materials (question papers and marking schemes) and professional development (INSET) conferences.

Other provision which you will find useful includes:

1 Examiners’ reports on each examinations series 2 Free access to past question papers via WJEC’s secure website 3 Easy access to specification and other key documents on main website 4 Regular INSET delivered by Chief Examiners 5 Easy access to both the Subject Officer and to administrative sections

Contact Points for GCE Music are as follows:

Catherine Webster (Subject Officer)[email protected]: 029 2026 5316

Sara Evans / Catrin Budd (Administrative Support Officers) [email protected] / [email protected]: 02920 265142

Subject page www.wjec.co.uk/music

INSET Section [email protected] www.wjec.co.uk/professionaldevelopment

mailto:[email protected]


http://www.wjec.co.uk/index.php?subject=92&level=21&imageField2.x=24&imageField2.y=13


http://www.wjec.co.uk/professionaldevelopment


1.1 Rationale

The GCE AS/AL specification in Music builds upon the National Curriculum and GCSE, whilst, at the same time, accommodating the needs of candidates who may not have studied music at these levels. It promotes progression through the AS and AL and provides a suitable foundation for the study of Music or a related area of study at further or higher education, and/or preparation for future employment and the world of work. The specification provides a coherent, satisfying and worthwhile course of study broadening and intensifying candidates' musical experiences, regardless of whether they wish to progress to study further in the subject or not.

Candidates are provided with opportunities to develop their aural perception skills and their appreciation of, and participation in, music. They are also encouraged to make connections between different aspects of musical activities and to apply their knowledge and understanding to unfamiliar music.

The specification will develop skills that can be transferred to other subjects and

enrich candidates' cultural development, involvement in and enjoyment of music throughout their lives.


1.2 Overview of the Specification

This specification is divided into a total of 6 units, 3 AS units and 3 A2 units. Weightings noted below are expressed in terms of the full A Level qualification.

AS (3 units) MU1 Performing (AO1) 15 % External Assessment Solo and/or ensemble performance

Performance should last between 8 and 10 minutes

One piece should reflect a chosen area of study Assessed by visiting examiner

MU2 Composing (AO2) 15% Internal Assessment Two contrasting compositions

Compositions should last between 4 and 8 minutes

One composition demonstrating the musical techniques and conventions associated with the Western Classical Tradition

One free composition Teacher assessed and externally moderated

MU3 Appraising (AO3) 20% External Assessment One listening examination in two parts

Part 1: (12%):1 hour appraising test based on extracts of music (set works) taken from the two Areas of Study selected for study by the centre

Part 2: (8%): 1 hour aural perception (melodic dictation, keys, chords, cadences) based on unprepared musical extracts

A LEVEL (the above plus the following 3 units – 2 units at 15% and 1 at 20%) Either MU4(A) Performing (AO1) 15 % External Assessment Solo and/or ensemble performance


One piece should reflect the new area of study (Music in the 20th and 21

st centuries)

Assessed by visiting examiner

Or MU4(B) Performing (AO1) 20 % External Assessment Solo and/or ensemble performance


One piece should reflect the new area of study (Music in the 20th and 21

st centuries)

One piece to reflect a further area of study Assessed by visiting examiner

Either MU5(A) Composing (AO2) 15% Internal Assessment Two contrasting compositions


One composition demonstrating the musical techniques and conventions associated with the Western Classical Tradition (area of study continued from AS)

One composition reflecting the new area of study (Music in the 20th and 21

st centuries)

Teacher assessed and externally marked

Or MU5(B) Composing (AO2) 20% Internal Assessment Three contrasting compositions


A composition demonstrating the musical techniques and conventions associated with the Western Classical Tradition

One composition reflecting the new area of study (Music in the 20th and 21

st centuries)

One free, innovative composition Teacher assessed and externally marked

Either MU6(A) Appraising (AO3) 15% External Assessment One written examination in two parts (2 ¼ hours)

Part 1: (6%) : ¾ hour listening examination based on extracts of unfamiliar 20th / 21

st century music (new area of study)

Part 2 : (9%): 1½ hour listening / written examination requiring candidates to analyse a set work and place the work within a broader musical perspective

Or MU6(B) Appraising (AO3) 20% External Assessment

One written examination in three parts (3 hours)

Part 1: (6%) : ¾ hour listening examination based on extracts of unfamiliar 20th / 21

st century music (new area of study)

Part 2 : (9%): 1½ hour listening / written examination requiring candidates to analyse a set work and place the work within a broader musical perspective

Part 3 : (5%): ¾ hour written examination requiring candidates to demonstrate knowledge and understanding of the overall musical style and output of one of the set work composers


1.3 Changes to the A2 specification for delivery in September 2009

The new A level specification includes an A-Z of Musical Ingredients, outlining compositional styles, devices, forms and a range of musical elements that candidates should study during the course.

There are six units in total, three at AS and a further three units at A2. Candidates will choose two units at 15% and one unit at 20% at Advanced Level.

A2 UNITS

Candidates must choose two units at 15% and one unit at 20%

UNIT CHANGES FURTHER GUIDANCE

MU4 (A) Performing

(15%)

The title of the unit has changed from MU6 to MU4(A). The method of assessment is still the same and as in the previous specification, one of the pieces must be linked to the new area of study (music of the 20

th and 21

st centuries).

The mark scheme has changed significantly. 10 marks are awarded for each of the following categories: accuracy; technical control and overall performance. The total mark out of 30 is then multiplied as outlined below, depending on the standard of the piece. This standard is based on graded music exams (GME)

Grade 6 x 3; Grade 5 x 2.7 and Grade 4 x 2.4 Candidates will receive one extra raw mark out of 30, if they perform a piece at a Grade 7 or above standard. Candidates cannot be awarded more than the maximum mark of 30. MU4 will be marked out of 90. MU4A is worth 15% of the

A level. There is no viva voce.

Exemplar performances, marked according to the new criteria can be found here. Guidelines on how to enable pupils to create a good performance can be found here.

MU4 (B) Performing

(20%)

There was no equivalent to this unit option in the old specification. The same points apply as in MU4(A) but the performance time is longer. Performance should last between 16 and 18 minutes. In addition to one piece reflecting music of the 20

th and 21

st

centuries, another piece must reflect a further area of study.


UNIT CHANGES FURTHER GUIDANCE

MU5 (A) Composing

(15%)

As in the previous specification, candidates must submit two contrasting compositions lasting between six and ten minutes. All candidates should submit a score (lead sheet, tablature, or any other formats are acceptable) and a recording One of the compositions must reflect the Area of Study selected from the Western Classical Tradition in MU3, and must be in a tonal idiom. The other composition must reflect the new area of study, music of the 20

th and 21

st

centuries. Both compositions must be based on a different commission as outlined on page 24 of the specification. Candidates are required to complete a form outlining the process of composition, as in the current specification. In addition, they will complete a composition log which will be checked by the teacher at least three times during the composition process. Compositions are now assessed using the following criteria: development of musical ideas; an understanding of balance, form and structure; appropriate use of voices, instruments and/or synthesised sounds; sensitivity in relation to timbre and texture; consistency of style; an understanding of appropriate harmonic procedures. Each heading is marked out of a total of 10 As in the old specification, this unit is externally assessed MU5(A) will be marked out of 120 and is worth 15% of A

level.

Exemplar compositions, marked according to the new criteria can be found here. Guidelines on how to enable pupils to create good compositions can be found here.

MU5 (B) Composing

(20%)

There was no equivalent to this unit option in the old specification . The same points apply as in MU5(A) but the time is longer. Compositions should last between twelve and eighteen minutes. In addition to the two compositions outlined above in MU5(A), candidates must submit another free and innovative composition. MU5(B) will be marked out of 180 and is worth 20% of the A level.


MU6 (A) Listening

and Appraising

(15%)

PART ONE

The aural examination will be ¾ hour long and will consist of extracts of music from the 20

th and 21

st centuries. In

addition to the 20th/21

st century styles of music outlined in

the previous specification, candidates will be required to study minimalism; electronic music; aleatoric music; musical theatre and jazz, rock and pop. This exam is worth 6% of the A Level

Candidates will be required to:

make connections between music and its context;

make connections between different areas of knowledge and different aspects of musical activities;

complete a short section of a skeleton score with regard to pitch and rhythm;

recognise chords and cadences;

name modulations;

locate and correct up to four errors of pitch and rhythm.

PART TWO

Candidates will study one set work. Either:

Ravel: Concerto in G major for piano;

Shostakovich: String Quartet no. 8

Mathias: This Worlde’s Joie (Parts One, Three and Four)

The work will be assessed by a 1 ½ hour written examination, which will be worth 9% of the A Level.

For the first question, candidates will hear excerpts from the set works on a CD and will answer them by referring to an unmarked score which they will take into the examination.

The second question will require candidates to write an essay on the development of the form and on a recognition of the influences which maintain continuity and cause change, placing the set work within a broader musical perspective.

MU6 (A) will be marked out of 125 and is worth 15% of the A level.

Guidelines on how to deliver this aspect and examiner’s guidance can be found here and here.

MU6 (B) Listening

and Appraising

(20%)

There was no equivalent to this unit option in the old specification . The same points apply as in MU6(A) above. In addition to the two papers above, candidates will sit an extra ¾ examination. This will be based on the entire output of one of the composers of the selected set work. MU6(B) will be marked out of 150 and is worth 20% of the A level.


2. DELIVERING THE SPECIFICATION

2.1 Pathways through the specification

Each teacher will have their own individual approach to delivering this specification. It is important that candidates realise the links between the AS and A2 units. The pieces they study in MU3 will influence their compositions, as they study techniques and devices used in the set works. As they research other compositions written by the composers of the set works, they may find solo and/or ensemble pieces which they could play for their MU1 examination. The set work and/or the 20th/21st century styles studied in MU6 will influence the second MU5 composition. Equally, students must perform a 20th/21st century piece in the MU4 performance examination.

2.2 Examples of Approaches

A Level Music (MU4, MU5, MU6) A holistic approach to the teaching of the A Level units is to be encouraged. The following pages outline an example of a way to approach the teaching of the set works in a holistic manner. 1. Ravel: Piano Concerto in G major 2. Shostakovich: String Quartet no. 8 in C minor 3. Mathias: This Worlde’s Joie

For each set work, there is a score which may be used for ensemble performance, individual parts, midi files (to adapt parts), ideas for composition tasks and an aural question based on the format of PART TWO of MU6.


PIANO CONCERTO IN G MAJOR: RAVEL

TASK METHOD RESOURCES

Perform the extract as a class ensemble

Give pupils a copy of their piece to practise at least four weeks before attempting a whole class performance

Listen to movement II of the concerto and discuss initial impressions/ideas

Before the first performance, discuss issues relating to ensemble performance (timing, balance, etc.)

Rehearse and prepare for a recording of the performance

Self and peer evaluation of performance, using the MU4 criteria.

Whole score Individual parts Midi file Recording of work

Composition tasks Listen to the piece several times, whilst reading the score

Discuss and analyse sections of the score

Brainstorm ideas that could be used as a basis for composition

A list could include some of the following: - slow waltz with subtle interplay of cross- rhythms - simplistic counter-melodies to complement main theme - colourful use of orchestra - mild harmonic dissonance - parallel ninths - long phrased singing melody - rhythmic ostinato

Pupils to consider Ravel’s and other Impressionistic composers’ use of these devices in other works

Pupils to select at least three aspects from the list to explore in a composition

Score Recording Other movements from the Concerto. Ravel’s orchestral and piano music. Works by other Impressionistic composers.

Listening Pupils will need to revise chord patterns and practise how to recognise these aurally

They will need to practise melodic and rhythmic dictation

Pupils will need to revise key signatures and work on recognising modulations

Listening to a performance of a piece of music, they will need to work on recognising errors in pitch on a score

When the preparatory work is complete pupils should complete the aural task, which is based on the type of question they can expect in the MU6 Part One paper.

Worksheets and revision notes Recording Aural question


AURAL QUESTIONS

You will hear an extract from Ravel’s Piano Concerto in G major, Movt. II. The extract will be played five times.

(a) Identify the key signature. [2]

(b) Insert the missing pitch and rhythm at:

(i) bars 8 – 9

(ii) bars 13–15 [10]

(c) There are two errors in pitch contained in bars 11- 16. Ring the notes which are incorrectly played and above each one write the letter name that you actually hear. [4]

(d) Describe the chords played in the piano accompaniment in bar one. [2]


ANSWERS

You will hear an extract from Ravel’s Piano Concerto in G major, Movt. II. The extract will be played five times.

(a) Identify the key signature. E major [2]


(iii) bars 8 – 9

(iv) bars 13–15 [10]

(c) There are two errors in pitch contained in bars 11 - 16. Ring the notes which are incorrectly played and above each one write the letter name that you actually hear. [4]

(d) Describe the chords played in the piano accompaniment in bar one. [2] Tonic chord. No fifth.


STRING QUARTET NO. 8 IN C MINOR: SHOSTAKOVICH




Listen to movement I of the quartet and discuss initial impressions/ideas








A list could include some of the following: - motivic development - arch structure - quoting and developing ‘borrowed’ themes - fugato/use of counterpoint

Pupils to consider Shostakovich’s and other composers’ use of these devices in other works


Score Recording Other movements from the Quartet. Shostakovich’s other quartets. Quartets by other composers including Prokofiev.








AURAL QUESTIONS

You will hear an extract from Shostakovich’s String Quartet no. 8, Movt. I. The extract will be played five times.

(a) Identify the key signature. [2]


(i) bars 9 – 11 (ii) bars 15 – 16 [10]

(c) There are two errors in pitch contained in bars 6 and 7. Ring the notes which are incorrectly played and above each one write the letter name that you actually hear. [4]

(d) Describe the chords played in the accompanying instruments throughout the

extract. [2]


ANSWERS

You will hear an extract from Shostakovich’s String Quartet no. 8, Movt. I. The extract will be played five times.

(a) Identify the key signature. C minor [2]


(i) bars 9 – 11

(ii) bars 15 – 16 [10]

(c) There are two errors in pitch contained in bars 6 and 7. Ring the notes which are incorrectly played and above each one write the letter name that you actually hear. [4]

(d) Describe the chords played in the accompanying instruments throughout the

extract. [2] Tonic chord. Third omitted.


THIS WORLDE’S JOIE: MATHIAS




Listen to movement I of the cantata and discuss initial impressions/ideas








A list could include some of the following: - exploration of modes including combining more than on mode - use of tritone as a melodic and harmonic device - developing different scale types including the diminished 7

th

- modulations over held pedal notes - use of diminished fifths and successive minor thirds

Pupils to consider Mathias’s and other composers’ use of these devices in other works


Score Recording Other movements from the cantata. Mathias’s other works. Works by Hoddinott and Bax.








AURAL QUESTIONS

You will hear an extract from Movt I of This Worlde’s Joie by William Mathias. The extract will be played five times.

(a) Identify the time signature. [2]


(i) bars 9 – 11

(ii) bars 23- 24 [10]

(c) There are two errors in pitch contained in bars 15 to 22. Ring the notes which are incorrectly played and above each one write the letter name that you actually hear. [4]

(d) Describe the recurring intervals heard in the accompaniment from bar 6 to 18.

[2]


ANSWERS

You will hear an extract from Movt I of This Worlde’s Joie by William Mathias. The extract will be played five times.

(a) Identify the time signature. 6/8 [2]


(i) bars 9 – 11

(ii) bars 23- 24 [10]

(c) There are two errors in pitch contained in bars 15 to 22. Ring the notes which are incorrectly played and above each one write the letter name that you actually hear. [4]

(d) Describe the recurring intervals heard in the accompaniment from bar 6 to 18. Successive descending (upper register) and ascending (lower register) minor thirds. Also recurring major 7th interval upper register. [2


3. SUPPORT FOR TEACHERS

The resources indicated below may assist you in teaching the A level Music specification. The resources are suggested and the list is not definitive. If you wish to recommend some resources that you have found useful, please let Sara/Catrin or Catherine know and we will add them to this guide. INSET courses will be organised periodically, usually in the autumn term to support teachers in delivering the specification and to provide feedback on the examination process. The INSET courses will be advertised on the website via the Professional Development link on www.wjec.co.uk/professionaldevelopment. You can apply for courses using the online form.

Further advice and support can be offered by the subject team at WJEC. Catherine Webster (Subject Officer: 029 2026 5316 [email protected]) and Sara Evans / Catrin Budd (Administrative Support Officers : 02920 265142 [email protected] / [email protected]).

3.1 Generic Resources for the Specification as a whole

3.1 Suggested textbooks include:

A-Level Music Study Guide by David Ventura ISBN: 978 1 84489 618 9

Heinemann Advanced Music: Teacher Resource File ISBN: 9780435812591

Heinemann Advanced Music: Student Book ISBN: 9780435812584

Heinemann Advanced Music: CD Pack ISBN: 9780435812607

3.2 General Websites

www.wjec.co.uk WJEC’s website offers recent information on courses and INSET.

The following websites are a good source of resources for teachers:

www.themusicland.co.uk/ (subscription)

http://www.musicatschool.co.uk/

www.mtrs.co.uk/ (subscription)

http://www.naxos.com/education/glossary.asp

http://www.wjec.co.uk/professionaldevelopment



http://www.themusicland.co.uk/



http://www.mtrs.co.uk/




4. UNIT GUIDES

4.1 Performing (MU4)

Tips for Performing

1. Pupils should plan their performances in advance, bringing in their music to check that it is of the correct standard

2. It is important that candidates check the timing of their pieces to allow for the minimum time of 10 minutes for A2. Candidates must also ensure that they do not exceed the maximum limit of 12 minutes for A2. If candidates are taking unit MU4(B) then the minimum performance time is 16 minutes and the maximum, 18 minutes.

3. The grade level (GME) should be checked. You will find a list of pieces for different instruments at different grades on the following website: http://www.edexcel.org.uk/VirtualContent/48910/web_version.pdf.

4. Candidates should be encouraged to play pieces that will ensure they gain as many marks as possible, which may not necessarily be the pieces they are currently studying.

5. Candidates should be encouraged to perform as often as possible at various occasions throughout the school year and in extra curricular settings. This can only help them to build up confidence and improve their standard of performing.

6. There are no marks offered for diversity. Therefore, pupils should be encouraged to specialise on one instrument. If a candidate is equally good on two instruments, then they may perform on each.

7. If possible, it is always best if solo pieces for orchestral or other single-line instruments can be accompanied. Unless the candidate is exceptionally good, an unaccompanied piece can be quite difficult to perform, particularly if the candidate is nervous on the day. That it is not to imply that unaccompanied pieces are unacceptable. It is vital that the candidate is comfortable with their accompanist and that ample time has been allocated to rehearse. Some accompanists need reminding that they are accompanying, and balance needs to be carefully considered! Backing tracks are also acceptable and are to be encouraged particularly with more modern, upbeat pieces that candidates play, such as those from the Rockschool repertoire. Again, the issue of balance needs to be carefully considered when using backing tracks and sorted prior to the examination.

8. Ensemble performances: it would be difficult to assess an ensemble performance where there are more than eight performers. You are reminded that it is always best to contact the subject officer at WJEC if you are unsure about the choice of repertoire for an ensemble performance. Pieces where the candidate’s line is doubled are not acceptable for the purpose of this examination.

9. It is good practice to get candidates involved in the assessment process and familiarise themselves with the assessment criteria. If possible candidates should perform at least once per term, whilst the other candidates use the assessment criteria to mark their work and discuss it in a plenary session after the performance. This should help to raise standards and to focus candidates’ minds on the importance of the assessment criteria.

10. For MU4 (A) and (B) options, candidates must select one piece which reflects music of the 20

th and 21

st centuries. For those candidates taking the MU4 (B)

option, one piece must reflect an Area of Study in MU3. This does not necessarily need to be an area of study that the candidate studied at MU3.

11. Candidates will receive one extra raw mark out of 30, if they perform a piece at a Grade 7 or above standard. However, it should be noted that candidates cannot be awarded more than the maximum mark of 30.

http://www.edexcel.org.uk/VirtualContent/48910/web_version.pdf


Suggested textbooks:

Author Year of Publication

Title

John Rink 2002 Musical Performance: A Guide to Understanding ISBN 978-0521788625

Jonathan Dunsby 1995 Performing Music Shared Concerns ISBN 978-0198166429

Kate Jones 2001 Keeping Your Nerve: FABER Music

Websites

Web Address Description

www.abrsm.org/resources/theseMusicExams0607.pdf ABRSM guide to practical music examinations

www.abrsm.org/?page=students/advice/practiceTips.html Tips on how to practise

www.expertvillage.com/videos/voice-lessons-vocal-performance.htm

Tips on vocal performing

Film and video that may be of interest:

Title Description

The Ultimate Practice Guide for Vocalists DVD

A DVD assisting vocal students in how to practise

Developing your Voice for Performance

A DVD that assists students in developing good vocal technique

http://www.abrsm.org/resources/theseMusicExams0607.pdf

http://www.abrsm.org/?page=students/advice/practiceTips.html

http://www.expertvillage.com/videos/voice-lessons-vocal-performance.htm

http://www.expertvillage.com/videos/voice-lessons-vocal-performance.htm


4.2 MU5 Writing a Composition in the style of the 20th/21st century

This composition requirement in MU5 is designed to encourage candidates to familiarise themselves with the stylistic characteristics and conventions peculiar to the ‘modern’ age. The composition must demonstrate the knowledge and understanding of musical techniques gained from the chosen analysis and associated listening work in MU6. It may also reflect personal interest and involvement in genres such as rock, pop, musical theatre and film music. There is no need for candidates to produce pastiche in the style of a particular composer; intention is that candidates learn from modern composers. Through an increased depth of study in the chosen set works for MU6, along with the general preparation for paper 1 of the appraising test, candidates must identify relevant schools of composition, compositional devices and techniques which then may be incorporated and developed in their own compositions to produce an imaginative, substantial and consistent result. Candidates are well advised to experiment with compositional devices and techniques they encounter through their studies. These should be used as starting points for their individual presentation and development of musical ideas. In MU2, the list of possibilities was long - but the modern era is an explosion of styles; indeed, the diversity can appear overwhelming! Conventional musical ingredients, techniques and devices have already been identified in the A-Z of Musical Ingredients and in study of the Western Classical Tradition. Many of these will still be extremely useful in this context, though they may be utilised in new and imaginative ways. Features new to the 20th / 21st century:

Instrumentation - extended, more contrasted, unusual groupings

Timbres – experimental effects, with meticulous performance instructions

Textures – at times broad, and expansive; in contrast, often complex, antiphonal, polyphonic

Harmony – extreme dissonance and chromaticism, with linear type movement replacing chordal conceptions, modal features sometimes incorporated, new conceptions of harmony include polychords, polytonality, atonality

Melody – angular and motivic, with extreme ranges, intervallic ideas and patterns

Rhythm – complex, irregular, shifting accents, syncopation.

As always, the use of music technology is to be encouraged in MU5. However, it is crucial that unoriginal, pre-recorded music samples are avoided. If used, they must be clearly indicated by the candidate on the accompanying notes. Full details of the

equipment and computer packages must be given. The WJEC has the right to

contact the centre if any details are obscure.


THE ASSESSMENT CRITERIA A very important consideration is the fact that the composition has to satisfy the examination assessment criteria. As stated in the specification, this is divided into six main strands:

1. Understanding of balance, form and structure 2. Development of musical ideas 3. Appropriate use of voices, instruments and / or synthesized sounds 4. Control of texture 5. Understanding of appropriate harmonic features 6. Consistency of style (More detailed criteria can be found in the A Level syllabus, p. 49/50)

COMPOSING TOOLS Through extended practical activities associated with their appreciation, analyses and listening, candidates should establish and identify the ‘composing tools’ at their disposal. A good place to start is to establish what devices and techniques are associated with the various styles and schools. Teachers may decide to teach composition by example through existing models, but it is also possible to utilise and combine devices and ideas from a number of different 20th century styles. The link is still with the 20th century; the candidate simply needs to ensure that the resulting composition is consistent and shows a strong overall awareness of style. Indeed, this could be their own personal style!! Let’s take a look at some useful identifying musical characteristics of the main styles. Note that there are common features.

Styles Compositional Features / Devices

Impressionism Listen to works by: Debussy Ravel Delius

Use of non-diatonic scales (e.g. whole tone, chromatic, modal) Parallel chords 7th, 9th and 11th chords Open 5ths and 4ths Unresolved dissonances Complex rhythms and cross rhythms to blur the metrical lines Use of free rhythm and tempo changes Contrasting rhythms Alternating dynamics Subtle syncopation and hemiolas Vague and hazy outlines of melody At times, an ‘improvisatory’ feel to the music Colourful and rich orchestration (e.g sometimes pp by the

whole orchestra) Exploitation of timbral effects (e.g. glissandi, mutes, pizzicato,

harmonics, use of the sustaining pedal in piano pieces), and inclusion of more unusual instruments (e.g. celesta, glockenspiel, castanets)

Small-scale programmatic forms Use of forms evolving from a single unit or musical idea Tendency to write music in short phrases Manipulation of small ‘blocks’ and patterns Use of contrary and similar motion to enhance timbral effects Use of infinitely varied repetition and associated devices to

transform the themes Textural contrasts to produce highly atmospheric and

evocative results Inspired by native folk traditions and exotic music


Nationalism Listen to works by: Bartok Grace Williams Shostakovitch Poulenc Rachmaninoff Delius Ralph Vaughan Williams Aaron Copland

Patriotic and cultural reflections Influence of folklore and folk songs in melodies and use of

instruments Use of modes, pentatonic and exotic scales Important character of the thematic and motivic work New concepts of harmony Employment of accents, cross-rhythms and syncopation Use of strong rhythmic patterns and dance rhythms Changing time signatures to create rhythmic interest Freer rhythms in slower music Use of drones (open 4ths and 5ths) Ostinati patterns and use of varied repetition Pedal notes Use of ornaments such as acciaccaturas and appoggiaturas Variety of orchestral timbres and techniques (e.g. pizzicato,

‘scotch-snap’, percussive colourings, imaginative sonorities) Extreme dynamics Contrasting textures Programmatic forms and ideas

Neo-Classicism Listen to works by: Hindemith Prokofiev Stravinsky Tippett Poulenc Bartok

Influenced by the Baroque and Classical eras Use of ‘absolute’ music - detached, objective and often lacking

in emotion Incorporation of devices such as imitation, sequence, alberti

bass, countermelodies, pedal notes, inversion, augmentation, diminution and antiphonal work

Attention to craftsmanship Clear textures and timbres, colourful and sometimes

unconventional orchestration Rhythmic regularity Use of conventional forms e.g. sonata, symphony, ritornello,

concerto, scherzo etc Balance with forms and structure Employment of contrapuntal and fugal techniques. Functional harmony often used (cadences, progressions etc) Bitonality sometimes a feature Dissonant and chromatic, with ‘deliberate’ wrong notes Unexpected shifts of key and harmonies

Expressionism Listen to works by: Schoenberg Berg Webern

Adoption of serial techniques (dodecaphony) Use of the twelve tone scale A mathematical approach / complex patterns, symmetry,

retrograde ideas, transposition, palindromes etc Atonality Dissonant harmonies Irregular rhythms and meters Angular and discordant melodies Use of small motifs and intervals At other times, extended phrases Wide range of dynamics and textures Extreme registers of instruments used Highly contrasted orchestral writing could be subtle, or rich Use of contrasting timbres (Klangfarbenmelodie) Small combinations of instruments often used Structural freedom often evident Reflection of extreme emotions Experimentation with vocal techniques (Sprechstimme)


Minimalism Listen to works by: Terry Riley Steve Reich Philip Glass John Adams

Overall coherence Repetitive ostinato patterns Drones Additive melodies Rhythmic interplay / polyrhythmic textures Accent displacement Phasing Competent and imaginative manipulation of melodic cells. Gradual harmonic changes Modal and diatonic idiom Consonant harmonies Multi-textured layering

Jazz Listen to works by: Gershwin Duke Ellington Miles Davis Charlie Parker Louis Armstrong

Syncopation Improvisatory styles ‘Blues’ and ‘Ragtime’ features ‘Blue’ notes ‘Enclosures’ i.e. the device of approaching a main note from

pitches either side Chromatic approach notes Complex jazz chords (e.g. added 6th chords, ¨7 chords, higher

dischords) Homophonic ‘stab’ chords Contrast of mode i.e. maj/min Chords over a dominant pedal Swing rhythms, triplets, 12/8 time Stylistic bass lines Rhythm tracks Suitable ‘fills’ Countermelodies and layering Extension, development and displacement of a short motif Question and answer techniques (call and response) Busy polyphonic textures Swing band and jazz instrumental line-up, with rhythm section

and front line instruments Instruments in unison Short chords in cross-rhythm with the tune Backing ideas / sustained chords Contrasting textures Idiomatic writing


Rock / Pop Listen to any works from the Beatles to present day: e.g. The Who Frank Zappa Bruce Springsteen Nirvana Oasis Queen Any favourite groups

ROCK Catchy motifs Hard-driving beats Lead singer Backing vocals Unison or part-singing Strong rhythm section Sometimes guitar and kit based Use of synthesizers Use of riffs Strong, distinctive bass lines For the most part, clearly defined structures Use of lyrics Additional sections/devices (e.g. riff / hook, intro, outro, bridge,

instrumental, modulation etc) Mainly consonant harmonies but also use of higher dischords

and chromatic work Blues influences Some rock styles are aggressive and fast Progressive pieces include elements of classical, jazz and

world music POP A lighter alternative to rock The standard format is a song Instrumentation ranges from an orchestra to a cappella

material Typical instruments are lead guitar, bass guitar, synthesizers,

keyboard, drum machine, sequencer, sampler + vocals Marked by a consistent and noticeable rhythmic element Focus on catchy melodies and hooks Use of a chorus that contrasts with the verse Lyrics often about love, relationships and life experiences Conventional structures (e.g. verse-chorus; 32 bar form etc)


Musical Theatre/Film Listen to works by: Gershwin Bernstein Sondheim Andrew Lloyd- Webber John Williams James Horner Ennio Morricone Howard Shore Alan Silvestri John Barry

MUSICAL THEATRE Relevance of music to story line Use of lyrics consistent with the plot Characters reflected in the musical content Use of a set structure (such as ABA, verse and chorus, da

capo etc) Strong thematic ideas Use of devices such as repetition, variation, imitation, layering Use of motives to represent an idea or feeling (leitmotif) Carefully constructed harmonic progressions including

modulation Supportive and distinctive accompaniment patterns Use of devices such as chordal patterns, arpeggios, repeated

notes, scalic / conjunct movement, countermelodies, sequences, inversion etc

Textural contrasts Writing for solo, duet, trio, quartet or chorus FILM MUSIC (in addition to the above, where applicable) Music to support the visual images (i.e. no lyrics) Use of rhythmic and harmonic devices to create anticipation,

excitement and an increased sense of drama (e.g. syncopation, pedal notes)

Expansive and exciting orchestrations Extreme dynamics Use of intervals as motifs – particularly semitones, tritones,

diminished intervals Use of bitonality Highly charged chromatic harmonies (e.g. augmented and

diminished chords, higher dischords, minor chords with added notes)

Use of chromatic motifs (scalic and otherwise)


For the candidate:

SUGGESTED METHOD OF COMPOSING

Some candidates are highly inventive and talented in composition. Many others need support and guidance on suitable methods and practices. Even though there are so many different types of styles and genres in the modern era, the following basic procedures may be useful. Candidates should start with what they know, and understand. The opening ideas should then be explored, polished and refined before moving on.

For the candidate:

Task 1 Listen to different pieces of music by composers representative of the particular school of your choice. Jot down all the interesting features and devices that you can identify. Make sure that you cover all elements of music in your observations.

Task 2 Choose a stimulus or commission. List the additional requirements that this may suggest (e.g. words, work with intervals, portraying moods, emotions or events, contrasting sections etc.)

Task 3 Using appropriate scales linked to the chosen style, create a MELODIC BANK of ideas / motifs. This should consist of at least 10 short ideas, though you can always return to this and add a few more! Play them, then write them down.

Task 4 Create a RHYTHMIC BANK, of at least 16 short patterns, ranging from simple to more complex and interesting ideas. Play them, then notate.

Task 5 Create a HARMONIC BANK, again based on the chosen scales. Remember, in the 20th / 21st century, the harmonic content is more complex and experimental, with lots of added notes and unresolved dissonances. Be inventive! At this stage, present single chords consisting of three or more notes. Work with a keyboard or guitar, and experiment fully before notating your ideas.

Task 6 List the compositional devices and textures you intend to include in the piece.

Task 7 Formulate your initial ideas, which need to be planned carefully before presenting them in a piece. These should be kept in a composition note-pad, or sketch book.

MAKING CHOICES 1

Choose the link with Area of Study 3. Remember that a general link with the 20th century is perfectly acceptable.

Identify the compositional devices to be used. At this stage candidates should only choose a few ideas!

Select a commission. Details of these are given in the specification.


Encouraging students to keep a composition sketch book will assist in the writing of the

required composition log. In this way, the teacher is able to offer constructive advice, and

appreciate the source and ultimate development of the final piece.

For the candidate:

Task 1 List the devices and ideas to be used in the opening section of your piece.

Task 2 Choose either the rhythmic, harmonic or melodic bank of ideas, and select a few of the motifs/cells for presentation. Choose ideas that will fit well together, to ensure a consistent result at this stage. For example:

Extend a melodic idea, build up layers and add an accompaniment, fitting in suitable chords beneath the melody.

Create a progression of chords from your harmonic bank, and devise an accompanying pattern from this progression. This could be left as a chordal feature, or a second thematic group could be created to fit in above the chords.

Create several rhythmic layers from the rhythm bank. The pitches for these should still be taken from the chosen scales, or fit around one or more of the chords in the ‘bank’.

Task 3 Present the extended ideas through the compositional textures and devices planned for the opening section. Be prepared to be flexible and amend your ideas.

Task 4 Listen and evaluate this opening section, discussing targets with your teacher. Make any changes.

Task 5 Plan and create a contrasting second section. This could include completely contrasting musical ideas and textures; alternatively, it could be an ongoing development and experimentation of those ideas presented in the opening section. (All selected ideas should still obviously be complicit with the 20th / 21st century style).

Task 6 Listen and evaluate the second section, discussing targets with your teacher. Make any changes.

The candidate should continue to build up the composition in this way, fulfilling the demands

of the chosen structure and style, and always noting progress in the composition log.

MAKING CHOICES 2

Decide on the instrumentation, and research the instrumental range and techniques.

Decide on the structure, and draw an outline plan including details of textural ideas.

Decide how the composition will be notated.


The following material is given as an example of the procedure as may be applied to

Impressionism. LINK: IMPRESSIONISM/20th century

Style: Impressionism

Devices / Ideas:

whole tone scale

parallel chords

7th, 9th and 11th chords

unresolved dissonances

use of free rhythm and tempo changes

Syncopation

manipulation of small ‘blocks’ and patterns

Use of contrary and similar motion

Commission: ‘A movement using conventional forms or styles’.

Starter Activities: A

For the candidate: Task 1: Listen to examples of composers’ work from this school, noting the way that they use the devices that you have selected. Suggestions for listening:

Debussy – Prélude à “L’après-midi d’un faune” Debussy – La Cathedrale Engloutie Debussy - Ibéria Debussy – La Mer Ravel – Asie from Shéhérazade Ravel – Daphnis and Chloe Delius – On hearing the First Cuckoo in Spring, Delius – A Song of Summer

MAKING CHOICES 1

MAKING CHOICES 1


Task 2: Choose a commission / picture or poem as your stimulus. Identify the emotion, mood and atmosphere, and list what instrumentation and compositional devices would best represent these emotions.

Task 3: Melodic Notate a version of a whole tone scale, starting on any note you wish. This is a whole tone scale starting on C:

Create a bank of ten short motifs. Play them, then notate. Some of these could be completely conjunct, others could be more intervallic or feature a particular interval. Use a variety of time signatures, if you wish.

Task 4: Rhythmic Create a bank of ten short rhythmic patterns, using at least two time signatures. These may vary from basic note-values to more complex and imaginative patterns.

Task 5: Harmonic Based on the whole-tone scale used in Task 1:

Create a bank of triads

Create a bank of 7th, 9th and 11th chords


Starter activities: B: It is now important to extend some of the ideas already presented.

Task 1: Melody Choose a few of your favourite melodic motifs from the bank of ideas. Still basing your ideas on the whole-tone scale,

Extend one of them into a longer melody of at least 10 bars (e.g. manipulate the generative cell through devices such as additional conjunct movement, inversion, retrograde, echo).

Choose two other motifs, and create a section of musical dialogue, through question and answer phrases and imitation.

Select a fourth motif and present it in sequence.

Task 2: Rhythm Experiment with pattern building techniques and layering, alternating time signatures, syncopation and repetition to extend your rhythmic ideas. These could be used to vary and develop the existing melodic material from the previous task, or could be used to create a completely different section.

Task 3: Harmony – create a progression of 7/8 chords

Write two harmonic phrases which are based on the more basic triads.

Write two harmonic phrases based on 7ths, 9ths and 11ths

Write two harmonic phrases which show a mix of basic triads and higher dischords

Pick one of your favourite chords and extend by parallel movement descending, or ascending.


Instrumentation: This piece will be scored for full orchestra.

Structure: I am going to use ABA – Ternary Form.

Notation: Sibelius 4.

With sufficient composing ‘sketches’ or ideas in place, consideration must then be given to their presentation. Candidates should be encouraged to tackle composing challenges systematically; they need to manage their own learning and planning, and work with increasing independence. It is important to bear in mind that composers often only present one or two ideas initially; once set up, these ideas are then explored.

For the candidate:

Create a draft plan of the piece by sketching out the overall structure Estimate how long it should take to complete the overall task; set achievable targets

for each section Brainstorm ideas that could be used in the composition Within each section of the structure, identify the main themes / devices /techniques

that will be used Decide how to get from one section to another; remember the importance of marking

out main structural divisions Plan contrasting sections carefully –either use ‘opposite’ devices (e.g. see some

suggestions in MU2 composition ideas) or develop thematic content further (e.g. difference key centres, different textures, more complex imitation, augmentation, diminution, differing emotive content etc.)

Find out about writing for the chosen types of instruments.

Compose the first section of your piece by selecting from the various ideas in your composition ‘sketch book’. Show your work to the teacher on a regular basis. Targets may then be reviewed, and your composition log book kept up to date.

MAKING CHOICES 2


Some suggestions for further tasks: (a) Work out suitable harmonic support for one of the melodic sections already completed. Plan

the accompaniment style in short score, before arranging (e.g steady crotchet chords, repeated notes, separated quavers, repetition of one chord with some neighbour note harmonies for variation, parallel chords, syncopated patterns, descending chordal patterns etc).

(b) Devise a basic accompanying pattern using one of the other harmonic phrases as a base.

This could be useful as a link in the structure, or could provide support for further melodic ideas. Experiment with different timbral effects (e.g. pizzicato / high registers / low sustained chords).

(c) Construct a rhythmic section based on a variety of motifs, both rhythmic and melodic. Try

alternating time signatures, and more complex rhythmic patterns. (d) Complete some of the earlier tasks using modal, or chromatic scales. (e) Compose a slow moving homophonic section based on the more adventurous and

chromatic type chords. (f) One effective way to impress in coursework is to include contrapuntal or fugal textures. (g) Develop a bass ostinato line from one of the harmonic progressions completed. This could

provide a basis for a further section. (h) Choose one of the chords. Decorate / manipulate in different ways. This may then be used

purely for timbral effects; alternatively it could provide a link or bridge idea.

(i) Change the textures – build up to a point of tension (by an increase of pace and rhythmic activity, more scales, louder dynamics, moving higher in pitch addition of extra parts in the texture, strong chords, extra percussion). Then change these features to release the tension.


For example, note how one chord derived from some notes of a whole tone scale may be manipulated:

All this from just one chord!! This type of exercise should provide the candidate with plenty of ideas on how to decorate and enhance the score.


DEVELOPING MUSICAL IDEAS As with MU2, one of the main weaknesses often noted by examiners is the over-dependence on basic repetition in many candidates’ compositions. To ensure, therefore, that credit is given for ‘the development of musical ideas’, candidates must consider a variety of ways in which their initial musical material can be varied and manipulated. The candidates should identify motifs and patterns for development, be decisive, and avoid random note-placing at all costs.

For the candidate: The following suggestions for developing ideas may be useful: (a) Encourage exploration through rhythm – so often neglected. Try a few different

rhythmic elements (syncopation, triplets, continuous semiquaver movement) (b) Remember the value of devices such as imitation, sequence, inversion,

augmentation, diminution, modulation, retrograde etc (c) Textural change and contrast – at points where a phrase or passage of music is

repeated / for a new section, or sudden change of mood (d) Include a contrapuntal section (e) Add variety to repetition (by changing instrumentation / adding layers /

countermelodies etc) (f) Swap parts around (g) Transpose ideas (h) Vary the harmonic rhythms (i) Introduce new types of accompaniment texture (this may coincide with a change in

harmony which is a powerful combination) (j) Develop dialogue and interplay between instruments (k) Explore timbral possibilities (e.g. tremelando, pizzicato, glissandi) (l) Explore a wider dynamic range (m) Split the instrumental lines between more than one player (n) Re-score the initial ideas (o) Re-space harmonies (p) Further elaboration of cadence points /phrase endings (q) Modulate to related keys or different tonal centres (r) Use more chromatic harmonies, added notes or appoggiaturas and make these a

feature to further enhance the atmosphere and mood. (s) Develop and transform the themes by adding ideas, taking away from the original,

changing pitch , dynamics, texture, instrumentation etc. Choose no more than five of the above suggestions. Plan how these may be applied to the composition. When the first draft of the composition is complete, candidates should evaluate their work and following discussion with the teacher, refine and develop their ideas until they are satisfied that all bands of the assessment criteria are fulfilled to the best of their ability.


Candidates wishing to compose in other styles may follow the format outlined above, but adapt the material as necessary. The following suggested considerations for the other 20th / 21st century styles may be useful.

LINK: NATIONALISM/20th century Some suggested listening:

Bartok – Dance Suite, no.3; Sonata for Two Pianos and Percussion; Concerto for Orchestra

Sibelius – Symphony no.5 in E¨; Tapiola Ralph Vaughan Williams – The Lark Ascending; Fantasia on a Theme by Thomas

Tallis Copland – Rodeo; Appalachian Spring Grace Williams – Sea Sketches; Penillion; Fantasia on Welsh Nursery Tunes

(etc.)

Identify the Nationalistic features which will be the stimulus e.g. Welsh music, Welsh folk songs, Welsh folklore, Welsh celebrations etc. (Of course, this link could be with any country!) Prepare the composing ‘tools’: create the melodic, rhythmic and harmonic banks. Use the appropriate scales and harmonies (e.g. diatonic chords with added chromatics / modal scales). Follow the process of composition as outlined earlier.

LINK: NEO-CLASSICISM/20th century Some suggested listening:

Prokofiev – Classical Symphony;Romeo and Juliet (suites 1 & 2) Stravinsky – Gavotta (con due variazioni) from Pulcinella; Symphony of Psalms Hindemith – Mathis der Maler (Symphony) Tippett – Concerto for Double String Orchestra; Triple Concerto Bartok – Sonata for Two Pianos and Percussion Shostakovitch – Symphony no.5 Poulenc – Organ Concerto

(etc.) Identify the Neo –classical features which will be the stimulus e.g. the structure, the compositional devices, the textures etc. Prepare the composing ‘tools’: create the melodic, rhythmic and harmonic banks. Use the appropriate scales and harmonies (e.g. dissonant harmonies, frequent change of key, fugal textures, unusual scales). Follow the process of composition as outlined earlier.


LINK: EXPRESSIONISM/20th century Some suggested listening:

Schoenberg – Pierrot Lunaire; Verklärte Nacht; String Quartet no.2 Zemlinsky – Lyric Symphony Berg – Wozzek; Lulu; Violin Concerto; Chamber Concerto Webern – String Quartet, op.28; Variations for Orchestra; Cantata no.2 for soprano,

bass, choir and orchestra Strauss – Salome Varese - Ionisation

(etc.) Identify the Expressionistic features which will be the stimulus e.g. serialism, atonality, the expression of ‘suffering through extreme dissonance, rhythmic and textural complexity. Use the 12 tone scale, and complete a grid of all the tone rows possible i.e. the original tone row, the transposed versions and the retrograde. Prepare the appropriate composing ‘tools’: create the melodic, rhythmic and harmonic banks based on the grid. Follow the process of composition as outlined earlier.

LINK: MINIMALISM /20th century: Some suggested listening:

Reich – Different Trains; Variations for Orchestra; City Life Riley – In C; Salome Dances for Peace Glass – Strung Out; Einstein on the Beach; Music in the Shape of a Square;

Glassworks Górecki – Symphony No.3 Taverner – Song for Athene Michael Nyman – The Piano (film); Love Counts (opera)

Mike Oldfield – Tubular Bells (etc.) Identify the commission and the minimalistic features which will be the stimulus for this piece e.g. the structure, compositional devices, the textures etc. Prepare the composing ‘tools’: create the melodic cells, rhythmic patterns and harmonic banks. It is very important to remember in choosing this style that the most important issue for the candidate is to create a piece of 20th / 21st century music which fulfils the assessment criteria. Minimalistic music (a term actually disliked by Philip Glass, who referred to himself as a composer of “music with repetitive structure”) is hypnotic and repetitive, with static consonant harmonies and subtle changes and shifts. To obtain a top grade mark in the MU5 examination, candidates must show excellent and interesting control of harmonies, with creative application of texture and imaginative development of ideas. It is therefore a good idea to enrich this genre and inject with imaginative and inventive individual ideas!! Follow the process of composition as outlined earlier.

http://en.wikipedia.org/wiki/Verkl%C3%A4rte_Nacht


LINK: JAZZ, ROCK AND POP /20th century: Some suggested listening for Jazz:

Joplin – Maple Leaf Rag; The Entertainer Strayhorn – Take the A Train Gershwin – Piano Prelude no.1; An American in Paris; Rhapsody in Blue Gillespie / Parker – A Night in Tunisia; Duke Ellington – Ko-ko; Black and Tan Fantasy Miles Davis - Four Louis Armstrong and his Hot Five – West End Blues

Listening for Rock and Pop should include a variety of examples from Beatles to the present day. There are so many sub-genres here that this really is a matter of individual interest and style! As with the other examples, candidates should identify which features will guide their musical ideas e.g. the structure, the words of a song, the arrangements and the textures. Prepare the composing ‘tools’: create the melodic and rhythmic riffs, and harmonic banks (maj/min chords, and more ‘jazzy’ complex chords of 7ths, 9ths and higher dischords). It may be a good idea to compose a few jazz choruses then extend the material. If the candidate is not able to perform all parts through multi-tracking, then it would be advisable to use ICT to input all tracks. Candidates who show a particular interest in this field must also remember that the composition must satisfy the assessment criteria. The coursework is individual, and the candidate must be wholly responsible for the composition. It isn’t always necessary to produce a fully realised score, but a recording in this case is essential. It is worth noting the following:

The lead guide sheets for each instrument / voice must be submitted.

The words of the song must always be included.

Harmonies need to be explained (chords could be included on the lead sheet)

Guitar parts should indicate the rhythm to be strummed, and all licks notated if not played by the candidate.

The bass line should be notated.

Details of the drum part should be given i.e. what instructions and guidelines were given to the performer, or details of software and editing if the track was generated electronically.

All performance instructions should be given.

The candidate must write the music for all performers, or generate a backing track using a program such as Cubase or Sibelius.

Where possible, the candidate is well advised to sing their own song (the words need not be original).

Avoid submitting any work that depends on sampled sounds or material improvised or input by someone else - this is not your own work. It is also worth bearing in mind that rock pieces are marked against the same criteria as other 20th / 21st century pieces, so candidates are well advised to include more complex harmonies, develop musical ideas, and present contrasting textures.


LINK: MUSICAL THEATRE/FILM/20th century Some suggested listening:

Kern – Show Boat Gershwin – Porgy and Bess Bernstein – West Side Story Sondheim – A Little Night Music; Sweeney Todd; Into the Woods Andrew Lloyd Webber – Jesus Christ Superstar; Phantom of the Opera; Sunset

Boulevard C.M. Schonberg – Les Miserables Other classic musicals include: Chicago; Cabaret; Oklahoma; The Producers;

Thoroughly Modern Millie; Beauty and the Beast; The Lion King; Joseph (etc. etc.)

Some famous film soundtracks include: Star Wars, Indiana Jones, E.T., Jaws (John Williams), Harry Potter (John Williams, Patrick Doyle, Nicholas Hooper), James Bond (John Barry et al), The Lord of the Rings trilogy (Howard Shore), Back to the Future trilogy (Alan Silvestri), Star Trek TV Series and films (James Horner, Jerry Goldsmith et al), Titanic (soundtrack) (James Horner).

Any favourite soundtrack!

Identify the features which will be the stimulus e.g. the plot, characters, structure, words, compositional devices, textures. Prepare the composing ‘tools’: create the melodic, rhythmic and harmonic banks, and follow the process of composition and development as outlined in earlier guidelines. For a musical theatre piece, candidates may present a solo, group or ensemble piece. When doing so, it is important to check that the melodies sit comfortably with the natural accents of the lyrics. Alternatively a composition intended for dance could be submitted (such as the Dance at the Gym from West Side Story), or the overture to a show. Remember that film music is intended for the observer, as it is meant to enhance the audience’s understanding and perception of the action and drama. It is worth keeping this in mind, as what is required has to be representative of what is going on. It will usually be thought-provoking, full of tension or anticipation, terrifying, incredibly exciting, full of fun or desperately sad! The writing needs to be powerful in its effect. In each case, the examiner will expect details of the characters and plot so as to fully understand the meaning of the music.

http://en.wikipedia.org/wiki/Star_Wars

http://en.wikipedia.org/wiki/Indiana_Jones

http://en.wikipedia.org/wiki/Jaws_(film)

http://en.wikipedia.org/wiki/Harry_Potter

http://en.wikipedia.org/wiki/James_Bond

http://en.wikipedia.org/wiki/The_Lord_of_the_Rings

http://en.wikipedia.org/wiki/Back_to_the_Future

http://en.wikipedia.org/wiki/Star_Trek

http://en.wikipedia.org/wiki/Titanic_(soundtrack)


Encourage candidates to: (a) Think about the balance in larger scores, taking care to ensure that the main parts

are not obliterated by less important lines. (b) Review, re-draft and refine as appropriate. (c) Ensure that the writing for chosen instruments is idiomatic. (d) Avoid excessive repetition, insufficient variety / development, lack of tension and

release, or too much diversity. (e) Ensure that certain pieces fulfil examination requirements (e.g. minimalism which

tends to be static in nature, and also jazz/rock which naturally extends from group performance. Rarely is this entirely the work of one person in professional circles.)

(f) Check progress with the teacher on a regular basis. (g) Keep copious notes in the composition sketch book, as each composition must be

accompanied by a summary of the initial stimulus, and a description of the compositional process and musical techniques /devices.

(h) Remember: where a conventional score is not available, candidates must present a

detailed lead sheet explaining the full process, and including the harmonic and textural details.

(i) An explanation of the recording process should also be included, and the candidate’s

contribution clearly stipulated (please see specification and the Chief Examiner’s annual report).


Author Year of Publication

Title

Hugh Benham and David Bowman

2005 Student's Guide to Harmony and Counterpoint ISBN 1-904226-31-0

Christopher Binns 1996 Composing - a student's guide ISBN: 0174360886

Anna Butterworth 1999 Harmony in Practice ISBN 978-1854728333

Alfred Blatter 1997 Instrumentation and Orchestration ISBN978-0028645704

Rikky Rooksby 2004 How to write Great Tunes ISBN 978-0879308193

Reginald Smith Brindle 1986 Musical Composition ISBN 978-0193171077

Walter Piston 1955 Orchestration ISBN 978-0393097405

Bruce Cole 1996 The Composer's Handbook ISBN 978-0946535804

Russo 1998 Composing Music: A New Approach ISBN 978-0226732169


4.3 MU6 Listening and Appraising

4.4.1 General Points

1. MU6 (option A) is worth 15% of A2. MU6 (option B) is worth 20% of A2.

2. MU6 (option A) is divided into 2 parts: Part 1 (aural perception) worth 6% and Part 2 (historical and analytical study) worth 9%. MU6 (option B) is divided into 2 parts: Part 1 (aural perception) worth 6%, Part 2 (historical and analytical study) worth 9% and Part 3 a written examination requiring candidates to demonstrate knowledge and understanding of the overall musical style and output of one of the set work composers worth 5%

3. For the historical and analytical paper (Part 2) candidates must choose to study one of the set works listed in the specification. They should study the entire work, with the exception of This Worlde’s Joie, where only Parts One, Three and Four are required.

4. The assessment will be based on listening to aspects of the music, in addition

to answering questions requiring knowledge of other parts of the work.

5. Candidates will also be expected to place the set work in a broader context by considering the development of the genre. For the Ravel, that would require an in depth study of the solo concerto. For Shostakovich, a study of the string quartet and for Mathias, a study of the cantata.

6. The study of the genre should be based on the music itself and not just the

historical context. Candidates should listen to a wide variety of music from various periods that signpost aspects of change, development and continuity within the genre.

7. For the aural perception paper (Part 1) candidates should have a knowledge

of a range of 20th and 21st century styles of music, including:

Nationalism

Impressionism

Neo-classicism

Expressionism

Minimalism

Electronic music

Aleatoric music

Musical Theatre

Jazz, Rock & Pop


4.4.2 Guidance for Teachers on Part 1 of MU6

Teach aural skills regularly throughout the year 1. Develop aural skills in all aspects of the specification 2. Concentrate on developing students’ interval recognition skills 3. Encourage students to write out bass lines for identifying chords and

cadences, etc. 4. Encourage the use of musical terminology. Refer to the A to Z in the

specification 5. In order to construct longer answers, encourage students to refer back

to the elements of music and also rhythm and harmony 6. Take advantage of the use of aural training software which can be

purchased or downloaded from the internet

4.4.3 Guidance for Teachers on Part 2 of MU6

Students should aim at compiling a set of notes. These should include: 1. A log of the terms learned (key words – relate to the A to Z in the

specification) 2. Instrumentation/Voices used 3. Structure – identify main sections – make links when possible to

compositions 5. Texture – identify and play other examples from all sorts of music 6. Melody – trace motifs and their development – possible practical

exercise leading to composition (see * below) 7. Rhythm 8. Harmony – identify basic chords before moving onto more

complicated harmony 9. Tonality 10. Other general notes/points of interest including performing context Students should learn the exact locations of musical features so they can find them easily under more stressful examination conditions


*Analysing Set works – a suggested integrated approach maybe to:

Identify one or two key ideas in the set work and then use these as a basis of a series of short (possibly improvised) creative tasks:

(e.g.) take a motif, invert it. Play the original and inverted versions in sequences then improvise further phrases which use the characteristics of the original motif. Repeat this process with further motifs from the work. Note the phrase lengths, structure of the set work and use this to guide the structuring of the improvised work. This can provide the basis for a student’s composition.

When studying the set works, pupils should be encourage to consider the following:

1. Score reading – including transposing instruments, the use of a single stave for a pair of instruments, doubling of cello by double bass (or not, as the case may be) not forgetting the DB as a transposing instrument

2. Textural changes 3. Chords, keys and modulations 4. Tonality and the structural process 5. Form


Publisher Year of Publication

Title/ISBN

University of Wales Press [for] the Welsh Arts Council

1978 William Mathias by Malcolm Boyd

ISBN: 9780708306727

Cambridge University Press 2000 The Cambridge Companion to Ravel

ISBN: 9780521648561

Ashgate 2004 Shostakovich: String Quartet No.8 (Landmarks in Music Since 1950)

ISBN: 978-0754606994

Schott & Co Ltd 1994 Aural Matters in Practice: Advanced Tests in Aural Perception Based on "The Essential Hyperion" CD

ISBN: 978-0946535231

Schott & Co Ltd 1993 Aural Matters: A Student's Guide to Aural Perception at Advanced Level

ISBN: 978-0946535224

Schott & Co Ltd 1989 Sound Matters: Anthology of Listening Material for General Certificate of Secondary Education Music ISBN: 978-0946535132


Websites

Web Address Description

http://www.ngfl-cymru.org.uk/ Notes on the three set works http://www.scribd.com/doc/249761/Ravel-Piano-Concerto-in-G-Orchestral-Score

Score of Ravel Piano Concerto

www.dolmetsch.com/musictheory43.htm on line ear tests and drills

http://www.philharmonia.co.uk/thesoundexchange/

lots of sound samples and some dictation exercises aimed at A Level students

http://nyphil.org/programNotes/Ravel_PianoConcertoinG.pdf

Programme notes for Ravel’s Piano Concerto

http://www.bbc.co.uk/wales/now/ Information from BBC NOW

Film and video that may be of interest: Title Description

Borodin Quartet: Tchaikovsky/Shostakovich - String Quartets [1987] [DVD]

Includes the Shostakovich String Quartet no 8.

http://www.dolmetsch.com/musictheory43.htm





http://www.bbc.co.uk/wales/now/


5. ASSESSMENT GUIDANCE

5.1 MU4 Performing

You can listen to the following performances by clicking on the audio file. Following each performance, there is a brief commentary and a breakdown of the marks awarded for each aspect of the assessment criteria. The total has been multiplied by the difficulty level giving an overall mark and grade. It must be noted that these performances were not assessed under examination conditions, and scores were not available, this may effect the accuracy mark awarded. Also, each candidate is only performing one piece, and not a range of pieces as would occur in an MU4 Performing examination. Track One Track Two Sonata in D KP535: Scarlatti There are many inaccuracies in this performance that are not always detected just by listening. The tone is sometimes uneven and on the whole the performance is rather monochrome with few dynamic contrasts. On the whole it is a competent performance showing some understanding of the style. The tempo is a little slow. A 7 TC 8 P7 + 1 as piece is above grade VI standard = 23x 3 = 69 (B) Track Three The Bag-pipe Player: Wieniawski Overall, this is an accurate performance but many details were lost, especially the rests. Not all expression and tempo marks on the music were present in the performance with occasional incorrect notes. However, on the whole the performance was fluent and secure. There were some intonation issues. The bowing was generally secure, projecting melody in double stops. There was a sense of style but inattention to detail not always serving the mazurka rhythm well. The pizz was a little unconvincing and too fast. A good attempt made to project and engage within the overall performance of the piece. A 7 TC 7 P7 + 1 as piece is above grade VI standard = 22x 3 = 66 (C)


Track Four Sonata for clarinet and piano: Poulenc (linked to music of the 20th and 21st century) There are slips and errors in this performance. The rhythmic errors compromise the fluency at times. On the whole the candidate responds well to the performance directions on the score. There were technical problems around the break, with busier moments and also with the tone control in the higher register. The breath control is excellent on the whole. There is an attempt to engage and to demonstrate a sense of period and style. However, the overall performance lacks detail. A 4 TC 4 P5 + 1 as piece is above grade VI standard = 14x 3 = 42 (D) Track Five Traumerei: Schumann An unstable tempo presented in this performance as the candidate searches for the notes. Many errors and rhythmic misreadings and a limited response to direction. There is a fair attempt to project the melody but tonally it is uneven and the voicing is weak. The preoccupation with the notes precluded a sense of performance. Poor stylistic awareness. A 3 TC 4 P3 + 1 as piece is above grade VI standard = 11x 3 = 33 (U)


5.2 MU5 Composing

Track One: View West

MU5 (ii) as submitted by student

Composition 2 (Style Composition / 20th/21stcentury – Title: VIEW WEST

Commission (as specification p 24) A movement in a chosen contemporary style

Stimulus (to be completed by candidate) .

To compose in a 20th/21st century style for a brass ensemble ...........................................................................................................................................................................................................................................................................................................................................................................................................

General details of composing (to be completed by candidate. Details of the exact nature of the contribution of all software must be included.)

The work stems from taking part in a Young Composers’ competition. This gave me access to a

professional brass ensemble and to discuss how my ideas would work with individual

instruments, etc. This experience was invaluable. I decided very early on that during this

composition I wanted to explore a personal musical language which comes from my playing

experience in jazz ensembles. I think that my music is a synthesis of jazz and classical

idioms. A brass ensemble seemed a perfect genre in which to exploit this style.

I decided to incorporate the following devices from the Western Classical tradition into my piece:

melodic balance and phrases

Imitation

Sequence

syncopation

layered musical ideas

contrast of ideas

motivic development

textural variety

expansion of material

modulation

chromatic harmonies

suspensions

extended chords

a variety of instrumental devices and techniques

In addition to the above I decided to include the 20th/21st century features such as:

improvisatory styles

complex chords

stab chords

syncopation

references to modes

contrast in textures

dissonant harmonies

complex rhythms with shifting accents and metre

I wrote the composition using Sibelius linked to a keyboard.


CHECK 2 Explain the process of composition during the developmental stages of the piece, including the nature of any help or advice received.

With the main ideas created for my composition, I started to consider how I could create greater

variety within the other musical elements. I think my first draft showed a lot of textural variety

but many of the ideas were quite similar. Although I had a lot of variety in the dissonant and

consonant harmonies I had created and in the use of extended chords, the piece was still fixed on one

central key. I began to consider ways I could create more variety and so I began to work on a

contrasting section. I began to create a more lyrical melody based on some of the ideas from my

main melody but more simplistic. I thought that a basic homophonic accompaniment would work

with this to create a more straightforward sound. I wrote this in a different key, choosing Db major.

I still wanted to make the harmonies sound interesting and used dissonance to keep it within the

style of the other section. I also decided to make the bass line more simplistic using pedal notes.

Again I worked out my basic ideas on the piano and then started to put it into Sibelius. For the

second part of this new section, I put the melodic interest into the trombone.

I listened to both sections and decided to begin with the more simplistic idea and then to put my

main section after this. The move between the two sections seemed a little too sudden and so I

worked on a bridge passage linking the two sections. I developed some of the main motives in this

transition section which I think made a successful link from one mood to the other. At this stage I

was preparing to work with the professional players and so I started to add in some performance

directions.

Staff Signature: XXXXXX Date: XX/XX/XXXX

SUPERVISION AND MONITORING: Style Composition 2 The following three sections are to be completed by the candidate and countersigned by the teacher.

CHECK 1 Describe the planning and opening draft, including any advice received during the initial stages of the composition.

I began my composition by improvising with some chord patterns and scales and modes on the

piano. Out of that work came my main ideas. I used a keyboard that allowed me to record layers of

sound together and so I began laying down a chordal track. I included some extended chords with

‘jagged’ unpredictable rhythms. After that I experimented with various fragments of melody which

retained an improvisatory feel, using grace notes and syncopation in keeping with the jazz idiom.

I also wanted to have some focal points and worked on developing some sequential passages to add

some unity. I altered these as I went along as I didn’t want the sound to be too predictable.

At this stage I was happy with the basic idea and so I started to think about how this would work

with a brass ensemble. I decided to write for a brass quintet as this would be the line-up of the

professional ensemble that would perform my work, if successful in the competition. I started to put

my ideas on to Sibelius. When I had entered the main melodic and harmonic features, I decided to

start experimenting with the texture. I began to move the melodic ideas around the various

instruments and started to develop little motives which I then repeated and developed in other lines.

As I extended some of my initial work, I began experimenting with the rhythms too, trying to create

an unpredictable pattern. I showed this to my teacher and we discussed the way forward.

Teacher signature: XXXXXX Date: XX/XX/XXXX


CHECK 3 Describe the final stages of the compositional process, including details of presentation and advice received.

I found working with professional musicians invaluable to the entire composition process. They

played my piece and we discussed how the individual parts could be altered to accommodate the

players so that it wasn’t impossible to perform.

When I listened to the piece I was not happy about the way it started, it didn’t seem to have

enough impact. I looked again at the main motives in my piece and created a short

introductory section which introduced the main ideas. I decided to write this based on a

different key (Gb major) to add further variety. During this final stage, I tried to work on

creating more subtlety in the texture, and kept developing ideas and motives using repetition

imitation, augmentation and diminution to create a more satisfactory piece.

I really enjoyed the process of composition and learned much from working with ‘real’

instruments. The piece sounded very impressive when played live. For my submission for this

examination, I just made an audio recording of the Sibelius file. During the process I wanted

the sound of the quintet to be homogenous but I did attempt to bring out the subtle difference of

each individual character in the ensemble. I think the piece succeeds and is interesting to the

listener with its multi-timbral effects.


VIEW WEST / SUGGESTED ASSESSMENT

CENTRE: Composition 1 (Western Classical Tradition)

a) (10) b) (10) c) (10) d) (10) e) (10) f) (10) 60 10 10 10 10 10 10

Comment: This is an excellent composition demonstrating a very mature approach to the

work. The piece shows an impressive understanding of a range of musical

devices. It is well structured and succeeds in fusing together the classical and

jazz genres as intended by the candidate. The work is outstanding, in every

respect.

This composition falls into category: GRADE A


Track Two: Diweddara MU5 (ii) as submitted by student

Composition 2 (Style Composition / 20th/21stcentury – Title: Diweddara

Commission (as specification p 24) A setting of words

Stimulus (to be completed by candidate)

.

To compose a piece, setting words to music for a special occasion in a conventional style. ...........................................................................................................................................................................................................................................................................................................................................................................................................


I decided to compose a song for the ‘Song for Wales’ competition. This was the special occasion

that I chose.

As this was in a conventional style, but written in popular idiom, I decided to include the

following aspects in my piece

strophic form

Imitation

Sequence

syncopation

layered musical ideas

contrast of ideas

melodic balance of phrases


modulation

major tonality

passing and auxiliary notes

I used Sibelius 3 programme to write my composition and I recorded it using a mini disc and

an 8 track machine which belongs to my school.


CHECK 2 Explain the process of composition during the developmental stages of the piece, including the nature of any help or advice received. My next step was to put the melody and chords on to Sibelius to create a backing track for my

song. I decided to use acoustic guitar, string synthesizer, drums and bass guitar for this. I

then worked on the melody of the song. I put the strings playing chords throughout the piece

which I think helped the piece to flow easily and to strengthen and thicken the texture. I put the

other instruments then playing harmonies to enrich the sound. I wanted to layer the sounds

and not have everything playing at the same time in each verse. So I added the drums to join in

the second verse. I wanted to have an original sound to my piece so I went for an African drum

to play when the full set of drums is not playing.

I then worked on the verses and chorus, the chorus being repeated I felt added a unity to the piece

which was appropriate to the style. I added sequences also to give unity and kept working to

enrich the harmonies. My teacher was pleased with the work but advised me to try to add a bit

more variety at this stage.



CHECK 1 Describe the planning and opening draft, including any advice received during the initial stages of the composition. I started by writing the words for my song. I find it easier to work like that when composing a

song. I thought of a theme before thinking about many words and ideas that befitted the idea I

had. When I was happy with the general plan of the words, using the strophic format I started to

compose the melody to go with them. When I write a melody, I also consider the chords at the

same time, so the melody and harmony happened at the same time. I worked this out on my

acoustic guitar while I sang the melody.



CHECK 3 Describe the final stages of the compositional process, including details of presentation and advice received. I took on board my teacher’s advice and I thought that it would be a good idea to change the key

at some point of the song. I decided to add a modulation at the end of the piece, as is often the

case in music of this style. I also added another voice to harmonise in the chorus to give the

piece more variety. At this stage I was pleased with the overall result. I used the Sibelius 3

programme to set and treat the instruments. I then recorded it all by using an 8 track machine

which belonged to the school. Finally I presented my final recording on mini disc.


DIWEDDARA / SUGGESTED ASSESSMENT


a) (10) b) (10) c) (10) d) (10) e) (10) f) (10) 46 9 6 9 7 5 10

Comment: A clear and simple yet effective. structure . The element of developing

musical ideas is restricted along with the harmonic range of the piece, however,

it is appropriate to the style which is consistent throughout the piece.

This composition falls into category: GRADE B


Track Three: Skat MU5 (ii) as submitted by student

Composition 2 (Style Composition / 20th/21stcentury – Title: SKAT

Commission (as specification p 24) A movement in a chosen contemporary style


To compose an a capella scat vocal jazz piece for SATB choir.


Being a singer, I have experience of singing with various choirs and ensembles, so I tried to

incorporate this knowledge into my piece.

I decided to incorporate a variety of features and devices into my composition. Some of these

are from the Western Classical Tradition, others from jazz and a large number of them are

common to both genres.

I aimed to use imitation and use of ostinato throughout the piece with balanced phrases. I have

layered several musical ideas and although I have only created a piece for unaccompanied

voices, I have worked to experiment with timbres , using scat words and clicking. I have used

‘blue’ notes in my piece and have worked on extended chords. I have also tried to capture an

improvisatory style as this is what scat singing is really about. I have included swing and

syncopated rhythms and have added several countermelodies.

The piece is structured as: Introduction, ABCD reverse A. I decided to end the piece in reverse to

the opening A section to give it a unique sort of arch form.

I wrote the piece using Sibelius score writing software, made it into an audio file then burnt it

onto a CD.



I thought that my B section should have some different ideas. I still wanted a lot of different

ostinati performed at the one time, but this time I decided against layering the texture. I

switched around the styles of the melodic lines – so that for example the alto lines had a more

lyrical style melody in contrast to the more percussive pattern they had in the A section. I used

some of the motives from the original patterns and developed those to create the new lines. I then

went on to develop these further for my C section. Here I wanted to create a more homophonic

idea with the main melodic interest being heard in the soprano line and the accompaniment

creating more harmonic support. For the D section I thought I would try to vary the texture a

little more by adding in the clicking sound. I think this is quite stylistic and helps with the

timbral contrast. In the other sections I had worked on either layering sounds or creating

melody and accompaniment. I thought that it would work well for this section if I just had each

voice harmonising around the same melody. I harmonised the main idea in thirds and made

the clicking more complex as I went along. When I listened back to it I felt that it was not

interesting enough and so I added a more interesting and syncopated bass line and extended

the percussive ideas by adding clapping in addition to the clicking. I then went back to my A

section.




I started my composition by working on various melodies in the key of B minor, using the

blues scale. When I had completed a melody I put it into Sibelius and I layered all of the

melodies together to see if they would work at the same time. This was the beginning of

developing what would become the ostinato pattern for each voice. In my A section. At this

stage I hadn’t considered voices or words. I tried to vary the rhythms of each melody so that it

would create interest in the composition, so that something interesting was happening on every

beat. When I was happy with the various patterns I started to assign them to different voices. I

found that difficult without adding in the words, and so I did some research on the various

types of ‘scat’ sounds. The use of scat words gives the opportunity for them to sound like

instruments. I started to add lyrics to each of the melodic lines and I found that as a result I

was altering the rhythms to match the words. This worked very effectively as it created even

more syncopation and an almost percussive sound with some of the melodies. I thought it

would work well if I started with just the tenors and then introduce the other voices in staggered

entries to vary and build up different textures. I liked the effect of each voice having a different

ostinato that worked well. I then added some performance directions and stylistic features like

the accents and the glissando in the soprano lines. I showed my A section to my teacher and

she was quite pleased.




My teacher asked me to reconsider a few ideas. She suggested that I should look at the final A

section and try to add more variety, and to consider an introduction. I then realised that I

could put my A section in reverse as it were, so it moved from the thicker texture to the thinner

texture, thus creating the arch effect. I think that this worked really well. This led me to

creating the final bar where everyone vocalised Ah at the end on a B minor chord, which I think

is a good conclusion to the piece. I added the introduction and here I tried to make the chords

sound a little interesting as the harmony is a little static and predictable in the rest of the piece.

This was my intention however, as I think it is correct given the style of the piece I have created.

In the introduction I layered the vocal entries which are vocalising on oohs, dos and ahs,

creating some dissonance with semitone clashes, added notes and a suspension. I also worked

on making a smooth transition between the B and C sections via a ‘walking bass’ line , which I

then reflected just before the reverse A section.

I am pleased with my overall composition, but I don’t like the recording. Because of the limited

Sibelius sample sounds, the midi voices are obviously artificial and don’t sound authentic. A

real choir would do justice to the piece and embrace a general feel. Techniques and nuances

within it, as well as being able to articulate the scat words effectively and use the dynamics,

accents and other techniques that I have written in the score.


SKAT/ SUGGESTED ASSESSMENT


a) (10) b) (10) c) (10) d) (10) e) (10) f) (10) 38 6 5 7 7 6 7

Comment: There is a clear sense of structure demonstrated in this composition and the

possibilities of the commission are generally exploited. The piece demonstrates

textural control and includes rhythmic variety but there is insufficient

harmonic variety.

This composition falls into category: GRADE C


Track Four: Alleluia MU5 (ii) as submitted by student

Composition 1 (Style Composition / Western Classical Tradition – Title: ALLELUIA

Commission (as specification p 24) A setting of words for a specified occasion


To compose a piece a choral piece for a church service.

General details of composing (to be completed by candidate. Details of the exact nature of the contribution of all software must be included.) I decided to write my piece for a female choir, as I wasn’t sure how to write for male voices. I sing

in female choirs myself and know that sometimes it is difficult to keep the line if there are too

many voices. I decided to write just in two parts, soprano and alto, to make it easier to sing but

also as I wanted the piece to sound clear and simplistic and not too overly complicated. My

teacher thought that an organ accompaniment would be suitable for this piece. I decided to base

my composition on a choral piece by Randall Thompson called ‘Alleluia’. I chose this piece for my

model as I had previously sung it in my choir.

I decided to include the following features in my composition:

Imitation

contrast of ideas

repetition

plagal cadences

modulation to related keys including the relative minor

diatonic harmonies

suspensions




motivic development

canon

As well as being influenced by the Thompson piece, I also considered the features of vocal music

from the AS set works such as Zadok the Priest and Nelson Mass. However, I didn’t want to

write a pastiche of this type of work, so I created a piece in a 20th.21st century style just using the

features of the music that I have studied.

I composed my piece firstly on manuscript paper and then I entered it onto Sibelius without a

keyboard, as I find it hard to keep the rhythm accurate.



My original intention was just to have an unaccompanied piece, but my teacher suggested that I

needed to add something to the texture. We agreed that an organ accompaniment would be

suitable as it would provide a thicker texture and a greater sense of harmony. I went back over the

section that I had completed up to now and I put in suitable chords to go with my melody. I

thought that the organ should just provide harmony mainly and leave the melodic interest in the

voices. I was pleased with the outcome.

To add more interest to the piece, I put in a modulation to the relative minor key and I experimented

with more melodies, working on different harmonies, homophonic in thirds/sixths and other

intervals, and also using imitation and canon. I also looked to widen the tessitura of the voices to

create more interest.. I also decided to finish the piece using ‘Amen’ as in the Thompson piece. I

thought about a plagal cadence but then decided on a perfect one to finish the piece.




I started my composition by sketching some different rhythmical patterns based on the word

‘Alleluia’. When I had worked out some rhythmic motives, I then started working on a basic

melody. I began with simple patterns, based on the scale and arpeggios in A major. When I had

my first melody I then started to harmonise that using mainly thirds and sixths.

For my second main melody, I wanted to add some contrast to the texture and not just have the

vocal parts working homophonically throughout the piece. I decided to add some interest by

adding a canon. I also modulated to a related key. At this stage I was quite happy with the

progress of my piece. I showed the work to my teacher.




I looked at the organ part, and wasn’t really happy about it playing block chords all the way

through, so I in the right hand I created a bit more interest by putting the melody in octaves at an

important part (bar 60) to match the soprano and alto parts. After that I put in some quavers to

give the organ a little more to do in the piece. I also added some dynamics and tempo marks as I

put the piece into Sibelius. It was good to hear the piece through, so I changed some bars as I

thought the harmonies could have worked better.


ALLELUIA SUGGESTED ASSESSMENT


a) (10) b) (10) c) (10) d) (10) e) (10) f) (10) 30 5 6 5 4 5 5

Comment: A simply structured piece with appropriate if somewhat static harmony. The

piece, on the whole, lacks variety and shape. The texture is underdeveloped.

There is some simple development of ideas.

This composition falls into category: GRADE D


Track Five: Smashed Glass MU5 (ii) as submitted by student

Composition 2 (Style Composition / 20th/21st century– Title: Smashed Glass

Commission (as specification p 24) A movement in a chosen contemporary


To compose a piece in a minimalist style.


I chose to compose a piece in a minimalist style as I enjoyed studying that type of music. I

listened to many minimalist composers and I decided to base my music on that of Philip

Glass, as I believe he writes a more melodic form of minimalism. I also chose percussion

instruments because I am a percussionist, and so I know what instruments would be best in

an ensemble.

I decided to include typical features of minimalist music in my composition such as

repetition, layered musical ideas, textural variety and diatonic harmonies. I also created some

polyrhtyms in the piece and worked on having a simple hypnotic melody throughout the piece.

I composed my on Sibelius linked to a Roland keyboard.



I reviewed what I had already written and added in another subtle change. I put in some rests

to the vibraphone part. For next changes I decided to add in G minor and D minor chords and

to change the bass part . As I thought the harmony was bit static I added in more frequent

chord changes, and some chromatic notes.



I listened to my piece and thought that the texture needed some variety. I added in a new

section using some of the material I had already written and I added a small solo section for

each player so that they got to play a line of melody. After that I thickened the texture again

so that the full ensemble played. I added in some repeats. Then I started to work on the

conclusion. At this stage I added some dynamics.

I printed out my score and created an audio version of my Sibelius file.



CHECK 1 Describe the planning and opening draft, including any advice received during the initial stages of the composition. I began my piece by just working out the hypnotic melody that I wanted to create which would

form the basis of the entire piece. I decided to create a melody based on the broken chords of A

minor and E minor. I then moved to G major chord to add a little development. When I was

happy with the effect of the melody, I then started to input my ideas into Sibelius. I decided to

work with melodic percussion instruments and I put in the gong too. I decided that the gong

would play on the first beat of every cycle and that would also be reminiscent of gamelan

music. I had read that many of the minimalist composers were influenced by world music. I

started to harmonise the melody with chords and a bass part moving mainly in crotchets. I

listened and thought that the melody was getting a bit lost, so I doubled the melody in the

marimba part and I also outlined it but used a different rhythm in the vibraphone part. I

thought that this worked well and gave me the polyrhythmic feel I wanted for the piece. I

repeated the ideas several times as minimalist composers do, before the change to the G major

chord. I wanted the changes to be subtle.



SMASHED GLASS SUGGESTED ASSESSMENT


a) (10) b) (10) c) (10) d) (10) e) (10) f) (10) 27 4 4 5 4 5 5

Comment: A basic understanding of minimalism displayed. The piece however, is too

static and repetitive and lacks motivic development and manipulation of cells.

A more imaginative outcome to the composition task would be expected at his

level.

This composition falls into category: GRADE E


5.3 MU6 Listening and Appraising

Part 1 – Unprepared Extracts (Aural Perception)

The types of questions set for Part 1 of the examination will include:

1 Identifying time signatures, tonality, texture, instruments and voices and related techniques

2 Describing musical features.

3 Completion of a skeleton score: identifying keys, chords, cadences and texture; completion of pitch and rhythm; location of errors in pitch and rhythm

Part 2 : Set Works (Historical and Analytical Study)

1. Initial questions will focus on the extracts played. Candidates will have approximately ten minutes to complete their answers.

2. A question requiring a more extended answer will deal with the whole work or

movement and will not be accompanied by an audio extract. Candidates will have approximately 15 minutes to complete this question.

3. Centres will have chosen the set works to be studied and therefore will

choose which tracks of the CD will be played on the day of the examination. 4. Candidates should take an unmarked copy of the set work they have studied

into the examination. They may pencil in bar numbers to assist them in the exam.

For questions in both Part 1 and Part 2 of the paper please note that:

Consideration is being given to the number of hearings, the gaps between the hearings and the amount of time given for completion of the question

The marks allocated to each part of the question will be clearly indicated and may serve as an indication of the number of answers required

As is usual, the number of lines provided in the answer booklet will give an indication of the length of answer required

Part 3 : Optional Extended Study (MU6 (B))

For candidates choosing this option (5%), they will be expected to write an essay in which they will demonstrate knowledge and understanding of the overall musical style and output of one of the three set work composers. They will have 45 minutes to complete this essay.


Contributors to the Teachers’ Guide Mr Eric Phillips, Head of Music, Whitchurch High School Mrs Janice Richards, Head of Performing Arts, Stanwell School Mr Richard Whitehead, Chief Examiner A Level Music Ms Elaine Carlile, Subject Officer Music, Drama and Performing Arts

GCE Music - Teachers' Guide (A2)/ED 8-7-09

Documents

GCE A2 Music Teachers' Guide pdf