(2006) All Papers - Mark Scheme PDF

GCE
Edexcel GCE
Music (8501/9501)
Summer
ummer 2006
Mark Scheme
1
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Summer 2006
Publications Code UA018137
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© Edexcel Ltd 2006
2
Contents
AS (8501)
Performing (6701/11 & 6701/12) 4
Compositional Techniques (6702/21) 7
Composition (6702/22) 44
Listening (6703/31) 50
Understanding Music (6703/32) 55
A2 (9501)
Composition (6704/41) 77
Recital (6704/42) 82
Compositional Techniques (6705/51) 86
Performing During the Course (6705/52) 125
Listening (6706/61) 128
Understanding Music (6706/62) 134
3
Performing (6701/11 6701/12)
Assessment Criteria – Performance Indicators
Assessment of accuracy Mark
No work offered capable of assessment. 0
Some notes and/or rhythms are accurate but the sense of continuity is not achieved. 1
The basic elements of pitch and/or rhythm are partially realised in the simpler sections of the piece. 2
There is an awareness of the notational aspects of the piece but some sections have serious defects of intonation, co-ordination
3
and tempo.
The accuracy of pitch, rhythm, intonation and co-ordination is achieved in the more straightforward passages, sometimes at the
4
expense of fluency and tempo.
The playing is broadly accurate and proficient, though there are several blemishes of pitch and/or rhythm and/or a lack of co-
5-6
ordination which interrupt the flow.
The performance generally displays competent technical control and accuracy of notation within the demands of the piece. 7-8
Mainly accurate work despite the occasional slip, hesitation or out-of-tune note. 9-10
Accurate work. Slips, hesitations or weaknesses of intonation are quite rare and generally unobtrusive. 11-12
Very accurate work. Any tiny blemishes are very well covered. 13-14
Excellent accuracy with real attention to detail in every aspect of the playing. 15
Assessment of interpretation Mark
While achieving basic accuracy in the easier passages, the student is not able to achieve shape or contrast. 1
While there may be an understanding of the broad shape of the music, this is very seriously compromised by the lack of
2
technical proficiency.
There is a limited ability to achieve shape and contrast and interpretative qualities are only rarely in evidence. 3
While there is an attempt to shape the music through dynamic contrasts and articulation, fluency of playing and consistency of
4
tone seriously affect its effectiveness in several sections.
There are some obvious contrasts of dynamics and articulation. However, concerns about tone production and/or technical
5
problems interfere with a satisfactory interpretation of the music.
Contrasts of dynamics, articulation and tone are present, but their effectiveness is lessened at times by a lack of subtlety
6
and/or dull tone.
Good control: well-shaped and effectively contrasted. Attention to detail in most of the performance. 7
Very good control and variety. Detailed playing throughout, and some sense of style. Good tone. 8
Vivid contrasts, excellent tone, a thorough understanding of the music and good stylistic awareness. 9
Imaginative interpretation, with total control of the instrument and a real sense of style throughout. 10
4
Assessment of the holistic mark Mark
The performance does convey at a minimal level some of the intentions of the composer in the very easiest passages. 1–4
There is some evidence of basic and partially developed technical and interpretative skills, but these are seriously compromised
5–7
by a lack of preparation.
The performance does convey the meaning of the music in the more basic passages, with some evidence of technical and interpretative skills, but it
8–9
does not reach an acceptable standard at this level.
The most obvious stylistic characteristics are understood and basic accuracy and co-ordination are sufficient for this work just
10 – 11
to reach an acceptable standard at this level.
This is generally solid work but with limited maturity, assurance and technique to cope with some of the problems. 12 – 13
This is secure work, showing a conscientious approach despite the occasional weakness. 14 – 15
This is well-prepared work with few flaws, showing an awareness of style and presentation. 16 – 17
This is first-class work, showing excellent preparation, real security and sensitivity. 18 – 21
Work of outstanding quality, displaying imagination and real musicianship in every aspect. 22 – 25
Criteria for use when improvising plays a major part in performing Mark
The improvisation meets a few of the criteria. The performance keeps going for only a limited length of time. 1–4
The improvisation consists of much repetition and the most simple variation. There are frequent stops and hesitations. It does
5–7
not last for the expected duration.
There is some exploration of the possibilities of the given material but frequent hesitations, or the inability to sustain the
improvisation for the expected duration, or major inconsistencies of style, seriously compromise the effectiveness of the 8–9
playing.
This is modest work, perhaps dependent upon cliché, but with some feel for style and direction. The student is able to sustain
10 – 11
the work for the expected duration, despite a limited vocabulary and some hesitation.
There is reasonable fluency, despite occasional hesitation. There is a basic sense of shape and development, even though the work may be a
12 – 13
little repetitive and lacking in variety or real unity.
The performance is fairly fluent with few hesitations. There is a sense of purpose and design in the performance with a good
14 – 15
realisation of the potential of the given material. The student makes use of a range of playing techniques.
The playing is fluent, with no significant hesitation. It has unity and variety and is well balanced, producing a consistent style.
16 – 17
There is some degree of imagination in the development of ideas and a sense of involvement with the work.
The performance is fluent and free of hesitation, consistent in style with imaginative ideas. It demonstrates an effective
18 – 21
development of ideas with awareness of points of climax and points of repose. A convincing performance.
The playing is fluent, consistent and imaginative with an excellent sense of overall shape. It demonstrates an ability to exploit
22 – 25
both the original ideas and the potential of the instrument to musical effect. It shows a real sense of involvement.
5
Difficulty levels – (6701/11 6701/12)
Grade 4 Grade 5 Grade 6+

Level Easier Standard More difficult
0 0 0 0
1 1 1 1
2 1.5 2 2.5
3 2.5 3 3.5
4 3.5 4 4.5
5 4 5 6
6 5 6 7
7 6 7 8
8 6.5 8 9.5
9 7.5 9 10.5
10 8.5 10 11.5
11 9 11 13
12 10 12 14
13 11 13 15
14 11.5 14 16.5
15 12.5 15 17.5
16 13.5 16 18.5
17 14 17 20
18 15 18 21
19 16 19 22
20 16.5 20 23.5
21 17.5 21 24.5
22 18.5 22 25
23 19 23 25
24 20 24 25
25 21 25 25
6
Compositional Techniques (6702/21)
The mark scheme begins by setting out the allocation of marks in terms of the criteria
given in the specification. There follows detailed guidance on each option. NB Presentation
marks are in a separate section near the end. The mark scheme ends with guidelines for
holistic checking.
A (i) Baroque counterpoint

Presentation: 5
Style: see under Rhythm
Resources:
Harmony,
Melody: 39 together
Rhythm: 16 together with Style
A (ii) Minimalism
Ideas: 10
Presentation: 10
Style: 10
Structure: 10
Melody: 10
Rhythm: 10
B (i) Chorale cadences

Presentation: 5
Style: 15
Resources,
Structure,
Harmony,
Melody: 40 together
B (ii) Pop song

Presentation: 5
Style: 10
Resources,
Harmony: 25 together
Melody: 10
Rhythm: 10
C (i) Renaissance counterpoint

Presentation: 5
Style,
Rhythm: 10
Resources: 7
Harmony,
Melody: 38 together
C (ii) Serialism
Presentation: 10
Style,
Rhythm: 15 together
Resources: 15
Structure,
Melody: 20 together
7
D (i) Extended instrumental techniques
Ideas: 10
Presentation: 10
Style: 10
Structure: 10
Resources,
Timbre: 20 together
D (ii) Electro-acoustic music

Ideas: 10
Presentation: 10
Style: 10
Structure: 10
Resources,
Timbre: 20 together
_________________________________________________________________________
8
Detailed Guidance on Individual Tests
Criteria have been dealt with in the order in which you are likely to address them, which
may differ from the order based on the specification and shown above.
Resources, Melody and Harmony Marks out of 39 are to be awarded as follows:
Award 1 mark for each crotchet beat that has to be completed in bars 3–5, 7–9, 11–13 beat
1 and 13 beat 4 –15, if the figuring has been interpreted correctly and there are no part-
writing or voice leading problems. In bar 15, marks are awarded for the first three beats
only.
The mark may be withheld, notably where any of the following is true:
• nothing is written, or what is written is incomplete
• the note sounded on the beat contradicts the given figuring UNLESS a
‘contradictory’ semiquaver is used effectively
• a note later on in the beat contradicts the given figuring (in other words, it is not a
legitimate embellishment)
• consecutive 5ths, 8ves or unisons occur during the beat, or onto the beat
• undesirable exposed 5ths or 8ves occur during the beat, or onto the beat
• a previous leading note has not risen when it could reasonably have been expected
to have done so
• a leading note has been doubled unnecessarily
• a note is outside the range of the chosen instrument: but NB a candidate should not
lose more than 2 marks by this means
• a dissonance is unprepared or unresolved
• an augmented interval (or other unsuitable melodic interval) occurs during the
beat, or onto the beat
Award ½ mark where only 1 quaver of a beat where there are two figurings has been
correctly realised. (This applies strictly to realisation only; errors of the above kind attract
a penalty of 1 mark even where there are two figurings.) A note will be given out at the
standardisation meeting showing precisely where this applies.
You must deduct 2 further marks from the final mark out of 39 if no instrument is
specified.
9
Style and Rhythm Marks out of 16 are awarded as follows:
Each of the four passages that candidates have to complete are marked out of 4. These
four passages are bars 3-5, 7-9, 11-13, 13-15. Award for each as follows:
4 The passage carries on well from the preceding given material; connects well to
what follows, and is clear and logical throughout. Intervals above the bass not only
satisfy the figuring, but are appropriate throughout. The passage is effective in
terms of tessitura. It is very unlikely that a mark of 4 will be awarded where the
candidate has received less than full marks for Resources.
3 The passage is generally effective, but there may be specific reservation(s), for
example, a less than efficient join at the start, a single note out of range, a bare
octave where not appropriate. Mark for Resources, etc. likely to be maximum or
near maximum.
2 A reasonable attempt. Some feeling for continuity and shape, but may be
unconvincing as a whole. Perhaps there is significant technical error.
1 There is little to commend: the line has little shape, or much of it is ungainly.
Almost certainly much technical error.
0 The work is very incomplete, or not attempted OR There are no marks for Resources
OR A very weak working indeed.
10
Presentation Marks out of 5 are awarded as follows:
5 Very carefully presented throughout; must be completely accurate. Pencilled

answers can qualify for ‘5’. Erasures unless careful and thorough are unlikely to be
found in answers awarded ‘5’. Alignment and spacing must be good.
4 EITHER Carefully presented, with very minor inaccuracy or very minor

incompleteness. Inaccuracy may include misalignment and poor spacing.
OR Carefully presented as a rule, and completely accurate.
3 EITHER Reasonably carefully presented, with several inaccuracies or with minor

incompleteness
OR Completely accurate, but – while always legible – somewhat unattractively
presented
OR Work which is incomplete, but not as seriously so as defined under ‘2’ below.
2 EITHER Work which shows little care, and is probably difficult to decipher in at
least one place
OR Work which is seriously incomplete (less than half of the required work having
been submitted).
1 Work which is unacceptable because it is very poorly presented and/or has

numerous inaccuracies including some serious ones and/or is very incomplete.
Expect to award 1 only rarely.
0 Award 0 only if there is no score.
Presentation (this set of descriptors to be used in the case of computer generated

scores) The following should be taken into consideration:
1. Completeness, including all given material as printed on the question paper (the
only exception is the stimulus, usually four bars, in Aii Paper 51.
2. Accuracy, including accuracy of given material (enharmonic changes, changes of

beaming, rests etc are not acceptable)
3. Spacing, both between staves and between systems
4. Beaming
5. Positioning of Accidentals
6. Positioning of dynamic marking, slurs and other marks of articulation
7. Bar-numbering, which should co-incide exactly with that given on the question
paper
8. Elimination of redundant staves or parts of staves
9. Any other feature which serves to reduce the clarity of the score.
11
Marks out of 5 are awarded as follows:
5 Very well presented throughout: complete, accurate in every respect, well-spaced.
4 Well presented; almost as above but with very minor inaccuracy, very minor
misjudgement or very minor incompleteness.
3 Reasonably well presented, but with several inconsistencies or misjudgements or

very minor incompleteness (though not as incomplete as defined under ‘2’ below.
2 EITHER Work which shows little care or competence in the use of the computer,
and which has many inaccuracies, misjudgements and/or points of incompleteness
OR Work which is seriously incomplete (less than half of the required being
submitted)
OR Work which is seriously incomplete (all figuring having been omitted in Ai; or
the first eight bars and/or all chord symbols omitted in Bii; or all text omitted in Ci)
1 EITHER Work which is unacceptable because it is very poorly presented, having

numerous inaccuracies and/or misjudgements including some serious ones
OR Work which is very incomplete. Expect to award 1 only rarely.
Now carry out the Holistic Check described at the end of the mark scheme.
_________________________________________________________________________
12
A (ii) Minimalism
Ideas The key question under Ideas is: how far does the candidate manipulate, extend or
develop the given opening and/or provide relief to, and contrast with, it? Do not consider
here how effectively ideas have been used: under Ideas you reward simply any
inventiveness, but be careful not to over-reward sheer unstructured diversity. The
following forms of inventiveness may be present:
• effective harmonic change

• extension or abbreviation of bars / other rhythmic change
• some ideas / developments that provide real contrast (with an avoidance of the
merely bizarre)
• significant changes of texture (notably addition and/or subtraction of parts)
Remember that ‘developments’ might include a purposeful use of inversion,

retrograding, expansion of intervals, etc. (rather than just the very occasional or
casual employment of such devices)
10,9 full-length (defined under Structure)

plenty of inventiveness: normally must contain most or all of the above
features
8,7 full length

plenty of inventiveness: see list above: probably clear evidence of three
features
6,5 full length or close

some inventiveness: see list above: probably clear evidence of two features
4,3 full length, or close

limited inventiveness: see list above: probably clear evidence of one feature /
limited evidence of two or more features
overuse of given patterns, but not to complete excess
2,1 almost certainly a short submission

mostly repetition of given patterns
0 very short indeed

entirely repetition of given patterns
13
Structure Award out of 10 as follows:
2 For a full submission (probably 32-36 bars at the tempo in the question paper,
though this depends on time signatures: 32 in 9/8 36 in 8/8). This bar count
includes the given material. Do not be too legalistic about length, and make sure
you time any recording that is submitted. Do not penalize if the work is full length
only on account of much straight repetition.
1 For coming close (probably about 26–31 bars)
0 For a short submission (less than 26 bars)
(Examiners will have to consider the number of beats where the metre changes
significantly)
Plus:
6,5 There is a clearly discernible and satisfactory shape that would be apparent to the
listener: this will probably, but need not, correspond with some standard formal
structure.
4,3 There is a discernible shape but it is not entirely effective (e.g. unbalanced, with
too short a reprise).
2,1 Weak or unsatisfactory structure.
0 No discernible shape. Expect to award ‘0’ very rarely.
Plus:
2 A good ending.
1 Some attempt at creating an effective ending.
0 Poor ending; or the music just stops (without evidence of deliberate effect).
Melody You should be looking for a reasonable melodic range in the top part particularly,
and – this is important – some variety tonally (for harmony/tonality is not a separate
criterion)
10,9 Plenty of interest and variety, making an effective, well-controlled piece.
8,7 Much to commend, but with occasional dullness or a few missed opportunities .
6,5 Generally satisfactory, but a little unenterprising.
4,3 Limited success, perhaps in a short submission. Some rough moments.
2,1 Hardly anything to commend – probably (almost) entirely very closely based on the
model; or very awkward and unpleasing.
0 Award 0 if nothing at all has been added to the given material.
14
Rhythm You should be looking for controlled, purposeful variety. Although metre changes
may be included, they are not essential to the achievement of the highest marks.
10,9 Plenty of interest, variety, making an effective, well-controlled piece.
8,7 Much to commend, but with occasional dullness or a few missed opportunities.
4,3 Limited success, perhaps in a short submission. Probably several rough moments.
2,1 Hardly anything to commend – probably (almost) entirely based very closely on the
model; or very awkward and unpleasing
Style This relates to the overall impression of the piece as a piece of music, and should be
the mean of the other descriptors apart from Presentation, unless you can see – and can
describe in a brief written statement – a case for doing something different. For example,
6 for Ideas, 6 for Structure, 8 for Melody and 2 for Rhythm would normally give a Style
mark of 5.5 (round up to 6).
NB deduct 1 mark if a keyboard instrument has not been named.
Presentation Award out of 10 as follows:
First, award out of 5 for accuracy and appearance:
5 Very carefully presented throughout: must be completely accurate. Pencilled



incompleteness
presented
least one place
been submitted).

15
Then award out of 5 for performance directions:
5 Performance directions are complete and appropriate throughout.
4 As for 5. but with one or two small reservations.
3 A reasonable attempt has been made to provide performance directions, but there
will be some incompleteness. There must be some dynamic markings. and some
articulation.
2 Some attempt at providing performance directions, but with significant

incompleteness. This may involve the omission of all dynamics OR the omission of
all articulation.
1 Very few performance directions. Perhaps the omission of all dynamics AND the
omission of all articulation.
0 No performance directions provided.


4. Beaming
7. Bar-numbering, which should coincide exactly with that given on the question paper
16

submitted)

_____________________________________________________________________
17
B (i) Chorale cadences
Resources, Structure, Harmony, Melody Award 2, 1, or 0 marks for each chord that has
to be added, expecting there to be a chord on each crotchet beat: 16 chords in all.
The maximum under Resources, etc. comes to 32. This must be converted to a total
out of 40 as follows
Add 8 to a mark of 32
Add 7 to a mark of 31, 30
Add 6 to marks of 29, 28, 27
Add 5 to marks of 23, 24, 25, 26
Add 4 to marks of 20, 21, 22, 19
Add 3 to marks of 14, 15, 16, 17, 18
Add 2 to marks of 9, 10, 11, 12, 13
Add 1 to marks of 4, 5, 6, 7, 8
Leave marks of 0, 1, 2, 3 as they are
For each of the 16 chords, award 2 marks if
BOTH (a) the choice of chord is ‘correct’ in terms of common practice harmony.
AND (b) there are no part-writing faults associated with it.
You should award 1 mark instead where one of the following is true:
• THERE IS one problem of part-writing, notably one of the following:

• a single set of consecutives terminates at that beat or falls within it
• dissonance is wrongly treated at that point
• an augmented melodic interval or some other clearly unsuitable interval ends there
or happens within the chord
• there is no third in a five-three
• the fourth above the bass in a six-four is doubled
• any other type of dissonance is doubled
• a six-three lacks one of its constituent notes
• a leading note is doubled [NB the third of a five-three other than V may be doubled
if sensibly handled]
• parts cross unnecessarily
• parts overlap unnecessarily
• a chord is repeated (same inversion) from weak to strong, except the tonic chord
at the beginning of a phrase (where bass often leaps an octave)
• a bass note is repeated weak to strong unless it becomes a dissonance on the strong
beat
• there is more than an octave between S,A or A,T without clear justification
• a note is outside the range of a voice: but NB a candidate should not lose more than
2/32 marks by this means
• hiatus at bar 22 (i.e. no movement on the second crotchet of this bar)
• note of resolution sounding against suspended dissonance (unless in bass)
• exposed octaves or fifths
18
OR the chord is unsuitable rather than actually wrong (‘u.c.’): for example, in V IV the IV
will be unsuitable if the outer parts do not proceed by contrary motion
OR there is clearly a wrong note in the chord (‘w.n.’): for example,

• with A in the bass and D G B above it, the candidate must have meant G but didn’t
write it and cannot therefore expect full credit
• a chord lacks an accidental
OR one part is omitted: that is, one part is absent (e.g. the chord has treble, alto, and
bass but no tenor)
You should withhold marks altogether where one of the following is true:
THERE ARE two problems of part-writing
OR the chord is very unsuitable (‘v.u.c.’).

‘Very unsuitable chord’ (‘v.u.c.’) – most commonly means
• an inappropriate six-four
• a diminished triad (notably VIIa)
• an augmented triad
OR there is a ‘u.c.’ and one part-writing fault
OR two parts are missing from a chord:

that is, a chord has, for example, treble and bass only (with no alto or tenor)
OR if a chord is ‘missing’
OR where there are multiple problems
19
Style Award 1 mark for each of the following up to a maximum of 15:
• a correct passing note (not one that generates or completes consecutives):

maximum 6 marks. You may award 2 marks at a beat where two effective passing
notes occur simultaneously
• a correct suspension
• a LN that moves appropriately to a note other than the tonic at a cadence:
maximum of 2 marks for leading notes
• each chord other than I, IV, V, V7, II, Ib, IIb, IVb, Vb, Ic that is awarded 2 marks for
Resources – especially remember II7b!
• any appropriate chromaticism
• a positively good bass line bars 1 – 4 indicate this as ‘tick B’. If the bass is involved
in any consecutives with the soprano, this automatically cancels the bass style mark
• a positively good bass line bars 4 – 8 (see above)
• satisfactory texture bars 1 - 4 (generally speaking no overlaps, crossings, unsuitable
gaps, candidate’s tenor rarely if ever more than a 12th from the soprano, and at
some points less than an octave from it): indicate this as ‘tick T’
• Satisfactory texture bars 4 – 8 (see above)
• an effective cadence outside B flat major (notably F major in bars 3–4). An
‘effective cadence’ is one with Resources marks of 2 2 2 for the final three chords
of the cadence
• any cadence in B flat major with Resources marks of 2 2 2 2, unless very basic (e.g.
just root position chords)
• auxiliary notes – but only if really effective (almost certainly in the bass)
• any other good feature – identify this briefly in words
No style mark simply for recognizing a modulation to F in bars 3–4
20



incompleteness
presented
least one place
been submitted).

numerous inaccuracies
including some serious ones and/or is very incomplete. Expect to award 1 only
rarely.


4. Beaming
21

submitted)

Now carry out the Holistic Check described at the end of the mark scheme. TAKE NOTE
ESPECIALLY of the distribution of Resources marks. An answer where there are only
isolated 2s will generally merit a holistic reduction.
_________________________________________________________________________
22
B (ii) Pop Song
Resources, Harmony Marks out of 25 are for realization of the chord symbols.
There are 20 chord symbols. Each carries 1 mark; but the total must be scaled to a mark
out of 25 as follows:
Round down any mark ending in .5 (thus, for example, 13.5 becomes 13)
Add 5 to a mark of 20, 19, 18

Add 4 to a mark of 17, 16, 15, 14
Add 3 to a mark of 13, 12, 11, 10
Add 2 to a mark of 9, 8, 7, 6
Add 1 to a mark of 5, 4, 3, 2
Leave marks of 0, 1 as they are
For each chord symbol, mark as follows:
1 The realization begins with the root note (unless there are pressing reasons why an
exception must be made)
AND there is a completely satisfactory realization thereafter, with no notes that are
foreign to the chord other than plausible and correctly-handled dissonances.
NB any note other than the root should not be unduly prominent. This is likely to
mean, as a rule, that it will not occupy more than half the duration of the chord
symbol.
0.5 The realization begins with the root note

BUT one of the following ‘problems’ is found:
• there is one short note that makes little sense
• a dissonance from the preceding chord has not been resolved
• there is some over-emphasis of a note other than the root
• the working consists of a single minim or semibreve where this is inappropriate,
or appears to show lack of enterprise
• the realization begins with an unacceptable leap from the preceding chord or has
such a leap within it
OR the realization begins on a note other than the root note for no valid reason
BUT everything else is sensibly handled
0 The realization begins on a note other than the root note for no valid reason
AND one or more of the following ‘problems’ are found:
• there is one short note that makes little sense
• a dissonance from the preceding chord has not been resolved
• there is some over-emphasis of a note other than the root
• the working consists of a single minim or semibreve where this is inappropriate,
or appears to show lack of enterprise
• the realization begins with an unacceptable leap from the preceding chord or has
such a leap within it
OR any accidental is omitted anywhere within the realization
OR the root is absent altogether
OR there is major confusion
23
Melody ‘Melody’ includes the range of the added line. If an answer has a very limited
range, be careful not to let this dominate your choice of mark. But a wide range alone will
not justify the awarding of a high mark.
From your preferred mark, deduct 1 mark if one or two notes are out of range; deduct 2
marks if three or more notes are out of range. (Two notes in immediate succession or in
very close proximity will normally be counted as one for purposes of the range penalty.) If
no instrument is specified, notes below E are to be considered out of range.
10,9 A convincing line throughout. As a rule, the range should extend to a twelfth or
more, with some notes higher than the highest in the model.
8,7 Much to commend, with some attractive features, in particular perhaps links from
one section or phrase to another. As a rule, the range should extend to an eleventh
or more, probably with some notes higher than the highest in the model.
6,5 The line is more than just an accidental by-product of the chord realization. There
is likely to be a mixture of strong and weak. ‘Weakness’ may involve suspect voice-
leading. As a rule, the range should be at least a tenth.
4,3 The line is mainly an accidental by-product of the chord realization, with little or
no evidence of creativity
OR A working in which the voice-leading is often suspect and/or there is little
coherence or sense of shape. As a rule, the range should be at least an octave or
ninth.
2,1 The line is incomplete OR is so shapeless / incoherent / full of errors and

misjudgements that there is very little indeed to commend.
0 No work offered
24
Rhythm Consider the variety of the line, which should be considerable but not excessive.
The added section might contrast fairly strongly with the model, or might be in broadly the
same style. In the former case contrast should not be bizarre or excessive; in the latter,
there is a risk of dullness. Normally max. 5 if every bar starts with a quaver rest.
10,9 A convincing line throughout. Carefully judged balance and contrast within the
added section and in terms of the model. An answer that recycles only the given
material does not belong here or in the next two categories.
one section or phrase to another.
6,5 Some reasonable balance between coherence and variety, but fairly limited
interest and/or several weak moments.
4,3 An answer that recycles only the given material may well belong here, because
there will probably be some basic coherence, but little that one can positively
commend beyond that OR an answer may be a mixture of effective and ineffective,
with the latter outweighing the former.
2,1 The line is incomplete

OR is so shapeless / incoherent / full of errors and misjudgements that there is very
little indeed to commend.
0 No work offered
Style Award as follows, out of 10. Suitability or otherwise of tempo and/or stylistic feel
should be taken into account when arriving at the Style mark. Deduct 1 mark from your
preferred total for each of the following: failure to specify an instrument; failure to
specify the tempo; failure to specify the stylistic feel.
10,9 An excellent piece of work. There are one or two errors in chord realization at the
most. The added bass line has strong melodic qualities. There is rhythmic fluency
and resourcefulness throughout.
8,7 A good piece of work. There are three or four errors in chord realization at the
most. The added bass line has some melodic qualities, and there is rhythmic
fluency. Perhaps you consider the piece convincing except in one short passage.
6,5 Mixed. Some basic competence with realization of chord symbols. Melodic and
rhythmic qualities uneven and/or unambitious.
4,3 Not much to commend, but there is some awareness of what is required in much of
the work. It could be that the majority of the chord symbols is correctly realized,
but there is little or no musical interest.
2,1 The piece has very little to commend, or because is seriously

incomplete. There must be many errors in realizing the chord symbols.
0 No work offered
25



incompleteness
presented
least one place
been submitted).

rarely.


4. Beaming
paper
26

submitted)

__________________________________________________________________________
27
Harmony, Melody Here we consider the pitches added and how they work in terms of the
vertical interval structure and in terms of the melodic line. 38 marks are available, 1 for
each minim beat that has to be added.
For each minim beat, award 1 mark if:
BOTH (a) there is sensible harmony

AND (b) there are no part-writing faults associated with the added note(s)
The mark may be withheld, notably where any of the following is true
• there is a harmonic problem (warch especially for undesirable six-fours)
• a single set of consecutives terminates at that half bar or falls within it
• a dissonance is wrongly treated at that point
• an augmented melodic interval or some other blatantly wrong interval ends there
or happens within the half bar
• parts overlap unnecessarily
There are no half marks.
Resources
Two sub-totals here.
2 All added notes in the given range.

1 1 or 2 notes out of range. (Two notes in immediate succession or in very close
proximity will normally be counted as one in terms of range.)
0 More than 2 notes out of range.
and
5 The added material is texted throughout. All necessary words are included, and
there is no poor underlay.
4 Full texting. All necessary words. One awkward moment.
3 Almost certainly full texting. Probably all necessary words. One or two awkward
moments.
2 Some incompleteness (a bar or so) and/or several awkward moments.
1 Probably substantial incompleteness (a few bars) and/or multiple misjudgements.
0 No text added at all.
28
Style, Rhythm
10,9 The added line is convincing throughout, or perhaps has one minor blemish.
8,7 Good work, but with one difficult area, or a couple of smallish blemishes.
6,5 A broad competence. Some flow, but enough roughness to begin to obtrude.
4,3 Little is convincing, but there is some broad competence. One or more of the
difficulties identified under 2,1,0 below is probably found.
2,1,0 Much difficulty: if you are to award 2,1,0 there must be one or more of the
following: impossible interval(s), impossible rhythm(s), incompleteness of notes
and/or text, notes well out of range.



incompleteness
presented
OR Work which is incomplete, but not as seriously so as defined under ‘2’below.
least one place
been submitted).

29

4. Beaming

submitted)

_________________________________________________________________________
30
C (ii) Serialism
Resources 15 marks are available as shown below.
Candidates have to add about 9 bars to make the ‘about 12’ required. The question paper
tells them that they are expected to add three or four complete versions of the row. The
enterprising and ambitious may use more, but there is no reward for this per se.
First: Award 2 where all versions of the row are indicated correctly
OR 1 where all are indicated but there is/are error(s) in labelling
OR 1 where some versions are labelled and some are not
OR 0 where no rows are labelled, or the given material only is labelled
There is no reward for labelling individual notes (or penalty for not doing it) because this is
requested rather than insisted upon.
13 marks maximum remain. You must check each candidate’s submission against the
matrix (‘magic square’) provided for you. The tariff is as follows, but NB if a single slip
leads to multiple wrong notes, count only the first two as wrong.
Where 4 (or more) statements of the row have been added:
• Each wrong note (which may mean a missing accidental) = minus 1
Where 3 statements of the row have been added:
• For the first wrong note (which may mean a missing accidental) = minus 2
• Minus 1 for each subsequent wrong note
Where, despite the rubric, 1 or 2 statements only are added:
• For the first wrong note (which may mean a missing accidental): minus 3
• Minus 2 for each subsequent wrong note
Finally, deduct 2 marks if the instrument is not named.
Structure, Melody Consider here specifically the overall range; size of intervals; and
general shape, etc. as directed. Compile a total out of 20 from the following components.
Range
4 As the music proceeds, the music goes considerably higher and/or lower than the
given opening: adventurous, yet controlled.
3 The added portion goes significantly higher and/or lower than the given opening:
adventurous, yet controlled, but with less sense of purpose and shape than for 4.
2 The added portion covers the same total range as the given opening, or perhaps
goes up to a minor third higher and/or lower.
1 The range of the added passage is less than that of the given opening, but not less
than a ninth.
0 The added material spans an octave or less.
31
Size of intervals
4 5 or more added intervals are of a minor seventh or more – but DO NOT COUNT
octaves when calculating numbers of intervals.
3 4 intervals of a minor seventh or more – but DO NOT COUNT (etc.).
2 2 or 3 intervals of a minor seventh or more, (etc.).
1 One added intervals of a minor seventh or more.
0 The largest interval is less than a minor
Handling and variety of intervals
4 May be awarded only if 3 or 4 marks have been awarded under the previous
heading: all large intervals (seventh or more) are used effectively (e.g. to create
points of tension). It is likely that one or both notes associated with a ‘large
interval’ will be relatively long.
3 May be awarded only if 3 or 4 marks have been awarded under the previous
heading: most large intervals are used effectively.
2 May be awarded if at least 2 marks have been awarded under the previous heading:
some large intervals are used effectively.
1 One or two large intervals are used effectively.
0 No large intervals exist, or there is no real awareness of their value.
Ascending and descending movement
4 Good sense of balance and shape within individual phrases, with ascending and
descending movement carefully calculated.
3 Almost as for 4, but perhaps with one clearly identifiable weak spot.
2 Some feeling for balance and shape within phrases.
1 Little feeling for balance and shape, perhaps because of a very narrow range for
the whole piece or for most constituent phrases.
0 The effect appears quite random.
Structure
4 Strong overall structure: look especially for all the following: effective continuation
from model; logical phrase structure overall; good ending.
3 Good sense of structure: but perhaps with one clearly identifiable weak spot.
2 Some attention to structure, but with few strengths and with significant weakness.
1 Little to commend in a full-length submission.
0 Award only where the submission is seriously short and there is little to commend.
32
Style, Rhythm Here we take a holistic view. Does the submission constitute a piece of
music? Your mark will include reference to melodic features (as weighted more heavily
above), and structure; but note that rhythmic characteristics are considered here only.
In what follows ‘ambition’ may (but need not) include the use of transposed versions of the
row as well as the ‘basic’ P, I, R, RI versions. ‘Ambition’ will probably show itself in a wide
overall melodic range, the use of some large intervals, and some use of motives based on
the model. Correct handling of the row is rewarded elsewhere, but a piece with more than
three or four slips can hardly be termed ‘competent’.
If the Resources mark is 13 or above, and there are three or more 4s under Melody and
Structure, you should consider if a mark of 10 at least for Style and Rhythm is possible.
15,14 A convincing line throughout, and one that shows much ambition. Carefully judged
balance and contrast within the added section and in terms of the model. A
thoroughly musical response: much more than mere manipulation of notes. A full-
length submission (i.e. 11 bars at least, including the given bars).
13,12 Ambitious. Much to commend, with some attractive features, in particular perhaps
links from one section or phrase to another. A very musical response. A full-length
submission.
11,10 A controlled response with some features that clearly go beyond mere manipulation
of given notes and rhythms. A full-length submission.
9,8 A competent response, but convincing only at times. A full-length submission.
7,6 A mixture of the effective and ineffective, probably with the latter slightly
outweighing the former. A submission that extends to 10 bars or less should only in
exceptional cases receive more marks than 7.
5,4 There will be limited interest, perhaps because the candidate has relied excessively
on a square phrase structure, mere repetition or retrograding of rhythm with little
attention to the effect thereof.
3,2 The line is so shapeless / incoherent / full of errors and misjudgements that there
is very little to commend.
1,0 Award only if the piece is very short and (virtually) without merit.
33



incompleteness
presented
least one place
been submitted).

4 As for 5, but with one or two small reservations.
will be some incompleteness. There must be a tempo marking, some dynamic
markings, and some articulation.

incompleteness. This may involve omission of a tempo marking OR the omission of
all dynamics OR the omission of all articulation.
34

4. Beaming

submitted)

________________________________________________________________________
35
D (i) Extended Instrumental Techniques
Ideas This refers to the handling of the chosen stimulus in respect of the musical
outcome, NOT to the range of sounds, etc., which is credited under Resources, Timbre
10,9 The chosen stimulus has been used in a highly imaginative way. It underlies clearly
most of the
submission, and devices such as inversion, fragmentation, retrograding,
transposition are widely and effectively used.
8,7 The chosen stimulus has been used with some imagination. It underlies clearly much
of the submission, and devices such as inversion, fragmentation, retrograding and
transposition are fairly widely used.
6,5 The chosen stimulus is apparent in much of the submission, and there will be some
evidence of devices such as inversion, fragmentation, retrograding and
transposition.
4,3 The treatment of the chosen stimulus is rather repetitious, or the stimulus is
present only intermittently. It has been used unimaginatively.
2,1 The stimulus is used very little.
0 The stimulus is not used.
Structure Award as follows:
2 For a full submission (not less than 55 seconds, estimated). Do not be too legalistic
about length. Do not penalize if the work is full length only on account of much
straight repetition.
1 For coming close (probably 45–54 seconds).
0 For a short submission (less than 45 seconds).
Plus:
listener: this may probably, but need not, correspond with some standard formal
structure.
Plus:
2 A good ending.
36
Resources, Timbre Here we assess the effectiveness or otherwise of the instrumental or
vocal writing.
Award out of 10 as follows. THEN double your figure to give a sub-total out of 20. From
this total out of 20, deduct 2 marks if the instrument(s)/voice(s) used have not been
specified. Do not penalize failure to identify which of the specified techniques is being
used.
10,9 Excellent writing for the chosen medium. The resources have been ‘extended’ in an
exciting manner, with a wide range of interesting timbres, yet with a high regard
for practicality.
8,7 Interesting writing, but there is a little awkwardness here and there, or the
occasional tendency to prefer the merely bizarre or impractical.
6,5 Some reasonable attempt to extend the forces used. There may, however, be some
rather ordinary passages, some that over-extend the forces, etc.
4,3 Limited interest, but a few attempts (not necessarily very practical) to extend the
forces used.
2,1 There is little discernible use of extended techniques.
0 No discernible use of extended techniques.
Style This relates to the overall impression of the submission as a piece of music, and
should be the mean of the other descriptors apart from Presentation, unless you can see a
case for doing something different. For example, 6 for Ideas, 6 for Structure, 10/20
(effectively 5 + 5) for Timbre and Resources would give a Style mark of 5.5 (round up to
6).
37



incompleteness
presented
least one place
been submitted).

rarely.


4. Beaming
38

submitted)


_____________________________________________________________________
39
D (ii) Electro-acoustic Music
Expect a recording and a score. If there is no score, this probably means that a score was
not provided by the candidate. If there is no recording (which is far less likely) this should
be queried with the centre.
Ideas This area concerns principally the element of variety within the added part(s); but
account should be taken of any attempts to make the ostinato itself interesting, or of
attempts to integrate the ostinato and the added part (e.g. by using intervals from the
ostinato as the source of material in the added part).
10,9 Plenty of variety, well controlled throughout, in the added part(s). It is very likely
that the ostinato will have been manipulated in at least one of the ways indicated
in the rubric. There is a clear relationship throughout between the ostinato and
the added part.
8,7 Some considerable variety, generally well controlled, in the added part(s). It is
likely that the ostinato will have been manipulated in at least one of the ways
indicated in the rubric. There is some relationship much of the time between the
ostinato and the added part.
6,5 A reasonable attempt to create variety in the added part, and perhaps some limited
attention to the ostinato. The ostinato and the added part are likely to be largely
unrelated.
4,3 Some variety in the added parts; perhaps little or none in the ostinato. The ostinato
and the added part are likely to be largely unrelated.
2,1 The music is over-repetitive, with little variety, perhaps in a short submission.
0 If ever awarded, would need careful written justification.
40
Structure Award as follows. No penalty for excessive length.
2 For a full submission (not less than about 55 seconds). Do not be too legalistic about
length, and make sure you time each recording. Do not penalize if the work is full
length only on account of much straight repetition.
1 For coming close (probably = 45–54 seconds).
0 For a short submission.
Plus:
listener.
4,3 There is a discernible shape, but it is not entirely effective (e.g. unbalanced, with
Plus:
2 A good ending.
Resources, Timbre Here we assess the variety and general success or otherwise of the
sounds produced, partly, but not wholly, in terms of the chosen effect.
this total out of 20 deduct 2 marks if the candidate has not specified on the score, or in
some other written form, which of the specified effects are being used.
10,9 Inventive and resourceful: a wide range of exciting timbres.
8,7 Resourceful: a number of interesting timbres.
6,5 There are some interesting sounds, but some tendency to be over-repetitive and/or
some dullness.
4,3 A few interesting features, but there has been only a limited attempt to create
interest. Work is likely to be very repetitive, perhaps over-working one reasonable
idea.
2,1 Very little to commend. This category should be used sparingly, particularly for
submissions that are considerably under length, and in which it is not clear which
effects have been used.
41
should be the mean of the other descriptors apart from Presentation, unless you can see –
and describe in a brief written statement – a case for doing something different. For
example, 6 for Ideas, 6 for Structure, 10/20 (effectively 5 + 5) for Timbre and Resources
would give a Style mark of 5.5 (round up to 6).
Presentation
First, award out of 5 for the score or other written evidence:
5 Very carefully presented throughout; corresponds clearly with the recording, and is
helpful and informative throughout. The chosen effect must be clearly named.
4 Carefully presented as a rule. Although there may be just a little obscurity, the
score is generally helpful and informative. The chosen effect must be clearly
named.
3 Reasonably carefully presented. The score is fairly helpful and informative. It must
be possible at least to deduce which effect has been used.
2 Little care has been taken, and the score does not shed much light on what happens
in the submission. Perhaps, but not necessarily, the chosen effect is not identified.

numerous obscurities. Expect to award 1 only rarely. Almost certainly the chosen
effect is not identified.
Then award out of 5 for the recording:
5 A recording which is very bright, clear and well balanced. There is no distortion or
extraneous noise.
4 A recording which is very clear, but in which the balance is less than fully effective
(or vice versa). There may be some slight distortion or noise.
3 The recording is adequate, but lacks real clarity and balance.
2 The recording is poorly presented, and it is difficult to judge the candidate’s

intentions from it.
1 A very poor recording, probably with considerable distortion and/or noise, and
perhaps even incomplete.
0 No recording submitted
_________________________________________________________________________
42
Holistic Check to be carried out for all answers
Although the Style criterion is essentially holistic, it is necessary also to review your
marking of each piece holistically. If you do not need to make a change, write ‘H =’. If you
change anything, indicate how and why (e.g. ‘H +2’). Any change will normally be small
(max. 5 marks + or - ). NB with some exercises (notably A (ii), D (i), D (ii)) you may find it
helpful to begin with a holistic view, which can then be refined, confirmed or modified in
the light of the detailed descriptors.
50+ Excellent work at 50 – outstanding at 55+.
40-49 Generally sound at 40 – good at 45+.
30-39 A reasonable attempt.
20-29 Considerable difficulties have been experienced, but some positive aspects are
clearly identifiable.
10-19 A few encouraging signs.
0-9 A category to be reserved for the seriously incomplete, and for very poor
submissions indeed.
__________________________________________________________________________
43
Composition (6702/22)
The criteria are:
• Two core criteria; Ideas and Presentation

• Four optional criteria chosen from Style, Resources, Structure, Harmony, Melody, Rhythm
and Timbre.
Each is marked out of 10, the total paper mark being out of 60.
The descriptors are as follows:
10 Excellent
8-9 Confident
6-7 Controlled
4-5 Competent
2-3 Basic
1 Limited
The following tables indicate how these descriptors apply to the criteria:
Ideas Presentation
Excellent 10
An exciting and inventive piece A standard of presentation of the score and/or
showing thorough mastery of compositional recording which is excellent in every respect.
procedures.
Confident 8-9 A well-written score with attention to detail including

An ambitious and creative realisation of the phrasing, articulation and expression marks.
work's potential. A well-balanced recording with tonal and dynamic
contrast.
Controlled 6-7 A neat score that could be read at sight with

The work is a satisfying whole in which any sufficient accuracy to realise the candidate’s
shortcomings do not detract from the overall intentions despite some minor mistakes and
impression. omissions.
A clear recording with some minor misjudgements.
Competent 4-5
A legible attempt to notate the work's important
The candidate has applied compositional
features but lacking subtlety such as phrasing,
procedures without serious misjudgement
articulation and expression marks.
although there may be some inconsistency or a
The work's important features have been recorded
formulaic and mechanical end product.
although there is a lack of technical refinement.
Basic 2-3
A careless or untidy score with frequent elementary
The candidate shows some awareness of
mistakes or one in which significant performance
compositional procedures although significant
details have been consistently omitted.
technical shortcomings or brevity have
A recording whose clarity is compromised by technical
compromised the overall success of the piece.
shortcomings but in which the work is audible for the
most part.
Limited 1
The work is incomplete, excessively short or A score in which significant portions or parts are
shows little evidence of technical competence. illegible or omitted.
A recording in which significant portions are inaudible
or excessively distorted.
44
Style Resources Structure
Excellent 10
A mature and creative sense Imaginative mastery of Assured and authoritative

of style. resources, parts and command of formal
ensemble. procedures.
Confident 8-9
A convincing awareness of Shows a sense of Imaginatively structured,

style and convention. instrumental idiom and achieving a well-balanced
secure management of whole.
textures.
Controlled 6-7
Stylistic features are Resources and textures are Satisfactory use of basic
consistently applied but generally well handled but in structures appropriate to the
there may be some some respects lacking in style.
misjudgements. imagination or with some
minor shortcomings.
Competent 4-5
Stylistic features are Resources are broadly Some attempt at structuring

understood but functional but there is only a the work but marred by
inconsistently applied. limited attempt to exploit predictable or repetitive
them. passages.
Basic 2-3
Stylistic features are flawed The work is compromised by Some structural elements
to the extent that the unidiomatic or excessively present but generally lacking
overall effect is difficult parts or technically flow, balance or variety.
compromised. flawed ICT.
Limited 1
Little or no evidence that Unplayable parts or inept Little sense of coherence.

stylistic features are use of technology.
understood.
45
Harmony Melody Rhythm Timbre
Excellent 10
Sophisticated and Distinctive An outstanding sense A thorough
imaginative throughout the of rhythmic focus understanding and
command of piece. and vitality. application of timbre
harmonic elements. in the resources
used.
Confident 8-9
Harmony is secure A well constructed The candidate has The candidate has
and creative with melody with a strong used rhythmic selected and used
only occasional sense of shape and features effectively timbres creatively.
misjudgements. flow appropriate to to create unity and
the style. variety in the piece.
Controlled 6-7
Harmony is broadly A melody which Rhythmic elements The candidate shows
coherent showing shows some contribute to the an awareness of the
some creativity imagination but success of the piece potential of timbres
despite some lapses which is a little dull despite some lack of in the resources used
in grammar or or lacking contrast in contrast in parts. despite some
technique. parts. misjudgements.
Competent 4-5
Harmony is A melody which is Though a little There is some
satisfactorily appropriate to the unsubtle or development and/or
managed but limited style but limited by repetitive the variety but timbres
in scope or by some stiffness or formulaic rhythmic interest is are not fully
technical approach. generally exploited.
insecurities. maintained.
Basic 2-3
Shows some A melody whose There is an attempt An attempt to
understanding of effectiveness is to provide rhythmic provide timbral
harmonic procedures compromised by lack interest but the interest is
but is compromised of shape/structure result is dull and compromised by
by a lack of or technical unvaried. misjudgements or
sophistication or weakness. lack of
control. understanding of the
resources.
Limited 1
Extensive A melody with no There is no evident There is little or no
carelessness evident evident sense of attempt to control attempt to deploy
with many shape or direction. rhythmic elements timbres.
uncomfortable effectively.
moments.
46
Presentation
• Examiners may bias their assessment towards the score, the recording, or they may
assess both equally.
• In a compositional style where a written score is the norm most marks will be awarded
for notation.
• Where recording is the norm, and less emphasis is given to a score (e.g. club dance)
most marks will be awarded for the recording.
• Where is it possible to submit work in either form (e.g. popular songs or film music) the
examiner will arrive at an aggregate mark, concentrating on the stronger format
submitted by the candidate.
• A mark in the highest band may not be awarded if the quality of one of the formats is
seriously compromised.
• Failure to submit either a score or recording is a syllabus infringement and must be
notified to the Assessment Leader at Edexcel. In these circumstances examiners should
arrive at the best assessment they can on the basis of the material available.
• The assessment of the recording will only take account of its technical quality (clarity,
balance etc), not the performance or realisation of the composition.
Ideas
Pieces which are significantly under-length are unlikely to gain high marks. When a
candidate submits two or more short, unrelated pieces (which are obviously not movements
or a suite) all should be marked, the piece with the highest mark being recorded for the
paper.
Style
Application of this criterion may be appropriate for style studies and pastiche; also where
there is a strong stylistic element (popular music) or special conventions (film music,
theatre).
Resources and Timbre

Marks are given for idiomatic instrumental writing or creative use of technology. It may,
under some circumstances, be appropriate to award marks for Timbre, for example in a
layered, multi-timbral computer piece. As a general rule of thumb:
• Resources applies to sympathetic writing for the instrument, observation of
performance/ensemble conventions, management of texture.
• Timbre applies to selection and exploitation of the tone colour of instruments,
either solo or in combination.
Harmony
Some styles of music employ stock chord progressions. In these cases it may be more
appropriate to give credit under melody or rhythm for the realisation of that progression.
Notes on the topics

The topics are not composition briefs. Compositions submitted by candidates may be a
‘loose fit’, indeed some candidates tick the wrong box on the authentication form for
which there is no penalty. Generally compositions should be assessed on their own merits
although some topics (e.g. film and club dance) imply certain conventions. Examiners will
have to exercise discretion in deciding if these conventions have been met and if it is
appropriate for this to affect marks given under Ideas and/or Style.
47
Variations
Can be a theme and variations or a fantasia-type piece. Candidates who employ a theme by
another composer and stick slavishly to the original structure and harmony are unlikely to
receive a high mark.
The topic may also include minimalism, serialism and ground bass pieces (in any style).
Romantic Miniatures
There is no requirement for the piece to be in a Romantic idiom or to employ 19th century
harmonic procedures. Compositions may be character pieces in any style (Debussy
Preludes, Schonberg Klavierstucke). It is permissible to submit two or more short (but
related) pieces.
Neo-Classicism
For the purposes of this examination this topic is often legitimately used as a ‘catch all’ for
pastiche composition as well as work in the 20th century neo-Classical tradition. Style
criteria may be employed where there is a clear intention to compose a piece within a
particular style. It is permissible to submit pieces in movements, or a suite.
Post Modernism
This tends to be a ‘catch all’ for pieces in a 20th century style although most are
minimalist. Minimalist pieces in which ostinati are slavishly cut, pasted and looped using a
computer are unlikely to earn high marks. Look for imaginative systems, textures, rhythmic
interest.
The popular song

The best songs will have a well-focused backing or ‘feel’. There may be a strong stylistic
element. Avoid assessing Structure in pieces which are clearly riff-based (although the
structure of the riff or groove may be taken into account). The ‘singability’ or commercial
appeal of the song may be credited under Ideas although the expectation is that candidates
should show musical resourcefulness across the various criteria and these need to be
satisfied to earn an overall high mark.
Club Dance and Hip-Hop

There may be a stylistic element but bear in mind that many pieces tend to be ‘hybrids’.
Candidates are asked to identify processes and samples used. If you suspect that the piece
has been compiled using proprietary club dance software (such as Dance E Jay) seek the
advice of a team leader or ask the centre for clarification. At this level candidates are
expected to process their own samples if they expect to earn a high mark.
Fusions
The nature of the fusion may be abstruse or obvious. If does not need to be a perfect mix
but to gain high marks under Ideas it needs to be convincing. Give credit to brave
candidates who attempt difficult tasks – there is an element of experimentation in all
stylistic cross-overs.
Film and TV
A suite of extracts in the form of a library is permitted. Many candidates omit reference to
the intended film and in this case examiners are asked to assess the piece on its merits and
ask the question ‘Does this music create a suitable frame of mind to accompany motion
pictures?’ A piano reduction of the score is permitted (in line with industry practice) but
the recording would need to be clear.
48
Music Theatre
The best compositions will suggest a strong theatrical context. However, many candidates
tend to submit anonymous love songs or popular songs and these must be assessed on their
merits. It is permissible to submit a score in song sheet form.

This check is to be used to review the marking of each piece holistically; to refine, confirm
or modify the total mark given for the detailed descriptors.
40-49 Generally good at 40 – very good at 45+.
submissions indeed.
49
Listening (6703/31)
1.
Messiaen: Quatuor pour la fin du temps, track 5 (up to 50 seconds)
a)
i) cello [1] viola [0.5]

piano [1]
ii) monophonic/ solo [1]

melody and accompaniment / homophonic / chordal [1]
Handel: Italian Duets, track 6 (up to 24 seconds)
b)
i) soprano [1]
Mezzo Soprano [0.5]
AND
Countertenor [1]
male alto [1]
falsetto [1]
(Maximum of 2 marks)
ii) harpsichord [1]
iii) fugal / imitative / contrapuntal / polyphonic [1]

two part / duet [1]
[over independent] continuo [1] / chordal accompaniment [0.5]
starts melody & accomp. / homophonic [0.5]
(Total for Question: 9 marks)
50
2.
A: Tchaikovsky Overture to The Nutcracker, track 10 (up to 48 seconds)

B: Duke Ellington Overture to The Nutcracker, track 1 (up to 1 minute 44 seconds)
a)
i) orchestra [1]
ii) Any one of:

big band [1]
swing band [1]
stage band [1]
jazz band/combo/ensemble/orchestra [1]
(maximum of 1 mark)
b) [double] bass [1]

not bass guitar
c)
i) A [1]
ii) B [1]
iii) A [1]
d)
i) trombone [1]
ii) muted / con sord. [1]
e) Any relevant observation, which might include:
DYNAMICS
• B uses more accents

• B is louder
• B includes greater dynamic contrast
STRUCTURE
• B has countermelody from the start

• B sounds improvisatory (in solos)
• B has a longer build up to the climax / longer crescendo
• B has different/ longer ending
51
INSTRUMENTATION [MAX: 3]
• B has sax solo[s] (instead of flute/ clarinet solos)

• B has muted trumpets
• B melody dominated by brass
• B has no flute
• B has no oboe
• B has no clarinet
• B has no bassoon
• B has no violin
• B has no viola
• B has no ‘cello
• B has no triangle
• B has saxes
• B has trumpets
• B has trombones (if not credited in (d))
• B has more percussion
• B melody played by trombones [1] then trumpets [1] then saxes [1]
TEXTURE
• B has walking bass (in intro and throughout) / repeated brass

• B has different countermelody
• B has no dialogue / antiphony
• B has melody played in chords
• B monophonic / solo at start
OTHER
• B has a lot of added notes in the melodies

• B uses swing rhythm throughout
• The harmony in B is generally more chromatic [1], using jazz-style added
notes in chords [1]
• B uses slides/ portamento/ glissando
• B uses fills
• B is at a lower octave/pitch
• B has “blue” notes
(maximum of 4 marks)
52
3.
More I cannot wish you from Guys and Dolls, track 13 (up to 1 minute 35 seconds)
OPTION A
Bars 2-3 Rhythm: 0.5 per correct note length

Bars 8-11 Pitch: Bar 8 [0.5], Bar 9 [0.5 per half bar], Bar 10 [0.5 per half
bar], Bar 11 [0.5]
Bar 37-44 Pitch: 0.5 per correct pitch
Bar 48-51 Rhythm: 0.5 per half bar correct except first half of bar 50
OPTION B
a)
i) baritone/ bass [1]
ii) flute [1]
iii) clarinet [1]
b) I/ Tonic [1]
V/ Dominant [1]
An octave [1]
c) Any relevant observation, which might include:
• Compound time/ jig rhythms

• Dotted rhythms
• Flute/ Pipe
• Repetition
• Clear/ simple/ regular phrase structure
• Limited range
• Lombardic (scotch-snap) rhythm (in instrumental melody in intro)
• Folk style of singing or good description of singing style
d)
i) 20th Century [1] or any year in 20th Century
ii) Any composer of musicals [1]
iii) In a theatre/ musical/ Broadway show [1]
(Total for Question:12 marks)
53
4.
Mozart, Piano Sonata in F K280 2nd Movement, track 11 (up to 1 minute 30 seconds)
a)
i) FALSE [1]
ii) TRUE [1]
b) interrupted [1]
tonic [1]
imperfect [1]
relative major [1]
perfect [1]
relative major [1]
c) double/ triple [1]

suspension/ appoggiatura [1]
appoggiatura chord [2]
d) diminished seventh [1]

diminished [0.5]
(maximum of 1 mark)
e) R [1]
TOTAL FOR PAPER: 45 MARKS
54
Understanding Music (6703/32)
Instructions to Examiners
1 Candidates are to answer two questions, one of which must be on an area of study
from the Western classical tradition, indicated by (*). If two non-traditional answers
are offered, mark both and permit the higher mark to stand.
2 Answers may be written in note form throughout the paper.
3 Answers to (a), (b) and (c) in each section may necessitate the use of half marks.
Indicate by writing 0.5 in the candidate’s text at the point the credit becomes due.
Whole marks should be indicated by a tick in the text at the point the candidate
makes a credit-worthy point. Add these marks together and write the sub-total,
without circle, for each part in the right hand margin. The total mark for sections
(a), (b), (c) and (d) should be written encircled in the right hand margin.
4 Section (b) answers must come from the relevant Area of Study.
5 In section (d), locations of examples (i.e bar references) will usually gain an
additional mark, unless these are indicated verbally in the score (Please refer to
“Additional advice to examiners”).
6 Answers to question (d) will not attract half-marks. Award credit by writing a tick in
the text at the point a credit-worthy point is made. Compare the raw total with the
holistic grid below. If necessary, adjust the raw mark by no more than +2 or -2.
Indicate briefly your reasons for making this adjustment. Imbalanced section (d)
responses will be awarded no more than 10.
55
Holistic Grid for assessment of content and communication skills
13-14 An excellent, informative answer.
Relevant throughout.
Well presented.
Clearly and unambiguously expressed.
Material logically ordered.
Spelling secure.
10-12 A good answer with generally sound information.

Relevant throughout, or for most of the time.
Generally well presented.
Generally clearly expressed.
Material logically ordered.
Few spelling mistakes if any.
7-9 A fairly good answer in which a considerable amount of information is sound and
accurate.
Relevant at least some of the time.
Adequate presentation.
Clearly expressed for the most part.
Some regard for logical ordering of material.
Spelling may not be totally secure.
4-6 A few credit-worthy points, perhaps including some amplifying comments.

There is some limited attempt to keep to the point.
Presentation may be untidy.
Random expression of points with little attempt to present material in a logical
sequence.
Spelling may be insecure.
1-3 Isolated point(s) only in an answer where the meaning of the question has been
largely misunderstood or overlooked.
Presentation may be scrappy.
No attempt to present points in a logical sequence.
Spelling may be poor.
0 No answer at all, or one in which no information clearly relates to the question.
In section (d) responses, it is useful if examiners indicate weaknesses in the right hand
margin as follows:
Q: irrelevance
↑: repetition of credit-worthy material for which marks have already been
awarded.
misl: Misleading; mark not awarded, perhaps because of a sweeping

generalisation
acc. “Accept”: mark awarded, though the observation is perhaps not well
expressed.
n.e. Not enough (information for a mark)
f.d. fits descriptor
56
General Guidance in Marking Essays
• In most instances candidates will be credited both for a relevant observation about
the work in question and for finding an example of the same, e.g.
Stravinsky uses false relation (1) at bar 10 in Soprano & Alto parts (1), or
Taverner uses antiphony (1) in the first ten bars of O Wilhelme (1).
• If, however, the device is generally used throughout the work, a specific location
will not normally gain credit
Bruckner's word-setting is generally syllabic (1), e.g. in bars 1-2 (no further
credit).
• But intermittently used techniques in this context will be credit-worthy:
Bruckner's word-setting is syllabic throughout (1), as in the first two bars,

but he only resorts to melismatic writing (1) at bars 40-42 (1).
• Take care to credit fully candidates who write more efficiently:
Both (1) Bach and Gabrieli use continuo (1).
• In cases of descriptions of tonal and fugal procedures, location marks will not
normally be credited separately:
Haydn uses functional tonality (1), starting in D minor (no credit, because
the key is given in the title), then moving to F major at bar 17(1) [n.b. only
the one mark, as the change of key plus location is adding to the initial
observation concerning functional tonality]. He then moves to G minor at b.
55 (1), uses a circle of 5ths at bars 57-61 (1), returns to D minor at b. 80 (1)
and moves to D major at bar 100 (1).
Or:
Brahms uses fugato (1) at bar 67 (1), with the subject in the viola (1), the
counter-subject in the piano (1), and the answer coming in the right hand
piano part at b. 71 (1) in the dominant (1), etc.
• In cases requiring discussion of motivic development, one mark is allowed for

identifying each motif, thereafter allow one mark for the manipulation/changed
context and one mark for the point at which it occurs (normally one undeveloped
repeat plus location is credited):
Williams introduces the main theme of ET at bar 9 (1). It is repeated (1) at

bar 17 (1), and appears again in the dominant (1) at bar 34 (1).
57
Terminology
Questions normally focus on such specific aspects of the music as the following:
Melody: voice/part-ranges, phrase-lengths, repetitions of phrases; internal structures, e.g.

arch-shaped, conjunct, disjunct, use of sequence, whether continuous of fragmented
(hocket), but word-painting as such is irrelevant.
Rhythm: use of recurring patterns, dotted rhythms e.g. Scotch snap/Lombardic rhythm,
even note-lengths, syncopation, metrical organization, hemiola.
Harmony: diatonic, chromatic, functional, types of chord, inversions (not to be taken as a

synonym for accompanying instruments and textures).
Structure: binary, ternary, fugue, rondo, sonata, variation, etc.
Tonality: functional/non-functional/modal; modulation; use and location of different keys

(not to be taken as synonym for sound quality/timbre).
Forces/timbre: the instruments and voices used; the quality of sound produced (critical in
studies of Cage, World music)
Textures: monophonic, polyphonic, organum/parallelism, contrapuntal (free or imitative,

fugal or canonic); heterophony; antiphony; homophony; melody dominated homophony.
Candidates will be credited for distinguishing different types of texture, the number of
voices/parts involved, whether melody lines transfer from one part to another etc.
Expressions such as "thick" and "thin" do not receive credit.
Handling of voices/instruments: expression which denotes textures and also ranges,

idiomatic writing.
Idiomatic writing: strictly concerns writing for particular voices and instruments with
regard to ranges and aspects of performance technique (not to be confused with
compositional techniques).
58
1 Music for Large Ensemble (*)
(a) + (b) dim 7th chord: Chord made up of minor 3rds (1)
spanning interval of diminished 7th (1)
often built on leading note (1)
e.g. Haydn, p. 32, bar 13.
imitation: contrapuntal device (0.5)

in which a second melodic part copies a first (1)
while the first continues with its own, independent material
(1)
e.g. Bach, p. 20, bar 235 in solo violin and the two ripieno
violins.
ritornello: Baroque term (0.5)

literally “little return” (1)
a theme recurring (1)
in different keys (1)
or else the term used to describe the form of some Baroque
works (1), e.g. Bach, p. 7, bars 1-83.
tremolo: rapid reiteration (of a note) (2)

e.g. Debussy, p. 88, bar 11.
(c)
(i) saltarello rhythm (1)

drone/double pedal (1) [pedal: 0.5]
modality (1)
narrow range of melody (1)
acciaccaturas/crushed notes (1)
woodwind timbres suggesting rustic pipes (1)
[max 2]
(ii) Different keys (1) OR C major (1) - D minor (1)

Idée fixe enters on viola (1) - viola plays broken octaves (1)
Continuous quaver accompaniment (1) - crotchet length chords and rests (1)
Change in instrumentation (1) plus (1) for accurate detail
Dynamics (1) + (1) for specific detail
[max 4]
(iii) harmonics (1)
(iv) augmentation (1)
59
(d)
Bach:
Melody
Diatonic (1)
Built from broken chords (1) alternating with conjunct movement (1).
Motivic (1) plus (1) max for details
Sequences (1) plus (1) max for examples.
Wide range, especially in Violin (1) plus (1) for further detail.
Tonality
Functional (1), with drive to cadences (1), e.g. perfect cadence at bar 83 (1) [Allow one
example]
Use of pedal points (1), e.g. tonic at b. 325 (1) and inverted dominant pedal at 21 (1).
Circle of fifths (1), e.g. bar 175-180 (1)
Modulations used (1) to define ritornello structure (1)
Allow (1) for each new located key, e.g. E minor at b. 137 (1), A minor at b. 185 (1).
Tippett:
Melody
Combination of conjunct and disjunct writing in general (1).

Some lines inverted (1 + 1).
Occasional ornamentation (1 + 1)
Motivic (1) plus (1) max for details
Modal (1) plus (1) for each different type of mode/scale located, e.g. pentatonic scale in
violin 1 in bars 1-4 (1)
Tonality
Modal (1) (A minor). [No credit for A minor]

Mixed modes (1),
e.g. Aeolian elements (1) contrast with mixolydian elements (1).
Ambiguous tonality (1)
Tonality undermined by augmented triad (1) and wholetone elements (1) at b. 119 (1)
False relations (1 + 1)
Long-range modal cadence at close involving flat 7 – tonic (1).
Second subject gravitates to G (1)
Award credit for each new tonal area given: e.g. E (b. 68); C# (b. 80); F minor (b. 91); B
minor (b. 99); A minor (b. 103).
Performance circumstances:
Bach: intended for performance at court (1) but although dedicated to the Margrave of
Brandenburg (1), they were never performed there (1).
Tippett’s concerto was intended for concert performance (1), and first performed at
Morley College (1) in 1940 (1) by the South London Orchestra (1), a band set up under the
aegis of the London County Council to provide continuing playing opportunities for
unemployed professional musicians (1). [Max 4]
(Total 14)
60
2. 20th-century Art Music (*)
(a) + (b) inverted pedal: Note sustained or reiterated (0.5)

in upper part (1)
while harmonies change (1)
e.g. Stravinsky, p. 141, bars 10-12.
perfect cadence: two-chord progression (0.5),
consisting of V (1)
followed by (1),
e.g. Stravinsky, p. 139, bar 2, beats 2-3.
retrograde inversion: Term used in serial/12-tone music (0.5),

to signify that the prime order is performed both with
the music turned upside down (1),
and running backwards (1),
e.g. Webern, p. 162, bar 39, starting in sax with G - D
- G sharp.
rhythmic augmentation: when the note-values of a given melody are

lengthened (2),
e.g. Shostakovich, p. 165, bar 79-82.
(c) (i) ternary/sonata form/ritornello (1)
(ii) [mirror] canon (1) / inversion (0.5)
(iii) All on Saxophone (1) - presented in Klangfarbenmelodie/ on various

instruments (1)
Intervals are inverted (1), but rhythm remains the same (1)
[max 4]
(iv) very loud (1); widest range of pitches in work (1); densest texture (1)
[max 2]
61
(d) Rhythm & Metre:
Stravinsky
Traditional means (1)

with time signatures (1) subject to occasional change (1)
OR
with time signatures (1) + 1 for each described [but not copied out])
Syncopation (1 + 1 for example)
Repeated rhythmic patterns (1 + 1 for example)
Dotted rhythms (1 + 1 for example)
Quintuplets used (1 + 1), as well as other irregular groups (one more example)
Berio
Sequenza is rhythmically free (1),

being portioned out in ten-second durations (1),
with relative note lengths indicated by different ways of beaming notes and closeness of
notes on paper (1).
Textures:
Stravinsky
Varies from homophonic (1 + 1) to melody dominated homophony (1 + 1), sometimes with

Alberti figuration (1 + 1).
Variety also uses contrast of tuttis with much reduced forces, e.g. in 2 and 3 parts only (1
+ 1).
Some use of drones (1 + 1)
Some counterpoint in Stravinsky, with (short-breathed) imitation (1 + 1)
Berio
monophonic (1)
but enlivened by various timbral/voice production effects (1 + 2 max for examples)
[No credit for reproducing instructions on pp. 171-172].
62
3. Music for Small Ensemble (*)
(a) + (b) appoggiatura: unprepared (1)

dissonance (0.5)
on strong beat (0.5),
resolving upwards or downwards by step (0.5),
e.g. Haydn, p. 202, bar 13, B natural in Vn 1.
conjunct movement: stepwise melodic movement (2),

e.g. Holborne, p. 191, bars 1-13 in top part.
enharmonic change: alternative notation of a pitch (2),

e.g. Poulenc, p. 243, bars 36-37, trombone B natural -
C flat.
recapitulation: In Sonata form (1),
the final section (0.5),
i.e. the return of the exposition material (1),
e.g. Beethoven, p. 220, bars 154-245 [accept up to b.
250].
(c) (i) G - F - [G] - B flat - E flat

No credit to be awarded if wrong octave is given or the clef is missing
(4 x 0.5 = max 2)
(ii) same melodic outline in trumpet (1);

same texture (1)
same time signature (0.5)
different rhythm (1 + 1 for details)
different vertical alignment (1 + 1)
Major chord at start of b. 14 (1); minor at start of b. 15 (1)
Dynamics (1 + 1 for details)
Articulation (1 + 1 for details)
[max 3]
(iii) Ternary (1); accept also ABCA coda.
(iv) Interpolation of bars 48-55 (1) at bars 65 onwards (1)

[uses music from the middle section (1 only)]
Allow other specific differences
[max 2]
63
(d) Melody
• Holborne’s melodic writing is [very frequently] conjunct (1)

narrow in range (1)
and shows traces of modality (1 + 1).
• Corelli’s writing involves much conjunct writing
but also uses intervals of a 3rd much more (1).
Wider range (1)
Texture
• Holborne’s is mainly contrapuntal (1)

with some use of pedals (1 + 1).
Some imitation (1 + 1)
involving inversion (1 + 1).
Limited use of homophony [must be located for (1 + 1)].
• Corelli’s contrapuntal writing evident in imitation (1 + 1)
inversion (1 + 1)
stretto (1 + 1)
although the parallel 3rds sometimes seem more harmonic (1)
Instrumental Writing
• Holborne: non-idiomatic (1)

• Corelli uses 3rd position (1)
but rarely requires use of lowest string (1).
Much more agility required (1)
indicating greater brilliance of the violin (1)
and perhaps development of professional as opposed to amateur music-making
(1)
64
4. Keyboard Music (*)
(a) + (b) auxiliary note: non-harmony note (0.5)

involving stepwise movement (0.5)
moving away from and returning to the same melody
note (1),
e.g. Bach p. 249, bar 3, beat 1, 2nd semiquaver.
circle of fifths: harmonic progression (0.5),

in which the root (1) of each chord moves by a fifth
(1),
e.g. Bach, p. 252, bars 80-84.
exposition: the first part (1)

of a sonata form (1) movement.
Alternatively, the first part of a fugue (1)
in which all the parts/voices are introduced (1).
Sonata form: Mozart, p. 253, bars 1-63.
Fugue: Shostakovich, p. 263, bars 1-14.
parallelism: term often associated with medieval

music/impressionism (0.5), referring to the sideways
movement of chords as a whole,
e.g. Debussy, p. 261, bar 56.
(c) (i) mainly homophonic (1); modal (1)
(ii) melody line is an octave lower at bar 42 (2);

the harmony has changed (1)
chords at bar 1 are sevenths (1), whereas that at bar 42 is a major chord (1);
Every note of the melody in bars 1-4 is harmonised (1),
whereas Debussy uses a single chord in bars 42 and two in bars 43 and 45
(1). Detail of dynamics (max. 1).
[max 4]
(iii) chords at bar 23 are dissonant (1)

Those at bars 23 are quartal (1), whereas those at bar 56 are triadic (1).
They differ in density (1 + 1 for details)
[max 2]
65
(d) Melody
Bach
Diatonic (1).
Opens with a distinctive broken chord shape (1),
although extensive scalic movement also appears (1).
There is some chromatic alteration (1), e.g. flattened 7th in bar 2 (1).
Subject uses sequence (1 + 1 for precise location).
Mozart
melody marked by balanced phrases (1 + 1)

appoggiaturas (1 + 1)
mixture of conjunct and disjunct movement (1)
with leaps of 7th at bar 25 (1), octaves at bar 47 (1).
Some chromatic movement at bar 75 (1)
Interval of diminished 7th at bar 108 (1)
Melodic ornamentation applied (1 + 1 example only)
Structure
Bach
Binary form (1 + 2 for locating sections precisely)

Each section repeated (1)
First section closes in the dominant (1).
It has fugal elements (1 + 1 for each located device (e.g. subject, countersubject,
answer etc.)
Mozart
Sonata form (1).

Allow one for each located section (i.e. exposition, development, second subject
etc.,) and a further (1) for each located key.
[14]
66
5. Sacred Vocal Music (*)
(a) + (b) disjunct movement: when a melodic line moves by intervals of more than a
second/by leap (2),
e.g. Bach, p. 296, bar 1, vocal part.
dominant seventh: chord built on 5th step of scale/dominant (1)

with [3rd, 5th and] 7th above the root (1)
e.g. Haydn, p. 299, bar 1, beat 3.
gymel (or gimel): term associated with 15th/16th c. English music (0.5),
referring to the splitting of one vocal part (1)
into 2 voices (1) of equal range,
e,g, Taverner, p. 268, bars 43-47 in treble.
stretto: when entries of the subject in a fugal passage (0.5)

overlap themselves (2),
e.g. Haydn, p. 301, bars 32/33, tenor and soprano.
(c) (i) antiphony between soprano soloist and chorus (1)

homophony in chorus (1)
heterophonic instrumental bass part in relation to vocal bass at bar 3 (1)
(ii) fugato (1)/ (double) fugue (0.5)
(iii) tonic pedal (1); perfect cadence (1)
(iv) alto sustains the dominant/A in second version (1)

tonic pedal in accompaniment bass moves up an octave (1) [max 1]
(v) To celebrate the name-day (0.5) of Princess Maria Esterhazy (0.5)
67
(d)
Rhythm:
Taverner
Restricted range of note-lengths (1)

steady duple/quadruple pulse/tactus (1).
Change of metre (1) to triple (1) at b. 31.
Bach
Movements I/IV have a clearly defined triple pulse (1),

II is in free time (1),
the chorale has a quadruple pulse (1).
Rhythm of I involves hemiola (1), e.g. at bars 42-43 (1).
A frequently repeated two-bar rhythmic pattern (1)
Rhythm of IV has a frequent dotted note figure (1)
Melody:
Taverner
Relatively narrow range (1),

using major scale (1)
with some modal inflections (1);
leaps usually followed by step movement in opposite direction (1).
Bach
wider leaps are evident, e.g. 6th and 7ths (1 + 1).

There is a more angular/“instrumental” style of writing in e.g. I/IV (1).
Chorale more conjunct (1).
Recitative much more angular (1),
with diminished 7ths (1),
appoggiaturas (1)
and augmented 4th (1).
Taverner: (votive) antiphon (1) for St. William, 12th c. Archbishop of York (1),
intended for performance at Christ Church/Cardinal College, Oxford (1) ,
founded by Wolsey, to whom there is also a reference (1).
Bach: intended for performance before the sermon (1) at Lutheran Church (1)
on the 19th Sunday after Trinity (1).
[Max 4]
(Total 14)
68
6. Secular Vocal Music (*)
(a) + (b)melodic dim. 12th: Octave and fifth (0.5)

which is a semitone narrower than compound perfect
5th/tritone (1.5),
played on successive notes (0.5)
e.g. Schoenberg, p. 365, bar 10, flute.
sequence: repetition (0.5)

at a different pitch (1)
in same part (0.5),
e.g. Monteverdi, p. 355, bar 49 (beat 4) to bar 51 (beat 3).
tonic pedal: first note/tonic of scale sustained or reiterated (1),

while harmony changes (1),
e.g. Haydn, p. 359, bars 1-2.
turn: allow 0.5 if sign given.

ornament (0.5),
involving upper neighbouring note (0.5), note itself (0.5),
lower neighbouring note (0.5) and note itself (0.5) [must be in
right order for credit],
e.g. Schubert, p. 361, bar 21, vocal part.
(c) (i) ballett (1); madrigal (0.5).
(ii) renaissance (1); syllabic (1)
(iii) syncopation (1)
(iv) diminished 5th / tritone [between soprano I and bass] (1); [4-3] suspension
(1)
(v) canon/imitation (1); the top two parts are exchanged (1)
69
(d) Structure:
Schubert
Through-composed (1),
though clearly divided into sections which correspond with the stanzas (of Heine’s
poem) (1), e.g. 5-22 (1), 25-42 (1) 43-56 (1).
The first two stanzas are in B minor (1)
the last one modulates to D sharp minor (1)
before returning to B minor (1)
and closing in B major (1).
Musical cohesion results through the use of ostinato-like repetitions (1).
Vocal line initially consists of two-bar phrases (1 + 1 for further details about
subsequent departures from this pattern)
Schoenberg
Verse patterns are ignored (1) and phrase lengths are irregular (1 + 1 for specific
details).
The refrain of the verse is not matched by musical repetition (1).
Through-composed (1), the verses separated by rests (1), i.e. bars 1-8 (1), 11-19
(1), 21-26 (1)
Occasional short term repetition (1), e.g. bars 14-15 (1) and 23-25, where there is
repetition at first in b. 24 (1), then augmentation in b. 25 (1).
The music is highly chromatic/atonal (1),
so key is not used in definition of the structure (1)
Performing Forces:
Tenor/baritone solo (1) and relatively low-pitched (1) piano in Schubert.

untraditional reciting part (1) using sprechgesang (1) with only flute
accompaniment (1) in Schoenberg.
Schubert’s song would have been performed privately (1), whereas Schoenberg’s
piece was first performed in Berlin in October 1912 (1) at a concert (1) with the
instrumentalists concealed behind a screen (1). The vocal performer - Albertine
Zehme (1) - was known more as an actress (1) than a singer.
[max 4]
(Total 14)
70
7. Music for Film and Television
(a) + (b) bitonality: use of two keys (1)

simultaneously (1),
e.g. Bernstein, p. 386, bar 108.
flattened 7th: seventh note/leading note of scale (1)

lowered a semitone (1),
e.g. Horner, p. 449, bar 43 (F natural).
monophony: single melodic line (2),

e.g. Bernstein, p. 374, bar 1.
syncopation: off-beat (1)/displacement of stress from strong to weak beat

(2),
e.g. Bernstein, p. 377, bar 50, beat 3.
(c) (i) motivic development (1) non-functional harmony (1)
(ii) same pitches are used (1),

but whereas bars 1-6 had long, drawn-out presentation (1),
with no more than 3 notes sounding simultaneously (1),
bars 98-99 introduces 4 pitches (1) as a chord (1),
and changes chord spacing and bass (1).
Instrumentation differs (1) with addition of oboe and horn (1)
[max 4]
(iv) Chromatic note/A flat introduced (1)
Quite loud accented note in oboe (1)
[max 1]
(iv) No third in the chord (1).
71
(d) Bernstein:
Rhythm
Andante opens (1) with relatively long note-values (1),

and uses triplets (1 + 1 for location)
The Presto (or bar 21) (1) is built on alternating duple and triple rhythmic patterns
(1).
Rhythmic ostinato from bar 40 (1).
The sax solo uses a scotch snap type of rhythm (1 + 1),
with some cross rhythm/syncopation (1) at bar 50 (1).
Bar 78 (1) is homorhythmic (1)
Bar 89 (1) Long notes with quaver side-drum rhythm (1)
Bar 108 (1) long notes now contrast with rapidly-reiterated notes in woodwind and
brass (1).
Tonality:
Andante opens in F minor (1),
reinforced by a tonic pedal at bars 13-17 (1).
It closes in F major (1).
Presto is initially in G minor (1),
but the low timbres, linear layering/”fugal” writing in percussion militates again
against perception of vertical structures and key (1), especially as the tritone (G - C
sharp) is prominent (1).
Bar 106 (1) Bitonality (1), based on B major (1) and F major (1).
Williams:
Rhythm
Main theme is characterized by recurring two-bar rhythmic pattern (1),
a (double) dotted rhythm at the close (1),
a regularly pulsing accompaniment (1).
Triplets (1) appear at b. 75 (1).
Tonality: More traditional tonal relations (1). Key of C major (1),

with chromatic inflections (1 + 1 for location).
Modulations (1) with e.g. B major at bar 25 (1).
Bar 34: G major (1).
Bar 55: C major (1).
Other devices include V pedal at bars 69-71 (1), and use of Lydian mode/raised 4th
at bar 75 (1).
72
8. Popular Music and Jazz
(a) + (b)acciaccatura: ornament (0.5)

of very short duration/crushed (2),
indicated by a note in small print with diagonal through stem
(0.5),
e.g. Waterloo Sunset, p. 483, guitar, bar 4.
bridge: contrasting/linking (1) section (1),

perhaps leading to chorus (1),
though can be applied to contrasting phrase in verse (1)
e.g. Waterloo Sunset, p. 484, bars 17-20.
Accept also: Day in the Life, p. 491, bars 47-57
You can get it, p. 499, bars 36-43
Don’t look back in anger, p. 510 bars 13-24
stride bass: style of piano playing (0.5)

in which the Left hand part alternates between a low bass on
main beat (1) and higher chord on weaker beat (1),
e.g. West End Blues, p. 463, bars 43-44.
bvox: backing vocals (2), e.g. Waterloo Sunset, page 483, bars 9-24.
(c) (i) pentatonic (1)
(ii) AABA (1)
(iii) descending line (1) as opposed to climax/high note (1);

mainly one bar phrases (1) as opposed to broken lines (1)
primary (1) as opposed to secondary chords (1)
Different chord pattern (1)
Any substantial difference of instrumentation (2)
Sequence in first phrase of melody (1)
[max 4]
(iv) same pitch outline (1) / treated heterophonically (2)
73
(d) Melody:
Four is a mixture of conjunct and disjunct (1),

notated in E flat (1)
but with considerable chromaticism (1),
virtuosic with wide range (1), e.g. top F (1),
with numerous characteristic “ornaments” (1),
e.g. blue notes (1 + 1 for location), glissandi (1 + 1 for location), half-valving (1 + 1
for location), ‘ghost’ notes (1 + 1 for location) [max. 4]. No mark just for pitch
bends.
Melodic line proceeds by way of thematic substitution rather than repetition (1).
ILY has a repetitive melody (1)

in G minor pentatonic (1)
with blue notes (1 + 1),
mainly descending figures (1),
presented in a fragmentary manner (1).
Some improvisation (1)
The guitar melody ornamented with slides (1)
Ornaments (1 + 1 for location)
Performing Forces:
Four uses bebop forces (1) (of trumpet, tenor sax, piano, bass and drums); no vocal
(1)
ILY: requires harmonica (1) in addition to voice (1), guitar-driven (1).
[max. 4]
Performances circumstances:
Four was recorded at a live concert (1) in New York in 1964 (1)
I’m Leavin’ You was a studio recording (1), indicated by fade-out (1).
(Total 14)
74
9. World Music
(a) + (b) jhala: third/final part of Rag (1),

involving the tabla (1)
e.g. Rag Bhairav, p. 520, line 19 onwards.
quintuplet: group of five notes (1)
played in time of a beat usually subdivided into 3 or 4 (1)
e.g. Rag Bhairav, p. 520, line 20.
tal: the rhythmic (1) system/cycle (of a Rag) (1)
e.g. Rag Bhairav, p. 520, in lines 19-20, and thereafter, the start of
each tal being marked by the X under the notes.
trill: ornament (0.5),

involving rapid alternation (1)
of the printed note and its upper neighbour (1),
usually indicated with tr and/or a wavy line (0.5),
e.g. New Irish Barndance, p. 531, bar 81.
(c) (i) syncopated (1); tonal (1)
(ii) calypso (1)
(iii) tremolo (1)
(iv) drums/drum kit [accept percussion] (1)
(iv) a descant line is added (1)
(vi) Four bar phrase (17-20) [1] followed by five (21-25) [1]
75
d) Forces & Function:
Rag:
Drone supplied by tampura (1);

sarangi supplies melodic material (1) of Rag (1),
subject to improvisation (1) and increasing activity (1).
Characteristic devices involve: rapid scales (1) and glissandi (1).
The Tabla provides the rhythmic element (1),
drawing on the tintal (1), consisting of 16 beats (1)
composed of four sets of four (1), coming in at start of jhala (1).
Agbekor Dance:
Limited pitch material is provided by the gankogui (bells) (1)

the work being essentially rhythmic/polyrhythmic (1),
and composed of a series of ostinati patterns (1).
Progress controlled by the atsimevu (1),
changes signalled by various changes of timbre (1)
e.g. sticks being used on wood of drum (1).
Rag intended for performance at dawn (1),

as chamber music (1),
the audience seated on floor with performer (1).
Agbekor Dance was originally a ritual war dance (1),
now performed as entertainment/display (1)
[max 4]
(Total 14)
76
Composition (6704/41)
The criteria are a)-d) as shown below. Each composition continues to be marked out of 60.
The descriptors areas follows.
14-15 Excellent 5-7 Competent

11-13 Confident 3-4 Basic
8-10 Controlled 1-2 Limited
General guidance
Expectations will be higher in Paper 41 than in Paper 22.
Two pieces must be submitted in two different topics. It is expected that there will be some
contrast in approach between the two (although they may be in the same style). If they are similar
to the extent that the variety of the folio has been compromised (or if both pieces are submitted
under the same topic) then the second piece will not earn a high mark under Quality of Outcome.
The latter case would constitute a syllabus infringement and must be notified to the Assessment
Leader at Edexcel.
77
a) Presentation
Excellent A presentation of the score and/or recording which is excellent in all respects.
14-15
Confident Presented as an extremely well written score/recording with attention to detail.
11-13 score includes phrasing, articulation, expression marks.
recording well balanced, with tonal and dynamic contrast.
Controlled A neat score and/or accurate recording that could be read at sight with sufficient
accuracy to realise the candidate’s intentions.
8-10
some minor mistakes or omissions in the score .
a recording which is for the most part clear despite some minor misjudgements.
Competent Presented in an appropriate form which is mostly accurate.
5-7 a score with some mistakes (consistently omitted phrasing, articulation marks).
a recording with some technical mistakes (minor distortion, poor balance).
Basic Presented in a form in which an attempt has been made to notate or record most of the
work's important features.
3-4
an untidy score or one in which significant detail (dynamics, stave labels) is omitted or
with frequent elementary mistakes but which is otherwise readable.
a recording in which significant misjudgements affect clarity although most of the
piece is audible.
Limited Presented in a form in which some of the work's features have been notated or
recorded.
1-2
a score in which significant portions have been omitted or are illegible.
a recording in which significant portions are inaudible or distorted.
b) Quality of outcome
Excellent Exciting and/or original, showing thorough mastery of compositional elements.
14-15
Confident An ambitious and creative realisation of the work's initial ideas.
11-13
Controlled A satisfying end product in which any minor shortcomings do not detract from the overall
impression.
8-10
Competent A serious attempt at the task although the overall impression may be marred by some
obvious technical problems or formulaic/limited material.
5-7
Basic An attempt to realise and develop ideas in parts of the work although these may be
compromised by a lack of sophistication or serious technical deficiency or brevity.
3-4
Limited Shows little evidence of competence; seriously under-length or sustained by excessive
repeats.
1-2
78
c) Use of Resources (deemed to include ICT where appropriate)
Excellent An imaginative mastery of instruments, parts and ensemble.
14-15
Confident The candidate demonstrates a sense of instrumental idiom with secure
management of textures.
11-13
Controlled Effective handling with occasional misjudgements but lacking in imagination

in some areas.
8-10
Competent An attempt to deploy the resources in a functional manner; the parts are
broadly playable but they are not fully exploited.
5-7
Basic An attempt to realise the potential of the resources although there may be
significant errors, unidiomatic or unsympathetic writing which compromises
3-4
the work.
Limited Little or no evidence of an attempt to realise the potential of the resources;
writing will be inept or parts unplayable for significant portions of the work.
1-2
d) Coherence
Excellent An imaginative and authoritative command of formal procedures.
14-15
Confident An assured and satisfying sense of structure constituting a well-balanced
whole.
11-13
Controlled A satisfactory use of basic structures appropriate to the style.
8-10
Competent An attempt to provide structure and coherence although the result may be
marred by predictable, formulaic structures or over- repetition.
5-7
Basic Some structural elements are evident but generally lacking in flow, balance
or variety.
3-4
Limited No apparent attempt to provide structural features.
1-2
79
Notes
Presentation
• Examiners may bias their assessment towards the score, the recording, or they may
assess both equally.
• In a compositional style where a written score is the norm most marks will be
awarded for notation.
• Where recording is the norm, and less emphasis is given to a score (e.g. club dance)
most marks will be awarded for the recording.
• Where is it possible to submit work in either form (e.g. popular songs or film music)
the examiner will arrive at an aggregate mark, concentrating on the stronger
format submitted by the candidate.
• A mark in the highest band may not be awarded if the quality of one of the formats
is seriously compromised.
• Failure to submit either a score or recording is a syllabus infringement and must be
notified to the Assessment Leader at Edexcel. In these circumstances examiners
should arrive at the best assessment they can on the basis of the material
available.
• The assessment of the recording will only take account of its technical quality
(clarity, balance etc), not the performance or realisation of the composition.
Quality of Outcome
Pieces which are significantly under-length are unlikely to gain high marks.
The total duration for both pieces is 6 minutes. There is some scope for flexibility in the
division of this although extreme cases (e.g. one piece lasting 5 minutes and one lasting 1
minute) are normally unacceptable unless there is good musical reason. Examples of this
might be a Webernesque study or a short TV theme paired with something longer.
Notes on the topics

The topics are not composition briefs. Compositions submitted by candidates may be a
‘loose fit’, indeed some candidates tick the wrong box on the authentication form for
which there is no penalty. Generally compositions should be assessed on their own merits
although some topics (e.g. film and club dance) imply certain conventions. Examiners will
have to exercise discretion in deciding if these conventions have been met and if it is
appropriate for this to affect marks given under Quality of Outcome.
Variations
Can be a theme and variations or a fantasia-type piece. Candidates who employ a theme
by another composer and stick slavishly to the original structure and harmony are unlikely
to receive a high mark.
The topic may also include minimalism, serialism and ground bass pieces (in any style).
Romantic Miniatures
There is no requirement for the piece to be in a Romantic idiom or to employ 19th century
harmonic procedures. Compositions may be character pieces in any style (Debussy
Preludes, Schonberg Klavierstucke). It is permissible to submit two or more short (but
related) pieces.
Neo-Classicism
For the purposes of this examination this topic is often legitimately used as a ‘catch all’
for pastiche composition as well as work in the 20th century neo-Classical tradition. It is
permissible to submit pieces in movements, or a suite.
80
Post Modernism
This tends to be a ‘catch all’ for pieces in a 20th century style although most are
minimalist. Minimalist pieces in which ostinati are slavishly cut, pasted and looped using a
computer are unlikely to earn high marks. Look for imaginative systems, textures, rhythmic
interest.
The popular song

The best songs will have a well-focused backing or ‘feel’. There may be a strong stylistic
element. The ‘singability’ or commercial appeal of the song may be credited although the
expectation is that candidates should show musical resourcefulness across the various
criteria and these need to be satisfied to earn an overall high mark.
Club Dance and Hip-Hop

There may be a stylistic element but bear in mind that many pieces tend to be ‘hybrids’.
Candidates are asked to identify processes and samples used. If you suspect that the piece
has been compiled using proprietary club dance software (such as Dance E Jay) seek the
advice of a team leader or ask the centre for clarification. At this level candidates are
expected to process their own samples if they expect to earn a high mark.
Fusions
The nature of the fusion may be abstruse or obvious. If does not need to be a perfect mix
but to gain high marks it needs to be convincing. Give credit to brave candidates who
attempt difficult tasks – there is an element of experimentation in all stylistic cross-overs.
Film and TV
A suite of extracts in the form of a library is permitted. Many candidates omit reference to
the intended film and in this case examiners are asked to assess the piece on its merits and
ask the question ‘Does this music create a suitable frame of mind to accompany motion
pictures?’ A piano reduction of the score is permitted (in line with industry practice) but
the recording would need to be clear.
Music Theatre
The best compositions will suggest a strong theatrical context. However, many candidates
tend to submit anonymous love songs or popular songs and these must be assessed on their
merits. It is permissible to submit a score in song sheet form.

This check is to be used to review the marking of each piece holistically; to refine, confirm
or modify the total mark given for the detailed descriptors.
submissions indeed.
81
Recital (6704/42)

Some pitches and/or rhythms are accurate for a few beats at a time. 1
Some pitches and/or rhythms are accurate for a few bars at a time: a halting
2
performance.
Some accuracy and fluency is achieved, but there are serious defects of intonation,
rhythm or tempo throughout much of the performance. (If there are two serious 3
defects then award an accuracy mark of 2.)
More accuracy and fluency is evident, but the playing is rough and ready with many
4
anxious moments
Either accurate in the easier sections of the piece or wholly accurate but at a slower
5
tempo.
Broadly accurate and fluent for the majority of the piece. 6
Competent playing, but there are some obvious mistakes. 7
Good accuracy with only a few small errors which do not affect the flow. 8
Very good accuracy; only the slightest of rhythmic or intonational slips evident. 9
Excellent accuracy; no more than one or two tiny deviations from the score. 10
Assessment of interpretation Mark

The tone is very weak and undeveloped. 1
Some continuity of tone is evident, but musical qualities are difficult to find. 2-3
There is a basic tone, but little contrast is achieved nor is the legato secure. 4-5
Generally acceptable tone; some attempt at contrast, but phrasing needs more
6-7
control
Well-focused tone across most of the pitch range; some effective dynamic contrasts
8-9
and articulation, but phrasing not always convincingly shaped. Broad grasp of style.
Good tone (except perhaps at the extremities or at moments of technical difficulty);
10-11
most musical details observed and a sense of style.
Good tone throughout the pitch range; effective dynamics, secure phrasing and a
12-13
good sense of style.
Excellent tone; vivid dynamics, subtleties of phrasing and imaginative
14-15
interpretation. Strong sense of authority and communication.
82
The improvisation meets a few of the criteria. The performance keeps going for only a limited
1-4
length of time.
The improvisation consists of much repetition and the most simplistic variation. There are
5-7
frequent stops and hesitations. It does not last for the expected duration.
There is some exploration of the possibilities of the given material but frequent hesitations, or
the inability to sustain the improvisation for the expected duration, or major inconsistencies of 8-9
style, seriously compromise the effectiveness of the playing.
This is modest work, perhaps dependent upon cliché, but with some feel for style and 10-11
direction. The student is able to sustain the work for the expected duration, despite a limited
vocabulary and some hesitation.
There is reasonable fluency, despite occasional hesitation. There is a basic sense of shape and 12-13
development, even though the work may be a little repetitive and lacking in variety or real
unity
The performance is fairly fluent with few hesitations. There is a sense of purpose and design in 14-15
the performance with a good realisation of the potential of the given material. The student
makes use of a range of playing techniques.
The playing is fluent, with no significant hesitation. It has unity and variety and is well 16-17
balanced, producing a consistent style. There is some degree of imagination in the
development of ideas and a sense of involvement with the work.
The performance is fluent and free of hesitation, consistent in style with imaginative ideas. It 18-20
demonstrates an effective development of ideas with awareness of points of climax and points
of repose. A convincing performance.
The playing is fluent, consistent and imaginative with an excellent sense of overall shape. It 21-25
demonstrates an ability to exploit both the original ideas and the potential of the instrument to
musical effect. It shows a real sense of involvement.

The performance does convey at a very minimal level some of the intentions of the composer in
1-4
the very easiest passages.
There is some evidence of basic and partially developed technical and interpretative skills, but
5-7
there are serious weaknesses throughout the performance.
The performance shows musical qualities in the easier sections of the piece, but it does not
8-9
reach an acceptable standard at this level.
The most obvious stylistic characteristics are understood and basic accuracy and co-ordination
10-12
are sufficient for this work just to reach an acceptable standard at this level.
This is generally solid work with limited maturity, assurance and technique to cope with some of
13-15
the problems.
This is secure work, showing a conscientious approach despite the occasional weakness. 16-18
This is well-prepared work with few flaws, showing an awareness of style and presentation. 19-21
This is first-class work, showing excellent preparation, real security and sensitivity. 22-25
83
Difficulty Levels
‘Grade 5’ ‘Grade 6’ ‘Grade 7+’

0 0 0 0
1 1 1 1
2 2 2 3
3 3 3 4
4 4 4 5
5 4 5 6
6 5 6 7
7 6 7 8
8 7 8 10
9 8 9 11
10 9 10 12
11 9 11 13
12 10 12 14
13 11 13 15
14 12 14 17
15 13 15 18
16 14 16 19
17 15 17 20
18 16 18 21
19 17 19 22
20 18 20 24
21 19 21 25
22 20 22 25
23 21 23 25
24 22 24 25
25 23 25 25
84
Short Recitals
If the recital is shorter than 18 minutes:
Multiply the raw mark by t/18,

where t = number of complete minutes
a recital of 17 minutes 45 seconds = 17/18
a recital of 12 minutes 3 seconds = 12/18
NB The total performance time includes all announcements, applause, tuning-up etc.
Programme Notes
• Candidates are required to create a well-balanced, coherent and varied programme.

• If the programme is notably imaginative, and the candidate’s programme notes are
well-written showing clear planning skills and a personal response to the music and/or
order of performance then examiners should add one extra mark on to the final mark.
• If there are no programme notes, or only very sketchy ones, or the programme is
clearly a haphazard assortment of unrelated pieces with no attempt to link them in the
programme notes then examiners should deduct one mark from the final mark.
85
Compositional Techniques (6705/51)
The mark scheme begins by setting out the allocation of marks in terms of the criteria
given in the specification. There follows detailed guidance on each option. NB Presentation
marks are in a separate section near the end. The mark scheme ends with guidelines for
holistic checking.
A (i) Baroque Counterpoint

Presentation: 5
Style: see under Rhythm
Resources:
Harmony,
Melody: 35 together
Rhythm: 20 together with Style
A (ii) Minimalism
Ideas: 10
Presentation: 10
Style: 10
Structure: 10
Melody: 10
Rhythm: 10
B (i) Chorale
Presentation: 5
Style: 20
Resources,
Structure,
Harmony,
Melody: 35 together
B (ii) Pop song

Presentation: 5
Style: 10
Resources,
Harmony: 25 together
Melody: 10
Rhythm: 10

Presentation: 5
Style: 10
Rhythm: 10
Resources: 5
Harmony,
Melody: 30 together
C (ii) Serialism
Presentation: 10
Style,
Rhythm: 15 together
Resources: 15
Harmony: 10
Melody: 10
86
Ideas: 10
Presentation: 10
Style: 10
Structure: 10
Resources,
Timbre: 20 together
D (ii) Electro-acoustic music

Ideas: 10
Presentation: 10
Style: 10
Structure: 10
Resources,
Timbre: 20 together
_________________________________________________________________________
Detailed Guidance on Individual Tests
Criteria have been dealt with in the order in which you are likely to address them, which
may differ from the order based on the specification and shown above.
87
Resources, Melody and Harmony Marks out of 35 are to be awarded as follows.
Award 1 mark for each crotchet beat that has to be completed in bars 6-10 and 12-20 (with
1 mark only available in bar 20) if the figuring has been interpreted correctly and there are
no part writing problems.
Award 0.5 where

there are two figurings on a beat, and one is realized correctly, the other is not.
NB this refers to contexts such as 122, not to figurings such as 7 6 at 191 (though
193 and 194 may still earn one mark each).
Do not award 0.5 if

there is a part-writing error. This will result in a mark of 0. (Obviously a beat
that receives 0.5 from the point of view of figuring, gets 0 if there is a part-
writing error as well)
The mark may be withheld, notably where any of the following are true:
• the note sounded on the beat contradicts the given figuring UNLESS a
‘contradictory’ semiquaver is used effectively
• a note later on in the beat contradicts the given figuring (in other words, it is not a
legitimate embellishment)
• consecutive 5ths, 8ves or unisons occur during the beat, or onto the beat
• undesirable exposed 5ths or 8ves occur during the beat, or onto the beat
• a previous leading note has not risen when it could reasonably have been expected
to have done so
• a leading note has been doubled unnecessarily
• a note is outside the range of the chosen instrument: but NB a candidate should not
lose more than
• marks by this means. If no instrument is named, assume the candidate is writing for
a violin
• a dissonance is unprepared or unresolved
• an augmented interval (or other unsuitable melodic interval) occurs during the
beat, or onto the beat
88
Your total out of 53 must be converted to a mark out of 35 by deducting marks as shown on
this table (in the case of half marks round down before using the table):
53 = 35
52 = 34
51 = 34
50 = 33
49 = 32
48 = 32
47 = 31
46 = 30
45 = 30
44 = 29
43 = 28
42 = 28
41 = 27
40 = 26
39 = 26
38 = 25
37 = 24
36 = 24
35 = 23
34 = 22
33 = 22
32 = 21
31 = 20
30 = 20
29 = 19
28 = 18
27 = 18
26 = 17
25 = 16
24 = 16
23 = 15
22 = 14
21 = 14
20 = 13
19 = 12
18 = 12
17 = 11
16 = 10
15 = 10
14 = 9
13 = 8
12 = 8
11 = 7
10 = 6
9=6
8=5
7=4
6=4
5=3
4=2
3=2
2=1
1=1
You must deduct 2 further marks from the final mark out of 35 if no instrument is
specified.
89
Style and Rhythm Marks out of 20 are awarded as follows.
Each of the five following passages that candidates have to complete has been allocated 4
marks for Style. The five passages are bars 6–7; 8–10; 12–14; 15–17; 18–20. Award for each
as follows.
4 The passage carries on well from the preceding given material; connects well to
what follows, and is clear and logical throughout. Intervals above the bass not only
satisfy the figuring, but are appropriate throughout. The passage is effective in
terms of tessitura. It is unlikely that a mark of 4 will be awarded where the
candidate has received less than full marks for Resources.
3 The passage is generally effective, but there may be specific reservation(s), for
example, a less than efficient join at the start, a single note out of range, a bare
octave where not appropriate. Mark for Resources, etc. likely to be maximum or
near maximum.
2 A reasonable attempt. Some feeling for continuity and shape, but may be
unconvincing as a whole. Perhaps there is significant technical error. Except in the
case of bars 19–21, a mark of 2 or above is unlikely if there is no semiquaver
movement. There is no need for extended or continuous semiquaver movement,
however.
1 There is little to commend: the line has little shape, or much of it is ungainly.
Almost certainly much technical error.
0 The work is very incomplete, or not attempted OR There are no marks at all for
Resources, etc. OR A very weak working indeed.



incompleteness OR Completely accurate, but – while always legible – somewhat
unattractively presented OR Work which is incomplete, but not as seriously so as
defined under ‘2’ below.
least one place OR Work which is seriously incomplete (less than half of the
required work having been submitted).

90
scores)
The following should be taken into consideration:

4. Beaming

submitted)OR Work which is seriously incomplete (all figuring having been omitted
in Ai; or the first eight bars and/or all chord symbols omitted in Bii; or all text
omitted in Ci)

_________________________________________________________________________
91
A (ii) Minimalism
1 For a full submission (at the given tempo probably = approx. 30 bars of ¾ time, or
92 crotchet beats if the time signature varies). This bar count includes the given
material. Do not be too legalistic about length, and make sure you time any
recording that is submitted. If the work is full length only on account of much
straight repetition, it belongs in the next category.
0 For a short submission (27 bars or less or 81 beats, including the given material).
Continue to award as follows:
listener: this will probably, but need not, correspond with some standard formal
structure.
Finish as follows:
3 A really effective ending.

2 A good ending.
Melody You should be looking for a reasonable melodic range in the top part particularly,
and – this is important – some variety tonally and effectiveness harmonically (for
harmony/tonality is not a separate criterion)
10,9 Plenty of interest, tonal variety and harmonic effectiveness, making a successful,
well-controlled piece.
4,3 Limited success, perhaps in a short submission. Some rough moments.
2,1 Hardly anything to commend – probably (almost) entirely very closely based on the
model (i.e. literal repetition); or very awkward and unpleasing.
92
Rhythm You should be looking for controlled, purposeful variety. Although metre changes
may be included, they are not essential to the achievement of the highest marks.
10,9 Plenty of interest, variety, making an effective, well-controlled piece.
4,3 Limited success, perhaps in a short submission. Probably several rough moments.
2,1 Hardly anything to commend – probably (almost) entirely based very closely on the
model (i.e. literal repetition); or very awkward and unpleasing.
Ideas The key question under Ideas is: how far does the candidate manipulate, extend or
develop the given opening and/or provide relief to, and contrast with, it? Do not consider
here how effectively ideas have been used: under Ideas you reward simply any
inventiveness, but be careful not to over-reward sheer unstructured diversity.
In particular look for the following:
• effective harmonic change

• extension or abbreviation of bars / other rhythmic change
• some ideas / developments that provide real contrast (with an avoidance of the
merely bizarre)
• significant changes of texture (including effective use of rests)
10,9 Remember that ‘developments’ might include a purposeful use of inversion,

retrograding, expansion of intervals, etc. (rather than just the very occasional or
casual employment of such devices)
full length (detailed under structure)
plenty of inventiveness: normally must contain most or all of the above
features:
8,7 full length

plenty of inventiveness: see list above: probably clear evidence of three
features
6,5 full length or close

some inventiveness: see list above: probably clear evidence of two features
4,3 full length, or close

limited inventiveness: see list above: probably clear evidence of one feature /
limited evidence of two or more features
overuse of given patterns, but not to complete excess
2,1 almost certainly a short submission

mostly repetition of given patterns
0 very short indeed

entirely repetition of given patterns
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should be the mean of the other descriptors apart from Presentation, unless you see – and
describe in a brief written statement – a case for doing something different. For example,
6 for Ideas, 6 for Structure, 8 for Melody and 2 for Rhythm would normally give a Style
mark of 5.5 (round up to 6).
NB deduct 2 marks if no instruments have been named, 1 mark if only one or two are
named.



incompleteness OR Completely accurate, but – while always legible – somewhat
unattractively presented OR Work which is incomplete, but not as seriously so as
defined under ‘2’ below.
least one place OR Work which is seriously incomplete (less than half of the
required work having been submitted).

94
will be some incompleteness. The tempo marking is, of course, mandatory and may
be assumed to be there if not actually written on the score. There must be some
dynamic markings, and some articulation.

incompleteness. This may involve the omission of all dynamics OR the omission of
all articulation.

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B (i) Chorale
Resources, Structure, Harmony, Melody Award 2, 1, or 0 marks for each chord that has
to be added, expecting there to be a chord on each crotchet beat and on each pause
chord: 35 chords in all. Operating the scheme below for this component will give a mark
out of 70. This mark out of 70 should be halved, any half marks to be rounded down.
For each of the 35 chords, award 2 marks if
BOTH (a) the choice chord is ‘correct’ in terms of common practice harmony.
AND (b) there are no part-writing faults associated with it.
You should award 1 mark instead where one of the following is true:
THERE IS one problem of part-writing, notably one of the following:

• a single set of consecutives or exposed 5ths/8ves terminates at that beat or falls
within it
• a dissonance is wrongly treated at that point
• an augmented melodic interval or some other clearly unsuitable interval ends there
or happens within the chord
• there is no third in a five-three
• the fourth above the bass in a six-four is doubled
• any other type of dissonance is doubled
• a leading note is doubled [NB the third of a five-three other than V may be doubled
if sensibly handled]
• parts overlap in a way other than those customarily allowed by Bach
• a chord is repeated (same inversion) from weak to strong except at the beginning of
a phrase (usually a tonic chord)
• a bass note is repeated from weak to strong unless the bass note becomes a
dissonance
• there is more than an octave between S,A or A,T without clear justification
• there are too few or too many notes (in one or more parts) to accommodate the
number of syllables to be sung
• a note is outside the range of a voice: but NB a candidate should not lose more than
3/70 marks by this means
• hiatus at bar 8, beat 2 (i.e. no movement on the first quaver of this beat)
• note of resolution sounding against suspended dissonance (unless in bass)
OR the chord is unsuitable rather than actually wrong (‘u.c.’): for example, in V IV the IV
will be unsuitable if the outer parts do not proceed by contrary motion. Straight repetition
of a chord will result in a mark of 1 for the repetition, except between phrases or across
the first barline of a phrase.
OR there is clearly a wrong note in the chord (‘w.n.’): for example,

• with C in the bass and G B D above it, the candidate must have meant G but didn’t
write it and cannot therefore expect full credit
• a chord has an accidental missing
OR one part is omitted: that is, one part is absent (e.g. the chord has treble, alto and
bass, but no tenor)
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You should withhold marks altogether where one of the following is true:
THERE ARE two problems of part-writing
OR the chord is very unsuitable (‘v.u.c.’). ‘Very unsuitable chord’ (‘v.u.c.’) – most
commonly means
• an inappropriate six-four
• a diminished triad (notably VIIa)
• an augmented triad
Where there is a ‘v.u.c.’, the next chord (unless itself obviously very unsuitable) is
assumed to be suitable. You may penalize consecutive or exposed 5ths/8ves/unisons and
overlaps at such a point, but not other errors including unsuitable melodic intervals.
OR there is a ‘u.c.’ and one part-writing fault
OR two parts are missing from a chord: that is, a chord has, for example, treble and bass
only (with no alto or tenor)
OR there are multiple problems
Style Award 1 mark for each of the following up to a maximum of 20:
• an effective passing note (not one that generates or completes consecutives or one
that sounds weak or uncharacteristic): maximum 8 marks. You may award 2 marks
at a beat where two effective passing notes occur simultaneously
• a correct suspension
• a LN that moves appropriately to a note other than the tonic at a cadence provided
that the approach is also suitable: maximum of 2 marks for leading notes
• each chord other than a 5/3, 6/3, 6/4, 7/5/3 that is awarded 2 for Resources–
especially remember II7b!
• any appropriate chromaticism
• a positively good bass line throughout a complete phrase in bars 24–10 indicate this
as ‘tick B’. If the bass is involved in any consecutives with the soprano, this
automatically cancels the bass style mark.
• satisfactory texture in bars 2–63 (generally speaking no overlaps, crossings,
unsuitable gaps, candidate’s tenor rarely if ever more than a 12th from the
soprano, and at some points less than an octave from it): indicate this as ‘tick T’
• satisfactory texture in bars 64–10 (generally speaking as above): indicate this as
‘tick T’
• each effective cadence outside G major. An ‘effective cadence’ is one with
Resources marks of 2 2 2 for the final three chords of the cadence
• auxiliary notes – but only if really effective (almost certainly in the bass)
• any other good feature – identify this briefly in words
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incompleteness
presented
least one place
OR Work which is seriously incomplete (less than half of the required work
having been submitted).


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submitted)

Now carry out the Holistic Check described at the end of the mark scheme. TAKE NOTE
ESPECIALLY of the distribution of Resources marks. An answer where there are few
substantial successions of 2s will generally merit a holistic reduction of 2 or more.
100
B (ii) Pop Song
Resources, Harmony
25 marks are available for the choice of chords in the 10 blank bars, and for their
realization.
For choice of chords, award out of 10. Look for the following:
• continuity, sense of progression (including direction towards cadences) and

feeling for tonality
• effective use of ‘standard’ progressions, including for example segments
from the circle of fifths
• effective leading into and away from any compulsory chords within the
middle eight
• discriminating reuse of patterns from the model
• imagination, including some chords other than the most simple and
straightforward
• attention to harmonic rhythm, with at least fairly frequent use of more than
one chord per bar
10 Excellent, imaginative chord choices: expect to find attention to all of the above
conditions (except perhaps the fourth).
9 Good, varied chord choice throughout: most of the conditions above will apply.
8,7 Generally a good and varied choice, but with one or two weak bars.
6,5 Competent: some of the conditions above will apply.
4 Limited interest: but there will be some attention to one or more of the above
conditions. May rely too much on quotation from the given section and on the use
of only one chord per bar.
3 Little harmonic coherence. May rely too much on quotation from the given section
and on the use of only one chord per bar.
2 Very limited coherence OR mere quotation from the original.
1 Nothing to commend: almost certainly very incomplete.
0 Nothing to assess.
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For harmonic realization award up to 15 more marks
Deduct 1 mark from each chord each time one of the following difficulties occurs. (This
means that you may sometimes have to subtract more than 1 mark per chord.)
• a chord does not begin with the principal note (unless there are pressing
reasons why an exception must be made). The ‘principal note’ is the root of
a root position chord, or the third of a first inversion, etc.
• the principal note is absent altogether from the realization of a chord
• a note other than the principal note is unduly prominent. This is likely to
mean, as a rule, a note that occupies more than half the duration of the
chord symbol
• there is a short note that makes little sense (e.g. an inexplicable A in an Em

chord)
• poor or illogical voice-leading (e.g. a dissonance from the preceding chord

that could have been resolved has not been resolved)
• a bar consists of a single semibreve where this is inappropriate, or appears

to show lack of enterprise (or where a chord consists of a single minim if this
is inappropriate)
• an accidental is omitted anywhere within the realization of a chord
102
Melody
‘Melody’ includes the range of the added line. If an answer has a very limited range, be
careful not to let this dominate your choice of mark.
From your preferred mark, deduct 1 mark if one or two notes are out of range; deduct 2
marks if three or more notes are out of range. If no instrument is specified, notes below E
are to be considered out of range.
10,9 A convincing line throughout. As a rule, the range should extend to a twelfth or
more, with some notes higher than the highest in the model.
one section or phrase to another. As a rule, the range should extend to an eleventh
or more, probably with some notes higher than the highest in the model.
6,5 The line is more than just an accidental by-product of the chord realization. There
is likely to be a mixture of strong and weak. ‘Weakness’ may involve suspect voice-
leading. As a rule, the range should be at least a tenth.
4,3 The line is mainly an accidental by-product of the chord realization, with little or
no evidence of creativity
OR A working in which the voice-leading is often suspect and/or there is little
coherence or sense of shape. As a rule, the range should be at least a ninth.

0 No work offered
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Rhythm
Consider the variety of the line, which should be considerable but not excessive. The
added section might contrast fairly strongly with the model, or might be in broadly the
same style. In the former case contrast should not be bizarre or excessive; in the latter,
there is a risk of dullness.
10,9 A convincing line throughout. Carefully judged balance and contrast within the
added section and in terms of the model. An answer that recycles only the given
material does not belong here or in the next two categories.
one section or phrase to another.
6,5 Some reasonable balance between coherence and variety, but fairly limited
interest and/or several weak moments.
4,3 An answer that recycles only the given material may well belong here, because
there will probably be some basic coherence, but little that one can positively
commend beyond that OR an answer may be a mixture of effective and ineffective,
with the latter outweighing the former.

0 No work offered
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Style
Award as follows, out of 10. Suitability or otherwise of tempo and/or stylistic feel should
be taken into account when arriving at the Style mark. DEDUCT 1 mark from your preferred
total for each of the following: failure to specify an instrument; failure to specify the
tempo; failure to specify the stylistic feel.
10,9 An excellent piece of work. There is an enterprising choice of chord symbols, with
at the most one or two errors of realization. The added bass line has strong melodic
qualities. There is rhythmic fluency and resourcefulness throughout.
8,7 A good piece of work. There is a generally sound choice of chord symbols, with few
errors of realization. The added bass line has some melodic qualities, and there is
rhythmic fluency. Perhaps you consider the piece convincing except in one short
passage.
6,5 Mixed. Some basic competence in the choice of chord symbols and in their
realization. Melodic and rhythmic qualities uneven and/or unambitious.
4,3 Not much to commend, but there is some awareness of what is required in most of
the work. It could be that the majority of the chord symbols is correctly realized,
but there is little or no musical interest.
2,1 Very little to commend, or seriously incomplete. There must be many errors in
realizing the chord symbols. You award 1 very rarely
0 no work offered
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incompleteness
presented
least one place
been submitted).


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Harmony, Melody Here we consider the pitches added and how they work in terms of the
vertical interval structure and in terms of the melodic line.
Award 1 mark for each minim beat supplied (1 marks only in bar 30) where
BOTH (a) sensible harmony results throughout

AND (b) there are no part-writing faults associated with the added note(s).
You should withhold the mark for a beat where the above is not true, notably where there
is a faulty approach and/or there is an unsuitable interval between the added part and the
given parts.
Your total out of 60 must be converted to a mark out of 30 (where the division results in a
half mark, round down).
Rhythm
10,9 All rhythms are characteristic, except perhaps for one small feature
8,7 Good work, but with one difficult area: e.g. an unpleasant hiatus, any over-fussy
bar
6,5 A broad competence. Two or three misjudgements of the kinds detailed under 8,7
OR a tendency for the added part to keep too consistently with one of the others.
One would not normally expect ‘impossible’ rhythms (crazy syncopations, notes
worth five crotchets, etc.) under 6,5
4,3 Little is convincing, but there is some limited competence. One or more of the
difficulties identified under 2,1,0 below MAY but need not be found.
2,1,0 Much difficulty: if you are to award 2,1,0 there MUST be impossible rhythm(s)
and/or incompleteness.
Resources Two sub-totals here.
2 All added notes in the required range.

1 1 or 2 notes out of range.
0 More than 2 notes out of range.
and
3 The added material is texted throughout. All necessary words are included, and
there is no poor underlay.
2 Almost certainly full texting. Probably all necessary words. One or two awkward
moments.
1 Some incompleteness (at least the equivalent of a full bar) and/or several awkward
moments.
0 Probably substantial incompleteness (a few bars) and/or multiple misjudgements
OR No text added at all.
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Style
10,9 The added line is convincing throughout, or perhaps has one minor blemish.
8,7 Good work, but with one difficult area, or a couple of smallish blemishes.
6,5 A broad competence. Some flow, but enough roughness to begin to obtrude.
4,3 Little is convincing, but there is some broad competence. One or more of the
difficulties identified under 2,1,0 below is probably found.
2,1,0 Much difficulty: if you are to award 2,1,0 there must be one or more of the
following: impossible interval(s), impossible rhythm(s), incompleteness of notes
and/or text, notes well out of range.



incompleteness
presented
least one place
been submitted).

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C (ii) Serialism
Resources 15 marks are available as shown below.
It is likely that candidates will add about eight complete versions of the row. First:
Award 2 where all versions of the row are indicated correctly

OR 1 where all are indicated but there is/are error(s) in labelling
OR 1 where some versions are labelled and some are not
OR 0 where no rows are labelled, or the given material only is labelled.
There is no reward for labelling individual notes (or penalty for not doing it) because this is
requested rather than insisted upon.
13 marks maximum remain. You must check each candidate’s submission against the
matrix (‘magic square’) provided for you. The tariff is as follows, but NB if a single slip
leads to multiple wrong notes, count only the first two as wrong.
Where 9 (or more) statements of the row have been added, each wrong note (which may
involve a missing accidental): minus 1
Where 7 or 8 statements of the row have been added, the first wrong note (which may
involve a missing accidental): minus 2; each subsequent wrong note: minus 1
Where 6 statements of the row or fewer have been added, each wrong note (which may
involve a missing accidental): minus 2
Melody Be aware also of the structural implications, as structure is not a separate criterion
here. Consider here specifically the overall range; size of intervals; and general shape,
etc. as directed. Compile a total out of 10 from the two following components:
Range
2 Good use of range in both parts: in the upper part the music goes substantially
higher and/or lower than the given opening: adventurous, yet controlled.
1 Less adventurous: probably the upper part covers the same total range as the given
opening, or perhaps goes up to a minor third higher and/or lower.
0 The upper part has a smaller range than the given opening, and the lower voice
moves fairly narrowly.
Ascending and descending movement and structure. Look favourably on sensible use of
large intervals.
8,7 There is a good balance between ascending and descending movement throughout
the added passage, coupled with an excellent sense of structure.
6,5 There is some balance, but some limited weakness, with some feeling for overall
structure.
4,3 Little sense of conscious balance – perhaps the lines just meander narrowly, or
plunge about: a limited feeling for overall structure.
2,1 Little sense of conscious balance – perhaps the lines successively meander narrowly
and plunge about. The whole submission lacks discernible shape.
0 So static that balance is hardly achievable, or completely bizarre.
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Harmony Harmony in the present context refers to vertical interval relationships. Various
approaches are possible, and the scheme below is designed to take account of this.
10,9 Everything, or almost everything, is convincing. There is an avoidance of

inappropriate octaves, plenty of variety of interval size, and a clearly discernible
policy with regard to consonance and dissonance. The latter could mean many
things, but, for example, there may be an avoidance of the ‘harsher’ dissonances,
or a deliberate cultivation of them, or a deliberately greater use of dissonance in
some areas (e.g. those marked forte) than in others.
8,7 The handling of vertical intervals shows some control, but there will be isolated
moments, or one slightly larger area, where this is not so.
6,5 There is some feeling for vertical relationships; but the result is satisfactory or
pleasing only at times.
4,3 At least occasionally there is some feeling for vertical relationships.
2,1 Little apparent awareness of vertical relationships.
0 The two parts never sound together.
If the two instruments play together for relatively few bars, this will affect your choice of
mark above.
112
Style, Rhythm Here we take a holistic view. Does the submission constitute a piece of
music? Your mark will include reference to melodic features (as weighted more heavily
below), and structure; but note that rhythmic characteristics are considered here only.
In what follows ‘ambition’ may well involve the use of transposed versions of the row as
well as the ‘basic’ P, I, R, RI versions. ‘Ambition’ will probably also show itself in a wide
overall melodic range within each part, the use of some large intervals, and some use of
motives based on the model. Correct handling of the row is rewarded elsewhere, but a
piece with more than three or four slips can hardly be termed ‘competent’.
15,14 Convincing line and texture throughout. Carefully judged balance and contrast
within the added section and in terms of the model. A thoroughly musical response:
much more than mere manipulation of notes. A full-length submission (i.e. 18/19
bars at least, including the material of the given bars).
13,12 Ambitious. Much to commend, with some attractive features, in particular perhaps
links from one section or phrase to another. A very musical response. A full-length
submission.
11,10 A controlled response with some features that clearly go beyond mere manipulation
of given notes and rhythms. A full-length submission. If the Resources mark is 13 or
above, and the marks for Melody and for Harmony are each 7 or more, you should
consider if a mark of 10 at least for Style and Rhythm is possible.
9,8 A competent response, but convincing only at times. A full-length submission.
7,6 A mixture of the effective and ineffective, probably with the latter slightly
outweighing the former. A submission that extends to 16 bars or less should only in
exceptional cases receive more marks than 7.
5,4 There will be limited interest, perhaps because the candidate has relied excessively
on a square phrase structure, mere repetition or retrograding of rhythm with little
attention to the effect thereof.
3,2 The piece so shapeless / incoherent / full of errors and misjudgements that there is
very little to commend.
1,0 Award only if the piece is very short and (virtually) without merit.
From your preferred mark for Style deduct 2 if neither instrument has been named and
1 if only 1 instrument has been named. For notes out of range f either of the named
instruments, deduct 1 mark for 1 or 2 such notes, and deduct 2 for 3 or more such
notes.
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incompleteness
presented
least one place
been submitted).

will be some
incompleteness. There must be a tempo marking (except for A (ii), where the
tempo marking given in the question paper is mandatory), some dynamic markings,
and some articulation.

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Ideas This refers to the handling of the chosen stimulus in respect of the musical outcome,
NOT to the range of sounds, etc., which is credited under Resources, Timbre
10,9 The chosen stimulus has been used in a highly imaginative way. It underlies clearly
most of the submission, and devices such as inversion, fragmentation, retrograding,
transposition are widely and effectively used.
8,7 The chosen stimulus has been used with some imagination. It underlies clearly much
of the submission, and devices such as inversion, fragmentation, retrograding,
transposition are fairly widely used.
6,5 The chosen stimulus is apparent in much of the submission, and there will be some
evidence of devices such as inversion, fragmentation, retrograding, transposition.
4,3 The treatment of the chosen stimulus is rather repetitious, or the stimulus is
present only very intermittently. It has been used unimaginatively.
2,1 The stimulus is used very little.
0 You are convinced that the stimulus has not been used at all.
1 For a full submission (not less than 55 seconds, estimated). Do not be too legalistic
about length. Do not penalize if the work is full length only on account of much
straight repetition.
0 For a shorter submission.
listener: this May probably, but need not, correspond with some standard formal
structure.
Finish as follows:

2 A good ending.
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Resources, Timbre Here we assess the effectiveness or otherwise of the instrumental or
vocal writing.
this total out of 20, deduct 2 marks if the instruments/voices used have not been
specified. Do not penalize failure to identify which two of the specified techniques are
being used.
10,9 Excellent writing for the chosen medium. The resources have been ‘extended’ in an
exciting manner, with a wide range of interesting timbres, yet with a high regard
for practicality.
8,7 Interesting writing, but there is a little awkwardness here and there, or the
occasional tendency to prefer the merely bizarre or impractical.
6,5 Some reasonable attempt to extend the forces used. There may, however, be some
rather ordinary passages, some that over-extend the forces, etc.
4,3 Limited interest, but a few attempts (not necessarily very practical) to extend the
forces used.
2,1 There is little discernible use of extended techniques.
0 No discernible use of extended techniques.
should be the mean of the other descriptors apart from Presentation, unless you can see a
case for doing something different. For example, 6 for Ideas, 6 for Structure, 10/20
(effectively 5 + 5) for Timbre and Resources would give a Style mark of 5.5 (round up to
6).
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incompleteness
presented
least one place
been submitted).


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D (ii) Electro-acoustic Music
Expect a recording and a score. If there is no score, this probably means that a score was
not provided by the candidate. If there is no recording (which is far less likely) this should
be queried with the centre.
Ideas This area concerns principally the element of variety within the added part(s); but
account should be taken of any attempts to make the ostinato itself interesting, or of
attempts to integrate the ostinato and the added part (e.g. by using intervals from the
ostinato as the source of material in the added part).
10,9 Plenty of variety, well controlled throughout, in the added part(s). It is very likely
that the ostinato will have been manipulated in at least one of the ways indicated
in the newly-worded rubric. There is a clear relationship throughout between the
ostinato and the added part.
8,7 Some considerable variety, generally well controlled, in the added part(s). It is
likely that the ostinato will have been manipulated in at least one of the ways
indicated in the newly-worded rubric. There is some relationship much of the time
between the ostinato and the added part(s).
6,5 A reasonable attempt to create variety in the added part(s), and perhaps some
limited attention to the ostinato. The ostinato and the added part are likely to be
largely unrelated.
4,3 Some variety in the added part(s); perhaps little or none in the ostinato. The
ostinato and the added part are likely to be largely unrelated.
2,1 The music is over-repetitive, with little variety, perhaps in a short submission.
120
Structure
Award as follows. Time according to a recording if one is given; by metronome mark (a

necessary part of performance annotation) if one is provided. No penalty for excessive
length.
1 For a full submission (not less than about 55 seconds). Do not be too legalistic about
length, and make sure you time each recording. Do not penalize if the work is full
length only on account of much straight repetition.
0 For a short submission.
listener.
4,3 There is a discernible shape, but it is not entirely effective (e.g. unbalanced, with
Finish as follows:

2 A good ending.
Resources, Timbre Here we assess the variety and general success or otherwise of the
sounds produced, partly, but not wholly, in terms of the chosen effects.
this total out of 20 deduct 2 marks if the candidate has not specified on the score, or in
some other written form, which two of the specified effects are being used.
10,9 Inventive and resourceful: a wide range of exciting timbres.
8,7 Resourceful: a number of interesting timbres.
6,5 There are some interesting sounds, but some tendency to be over-repetitive and/or
some dullness.
4,3 A few interesting features, but there has been only a limited attempt to create
interest. Work is likely to be very repetitive, perhaps over-working one reasonable
idea.
2,1 Very little to commend. This category should be used sparingly, particularly for
submissions that are considerably under length, and in which it is not clear which
effects have been used.
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should be the mean of the other descriptors apart from Presentation, unless you can see –
and describe in a brief written statement – a case for doing something different. For
example, 6 for Ideas, 6 for Structure, 10/20 (effectively 5 + 5) for Timbre and Resources
would give a Style mark of 5.5 (round up to 6).
Presentation
First, award out of 5 for the score or other written evidence:
5 Very carefully presented throughout; corresponds clearly with the recording, and is
helpful and informative throughout. The chosen effects must be clearly named.
4 Carefully presented as a rule. Although there may be just a little obscurity, the
score is generally helpful and informative. The chosen effects must be clearly
named.
3 Reasonably carefully presented. The score is fairly helpful and informative. It must
be possible at least to deduce which effects have been used.
2 Little care has been taken, and the score does not shed much light on what happens
in the submission. Perhaps, but not necessarily, the chosen effects are not
identified.

numerous obscurities. Expect to award 1 only rarely. Almost certainly the chosen
effects are not identified.
Then award out of 5 for the recording:
5 A recording which is very bright, clear and well balanced. There is no distortion or
extraneous noise.
4 A recording which is very clear, but in which the balance is less than fully effective
(or vice versa). There may be some slight distortion or noise.
3 The recording is adequate, but lacks real clarity and balance.
2 The recording is poorly presented, and it is difficult to judge the candidate’s

intentions from it.
1 A very poor recording, probably with considerable distortion and/or noise, and
perhaps even incomplete.
0 No recording submitted
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Although the Style criterion is essentially holistic, it is necessary also to review your
marking of each piece holistically. If you do not need to make a change, write ‘H =’. If you
change anything, indicate how and why (e.g. ‘H +2’). Any change will normally be small
(max. 5 marks + or - ). NB with some exercises (particularly perhaps A (ii)) you may find it
helpful to begin with a holistic view, which can then be refined, confirmed or modified in
the light of the detailed descriptors.
submissions indeed.
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Performing During the Course (6705/52)

Some notes and/or rhythms are accurate but the sense of continuity is not achieved. 1
The basic elements of pitch and/or rhythm are partially realised in the simpler sections of the 2
piece.
There is an awareness of the notational aspects of the piece but several sections have 3
serious defects of intonation or co-ordination and/or tempo.
The accuracy of pitch, rhythm, intonation and co-ordination is achieved in the more 4
straightforward passages, sometimes at the expense of fluency and tempo.
The playing is broadly accurate and proficient, though there are some blemishes and/or 5
lack of co-ordinaton which interrupt the flow.
The performance displays competent technical control and accuracy of notation within 6
the demands of the piece.
Mainly accurate work despite the occasional small slip, tiny hesitation or out-of tune 7
note.
Very accurate. Slips, hesitations or weaknesses of intonation are very rare and 8
unobtrusive.
Excellent accuracy. Any tiny blemishes are very well covered. 9
Excellent accuracy with real attention to detail in every aspect of the playing. 10
Assessment of Interpretation Mark

While achieving basic accuracy in the easier passages, the student is not able to achieve
1
shape or contrast.
While there may be an understanding of the broad shape of the music, this is very seriously
2
compromised by the lack of technical proficiency.
There is a limited ability to achieve shape and contrast and interpretative qualities are
3
only rarely in evidence.
While there is an attempt to shape the music through dynamic contrasts and articulation, 4
fluency of playing and consistency of tone seriously affect its effectiveness in several
sections.
There are some obvious contrasts of dynamics and articulation. However, concerns about 5
tone production and/or technical problems interfere with a satisfactory interpretation of
the music.
Contrasts of dynamics, articulation and tone are present, but their effectiveness is 6-7
lessened at times by a lack of subtlety and/or dull tone.
Good control: well – shaped and effectively contrasted. Attention to detail in most of the 8-9
performance.
Very good control and variety. Detailed playing throughout, and some sense of style. Good 10-11
tone.
Vivid contrasts, excellent tone, a thorough understanding of the music and good stylistic 12-13
awareness.
Imaginative interpretation, with total control of the instrument and a real sense of style 14-15
throughout.
125
The performance does convey at a very minimal level some of the intentions of the
1-4
composer in the very easiest passages.
There is some evidence of basic and partially developed technical and interpretative
5-7
skills, but these are seriously compromised by a lack of preparation.
The performance does convey the meaning of the music in the more basic passages,
with some evidence of technical and interpretative skills, but it does not reach an 8-9
acceptable standard at this level.
The most obvious stylistic characteristics are understood and basic accuracy and co- 10-11
ordination are sufficient for this work just to reach an acceptable standard at this
level.
This is generally solid work with limited maturity, assurance and technique to cope 12-13
with some of the problems.
This is secure work, showing a conscientious approach despite the occasional 14-15
weakness.
This is well prepared work with few flaws, showing an awareness of style and presentation. 16-17
This is first-class work, showing excellent preparation, real security and sensitivity. 18-21
Work of outstanding quality, displaying imagination and real musicianship in every aspect. 22-25
The improvisation meets a few of the criteria. The performance keeps going for only a
1-4
limited length of time.
The improvisation consists of much repetition and the most simplistic variation. There
5-7
are frequent stops and hesitations. It does not last for the expected duration.
There is some exploration of the possibilities of the given material but frequent
hesitations, or the inability to sustain the improvisation for the expected duration, or 8-9
major inconsistencies of style, seriously compromise the effectiveness of the playing.
This is modest work, perhaps dependent upon cliché, but with some feel for style and 10-11
direction. The student is able to sustain the work for the expected duration, despite a
limited vocabulary and some hesitation.
There is reasonable fluency, despite occasional hesitation. There is a basic sense of 12-13
shape and development, even though the work may be a little repetitive and lacking
in variety or real unity
The performance is fairly fluent with few hesitations. There is a sense of purpose and 14-15
design in the performance with a good realisation of the potential of the given
material. The student makes use of a range of playing techniques.
The playing is fluent, with no significant hesitation. It has unity and variety and is 16-17
well balanced, producing a consistent style. There is some degree of imagination in
the development of ideas and a sense of involvement with the work.
The performance is fluent and free of hesitation, consistent in style with imaginative 18-20
ideas. It demonstrates an effective development of ideas with awareness of points of
climax and points of repose. A convincing performance.
The playing is fluent, consistent and imaginative with an excellent sense of overall 21-25
shape. It demonstrates an ability to exploit both the original ideas and the potential
of the instrument to musical effect. It shows a real sense of involvement.
126
Difficulty Levels
‘Grade 5’ ‘Grade 6’ ‘Grade 7+’
0 0 0 0
1 1 1 1
2 1.5 2 2.5
3 2.5 3 3.5
4 3.5 4 4.5
5 4 5 6
6 5 6 7
7 6 7 8
8 6.5 8 9.5
9 7.5 9 10.5
10 8.5 10 11.5
11 9 11 13
12 10 12 14
13 11 13 15
14 11.5 14 16.5
15 12.5 15 17.5
16 13.5 16 18.5
17 14 17 20
18 15 18 21
19 16 19 22
20 16.5 20 23.5
21 17.5 21 24.5
22 18.5 22 25
23 19 23 25
24 20 24 25
25 21 25 25
127
Listening (6706/61)
1.
a)
Brahms, Piano Trio in C Op. 87 1st Movement, track 5 (to 53 seconds then fade)
i) Any one of:

(Piano) Trio [1]
Chamber Music [0.5]
(Piano) Quartet/Quintet [0.5]
Sonata [0.5] (on its own)
(Maximum of 1 mark)
ii) Any one of:

1882 [2]
1852 [1]
1912 [1]
iii) Brahms or any credible alternative [1]
b)
Witness, What a mighty God, track 16 (to 44 seconds)
i) Any one of:

Gospel [2]
Spiritual [1]
ii) USA [1]
iii) Any one of:

Worship [1]
Church (service) [1]
(Maximum of 1 mark)
c)
Debussy, Cloches a travers les feuilles, track 7 (to 51 seconds and fade)
i) Impressionism/whole tone [1]
ii) Any year:

1890-1920 [2]
1880-1889 or 1921-1930 [1]
iii) Debussy or any credible alternative [1]
128
2.
A: J S Bach Kyrie from B Minor Mass, track 3 (to 48 seconds)

B: Mozart Kyrie from Coronation Mass, track 1 (to 1 minute 30 seconds and fade)
a) i) FALSE [1]
ii) FALSE [1]
iii) TRUE [1]
iv) TRUE [1]
b) i) A [1]
ii) B [1]
iii) A [1]
c) Any relevant observation about B which might include:
TEXTURE
• Varies (if no other comment made)

• Initially/mainly homophonic
• Becomes melody and accompaniment
• Later polyphonic/canon/imitation
• A entirely fugal/polyphonic
• Unison/8ves
• Starts tutti/A starts with only lowest voice/A voices enter lowest to highest
PERFORMING FORCES
• Orchestra more independent/Orchestra in A doubles voices

• Includes trumpets
• Includes trombones
• Includes vocal solos
• Includes vocal duet
• A has basso continuo
• WW solos/in 3rds/in6ths/in 10ths
• Includes brass (if not credited for trumpets or trombones)
• A entirely choral (if not credited for vocal solos or vocal duet)
DYNAMICS
• More varied
• Starts loud
• (More) accents
129
TONALITY
• B has pedal notes

• Goes to relative minor
• Goes to tonic minor
• A entirely in minor keys
OTHER
• (Some) periodic/balanced/regular phrasing

• Dotted rhythms
• More fragmented/sectional/A more continuous
• Trill
• Imperfect cadences
• B slower at the opening
• B is more syllabic
d) i) A [1]
ii) Bach or any credible alternative [1]
iii) Mozart or any credible alternative [1]
130
3.
Corelli, Sonata in B minor Op. 2 No. 8 1st and 2nd movements, tracks 5 and 6
a) i) Bar 33 or bar 9 [2]

Bar 34 [1]
ii) Bar 36 [2]

Bar 37 [1]
iii) Bar 23 or 25 [2]
b)
0.5 per correct bracketed group of notes

c)
0.5 per correct pitch

d) i) Perfect [1]
Relative major/ D major [1]
Perfect [1]
Dominant / F sharp minor [1]
ii) Chord A Neapolitan 6th [1]

IIb [0.5]
Chord B Ib [1]
I or Ic [0.5]
Chord C VIIb or diminished [1]

VII or diminished seventh [0.5]
iii) Bar 35 / 45 / 48 [1]
131
e) i) Any relevant observation which might include:
INSTRUMENTATION
• (Two) Violin(s)
• Harpsichord
• Cello/Violone
• Lute
TEXTURE
• Two-part / duet in upper parts

• Continuo
• (Upper) parts cross
• Adagio is polyphonic/ contrapuntal
• Homophonic in places/ at cadences
• Largo opens / is mainly homophonic
• + 1 for any detail not in score (e.g., imitation in bars 41-44)
ORNAMENTATION
• Repeated sections include more ornaments

• + 1 for any detail of ornaments (only once for each ornament)
• Improvised ornamental flourishes
• Trills
HARMONY
• Suspension (+ 1 for detail) (only once)

• Mainly chords in root position and first inversion
• + 1 for any interesting detail
RHYTHM
• Dotted rhythms
• Syncopation
• Ornamental triplets added
OTHER
• Dynamic contrast (+ 1 for detail) (only once)

• Echo effects in Largo/ terraced dynamics
132
ii) Trio sonata / Sonata da chiesa / Sonata de camera [2]
Sonata [1]
Chamber Music/ suite [0.5]
iii) Corelli or any credible alternative [1]
iv) Any year 1660-1730 [1]

1640-1659 or 1731-1750 [0.5]
(Maximum of 1 mark)
TOTAL FOR PAPER: 60 MARKS
133
Understanding Music (6706/62)
1 Each question in Section A is worth 10 marks; each question in section B is worth

20.
2 In Section A, there are three parts to each question. The candidate is required to
answer two only. If all three sections are answered, mark them all, but allow only
the marks for the two best answered sections to stand.
Similarly, in Section B, candidates are required to answer only one of two
alternatives. If both are answered, mark each one, allowing the higher mark to
stand. Cross out the disallowed marks, writing “rubric” to indicate the reason.
3 In section A, award (1) for each substantial and relevant observation; location
marks are only awarded if specified in the scheme.
4 In Section B, award (1) for each substantial and relevant observation and, normally,
one for a specific substantiating reference (but see also General Guidance). Check
the total obtained in this way against the Holistic Grid for Assessment of Content
and Communication overleaf. If the mark accords with the criteria there, take no
action; if there appears to be a contradiction, adjust the original mark up or down
by no more than one band.
Justify any alteration to the raw mark, bearing in mind that the descriptors given
here are intended as a general guide, and that not all conditions will necessarily be
fulfilled or be applicable on every occasion.
5 It is helpful if examiners indicate weakness in essay writing by placing the following

signs in the margin:
Q: indicates irrelevance.
↑: credit already awarded for the information given here.
Misl: misleading. Mark not awarded. Perhaps used to indicate sweeping

generalization.
acc.: Accept. Mark awarded, in spite of some reservations, e.g. perhaps a poorly
expressed observation.
f.d.: fits descriptor
n.e.: not enough
134
Holistic Grid for Assessment of Content and Communication
16-20 Coherent, full and relevant, showing a clear insight into the music.
Excellent writing, marked by clarity of expression and secure grammar and spelling.
Evaluation is comprehensive, knowledgeable and well-focused, with well-sustained
discussion.
Demonstrates an understanding, and comments perceptively on the contexts in
which the music was written.
Clear analysis and full understanding of musical characteristics and resources.
13-15 Able to write in detail, with an awareness of the complexities of the question and a
sound understanding of the music.
Addresses the written task satisfactorily, though ideas could be developed further.
Controlled purposeful evaluation; can initiate and sustain discussion.
Generally clear and coherent with good grammar and spelling.
9-12 Follows a clear line with some capacity for argument, though with some
inconsistency of judgement in more complex areas.
Some exploration and development of ideas, and basic discussion.
Adequate presentation, with generally sound grammar and spelling.
Demonstrates some appreciation of the contexts in which the music was written.
Moderate degree of understanding of musical characteristics and resources.
5-8 Provides short but relevant responses to the question.

Limited review and evaluation with superficial commentary.
Some attempt at discussion and exploration of ideas.
Some insecurity in grammar and spelling.
Demonstrates some appreciation of the contexts in which the music was written.
Some understanding of musical characteristics and resources, if lacking in breadth.
1-4 Basic response; short answers fall into this category.

Discussion, exploration of ideas, review and evaluation at only a basic level, if at
all.
May be scrappy in presentation, with grammar and spelling in need of
improvement.
Perhaps demonstrates a basic appreciation of the contexts in which the music was
written, but there is little understanding of musical characteristics and resources.
135
General Guidance in Marking Essays
● In most instances candidates will be credited both for a relevant observation about
the work in question and for finding an example of the same, e.g.
Stravinsky uses false relation (√) at bar 10 in Soprano & Alto parts (√),
Or:
Taverner uses antiphony (√ in the first ten bars of O Wilhelme (√).
● If, however, the device is generally used throughout the work, a specific location
will not normally gain credit
Bruckner's word-setting is generally syllabic (√), e.g. in bars 1-2 (no further
credit).
● But intermittently used techniques in this context will be credit-worthy:
Bruckner's word-setting is syllabic throughout (√), as in the first two bars,

but he only resorts to melismatic writing (√) at bars 40-42 (√).
● Take care to credit fully candidates who write more efficiently:
Both (√) Bach and Gabrieli use continuo (√).
● In cases of descriptions of tonal and fugal procedures, location marks will not
normally be credited separately:
Haydn uses functional tonality (√), starting in D minor (no credit, because
the key is given in the title), then moving to F major at bar 17(√) [n.b. only
the one mark, as the change of key plus location is adding to the initial
observation concerning functional tonality]. He then moves to G minor at b.
55 (√), uses a circle of 5ths at bars 57-61 (√), returns to D minor at b. 80 (√)
and moves to D major at bar 100 (√).
Or:
Brahms uses fugato (√) at bar 67 (√), with the subject in the viola (√), the
counter-subject in the piano (√), and the answer coming in the right hand
piano part at b. 71 (√) in the dominant (√), etc.
● In cases requiring discussion of motivic development, one mark is allowed for

identifying each motif, thereafter allow one mark for the manipulation/changed
context and one mark for the point at which it occurs (normally one undeveloped
repeat plus location is credited):
Williams introduces the main theme of ET at bar 9 (√). It is repeated (√) at

bar 17 (√), and appears again in the dominant (√) at bar 34 (√).
136
Terminology
Questions normally focus on such specific aspects of the music as the following:
Tonality: functional/non-functional/modal; modulation; use and location of different keys

(not to be taken as synonym for sound quality/timbre).
Textures: monophonic, polyphonic, organum/parallelism, contrapuntal (free or imitative,

fugal or canonic); heterophony; antiphony; homophony; melody dominated homophony.
Candidates will be credited for distinguishing different types of texture, the number of
voices/parts involved, whether melody lines transfer from one part to another etc.
Expressions such as "thick" and "thin" do not receive credit.
Melody: voice/part-ranges, phrase-lengths, repetitions of phrases; internal structures, e.g.

arch-shaped, conjunct, disjunct, use of sequence, whether continuous of fragmented
(hocket), but word-painting as such is irrelevant.
Rhythm: use of recurring patterns, dotted rhythms e.g. Scotch snap/Lombardic rhythm,
even note-lengths, syncopation, metrical organization, hemiola.
Harmony: diatonic, chromatic, functional, types of chord, inversions (’not to be taken as a

synonym for accompanying instruments and textures).
Structure: binary, ternary, fugue, rondo, sonata, variation, etc.
Forces/timbre: the instruments and voices used; the quality of sound produced (critical in
studies of Cage, World music)
“Handling of voices/instruments”: expression which denotes textures and also ranges,

idiomatic writing.
Idiomatic writing: strictly concerns writing for particular voices and instruments with
regard to ranges and aspects of performance technique (not to be confused with
compositional techniques).
137
Section A
1. Music for Large Ensemble
There are three parts to this question. Answer only TWO parts.
Special focus work: Wagner, Prelude to Tristan und Isolde (p. 65)
(a) Identify precisely the motives used in bars 45–58, and describe the ways in which
they are treated at this point.
(10)
(b) To what extent can bars 68–77 be regarded as a recapitulation of bars 1–20?
(10)
(c) Comment on Wagner’s harmony in bars 16-20, describing chords and devices
used.
(10)
(a) 45: Love potion motif/motif from b. 25 (1), played by oboe + cor anglais (1) in
octaves (1), then transferring to clarinet and horn (1), in octaves (1), in descending
sequence (1), with chromatic passing note removed (1), combining at
48: with “Poison” motif (1) in bass (1).
49: Derivation of Glance motif/bar29 (1) heard in minor (1), then at
51: in major (1)
53: in rising sequence (1), supported by rising chromatic line from bar 2/Desire
(1)
55: Glance motif/b. 17 motif (1) in violin with cello (1) an octave apart (1), with
some intervals changed (1 + 1 for each specific example, e.g. descending 7th
replaced by 6th)
(b) 68-77 is initially built on the Desire motif from bar 2 (1).
All the original pitches of Desire from 2-11 are present (1), but are
compressed/rests are removed (1)
Grief (bar 1) is omitted (1).
A descending line is introduced which relates to Glance by rhythm (1) and Grief
through its descending chromatic line (1)
The original harmonization is (largely) retained (1), but rising scales are added (1).
At the highpoint of the violin line, Wagner uses the same pitches of the violin line
at 16-17 (1), now transferred to wind (1) and combined with the Glance motif at
bar 74 (1), now transferred from cello to all strings. (1).
There are also some pitch changes (1 + 1 for each example, e.g. D sharp for D, (in
bar 74), B flat for C (bar 77).
(c) 16: V7 (1) of A minor (1) with chromatic (1) appoggiatura (1)
17: VI (1) forming interrupted cadence (1) with appoggiatura (1)
18: V7b of G (1); C major 2nd inversion (1)
19: V7c of G (1) with appoggiatura (accept suspension) (1); V7 of C (1)
20: C 1st inversion (1); G minor 2nd inversion (1) ; diminished 7th (1); V7b of D (1)
138
2. 20th-century Art Music
Special focus works: Shostakovich, String Quartet No 8, Op. 110: movement I (p. 163) and
Reich, New York Counterpoint: movement II (p. 176).
(a) Comment on Shostakovich’s use of tonality in the course of the prescribed

movement.
(10)
(b) Contrast the melodic styles of Shostakovich and Reich in the two special
focus works.
(10)
(c) Identify the different kinds of texture used by Reich in the prescribed movement.
(10)
(a) Slow moving tonal scheme (1), starting in C minor (1), with some traditional
aspects, e.g. the quasi-fugal answer in G minor/dominant (1), and at bar 7, hints of
F minor (1). Structure defined partly by perfect cadences [in C minor] (1+1). Other
devices used to reinforce tonality are the drone/double pedal [on tonic + dominant]
at bars 28–45 (1) and tonic pedal at bars 50–66 (1), V pedal at 67 I pedal at 71.
There is a major mode inflection at b. 55 (1), a shift to A minor at b. 87 (1), F sharp
minor at b. 93 (1), C major at b. 95 (1), return to C minor at b. 105 (1). The G sharp
at the close is dominant preparation for second movement (1).
(b) Shostakovich: melodies are often chromatic (1) or derived from minor scales (1),
with prominence given to DSCH (1 + 1 for explanation). Appoggiaturas used at e.g.
bar 30 (1). Conjunct movement at b. 55 (1). Some narrow range motives, e.g. b. 59–
60 (1); some repetitive figures, e.g. bar 50 (1). Some use of sequence (1).
Quotation from 1st Symphony bar 16 (1).
Reich: Melodic material is diatonic (1) and is built entirely on 6 note/hexatonic
scale (1), notated as B major minus D sharp/Fusion of Emaj and F#maj (1). Mainly
built on repetitions (1) of characteristic falling figure (1), with a range initially of
an octave (1), expanding at bar 35 (1). Some limited development arises from the
derivation of new melodic lines from the underlying harmonic structure (1).
(c) As title implies, Reich’s work depends on the interweaving of melodic strands (1). It
opens with homorhythm (1) then uses imitation (1) to varying degrees, but is
applied not to a single line, but to two lines with the same rhythm (1), as at start.
The imitations are of varying lengths (1) are very close/phased (1), e.g. a quaver at
b. 3 (1) with 2 pairs of parts (1), and therefore involving some doubling of parts (1),
then at the distance of a quaver and crotchet in b. 13 (1) in 3 pairs of parts (1). At
bar 25 the live clarinet adds an extra/resultant melody (1). By way of contrast,
pulsing (1) homophony (1) in 4 parts (1) starts from b. 27, faded in and out (1) in
pairs (1).
139
3. Music for Small Ensemble
Special focus work: Brahms, Piano Quintet in F minor, Op. 34: movement III (p. 231)
(a) Show how Brahms builds bars 13–37 from bars 13–15 (beat one).
(10)
(b) How does Brahms create excitement in bars 67–117?

(10)
(c) Describe the structure and tonal scheme of the Trio (bars 193–261).
(10)
(a) The motive of bars 13–15 can be divided into 2 parts: the 4 note repeated note
figure [x] (1) and the following six semiquavers [y] (1).
Allow one mark for a repetition.
Credit allowed for such remarks as the following:
16–17: first 3 notes of [y] at a higher pitch (1)
18: Augmentation of [y] (1) with chordal accompaniment (1) Heterophony (1)
22: (loose) augmentation of [y] in major (1) with additional triplet (1) and
extension through partial repetition a step down (1). Strings now joined by piano in
homophony (1).
30: Strings play [y] in octaves (1), while the piano has a (loose) chordal (1)
imitation (1), the descending 2nd changed to a 3rd (1)
(b) By progressively building up the texture/ by using fugato (1), the subject appearing
in viola (1) with 1st counter-subject in piano (1). A 2nd counter-subject enters in
piano LH at bar 71 (1), and a 3rd in viola at bar 80 (1). Excitement is further
increased by stretto at bar 92 (1), and by fragmentation of the subject (1) which is
presented in a rising sequence (1). The dynamics gradually build (1) to fortissimo,
and piano plays chords (1). The subject is stated in octaves by strings (1), and then
in its augmented form (1) homophonically at b. 105 (1). Persistent motor rhythms
contribute to rising excitement (1). Finally the subject is presented in (E flat) major
(1), after a series of rapid modulations. (1) Other devices include syncopation (1),
staccato articulation (1), accents (105 – 110) (1), second beat forzando (1),
increased range of piano (1).
(c) Ternary form (1) in C major (1), initially over a tonic pedal (1), modulating to G at
b. 205 (1), and then B at b. 207 (1). Bars 210-225 are a repeat of 193-209 (1),
scored for all 5 players (1) with circle of 5ths from bar 213-219 (1). Bars 226-241
form the central passage (1) over a G pedal (1), moving through G minor (1) before
closing on G (1).
241: Reprise of Section A (1), over B flat pedal (1), leading to (fleeting) reference
to F major at 245-246 (1), modified to close on tonic/c (1), with perfect cadence of
dim 7 over C pedal moving to I (1).
Allow one for each correctly identified key.
140
4. Keyboard Music
Special focus works: Sweelinck, Pavana Lachrimae (p. 245) and Schumann, Kinderscenen,
Op. 15: Nos 1, 3 and 11 (p. 258)
(a) Comment on the handling of tonality in the special focus works.

(10)
(b) Show how Sweelinck varies bars 33-48 in bars 49-64.

(10)
(c) Describe the textures used by Schumann in the three pieces from
Kinderscenen.
(10)
(a) Sweelinck: Mainly A minor (1) with marked Aeolian inflections (1). Tonality
reinforced through dominant pedal, e.g. bar 65–68 (1), Phrygian cadence as at bars
3-4 (1), perfect cadence at end of sections (1) with Tierce de Picardie (1). False
relations (1), Bar 34 begins in relative major/Ionian (1).
Schumann: Use of functional tonality (1), with strong drive to cadences (1), There is
little modulation in number 1 (1). First piece is in G (1), second piece in B minor
(1). The last piece balances between G major and E minor (1), before closing in G.
Imperfect cadence in G at bar 8 (1), perfect cadence in C at bar 12 (1), before
immediate return to E minor (1).
(b) Sweelinck uses figural variation/divisions (1):

33/49: Dotted minim and crotchet melody notes (1), replaced by quaver line (1),
with the main melody notes at end of bar (1).
34/50: In four parts (1) as opposed to 3 (1), where the treble line is imitated in the
middle part (1).
35/51: one chord in original (1) replaced by two in variation (1); bass picks up
imitation in variation (1).
37/53: bass crotchets and minim (1) replaced by running semiquavers (1) filling
gaps between the original notes (1).
39/55: the two-quaver motif (1) replaced with 3 quavers (1).
42/58: dotted crotchet-quaver (1) replaced with continuous quavers filling in the
gaps (1).
(c) No 1: in three parts [mainly] (1), melody + accompaniment (1) with broken chords
in middle (1); detached quavers in bass (masked by pedal) (1); 3rds/Chords in RH at
b. 9 (1) in counterpoint with bass (1).
No 3: leaping/“stride” LH (1) with mainly single-line melody (1); more sustained
writing/brief left hand drone from 13 (1) leading to longer chord at b. 15 (1) with
ascending scale in middle part (1).
No 11: 3 part homophony (1), broadening to 4 parts (1) parts reversed at bar 5 (1);
at bar 9, a bass melody (1) with (off-beat) RH chords (1); chords for all parts at b.
21 (1).
141
5. Sacred Vocal Music
Special focus work: Gabrieli, In ecclesiis (p. 269).
(a) Comment on Gabrieli’s use of harmony from bar 102 to the end.
(10)
(b) Compare and contrast Gabrieli’s vocal writing in bars 13–24 with his vocal writing in
bars 68-94.
(10)
(c) Comment on Gabrieli’s handling of instruments in this work.

(10)
(a) Unrelated (1) tertiary (1) root position chords (1), false relation (1), sequential
repetition (1), unprepared 7ths (1), 4-3 (1) suspensions (1+1 for location) used in
cadences (1), tierce de picardie (1), dominant pedal (1), perfect (1) and plagal (1)
cadences, consonant 4th (1).
(b) No marks for stating voices.

Bar 13: syllabic throughout (1) except for final phrase (1). Mainly conjunct (1), with
the largest melodic interval a perfect 4th (1). Phrases relatively short (1);
descending sequence (1), then rising sequence (1), followed by repetition (1).
Bar 68: melismatic [must locate] (1), antiphonal exchange at start (1) of
florid/highly ornamented lines (1); syllabic [must locate] (1). antiphonally repeated
(1) phrase involving tritone/dim 5th (1), much of the remainder being conjunct (1)
apart from 3rds/4ths at 81 (1). Metrical changes (1), descending sequence at 83-4
(1). Dancing triple time motive (1).
chorus (1).
(c) Gabrieli uses organ and a group of six instruments (1 max).

At the opening he uses continuo (organ) only (1) as accompaniment in (typical early
Baroque) monody (1), then providing homophonic support to chorus (1).
At bar 31, there is an independent/non-supportive instrumental (Sinfonia) (1),
which is homophonic to begin with (1), then imitative (1), then in free counterpoint
(1), with florid instrumental writing (1). The instruments are then used in a
supportive/accompanying role (1) in free counterpoint (1) initially, though from b.
51 there is some imitation (1). At bar 63 they play homophonically (1) in antiphony
(1) with chorus (1).
102: Mainly homophonic doubling of voices (1).
115: Independent canon in upper in two uppermost instrumental parts (1).
119: Mainly doubling voices, though at different octave (1).
142
6. Secular Vocal Music
Special focus works: Dowland, Flow my Tears (p. 347), Haydn, My mother bids me bind
my hair (p. 359), and Fauré, Après un rêve (p. 363).
(a) Compare and contrast the textures used in the songs by Dowland and Haydn.
(10)
(b) Comment on Fauré’s use of melody and rhythm in Après un rêve.

(10)
(c) Contrast the structures of the songs by Haydn and Fauré.

(10)
(a) Dowland: essentially 3-part (1) counterpoint/ornamented homophony (1) between

voice upper part in lute and bass (1) which may be accentuated by vocal bass or
viol (1). The 3-part texture expanded by occasional addition of parts (1). Bar 9 is
homophonic (1), antiphony/imitation at 12 (1), an extended point of imitation at b.
13 (1).
Haydn: Essentially melody dominated homophony (1), with voice doubled in piano
(1), or shadowed by a more florid piano part / lending heterophonous support (1).
Other features include pedal points (1), broken chord patterns (1), streams of thirds
(1) and the piano in octaves (1).
(b) Some modality (1), with variable leading note (1) and chromatic alterations (1 + 1).
The melody involves a mixture of step movement and leaps (1), with a minor 6th at
bar 5 (1) and an octave at bar 30 (1). The overall range is an 11th (1).
Augmentation of opening line at bar 38 (1), and some repetition of opening of
verses (1). Otherwise patterns are constantly varied (1). Rhythms involve triplets
(1) within a simple triple time signature (1). Some dotted rhythms are used (1), and
there are longer note lengths at climax (1). The piano has a persistent quaver
pattern in right hand (1) and longer notes in left (1)
c) Haydn: 8-bar introduction (1) of main melody (1) in A (1); strophic (1), modulating
(1) to dominant at b. 16 (1); V pedal at 22-27 (1) with minor inflections (1); returns
to tonic at b. 27 (1). Main melody marked by balanced phrasing (1)
Fauré: One-bar intro (1) in C minor (1), which is expanded through modality (1).
Verse 1: 1-16 (1), modulating (1) to E flat (1)
Verse 2: 17-30 (1), starting similarly to verse 1 (1), but closing on V of F minor (1)
and fusing directly with
Verse 3: 30-end (1), moving through B flat minor at 32 (1); C minor at 37 (1);
passing through region of E flat at 41-42 (1), closing in C minor at b. 45 (1) with
perfect cadence (1). Vocal phrases consist of 3 plus 4 bars (1) becoming less regular
(1+1 for details)
143
7. Music for Film and Television
Special focus work: Goldsmith, Planet of the Apes (1968): The Hunt (opening) (p. 388).
(a) Show how Goldsmith draws on the piano motive of bars 8-9 in the remainder of the
extract.
(10)
(b) Comment on Goldsmith’s use of rhythm and metre.

(10)
(c) Compare and contrast bars 11–18 with 23–30.

(10)
(a) 4: first 6 notes only / shortened version of motif (1)

8-9: motif (extended) using all 12 chromatic notes (1)
11: motif becomes a riff/ostinato (1) with tonal centre / based on G (1), with
semiquaver chordal notes (1)
23: tonal centre of E flat (1), now on woodwind and (electric) harp (1)
38-9: treated in rising sequence (1)
45: riff now on C (1)
46: extended to 8 notes (1) in 4/4 (1)
59: returns to G (in 4/4 version) (1)
for further derivations, see below
Some trace of serial approaches (1).

13-14: C sharp C natural E flat D (violin-flute) = 1-4 of Retrograde (1)
21: B Fsharp E sharp = 9-11 of Retrograde (1)
23: bar 8 isolated in ww (1), repeated 3 times (1); bass line derived from Retro
(1)
27: Bass = RI (1)
30: Though taken from b. 1, relates to 8-9 through perfect 4th and semitone (1)
32: Bass line = I on E flat (1)
40: 12 note chord piled up in order of R (1)
46: xylophone + 1-5 of O (1), with ostinato based on first 8 notes of b. 8-9 (1)
52: Ramshorn: accept argument that 5ths derive from 8-9 (1)
59: 8-note ostinato on G (1)
75: Fragments of RI/I (1)
144
(b) Allow (1) for each new feature.
Changes of Metre (1)
1: regular triple time (1) with heavy first beat stress (1) using
homorhythms (1)
10: quintuple time (1)
11: melody marked by long note (1) with much shorter lengths at close (1)
with continous driving rhythm in piano/riff (1)
16: cross-rhythm (1) of 6/8 over 3/4 (1)
37: 2 + 3 + 3 subdivision (1)
42: triplet crotchets against 4 quavers (1)
52: syncopation on ramshorn (1)
55: polyrhythms (1)
59: substantial passage of 4/4 time (1)
84: 4/4 with 3/8 superimposed (1), and 6 beat ostinato (1)
(c)
Bars 11-18 Bars 23-30

ostinato on piano (1) on G (1) ostinato on woodwind + harp (1) on E flat (1)
violin (1) melody above (1) ostinato trombone (1) melody below (1) ostinato
3-note figure on xylophone + fl.picc. longer first note (1)
(1)
Ends with 2 note Chord (1) ends with 3 note chord (1)
cross rhythm at b. 16 (1)
conga drums (1) side drum and timp (1)
very soft to very loud moderately soft to very loud [max 1]
figure from bar 1 inserted in strings (1)
145
Special focus works: Ellington and Miley, Black and Tan Fantasy (p. 465), Cliff, You can
get it if you really want (p. 496) and Morrison, Tupelo Honey (p. 501).
(a) Comment on the approach to rhythm and metre in Black and Tan Fantasy.
(10)
(b) Contrast the approaches to tonality in all three special focus works.
(10)
(c) Comment on the instrumental writing in bars 21-36 of Tupelo Honey, referring to
texture, melody and rhythm.
(10)
(a) Quadruple time throughout (1) Opens with anacrusis (1) Regular crotchet rhythm (1)
in 1- 12; at b. 13 a “pad”/sustained chord (1) with, initially every other beat
sounded in bass (1) supporting melody with combined duplet and triplet quavers
(1), often tied across the beat (1) with some cross-phrasing/rhythm at b. 17 (1).
Quavers are uneven (1); triplet crotchets at b. 33 (1), syncopation at e.g. b. 41 (1),
semiquavers at b. 61 (1); a “lean” at b. 81 (1), a “push” at b. 85 (1), dotted
rhythms at eg b. 87 (1) with slackening of pulse (1). Longer note values at end (1)
offbeat cymbal (1)
(b) B &T: B flat minor (1) to B flat major (1), but approached obliquely via Gflat7
(performing function of German 6th) (1); circle of fifths at b. 19 (1), B flat minor at
close (1).
YCG: D flat throughout (1), but with some unrelated chords (1 + 1 for example);
pentatonic vocals (1); “plagal” fade (1). Traces of wholetone scale at bar 39 (1)
TH: B flat throughout(1); again with pentatonic vocals (1).
(c) Award (1) for each new feature, e.g.

counterpoint (1), involving cross-rhythms at b. 33 (1).
The bass line constantly varies (1).
The piano provides a chordal backing in the main (1).
The sax. plays for only the first 8 bars (1).
There are numerous syncopations (1); other rhythmic features involve use of
repetitive three note figure within 4-note groupings (1), so creating cross-rhythms.
Diminution occurs in El. guitar at b. 33 (1).
The melody is mainly pentatonic in sax (1), apart from occasional A (1).
Other lines tend to incorporate a wider range of notes (1), e.g. there is a chromatic
E natural in bass at bar 24 (and at bar 32) (1).
triplets (1)
146
9. World Music
Special focus works: Baris Melampahan (extract) (p. 522) and Familia Valera Miranda, Se
quema la chumbambá (p. 534).
(a) Describe differences in rhythm between the two special focus works.
(10)
(b) Comment on the approach to melody in both special focus works.

(10)
(c) Compare and contrast the performing forces used in these two works, the ways
they are combined, and the likely circumstances of performance.
(10)
(a) Baris: regular pulse throughout (1) until the slowing down at the close of the
extract (1). There is an apparent conflict between the aural impression of gongs
alternating on the main stresses (1) of each 8-beat pattern (1), whereas they are
notated on the 4th and 8th “beat” (1). Throughout the extract, there is a constant
“on-beat” pulse (1) with some “off-beat”sounds from the Gangsa, Sangsih and Polos
(1). Kendhang rhythms are occasionally displaced(1).
Se quema: frequent syncopation (1). The bongo provides a constant quaver pulse
(1) while the claves introduce cross-rhythms (1). Rhythmic ambiguities occur in the
cuatro solo with triplet crotchets in bar 19 (1), and regular quavers reiterating a
three-note figure in bars 15-18 (1).
(b) Baris is based on a “nuclear” melody (1) which forms the basis for the whole section
included in NAM, i.e. pitch nos 2 1 3 2 6 from the Pelog scale (1). It is elaborated
heterophonically (1 + 1 for effective demonstration), and is heard in varying
degrees of completion (1), involving dynamic contrasts (1), the only significant
departure occurring at [H], the “High Tune” (1).
Se quema consists of strophic (1) alternation of Pregon and Coro (1), the pitch
range being a minor 6th in the Pregon part (1), but a diminished 7th in the cuatro
(1) at the start, latterly expanding to minor 9th in the cadenza (1). The final
strophes appear after a central improvisation which, on the basis of the notation on
p. 536, includes some chromatic notes (1), broken chord figures (1), cross-rhythms
(1).
(c) Baris: the only non-percussion instrument is the flute-like suling (1), the remaining
instruments consisting of gongs, metallophones and unpitched percussion (1). Gongs
are used to mark the end of rhythmic cycles (1), while metallophones provide
melodic content (1) sometimes with heterophonic elaboration (1).
It is a collectively elaborated [community] piece (1), and hence is non-virtuosic (1).
It is not normally permanently preserved (1) in notated form.
Se quema requires mixed timbres (1) of plucked strings, percussion, vocal solo (1)
and answering chorus (1). It is performed for entertainment (1) to an audience (1)
and involves display elements (1).
147
SECTION B
10. Music for Large Ensemble
Continuity and change in harmony and tonality
(a) Compare and contrast Haydn’s approach to harmony in Symphony No. 26 in D

minor, ‘Lamentatione’: movement I (p. 31) with Debussy’s in Prélude à
l’après-midi d’un faune (p. 86).
OR
(b) Contrast approaches to tonality in Berlioz’s Harold in Italy: movement III (p. 42)
and Tippett’s Concerto for Double String Orchestra: movement I (p. 120).
(Total 20 marks)
(a) Allow (1) for each aspect mentioned below and a maximum of one for an
accompanying example, unless otherwise stated.
Haydn: functional harmony (1) with root, 1st and 2nd inversion chords (1 max. No
marks for examples), dominant sevenths (1 max.) in root position and the inversions
(1), all resolved (1), and diminished 7ths (1). Typical devices include regular
cadences (1), [inverted] pedals (1), tonic and dominant (1), appoggiatura chords
(1), passing notes (1), suspensions (1), circle of fifths (1). Harmonic pace speeds up
at cadences (1).
Debussy uses unresolved sevenths (1), half diminished sevenths (1), unrelated
chords (1), 9ths (1), 11ths (1) and 13ths (1), chromatic harmony (1), augmented
triad (1), added 6th (1), D major 7 (1), parallel sevenths (1). The harmonic rhythm is
generally slow (1), with more movement in the central passage (1). There are
occasional cadences (1).
(b) Berlioz: C major (1), the first section anchored to C by the drone (1) and marked by
modality (1). There are only occasional modulations throughout the serenade (1),
Berlioz preferring short-term excursions, e.g. A minor at b. 40 (1), return to C at b.
42 (1) via V7 (1), D minor at b. 100 (1). Key defined by cadences (1).
Tippett: Modal (1); on A (1) [Not A minor], bimodal (1) using a combination of
Aeolian, mixolydian and pentatonic scales (1). Credit other modes, e.g. Lydian, if
located.
Some cadential progressions (1), e.g. Phrygian at b. 21 (1), but not operating in a
functional sense (1). 2nd subject group gravitates to G (1). Quickly changing
unrelated chords intensify sense of tonal flux (1). Some of the more discernible
tonal references are:
60: movement to flat side (B flat) (1) before end of exposition in G.
68: start of development in E (1)
86: C sharp major (1)
91: F minor (1)
93: B flat minor (1)
99: B minor (1)
103: A minor (1)
107: A flat (1) latterly clouded by augmented triad (1).
119: “Non-tonal” (1)
129: reverting to mixed modal A (1)
210: striking side-shifts from D to F (1)
Final extended modal cadence involving flat 7 - tonic (1).
148
11. 20th-century Art Music
Continuity and change in rhythm, texture and timbre
(a) Compare and contrast textures and timbres in Stravinsky’s Pulcinella Suite:
Sinfonia, Gavotta and Vivo (p. 139) with Berio’s Sequenza III for female voice (p.
171).
OR
(b) Contrast the approach to rhythm and metre in Webern’s Quartet Op. 22: movement
I (p. 160) and Cage’s Sonatas and Interludes for Prepared Piano: movements I-III
(p. 166).
(Total 20 marks)
(a) Stravinsky’s textures range from homophonic (1 + 1) to melody-dominated

homophony (1 + 1), sometimes with Alberti figuration (1 + 1). There are also
contrasts between tuttis (1 + 1) and reduced forces (two- and/or three-part
soloistic writing) (1 + 1). Some use of drones (1 + 1) and counterpoint with brief
snatches of imitation (1 + 1).
The timbres involve blended/doubled forces in tutti sections (1), strings supporting
woodwind (1), woodwind timbres (with horn) exclusively in Gavotte (1 max), and
unusual combinations of instruments in Vivo for humorous effect (1 + 1).
Berio is monophonic (1) but with various timbral/vocal production effects (1)
ranging from a relatively few clearly sung pitches (1) to breathy tone (1), random,
unpitched sounds (1) involving e.g. laughter or various ‘muting’ techniques to
produce non-conventional sounds (1).
(b) Webern’s movement is in predominantly triple time (1), though this is scarcely
discernible (1), especially with changing signatures in development (1). Based on 3
rhythmic cells (1 + 1 for each). Use of rests makes for fragmentary impression (1),
especially at start and close, but these gaps disappear as music moves to climax in
development (1), the overlapping of the various rhythmic cells producing greater
density (1).
Cage’s rhythmic organization is of prime importance in the fractal/micro-
macrocosmic (1) scheme in which small-scale rhythmic durations determine the
overall proportions of the structure (1):
Sonata I uses 7 crotchet units (1) in sets of 4 1 3 (repeated); 4 2 (repeated) (1),
these being the rhythmic cells of bars 1-7, amounting to 28 crotchets (1) which
becomes the length of each span in the rest of the movement (1).
II: 1 1/2 + 1 1/2 + 2 3/8 + 2 3/8 (1) applied to 31 crotchets (1).
III: 1 + 1 + 3 1/4 + 3 1/4 (1) applied to 34 crotchets (1).
These structures are inaudible (1). At surface level, the Sonatas are marked by off-
beat effects (1), triplets (1) and other irregular note groupings (1), some limited
syncopation (1), rhythmic displacements of short patterns (1). III makes use of a
more regular pulse (1).
Some changes of time signature (1).
149
12. Music for Small Ensemble
Continuity and change in structure and tonality
(a) Show how approaches to structure and tonality differ in Gabrieli’s Sonata
pian’ e forte (p. 194) and Corelli’s Trio Sonata in D, Op. 3, No. 2: movement IV
(p. 200).
OR
(b) Compare and contrast structure and tonality in Haydn’s String Quartet in E
flat, Op. 33, No. 2, ‘The Joke’: movement IV (p. 202) and Beethoven’s Septet in E
flat, Op. 20: movement I (p. 207).
(Total 20 marks)
(a) Gabrieli’s work is through composed (1), indicating the link between vocal and
instrumental composition (1), with only short-term repetition (1), e.g. bar 34 (1)
where the music of b. 31 is repeated a 4th lower (1).
Compositional devices include cadences (1), e.g. Perfect, Phrygian and plagal
(allow one for one located example of each), circle of fifths (1), Tierce de Picardie
(1). The music is based in G dorian (1), but cadences on any step of the mode (1)
contributing to the works fluid tonal feel (1).
Corelli’s sonata movement is in binary form (1) with repeats (1), and some fugal
style writing (1 plus 1 for each correctly applied fugal term). Tonality is now
functional (1) and is characterised by the drive to the cadence (1). Pedals (1) are
used as well as the circle of fifths (1) and modulations (1) (Allow 1 for each
correctly located key) to related key.
(b) Haydn’s work is in rondo (1) form, Beethoven’s in Sonata Form (1) with slow
introduction (1). Award one for each precisely located section and one for each
change of key as well as additional marks for details of material developed in the
Beethoven. Allow broad generalizations, e.g. there is little modulation in the Haydn
(1) as opposed to the Beethoven.
Haydn Beethoven
1-8 A (1) in Eb [in title] Exposition 18-111 (1)

8-28 B (1) 1st subject 18-39 (1)
28-36 A (1) Transition 40-52 (1)
36-70 C (1) in Ab to 47 (1) 2nd subject 53-98 (1) in Bb (1)
F minor 48-53 (1) Codetta 98-111 (1)
Eb 49 (1) Development 111-153 (1)
71-107 ABA (1) Passing through:
107-140 C1 (1 + 1 max. for details of 116 – C minor (1)
variation) 124 – Ab major (1)
140-148 A (1) 136 – F minor (1)
148-152 Adagio (1) 140 – Dominant preparation (1)
152-172 A1 (1 + 1 max. for details of Recapitulation 154-233 (1)
variation) 1st subject 154-181 (1) in Eb (1)
1
Transition 182-187 (1)
2nd subject 188-233 (1)
Coda 233-288 Ab at 258-265 (1)
Eb from 266 (1)
150
13. Keyboard Music
Continuity and change in harmony and melody
(a) In what ways does Mozart’s harmony in the Sonata in B flat, K. 333 (p. 253)
differ from Bach’s in Partita No. 4 in D, BWV 828: Sarabande and Gigue
(p.249)?
OR
(b) Contrast approaches to melody in the works by Debussy (p. 260) and
Shostakovich (p. 262).
(Total 20 marks)
(a) Bach drew on root, first and second inversion chords (1 max), V7 (1 max.)
with some “free-voiced” resolutions (1), dim 7 (1 + 1), Neapolitan 6th (1 + 1),
circle of fifths (1 + 1), non-harmony notes such as auxiliary notes (1 + 1),
passing notes (1 + 1), suspensions (1 + 1).
The harmonic rhythm is regular and generally fast (1).
Mozart also used the same basic harmonic vocabulary (1), but also introduced
chromatic changes (1 + 1 each for e.g. II7, aug 6th, dim 7.
Appoggiaturas are now more prominent (1 + 1), some double (1 + 1)
and some chromatic (1 + 1).
The harmonic rhythm varies significantly (1), sometimes being slowed dramatically
to raise tension (1), e.g. approach to cadence at b. 57-58 (1).
(b) Debussy: lyrical (1) with balanced phrases (1 + 1); begins in Aeolian (1) mode (1),
combining conjunct and disjunct movement (1 max., no locations); characteristic
repeated phrasing (1 + 1); limited chromaticism (1 + 1), absence of triadic melody
(1), cross-phrasing (1 + 1), though slightly broader at close (1 + e.g.4ths and 5ths).
Large range covered (1 + 1). Some sequences (1 + 1)
Shostakovich: Prelude is motivic (1) in essence, exploiting step figures (1) and
broken chords (1 + 3 max for showing motivic links). Initially diatonic (1), chromatic
(1) in central passage (1). In fugue, the melodic writing is angular (1), built entirely
on broken chord structures (1). Episodic material is narrower in range (1). Fugue is
diatonic (1)
151
14. Sacred Vocal Music
Continuity and change in structures and tonality
(a) Contrast Bruckner’s approach to tonality in Locus iste (p. 305) with Stravinsky in
Symphony of Psalms: movement III (p. 307)?
OR
(b) Contrast the structure of the first movement of Bach’s Cantata No. 48, ‘Ich
elender Mensch’ (p. 288) and Haydn’s ‘Quoniam tu solus’ from The Nelson Mass
(p. 299).
(Total 20 marks)
(a) Award one for each clearly located key. There are no location marks unless
indicated.
Bruckner: Functional tonality/tonality based on functional harmony (1) with

(traditional) cadences (1 + 1 for example) and modulation (1) from opening C major
(1), (briefly) to G at bars 5-6 (1), then D minor at bars 15-16 (1), E minor at bars 19-
20 (1); (fluid) chromatic central section (1), then to C via V7 at bar 26 (1)
Stravinsky: Non functional tonality/tonality based on non functional harmony (1)

C minor (1) - bitonality (1) of C minor and C major (1). False relation (1 +1)
b. 22 C major (root and 3rd only) then C7
41: E over F natural and G
48: D over G sharp
51: C major
53: C Aeolian in vocal parts, supported by variable chromatic patterns
65: C major/E minor
87: C major and A major 7
100: C minor (refrain)
104: E flat
115: C major
132: B flat
134: E flat
144: E major over A sharp
150: D major, then fluid scheme involving octatonic scales
163; E flat
205-end: C minor/major
(b) Bach: Ritornello (1), but also incorporating fugato-like choral layers (1) and
instrumental cantus firmus (1) heard in canon (1). The tonal scheme is limited by
the cantus firmus (1). Starts in G minor (1), moves to D minor (1) with tierce de
picardie (1) at b. 43. Touches on C minor at b. 60 (1), D minor at b. 88 (1). Returns
to G minor (1) with plagal cadence at close (1). Other devices include pedal points
(1).
Haydn: co-ordinates various elements (1). First section is free-formed (1), but built
on generally balanced phrases (1 + further credit for showing various phrase
lengths). Fugato starts at b. 22 (1 + 1 for each correctly applied term), moving
through a number of related keys (1 + 1 for each correctly located key), then to the
coda (with canonic elements) which begins at 61 (1), this section anchored to D
major (1) by pedal points (1), and reinforced by repeated perfect cadences (1).
152
15. Secular Vocal Music
Continuity and change in text setting and handling of voice
(a) Compare and contrast the text-setting and vocal writing in Monteverdi’s
Ohimè, se tanto amate (p. 353) and Purcell’s ‘Thy hand Belinda’ and ‘When I am
laid in earth’ (p.356).
OR
(b) Comment on text setting and handling of voice in Haydn’s My mother bids me
bind my hair (p. 359) and Gershwin’s ‘Summertime’ from Porgy and Bess (p.
366).
(Total 20 marks)
(a) Monteverdi: largely through-composed (1), though unified by the recurring

‘Ohimé’(1); syllabic (1), following inflections of spoken Italian (1). Melisma (1) at b.
42 (1). Falling lines and sospirando/sighs (1) reflect text, as do unprepared
dissonances (1 +1), false relations (1 + 1), chromatic lines (1 + 1), diminished 5ths(1
+ 1). Phrasing is irregular (1).
Main divisions in setting of text:

1-19: antiphony (1) in 3 parts, building to 5 part counterpoint (1).
20-29: 3 part homophony (1) becoming imitative (1).
29-38: 5 part reworking of previous section (1) in tonal region a 5th lower to begin
with (1).
39-44: 5 parts with some imitation (1)
44-end: “havrete” phrase heard several times, involving homorhythmic imitation
(1). Closes in major (1) with ‘Ohimé”.
Purcell: Recitative also follows speech rhythms(1), but this is a more heightened
speech involving melisma(1 + 1) , gradual descent (1) and chromatic alteration (1 +
1). Some word painting (1). The air is built on two (1) repeated (1) main ideas,
notable for irregular phrase lengths (1 + credit for examples) and partial changes of
alignment in relation to the ground bass (1 + 1). Mixture of syllabic and melismatic
(1), with tritone (1 + 1) and declamatory (1) fragmentation (1 + 1). Main divisions in
setting of text: 6-14 (1); 16-24 (1); 25-36 (1); 36-46 (1).
(b) Haydn: periodic phrasing (1 + 1 for example), combination of scalic (1 + 1) and

triadic lines (1 + 1), some chromaticism (1 + 1) and sospirando effects (1 + 1) to
convey sense of first verse, but not v. 2 (1), where words are broken by rests (1 +
1). Some appoggiaturas (1 + 1), major mode (1). Range of one octave (1).
Gershwin: 4-bar phrases (1), but the basic symmetry is disguised by rhythmic
freedom (1 + 1 for example). (Varied) strophic (1 + 1 for locating verses). Minor
pentatonic (1), portamento (1 + 1), syncopation (1 + credit for examples and,
additionally, for distinguishing between “lean” at e.g. bar 15 and “push” at bar
16); vocalization from female chorus in v. 2 (1). (Notated) range is an octave (1).
153
16 Music for Film and Television
Continuity and change in use of instruments and texture
(a) Compare and contrast the instrumentation and textures used in Passport to
Pimlico (1948): The Siege of Burgundy (p. 369) and ET (1982): Flying Theme (p.
409).
OR
(b) What differences in instrumentation and textures do you notice between On the
Waterfront (1954): Symphonic Suite (opening) (p. 374) and Titanic (1997):
‘Take her to sea, Mr Murdoch’ (p. 440)?
(Total 20 marks)
(a) Award credit for valid observations as below and for each new
instrumental/textural detail. There are no separate location marks.
Passport: standard orchestra plus tuned percussion (1).

Essentially melodic with various types of harmonic accompaniment (1), though with
rhythmically independent lines/free counterpoint (1).
1: Fanfare in octaves (1) with descending line on horns (1), then in 3rds (1).
5: melody in 5ths and 8ths (1), running strings in 3rds (1) accompany, then
straight homophony (1)
9: Accompaniment with independent lines(1).
13: Repeated octave note/ “pedal” (1) with brass line underneath in octaves (1)
15: Octaves [1]
21: Reiterated chords (1) plus melody in pizzicato/plucked strings and bassoon
below (1)
33: Reiterated chords with melody above in 3rds and 8ths (1).
36: antiphonal (1)
41: muted trumpet
47: Homophonic tutti (1)
49: Chordal with trills in ww and trumpet fanfare (1).
55: “Stride” bass accompaniment (1).
154
ET: Standard S.O with bells (chimes) (and glockenspiel) (1) and piano (1)
1: Pulsing homophony (1) with 4-note repeated figures in melody line (1).
9: Melody dominated homophony (1) with theme in 8ths in violins, violas and
cellos and all woodwind (1) and reiterated chords on horns and piano (1).
17: Violin melody (1), semiquavers in viola (1) and pizzicato/plucked bass (1);
counter-melody in flutes and bells/glockenspiel (1).
25: Flute melody (1), independent bass line and chords (1).
42: Brass have sustained chords (1); theme in violin and viola octaves (1), with
pizzicato cello and bass line doubled by piano LH bass and tuba.(1).
46: Sustained chords on horns, trumpets and trombone plus strings tremolo (1),
while flute, oboes and clarinets have melody (1).
63: imitation between strings and woodwind (1), and horns (1)
69: Dominant pedal (1).
75 Accompanying chord in strings and brass, melody in upper woodwind.
(b) Award credit for valid observations and each new instrumental/textural
detail.
There are no separate location marks.
On the Waterfront: large S. O. with extensive percussion, (1) and solo saxophone
(1).
1: monophonic (1) horn (1)

7: imitative (1) flute in octaves (1) and trombone (1)
13: two part plus pedal (1)
20: Percussion fugue/layered percussion (1)
40: Riff (1) plus sax melody (at 42) (1)
54: Theme in woodwind (except bassoons) in octaves (1)and trumpet (1)
78: Tutti (1) homophony (1)
88: sustained single note in violin (1) plus side drum (1)
106: Staggered build-up of chord (1), then sustained strings chord (1) with
woodwind and brass stabs (1) .
155
Titanic: S.O. plus choir and synthesized instruments and voices (1).
Wordless (1) chorus.
1: Pedal (1) and imitation (1) in voices, viola, violins, bassoons and
clarinets (1)
4: homophony (1)
8: broken chord in violins (and harps) (1) and pedal
11: layered (1), with simultaneous ostinati (1), one in rising and falling
octaves in cellos, piano and bassoons (1), another with rising and
falling scales in violas and clarinets(1)
21: heterophony (1) between violins and violas and horns and trombones (1).
30: Pedal plus two vocal upper parts (1), doubled in clarinets and flutes (1) with
lower of these two lines (1) played tremolo in violins (1).
57: horn counterpoint (1)
68: pedal of reiterated notes in cellos and basses (1)
75: Accompanying chord in brass and strings (1), melody in flute, oboe
and clarinets (1)
156
Continuity and change in harmony and melody
(a) Compare and contrast the harmony of West End Blues (p. 461), I’m Leavin’ You
(p. 471) and A Day in the Life (p. 487).
OR
(b) How does the melodic writing of Waterloo Sunset (p. 483) differ from that of
Don’t look back in anger (p. 509)?
(Total 20 marks)
(a) WEB: major mode (1) blues (1), using inversions as well as roots(1), plus
substitution chords(1 + 1), dim 7ths (1 + 1), augmented triad (1 + 1), false relation
(1 + 1), V pedal (1 + 1), added 6th (1 + 1).
ILY: notated in major but sounding as a minor mode (1) blues. Roots (1), unchanging
progressions (1), 7th and 9th chords (1), some blue/chromatic notes (1 + 1).
DIL: Modal (1) rather than functional. Verse balanced between G and E minor (1),
with F major as possible Neapolitan inflection (1). No dominant chord (1).
Combination of roots and inversions (1) permit prolonged stepwise descent in bass
(1). Some 7th and 9th chords (1).
Pedal (1) supports atonal slide (1).
Bridge on E mixolydian (1), followed by circle of (rising) fifths (1).
(b) WS: E pentatonic (1), sequentially (1) descending hook, 4 bar phrases (1) starting on
the half-bar (1) (AABA) [1]. B section rises to high point (1). Bars. 25-27 have step
descent (1). On repeat an octave leap at the start (1). New stepwise rising motive
at fade (1).
DLB: C pentatonic (1), initially narrow note-range (1), 4-bar phrases (1) involving a
frequent oscillation on 2 notes (1). Some occasional chromatic alteration (1 + 1).
Variations in melody line allow a high point at b. 20 (1). The contrasting chorus
opens with an upwards octave leap (1) followed by an overall descent (1). High A at
b. 30 (1). Essentially pentatonic guitar solo with ornamentation (1). At close,
melody line fragmented (1), closing with phrase on just D and C (1).
157
18. World Music
Similarities and Differences in textures and timbres
a) Compare and contrast textures and timbres in Rag Bhairav (p. 519), Yellow Bird
(p. 528) and Agbekor Dance (p. 532).
OR
(b) Comment on the timbres and textures of Baris Melempahan (extract) (p. 522),
Tom McElvogue’s (jig) and New Irish Barndance (reel) (p. 530) and Se quema la
chumbambá (p. 534)?
(Total 20 marks)
(a) Rag: Tampura provides a drone (1), the Sarangi the melody line (1). The
sympathetic strings (1) result in the characteristic sound of this music. Tabla
provide pulse (1) and themselves provide contrasting timbres (1).
YB: Essentially a rhythmically enlived (1) melody-dominated homophony (1). Many
contrasting note-lengths are heard simultaneously (1), e.g. long notes (1) involving
tremelo effects (1), to the recurring bass pattern with dotted rhythm (1), while
syncopations occur in some other parts (1 + credit for further detail). A drum kit is
usually added in performance (1).
AD: Polyrhythmic (1) three-part (1) texture, with varying mutings (1 + credit for
examples) and changes of timbre from the bells (1) to the drums, which can also be
varied by striking the side of the drum rather than the head (1).
(b) Baris is built on a “nuclear” melody, with heterophonic (1) elaborations, the
sections being clearly delineated by addition or subtraction of forces (1), e.g. the
appearance of the angsel (loud) [1] marked by the addition of the Reyong (gong
chimes) [1] and the Kendhag (drums and cymbals) [1]. On some occasions the
repeated sections are differentiated by changes in dynamic (1), e.g. the “usual”
tune. The “High” tune involves a change to the upper timbres (1), while the
Kendhag section has more emphasis on drum timbres (1).
Tom M: monophonic (1) flute, plus foot-taps (1). The structure is built on a purely
melodic phrase system (1).
Se quema: In the early stages the only notable changes occur in the intro with the
build-up from monophonic (1) cuatro [i.e plucked string] (1) solo to the full band
with Double bass (1) and percussion/bongos and claves (1). It then depends on the
contrast of vocal timbres (1), i.e. the solo Pregon (1) and the two-part (1),
homorhythmic (1) Coro, which define the “narrative” and the refrain. In the course
of the central section, voices are omitted to allow for a cuatro improvisation (1),
followed in turn by a passage in which the percussion instruments take the lead (1).
158
159
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GCE

Performing (6701/11 & 6701/12) 4

Compositional Techniques (6702/21) 7

Understanding Music (6703/32) 55

Compositional Techniques (6705/51) 86

Performing During the Course (6705/52) 125

Listening (6706/61) 128

Understanding Music (6706/62) 134

Assessment Criteria – Performance Indicators

Assessment of accuracy Mark

No work offered capable of assessment. 0

Assessment of interpretation Mark

No work offered capable of assessment. 0

No work offered capable of assessment. 0

No work offered capable of assessment. 0

Grade 4 Grade 5 Grade 6+

A (i) Baroque counterpoint

B (i) Chorale cadences

B (ii) Pop song

C (i) Renaissance counterpoint

D (ii) Electro-acoustic music

A (i) Baroque counterpoint

Resources, Melody and Harmony Marks out of 39 are to be awarded as follows:

5 Very carefully presented throughout; must be completely accurate. Pencilled

4 EITHER Carefully presented, with very minor inaccuracy or very minor

3 EITHER Reasonably carefully presented, with several inaccuracies or with minor

1 Work which is unacceptable because it is very poorly presented and/or has

0 Award 0 only if there is no score.

Presentation (this set of descriptors to be used in the case of computer generated

2. Accuracy, including accuracy of given material (enharmonic changes, changes of

3. Spacing, both between staves and between systems

6. Positioning of dynamic marking, slurs and other marks of articulation

8. Elimination of redundant staves or parts of staves

5 Very well presented throughout: complete, accurate in every respect, well-spaced.

3 Reasonably well presented, but with several inconsistencies or misjudgements or

1 EITHER Work which is unacceptable because it is very poorly presented, having

0 Award 0 only if there is no score.

• effective harmonic change

Remember that ‘developments’ might include a purposeful use of inversion,

10,9 full-length (defined under Structure)

8,7 full length

6,5 full length or close

4,3 full length, or close

2,1 almost certainly a short submission

0 very short indeed

1 For coming close (probably about 26–31 bars)

0 For a short submission (less than 26 bars)

2,1 Weak or unsatisfactory structure.

0 No discernible shape. Expect to award ‘0’ very rarely.

1 Some attempt at creating an effective ending.

10,9 Plenty of interest and variety, making an effective, well-controlled piece.

6,5 Generally satisfactory, but a little unenterprising.

4,3 Limited success, perhaps in a short submission. Some rough moments.

0 Award 0 if nothing at all has been added to the given material.

10,9 Plenty of interest, variety, making an effective, well-controlled piece.

6,5 Generally satisfactory, but a little unenterprising.

NB deduct 1 mark if a keyboard instrument has not been named.

Presentation Award out of 10 as follows:

First, award out of 5 for accuracy and appearance:

5 Very carefully presented throughout: must be completely accurate. Pencilled

4 EITHER Carefully presented, with very minor inaccuracy or very minor

3 EITHER Reasonably carefully presented, with several inaccuracies or with minor

1 Work which is unacceptable because it is very poorly presented and/or has