AQA GCSE Music Course

AQA GCSE Music Course

Name: ……………………….. Tutor: ………….

Why do Music?

It develops our sense of self-esteem
It develops our competence as learners as we learn new skills
It brings together intellect and feeling creating music that is clever and emotional
It allows us personal expression and reflection through composition work
It helps us to develop emotionally by creating music that has feeling
It helps you relate to other people of different cultures
It helps us understand our own culture (where we come from)
It gives us a sense of togetherness when performing with others and helps us learn to work with others
It makes us learn things we wouldn’t ordinarily learn in other subjects
It helps us listen to others
It helps us be critical listeners
It helps us learn to make judgements
It helps us develop self discipline when performing music
It helps us be creative
It develops our aesthetic senses
It helps us become fulfilled when compositions and performances are completed

BASICS

Qualification: GCSE Music

Qualification Code: 4272

Examination Board: AQA

What you have to complete

UNIT ONE: Listening to and Appraising Music 42701

Assessed: Written Paper - 1 hour – 80 marks – 20% of total mark

Externally Assessed

UNIT TWO: Composing and Appraising Music 42702

Assessed: Externally by submission of one composition and a question booklet

40 marks – 20% of total marks

UNIT THREE: Performing Music 42703

Assessed: Internally by performance of two pieces (one solo skills piece, one ensemble skills piece) Controlled Assessment

60 marks – 40% of total marks

UNIT FOUR: Composing Music 42704

Assessed: Internally by creation of one composition and a candidate record sheet

Controlled Assessment – 30 marks – 20% of total marks

UNITS IN MORE DETAIL

UNIT ONE: Listening to and Appraising Music (20%)

ASSESSMENT: In a final listening exam you will be asked questions based around the five Areas of Study below…

AoS 1 – Rhythm and Metre

AoS 2 – Harmony and Tonality

AoS 3 – Texture and Melody

AoS 4 – Timbre and Dynamics

AoS 5 – Structure and Form

All these will be explored through the following…

Music from the Western Classical Tradition (classical music)…

Baroque orchestral music

The concerto

Music for voices

Chamber music

The sonata

Popular Music of the 20th and 21st Century (popular music)

Blues

Popular music of the 1960s

Rock Music, R ‘n’ B (rhythm and bass), Hip Hop

Music Theatre

Film Music

Music from around the World

Music of the Caribbean

Music of Africa

Music of India

HOW YOU WILL BE PREPARED FOR THIS: Each week you will practice your listening skills and learn how to listen to music in specific ways, using key words to describe what you hear. You will also have practice of using notation to write what you hear and identify elements in the music. You will have end of unit tests to see if you have learned these things.

These are the key words you need to learn for Unit One…

Rhythm and Metre

Pulse
Simple and compound time
Regular, irregular and free time
Augmentation, diminution, hemiola, cross-rhythm
Dotted rhythms, triplets, syncopation
Tempo, rubato
Polyrhythm, bi-rhythm
Drum fills

Harmony

Diatonic, chromatic
Consonant, dissonant
Pedal, drone
Cadence: perfect, plagal, imperfect, interrupted, Tierce de Picardie
Identification of major, minor and dominant seventh chords using Roman numerals/chord symbols

Tonality

Tonal, major, minor, modal
Use and identification of key up to 4 sharps and 4 flats
Modulation:

- to dominant in major or minor key

- to relative major or minor

Texture

Harmonic/homophonic, polyphonic/contrapuntal
Imitative, canonic, layered
Unison, octaves, single melody line, melody with accompaniment, antiphonal

Melody

Intervals within the octave
Conjunct, disjunct, triadic, broken chords, scalic, arpeggio
Passing notes, acciaccaturas, appoggiaturas
Blue notes
Diatonic, chromatic, pentatonic, whole tone, modal
Augmentation, diminution, sequence, inversion
Slide/glissando/portamento, ornamentation
Ostinato, riff
Phrasing, articulation
Pitch bend
Improvisation

Timbre

Instruments and voices singly and in combination as found in music for solo instruments, concertos, chamber groups, pop and vocal music
Generic families of instruments as found in world music
Timbre, including the use of technology, synthesized, and computer-generated sounds, sampling, and use of techniques such as reverb, distortion and chorus
Instrumental techniques including con arco/with a bow, pizzicato/plucked, con sordino/muted, double-stopping, tremolo/tremolando
Vocal techniques such as falsetto and vibrato

Dynamics

Gradation of dynamics as follows:

-pp, p, mp, mf, f, ff

-cresc., crescendo, dim., diminuendo

-sfz, sforzando

-‘hairpins’

Common signs, terms and symbols

Structure and Form

Binary, ternary, call and response
Rondo, theme and variations, arch-shape
Sonata, Minuet and Trio, Scherzo and Trio
Strophic, through-composed, da capo aria, cyclic
Popular song form
Ground bass, continuo, cadenza

UNIT TWO: Composing and Appraising Music (20%)

ASSESSMENT: submission of a score and sound source (i.e. CD) and completion of questions about the process and finished version in a booklet supplied by the board and a Candidate Record Sheet. All sent to the board and marked externally.

You must choose TWO OR MORE of the Areas of Study already mentioned…

AoS 1 – Rhythm and Metre

AoS 2 – Harmony and Tonality

AoS 3 – Texture and Melody

AoS 4 – Timbre and Dynamics

AoS 5 – Structure and Form

Which must be linked to ONE of the three strands below (chosen by the Board)…

a. The Western Classical Tradition

b. Popular Music of the 20th and 21st Centuries

c. World Music

…for 2011 it is The Western Classical Tradition

…for 2012, we will have to wait for the board to notify us

How do I complete this work?

Autumn Term up to half term: You will need to complete some research and preparatory tasks related to the style of the piece. This will help you design a really good piece. This will involve personalised tasks related to your strengths involving the internet, work at home or in libraries.

Half Term up to Easter: This must be completed in the classroom informally supervised by your teacher. Officially you are allowed 20 hours in lesson time to do this work. You cannot waste any time in lessons, as this will not create a composition that attracts high marks.

This piece must be finished by Easter of Year 1 complete with score and CD of the sound.

You are not allowed to complete this composition outside school

The Appraisal Booklet

This needs to be filled in during lesson time under teacher supervision over two hours

UNIT THREE: Performing Music (40%)

ASSESSED: Submission of Scores and Recordings of Performances

Internally assessed and externally moderated

You need to perform TWO pieces. One solo and one ensemble piece.

1. Solo Piece

This can be any one of the following…

Unaccompanied solo (where this is the intended nature of the piece, i.e. no playing without an accompaniment if there was one composed for it)
An accompanied solo
A performance where the candidate has a substantial part (if you are a band player or in a large ensemble you need to ensure you have the main part)
Technology-based performance – using a sequencer and/or multi-track recorder. At least one track must be a live performance recorded

2. Ensemble Piece

You must play a piece which has TWO or more live players. If you are in a large ensemble you must be clearly heard on the recording.

HOW WILL YOU BE PREPARED FOR THIS?

Solo Piece: Normally you will have an instrumental (or vocal) tutor in school or outside school. We prefer you have lessons in school so we can monitor your progress. You will need to research some background to your performance pieces including research on your instrument and the style you are playing.

You need to ensure you play a piece which shows your ability. Do not choose a piece just because it is simple to play. As the advice of your instrumental tutor

Ensemble Piece: The school runs various instrumental ensembles to support your learning. If you are not presently in a school ensemble, then it is vital you join one to help you with this element and to help you develop your listening and composing skills.

There may not be an ensemble if you are a drum-kit or band player or if you play an unusual instrument. In this case it is important you develop your own or join an ensemble outside school that would be prepared to come into school for the final recording at the end of the spring term in Year 2.

What standard piece should I play?

The highest expected standard is a Grade 5 piece. You may reach this standard by the end of the course, but if you do not, it is important to play pieces that reflect your skills to date. Both pieces will be recorded in Year 2 during the last week of the Spring Term.

UNIT FOUR: Composing Music (20%)

ASSESSED: Submission of a score and a sound recording (i.e.CD, etc) and a Candidate Record Sheet. Internally marked and externally moderated.

You must choose TWO OR MORE of the Areas of Study…

AoS 1 – Rhythm and Metre

AoS 2 – Harmony and Tonality

AoS 3 – Texture and Melody

AoS 4 – Timbre and Dynamics

AoS 5 – Structure and Form

This is a FREE STYLE composition, which means it is your choice, but must be DIFFERENT from Unit Two. You still need to link it to two or more areas listed above.

How do I complete this work?

Summer Term up to half term Year 1: You will need to complete some research and preparatory tasks related to the style of the piece. This will help you design a really good piece. This will involve personalised tasks related to your strengths involving the internet, work at home or in libraries.

Autumn Term Year 2 up to half term: This must be completed in the classroom informally supervised by your teacher. Officially you are allowed 25 hours in lesson time to do this work. You cannot waste any time in lessons, as this will not create a composition that attracts high marks.

This piece must be finished by Spring Half Term of Year 2 complete with score and CD of the sound.

You are not allowed to complete this composition outside school

UNIT ONE – Listening to and Appraising Music – Self-Assessment of Key Words

Instructions: Below is a list of all the key words you need to know for your listening skills. Judge yourself how well you think you know about each area using the following scoring system…

1-2 – not very much

3-4 – some overall knowledge

5-6 – overall knowledge and some detail

7-8 – quite detailed knowledge of most

9-10 – very detailed knowledge

Test yourself regularly and at least once a term. The numbered columns are for every time you test yourself. Hide your previous scores when assessing yourself from the second time. You ought to compare scores and see them rising over time.

Music from the Western Classical Tradition (classical music)… / 1 / 2 / 3 / 4 / 5
Baroque orchestral music
The concerto
Music for voices
Chamber Music
The Sonata
Popular Music of the 20th and 21st Century (popular music) / 1 / 2 / 3 / 4 / 5
Blues
Popular music of the 1960s
Rock Music, R ‘n’ B (rhythm and bass), Hip Hop
Music Theatre
Film Music
Music from around the World / 1 / 2 / 3 / 4 / 5
Music of the Caribbean
Music of Africa
Music of India

Areas of Study (Key Words)

Rhythm and Metre / 1 / 2 / 3 / 4 / 5
Pulse
Simple and compound time
Regular, irregular and free time
Augmentation, diminution, hemiola,
cross-rhythm
Dotted rhythms, triplets, syncopation
Tempo, rubato
Poly-rhythm, bi-rhythm
Drum fills
Harmony / 1 / 2 / 3 / 4 / 5
Diatonic, chromatic
Consonant, dissonant
Pedal, drone
Cadence: perfect, plagal, imperfect, interrupted, Tierce de Picardie
Identification of major, minor and dominant seventh chords using Roman numerals/chord symbols
Tonality / 1 / 2 / 3 / 4 / 5
Tonal, major, minor, modal
Use and identification of key up to 4 sharps and 4 flats
Modulation:
- to dominant in major or minor key
- to relative major or minor
Texture / 1 / 2 / 3 / 4 / 5
Harmonic/homophonic, polyphonic/contrapuntal
Imitative, canonic, layered
Unison, octaves, single melody line, melody with accompaniment, antiphonal
Melody / 1 / 2 / 3 / 4 / 5
Intervals within the octave
Conjunct, disjunct, triadic, broken chords, scalic, arpeggio
Passing notes, acciaccaturas, appoggiaturas
Blue notes
Diatonic, chromatic, pentatonic, whole tone, modal
Augmentation, diminution, sequence, inversion
Slide/glissando/portamento, ornamentation
Ostinato, riff
Phrasing, articulation
Pitch bend
Improvisation
Timbre / 1 / 2 / 3 / 4 / 5
Instruments and voices singly and in combination as found in music for solo instruments, concertos, chamber groups, pop and vocal music
Generic families of instruments as found in world music
Timbre, including the use of technology, synthesized, and computer-generated sounds, sampling, and use of techniques such as reverb, distortion and chorus
Instrumental techniques including con arco/with a bow, pizzicato/plucked, con sordino/muted, double-stopping, tremolo/tremolando
Vocal techniques such as falsetto and vibrato
Dynamics / 1 / 2 / 3 / 4 / 5
Gradation of dynamics as follows:
-pp, p, mp, mf, f, ff
-cresc., crescendo, dim., diminuendo
-sfz, sforzando
‘hairpins’
Common signs, terms and symbols
Structure and Form / 1 / 2 / 3 / 4 / 5
Binary, ternary, call and response
Rondo, theme and variations, arch-shape
Sonata, Minuet and Trio, Scherzo and Trio
Strophic, through-composed, da capo aria, cyclic
Popular song form
Ground bass, continuo, cadenza

MARKING SCHEMES

How do I know how I am doing and how can I do better?

UNIT ONE: Listening to and Appraising Music (20%)

You will receive the results of your end of unit tests based on the material in your revision guide, which will be issued to you. If you fail to achieve at least 60% you will need to sit the test again to make sure you know enough to do well in the final listening exam.

The tests and Mock Exam will help us predict your possible grade at the end of the course.

UNIT TWO: Composing and Appraising Music (20%)

The task will be marked by an AQA Examiner.

The Composition

The composition will be assessed in the light of the selected areas of study and its success

measured against the realisation of key elements with consideration to the musical aspects detailed below. Strengths in one or more aspects may balance relative strengths or weaknesses elsewhere:

the imaginative use of sound
a sense of musical balance
the creation and development of musical ideas
an understanding of the chosen medium
the appropriate and idiomatic use of instruments, voices and other sound sources
appropriate uses of musical elements, devices, techniques and conventions

Compositions will be marked according to the following six bands of assessment in combination with the musical aspects listed above.

20 –17

The composition is musically stimulating, interesting and satisfying. The candidate demonstrates the successful and imaginative creation of musical ideas in relation to

the areas of study and strand selected. There is a sense of completeness in the music and

there is evidence of development of the musical ideas.

Writing for instruments, voices and sound sources is idiomatic.

The score is accurate and contains detailed performance directions appropriate to the chosen style of the music.

16 –13

The composition is imaginative and largely satisfying. The candidate demonstrates a sound sense of understanding of musical ideas in relation to the areas of study and strand selected. There is a sense of wholeness in the music with some development of the musical ideas.

Writing for instruments, voices and sound sources demonstrates understanding of the techniques required. The score contains sufficient detail to reflect the candidate’s intentions, though some details may be missing.

12 –10

The composition is largely effective. The candidate demonstrates some understanding

of the musical ideas in relation to the areas of study and strand selected. There is a competent handling of the musical ideas. Writing for instruments, voices and sound

sources demonstrates some understanding of the techniques required.

The score shows some accuracy but may contain some omissions and/or inaccuracies.

9 –7

The composition is partially effective. The candidate demonstrates limited understanding of the musical ideas in relation to the areas of study and strand selected.

There are some limitations in the handling of the musical ideas.

Writing for instruments, voices and sound sources may present inconsistencies in their deployment. The score shows some musical ideas clearly.

6 –4

The composition works but at a basic level. The candidate demonstrates a basic understanding of the musical ideas presented in relation to the areas of study and strand selected. There may be some incoherence in the handling of musical ideas. Writing for instruments, voices and sound sources appears simplistic and may lack finish.The score shows inconsistencies and is not accurately presented.

3 –1

The composition is very rudimentary. The candidate demonstrates a rudimentary

understanding of the ideas in relation to the areas of study and strand selected.

Musical ideas lack coherence and may appear incomplete. Writing for instruments, voices and sound sources lack understanding. The score is inaccurate and incomplete.

The candidate’s work shows no evidence of the skills being assessed.

The Appraisal Booklet

Marks are awarded for the candidate’s ability to appraise the success of the process of composing and the outcome (the final completed recording). This is undertaken in response to a set of questions on a pro forma that forms part of the Candidate Record

Form. The questions relating to the appraisal will include:

details of the areas of study and strand chosen
an explanation of why the candidate chose the areas of study and strand for their composition
details of the process of composition and how the final recording was achieved
details of the difficulties encountered during the task and how they were overcome
comments on what makes the composition successful in relation to the areas of study and strand selected
the relationship of the composition to its context.

Candidates may at their discretion, write their response on separate sheets of paper, but all the questions must be answered. The appraisal must include a consideration of the success of the composition in relation to the areas of study and the strand selected.