King Edward VI School

Music Department

A level Music

Contents
Introduction Aims Subject and examination structure Course outlines and expectations Subject specific skills and assessment arrangements AS Units Unit 1 - Performing Unit 2 - Composing Unit 3 Developing Musical Understanding A2 Units Unit 4 - Extended Performance Unit 5 - Composition and Technical Study Unit 6 - Further Musical Understanding Key dates and course deadlines Selected Glossary Resources Reading List

Aims This course is intended to be stimulating and enriching for all students. You will experience all three main musical disciplines of: Performing solo and ensemble skills composing composing music and learning about harmony listening and understanding developing aural and analytical skills The full GCE course is excellent preparation for higher education courses in music, but is equally valuable for non-specialists as a second or third area of study. The AS units alone can offer a broad and satisfying experience for those who want to conclude their musical studies at this point.

Subject and Examination Structure An Overview of the AS and A2 Music Units AS Unit 1 Performing Assessment

AS 30%

A2 15%

Perform one or more solo and / or ensemble piece lasting 5-6 minutes Any style is acceptable. Notated and/or improvised performances may be submitted Compose one piece of music in response to a choice of briefs written by Edexcel. Complete a CD sleeve note to describe important aspects of the music and explain how other pieces may have influenced it. 2 hour exam in three sections: Section A Listening (set works) Section B Investigating musical styles (set works) Section C Understanding Chords and Lines (theory of harmonic and melodic writing)

2 Composing

30%

15%

3 Developing Musical Understandi ng

40%

20%

A2 Unit

Assessment

A2

Full A level 15%

4 Extended Performanc e

Perform a recital as a soloist or member of an ensemble lasting 12-15 minutes. Any style is acceptable. Notated and/or improvised performances may be submitted

30%

5 Compositio n and Technical Study

Produce two pieces of compositional work: Either two three minute compositions responding to briefs provided by Edexcel Or Two technical studies Or A composition and a technical study

30%

15%

6 Further Musical Understandi ng

2 hour exam in three sections: Section A Aural analysis Section B Music in context Section C Continuity and Change in instrumental music

40%

20%

Entry to the course (minimum requirements) It is expected that you will have obtained a higher grade (A/B) in GCSE music and will play an instrument to a standard of Grade 4 or above. Performance You will be expected to show commitment to a variety of musical ensembles including at least one within school. Typically, students taking AS/A level music play regularly in several ensembles both in and out of school. Equipment You will be expected to keep a folder in which your class work must be kept. These should be divided into sections for the different units of work. These folders should be kept neat and up to date. You will need a copy of the New Anthology of Music (Edited by J. Winterson, Peters, 2000). You can either order this through the school or buy a second hand copy from a previous student. Rheingold publish various useful books and CDs. Strongly recommended are the Student Guides and the Aural Practice Papers. These can also be ordered through school. Deadlines and homework Final deadlines for coursework are generally very early in the third term. Interim deadlines are set to enable assessment and target setting. All homework deadlines must be met. If you have any difficulty with a piece of work you must see your teacher at least 24 hours before the deadline. If you miss a lesson for any reason you must catch up on any missed work and complete any missed homework. Regular careful practice on your instrument or voice is expected. It is also advisable to listen to a wide range of music outside lessons and to experiment with compositional ideas.

Subject specific skills and assessment arrangements AS Units

Unit 1 - Performing
In this unit you will develop your skills as a performer. You can perform on any musical instrument or sing and will have the opportunity to take part in ensemble performances as well as performing solos.
o

Perform a piece(s) as a solo / ensemble.

o Any instrument or style is acceptable o Perform for 5/6 minutes o Improvised performances are acceptable An outstanding performance is described as: Impressive and imaginative: the student has stamped their personal musical authority on the performance. Complete (or almost complete) control of technique, style and interpretation. Sense of musical wholeness with no passage sub-standard.

Essential Skills: If you are performing from a score you must pay careful attention to: accuracy of pitch and rhythm fluency quality of instrumental tone and technique performance directions for phrasing, articulation, dynamics and tempo communication, interpretation and style If you are giving an improvised performance you should be able to: play a chosen stimulus accurately exploit and develop its potential Pay attention to: structure instrumental tone and technique and range of timbres and textures fluency communication, interpretation and style In addition to the above ensemble performances will be assessed on your ability to: pay attention to balance and the demands of other parts.

Expected level of difficulty o The Standard level of difficulty is grade 5 but there are extra marks for grade 6 standard pieces and even more marks for pieces of grade 7 standard. Pieces that are easier than Grade 5 can be submitted but they will not gain the full range of marks. Assessment during the course You will be expected to perform throughout the course. Your performances will be assessed formally and informally by your teacher, yourself and your peers. You are expected to practice regularly and to attend appropriate extra curricular musical activities. You will be given opportunities to explore composition and develop aural and analytical skills through your performance work.

Unit 2 - Developing Musical Ideas

This unit encourages you to develop your composition skills leading to the creation of a three-minute piece in response to a chosen brief. You will also write a CD sleeve note to describe aspects of their final composition and explain how other pieces of music have influenced it. You will choose one composition brief from a selection of four set by Edexcel. The music can usually be written in any style and for any combination of instruments/voices. The composition briefs will be based on two areas of study, Instrumental Music and Vocal Music Area of study 1: Instrumental music Topic 1: Composing expressively If you opt for this topic you will investigate the creation of different moods and emotions in music and the effective transition from one mood to another either gradually or abruptly. Topic 2: Variation structures composing idiomatically for instruments This topic gives you the opportunity to investigate variation type structures, and how these may demonstrate idiomatic instrumental writing. This involves learning about the practical ranges of the instruments and commonly-used instrument techniques and timbres. Area of Study 2: Vocal music Topic 3: Words and music: structure in vocal music This gives you the opportunity to consider how texts can influence forms. You may study verse and chorus forms, through composed forms etc. Topic 4: Text, context and texture This enables you to think about where music is going to be performed and why it is written. You will consider how textures may vary in your music. Written Work You will write a CD sleeve note which answers the following questions: 1. Explain and comment on form and structure, indicating in particular how repetition and contrast are balanced.
2.

Mention four other features of interest. You can refer to any two or more of the following: rhythm melodic development texture handling of instrument(s) and/or voice(s) harmony.

3. Refer to pieces from the New Anthology of Music and/or elsewhere, to explain how other pieces of music have influenced you in your composition.

Completing the coursework Controlled Conditions You will have a maximum of 15 hours to complete your composition. This does not include preparation time. You can work on your piece as much as you like at home but you must ensure that the final artefact that you hand in at the end has been produced under controlled conditions i.e. the final score (the recording can be made outside the 15 hours). The 15 hours may be divided into any number of sessions but it will be supervised. You will have one hour to complete your CD sleeve note. You will be able to do preparation, research and recording outside of the fifteen hours but the final version of your composition must be produced in the timed conditions.

What is finally submitted? A detailed notated score appropriate to the style of music submitted. This could be a full score in conventional staff notation; a lead sheet or chord chart; track sheets; tables or diagrams. A recording of the piece on audio CD Your sleeve note completed on the correct form Assessment during the course - ongoing compositions are marked either formally or informally. Examples of composition briefs:

Composition brief 1: Compose a piece which depicts the idea of darkness into light. The music may tell a story or convey a picture and it should employ instrumental timbres and textures as a means with which to create atmosphere alongside other musical elements like harmony, melody and rhythm. Topic 2: Composing idiomatically for instrument(s) Composition brief 2: Compose a theme of up to 16 bars and use this as the basis for a short set of variations or a fantasia-type piece for at least two instruments in which the theme is varied or extended. Aim to exploit the playing techniques and ranges of the instruments you have used. Area of Study 2: Vocal Music Topic 3: Words and music structure in vocal music Composition brief 3: Choose a text and compose a song for voice and accompaniment (for any instrument(s)). The song must include verses and a

contrasting section. If you choose to write a popular song it may also include a chorus. Topic 4: Text, context and texture Composition brief 4: Compose a celebratory piece for unaccompanied voices choosing a suitable text and context for the performance. Include changes of texture and a range of vocal techniques, for example passages of recitative, speech or wordless singing, so as to create a sense of occasion.

Unit 3 Developing Musical Understanding

This unit helps you to listen to familiar music and understand how it works. Set works from the anthology provide the focus for much of the unit, through listening but also through studying scores. You will need to identify important musical features as well as understand the social and historical context. You will also learn to use a score to identify harmonic and tonal and other musical features, and then apply these principles in the completion of a short piece of harmony written for four part choir. Set works You will learn how to listen perceptively to the set works, developing your skills of aural analysis. We will study the music through listening and through analysing the score. We will focus on important musical features such as resources, form, texture, tonality, harmony, melody and rhythm and metre. These will help us to identify social and historical context. The exam questions will ask you to write perceptively about music, in particular describing, explaining, comparing and contrasting musical features and placing the music in context. The music you will be examined on will be from the New Anthology of Music: 2012 Instrumental Music 3. Berlioz Harold in Italy: movement I 15. Corelli Trio Sonata in D, Op.3 No.2: movement IV 17. Beethoven Septet in E at, Op. 20: movement I 23. Schumann Kinderscenen, Op. 15: Nos. 1, 3 and 11

2012 Vocal Music 31. Stravinsky Symphony of Psalms: movement III 34. Weelkes Sing we at pleasure 37. Haydn My mother bids me bind my hair 52. Carl Perkins Honey dont 54. The Beatles A Day in the Life

Example Questions: You will not have the Anthology in the exam with you Part A questions require you to listen to music with a skeleton score and write about the musical features. A skeleton score of the extract in question would be provided (a) Name the brass instrument playing in bars 1 to 16. (1) (b) Complete the following sentence. At bar 4 beat 2 to bar 5 beat 1 there is a(n) ......................................cadence in the key of ...............(2) (c) Name the melodic device used in bar 17 to bar 19(1) (d) Describe the chord progression from bar 2 to bar 6 (2) (e) Name the harmonic device used from bar 30 beat 2 to bar 40 (2) f) The music at bar 35 beat 2 to bar 39 is a modified repeat of bar 21 beat 2 to bar 25 beat 1. Explain in detail how the music has been rearranged. (3) (g) Describe the harmonic progression from bar 50 beat 3 to 52 beat 1. (3) (h) Put a cross in the box next to the statement that is true. A The overall structure of this excerpt is binary form. B The overall structure of this excerpt is ternary form. C The overall structure of this excerpt is rondo form. D The overall structure of this excerpt is sonata form. (i) Put a cross in the box next to the statement that is true. A This excerpt is the whole scherzo section. B This excerpt is the whole trio section. C This excerpt is the opening of the scherzo section. D This excerpt is the end of the trio section. Part B questions require you to write in prose. You will answer one question about the style and context of a piece and a second question will ask you to compare two extracts in terms of their treatment of the musical elements. This will demonstrate your ability to see how music has developed across time: (i) What features of by . show that this music was composed in the late Baroque? (10)

(ii) Compare and contrast the harmony and tonality of . by . with . by . (16)

Understanding chords and lines

As part of the theoretical understanding of music you will learn about the use of triads within a key. You will learn how to identify a range of keys, chords and modulations when reading a score. You will learn to identify (both aurally and by using a score): major and minor keys modulations to closely-related keys chords - I, V and V7 in root position and all inversions, II and IV in root position and first inversion, VI in root position, II7 in first inversion, diminished chords in first inversion, and diminished seventh chords non-harmonic notes such as passing notes, auxiliary notes, anticipations, suspensions and appoggiaturas Example Question (part C) You will be given a piece of unfamiliar printed music (e) Complete the table below to give a harmonic analysis of bars 1 to 6. Precisely indicate, using Roman numerals, the chords that are used. Bar 1 Bar 2 Bar 3 Bar 4 Bar 5 Bar 6 (5) (b) Identify the key at bar 12 (1) (c) Identify the chord at bar 11 beat 4 (1) (d) Complete the sentence below by putting a cross in the box next to the correct answer. (e) The note F which is the first note in the vocal part in bar 15 is best described as A an anticipation B an appoggiatura C a passing note D a suspension (1) Ia

Writing a short piece of traditional harmony

You will learn the fundamental principles of harmonisation and voice leading when completing a short passage for choir. The scheme of work will include: spacing of chords doubling of notes voice leading use of non-harmonic notes major and minor keys up to three sharps or flats Chords I, II, IV and V in root position and first inversion and chord VI in root position Example question:

Assessment during the course - there are regular exercises which are marked either formally or informally. Occasionally there are formal tests based on the work covered during the course. All exercises and tests are retained in the student's file so that progress can be monitored.

Look at the website links at the end of this guide for help

A2 Units

Unit 4 Extended performance

This unit gives you opportunities to extend your performance skills as a soloist and/or as part of an ensemble. You can choose music in any style. You will perform a 12-15 minute assessed performance of a balanced programme of music. This can take place at any point during the course and can be re-recorded if necessary. It must be performed to the teacher and at least one other person. If you choose to have part or all of your performance as part of an ensemble then the ensemble must have no more than five performers, your part must be clearly defined and not doubled by any other performer. Improvised solo or ensemble performances will only be accepted if a chord scheme or other stimulus is supplied, together with as much information as possible about your working methods.

Difficulty of pieces
The expected difficulty of pieces offered is taken to correspond to Grade 6 standard. If you perform a piece at a level that exceeds Grade 6, additional credit will be awarded. Similarly, easier pieces will be slightly penalised. Assessment You should aim to achieve an outstanding performance. This is defined as: Impressive and imaginative: the student has stamped their personal musical authority on the performance. Complete (or almost complete) control of technique, style and interpretation. Sense of musical wholeness with no passage sub-standard. You will be expected to perform throughout the course. Your performances will be assessed formally and informally by your teacher, yourself and your peers. You are expected to practice regularly and to attend appropriate extra curricular musical activities.

Unit 5 Composition and Technical Study

This unit has two sections: Composition and Technical Study. The Composition section develops your composition skills, leading to the creation of a final three-minute piece in response to a chosen brief. The Technical Study section builds on the knowledge and awareness of harmony gained in Unit 3 section C through the medium of pastiche studies.

You must complete two tasks in this unit choosing from either one composition and one technical study or two compositions or two technical studies. Candidates are helped to make the appropriate choice of option by discussion with the teachers during Year 12, after which they are helped to prepare for the demands of the option chosen. If you choose composition in this unit you will need to consider: idiomatic writing for the chosen forces efficient and sensitive handling of timbres and textures further understanding of the principles of rhythmic, melodic and harmonic construction the working of form(s) and structure(s) appropriate to the composition undertaken.

You will need to study appropriate models drawn from the anthology and elsewhere. You should practise composing to a given brief and within a specified time limit. The briefs for the compositions will be under the following headings: Topic 1: Development and contrast Topic 2: Exploiting instruments Topic 3: Music for film and television Topic 4: Music, dance and theatre

Example composing briefs: Composition brief 1: Compose a piece using a conventional sonata structure or a form of your own devising, in which thematic ideas are contrasted and developed. Composition brief 2: Compose a study or toccata for one melody instrument plus piano or two/three melody instruments. It should exploit the potential of the chosen forces and include contrasting sections (for example a virtuoso opening and a cantabile middle section).

Composition brief 3: Compose music to underscore a sequence from a wildlife film in which an arid desert is watered by a sudden storm, followed by the growth of plants into abundant life. Composition brief 4: Compose a piece of dance music in uenced by non-Westernclassical tradition(s) (e.g. Latin American). The dance may be for social purposes (e.g. a tango) or for the stage or it may be a piece of club dance music using technology.

If you choose to do a technical study you will be given a wide range of opportunities to build on the knowledge and awareness of harmony gained in Unit 3 Section C through the medium of pastiche studies. You will learn the harmonic features, conventions and procedures of one or two from: Four part Chorale in the style of Bach Baroque counterpoint in the style of Handel Melody and bass lines in popular song

You will practise working through completing appropriate passages of music. Examples: (these are short the actual exam expects you to complete a substantial section)

Controlled conditions: You have a maximum of 14 hours to complete each composition in controlled conditions. You will hand in a score and a recording. This does not include preparation time. You can work on your piece as much as you like at home but you must ensure that the final artefact that you hand in at the end has been produced under controlled conditions i.e. the final score (the recording can be made outside the 14 hours). You have 3 hours to complete each technical study in controlled conditions.

Assessment: If you choose to complete a composition:

Compositions are assessed for the following: Compulsory assessment criteria: 1. Quality of ideas and outcome 2. Coherence 3. Forces and textures Optional assessment criteria (two are selected from the following three): 4. Harmony 5. Melody 6. Rhythm Technical exercise assessment includes: Chords and keys Sense of line Part writing Style

An outstanding composition or technical study is regarded as:

Impressive and imaginative in style, ideas and development. Complete (or almost complete) control of compositional methods and techniques used. Sense of musical wholeness with no passage sub-standard.

Unit 6 Further Musical Understanding

This unit focuses on listening to music, familiar and unfamiliar, and understanding how it works. You will study works from the anthology different selections from those in Unit 3.

Set works
You will need to be able to identify important musical features, context and elements of continuity and change between works.

Applied Music 2010

7. Stravinsky Pulcinella Suite: Sinfonia, Gavotta and Vivo 27. G. Gabrieli In ecclesiis 42. Georges Auric Passport to Pimlico: The Siege of Burgundy 46. Barrington Pheloung Morse on the Case 62. Mustapha Tettey Addy (Ghana) Agbekor Dance

Instrumental Music 2010

3. Berlioz Harold in Italy: movement I 9. Shostakovich String Quartet No.8, Op. 110: movement I 10. Cage Sonatas and Interludes for Prepared Piano: Sonatas IIII 15. Corelli Trio Sonata in D, Op. 3 No. 2: movement IV 20. Sweelinck Pavana Lachrimae 22. Mozart Piano Sonata in B at, K.333: movement I

Listening
In both the anthology work and the listening work you will also learn how to identify modulations to related keys, chords and chord progressions (including cadences and other standard progressions such as the circle of fifths). Chords may include all diatonic chords in root position and inversion, standard chromatic chords, including diminished sevenths, augmented sixths and Neapolitan sixths. Dont panic!! This website helps you to identify chords: http://www.musictheory.net/trainers/html/id92_en.html This explains how to play all kinds of chords including augmented 6ths (called Gr6, Fr6 etc.) and Neapolitan 6ths (N6) http://www.musictheory.net/utilities/html/id95_en.html

Assessment information

There will be a 2 hour examination paper. There are three sections in the examination paper: Section A: Aural Analysis; Section B: Music in Context, Section C: Continuity and Change in Instrumental Music.

Section A: Aural Analysis (28 marks)

In this section you will listen to unfamiliar music which are related to the two compulsory areas of study, Instrumental Music and Applied music. Question 1 (10 marks) requires you to compare and contrast two excerpts of music. You will compare musical features and place the music in context (which could include identifying the genre, composer and date of composition). Question 2 (18 marks) requires you to listen to a single excerpt of music. You will be asked to recognise chords and keys, place the music in context and complete simple aural dictation tasks. Example Questions: Question 1 (a) Identify four significant differences between the vocal melodic lines of the excerpts. (b) (i) Name the type of female voice singing in both excerpts. (ii) Name two instruments in Excerpt A which are not heard in Excerpt B. (c) Name the type of longer work from which these excerpts come. (d) (i) Put a cross in the box next to the year in which these excerpts were composed. A 1751 B 1791 C 1831 D 1871 (ii) Put a cross in the box next to the name of the composer of these excerpts. A Handel B Mozart C Schumann D Strauss

Question 2 (you are given a skeleton score to help answer the questions: (a) Write out the melody line of bars 28 and 29. Copy your answer onto the stave below. (b) (i) Complete the sentences below. In bar 11 there is a(n) ..................................... cadence in the ..................................... key In bar 17 there is a(n) ..................................... cadence in the ..................................... key (ii) Identify the three chords indicated in bar 31. Chord A ..................................... Chord B ..................................... Chord C ..................................... (c) (i) Put a cross in the box next to the genre of longer work from which this movement is taken. A canzona B concerto grosso C string quartet D trio sonata (ii) Put a cross in the box next to the name of the composer of this music. A Corelli B Gabrieli C Haydn D Sweelinck (iii) Put a cross in the box next to the year when this music was first published. A 1565 B 1605 C 1645 D 1685

Section B: Music in Context (26 marks)

Questions in this section relate to the set works in Area of study 3: Applied music. You will answer two questions (13 marks each) from a choice of three. The questions will ask you to identify given musical features from selected set works and comment on how these features help to place the work in a social and historical context. Answers may be in note form or continuous prose. Example Question: (a) Concerto for Double String Orchestra by Tippett is written in a neo-classical style. Identify features which recall music of the Baroque era.

Section C: Continuity and change in instrumental music (36 marks)

Questions in this section relate to the Area of study 1: Instrumental Music and assess your understanding of continuity and change within the group of set works. You will answer one essay question (36 marks) from a choice of two. Questions will focus on one or more musical feature(s) (such as resources, form, texture, tonality, harmony, melody and rhythm and metre), and ask you to demonstrate how these musical features show continuity and change between works. Answers must be written in continuous prose. Example Question: Compare and contrast the use of structure and tonality the following three pieces..

Grade Boundaries for all Units:

80% is A 70% is B 60% is C 50% is D 40% is E

Recommended reading
Benham H A Students Guide to Harmony and Counterpoint (Rhinegold, 2006) ISBN 0904226310 Benham H and Wightman A Listening Tests for Students: Edexcel A2 Music Specification, Book 1 (Rhinegold, 2005) ISBN 1904226469 Benham H and Wightman A Listening Tests for Students: Edexcel A2 Music Specification, Book 2 (Rhinegold, 2005) ISBN 1904226671 Bowman D Rhinegold Dictionary of Music in Sound (Rhinegold, 2000) ISBN 10 0946890870 Cole B The Composers Handbook (Schott, 1996) ISBN 10 0946535809 Cole B The Pop Composers Handbook (Schott, 2006) ISBN 1902455606 The New Anthology of Music Edited by J Winterson The New Anthology of Music (Peters, 2000) ISBN 1901507033 Websites: http://www.tonalityguide.com/thprogressions.php - a guide to traditional harmony http://www.musictheory.net/ - a fantastic website for theory at all levels with lots of opportunities to test yourself http://www.musictheoryblog.blogspot.com/2007/01/scale-degrees.html Another good theory website http://library.thinkquest.org/15413/history/music-history.htm - another brilliant website with information about important musical forms and composers from each historical era http://www.oxfordmusiconline.com/public/;jsessionid=06BD22D95622B7739 414AF249EAD0301 a website which leads you to a login page. Once you have logged in you can access a massive number of articles on music of all kinds. The login that you should use is Library Barcode. All you need to do is type in the barcode on your library card from the public library (e.g. the one in town) and then type in whatever you are searching for. You may need to go to the library to get a library card. Another way to get to this site is: Google Suffolk Libraries Direct, go to Online reference library then to Oxford Music Online. http://www.soundjunction.org/default.aspa a guide to all kinds of music with lots of examples http://wm07.allmusic.com/ information and examples all music!! http://www.rhinegold.co.uk/magazines/cl/support/CRM1%20music%20for %20large%20ensemble%20(updated).pdf information about 3 of the set works in music for a large ensemble Need help with musical terms? http://lilypond.org/doc/v2.11/Documentation/user/music-glossary-big-page

http://www.ltscotland.org.uk/nq/resources/learnlisteningonline/atozdictiona ry/p.asp This is an exceptional website!!!! It is a dictionary of loads of useful terms and there are audio examples of everything. http://www.dolmetsch.com/musictheorydefs.htm This is an enormous online music dictionary. The site also includes detailed lessons in lots of different areas. Other websites are regularly placed on the Homework forum.

Selected Glossary The following Glossary is intended to support the whole course but it may be found particularly useful in terms of the written and aural work required for Units 3 and 6. PITCH (general): names of notes (including sharps, flats and naturals); major and minor scales and their key signatures; chromatic, pentatonic and whole-note scales; range/compass as a general concept; tessitura; register; transposition (especially of orchestral instruments such as the clarinet). MELODY: ascending and descending movement; pitch repetition; stepwise movement; leaps; intervals (perfect, major and minor up to the major tenth, plus the tritone); glissando; pitch bend; ornamentation (trills, mordents, acciaccaturas, appoggiaturas, improvised ornaments); inversion; retrograde movement. TONALITY: major and minor tonality; tonality approximate or unclear (as in much 20th-century music); atonality; modal effects; pentatonic writing; modulation (to relative major/minor, to keys with one fewer/one more sharp or flat, to tonic major/tonic minor). HARMONY: consonance; dissonance (with ability to recognise specifically suspensions, appoggiaturas, passing notes, auxiliary notes, false relations); cadences: perfect, imperfect, interrupted and plagal; triads (five-threes, six-threes and six-fours); the dominant seventh (with inversions); other types of seventh chord; chromaticism; chromatic chords, simple chord progressions. RHYTHM (note values): all values from demisemiquaver up to breve; dotted rhythms; triplets. RHYTHM (metre): simple and compound times whose signatures have upper numerals from 2 to 12 and lower numerals from 2 to 16; change of metre. RHYTHM (other diminution. phenomena): syncopation; cross rhythm; augmentation;

TEMPO, DYNAMICS and ARTICULATION: Italian terms and signs (such as staccato dots, accents, slur and phrasing indications) that are in common use may appear in aural questions. STRUCTURE (short-term): lengths of individual phrases (such as 2- and 4-bar) and their combination in longer passages (as for example in periodic phrasing); call and response; repetition at pitch or in sequence, exactly or varied, immediately or after a lapse of time; ostinato. STRUCTURE (longer-term): introduction; coda; contrasting sections; recurring sections such as ritornelli, refrains, choruses, verses. Candidates should be familiar with such standard forms such as binary, ternary (including da capo), rondo, air

and variations, sonata, verse and chorus, although it is unlikely that complete movements will feature in aural tests. TEXTURE: monophonic; 2-, 3-, 4-part; contrapuntal (including imitation, canon, fugue); melody and accompaniment; homophonic; heterophonic; unison; doubling; contrasts between tutti and solo/reduced forces; antiphonal writing; counter-melody; descant. TIMBRE (individual instrumental sounds): classical and popular: conventional orchestral (including percussion), brass band, jazz band and rock band instruments; piano; harpsichord; organ; commonly heard instruments and combinations from around the world, such as sitar and gamelan. TIMBRE (instrumental families, combinations and ensembles): strings, woodwind, brass, percussion; orchestra (symphony or chamber, use of original instruments); brass band; wind and military bands; jazz bands (traditional and big); conventional chamber ensembles (string quartet, string quintet, wind quintet [flute, oboe, clarinet, bassoon, horn], clarinet quintet, piano quintet, piano trio, single melody instrument plus piano); any other combination of familiar timbres. TIMBRE (individual vocal sounds): treble, soprano, contralto, countertenor/male alto/falsetto; tenor, baritone, bass. TIMBRE (vocal combinations): choir (mixed, [adult] male voice, boys and men [cathedral-type], female voices); backing vocals; any other combination of solo voices (e.g. soprano, tenor, bass in an operatic ensemble); a cappella TIMBRE (instrumental and vocal effects and techniques): arco and pizzicato; double stopping; col legno; harmonics; vibrato; mutes; flutter-tonguing; fingerpicking; glissando; percussive use of instrument (tapping body, etc); melisma; parlando; sprechgesang; extended vocal technique. PERIODS and STYLES of which some general awareness is required: renaissance (from c.1550); baroque; classical; romantic; 20th-century (including impressionism; the music of the Second Viennese School; neo-classicism; minimalism; post-modernism); traditional jazz; blues; swing; rhythm and blues; rock; folk music of the British Isles. CONTEXT: dates and places of origin; the names of composers/performers as applicable; and the circumstances in which performance would originally have taken place. ADVICE: General awareness of these considerations can be promoted through listening to examples from various periods and styles. GENRES: candidates should be familiar with the meanings of the following terms: concerto; symphony; overture; symphonic (or tone) poem; opera; recitative; aria; chorus; anthem; motet; oratorio; cantata; ayre; lied; madrigal; blues; rock song; musical; fugue; variations; sonata. ADVICE: Try to hear one example of each (preferably in full, but a single Act from an opera or a single Part from an oratorio may have to suffice). Resources Students are encouraged to use fully the resources available in the Music Department and the School Library. Of particular interest to Sixth Form students are the following:

flexible learning area for personal study (B3a) practice rooms

pianos computers (including sequencing and notation software) electronic keyboards Technics hi-fi system (CD/cassette/disc/radio) portable CD player recording studio books, records and CDs.

Textbooks These books are included on the Edexcel Textbook and other resources list. Some are available in the department. Whilst reading these books is not a requirement of the course, the following may be useful to refer to: Listening Bowman D - Aural Matters (Schott, London, 1995) Taylor E - The AB Guide to Music Theory (ABRSM, 1991) Understanding Edexcel - The New Anthology of Music Bowman D - Analysis Matters (Schott, 1993) Boydon M - The Rough Guide to Classical Music (1999) Cole W - The Form of Music (ABRSM, 1997) Copland A - What to Listen for in Music (Penguin, 1988) Donington R - Baroque Music: Style and Performance (Faber, 1982) Donington R - The Interpretation of Early Music (Norton & Co, 1989) Lebrecht N - The Companion to 20th Century Music (Simon and Schuster, 1992) Sadie S - The Cambridge Music Guide (Cambridge University Press, 1990) Composing and Compositional Techniques Aschmann L - 500 Songwriting Ideas (Music Books Plus, 1997) Baker D - Arranging and Composing for the Small Ensemble: Jazz, R&B, Jazz Rock (Alfred Publishing) Burns C - Composing - A Students Guide (Nelson, 1996) Citron S - Songwriting: A Complete Guide to the Craft (Amazon, 1990) Cole B - The Composers Handbook (Schott, 1998) Newquist - Music and Technology (Billboard, 1989) Paynter J - Sound & Structure (Cambridge University Press, 1992) Piston W - Harmony (Norton & Co, 1988) Piston W - Orchestration (Norton & Co, 1988) Sturman P - Harmony, Melody, Composition (Cambridge University Press, 1995) Taylor E - The AB Guide to Music Theory (ABRSM, 1991)