Download GCSE Music Unit guide Unit guide: Unit 04

GCSE Music – Unit 4 (42704)
Guidance
(There are recordings to accompany this document.)
The Task
Students will be required to compose one piece of music which explores two or more of the five
areas of study. The composition may be in any style or genre of the student’s choosing.
Compositions may be drawn from influences within the three strands, but this is not necessary or
obligatory.
In practice, it may well be that the submitted composition encompasses most if not all of the five
areas of study but it should still be possible to produce a composition that will focus on a minimum
of two if so desired. It is envisaged that this approach will allow for flexibility and encourage
diversity and creativity.
It may well be that in the embryonic stages of the composition, for some students, the focus of the
work in terms of the chosen areas of study will be unclear or even undecided. This is perfectly
acceptable. As the composition progresses, the student will become aware of the direction the
piece is taking and two or more areas of study will probably appear to be more prominent or
important than others. In these cases, it is perfectly acceptable for the focus of the composition to
change and evolve as the work progresses. This is part of the compositional process and will help
students to understand the nature of composition as a developmental activity. The fact that the
areas of study are closely related to the musical elements will allow teachers to focus on each
area separately if so desired so that students can gain a greater understanding of each in isolation
prior to embarking on a major project requiring the use of two or more.
Approach and suitable tasks
It is impossible to suggest or recommend any individual approach to composition and this section
is not intended to give a prescriptive fully developed scheme that teachers feel the need to follow.
It is however, probably wise to avoid a genre based approach given to all students since
experience of students composing at this level has demonstrated that frequently, the best work is
produced in circumstances where:
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teachers draw upon the musical strengths of the individual students, focusing on their
preferred listening styles, performing skills and ability to use technology effectively
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teachers teach students to use specific compositional techniques that can be applied to
a wide variety of musical genres and styles
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teachers use non-prescriptive topics where students have been encouraged to develop
their own briefs in conjunction with their own musical interests.
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Much will depend on the experiences of students at key stage 3 and these will vary enormously
within different educational establishments. Resources within different schools will also vary
enormously. However, it is hoped that schools and colleges will develop schemes of work that will
allow for flexibility in approach, to enable each student to follow a pathway that is appropriate to
their own individual skills, talents, abilities, interests and access to appropriate resources and
technology.
In practice, this would mean that a genre based approach such as selecting a particular genre or
style of music at the outset, eg the string quartet, or a pop song may not necessarily be appropriate
for all the students in the group. The requirements of the specification mean that teachers should
focus clearly on helping students to develop their understanding of compositional techniques
through the areas of study in a structured programme of exercises and tasks that will help them to
gain confidence in preparation for the 25 hours of controlled assessment.
Planning and management of the teaching and assessment
It is important to realise that it is not necessary to start the controlled assessment at the outset of
the course. As already mentioned, students will doubtless benefit from a period of time in which
they can learn how to use compositional techniques and build an understanding of the creative
compositional processes necessary for a successful outcome. This will also be beneficial to the
teacher in that it will give plenty of time to become familiar with the capabilities of the student so
that assessment becomes part of the process rather than simply the end result.
There are of course many different compositional techniques that can be employed in any
singularly successful composition and not all will apply to every genre of music. The following list
is not intended to be exhaustive but contains examples of techniques that have been used
successfully by many schools and colleges and students in the past.
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The use of pedals with changing chords
Stock chord progressions and the use of inversions
Balanced phrases within melodic writing with a consideration of the functional harmonic
implications
The use of riffs and simple ostinato / ground bass patterns
Simple two part writing and the use of imitation, canon etc
Minimalist techniques such as the additive process and phasing
The use of dotted rhythms, triplets and syncopation
Tonality: major / minor / modal / pentatonic
Techniques specific to a musical period, eg the alberti bass
How to write idiomatically for piano / keyboard, eg avoiding the use of block root position
triads in the left hand, and changing textures
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Writing idiomatically for other instruments
Creating textural variety within the harmonic structure of the music
Use of a variety of different vocal techniques
The use of cadences: perfect, plagal, imperfect, interrupted
Sequence
Imitation
Call and response
Tièrce de Picardie
Modulation
Use of major, minor and dominant seventh
Chords using roman numerals /chord symbols.
In addition to the above, teachers might wish to refer to section 3 in the specification under the
heading ‘The organisation of sound’ for a detailed list.
It is recommended that schools and colleges explore different options in setting the controlled
assessment. It may well be that some schools and colleges feel that there is sufficient time within
the normal timetabled curriculum to be able to set aside a period over a number of weeks when the
task can be completed. However, if this is not so, then discussions might need to take place
between the teacher and the school leadership team to ensure that a suitable period of time is set
aside in addition to the timetabled curriculum to ensure that the task can be completed
successfully. It is also recommended that the teacher responsible for assessment is the same
teacher who undertakes the supervision of the task. Not only will this make assessment easier, it
will also ensure that the work can be verified as authentic.
A possible suggested starting point for the teaching of compositional techniques
A suitable starting point for a mixed ability group might be to consider working through the
introduction of the following two Areas of study:
AoS1 Rhythm & Metre and AoS5 Structure & Form
Students could be encouraged to develop a short percussive piece for different un-tuned
percussion instruments. Prior to a given practical task it is likely that there might be some
associated listening and appraising. This might include music from different cultures, for example
Brazilian Samba and/or African drumming such as that from Burundi, perhaps linked to some of
the minimalist percussive works from western culture such as Steve Reich. Different tasks could
be set in relation to this to take into account the teacher’s understanding and knowledge of the
different abilities and experiences of the students in the group.
At a simplistic level, the brief might be to produce a short piece using:
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simple time
three repetitive but independent patterns
a ternary structure.
At a medium level, the brief might be to produce a longer piece using:
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compound time
canonic use of thematic ideas over a number of parts at different pitches
a rondo structure.
At a more advanced level, the brief might be to produce an extended piece using:
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changes of metre and tempo
syncopated thematic ideas that transfer from part to part
use of variation techniques within the structure.
All of these can be approached using a variety of different techniques and strategies such as:
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individual work using sequencing or score writing software
small group work where students experiment with different ideas through practical
performance, experimentation and sharing ideas
whole class work through the performance of existing music, possibly prepared specifically
by the teacher.
At any appropriate given point, the teacher might then introduce the idea of how AoS4 Timbre and
Dynamics can affect the impact that the music might have. Students could then explore using
different combinations of timbres and practise using different dynamic levels to add drama and
tension to the music.
This is not intended as a detailed scheme, rather as a starting point, but demonstrates how an
approach of this type could allow students to develop their ideas at a rate appropriate to their
existing knowledge and experience. At any point appropriate to their development they could
move on to the next level. It would also allow them to focus predominantly on the use of Rhythm &
Metre and Structure & Form without necessarily having to consider the other musical elements at
this stage. It would also allow for individual and peer assessment as the work progresses and,
hopefully, there would be a wide variety of different outcomes because there is scope for
considerable variety in use of Rhythm & Metre and Structure & Form.
Marking and Assessment
For each student, the composition must be submitted as follows:
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a recording of the final composition
a score of the composition.
The definition of ‘a score’ for this purpose can be found in the specification. The score need not be
in staff notation if other forms are more appropriate. Students should be encouraged to
produce the highest quality score possible to ensure success (see later in this section).
Teachers will mark and assess the final presented composition according to a single set of
assessment criteria and the piece will be assessed in the light of the selected areas of study.
The maximum mark is 30.
There are six bands of assessment with five marks within each band. Within each band, there are
five bullet points relating to the quality of the composition as a whole and one bullet point referring
to the score. In addition to the six mark bands, there are six musical aspects that also need
consideration:
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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.
What does this all mean?
In practice, it means that the assessment process works as follows:
For each piece consider:
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the selected Areas of study
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in relation to the musical aspects
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finally placing the mark in the most appropriate band of assessment.
This is not a difficult task if it is approached in a careful and considered manner. Where a
composition fulfils all the criteria for a particular band, then the mark can be placed at the top of
that band. This is usually easiest within the highest band of marks. If some of the criteria are
fulfilled but not all, then the mark can still be placed in that band at the most suitable point.
Frequently, a judgement will need to be made as to whether or not a mark will just fall into a higher
band, or just fails to fulfil the criteria. If the latter, the mark will move into the next band down. As
mentioned earlier, it is important to ensure that the score matches the criteria for the band in which
you wish to place the mark. It may well be possible that the recording of the composition displays
all the attributes of one of the higher mark bands, but the quality of the score lacks the necessary
detail to justify the mark. This is why it is important to encourage students to produce the highest
quality score possible.
The following examples will serve to demonstrate how the assessment process works. Within the
examples, you will find a variety of different selected Areas of study, scores, musical genres and
recording techniques. There are examples of very good practice and less good practice and each
submission is appropriate to the ability of the different students. All are completely valid
submissions and whilst they are not intended as set examples, they do illustrate the kind of variety
that is possible within the specification.
Example 1. Title: ‘Slap ‘n’ Funk’
Chosen areas of study: Timbre and Dynamics
Structure and Form
In this composition, the student has chosen to focus primarily on Timbre and Dynamics / Structure
and Form as the principal Areas of study, though clearly there is much evidence of careful use of
all of the other Areas of study to a greater or lesser extent. There is an obvious link to the Popular
music of the 20th and 21st centuries strand although this isn’t mentioned and is not in any case
necessary in this unit. The student has composed, programmed and performed all of the parts on
the recording so there is clearly clarity of intention in the work.
This composition is imaginative and largely satisfying. The student clearly has a very good
knowledge of different aspects of guitar and bass guitar techniques and is able to employ these
with coherence and consistency in the music, demonstrating a sound sense of understanding of
musical ideas in relation to the Areas of study selected. In addition, there is good dynamic contrast
in B2 with the use of snare drum crescendos to ‘lift’ the phrase to a climax each time. In relation to
structure and form, the piece is well balanced with sufficient repetition of ideas to give unity but
also some development of the musical ideas presented in the form of variation in the B section.
The score contains sufficient detail to reflect the student’s intentions and provide a guide to the
listener. This type of score is entirely appropriate to the genre of music presented.
Overall, the composition fulfils all the criteria in the 25 – 21 band of marks, but in addition, the
writing for instruments and sound sources is idiomatic and there is a sense of completeness in the
music. In terms of assessment, this would mean that the fact that all the criteria have been met in
the 25 – 21 band, would lead to at least a mark at the top of that band. The fulfilment of some of
the top band criteria means that, overall, a mark at the lower end of the 30 – 26 band would in this
case be justified.
Example 2. Title: ‘Waiting Here’
Chosen Areas of study: Harmony and Tonality
Structure and Form
In this piece, the composer is also the performer. He has chosen to focus on Harmony and
Tonality / Structure and Form. Whilst there is no requirement to consider the other Areas of study,
in this particular case the lack of any melodic content and rhythmic interest means that the student
has struggled to produce a piece which can satisfy the assessment criteria for the higher bands
and, as a result, the composition works at a basic level. The student demonstrates a basic
understanding of the musical ideas presented in relation to the Areas of study selected by
presenting a piece that has a simple harmonic structure in a repetitive structure containing some
basic contrast of ideas. There is some incoherence in the handling of musical ideas in the
recording of the composition with some wrong notes in the chords though this is only occasional.
Writing for instruments (guitar) appears simplistic and lacks finish. The score shows
inconsistencies and is not accurately presented. For example, the music doesn’t speed up in the
chorus and there is no vocal part.
On balance, the fact that all of the criteria for the 10 – 6 band are fulfilled and the fact that the
incoherence present is relatively minimal would point to a mark at the upper end of that band rather
than the lower.
Example 3. Title: ‘L’Arc de triomph’
Chosen Areas of study: Rhythm and Metre
Timbre and Dynamics
This student, like the student in example 2, has chosen not to explore Texture and Melody.
However, unlike example 2, this composition is largely effective. There is a sound understanding
of the musical ideas in relation to the Areas of study selected with in particular, good use of
dynamic contrast for dramatic effect. There is competent handling of the musical ideas and the
writing for instruments, and sound sources demonstrates understanding of the techniques
required. The score is accurate and contains detailed performance directions appropriate to the
chosen style of music.
In considering an appropriate mark for this piece, from the above you can see that it is not a clear
cut case because the piece fulfils criteria from three mark bands:
20 – 16 / 25 – 21 / 30 – 26. On balance, the 25 – 21 band would appear to be most
represented pointing to a mark in the middle of that band.
Example 4. Title: ‘I really, I really want to be with you’
Chosen Areas of study: Texture and Melody
Structure and Form
In this composition, the vocal melody is a little restricted in terms of range but that is not untypical
in the genre presented, and the rhythm of the melody and the word setting is generally effective. In
addition, the strophic structure is also entirely appropriate here although there is little development
of the musical ideas presented. Despite this, the student demonstrates some understanding of the
musical ideas in relation to the Areas of study selected and there is competent handling of the
musical ideas. The score shows some musical ideas clearly. For example, there is little detail
regarding the rhythm of the guitar part and how it should be played, and there is nothing on the
score to suggest how this information was given to the teacher. There are some basic details
given regarding metre, tonality, structure and dynamics but not, for example, tempo. One might
also point out that there is nothing in the score to indicate the melodic content other than the text.
However, this is less important in relation to the submission because the student has performed
the vocal part herself, therefore clarity of intention is evident. However, apart from the score, the
criteria for the 20 – 16 band is largely represented in this piece suggesting a mark lower in that
band.
Example 5. Title: ‘Jig’
Chosen Areas of study: Texture and Melody
Harmony and Tonality
Structure and Form
Timbre and Dynamics
In relation to the chosen Areas of study this student demonstrates the successful and imaginative
creation of musical ideas. The writing for instruments is idiomatic. There is sophisticated use of
harmony and frequent modulation within the rondo structure making good use of development of
the musical ideas. Texturally, the music explores different methods of writing. The student has
decided to focus on all but one Area of Study but despite not including Rhythm and Metre, the
student demonstrates a firm grasp of writing in compound time. The composition is musically
stimulating, interesting and satisfying. The score is accurate and contains (some) detailed
performance directions (though not all). Perhaps this is the one area where improvements could
have been made, but despite this, there is a sense of completeness in the music that would justify
a mark at the upper end of the 30 – 26 band.
SCORES FOR EXEMPLAR WORK
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5
Slap ‘n’Funk
Wait Here
L’Arc de triumph
I really, I really want to be with
you
Jig
Track 1
Track 2
Track 3
Track 4
Page number
10
12
13
22
Track 5
25
10 of 30
11 of 30
12 of 30
13 of 30
14 of 30
15 of 30
16 of 30
17 of 30
18 of 30
19 of 30
20 of 30
21 of 30
22 of 30
23 of 30
24 of 30
25 of 30
26 of 30
27 of 30
28 of 30
29 of 30
30 of 30