Official Edexcel AS Level Music - 21/05/12 Exam Thread
Hi Guys
Last year we made one for GCSE and it was really useful because everyone shared their extended wriiting essays and notes, and it would be great to gather all the stuff for AS too.
Here are the set works and periods, and I'll build up this post as we go along, but we need people to contribute!
SET WORKS 2012
1. Berlioz: Harold In Italy - Romantic
2.Corelli: Trio Sonata in D - Baroque
3. Schumann's Kinderscenen - Romantic
4.Beethovan: Septet in E flat - Classical
5. Stravinsky: Symphony of Psalms - Neoclassical
6. Weekles: Sing we at Pleasure- Ballett/Madrigal
7. Haydn: My Mother Bids Me Bind My Hair
8. Carl Perkins: Honey Dont - Rockabilly
9. The Beatles: A Day In The Life
Lets get this thing started!
Ta
Last year we made one for GCSE and it was really useful because everyone shared their extended wriiting essays and notes, and it would be great to gather all the stuff for AS too.
Here are the set works and periods, and I'll build up this post as we go along, but we need people to contribute!
SET WORKS 2012
1. Berlioz: Harold In Italy - Romantic
2.Corelli: Trio Sonata in D - Baroque
3. Schumann's Kinderscenen - Romantic
4.Beethovan: Septet in E flat - Classical
5. Stravinsky: Symphony of Psalms - Neoclassical
6. Weekles: Sing we at Pleasure- Ballett/Madrigal
7. Haydn: My Mother Bids Me Bind My Hair
8. Carl Perkins: Honey Dont - Rockabilly
9. The Beatles: A Day In The Life
Lets get this thing started!
Ta
(edited 12 years ago)
Scroll to see replies
SING WE AT PLEASURE
Genre
English madrigal
Style
Ballett
Date
First published in 1598
Form
Binary form
A bars 1 - 22
B bars 23 - 85 (23 - 53 + 53 - 85)
The AB structure is typical for English madrigals
Fa-la-la refrain
The Fa-la-la refrain is a typical feature of the English Ballett and closes both sections of the structure.
A - bars 8 beat 3 - 22
B - bars 43 beat 3 - 53; bars 74 beat 3 - 85
Style
Ballett
The work has a typical dance-like feel in the sprung rhythms heightened by the dotted rhythm
Setting
The text is set typically in syllabic form to enhance the dance quality of the music.
Text
The text concerns archetypal, clichéd Elizabethan subjects: love, shepherds and dancing.
Texture
The complex nature of the counterpoint is typical of the English Ballet form. Here, again in keeping with the strictures of the time, the work is homophonic, that is all parts moving together with a clear chord structure. However, the parts move in a highly contrapuntal manner.
Part movement
This is an important feature of the English Madrigal and this work is a good example of each vocal part being highly melodic and vocally dextrous whilst remaining idiomatic.
Metre
¾ simple triple time is a characteristic metre for a Ballett. In the anthology recording the performers create the sensation of one beat per bar.
Hemiola
The use of hemiola towards the cadence at bar 20 - 21 is a feature typical of the genre and period
Tonality
Music at of this period was caught between the old modal and the new diatonic styles. This work has both modal and diatonic traits, and again was a distinctive feature of English Madrigals of this period.
Key signature
There is no key signature although the tonality is clearly G major. Weelkes typically employs accidentals in place of a key signature.
Modulation
Weelkes modulates to the subdominant by simply omitting the F# accidental from the music. Modulations in a Ballett are to related keys, such as the modulations to the sub-dominant key of C major at bar 14 - 17. There is a brief modulation to the dominant at bar 10 - 11 with the addition of C# in the bass.
Harmony
The harmony is typically simple as the drama of the Ballett lies within the rhythmic language. Here, Weelkes employs many root position chords such as the starkly homophonic passage from bars 31 beat 3 - 34 beat 2.
Word painting
This is an essential feature of any Madrigal and emphasised the marriage between music and text. There is no overt word paining here although the high spirits of the text are reflected in:
· The dotted crotchet + semiquaver theme which is almost omnipresent
· The syncopation in the alto causes tension in the rhythms and forces a suspension between the G and F#
· The use of hemiola towards the cadence at bar 20 - 21
The quaver runs in the bass and tenor in the Fa-La-La refrain after bar 44 heighten the excitable rhythmic language
Genre
English madrigal
Style
Ballett
Date
First published in 1598
Form
Binary form
A bars 1 - 22
B bars 23 - 85 (23 - 53 + 53 - 85)
The AB structure is typical for English madrigals
Fa-la-la refrain
The Fa-la-la refrain is a typical feature of the English Ballett and closes both sections of the structure.
A - bars 8 beat 3 - 22
B - bars 43 beat 3 - 53; bars 74 beat 3 - 85
Style
Ballett
The work has a typical dance-like feel in the sprung rhythms heightened by the dotted rhythm
Setting
The text is set typically in syllabic form to enhance the dance quality of the music.
Text
The text concerns archetypal, clichéd Elizabethan subjects: love, shepherds and dancing.
Texture
The complex nature of the counterpoint is typical of the English Ballet form. Here, again in keeping with the strictures of the time, the work is homophonic, that is all parts moving together with a clear chord structure. However, the parts move in a highly contrapuntal manner.
Part movement
This is an important feature of the English Madrigal and this work is a good example of each vocal part being highly melodic and vocally dextrous whilst remaining idiomatic.
Metre
¾ simple triple time is a characteristic metre for a Ballett. In the anthology recording the performers create the sensation of one beat per bar.
Hemiola
The use of hemiola towards the cadence at bar 20 - 21 is a feature typical of the genre and period
Tonality
Music at of this period was caught between the old modal and the new diatonic styles. This work has both modal and diatonic traits, and again was a distinctive feature of English Madrigals of this period.
Key signature
There is no key signature although the tonality is clearly G major. Weelkes typically employs accidentals in place of a key signature.
Modulation
Weelkes modulates to the subdominant by simply omitting the F# accidental from the music. Modulations in a Ballett are to related keys, such as the modulations to the sub-dominant key of C major at bar 14 - 17. There is a brief modulation to the dominant at bar 10 - 11 with the addition of C# in the bass.
Harmony
The harmony is typically simple as the drama of the Ballett lies within the rhythmic language. Here, Weelkes employs many root position chords such as the starkly homophonic passage from bars 31 beat 3 - 34 beat 2.
Word painting
This is an essential feature of any Madrigal and emphasised the marriage between music and text. There is no overt word paining here although the high spirits of the text are reflected in:
· The dotted crotchet + semiquaver theme which is almost omnipresent
· The syncopation in the alto causes tension in the rhythms and forces a suspension between the G and F#
· The use of hemiola towards the cadence at bar 20 - 21
The quaver runs in the bass and tenor in the Fa-La-La refrain after bar 44 heighten the excitable rhythmic language
(edited 12 years ago)
CORELLI
Context and forces
Corelli was an Italian violinist and composer whose works were very influential in the development of instrumental music in the late Baroque period
NAM 15 comes from a collection of 12 trio sonatas, published in 1689
The term trio refers to the three melodic lines printed in the score, but normally four players are required for a trio sonata
The two treble staves are for solo violins, but the lowest stave, known as figured bass because of the numbers and other symbols printed below it, is labelled for violone and organ
The violone was any sort of low-pitched bowed string instrument (the part is usually played on a cello today)
The figuring part below the bass part indicates the type of chords to be improvised by the organist in order to fill out the texture between the high violin parts and the much lower bass notes - known as 'realising' the figured bass
The music on the lowest stave is known as a continuo part - found in almost all Baroque music that requires more than one performer
Instruments for this part can vary, but it normally needs at least one bass instrument to play the notes as written and one chordal instrument, such as a harpsichord, lute or organ to realise the figured bass
Most of the 12 trio sonatas that make up Corelli's Opus 3 have four movements, in the order slow-fast-slow-fast
The whole set are sometimes described as church sonatas,perhaps because of the use of the organ as the continuo instrument
Could have been played during church services but would have also been played for entertainment in the palaces of the nobles
Corelli's string writing is idiomatic - each part is conceived in terms of the instrument for which it is written - one of the reasons why Corelli's work was so influential
Doesn't use the extremes of the violin's range but the first violin part in bars 34-35 does require the use of the third position with the left hand higher up than the finger board and both violin parts exploit the contrast between lively rhythms and sustained notes
Structure
NAM 15 is in the style of a gigue, a dance in fast compound time often used by Corelli and other Baroque composers to conclude a multi-movement composition
Binary form, it's two sections being indicated by repeat marks
A and B don't necessarily represent contrasting themes: the initial musical ideas and mood are maintained throughout each movement
Harmony and tonality
Diatonic harmony and cadences help to clarify the binary structure
Movement starts in D major and then modulates to a perfect cadence in the dominant key of A major in bars 10-11, where it remains until the first double bar
Longer B section passes through several related keys before returning to the tonic in the closing bars
Harmony is functional - defines the keys we have identified, chiefly through the use of perfect cadences
Most of the chords are root-position or first inversion triads
Dissonant suspensions that usually resolve by step to a consonant note
Nearly every 7 in the figured bass is followed by a 6 - resolution of the dissonance
Rhythm
Movement contains rhythmic variety, especially in the violin parts
Dotted crotchet pulse is enlivened further by the following rhythmic features:
Cross-rhythm in bar 26, where the tie across the middle of the bar results in the first violin sounding as though it is in 3/4 while the lower part remains in 6/8 time
Hemiola in bar 27 that results in all three parts sounding as though they are in 3/4 time
Syncopation caused by the first violin
Texture
Contrapuntal texture
Begins like a fugue, based on the subject heard in the first two bars
Followed by a real fugal answer played by the second violin
Third entry comes in the bass at bar 6
At the start of the B section the fugal subject is heard in a free inversion
Imitative second violin and bass parts now enter only a bar apart, forming the fugal texture known as stretto
Most of the melodic material derives from the quaver and semi-quaver motifs in the subject
Although the imitative entries are shared among all three parts, the bass takes on a more functional role after bar 23
Texture is mainly widely spaced, with the two violin parts often crossing and placed high above the bass (as in bar 12)
The wide gap (which is filled by the organ) is known as a polarised texture and is a feature of much Baroque music
Context and forces
Corelli was an Italian violinist and composer whose works were very influential in the development of instrumental music in the late Baroque period
NAM 15 comes from a collection of 12 trio sonatas, published in 1689
The term trio refers to the three melodic lines printed in the score, but normally four players are required for a trio sonata
The two treble staves are for solo violins, but the lowest stave, known as figured bass because of the numbers and other symbols printed below it, is labelled for violone and organ
The violone was any sort of low-pitched bowed string instrument (the part is usually played on a cello today)
The figuring part below the bass part indicates the type of chords to be improvised by the organist in order to fill out the texture between the high violin parts and the much lower bass notes - known as 'realising' the figured bass
The music on the lowest stave is known as a continuo part - found in almost all Baroque music that requires more than one performer
Instruments for this part can vary, but it normally needs at least one bass instrument to play the notes as written and one chordal instrument, such as a harpsichord, lute or organ to realise the figured bass
Most of the 12 trio sonatas that make up Corelli's Opus 3 have four movements, in the order slow-fast-slow-fast
The whole set are sometimes described as church sonatas,perhaps because of the use of the organ as the continuo instrument
Could have been played during church services but would have also been played for entertainment in the palaces of the nobles
Corelli's string writing is idiomatic - each part is conceived in terms of the instrument for which it is written - one of the reasons why Corelli's work was so influential
Doesn't use the extremes of the violin's range but the first violin part in bars 34-35 does require the use of the third position with the left hand higher up than the finger board and both violin parts exploit the contrast between lively rhythms and sustained notes
Structure
NAM 15 is in the style of a gigue, a dance in fast compound time often used by Corelli and other Baroque composers to conclude a multi-movement composition
Binary form, it's two sections being indicated by repeat marks
A and B don't necessarily represent contrasting themes: the initial musical ideas and mood are maintained throughout each movement
Harmony and tonality
Diatonic harmony and cadences help to clarify the binary structure
Movement starts in D major and then modulates to a perfect cadence in the dominant key of A major in bars 10-11, where it remains until the first double bar
Longer B section passes through several related keys before returning to the tonic in the closing bars
Harmony is functional - defines the keys we have identified, chiefly through the use of perfect cadences
Most of the chords are root-position or first inversion triads
Dissonant suspensions that usually resolve by step to a consonant note
Nearly every 7 in the figured bass is followed by a 6 - resolution of the dissonance
Rhythm
Movement contains rhythmic variety, especially in the violin parts
Dotted crotchet pulse is enlivened further by the following rhythmic features:
Cross-rhythm in bar 26, where the tie across the middle of the bar results in the first violin sounding as though it is in 3/4 while the lower part remains in 6/8 time
Hemiola in bar 27 that results in all three parts sounding as though they are in 3/4 time
Syncopation caused by the first violin
Texture
Contrapuntal texture
Begins like a fugue, based on the subject heard in the first two bars
Followed by a real fugal answer played by the second violin
Third entry comes in the bass at bar 6
At the start of the B section the fugal subject is heard in a free inversion
Imitative second violin and bass parts now enter only a bar apart, forming the fugal texture known as stretto
Most of the melodic material derives from the quaver and semi-quaver motifs in the subject
Although the imitative entries are shared among all three parts, the bass takes on a more functional role after bar 23
Texture is mainly widely spaced, with the two violin parts often crossing and placed high above the bass (as in bar 12)
The wide gap (which is filled by the organ) is known as a polarised texture and is a feature of much Baroque music
I used to teach the Popular Music and Jazz module. Here's my old notes which include Honey Don't and Day In The Life
Original post by Fingersmith
I used to teach the Popular Music and Jazz module. Here's my old notes which include Honey Don't and Day In The Life
Thanks for that! Won't let me c&p for some reason, but I'm trying!
For super-detailed notes go to the Edexcel site, click 'teacher support materials' and you will see a highly detailed PDF for each set work: :http://www.edexcel.com/quals/gce/gce08/music/music/Pages/default.aspx
I have just finished making my own condensed notes on each set work. Check them out:https://docs.google.com/open?id=0B_ov74Lq3ytdeUlRVUh0SjZSa1NrNms2QlJRU19EQQ
They were written for me, and me alone, but hopefully you will find them useful.
I have bullet-pointed each set of notes (one bullet point- one mark) and grouped features into those we will be asked about in the comparison question (Melody, texture...). I have five points for each heading. On that question we get asked about two features for two set works. Thus; full marks!
Hopefully.....
I have just finished making my own condensed notes on each set work. Check them out:https://docs.google.com/open?id=0B_ov74Lq3ytdeUlRVUh0SjZSa1NrNms2QlJRU19EQQ
They were written for me, and me alone, but hopefully you will find them useful.
I have bullet-pointed each set of notes (one bullet point- one mark) and grouped features into those we will be asked about in the comparison question (Melody, texture...). I have five points for each heading. On that question we get asked about two features for two set works. Thus; full marks!
Hopefully.....Hey guys just wanted to know if anyone had any tips on the essay writing section of this paper i.e Q3. For the 10 mark question and the 18 mark. Just how to structure the answer and how many points to give etc. Also if anyone had any examples that would be great! Thank you so much this thread is really useful
(edited 12 years ago)
Original post by ellerynadarajah
Hey guys just wanted to know if anyone had any tips on the essay writing section of this paper i.e Q3. For the 10 mark question and the 18 mark. Just how to structure the answer and how many points to give etc. Also if anyone had any examples that would be great! Thank you so much this thread is really useful
For the 10 mark question, do a one sentence intro and then make ten points. Bullet-point them to show where you want the mark. It's not really an essay at all; just a stream of facts. Eg. Beethoven wrights in Sonata form with an Exposition, Development and Recapitulation.
For the 18 mark question don't 'compare and contrast'. Do a sentence intro for each set work, then bullet-point five things for the first thing they asked you about (Eg, Melody) for one set work. Now five points about the other thing they asked about (Eg. Harmony). Repeat for the other set work. Remember to refer to the score occasionally, Eg. Haydn uses an E major arpeggio in the melody, such as in the first bar of the vocal melody after the piano introduction.
This may sound stupid, especially to English and History students used to righting good essays, but according to our teacher, this is the way to do it.
Original post by Lobz
For super-detailed notes go to the Edexcel site, click 'teacher support materials' and you will see a highly detailed PDF for each set work: :http://www.edexcel.com/quals/gce/gce08/music/music/Pages/default.aspx
I have just finished making my own condensed notes on each set work. Check them out:https://docs.google.com/open?id=0B_ov74Lq3ytdeUlRVUh0SjZSa1NrNms2QlJRU19EQQ
They were written for me, and me alone, but hopefully you will find them useful.
I have bullet-pointed each set of notes (one bullet point- one mark) and grouped features into those we will be asked about in the comparison question (Melody, texture...). I have five points for each heading. On that question we get asked about two features for two set works. Thus; full marks! Hopefully.....
I have just finished making my own condensed notes on each set work. Check them out:https://docs.google.com/open?id=0B_ov74Lq3ytdeUlRVUh0SjZSa1NrNms2QlJRU19EQQ
They were written for me, and me alone, but hopefully you will find them useful.
I have bullet-pointed each set of notes (one bullet point- one mark) and grouped features into those we will be asked about in the comparison question (Melody, texture...). I have five points for each heading. On that question we get asked about two features for two set works. Thus; full marks!
Hopefully.....You are a star.
I'm self teaching myself so im in a bit of an awk position right now!
Also, how do you suggest we do the compare question?
I'm currently doing A2 Music, but I sat the Edexcel AS exam last year and was told never to bullet point. Just write the points you would normally make in sentences and that will be your essay. It doesn't need to be really well written, just in a basic essay format - a large paragraph rather than bullet points.
https://www.youtube.com/watch?v=g8asG5PMEhM&feature=g-upl
Here is my rushed AS Composition :P
I did brief 3!
Here is my rushed AS Composition :P
I did brief 3!
Original post by niamh067
Is it very unwise just to focus my revision on instrumental pieces? I would revise both sections for questions 1 and 2, but just instrumental in more depth for the essay questions?
I'm doing exactly that....
I'm making revsion cards for all of them, but focussing in depth on the Instrumental Music for the essays. I'm worried about time management for that paper...no way is 2 hours long enough for two essays, two listening qs, a unseen passage and a choral O.o
Oh good, I thought it was only my class doing it I don't think the timings are that bad for the paper though? I always have time to spare at the end, although, I'm not very good at any of it so that's probably why :P
My teachers told me to just make a list of points disguised as an essay for the essay questions? I've looked in all my revision books and they seem to mark it a mark for a point with no marks awarded for essay technique? I don't know, that's just how I do it
I don't think the timings are that bad for the paper though? I always have time to spare at the end, although, I'm not very good at any of it so that's probably why :P My teachers told me to just make a list of points disguised as an essay for the essay questions? I've looked in all my revision books and they seem to mark it a mark for a point with no marks awarded for essay technique? I don't know, that's just how I do it
Original post by niamh067
My teachers told me to just make a list of points disguised as an essay for the essay questions? I've looked in all my revision books and they seem to mark it a mark for a point with no marks awarded for essay technique? I don't know, that's just how I do it
I think it's absolutely fine to do that, just definitely do not use actual bullet points like previous posters have said. Also, for the A2 exam, there is a 36 mark essay which does get a couple of marks for essay technique so if you're carrying it on, it's a good idea to get used to writing in essay format.
HELP MEEE
i have to cram a years worth of theory into a weekend.
HOW?!
i have to cram a years worth of theory into a weekend.
HOW?!
Original post by anuradha_d
HELP MEEE
i have to cram a years worth of theory into a weekend.
HOW?!
i have to cram a years worth of theory into a weekend.
HOW?!
LOOL! Sorry, but I don't think that will work! Maybe just learn the non-harmony notes; they're quite easy. Good luck anyway....
Original post by Caitykinss
I think it's absolutely fine to do that, just definitely do not use actual bullet points like previous posters have said. Also, for the A2 exam, there is a 36 mark essay which does get a couple of marks for essay technique so if you're carrying it on, it's a good idea to get used to writing in essay format.
We were told to actually use bullet-points (with full sentences). It makes it easy for the examiner to see where you want each mark. Also, seeing as there are zero marks for fluency, essay technique, or anything else like that, I don't see how they would be justified to penalise us for using bullet-points.
Ether way, I doubt it would make much difference; using bullet-points is just easier.
Original post by Lobz
LOOL! Sorry, but I don't think that will work! Maybe just learn the non-harmony notes; they're quite easy. Good luck anyway....
We were told to actually use bullet-points (with full sentences). It makes it easy for the examiner to see where you want each mark. Also, seeing as there are zero marks for fluency, essay technique, or anything else like that, I don't see how they would be justified to penalise us for using bullet-points.
Ether way, I doubt it would make much difference; using bullet-points is just easier.
We were told to actually use bullet-points (with full sentences). It makes it easy for the examiner to see where you want each mark. Also, seeing as there are zero marks for fluency, essay technique, or anything else like that, I don't see how they would be justified to penalise us for using bullet-points.
Ether way, I doubt it would make much difference; using bullet-points is just easier.
I need to learn the set works to
LOL I'm ok with the harmony shiz
its just the stoopid set works
Okay guys, so the exam is tomorrow....
What are you hoping comes up for the essays??!!
What are you hoping comes up for the essays??!!
Quick Reply
Related discussions
- A-level Exam Discussions 2024
- GCSE Exam Discussions 2024
- Grow your Grades blog 23/24!
- School is killing me - Y11 "GYG" 2022
- GCSE Diary
- A-level Sociology Study Group 2023-2024
- Current Year 11 Official Thread (2022-2023)!
- 4 weeks Until 1st Year Med Exams
- Official Year 12 Chat 2023-24
- journey of an aspiring med student
- How many GCSEs are you getting?
- Music Grade 9 GCSE
- Would anybody like to form an AS study group?
- Music GCSE 12 Marker
- Official Year 11 Chat 2023-24
- A level Music Edexcel 2023-4
- OCR GCSE Music Listening and Appraising (J536/05) - 17th June 2024 [Exam Chat]
- Edexcel A Level Further Mathematics Paper 4C (9FM0 4C) - 26th June 2023 [Exam Chat]
- Horoscope for 2024
- AS/A Level Chemistry Study Group 2023/2024
Latest
Last reply 1 minute ago
Accenture Degree Apprenticeship 2024Last reply 3 minutes ago
Official University of Edinburgh Applicant Thread for 2024Last reply 6 minutes ago
Jaguar (JLR) Degree apprenticeships 2024Last reply 6 minutes ago
Official: King's College London A100 2024 Entry ApplicantsMedical Schools
1013
Last reply 6 minutes ago
Civil Service Fast Stream 2024 - Applicants threadLast reply 6 minutes ago
TFL Apprenticeship Scheme 2024Last reply 8 minutes ago
Official: University of Manchester A106 2024 Entry ApplicantsMedical Schools
1255
Last reply 14 minutes ago
Official Dental Hygiene and Therapy (Oral Health Science) 2024 Entry ThreadDentistry
2836
Last reply 17 minutes ago
Could I do Zoology at Uni with a level 3 Btec in animal managementLast reply 17 minutes ago
KPMG Audit Apprenticeship 2024Last reply 19 minutes ago
anyone else waiting on LSE law?Trending
Last reply 4 days ago
AQA GCSE Drama (8261/W) - 15th May 2023 Exam ChatLast reply 4 days ago
Edexcel A-level Music (9MU0 03) : Appraising - 10th June 2024 [Exam Chat]Last reply 2 weeks ago
Edexcel GCSE Music : Listening and Appraising (1MU0 03) - 17th June 2024 [Exam Chat]Posted 2 weeks ago
AQA A-level Music (7272/W) Appraising Music - 10th June 2024 [Exam Chat]Last reply 1 month ago
Royal Central School of Speech and Drama - ApplicationsTrending
Last reply 4 days ago
AQA GCSE Drama (8261/W) - 15th May 2023 Exam ChatLast reply 4 days ago
Edexcel A-level Music (9MU0 03) : Appraising - 10th June 2024 [Exam Chat]Last reply 2 weeks ago
Edexcel GCSE Music : Listening and Appraising (1MU0 03) - 17th June 2024 [Exam Chat]Posted 2 weeks ago
AQA A-level Music (7272/W) Appraising Music - 10th June 2024 [Exam Chat]Last reply 1 month ago
Royal Central School of Speech and Drama - Applications
