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Eduqas A-level Music Component 3 (660U30-1) - 10th June 2024 [Exam Chat]

Eduqas A-level Music Component 3 (660U30-1) - 10th June 2024 [Exam Chat]
Welcome to the exam discussion thread for this exam.
Introduce yourself! Let others know what you're aiming for in your exams, what you are struggling with in your revision or anything else.

Wishing you all the best of luck. :yy:

General Information
Date/Time: 10-Jun/ PM
Length: 2h 15m

Click here to find exam discussions for other A-level subjects
(edited 1 year ago)

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Reply 1

Right - I'm really stressing out about the exam question - it defo won't be harmony right cos it was that last year?

Reply 2

Original post by Wednesday06
Right - I'm really stressing out about the exam question - it defo won't be harmony right cos it was that last year?


I’ve made a list of all the ones that have been so far:
* 2018-woodwind and brass
* 2019-overall form
* 2020-programmatic
* 2021-finale movts
* 2022-string and percussion
* 2023-harmony
* Sample assessment- dance

Reply 3

Original post by Wednesday06
I’ve made a list of all the ones that have been so far:
* 2018-woodwind and brass
* 2019-overall form
* 2020-programmatic
* 2021-finale movts
* 2022-string and percussion
* 2023-harmony
* Sample assessment- dance

Could the sample assessment come up?

Reply 4

Original post by grilledkidney
Could the sample assessment come up?


I think so, my teacher said it could, but I was looking at the thread for this exam last year and someone said it was unlikely cos for the sample assessment they released a full detailed mark scheme - I suppose it could but it’s probably more likely it’d be one that hasn’t come up at all yet?

Reply 5

Original post by Wednesday06
I think so, my teacher said it could, but I was looking at the thread for this exam last year and someone said it was unlikely cos for the sample assessment they released a full detailed mark scheme - I suppose it could but it’s probably more likely it’d be one that hasn’t come up at all yet?

Ahhh okay, thank you !

Reply 6

what movement do we think the haydn question will be on?

Reply 7

Original post by jacobp3946
what movement do we think the haydn question will be on?

I think it's so hard to predict and I feel too risky to just focus on one or two movements. For me I think it's just a do my best on memorising all of them thing (very annoying though)

Reply 8

Original post by jacobp3946
what movement do we think the haydn question will be on?

I think it’ll be movt 1 or 2 (though ofc it could be another) - my teacher made a list of what’s been in the previous years:
2018 - movt 3
2019 - movt 4
2020 - movt 2
2021 - movt 1
2022 - movt 4
2023 - movt 3

Reply 9

how is everyone actually revising for the essay though I know its tomorrow but I still have absolutely no clue Im so stressed there's too much information

Reply 10

Original post by aaronsa11
how is everyone actually revising for the essay though I know its tomorrow but I still have absolutely no clue Im so stressed there's too much information

There's some themes that could be an essay. Looking at previous years and they're incredibly unlikely to repeat an essay question the most likely ones are:
Slow movement/movement 2
Movement 3/minuet and trio
Melody and theme
Texture
Rhythm, tempo, and metre
Nationalism, folk, and dance
Patronage and commissioning
Movement 1/sonata form
Hope this helps :smile: Good Luck!

Reply 11

Cooked

Reply 12

Original post by Rebekah.e.t
There's some themes that could be an essay. Looking at previous years and they're incredibly unlikely to repeat an essay question the most likely ones are:
Slow movement/movement 2
Movement 3/minuet and trio
Melody and theme
Texture
Rhythm, tempo, and metre
Nationalism, folk, and dance
Patronage and commissioning
Movement 1/sonata form
Hope this helps :smile: Good Luck!

What could you write for a patronage and commissioning essay though?

Reply 13

Original post by annemarie_
What could you write for a patronage and commissioning essay though?

literally all I know is Haydn worked for the Esterhazy family. it would be super super mean for them to ask that. i think its super super mean that its even on the spec its just so niche and not relevant to musical content

Reply 14

Original post by annemarie_
What could you write for a patronage and commissioning essay though?


It’s kind of different to the others - more about how in classical period many composers got income through patronage (e.g Haydn with the Esterhazy family), others travelled doing commissions (eg Mozart/beethoven), Mendelssohn’s Italian was a commission, in the romantic era we see the emergence of the middle class and more people wanting music so public subscription concerts etc were developed, and compositions were made to be published and played for many years rather than just a few performances

Reply 15

Original post by annemarie_
What could you write for a patronage and commissioning essay though?
17179352629245048116224372841085.jpg
I thought this is quicker than trying to type out stuff or link resources I have, so here's an essay I wrote for it.
(edited 11 months ago)

Reply 16

Original post by Rebekah.e.t
17179352629245048116224372841085.jpg I hope you're able to click on this and zoom in because obviously it's tiny and I'm sorry for the pixelation (the student room is weird with photos clearly) but I thought this is quicker than trying to type out stuff or link resources I have.

wow thank you!!! 😬 bit concerned I never learned this but oh well

Reply 17

Original post by annemarie_
wow thank you!!! 😬 bit concerned I never learned this but oh well

You're welcome! I honestly only know it because our teacher gave us a PowerPoint for each essay theme! Good luck for tomorrow 😊

Reply 18

Original post by Rebekah.e.t
You're welcome! I honestly only know it because our teacher gave us a PowerPoint for each essay theme! Good luck for tomorrow 😊

You too :smile:)

Reply 19

Original post by annemarie_
What could you write for a patronage and commissioning essay though?

i split it up into 4 like this:
1 patronage
2 subscription concerts
3 special events
4 publishers
1: end of the classical era: patronage= writing for wealthy commissioners symphonies often reflected what was happening in the places they were employed

Stamitz was employed at Mannheim palace and wrote: Symphony Op3 No2 in Dmajor 1750

employed 15 years

he would discipline his orchestra eg had violinists bow in the same direction (uniformed bowing)

invested in crowd pleasing effects called manheim effects such as in opening of this symphony uses forte full tutti chords known as hammerstrokes

Haydn employed at esterhazy palace and wrote: Symphony no 31 'hornsignal' 1765

employed 27 years

writted to celebrate the return of the full horn section

opens with full fanfare followed by solo horn playing a posthorn signal (a signal usually played to signify the arrival of post but here to signify the return of full horn section)

Haydn also wrote here: Symphony no 45 in F# minor 'farewell) 1772

one year prince esterhazy stayed longer than normal at the palace and the orchestra were homesick so asked hydn to see what he could do: he wrote this piece

during the presto-finale the music suddenly changes to adagio as each of the musicians stop playing and extinguish their candles until only haydn and one other is on stage

the prince understood and let them go home, this piece also became his favourite!

Both Stamitz and Haydn were fortunate enough to be supplied with some of the best musicians in Europe thanks to the wealth of their employers

2: Moving towards 19th century= subscription based concerts people bought tickets in advance allowing composers to focus on music rather than finances. Johan Soloman was the organiser for some of these concerts and commissioned 3 of the most famous symphonies in the 19th century

Haydns Symphony 104 in D major 'london' 1795 **** Must be included!!!

commissioned for the london concert series

given a large orchestra with very skilled players and an extended double woodwind section with the new clarinets

25 mins long due to the long 3-4 hour concerts solomon had encouraged composers to write longer pieces

included crowd pleasing effects like general pauses in 1st and 4th movements and lively minuet in the 3rd movement to keep audiences entertained

Beethovens symphony no 9 in d minor 'chorale' 1824

concert series were growing in popularity so had to move to the argyle rooms

he took advantage of this and added a full SATB choir on top

Mendlessohns symphony no 4 in A major 'italian' 1833 *** NEED TO INCLUDE

due to the enlarging audiences, piece needed to match audiences desires: personal experience

this is about his memories of the scenery and experience of his visit to naples

the 2nd movement is reminiscent of promanading monks with its walking baseline and slow character.

the 3rd movement includes alively minuet and Trio

the 4th movement is reminiscent of two classic folk dances: the salterello flayed in the flutes and the tarentella

3: soon after, Commissions for events became increasingly popular= used to commemorate important events, such as the revealing of Goethe's statue....

Listz's symphony 'faust' 1857

inspired by goethes novel: faust

3 movements each representing each main character

1st movement: faust= melancholic themes

2nd movement: Gretchen, fausts love= uplifting using major key

3rd movement: Mephistopheles, devilish character= characterised by tremelos and chromatic chords

Bruckners symphony no 7,e major 1883, written for the lepzig opera house opening,

could hold 1000 people

4: towards the end of the 19th century: publishing= good business, pieces were commissioned by publishers and sold to them and they hired copies out.

Dvorak's symphony no 8 in G minor 1889

commissioned by Simrock who sold and hired out his piece

ultimately exceeded the cost it took to commission the piece.


Hope this helps (this is the only essay I'm confident in 🥲)

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