Music resources

• development of ideas using compositional devices
  or
• structuring of ideas through organising these into a cohesive piece of music,
  and is
• represented through generally clear notation, either graphic or conventional (stave or tablature) or other representations presented as a score/s, appropriate to the style or genre of the music.

• some character in terms of stylistic consistency and some effectiveness with how the musical ideas and conventions have been manipulated and integrated in the music,
  and
• development of ideas using compositional devices,
  and
• structuring of ideas through organising these into a cohesive piece of music,
  and is
• represented through clear notation, either graphic or conventional (stave or tablature) or other representations presented as a score/s, appropriate to the style or genre of the music.

• character in terms of stylistic consistency and effectiveness with how the musical ideas and conventions have been convincingly manipulated and integrated in the music,
  and
• skilful development of ideas using compositional devices,
  and
• skilful structuring of ideas through organising these into a cohesive piece of music,
  and is
• represented through clear and detailed notation, either graphic or conventional (stave or tablature) or other representations presented as a score/s, appropriate to the style or genre of the music.

There is a lack of clear intention thematically, harmonically, and in terms of a logical sense of phrase structure. This work contains some initial ideas that require further work to meet the criteria. There is a lack of substance and quantity of material, and communication details are missing (e.g. tempo).

There is a lack of logical coherence, despite the fact that ideas are repeated which hints at a sense of structure. The essential problem here is that the ideas themselves make little sense and the realisation lacks musical logic, e.g. a sense of underlying harmonic logic, a sense of phrase.

The third exemplar comes close to the Achieved level, but there is insufficient material here to provide secure evidence of a sense of structure. This is despite some skill being demonstrated in the layering of parts and a reasonably convincing harmonic logic.

This exemplar provides evidence of a coherent piece with structure and even one or two moments of development (see bars 9-12 and 17-18 and 20). However, this is not sustained enough for Merit (creating an integrated piece overall). There is a logical harmonic progression in the opening eight bars with some rhythmic variety introduced in bars seven and eight. A contrasting melodic idea is introduced at bar nine giving a sense of progression (structure) to the music. The second half of the piece is less convincing and reads more like an exploration of some ideas for development rather than a finished piece. From bar 20 the piece disintegrates somewhat. Overall, however, this just meets the Achievement criteria and shows some potential.

The first piece here is a secure Achieved with some elements of development and character (Merit) that move it towards the Merit level. There is some ambiguity about the metre in the opening section (did the student really mean ¾ for the first six bars?). Although the rhythm is simple there is a clear sense of harmonic direction in the first section. There is also a clear sense of unfolding structure in the solo/improv guitar section. This is followed by a clever layering of the opening idea with a simple melodic figure derived from the accompanying pattern (bar 23) suggesting a sense of development and manipulation of composition ideas. Overall, however, the sense of development is not quite sustained enough for a secure Merit.

The second piece, at the Merit level, displays character with the lively rhythmic main idea at bar 9. This theme is a development of the rhythm presented in the harmonic opening section (bars 1-8). Other ideas are given brief development with some quirky interruptions and then there is a brief but underdeveloped return to the opening idea. This, therefore, shows evidence of structure, development and character but overall the impression is of an effective piece not fully realised. There is sufficient evidence of the Merit criteria.

The third piece is a secure Merit. There is some skill at layering three parts and a clear structure. The score departs from the audio recording. At the end the audio version returns to the opening idea. The opening theme is well structured with a statement and a developed/varied answer that shows understating of logical, coherent musical structures. Again, as with the other two pieces, there is a sense that the music has only just got underway. At this level only students at the Excellence level begin to demonstrate skill with enhancing the structure through more sustained development of ideas.

The fourth piece at the Merit level is clearly structured with some development that gives this piece a more extended structure than the other examples. The main factor that keeps the work at the Merit rather than the Excellence level is the word setting. There are instances where the setting is strained, with weak or unimportant words placed on strong beats e.g. bars 1, 23, 32, 42, and 44. Apart from this, the setting is certainly effective for this level. The score and audio do not match in the last few bars.

The first piece exhibits a sense of structure by the way the opening eight bars are repeated with the enhancement of the drums, giving an immediate sense of progression to the music. This effect is nicely truncated in the final section. There is a clear contrasting section and a return to the initial ideas to give a ternary structure. The ideas themselves have character and the harmonic surety and organisation of the parts is skilful for this level. There is some development (the second section gives a sense of development) however the score detail is not always clear. This is a low end Excellence for these reasons.

The second piece is very well crafted for this level, with structure, development, and character. There is an effective and convincing sense of balance in the opening eight bars and some immediate development of the opening idea when it returns in bar 13. There is clear and detailed notation. As a result, this is a secure Excellence.

The response against "melody" in Section A is an interesting observation. The comment would be strengthened by mentioning the instrument, bar, and the effect of this imitation, e.g. it gives unity to the piece through repetition of rhythmic and melodic motives.

The comment on mood change in Section B is a perceptive observation. The student has noticed the change of effect in the music brought about by the change of note values and textural activity. It is a pity the student did not notice that the second violin has snatches of the main theme in this passage as well. In Section C there is a lack of precise detail.

In 3) Composition techniques, the student accurately demonstrates some knowledge of compositional devices used to structure the piece. There are some gaps in the work in this section that suggest there will be a lack of sufficient evidence to support a judgement for a range or a wide range of elements and features. This would be clarified in the assessment schedule that accompanies the task. In addition, the omission of clefs, time signatures and barlines in the notated manuscript does not help to secure a higher level grade due to weaker music literacy skills.

Please note that any handwritten comments or markings on the student work are part of original teacher feedback.

In Section A the student describes the texture as polyphonic but this is inaccurate. The inner parts are essentially harmonic although they are enlivened with thematic references, e.g. rhythm in the viola, so a more accurate definition would be homophonic.

In Section B the student should have noted the lightening of the texture with the absence of the cello bass line. The student hints at this by the mention of terraced dynamics, as a lightening in sound would occur. The viola takes over the bass line function. The change in texture to long notes with the theme in the second violin is also noteworthy. Aspects such as these would have widened the responses and moved the level of achievement towards Excellence.

In Section C the student makes some articulate observations about the keys and the instability of the modulating sections. Use of key terms such as modulation should be encouraged. The points under 2) Timbre are all accurate evidence of knowledge of the features of the piece. The teacher notes further points of detail that could have been included. Ideally teachers should produce detailed evidence statements in the form of a marking schedule outlining the expectations for each level of achievement.

In section 3) Composition Techniques, the student provides an accurate description of the main compositional techniques backed up by score examples.

Please note that any handwritten comments or markings on the student work are part of original teacher feedback.

Please note that any hand written comments or markings on the student work are part of original teacher feedback.