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Typology: Exams
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General marking guidance
How to award marks for the levels based mark scheme
(Questions 5 and 6)
For all questions marked using a Levels Based Mark Scheme, examiners should pay particular attention to the initial rubric which precedes the indicative content section. This rubric details the Assessment Objective and where applicable strand emphasis that should be applied when making judgements within each band.
Finding the right level
The first stage is to decide which level the answer should be placed in. To do this, use a ‘best-fit’ approach, deciding which level most closely describes the quality of the answer.
Answers can display characteristics from more than one level, and where this happens examiners must use their professional judgement to decide which level is most appropriate.
Placing a mark within a level
After a level has been decided on, the next stage is to decide on the mark within the level. The instructions below tell you how to reward responses within a level. However, where a level has specific guidance about how to place an answer within a level, always follow that guidance. Examiners should be prepared to use the full range of marks available in a level. Examiners should start at the top of the level and then move down through the level to find the best mark. To do this, they should take into account how far the answer meets the requirements of the level:
Question Number
Answer Mark
1(a) A, D and G are the correct answers
A Bass voice (1)
D Diatonic (1)
G Syncopated (1)
B is not correct because it is a diatonic melody
C is not correct because there are no cross rhythms
E is not correct because the leap is a 5th^ and not a 4th
F is not correct because the leap is a 5th^ and not a 7th
H is not correct because the voice is a bass and not tenor
Question Number
Answer Mark
1(b) (Mainly) ascending (1)
Conjunct / step / scale (1)
Chromatic / semitones (1)
Passing notes (1)
Sequence (1)
Starts half way through bar 1 (1)
Crotchets / same note lengths (1)
Staccato (1)
Question Number
Answer Mark
1(c) Polyphonic / contrapuntal (1)
Imitation / canon (1)
Four part vocal texture (1)
Cantus firmus (1)
Oboe added (1)
Organ / violone added (1)
(Strings) double voices (1)
Parallel 3rds (1)
Question Number
Answer Mark
1(d) Diminished 7th^ (1)
Question
Number
Answer Mark
1(e) A Alto, Soprano, Tenor, Bass
B, C and D are incorrect because the Alto enters at bar 13, Soprano at bar 14, Tenor at bar 16 and Bass at bar 17.
Question Number
Answer Mark
1(f) Alto (1)
From the chorale / Lutheran Hymn (1)
Diatonic (1)
Leap of a 5th (1)
Ascending (1)
Conjunct / step / scale (1)
Octave leap (1)
Range of an octave (1)
Syllabic (1)
A major / dominant (1)
Starts monophonic (1)
Question
Number
Answer Mark
1(g) The correct answers are B, E and F
B Continuo
E Polyphonic
F Small orchestra
A is not correct because it is not a feature of texture or sonority
C is not correct because it is not a Baroque feature
D is not correct because it is not a Baroque feature or texture/sonority
G is not correct because it is not a Baroque feature or texture/sonority
H is not correct because it is not a Baroque feature
Question Number
Answer Mark
2(a) Diatonic (1)
Ascending (1)
Tonic / G Major (1)
Triad / arpeggio / broken chord (1)
Starts on the dominant / leap of a 4th^ (1)
Ends on the dominant (1)
Range of an octave (1)
Repeated notes (1)
Rubato (1)
Syncopated / offbeat (1)
Syllabic (1)
Speech rhythms (1)
(Moderately) piano / quiet (1)
Tenor (1)
Panning (1)
Double tracked (1)
Question
Number
Answer Mark
2(b)(i) Supertonic / II / A minor / Am (1)
Question
Number
Answer Mark
2(b)(ii) (^) Dominant 7th (^) / V (^7) / D (^7) / D Major 7 (1)
Question
Number
Answer Mark
2(c) Perfect 5th (1) (1)
Question
Number
Answer Mark
2 (f) Minor (1)
Slower harmonic rhythm / one chord (1)
Descending (vocals) (1) Reject ascending and descending (guitar)
Chromatic / semitones (1)
Accompaniment pattern changes / continuous quavers (1)
Mandolin sound / Leslie cabinet (1)
Question
Number
Answer Mark
2(d) Electric guitar / rhythm guitar (1)
Bass (guitar) (1) Drums / Drumkit / reference to any part of the kit except cymbals( )
Question
Number
Answer Mark
2 (e) Perfect (1)
Question
Number
Answer Mark
3(a) Pianissimo / piano / quiet / niente / from nothing (1)
Crescendo / gets louder (1)
(Long) trill (1)
Semitone (1)
Long note (1)
Lack of pulse (1)
Slow bow (1)
Harmonics (1)
Sul ponticello / on the bridge (1)
Glissando (1)
Reverb (1)
Question
Number
Answer Mark
3(b) Lento / slow (1)
Tempo of at least 20 seconds per stave (1)
No time signature / free rhythm / lack of pulse (1)
Long notes / semibreves (1)
Pause (1)
Question
Number
Answer Mark
3(c) Crescendo / gets louder (1)
Becomes fortissimo / very loud (1)
At the end diminuendo / gets quieter (1)
Ends forte / loud (1)
Molto / much vibrato (1)
Then senza / without vibrato (1)
More bow changes (1)
Less bow pressure (1)
Tremolo (1)
Sul tasto to sul ponticello / on the fingerboard to the bridge (1)
Harmonizer drops out (1)
Question
Number
Answer Mark
3(d) Ascending (1)
Chromatic (1)
Microtones (1)
Narrow range (1)
Repetition (1) Reject repeated notes
Staccato (1)
Accents (1)
Even note lengths / demisemiquavers / dectuplets (1)
Energetic / energico (1)
Question
Number
Answer Mark
Question
Number
Answer Mark
3(f) B 1988
The correct answer is B
A is not correct because the date of composition was 1988
C is not correct because the date of composition was 1988
D is not correct because the date of composition was 1988
Question Number
Answer Mark
3(e) Amplification / microphone / (loud) speakers / PA
system (1)
Close (microphone) (1)
Levels set loud (1)
Reverb (1)
Harmonizer / Pitch shift (1)
Mixer (1)
Control to vary effects (1)
4 There are 12 pitches and 12 durations to complete.
0 No work offered capable of assessment 1 1 – 3 pitches and/or note-lengths correct 2 4 – 6 pitches and/or note-lengths correct 3 7 – 9 pitches and/or note-lengths correct 4 10 – 12 pitches and/or note-lengths correct 5 13 – 15 pitches and note-lengths correct 6 16 – 18 pitches and note-lengths correct 7 19 – 21 pitches and note-lengths correct 8 22 – 24 pitches and note-lengths correct
Mark from the beginning ignoring bar lines until both pitch and rhythm are incorrect. Then mark from the end ignoring bar lines until both pitch and rhythm are incorrect. If there is any music remaining unmarked, check whether it is correct in the context of the bar lines.
Question Number
Indicative content Mark
5 AO4 (20 marks)
Holst - Vedic Hymns, Dawn
Melody Repeated notes (Mainly) conjunct Leap of a 4th Arpeggios Mainly ascending Legato Highest pitch at the end Leaps / octave at the end
Harmony Non-functional / lacks cadences Unrelated chords Dissonance Added 7ths Parallel chords Open 5th^ chords Augmented triads 2 nd^ inversion chords Pedal note
Tonality Major key Non-functional Sudden modulations (Tonic) minor
Structure Introduction Verses Through composed Two contrasting sections
Sonority Baritone / bass Syllabic Piano accompaniment Sustain pedal / right pedal Una corda / soft pedal / left pedal High register of piano
Texture Melody and accompaniment / melody dominated homophony Block chords Arpeggios Ostinato
Tempo, metre and rhythm Adagio Faster section Tempo changes, rit, accelerando
Overall gradually getting faster 4/4 occasional change of metre to 2/ Dotted Triplets Cross rhythms Longer note lengths in voice at end
Dynamics Starts quietly Builds up with crescendos Overall gradually getting louder
Reference should be made to set works and other music.
NB: Other valid points should be rewarded.
Level Mark Descriptor
0 No rewardable material
Level 1 1 – 4 • Identification of elements in the unfamiliar piece, although there are likely to be significant omissions in these. Elements will not be linked to the question.
Level 5 17 – 20 •^ Thorough explanation of a range of elements in the unfamiliar piece. Elements explained will be clearly linked to the question.
Question
Number
Indicative content Mark
6(a)
Instrumental music
AO3 (10 marks) / AO4 (20 marks)
Candidates must demonstrate a greater emphasis on analysis/evaluation/making judgements (AO4).
(AO3) Musical elements such as:
Melody
AO4: Explanation of the effect of the element. Discussion of approaches to melody by Clara Wieck-Schumann and other composers.
Texture
AO4: Explanation of the effect of the element. Discussion of approaches to texture by Clara Wieck-Schumann and other composers.
Sonority
Level Mark Descriptor
0 No rewardable material.
Level 1 1 – 6 • Shows limited awareness of contextual factors (AO3)
Level 3 13 – 18 •^ Develops relevant links between the music and the historical, social and cultural context in which it was created and developed (AO3)
Level 4 19 – 24 • Makes detailed links between the music and the historical, social and cultural context in which it was created and developed (AO3)
Level 5 25 – 30 • Sophisticated links between the music and the historical, social and cultural context in which it was created and developed (AO3)
AO4: Explanation of the effect of the element. Discussion of approaches to sonority of Clara Wieck-Schumann and other composers.
Question
Number
Indicative content Mark
6(b)
Music for
Film
AO3 (10 marks) / AO4 (20 marks)
Candidates must demonstrate a greater emphasis on analysis/evaluation/making judgements (AO4)
(AO3) Musical elements such as:
Tonality
AO4: Explanation of the effect of the element. Discussion of approaches to tonality by Elfman and other composers.
Sonority
AO4: Explanation of the effect of the element. Discussion of approaches to sonority by Elfman and other composers.