Docsity
Docsity

Prepare for your exams
Prepare for your exams

Study with the several resources on Docsity


Earn points to download
Earn points to download

Earn points by helping other students or get them with a premium plan


Guidelines and tips
Guidelines and tips

Edexcel A level music paper 3 mark scheme June 2023, 2024, Exams of Music

Edexcel and BTEC Qualifications Edexcel and BTEC qualifications are awarded by Pearson, the UK’s largest awarding body. We provide a wide range of qualifications including academic, vocational, occupational and specific programmes for employers. For further information visit our qualifications websites at . Alternatively, you can get in touch with us using the details on our contact us page at

Typology: Exams

2023/2024

Available from 04/30/2024

kiana-githinji
kiana-githinji 🇺🇸

3.9

(8)

769 documents

Partial preview of the text

Download Edexcel A level music paper 3 mark scheme June 2023, 2024 and more Exams Music in PDF only on Docsity!

Edexcel A level music paper 3 mark scheme June 2023

Mark Scheme (Results)

Summer 2023

Pearson Edexcel Level 3 Advanced GCE in Music

(9MU0)

Component 3: Appraising

Edexcel and BTEC Qualifications

Edexcel and BTEC qualifications are awarded by Pearson, the UK’s largest awarding body. We provide a wide

range of qualifications including academic, vocational, occupational and specific programmes for employers. For

further information visit our qualifications websites at. Alternatively, you can get in touch with us using the

details on our contact us page at

Pearson: helping people progress, everywhere

Pearson aspires to be the world’s leading learning company. Our aim is to help everyone progress in their lives

through education. We believe in every kind of learning, for all kinds of people, wherever they are in the world.

We’ve been involved in education for over 150 years, and by working across 70 countries, in 100 languages, we

have built an international reputation for our commitment to high standards and raising achievement through

innovation in education. Find out more about how we can help you and your students at:

General marking guidance

  • All candidates must receive the same treatment. Examiners must mark the last candidate in exactly the same way as they mark the first.
  • Mark schemes should be applied positively. Candidates must be rewarded for what they have shown they can do rather than penalised for omissions.
  • Examiners should mark according to the mark scheme not according to their perception of where the grade boundaries may lie.
  • All the marks on the mark scheme are designed to be awarded. Examiners should always award full marks if deserved. Examiners should also be prepared to award zero marks if the candidate’s response is not worthy of credit according to the mark scheme.
  • Brackets around parts of words/phrases in this mark scheme indicate the possible additional words/phrases candidates may write as their answer. They must not be awarded twice for an answer relating to one bullet point. Marks must not be awarded twice for an answer relating to one bullet point, unless it specifically allows for additional marks to be awarded, normally for additional points of information.
  • Where a word is underlined, that word must be included in the answer to be awarded a mark for that point.
  • When examiners are in doubt regarding the application of the mark scheme to a candidate’s response, the team leader must be consulted.
  • Crossed-out work should be marked unless the candidate has replaced it with an alternative response.

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:

  • If it meets the requirements fully, markers should be prepared to award full marks within the level. The top mark in the level is used for answers that are as good as can realistically be expected within that level
  • The middle marks of the level are used for answers that have a reasonable match to the descriptor. This might represent a balance between some characteristics of the level that are fully met and others that are only barely met.
  • If it only barely meets the requirements of the level, markers should consider awarding marks at the bottom of the level. The bottom mark in the level is used for answers that are the weakest that can be expected within that level

SECTION A

J. S. Bach, Cantata, Ein feste Burg, BWV 80: Movement 1

CD Track 1: 2.38 – 3.

Bars 60 - 82

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

(3)

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)

(2)

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)

(3)

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.

(1)

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)

(3)

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

(3)

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

Beatles, Revolver : Here, there and everywhere

CD2 Track 24 0.00 – 1.

Bars 1 – 16 (2nd^ time written out fully 23 bars in skeleton score)

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)

(3)

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)

(2)

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( )

(2)

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)

(3)

.

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)

(2)

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)

(3)

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)

(3)

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

(1)

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)

(3)

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.

(8)

SECTION B

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

(20)

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.

  • Little attempt to link to other relevant works
  • Some basic musical vocabulary used with errors/inconsistency
  • Little justification/exemplification of the composer’s intentions Level 2 5 – 8 • Identification of elements in the unfamiliar piece. Links between the question and the element described are likely to be implicit
  • Attempts are made to refer to other works, with some errors/inconsistency
  • Musical vocabulary used, but with some errors/inconsistency
  • Basic musical points used as justification/exemplifications of the composer’s intentions Level 3 9 – 12 •^ Description of elements in the unfamiliar piece. Elements described will be mostly linked to the question.
  • Relevant works are used to illustrate basic points
  • Satisfactory use of musical vocabulary
  • Inconsistent musical justification/exemplification of the composer’s intentions Level 4 13 – 16 • Explanation of elements in the unfamiliar piece. Elements explained will be linked to the question.
  • Relevant works are used to justify points
  • Competent use of musical vocabulary
  • Musical justification/exemplification provided to support
  • composer’s intentions with a few insignificant lapses

Level 5 17 – 20 •^ Thorough explanation of a range of elements in the unfamiliar piece. Elements explained will be clearly linked to the question.

  • Relevant works are used to justify salient points
  • Excellent use of musical vocabulary
  • Full musical justification/exemplification provided to support
  • composer’s intentions

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

  • Diatonic
  • Some chromatic melodies
  • Contrasting melodies
  • Periodic / balanced phrasing / antecedent and consequent
  • Legato
  • Leaps of a 5th^ / octave
  • Conjunct
  • Repeated notes
  • Sequences
  • Appoggiatura

AO4: Explanation of the effect of the element. Discussion of approaches to melody by Clara Wieck-Schumann and other composers.

Texture

  • Melody and accompaniment / melody dominated homophony
  • Main melodic interest alternates between violin and right hand piano
  • Homophonic chordal
  • Polyphonic / contrapuntal
  • Imitation
  • Countermelodies
  • Pedal notes
  • Octaves, 6ths, 3rds
  • Piano accompaniments – rocking quavers, block chords on and off beat chords, arpeggios / broken chords

AO4: Explanation of the effect of the element. Discussion of approaches to texture by Clara Wieck-Schumann and other composers.

Sonority

  • Piano trio / chamber music
  • Equal roles
  • Conventional use of instruments / not virtuosic
  • No pizzicato in violin / rare pizzicato in cello
  • Double stopping
  • Violin plays mainly two octaves above lowest string
  • Cello uses both low and high range

(30)

  • Middle range of piano is mainly used
  • Sustain pedal is rarely indicated
  • Where pedal is indicated a blurred effect is created

Level Mark Descriptor

0 No rewardable material.

Level 1 1 – 6 • Shows limited awareness of contextual factors (AO3)

  • Makes little reference to texts with limited organisation of ideas. Some basic musical vocabulary used with errors/inconsistency (AO4)
  • Little attempt to link to other relevant works (AO4) Level 2 7 – 12 • Makes general links between the music and the historical, social and cultural context in which it was created and developed (AO3)
  • Makes general points, identifying some musical elements with general explanation of effects. Musical vocabulary is used but with some errors/inconsistency (AO4)
  • Attempts are made to refer to other works, with some errors/inconsistency (AO4)

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)

  • Offers a clear response using relevant musical examples. Satisfactory use of musical vocabulary (AO4)
  • Relevant works are used to illustrate basic points (AO4)

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)

  • Constructs a controlled argument with fluently embedded musical examples. Competent use of musical vocabulary (AO4)
  • Relevant works are used to justify points (AO4)

Level 5 25 – 30 • Sophisticated links between the music and the historical, social and cultural context in which it was created and developed (AO3)

  • Presents a critical evaluative argument with sustained musical examples. Excellent use of musical vocabulary (AO4)
  • Relevant works are used to justify salient points (AO4)

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

  • Non-functional
  • Unrelated keys
  • (Mainly) minor keys
  • D minor
  • Bb minor
  • C major
  • Return to Bb minor
  • Db major
  • F# minor
  • Ab major to Ab minor
  • C# minor
  • Juxtaposition of unrelated triads
  • Tonic pedal
  • Final chord has no 3rd

AO4: Explanation of the effect of the element. Discussion of approaches to tonality by Elfman and other composers.

Sonority

  • Large orchestra
  • Synth choir
  • Percussion – timpani and snare drum
  • Prominent brass
  • High strings
  • Harp glissando
  • Celeste
  • Tremolo
  • Muted brass
  • Snare off drum
  • Organ
  • Fluttertonguing
  • Stopped horn notes
  • Bass drum and tam tam at end

AO4: Explanation of the effect of the element. Discussion of approaches to sonority by Elfman and other composers.

(30)