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Component 1 Appraising Music AS AND A-LEVEL MUSIC A-level (7272) Component 1: Appraising music (7272/W) Sections A, B and C See a number of student responses that demonstrate how high levels are achieved along with the original examiner’s comments. This resource includes example responses from Section A (Listening), Section B (Analysis) and Section C (Essay). Version 1.0 A-LEVEL MUSIC 7272/W – EXAMPLE RESPONSES The following examples, given from Sections A (Listening) and B (Analysis), were awarded a mark in the top band of 9-10 out of 10. The descriptor in the mark scheme for work in this band is ‘a comprehensive and authoritative response which is consistently coherent and logically structured’. A variety of approaches may be taken with equal potential for success; some use continuous prose, others bullet points. Some are particularly strong on pinpointing appropriate examples from the excerpt, others on perceptive, expressive summaries of key aspects of the character of the excerpt. None of these examples is ‘perfect’ – there may be small inaccuracies or examples of awkward expression – but all show evidence of excellent listening skills and the ability to communicate a well-informed understanding of the excerpts. Section A - Listening Question 03 The excerpt is taken from a Nocturne by Chopin. [Nocturne in E flat major, Op.9, no.2] Analyse the excerpt, explaining how it is typical of Chopin’s music. [10 marks] Example 1 The left hand plays a rhythmically regular figure throughout, consisting of a bass note and a broken chord. This gives the music a ¾, waltz-like feel. The music begins with an anacrusis of one beat. The phrases are mostly periodic and balanced. The melody places particular emphasis on the 3rd scale degree. The texture is exclusively homophonic, with the melody intended to sound like a singer improvising in the ‘bel canto’ style. The second pair of phrases is harmonically identical to the first, but the melody is elaborated in Chopin’s signature ‘fioratura’ style, with ornaments such as trills, mordents and rapid arpeggiated figures with shorter note values and a wide melodic range. The harmony is typically early Romantic in its use of chromatic substitutes (e.g. viio7 over a tonic pedal in the second bar, instead of V7), and also its thirds relations (e.g. Vb in the dominant to IV in the tonic at 1:09). The passage ends with an even more elaborate version of the opening phrase (ending with a cadenza-like scalic figure). The overall structure is therefore AABA. AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in 2 of 18 England and Wales (number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX. A-LEVEL MUSIC 7272/W – EXAMPLE RESPONSES Example 2 • Melody begins with a major 6th leap to then fall conjunctly down in a scale in the first few seconds, a common feature of Chopin’s lyrical writing • Great sense of rubato throughout • The music is in a major key with a melody and accompaniment texture, with the melody in the right hand throughout • At 0:12 a turn can be found in the melody, giving rhythmic and melodic interest • In the left hand accompaniment a rhythmic ostinato is played as crotchets in 3/4 time signature which helps support the more rhythmically adventurous melody, another common feature for Chopin’s Nocturnes • Diminished 7th chord creating expressive feeling in the melody at 0:24 • The melody and accompaniment is diatonic, with areas of chromaticism such as in the melody and bass at 0:20 • Big passionate melodic leap at 0:26 balanced by a low bass note in the left hand • Original melody repeats again at 0:34 but now with ornaments, typical of Chopin’s nocturnes as he develops the melody (trill at 0:36, altered melody at 0:42) • Acciaccatura at 0:59 showing more melodic development • Perfect cadence at 1:00 • Moves on to a second theme at 1:02 and touches on the relative minor at 1:12 • Big crescendo at 1:20 • Melodic and bass lines move in contrary motion at 1:30 • Spread chord at 1:35 to reintroduce the original theme at quitter dynamic AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in 3 of 18 England and Wales (number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX. A-LEVEL MUSIC 7272/W – EXAMPLE RESPONSES Question 06 The excerpt is taken from the track ‘Don’t You Worry ‘bout A Thing’ from the album ‘Innervisions’ (1973). Analyse Stevie Wonder’s use of musical elements in the excerpt, explaining how they are used to create a happy, relaxed feeling. [10 marks] Example 3 • Major key gives bright feeling • Moderate/fast tempo fives up-beat but relaxed feeling • Predictable melody line – major 3rd down, up a major 2nd, down a 4th • Regular 4 beats in a bar, maracas/shakers every bar as well as- • Piano with accompaniment filling harmony • Simple bass line • Music cuts out at 0:18 and then comes back in; bit of tension and relief • Backing vocals supporting soft voice – 2 voices overlapped at start; back into 3rds at 0:17 giving support • Strong rhythmic beat. Hi-hat every beat (crotchet) • Regular 4-bar chord sequence. Changes at 0:20 • Dissonant 6th played in piano at 0:31 which resolves to 5th, then perfect cadence at 0:35, this is where first chord sequence and first melody comes in again. Melody repeats • ‘Don’t you worry bout a thing’ chorus conjunct and consonant • 1:04 descending chromatic sequence in backing vocals harmony, repeats again and then back to chorus • 1:35 starting chord sequence comes back while scat singing in backing vocals and humming with no words chorus; imitation between vocals Example 4 The instrumentation of the extract consists of the keyboard, Stevie Wonder’s vocals, maracas, bongos, backing vocals, drum-kit. The metre is steady 4/4 and the instrumentation and the steady tempo creates a laid-back atmosphere. The extract is characterised by the falling chromatic scale – the maracas playing on beats 1 & 4. Stevie Wonder uses vocal melismas, ‘having’ at 18 secs., which create a chilled-out atmosphere. The use of silence at the end of the verse before the keyboard comes back in playing chords (notably the diminished 7th chord at 22 seconds). The syncopation, between the vocals and the keyboard also creates a happy laid-back atmosphere. Steve Wonder sings at a middle tessitura – the vocal sound is comfortable and chilled. The vocal line uses dotted rhythms and cross rhythms which reflect the lyrics, “life’s a drag”, the vocal line metrically dragging slightly. The repetition of vocal melodies makes it memorable and catchy along with the simple verse-chorus structure. There is not huge amounts of dynamic contrast – the piece mainly just a consistent mezzo piano – adding to the chilled-out, easy-going atmosphere. The message is clear through the repetition of the lyrics ‘don’t you worry ‘bout a thing’. The backing vocals enter (Wonder’s own voice) at 1:06 in falsetto (in thirds) during the chromatic descending scale. The cymbal also begins, playing on beats 2 and 4, the texture thickening and building. At 1:20 Wonder reaches the climax and goes up the octave singing the same descending scale pattern. Stevie Wonder also uses shouts and exclamations to express joy and happiness. AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in 4 of 18 England and Wales (number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX. A-LEVEL MUSIC 7272/W – EXAMPLE RESPONSES Question 12 The excerpt is taken from the musical ‘The Bridges of Madison County’ by Jason Robert Brown (2014). In this song, the main character is buying a dress and remembers how she used to take pleasure in her appearance when she was younger. She reflects on how these feelings have been re-awakened by her recent meeting with a man to whom she feels attracted. Explain how Jason Robert Brown’s handling of musical elements in the excerpt helps to create a feeling of growing romantic excitement. [10 marks] Example 5 • Forte dynamics from the start • Major key • Forte dynamic from the start • Melody and accompaniment texture • Full sounding orchestration with acoustic guitar, piano and strings • Piano plays 7th chords through line 2, creating passionate feeling • Diminished chord on line 5 • Violin counter melody introduced at 0:22 • Each line ends with a rising interval showing her joy and optimism • Melody from lines 1-4 used again at lines 5-8 but from line 2 ‘just’ starts to change; ascending in pitch rather than descending, showing her excitement growing • Major scale descending in strings at 0:34 almost like church bells ringing at a wedding • Dominant 7th chord on line 9 • Descending melodic sequence and harmonic sequence at lines 9-10 to lines 11-12 • Accompaniment drops out at line 16 to emphasise and then re-enters at ‘please’ with intervallic augmentation at ‘away’ • ‘Away’ breaks the syllabic word setting we’ve had until now as it goes into a melismatic vocal passage containing a melodic and harmonic sequence • Accompaniment cuts back over lines 17-20 with just strings and piano • Diminished 7th chord over line 19 • Drawn-out rhythm in line 20 with rests between ‘just’ and ‘please’ • Ends with glockenspiel glissando AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in 5 of 18 England and Wales (number 3644723).
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