Music - Twyford C of E High School

“I have come that you might have life & have it to the full”
John 10 v10
Twyford Church of England High School
EDEXCEL MUSIC
‘AS’ LEVEL
HANDBOOK
2014-15
UNIT 1
Performing Music
UNIT 2
Composing
UNIT 3
Developing Musical Understanding
“Music is the universal language of mankind” – Henry Wadsworth Longfellow
General Introduction
What is A level Music?
The A level Music course is a balance of coursework and examinations. Coursework is worth 60% of the
course: Performing (30%) and Composing (30%). Students are expected to supplement class lessons
with individual instrument tuition, instrument practice, and independent study time on composition
tasks. The remaining 40% of the course is assessed in a 2-hour examination at the end of each year of
study. Regular homework tasks are set to support learning in this unit.
Entry requirements
Entry to KS5 courses assumes that students have at least six GCSEs at grade C and above. To study
music you must have a grade A or B at GCSE. In addition we expect all AS level music students to have
passes grade 5 theory and to be learning a musical instrument/voice at grade 5 or above standard.
How the course is taught?
There is no setting in class. However all lessons are differentiated to ensure that the needs of all
students are catered for. We aim for all students to achieve the highest grade they possibly can and we
hope that you will find the course challenging and interesting. We offer additional support for students
who are weaker at any area of the course eg. theory lessons.
What Can I do with A level Music?
The A level Music course provides an excellent basis for lifelong learning and for Higher Education
courses in Music, and many students who take A level Music continue their studies at university. The
three units of the course can lead to studies in performance, composition, musicology,
ethnomusicology, sound engineering, conducting, popular music and jazz, and music education
Section 1: Course overview
Syllabus: Edexcel Advanced Subsidiary GCE in Music (8MU01)
For more information visit: www.edexcel.org.uk/gce2008
AS Units: These are all examined in May/June 2014
Unit
Unit 1: Performing
Requirement
5-6 minute performance of a piece
(or collection of pieces).
Notated or improvised performances
may be submitted
Music must be at grade 5 standard or
above
Unit 2: Composing
Section A:
One composition based on a brief set
by EDEXCEL
Section B
To write sleeve notes describing how
the composition has been
researched and constructed.
Unit 3: Further Musical
Understanding
Section A and B : Listening and
Analysis
Questions based on
Instrumental Music and Vocal Music
(See AS guide and specification for
details of set works)
Section C: Understanding Chords
and lines
Unseen questions on keys, chords,
cadences, modulations and four part
harmony
Mark
30% of the total As marks
(15% of the total GCE marks)
Assessment:
The exam takes place in April
2015 . It is assessed by the
school and moderated by
Edexcel
30% of the total A2 marks
(15% of the total GCE marks)
Assessment:
The composition is completed
in 14 hours of controlled time
during the end of the Spring
term and beginning of the
Summer term
The sleeve note is written in
one hour of controlled time
during the beginning of the
summer term
40% of the total AS marks
(20% of the total GCE marks)
Assessment:
2 hour examination paper set
in June 2015 and marked by
Edexcel
Section 2: Details of each unit:
Unit 1 – Performing (30% of AS Marks)
Unit description
You are required to perform as a soloist and/or part of an ensemble. You can choose any style. Any
instrument(s) and/or voice are acceptable as part of a 5-6 minute assessed performance. Notated or
improvised performances may be submitted.
Solo performance


Performance from a score. You should learn to play accurately both pitch and rhythm. Observe
directions of phrasing, articulation, dynamics and tempo. The performance must be fluent. The
overall outcome should be effective in terms of communication, interpretation and style. You
must perform with an accompaniment. This should usually be a piano or in the case of a jazz
saxophonist this could be a double bass. You can use a backing track.
Improvised performance. You should learn to play a chosen stimulus accurately and to exploit
and develop its potential. You should pay attention to balance of unity and to structure
generally. You should work on instrumental tone and technique and demonstrate the ability to
handle a range of timbre and textures. You should recognise the importance of fluency and
ensure that the overall outcome is effective in terms of communication, interpretation and
style. You must provide a chord scheme or other stimulus together with any other details of
your working methods.
Ensemble Performance
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

In addition to accuracy and other essentials of effective performance you should pay attention
to balance and the demands of other parts.
Maximum of 5 players including you.
You must have a clearly defined role and play a part that is not duplicated
How will it be assessed?
1. The performances must add up to 5-6 minutes worth and be one piece or a combination of
pieces (solos and ensemble). However the pieces must be performed continuously for the
required length of time.
2. The performance may be re-recorded at any time during the course to improve the outcome.
3. Study the assessment criteria with your instrumental teacher to understand how your work will
be marked.
Unit 2: – Composing (30% of Marks)
Unit description
During the course you will develop composition skills that lead to the creation of a final 3-minute piece
in response to a chosen brief. You will also write a CD sleeve note to describe aspects of your final
composition and explain how other pieces of music have influenced it.
What do you need to learn?
 How to write for instruments and voices: efficient, sensitive and idiomatic handling of
appropriate timbres and textures for chosen forces (including ICT)
 How to develop musical ideas within chosen forms and structures: understanding the principles
of rhythmic, melodic and harmonic construction and the working of form and structure
appropriate to the composition undertaken.
 You will need to study pieces in the style you are composing using the Edexcel Anthology of
Music and other sources
The final submission
In September of each year Edexcel will publish on its website (www.edexcel.org.uk) a document
entitled Unit 2: Composing.
Section A will contain four composition briefs from which you will select one as a basis for a threeminute composition.
Section B: You will answer three questions to provide information that could be used for a CD sleeve
note to accompany your composition.
Both sections of the examination must be completed under exam conditions (April/May 2015)
The composition briefs
These will be based on the following topics:
Topic 1: Composing expressively
You should investigate the creation of different moods and emotions in music (eg. by the manipulation
of range, dynamics, tempo and key) and effective transition of mood to another either gradually or
abruptly. You may write in any style for any instrumental forces, acoustic and/or synthesised, subject to
the brief.
Topic 2: Variation structures – composing idiomatically for instruments
You should investigate variation type structures, and how these may demonstrate idiomatic
instrumental writing. You should learn about practical ranges of the instruments you want to write for
and commonly-used instruments techniques and timbres. Subject to the brief you may write in any
style and for any combination of acoustic instrumental forces involving any two, three or four
instruments, or for solo piano.
Topic 3: Words and music: structure in vocal music
You should investigate the relationship between the structure of vocal pieces and the structure of their
texts by studying a variety of simple forms appropriate to the types of music you wish to compose (eg
strophic, verse-plus-chorus structures). You may write in any style, for any vocal forces (with or without
instrumental/synthesised accompaniment) subject to the brief.
Topic 4: text, context and texture
You should investigate how different types of text are characteristic of different performance situations
and how textures and styles of singing may be varied in vocal music (eg through antiphony or variations
in the number of parts). You may write in any style for any vocal forces (with or without
instrumental/synthesised accompaniment), subject to the brief.
Assessment:
You will have a maximum of 15 hours to complete your composition. No help will be given during this
time. You will have a maximum of one hour to complete the CD sleeve note.
More information will be provided about this later.
Unit 3 – Developing Musical Understanding(40% of Marks)
Unit description
You will study the following set works from the AS areas of study
Instrumental Music
J. S. Bach — Brandenburg Concerto No. 4 in G: movement I
Mozart — Piano Sonata in B flat, K. 333: movement I
Shostakovich — String Quartet No. 8, Op. 110: movement I
Poulenc — Sonata for Horn, Trumpet and Trombone: movement I
Vocal Music
Monteverdi — Ohimè, se tanto amate
Fauré — Après un rêve
Tavener — The Lamb
The Kinks — Waterloo Sunset
Van Morrison — Tupelo Honey
Familia Valera Miranda (Cuba) — Se quema la chumbambá
What do you need to learn?
Set works
You will need to familiarise yourself with each work through listening and studying the scores.
You will learn about the important features of the pieces and learn how to compare and contrast them
by placing the music in context. You will learn to use the scores to identify harmonic, tonal and other
musical features.
Understanding chords and lines
You will learn about chord progressions and cadences. You will learn about key relationships and
modulations. You will learn how to harmonise a piece for SATB by learning how to create textures,
voice leading, part doubling and spacing of chords.
Harmonic and tonal vocabulary
You will learn how to identify major and minor keys, modulations to closely related keys, chords and
non-harmonic notes. You should know chords 1, V and V7 in root position and all inversions, 11 and IV
in root and first inversion, V1 in root position, 117 in first inversion and diminished chords in first
inversion and diminished 7th chords.
Section 3: Overview of Schemes of Work for each unit
Unit 1: Performing Music Unit 6MU01
Term
Guidance and Preparation
Autumn
Half-Term
(1)
Induction task: performance one solo
piece





Autumn
Half-Term
(2)



Spring
Half-Term
(1)

Spring
Half-Term
(2)





Summer
Half-Term
(1)


Ensure each student is
receiving individual tuition
either privately or at Twyford.
Instrumental/vocal tutors
provided with information
outlining requirements,
standards and details about
assessment
Students create a practice
timetable and log book to be
signed by their instrumental
tutor
Students learn how to plan a
well-balanced 5-6 minute
programme.
Prepare for November
assessment
Practice log book monitored
Set targets based on
November assessment
Prepare for February/March
mock examination
Performances monitored
Rehearsals with accompanist
organised
No. of
lessons
3
Expectations and Outcomes
Induction piece performed at year 12
music evening - October
AS/A2 music evening
By the end of the half-term have drafted
the final 5-6 minute programme
programme.
3
3
Perform one solo piece as part of the
November Assessment
Final solo programme organised
Perform full 5-6 minute programme as
part of February mock examination
Set targets based on February
mock examination
Additional support is set up
where needed
Accompanists and rehearsals
organised
3
Performances in assembly and in
Classical Music Competition
Any additional support given
outside lessons
Rehearsals with accompanist
organised
2
AS Performance Exam (see calendar for
date)
Unit 2 (6MU02): Composing
Term
Guidance and Preparation
Autumn
Half-Term
(1)
Induction task: To have completed Grade
V theory
Preparation and Research/Basic skills for
composition :
No. of
lessons
2
lessons
7
lessons
Expectations and Outcomes
-To be able to use a range of
techniques linked to motifs,
harmony, texture and orchestration
within a given structure.
What makes a good composition?
The composition briefs will be
announced by Edexcel during week 4
In the first three weeks, consideration
is given to the planning process and
exercises are carried out based on how
to use structure, melody, harmony,
texture etc.
Students use suggested pieces to analyse
and research other pieces of music based
on their chosen brief. Identify within
extracts:
 Structures and key schemes
 Types of chords and their use
 Types of texture
 Instrumentation
 Melodic development
The research work is logged in their sleeve
notes preparation document
By the By the end of this half term
All students should have chosen their
brief, researched and analysed music ,
completed technical exercises and
started to draft their composition and
sleeve note
Students draft ideas for their composition
This work is linked to the lessons on
chords and lines (unit 3 6Mu03)
Autumn
Half-Term
(2)
Preparation and research Time
Work continues on finding
ideas/ selecting text/ working out chords
sequences/planning structures and
drafting the composition.
Following the results of the November
assessment Individual support tutorials
are given to each student in lessons,
lunchtime or during period 6
Sleeve note log book is kept up-dated
9 lessons
November assessment (see assessment
schedule for details)
By the By the end of this half term
All students have drafted their
composition, composed a complete
section and updated the sleeve note
Spring
Half-Term
(1)
Students given feedback on Autumn
term work using exam mark scheme
and set targets for developing their
piece.
9
lessons
Students are given more time to
develop their ideas based on the
feedback.
Further individual support tutorials are
given to students.
Sleeve note log is up dated.
By the By the end of this half term
All students have completed the
preparation of their composition ready
for controlled time. The sleeve note is
submitted for marking.
Composition is drafted, marked and
ready for controlled times after half term
Spring
Half-Term
(2)
Assessment of composition draft – a
9
complete version
lessons
Further lessons are set aside for
refining and ensuring the sleeve note is
able to achieve full marks
Assessment: the draft composition
mark is used as part of the
assessment process and fed into
predicted grades
By the By the end of this half term
All students have nearly completed
their composition and sleeve note.
Summer
Half-Term
(1)
14 hours of blocked controlled time
will be given for scoring and recording
the composition.
One hour of controlled time will be
used for writing the final sleeve note
6
lessons
If a Sibelius recording is not to be
submitted students will need to
organise time to record their
composition either during or outside
lessons as part of controlled
conditions.
Scores, audio files and sleeve notes
completed and sent to exam board.
Study leave
By the By the end of this half term
All student work has been submitted to
Edexcel
Unit 3: Developing Musical Understanding 6MU03
Term
Guidance and Preparation
Autumn
HalfTerm (1)
Development of music from Late
Renaissance to Baroque
No. of
lessons
15
lessons
Expectations and Outcomes
6
lessons
Understanding chords and lines
Induction task:
 Research the importance of the
Italian madrigal in the 1500s.
 Research the structure of the
development of the Concerto
Grosso in the Baroque era with
reference to Corelli, Bach and
Handel
Area of Study: Vocal Music
Monteverdi — Ohimè, se tanto amate
Area of Study: Instrumental music
J. S. Bach — Brandenburg Concerto No. 4 in
G: movement I
Induction task: written document
marked
Analysis and listening
By the end of the half term:
 Be able to write a context
question - Bach
 Be able to describe how
structure, tonality,
melody, harmony,
rhythm, texture
instrumental/vocal forces
are used in the set works
and identify examples in
the scores.
 Be able to answer
listening questions based
on the Monteverdi and
Bach
Context: identifying the main features in
these works that identify the era in which
they were composed
Understanding chords and lines
 Identifying keys and modulation to
related keys (major and minor)
 Hierarchy of chords
 Functional chords (I, IV V7) and their
inversions plus the use of VI and II7:
 Identification in the set works, exam
style questions.
 Learning how to organise triads into
four part-harmony
 Non-chord notes: passing notes,
auxiliary notes, anticipation,
appoggiatura, suspensions.
 Identifying functional chord
progressions: Cadences and circle of
5ths
By the end of the half –term:
 Be able to identify keys,
modulations, chords and
their inversions in exam
style questions and the
set works
 Be able to identify nonchord notes
 Be able to arrange chords
I, IV and V into four parts
Autumn
HalfTerm (2)
November Assessment
15
lessons
Development of music within the Classical
Period
Research project: to have researched and
prepared a written document on the
Classical period and be able to identify the
main composers, stylistic features and
conventions linked to piano music
November assessment (see
assessment schedule)
By the end of the half term:
Analysis and listening
 Be able to write a context
question - Mozart
 Be able the compare the
use of musical elements
between the Bach and
Mozart
 Be able to support your
comments with examples
located in the scores.
 Be able to answer
listening questions based
on the main elements for
the Mozart and Faure
pieces
Area of Study: Instrumental Music
Mozart — Piano Sonata in B flat, K. 333:
movement I
Development of music within the
Romantic Period
Area of Study: Vocal Music
Fauré — Après un rêve
Context: identifying the main features in
these works that identify the era in which
they were composed
Understanding chords and lines
 How to choose the ‘right’ chord to
harmonise a progression
 Four part harmony: Perfect
cadences using conventional chord
progressions (V7-I and IC-V7-I)
 Pre-cadential chords (II7b)
 Adding non-chord notes to create
the stylistic features of a cadence
found in a Bach Chorales
 Learning how to recognise chord
progressions within different
textures
6
lessons
November assessment (see
assessment schedule)
By the end of the Autumn term:
 Be able to harmonise a
perfect cadence in four
parts and to add harmonic
decorations.

Be able to identify chord
progressions and nonchord notes in the set
works

Be able to answer exam
style questions based on
identification of keys,
modulations, chords and
harmonic decorations
Spring
HalfTerm
(1)
Research Project:
Music of the 20th Century: Shostakovich :
to have researched and prepared a written
document about Shostakovich and
Chamber Music
15
lessons
By the end of the half term:
Analysis and listening
 Be able to write a context
question- Shostakovich
 Be able the compare the
use of the musical
elements – Bach, Mozart,
Shostakovich and Poulenc
 Be able to support your
comments with examples
located in the scores.
 Be able to answer
listening questions based
on the main elements
featured in these set
works
6
lessons
By the end of the Spring half
term be able to :
 develop the
harmonisation of a perfect
cadence in four parts in
the style of a Bach Chorale
 harmonise an imperfect
cadence
 answer exam style
questions based on
identification of keys,
modulations, chords and
harmonic decorations
Area of Study: Instrumental Music
Shostakovich — String Quartet No. 8, Op.
110: movement I
Further development of music in the 20th
Century
Research project: to have researched and
prepared a Neo-Classicism with reference
to Stravinsky and Poulenc
Area of Study: Instrumental Music
Poulenc — Sonata for Horn, Trumpet and
Trombone: movement I
Context: identifying the main features in
these works that identify the era in which
they were composed
Comparison:
Comparison of how the musical elements
(harmony, tonality etc.) are used between
these works and those previously studied of
the Baroque and Classical and 20th Century
periods
Understanding chords and lines
 Further development of the perfect
cadence linked to melodic patterns
eg. 3-2-1 or 3-2-2-1 (major and
minor keys)
 Typical chord progressions for
imperfect cadences
 Identification of diminished 7th
chords
 Circle of 5ths
 Harmonic sequences
Spring
HalfTerm
(2)
February Assessment
15
lessons
February Assessment
By the end of the half term:
Analysis and listening
 Be able to answer
listening questions based
on the main elements
featured in these set
works
 Further practice of
comparison questions of
the Instrumental pieces
for homework
Music of the Holy Minimalist style
Area of Study: Instrumental Music
 Tavener — The Lamb
Development of Popular song writing
Area of Study: Vocal Music
 The Kinks — Waterloo Sunset
 Van Morrison — Tupelo Honey
World Music
 Familia Valera Miranda (Cuba) — Se
quema la chumbambá
Context: learning how these two songs are
typical of where and when they were
composed
Summer
Term
Understanding chords and lines
6
lessons
 Further identification of keys,
chords, cadences, non-chord notes
in exam style questions
 Further practice and development of
four-part exercise
By the end of the Spring half
term:
 Be able to achieve high
marks in all exam style
questions linked to Unit 3
Revision and Exams
Exams
10
lessons
Section 4: Formal Assessment and Coursework Schedule
Unit 1: Performing

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
induction: assessment of one solo piece
November Assessment 2014: one solo piece at least 3 mins long
February Mock Exam 2015: 5-6 mins of performance
April 2014: Final Performance examination/5-6 mins of music (see calendar)
Unit 2: Composing
November assessment:
 Completion of a technical exercises linked to melody, chords and textures
February Mock examination
 Composition 1 researched and drafted. It will be marked and feedback given and ready for
controlled conditions.
Controlled time:
 Summer Term (Half-Term 1) 14 hours of blocked controlled time within and outside lessons
 Compositions completed by May 1st 2015
 Sleeve note exam (one hour) by May 1st 2015
Unit 3: Developing Musical Understanding
November assessment:
Listening: Identification of stylistic features of :
Monteverdi — Ohimè, se tanto amate
J. S. Bach — Brandenburg Concerto No. 4 in G: movement I
Instrumental Music:
Context and Analysis question based on J. S. Bach — Brandenburg Concerto No. 4 in G: movement I
February Mock examination
Listening:
Instrumental: Listening and Context question based on the recognition of stylistic features of one of
the following:
J. S. Bach — Brandenburg Concerto No. 4 in G: movement I
Mozart — Piano Sonata in B flat, K. 333: movement I
Shostakovich — String Quartet No. 8, Op. 110: movement I
Poulenc — Sonata for Horn, Trumpet and Trombone: movement I
Vocal: Listening Question based on the recognition of stylistic features of one of the following:
Monteverdi — Ohimè, se tanto amate
Fauré — Après un rêve
One Comparison question (compare the use of one or two musical elements) based on
The above instrumental pieces
Final Exam: May 2014
Unit 3: Edexcel 2 hour exam in May 2015 (date will be set by the Edexcel)
Tracking of Progress and Understanding
Students’ progress will be regularly assessed through:
 Regular homework assignments in the form of practice exam questions and essays.
 In class students will be given practice questions and essays in timed conditions.
All marks from class tests, homework and assessments will be tracked and when students
are seen to be underperforming the following intervention strategies will be put in place:
 Students asked to re-sit a test/assessment
 Letter/email home to parents
 HOY informed
 Attending after school ‘catch-up’ sessions
 Study periods allocated for focussed work in school
 Intervention interview
Mark schemes and Grade Boundaries:
Unit 1: Performing
Grade
Total
Max mark
40
A
33
B
29
C
25
D
22
E
19
A
44
B
39
C
35
D
31
E
27
C
47
D
41
E
35
Unit 2: Composition
Grade
Total
Max mark
60
Unit 3: Developing Musical Understanding
Grade
Total
Max mark
80
A
61
B
54
Section 5: General Expectations
The Teacher will:
 Provide a wide range of performance opportunities in school for students to participate in
towards their recital but will expect instrumental tutors to advise on repertoire and
technical skills
 Give pupils detailed lessons on harmony and composing
 Teach lessons that analyse the main set works in the two Areas of study. Provide
background information and resources from which students can extend their knowledge
through independent study. (Notes which can be just learned off by heart will not be
provided. The best learners are those that work on their own and read around the subject).
 Set homework that will test student’s knowledge and will be marked to give feedback on
how to improve using mark schemes
 Provide practice questions so as to build up the skills required to answer the exam
questions.
 Carryout formal assessments in November and February that cover all aspects of the
course. The results will feed into predicted grades.
 Host individual tutorials to check progress and give support for each student’s chosen
options.
The Student will
 Be punctual for all lessons
 Attend all lessons and make up any work missed due to authorised absence
 Bring all the necessary equipment to lessons
 Commit a substantial amount of study time to either work on their compositions
 Research their composition topics, find examples of works in their chosen styles, analyse
these and use them to help with their composing
 Prepare their Performance Exam with their instrumental/vocal teacher so that it is of the
required standard and length. Together with their instrumental/vocal tutor ensure
performances are accurate, musical and of the appropriate standard using the Edexcel mark
scheme
 Commit a substantial amount of time to practice regularly and aim for the highest possible
standard
 Participate in the music events provided by the department.
 Complete all homework on time related to composing, harmonyand analysis and hand it in
on time. Make sure that any feedback given is adhered to by making corrections or carryout
further independent research.
 Keep a tidy and up to date folder of all work carried out in class.
 Develop and build on information given in class by using books, the internet or working with
other students. Adopt an independent attitude and create a bank of detailed notes for
revision.
 ASK FOR HELP ON ANYTHING WHICH IS UNCLEAR ASAP AND DO NOT LEAVE THIS TO ONE
WEEK BEFORE THE EXAMS!!!
Essential Basic Equipment
Students must bring this basic equipment plus their text books to every lesson
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Ring Binder with dividers to store given resources, scores and assignments
Black pen, pencils, rulers, hi-lighters and erasers
Manuscript book (provided by department)
A notebook for compiling a glossary
Presentation of Work
Students will be expected to keep a neat and orderly folder. All resources provided should be filed
under headings so that they are easily accessible and manageable.
Marks will be awarded for presentation of written work in line with the QWC expectations of
Edexcel.
Sanctions for missing homework, lessons and assessments




Emails to HOY, Director of Music College (DMC) and Parents
Making up missed work in study periods or after school
Department report monitored by HOD and DMC
For continuous poor attitude, a student will be asked to leave the lesson.
Approach to lateness
 If a student is more than 10 minutes late to a lesson without a good reason they may be

asked to leave the lesson
The above sanctions will be applied for consistent lateness
Presentation of Work



Students will be expected to keep a neat and orderly folder.
All resources provided should be filed under headings so that they are easily accessible and
manageable.
Marks will be awarded for presentation of written work in line with the QWC expectations
of Edexcel.
Sanctions for missing homework, lessons and assessments




Emails to HOY, Director of Music College (DMC) and Parents
Making up missed work in study periods or after school
Department report monitored by HOD and DMC
For continuous poor attitude, a student will be asked to leave the lesson.
Approach to lateness
 If a student is more than 10 minutes late to a lesson without a good reason they may be

asked to leave the lesson
The above sanctions will be applied for consistent lateness
Section 6: Preparing for lessons and Homework assignments
Preparation Tasks
What are these in music?
These are short informal tasks that should take 15 minutes to prepare in advance of every lesson.
Examples:
o Researching a musical era, composer or musical examples and preparing brief notes
o Annotating a score
o Reading articles, sections from a text book, that will be used as a foundation of the lesson
o Filling in a definition of key terms sheet to be used for analysis
o Listening to musical examples
How will they be monitored:
o Class discussion
o Quick spot checks
o Class activities that rely on pre lesson preparation.
o Students giving feedback to each other
Failure to come prepared for the lesson will result in a student being asked to leave.
Homework Assignments
What is the difference between homework and preparation tasks?
These are substantial pieces of work that test your understanding and give you practice at exam
style questions. They should take at least one hour to complete and are set weekly
Examples:
o Listening Question question based on the Vocal extracts of music
o Questions that compare the Instrumental set works
o Harmony exercises
o Analysis of a set work score
o Short answer questions based on extracts studies
How often will it be set?
Harmony homework will be set once a week
Set works homework will be set once a week
Independent Study
In addition to the work that we set, you will be expected to:
o Practice your instrument/voice for at least one hour a day
o Use one study period a day for composition
o re-read notes provided and supplement these with further research and study
o reading ahead about the research projects for the next set works
Sample lesson preparation tasks
Unit 3: Developing Musical Understanding /Analysis of a set work (4 lessons)
Example: J. S. Bach — Brandenburg Concerto No. 4 in G: movement I (2014-2015)
Lesson Content
Lesson Instrumental Music
1
J. S. Bach —
Brandenburg
Concerto No. 4 in
G: movement I
Lesson Instrumental Music
2
of the Baroque:
Concerto Grosso
Structure, Tonality,
and Texture
Lesson Instrumental Music
3
J. S. Bach —
Brandenburg
Concerto No. 4 in
G: movement I
Melodic
structure: motifs
and their
development
Lesson Instrumental Music
4
J. S. Bach —
Brandenburg
Concerto No. 4 in
G: movement I
Lesson Prep task
Level 3:
Research the
development of the
Baroque Concerto
Grosso and a brief
history
Level 3
Listen to the work.
Outline the
Ritornello form
structure and how
the tonality defines
this.
Level 3
Using resources,
annotate the score
outlining structure
and main motifs
Locate precise
examples (bar
numbers etc) that
can be used in future
essays
Learn key features of
this piece that
demonstrates that it
was composed in the
Baroque period
Activity
Research
Assessment/Review/Tracking
All students have an A4
presentation about the key
features of the Baroque
Concerto Grosso that will
introduce the set work.
Analysing
Class discussion: spot check.
Information used as a starting
point for the analysis of the work
Analysing
Learning
and
remembe
ring
Feed back to the rest of the class
Score fully annotated and
locations of examples recorded
in coursework book. Information
to be used as a structured
question task.
Timed question in class
Summary of key
features linked to
the musical
elements
Example of Homework Essay: Compare the use of Structure and tonality in J. S. Bach —
Brandenburg Concerto No. 4 in G: movement I
and Mozart — Piano Sonata in B flat, K. 333: movement I
Independent Study
In addition every student is expected to read through notes provided in class each evening
and make additional notes of their own. It is a good idea to summarise the key points
raised in each lesson for future revision
Section 7: Resources
Text books:
You will be provided with the following
Edexcel AS Music Study Guide (pub.Rhinegold)
AS Harmony Workbook (pub.Rhinegold)
AS Listening Tests (pub.Rhinegold)
Recommended extra resources to purchase:
The AB Guide to Music Theory by Eric Taylor (part 1 and 2) £8.25 each
New Anthology of Music (pub. Peters Edition) (£30.00)
J.S. Bach's 371 Harmonized Chorales And 69 Chorale Melodies With Figured Bass, as revised,
corrected and edited by Albert Riemenschneider. (£8.95)
Harmony in Practice [Paperback] by Anna Butterworth (£16.15)
Wider Reading:
History of Western Music (Grout)
Grove Dictionary of Music
Classical Music Magazine (pub Rhinegold once a fortnight)
Useful Websites
www.choraleguide.com
www.wikipedia.org
http://www.ltscotland.org.uk/learnlisteningonline/index.asp
http://library.thinkquest.org/15413/theory/theory.htm
http://www.youtube.com
Theory www.takenote.co.uk%2Fcats
Practica Musica/theory www.ars-nova.com
Listening:
Radio 3
Classic FM
Concerts broadcast on BBC 4
Class and Revision materials
Additional materials will be provided by the department as the course progresses.
Copies of these can be found in:
Student T Drive/Music/AS music/Instrumental or Vocal music 2014-15
Section 8: The Level 4 Music Programme Year 12
What is a level 4 music student?
Someone who
 Loves this subject
 Wants to become an expert in a particular field of music–orchestral performer, solo
performer, music teacher (school or peripatetic), composer for film or TV, song writer, music
therapist, work in musical theatre etc
 Monitors their own progress and adapts accordingly –reflects on feedback from
performances, written assignments, composing tutorials and will be determined to do even
better by setting themselves more challenging targets, seeking out further support, creating
additional resources and taking up further performance opportunities.
 Enrichment: attends a wide range of musical activities at Twyford eg. Chamber Choir, Gospel
Choir, Symphonic Orchestra, chamber groups
 Out of School interests: In addition to school musical enrichment, may also be involved in a
number of musical activities out of school eg. Junior music school at a conservatoire, Ealing
Junior Music School, Ealing Youth Orchestra, additional private tuition
 Instrumental/vocal practice: does at least one - two hours each day –(see lesson preparation
and homework)
 Contributes to the wider musical life of the school (see community service)
 Wants to go to a conservatoire or top university to study music Conservatoires:
Royal College of Music
Royal Northern College of Music
Royal Academy of Music
Guildhall School of Music and Drama
Trinity College of Music
Birmingham Conservatoire
See prospectus for each conservatoire for entry requirements
Universities (and usual entry requirements):
Oxford and Cambridge (A*AA plus conditional place based on interview)
Durham University (AAB)
York University (ABB)
Bristol University (AAB/BBB plus grade 5 theory and basic piano skills)
Leeds University (ABB)
Birmingham University (AAB)
Nottingham University (ABB)
Manchester University (AAA/AAB)
Southampton University (ABB)
Kings College London (AAB)
Goldsmiths (London University) (ABB)
Sheffield University (ABB)
Most of these universities will also take into account your results of grade instrumental/vocal
examinations. Most would expect you to be grade 7/8 and some ask for basic keyboard skills
(see UCAS for more details)
The criteria to be a level 4 student in music are:



Target of a grade A in this subject or projected a grade A based on internal assessments
Working at grade 7/8 on a musical instrument or voice
Working at grade 6/7 theory
What do you need to do to get an A* in music
See grade boundaries for each unit. In addition:

Performing: Be able to perform music at Grade 7/8 level with tremendous flair and
musicianship. This involves being 100% accurate in all aspects of notation and performance
directions and also being able interpret the music in a musical and convincing way. Your
performance must be secure and confident and you should be able to connect with your
audience.

Composing/Composition techniques: It is essential that you have a very thorough
understanding of music theory especially harmony. You can gain extra knowledge and
practice by taking grade 6 or 7 theory. In composition an A* student will have adopted an
individual style and may be very creative in the way they use any of the musical elements. It
is essential to research the works of other composers especially those of the 20 th century to
draw inspiration from as well as learn new techniques.

Listening/musical understanding: Have an in depth knowledge of the development of
musical history and how music has changed over time. It is essential to listen to and if
possible perform music from a wide range of musical styles so as to really understand the key
characteristics of particular eras and composers.
What sorts of things would a level 4 student be expected to take part in

Musical enrichment

Community Service
 Additional learning Opportunities including work experience
All of these are detailed below
Section 9: Musical Enrichment at Twyford
Compulsory attendance and participation in the following ensembles is
considered part of the course:


The Chamber Choir as this develops good aural skills and gives students the
opportunity to learn more about a range of different choral styles necessary for the
listening paper
Symphonic Orchestra/Jazz Orchestra/Concert Band/Popular Ensemble
In addition students will be expected to attend or organise:


Booster classes eg. theory or additional harmony lessons
Small chamber ensembles eg. Popular bands, String Quartet, Jazz ensemble,
Section 10: Stretching the Most Able
Conservatoires
We organise workshops and master classes with our neighbouring Conservatoire, the
London College of Music/West London University and other institutions. In the past these
have included:
 Composition workshops and individual tutorials
 Piano master class followed by concert
 Preparing for Oxbridge interviews
Extension activities in class:
Level 4 students will be expected to research and analyse additional works by composers
being studied.
Visits
We will be organising visits to concerts to embrace wide range of repertoire
Section 11: Community Service
Leadership of whole school music activities:
Examples:
1. Membership of the Music Council
2. Organisation of the Inter-House Music Competition
3. Organising Music for assemblies
4. Organisation of end of term concerts and events such as the Popular Music
Competition and lunchtime concerts
Start date: Beginning of Autumn Term
Coaching and Leading music groups:
Involvement in leading, coaching or teaching a group enables students to further develop
their own musical skills as well as administrative skills.
Examples:
1. Junior wind, string or brass ensemble
2. Bands (Rock or Jazz)
3. Junior Choir: coaching sectionals, taking registers, chasing up absentees
Start date: Beginning of Autumn Term
Learning Support in KS3 and KS4 music lessons
Examples:
1. Working in KS3 music lessons and assisting the teacher with aspects of music
technology, composition and theory
2. Working with students on individual composition assignments
3. Helping GCSE student to prepare their performances
Start date: Beginning of Autumn Term
How will this work be monitored?



Registers
Impact of help on student’s progress
Quality of performances in public events
Section 11: Additional learning opportunities and Work experience
In addition to lessons A level Music students should take advantage of the
following to develop their appreciation and understanding of music:
Examples:
 Trips to concerts
 Workshops in and out of school led by professional musicians
 Subject based day trips to leading institutions eg. London College of Music,
Institute of Education
Carryout relevant work experience opportunities
Examples:
 Basic instrumental tuition
 Music shop
 London Concert Hall eg. South Bank, Wigmore Hall
 Orchestra eg. English Chamber Orchestra based in Ealing
Section 12: Extended Project (EPQ)
If you are a student on the Twyford Accelerated Programme (TAP) you will be completing
an extended project as part of this programme. This is an opportunity to explore an area
of interest related to a subject you studying.
An Extended Project:
 Provides extra UCAS points (equivalent to an AS level) including the opportunity to
get an A* at AS (not usually available at AS-Level qualifications)
 Demonstrates an enthusiasm for Music beyond A-Level
 For those who are considering a Music degree, it is useful in confirming to
universities that this is the path they wish to follow
Previous Music EPQs include:
“How have Maths and Logic influenced development in Harmony Techniques?”
“Why have some composers felt compelled to use nationalistic characteristics in their
music” with special reference to Shostakovich
Student comments have included:
“I really enjoyed it and I’m glad that I did it, however it was a lot of work, but worth the
experience, qualification and advantage it has given me over other pupils applying to
university.”
Section 12: Celebrating Success and Student voice
The Music Notice board : “Music is the universal language of mankind” – Henry
Wadsworth Longfellow
The following information will be displayed:
Music Awards
 How to achieve an award in music eg. Edward Burrell Trophy, Subject prizes for
Prize giving, David Clegg award for outstanding music leadership
How to showcase work to other students
 In assemblies, concerts
 Lower school lessons
How to find out about past students experience
 Biographies of past students with their contact details
 Invitation for past students to come into school and give talks, performances and
careers advice
How to get involved in Community Service (see section 10)
How to give feedback on music at Twyford
 How to be a member of the music council
Information on Concerts, Open Days and Competitions
Section 13: Induction into Year 12
In preparation for the AS Music Course, you must carry out the following
Induction tasks:
Performing
 Prepare a solo performance which will eventually be performed in the A level
showcase in early October
Harmony
 If you have not passed Grade 5, complete a theory paper to be marked
Musical Understanding
Research
 the Italian madrigal Monteverdi — Ohimè, se tanto amate
 Research the structure of the Concerto Grosso with reference to J. S. Bach —
Brandenburg Concerto No. 4 in G: movement I
You should present this as a word processed document (not power point).
References should be made to specific pieces.
How will the induction tasks be assessed?



Performance of solo piece recorded and marked
Marked theory paper and feed back
Marked research project which will be used as preparation for the unit 3
understanding lessons
Who to contact about the course
The course will be delivered by Ms Bryant (Head of Academic Music)
You should talk to your teacher in the first instance if you have any questions or concerns
about your progress or organisation of the course.
You can also email Ms Bryant:
abryant@twyford.ealing.sch.uk
Information about the music council, community service, performing opportunities can be
obtained from Mr Francis (Director of the Music College)
dfrancis@twyford.ealing.sch.uk
Information about instrumental/vocal tuition is available from the Music College Office or
from Karen Houlihan
khoulihan@twyford.ealing.sch.uk
“Music expresses that which cannot be said and on which it is
impossible to be silent” Victor Hugo