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EDEXCEL

A Level Music

Student Handbook

Name:

Form: Teacher(s): Mrs Clarke

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Welcome to A Level Music

Overall aims

Students will develop performance skills (solo and/or ensemble), compose music

and learn about harmony. They will build up their aural and analytical skills by

studying selections from the New Anthology of Music and wider listening. The

full GCE course is excellent preparation for higher education courses in music,

but is equally valuable for non-specialists as a second or third area of study.

Main A Level teacher: Kathryn Clarke clarke.k@woodkirkacademy.com

Head of Music: Lauren White white.l@woodkirkacademy.com

You should also work very closely with your instrumental teacher to make sure you are fully

prepared for your performances

Specification:

https://qualifications.pearson.com/content/dam/pdf/A%20Level/Music/2016/Specification%20

and%20sample%20assessments/GCE-music-specification-A-Level-2015.pdf

YOU GET AS MUCH OUT OF THIS COURSE AS YOU PUT IN!

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HANDING IN WORK AND DEADLINES

You will be set homework regularly by your subject teacher. It is your own responsibility to check this even if you

are absent from the lesson. If the teacher is absent from the lesson, work will still be set for you to complete. It is

your responsibility to organise your time, make sure you are able to access your work and get it handed in on

time. To alleviate stress and to ensure enough time is given for completing and marking work, the procedures you

MUST follow are outlined below:

•It is your responsibility to check that you understand the homework that has been set by the subject teacher. You must make sure you know how long the homework should take and the standard to which it should be completed.

•Your homework must be recorded in your planner.

•ALL work handed in must be given directly to the teacher responsible. Do not slip work under an office door or give to another teacher or student to pass on.

•Work must be named on each piece of paper handed in.

•A copy of the work handed in MUST be kept by the student on their user area or in their file and on their computer at home. This is for your protection if work is misplaced.

•Students need to pay careful attention to advice/feedback given whether verbally or written and must respond to all feedback in red pen to show they have understood the feedback

•In the case of absences from school on the day of a deadline, work must be sent by e-mail to your teacher. If the student is aware of the absence prior to the date, work needs to be handed in BEFORE the deadline or sent to the member of staff by e-mail.

•Work must be handed in at the start of the lesson on the day of the deadline.

•Notes from parents may not be given in place of coursework .

•Work submitted must be the student’s own work. Plagiarism or paraphrasing is illegal and could cost you your A level. Any quotations must be referenced.

•Research work does not mean JUST downloading from the internet.

•Computer and printer problems are NOT an acceptable reason for late work.

You must:

1. Complete your homework to the at least TARGET STANDARD. 2. Meet the homework deadline. Repeated failure to meet deadlines will result in referral to

homework support. 3. Send your work in to your subject teacher if you are absent on the deadline day. 4. Meet the coursework deadline or you will be referred. 5. Practise at least 30 minutes a day (minimum 5 times a week) to ensure you are making

progress on your instrument

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GRADE BOUNDARIES AND USING UMS MARKS

Question: Why is my UMS mark important? Answer: The UMS mark is the mark that matters when calculating your final grade. Why do I need to know my UMS mark? You need to be able to set yourself targets, using the UMS information, to meet your target grades so you can secure a place on the university course OR the job of your choice. The tables below will help you calculate what UMS mark and grade you need. COMPONENT 1 Performing 30%

Max Mark

A* A B C D E U

Raw Mark 60 56 50 42 35 28 21 0

UMS 75 70 62.5 52.5 43.75 35 26.25 0

COMPONENT 2 Composing 30%

Max Mark

A* A B C D E U

Raw Mark 60 52 46 39 32 26 20 0

UMS 75 65 57.5 48.75 40 32.5 25 0

COMPONENT 3: APPRAISING 40%

Max Mark

A* A B C D E U

Raw Mark 100 75 66 58 50 42 34 0

UMS 100 75 66 58 50 42 34 0

Total UMS 9MU0 2018

MAX A* A B C D E U

250 210 186 160 135 110 85 0

2019 NEW 250 198 177 151 126 101 76 0

NB: Although 2019 grade boundaries were lower, you will be assessed against the 2018 boundaries incase the boundaries are raised.

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Question by Question Breakdown (Appraisal Exam)

Question Content Total Mark Suggested Mark to help your MEG

(Minimum Expected Grade)

Question 1 - 3 Listening questions Mostly 1 – 3 mark answers based on individual set works

42 A* = 35 A= 32 B = 30 C = 28

Question 4 Dictation 8 A* = 7 A= 6 B =5 C = 4

Question 5 Unfamiliar Listening 20 A* = 17 A= 14 B =12 C = 10

Question 6 Setwork Essay 30 A* = 24 A= 17 B =15 C = 13

TOTAL 100 A* = 83 (75) A= 69 (66) B = 62 (58) C = 55 (50)

Based on your strengths, personalise what you should be aiming for in each question

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BREAKDOWN OF THE COURSE

COMPONENT CONTENT ASSESSMENT

COMPONENT 1: Performing 9MU0/01

Public performance of one or more pieces,

performed as a recital Solo or ensemble

Minimum of 8 minutes (aim for 9 minutes)

Must be recorded after March 1st and submitted to the examiner by May

15th

Externally assessed – Non Examined

30% 60 Marks

COMPONENT 2: Composing 9MUO/02

Total of two compositions

Composition One to a brief or a free

composition lasting at least 4 minutes/aim for 5

minutes (40 marks) Composition Two:

Composition Technique (20 marks) at least 1

minute TOTAL TIME 6 MINUTES

Externally assessed – Non Examined

30% 60 Marks

COMPONENT 3: APPRAISING

9MUO/03

One written paper of 100 marks

Section A: Listening and dictation (50 marks)

Section B: essay questions (50 marks)

Written Examination: 2 hours 40%

100 Marks

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COMPONENT 3: Set Works and Wider Listening

Below is a guide to the set pieces you will be studying, as well as some suggested pieces to help you gain a better understanding. If you really want to get ahead, listen to

as much of the suggested music as possible, throughout your two years.

Area of Study Set Piece Suggested Wider Listening

Area of Study 1: Vocal Music

JS Bach: Cantata ‘Ein Feste Burg ist unser Gott’ BWV 80 Mvt 1 Chorus Mvt 2 Aria and Chorale Mvt 8: Chorale

Handel’s Messiah (‘And with his stripes’; Hallelujah’; ‘Worth is the Lamb’)

Ethel Smyth’s Mass in D (1891)

JS Bach: Cantata No 48 Ich elender Mensch

Britten St Nicholas (Cantata) Stravinsky: Symphony of

Psalms, Mvt III

Mozart: Die Zauberflote (The magic flute) No. 4 Recit and Aria No 5 Quintet

Purcell: Dido’s Lament (thy Hand Belinda’ and ‘When I am Laid in Earth’

Verdi: Rigoletto Act 3 No 11 and 12

Wagner: Die Walkure, Siegmunde and Sieglinde, Act 1

Beethoven: Fidelio (example of singspiel)

Weber: Der Freischutz (example of singspiel)

Vaughn Williams: On Wenlock edge No 1 On Wenlock edge No 3 Is my team Ploughing? No 5 Bredon Hill

John Dowland: Flow my Tears

Schubert: Erlkonig, An die Musik, Die Forelle

Schubert: Der Doppelganger

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Area of Study 2: Instrumental Music

Vivaldi Concerto in D Minor, Op 3 No 11 Allegro – Adagio e spiccato – Allegro Largo e spiccato Allegro

J S Bach: Brandenburg Concerto No 4 in G

Corelli: Trio Sonata in D No 2, Mvt IV

Tippett: Concerto for Double string orchestra

C Schumann: Piano Trio In G Minor Movement 1

Beethoven: String quartet in C movement III and IV

Brahms: Piano Quintet in F minor Op 34 Movement III

Dvorak: Dumky Trio

Shostakovich: Piano Trio No 2

Mozart: Piano Soanta in B flat Movement 1

Berlioz: Symphonie Fantastique Movement 1

Berlioz: Harold in Italy

Liszt: Les Preludes

Haydn: Symphony No 26 in D Minor ‘Lamentatione’ mvt 1

Area of Study 3: Music for Film

Portman: The Duchess The Duchess (opening) Mistake of your life Six Years Later Never see your Children Again The Duchess (End Titles)

Debbie Wiseman: Wilde (1997)

Hans Zimmer: Gladiator (2000)

Takemitsu: Black Rain (1989)

John Williams: Schlinder’s List (1993)

Pheloung: Morse on the Case

Elfman: Batman Returns Birth of a penguin part 1 Birth of a penguin Part 2 Batman vs the Circus The Rise and Fall from Grace

Ennio Morricone: Once upon a time in the West (1968)

Takemitsu: Black Rain (1989)

Debbie Wiseman: Wilde (1997)

Hans Zimmer: Gladiator (2000)

Takemitsu: Black Rain (1989)

John Williams: Schlinder’s List (1993, ET Flying theme

Hermann: Psycho Prelude The City Marion

Max Steiner: King Kong (1933)

Takemitsu: Black Rain (1989)

Auric: the Siege of Burgundy

Goldsmith: Planet of the Apes

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The Murder The Toys The Cellar Discovery Finale

Area of Study 4 Popular music and Jazz

Courtney Pine: Back in the Day Lady Day and (John Coltrane) Inner state (of mind) Love and Affection

Louis Armstrong and his Hot Five: west End Blues

Duke Ellington ad his Orchestra: Black and Tan Fantasy

Miles Davis Quintet (Four)

Jeff Buckley: Grace

Carl Perkins: Honey Don’t

Kate Bush: Hounds of Love Cloud busting And Dream of Sheep Under Ice

The Kinks: Waterloo Sunset

The Beatles: A Day in the Life

Desmond Dekker and The Aces: You can get it if you really want

Van Morrison: Tupelo Honey

Oasis: Don’t look back in Anger

Moby: Why does my Heart feel so bad?

The Beatles: Revolver Eleanor Rigby Here, there and Everywhere I want to tell you Tomorrow Never Knows

Michael Jackson: Thriller (1982)

Carole King: Tapestry (1971)

Stockhausen: Gesang der Junglinge

Area of Study 5 Fusions Debussy: Estampes No 1 Pagodes No 2 La Soiress dans Grenade

Baris Melampahan: Gong Kebyar de Sebatu

Familia Valera Miranda: Cana Quema Se Quema la Chumbamba All ava candela

Anoushka Shankar : Breathing Under Water Burn Breathing Under Water Easy

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Area of study 6 New Directions

Cage: Three Dances for Two prepared Pianos Dance No 1

Schoenberg: Peripetie’ from five orchestral pieces

Stockhausen: Gesang der Junglinge

Peter Maxwell Davies: Eight songs for a Mad King

Saariaho: Petals for Cello Solo and optional electronics

Berio: Sequenza III for female voice

Rautavaara: Cantus Arcticus

Sibelius: Tapiola

Stockhausen: Gesang der Junglinge

Stravinsky: Le sacre du printemps Introduction Les Augures printemps Jeu du rapt

Messsiaen: Des canyons aux etoiles

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TIMELINE FOR A LEVEL MUSIC 2019 - 2020

If you miss a lesson either through a known absence or illness, it is your responsibility to catch up the work.

It is essential that you attend weekly instrumental lessons and practise for at least 30 minutes a day.

Week No

Component 1 Performing

Weekly instrumental

lessons

Component 2 Bach Chorale

Tues Recall & HWK

Component 2 and 3 Composing Tues/Thurs

Dictation Thurs

Component 3 Appraising

Mon/Wed/Fri

1-2 Plan 8 minute (9 mins) recital – look at grading

criteria Arrange at least 2 practises with

accompanist Performance to

take place October 23rd

Recap rule of Bach chorales

Complete all AS exam papers with response to feedback and Mrs D book

Look at AS dictation exercises from Rhinegold book

Practise intervals and rhythm

Look at briefs set by the board – choose or create own brief

Start to plan composition thoroughly and research ideas for inspiration

Think about devices already studied in set works that could be explored

Create an ideas board: Chords ideas/melodic ideas etc

First draft to be submitted for marking by December 16th

Beatles set works and wider listening

3 - 4

Petals – set work and wider listening

5 -6 Cage – set work and wider listening

Assess Point 1 – week 5

FOCUS;

7-8 Revision of setworks so far/ time for Bach Chorale

Familia

HALF TERM

9 -10

Respond to performance

feedback Arrange at least 2 practises with

accompanist and record for week

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You must make sure you have

nearly 9 minutes rather than 8

Arrange for some tutorials with KC in free periods for composition

Look at modulations and chord progressions:

Passing viib

Pivot chords

Typical chord patterns

Regular feedback against assessment criteria

Arrange for some tutorials with KC in free periods

Hand in at Christmas – first draft Deadline December 16th

V Williams - set work and wider listening

Week 9-11

11-13

Week 12-14 Berlioz - set work and wider listening

Assess point 2 week 12

14-15

Week 15 catch up

Start Stravinsky

CHRISTMAS HOLIDAY

16 Look at perf feedback-

rehearse with accompanist and

rerecord this week!

Explore modulations in more detail

Start to work through exam papers

May need to use comp time for set works revision

KC tutorial in lesson time – where does the composition sit in the grading criteria? Why? What improvements are needed?

Start to work through improvements - resubmit start of week 18

Stravinsky

17 -18

Year 13 MOCKS Listening exam

Bach chorale paper – not in exam time but within weeks 16 - 18

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Performance submitted week 15 Composition submitted week 14 with improvements

19 -20

Continue to refine

performance

Continue to practise exam papers

Continue to refine composition Stravinsky

21-22

Feb 13th. Perform recital

pieces as part of BTEC day in the

drama studio

As above Recap set works so far

Use time for Bach Chorale

HALF TERM May use a day for composing

23- 27

FINAL PERFORMNACE

CAN BE RECORDED

FROM WEEK 23 (March 1st)

Recital in front of 2 people

Continue to practise exam papers

Make final improvements to composition

Kate Bush

Assess point 3 – week 25

EASTER HOLIDAY Revision day for composing - tbc

28- 32

BACH CHORALE TO BE COMPLETED IN EXAM CONDITIONS 4 – 6 HOURS

Use all set works lessons

Composition to be submitted by the end of week 28

Dictation and set work revision

Complete Bach Chorale paper Set works revision and listening practise

STUDY LEAVE Lessons will still be available in normal lesson time or in KC’s frees – please arrange

COMPONENT 3: APPRAISING EXAM June 12th AM

2 hours

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Free Composition- Marked out of 40

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Bach Chorale – Marked out of 20

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Listening Question 5 – Unfamiliar Listening

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Question 6: Essay Question

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