Mark Schem e (Results)

Summ er 2014

GCE Music Technology (6MT02/ 01)

Paper 1: Listening and Analysing

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Summer 2014

Publicat ions Code US039581

All the material in this publicat ion is copyr ight

© Pearson Educat ion Ltd 2014

• General Marking Guidance

• All candidates must receive the same t reatment . Exam iners m ust mark the

first candidate in exact ly the same way as they mark the last .

• Mark schemes should be applied posit ively. Candidates must be rewarded for

what they have shown they can do rather than penalised for om issions.

• Exam iners should mark according to the m ark scheme not according to their

percept ion of where the grade boundaries may lie.

• There is no ceiling on achievement . All marks on the mark scheme should be

used appropriately.

• All the marks on the mark scheme are designed to be awarded. Examiners

should always award full marks if deserved, i.e. if the answer matches the

mark scheme. Exam iners should also be prepared to award zero marks if the

candidate’s response is not worthy of credit according to the mark scheme.

• Where some judgement is required, mark schemes will provide the principles

by which marks will be awarded and exemplif icat ion may be lim ited.

• When examiners are in doubt regarding the applicat ion 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 alternat ive response.

Section A

Quest ion

Number

Quest ion

Mark

1(a)

This t rack has been inf luenced by swing music. Give t hree

element s of t he arrangement t hat demonst rat e t his.

3

Accept able Answers

• swung / shuffle / triplet (rhythm)

• brushes on drums

• double bass

• walking bass

• horn section

• brass stabs

• scat

• extended chords

• (piano / guitar) comping

• syncopation

• clean guitar

Quest ion

Number

Quest ion

Mark

1(b) Ot her t han t he piano, name t he t uned percussion inst rument heard

f rom 2’ 17” ?

1

Accept able Answers

Vibraphone / vibes

Accept recognisable spelling

Quest ion

Number

Quest ion

Mark

1(c) Complet e t he t able below t o describe how you would close mic a

grand piano in st ereo. Refer t o your choice of microphones and mic

placement in your answer.

4

Accept able Answers

Choice of mics

Condenser / capacitor / electret / accept make and model.

Allow any polar pattern except omni.

(1)

Mic placement

• Coincident / XY / spaced / AB (pair)

• one for bass, one for treble

• 6-24’ ’ / 15-60cm

• pointing toward keyboard end / hammers / strings

• lid open

(3)

Quest ion

Number

Quest ion

Mark

1(d)

The brass sounds heard f rom 2’ 37” are not creat ed by act ual brass

inst rument s. How might t hey have been creat ed when t his was

recorded in 1983?

2

Accept able Answers

• analogue (accept DX) (1) synth (accept keyboard/ MIDI) (1)

• sampling

• saw (tooth) waves

Give two marks for any correctly named synth of the era, eg

Jupiter 8, Yamaha DX7

Quest ion

Number

Question

Mark

2(a) Ident i fy t he t onalit y of t he opening of t he song.

1

Accept able Answers

B Maj or

Quest ion

Number

Quest ion

Mark

2(b) What is t he t erm for unaccompanied vocals such as t hose bet ween

0’ 05” and 1’ 11” ?

1

Accept able Answers

A cappella

Quest ion

Number

Quest ion

Mark

2(d)

Which of t he fol lowing best describes t he harmony of t he

accompaniment f rom 1’ 11” ?

1

Accept able Answers

D The harmony is st at ic

Quest ion

Number

Quest ion

Mark

2(e)(i)

There is a dist inct ive ef fect on t he snare drum bet ween 4’ 00” and

4’ 19” . How might t his have been achieved in 1992 using digit al

t echnology?

2

Accept able Answers

• sample (1)

• reverse (1)

• f i l t ered (1) whit e noise (1) wit h envelope / long at t ack (1)

allow alternative technical wording

Quest ion

Number

Quest ion

Mark

2(e)(ii) How might t his have been achieved in 1972?

2

Accept able Answers

• analogue / t ape (1)

• reverse and apply reverb (1) t hen play forwards again (1)

• f i l t ered (1) whit e noise (1) wit h envelope / long at t ack (1)

allow alternative description of process for second point

Quest ion

Number

Quest ion

Mark

3(a) In which decade was t his t rack recorded? 1

Accept able Answers

1950s

Quest ion

Number

Quest ion

Mark

3(b)(i) What t erm is used t o describe t his st yle of music?

1

Accept able Answers

C: Doo-wop

Quest ion

Number

Quest ion

Mark

3(b)(ii)

Ident i fy one feat ure of t he st yle heard in t his recording

1

Accept able Answers

• wordless or onomat opoeic vocals

• harmony vocals / many backing vocals

• simple harmonic st ruct ure / I VI IV V

• simple accompaniment / few inst rument s

• voices used as accompanying inst rument s

• honky-t onk / out of t une piano

• wide vibrat o

• very simply drum kit part

• sharing lead vocal

• repeat ed piano t r iads

• dominant 7t hs

• st ring / upright / double bass

• swung rhyt hm

Quest ion

Number

Quest ion

Mark

3(c)

Which of t he fol lowing best describes t he vocal ensemble in t his

recording?

1

Accept able Answers

C Tenor, Tenor, Barit one, Bass

Quest ion

Number

Quest ion

Mark

3(d) What is t he approximat e t empo of t his song in beat s per minut e? 1

Accept able Answers

75(bpm) (Accept 65-85)

Quest ion

Number

Quest ion

Mark

3(e)

Due t o l imit at ions in t he t echnology of t he t ime t his recording has

some problems. Two of t he issues are given in t he t able below. St at e

how t hey might have been caused and how t hey could be avoided

using modern equipment

4

Accept able Answers

Problem with

recording

How might it be

caused?

How could it be

avoided?

Piano sounds

muddy under

the vocals

• EQ issues

• t oo far away f rom

mic

• no panning /

mono

• not separat ely

miked

• not mult i-t racked

• add appropriat e

EQ

• separat e mic

for piano

• st ereo spread /

ef fect ive use of

st ereo f ield

• mic up each

part separat ely

• mult i-t rack

part s

Vocals are not

well balanced

• not separat ely

miked

• recorded wit h

one mic only

• not mult i-t racked

• balanced by

proximit y t o mic

only

• Lack of

compression

• mic up each

part separat ely

• mult i-t rack

vocals

• compression

Quest ion

Number

Quest ion

Mark

3(f) What is t he t ime signat ure of t his song? 1

Accept able Answers

6 or 6/ 8

8

Or

12 or 12/ 8

8

Accept : 4/ 4 wit h a t r iplet feel

Quest ion

Number

Quest ion

Mark

4(a)

Ident i fy t he root not es of t he repeat ing chord sequence played by t he

guit ar in t he int roduct ion.

2

Accept able Answers

Al low lower case

Accept Am/ A min/ A maj / A maj or in t hird box

Accept Gm/ G min/ G maj / G maj or in fourt h box

Do not accept A# or Ab in t hird box

Do not accept G# or Gb in fourt h box

Quest ion

Number Quest ion

Mark

4(b)

Which of t hese words best describes t he guit ar part f rom 0’ 06’ ’ t o

0’ 29’ ’ ?

1

Accept able Answers

C Ost inat o

F C A G

Quest ion

Number

Quest ion

Mark

4(c) What t ype of ensemble accompanies t he guit ar and vocal in t his

recording f rom 1’ 33’ ’ ?

1

Accept able Answers

Brass (band)

If any of

• st ring(s)

• woodwind

• orchest ra

• choir

• horn sect ion

• reed(s)

is l ist ed as well as brass award 0.

Quest ion

Number

Quest ion

Mark

4(d) A performance very close t o a cardioid microphone may result in a boost

of t he lower f requencies. What is t he name of t his ef fect ?

1

Accept able Answers

Proximit y (ef fect )

Accept recognisable spelling

Quest ion

Number

Quest ion

Mark

4(e)

Using close-mic t echniques t o capt ure an int imat e vocal performance

can lead t o problems. Complet e t he t able t o describe how t hese

problems could be avoided.

3

Accept able Answers

Plosives

pop shield / pop f i l t er / increase dist ance

f rom t he microphone / sing of f mic / adj ust

performance

Unwant ed room

reverb

cardioid mic / use baf f les / acoust ic panels

/ recorded in vocal boot h / dead room /

ref lect ion f i l t ers

Sibi lance

de-esser / EQ (must refer t o upper mid-high

f requencies) / increase dist ance f rom t he

microphone / use of dynamic microphone /

sing of f mic

Quest ion

Number

Quest ion

Mark

4(f) If t his were a l ive st udio recording, suggest two measures t hat you

would t ake t o reduce spi l l when capt uring t he vocal.

2

Accept able Answers

• baf f le boards or acoust ic panels / ref lect ion f i l t ers

• vocal boot h

• (hyper) cardioid mic / f igure of 8

• mic facing away f rom ot her performers

• increased dist ance bet ween performers

• place microphone close t o vocalist

• closed shell headphones for vocalist

• reduce monit oring levels

• reduce low f requencies using EQ / HPF

Section B

Quest ion

Number

Quest ion

Mark

5(b)(i) Name t wo performance t echniques being used by t he lead guit arist

bet ween 3’ 17’ ’ and 3’ 51’ ’ ?

2

Accept able Answers

• St ring bends

• Vibrat o

• Hammer-ons

• Pull-of fs

• Picking / plucking

• Slides / gl issando

Quest ion

Number

Quest ion

Mark

5(b)(ii) Suggest t wo ways t he dist ort ion on t he lead guit ar could have been

achieved at t he t ime?

2

Accept able Answers

• Pedal / boost er (accept brand names)

• Overdriving t he valves

• Turning up t he gain / drive / volume / amp

Accept : lead / dist ort ion / high gain channel

Quest ion

Number

Quest ion

Mark

5(c)

Complet e t he t able below, suggest ing t wo t echnical chal lenges t o

be considered when recording a drum t rack for a hard rock band and

giving t wo possible solut ions.

4

Accept able Answers

Challenge Solution

keeping in t ime cl ick t rack/ guide t rack

dif ferent part s of t he kit

have dif ferent

f requency ranges

dif ferent mic t ypes for each part of

t he kit

balance use separat e t racks / mic posit ions

bleed/ spi l l close mic / EQ / gat e / overdub /

drum boot h / acoust ic screens

many separat e element s

t o capt ure

use more mics

avoid cl ipping / loud leave some headroom/ pad/ t urn down

gain/ compressor/ l imit er

wide dynamic range compressor/ l imit er

st ereo 2 overheads / XY

capt ure charact erist ic

sound, eg, punchy

val id mic placement / EQ /

compression

t uning/ damping t une / adj ust t ension of heads / moon

gel / cushions / gaf fer / padding

Squeaks/ rat t les WD40 / t ight en hardware

drummer may hit mics posit ion mics appropriat ely

Quest ion

Number

Quest ion

Mark

5(d)

Fil l in t he four missing pit ches f rom t he lead guit ar l ine bet ween

2’ 09” and 2’ 12” .

4

Accept able Answers

Accept enharmonic equivalents

Quest ion

Number

Quest ion

Mark

5(e)

Suggest one way in which a ‘ robot -voice’ ef fect could be creat ed. 1

Accept able Answers

• Ring modulat or / fast ampli t ude modulat ion / t remolo

• Vocoder

• Talk box

• Singing t hrough a fan

• Bit crusher

• Cut t ing up a sample

• Voice/ vocal t ransformer

• Phaser

• Flanger

• Rot ary

Quest ion

Number

Quest ion

Mark

5(f)

Describe t he cont ribut ion made t o Heavy Rock by one of t he

fol lowing, support ing your answer wit h reference t o relevant

albums and/ or t racks.

[ ] Led Zeppel in

[ ] Deep Purple

4

Accept able Answers

Allow max one mark for naming specific tracks or albums

Additional marks for naming tracks/ albums if qualified

Credit answers that relate to contribution to Heavy Rock, not general

facts unrelated to their musical output

Led Zeppelin

• guit ar-driven sound / use of dist ort ion

• root ed in blues

• folk inf luence

• use of unusual inst rument s (eg recorder, hurdy gurdy)

• ext ended/ unusual song st ruct ures

• r if f based

• vocal: wide pit ch range/ wide dynamic range

• experiment al guit ar t echniques (eg using viol in bow)

• ext ended solos / virt uosic playing

• unusual t o have solos on inst rument s ot her t han guit ar

• t heat rical st age presence

• viewed t hemselves as an ‘ album band’ and disl iked releasing

t heir songs as singles

• albums: Led Zeppel in, Led Zeppel in II, Led Zeppel in III, Led

Zeppel in IV/ unt it led, Houses of t he Holy, Physical Graf f i t i , In

Through t he Out Door, Presence, Coda

Deep Purple

• guit ar-driven sound

• root ed in blues

• classical inf luence

• Progressive rock inf luences

• r if f based

• vocal: wide pit ch range/ wide dynamic range

• organ st yle inf luent ial

• dist inct ive guit ar st yle (e.g. phrasing / harmonic / t onal

choices)

• ext ended solos / virt uosic playing

• Albums: Shades of Deep Purple, The Book of Tal iesyn, Deep

Purple, In Rock, Firebal l , Machine Head, Made in Japan, Who

Do We Think We Are, Burn, St ormbr inger , Come Tast e t he

Band

Quest ion

Number

Quest ion

Mark

6(a)

What degree of t he minor scale is used for much of t he melody l ine?

1

Accept able Answers

5th

/ fifth / V / 5 / five / dominant

Quest ion

Number

Quest ion

Mark

6(b) Which of t he fol lowing best describes t he range of t he bass part ? 1

Accept able Answers

B Perfect 5t h

Quest ion

Number

Quest ion

Mark

6(c)

List en t o t he phrase “ Welcome t o Jamrock” bet ween 1’ 15” and

1’ 23” . How has t he ‘ t elephone ef fect ’ been achieved?

1

Accept able Answers

Low and high f requencies cut / mid f requencies boost ed/ band pass

f i l t er

Al low: high pass f i l t er / cut low f requencies

Quest ion

Number

Quest ion

Mark

6(d)

What is t he name for t he accent ed of f -beat rhyt hmic chords t hat

are t ypical ly found in reggae music?

1

Accept able Answers

Skank / chop / ska st roke

Quest ion

Number

Quest ion

Mark

6(e)

Describe t he EQ on t he bass l ine.

1

Accept able Answers

Low f requency boost / low shelving boost / low pass f i l t er/ high

cut / boost ed < 200 Hz

Quest ion

Number

Quest ion

Mark

6(f)

Describe t he delay on guit ar bet ween 0’ 08” and 0’ 27” . 3

Accept able Answers

• Changes (1) / on-of f -on (2)

• High feedback/ many repeat s

• Delay t ime not t empo synced / al low: in t r iplet s

• Short delay t ime / 150-400 ms

• Loud repeat s / high send level / very wet

• Repeat s decrease in volume

• Darker repeat s / high f requencies cut on repeat s

• Analogue/ t ape delay

Quest ion

Number

Quest ion

Mark

6(g)

Describe t he use of lo-f i sounds bet ween 3’ 08” and t he end. 2

Accept able Answers

• Crackl ing/ vinyl (1) cont inously in background (1) dat ed feel

(1)

• Piano/ keyboard: out of t une (1) t oy (1) playing

count ermelody / simple melody(1)

• Clicking/ clunky/ gun noise (1) used as a rhyt hmic device (1)

and as an ending (1)

• Telephone EQ ef fect / band pass f i l t er (1)

• Creat es sense of coda

Quest ion

Number

Quest ion

Mark

6(h)

Select t wo of t he reggae art ist s below and describe t heir

cont ribut ion t o reggae music. Support your answer wit h reference t o

relevant albums and/ or t racks.

10

Accept able Answers

Allow max one mark for naming specific tracks or albums

Additional marks for naming tracks/albums if qualified

Credit answers that relate to contribution to reggae, not general facts

unrelated to their musical output

Bob Marley

• Polit ical lyrics

• Rast afarianism

• Slow t empo reggae compared t o ska

• Bob Marley f ront ed The Wailers

• Wailers' f irst maj or label album was Cat ch a Fire (1973)

• Cat ch a Fire recorded on eight -t rack wit h high product ion values

• Followed by Burnin', which included t he st andout songs "Get Up,

St and Up", and "I Shot t he Sherif f "…

• Island records want ed a more rocky sound – used Engl ish musicians

on ear ly Island records

• Eric Clapt on’ s cover of “ I Shot t he Sherif f ” raised Marley's

int ernat ional prof i le

• Found fans across bot h reggae and rock audiences / crossover

audience

• Int ernat ional breakt hrough wit h "No Woman, No Cry", (1975)

• Breakt hrough album in t he Unit ed St at es, Rast aman Vibrat ion

(1976)

• Exodus included four UK hit singles: "Exodus", "Wait ing in Vain",

"Jamming", and "One Love"

• Showed st rong opposit ion t o Sout h Af rican apart heid in his song

"War" in 1976.

• Upr ising (1980) was Bob Marley's f inal st udio album, and is one of

his most rel igious product ions; it includes "Redempt ion Song" and

"Forever Loving Jah"

• Conf ront at ion, released post humously in 1983, cont ained

unreleased mat erial recorded during Marley's l i fet ime, including

t he hit "Buf falo Soldier" and new mixes of singles previously only

available in Jamaica

• Worked wit h Lee "Scrat ch" Perry and Coxone Dodd at St udio One

Lee ‘Scratch’ Perry

• Dub

• Writ er/ producer – one of t he f irst

• Elevat ed t he prof i le of t he mixing engineer t o a more creat ive role

• Used long reverb t imes

• Used high feedback delay

• Use of phaser and f langer

• Did dub mixes / cut out vocal

• Innovat ive st udio t echniques and product ion values.

• Perry has worked wit h Bob Marley & t he Wailers, Junior Murvin,

The Congos and Max Romeo.

• His f irst maj or single was "People Funny Boy"

• Innovat ive use of found sounds/ samples (e.g. a crying baby) . . .

• . . . using t ape

• Popular in bot h Jamaica and int ernat ional ly

• Achieved his own sound using basic recording equipment .

• The Black Ark – own st udio

• Own house band (Upset t ers – went on t o play wit h Bob Marley)

• Unusual t oast ing st yle and lyrics, quot es f rom movies, et c.

• In 1998 Perry reached a wider global audience as vocal ist on t he

t rack "Dr. Lee, PhD" f rom t he Beast ie Boys' album Hel lo Nast y

• In 2003, Perry won a Grammy for Best Reggae Album wit h t he

album Jamaican E.T.

• Worked wit h On-U Sound

• Collaborat ed on several dubst ep col laborat ions

King Tubby

• Dub

• Made own equipment as a radio/ st udio engineer

• Innovat ive st udio work

• Elevat ed t he prof i le of t he mixing engineer t o a more creat ive role

• Remixes

• Sound syst ems

• Added delay/ reverb t o exist ing t racks

• Used long reverb t imes

• Used high feedback delay

• Cut t he vocal

• Focus on drums and bass

• Any val id descript ion of use of EQ, eg, EQ sweeps

• Bringing inst rument s and vocals in and out of t he mix

• Was able t o 'play' t he mixing desk l ike an inst rument

• Tubby engineered remixed songs for ot hers t o t oast over.

• His most famous dub is "King Tubby’ s Meet The Rockers Upt own".

• Support upcoming art ist s: Hopet on Brown aka Scient ist , Prince

Jammy

• Pioneer of Digit al Dancehal l sound

• Drum machines, synt hs et c.

• St udio know as Fire House

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