Music: Drum Kit and Valid Musical Comment Essay

General Certificate of Secondary Education 2012

Music Part 2 Listening and Appraising
[G9704]
MONDAY 14 MAY, AFTERNOON

MARK SCHEME

7201.01

Section 1: Musical Traditions in Ireland 1 (a) Extract A: “Carrickfergus”; The Chieftains, 0.00–1.30 (i) Carrickfergus [1] [1] [3] [1] [1]

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(ii) Harp (iii) Uilleann pipes/Irish pipes, (tin) whistle and fiddle (iv) (The) Chieftains (v) AABA/Ternary/ABA (b) Extract B: “Le Rêve Passé”, Ballygowan Flute Band, 1.11–1.50 (i) Le Rêve Passé/The Soldier’s Dream

[1] [1] [1]

(ii) March (iii) Ballgowan Flute Band (full name only acceptable) (iv) Up to [2] available as follows: Flute, piccolo (any named flute) [1] Side drum (not drum) snare drum [1] Cymbals [1] 2 “Riverdance”; from “Riverdance”, 0.58–2.30 fade (a) (i) Soprano/treble

[2]

12

[1] [1] [1] [1] [2] [2] [3] [3] 14

(ii) Dance (b) (i) Homophonic

(ii) String (iii) Hand drum, (Bass) harp, hi-hat/cymbal, fiddle (c) (i) Slip jig 9/8

(ii) Syncopation, repetition, ostinato, ornamentation, unison (Any three) (d) Riverdance, (Bill) Whelan, Anuna ([1] each)

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“Cry of the Celts”, from “Lord of the Dance”, Ronan Hardiman. © 2006 Unicorn Entertainments Ltd, 0.00–2.10 (a) • traditional instruments for jig • wordless choir begins with male voices with female voices joining later • added bass line • high strings counter melody • two unaccompanied tolls of bell • Tremolo effect from the voices (digital effect) • added bass drone effect • bell tolls continue over bass drone effect • sustained halo pad accompaniment • high sustained string sound • melody played on tin whistle, and uilleann pipes on repeat • choral texture added – no words • three chords descending motif leads to Section 2 • triangle/glockenspiel pulse • bodhran/cabasa/guitar-accompaniment • bass drum flourish at end interrupts jig [4] If a list of instruments is given only one mark to be awarded. Any other valid musical comment (b) • typical instrumentation – tin whistle, fiddles, uilleann pipes • typical percussion accompaniment – bodhran • use of dances – slip jig/9/8 metre • form of the extract (binary)/repeated sections • added instrumentation on repeats including triangle • thickening texture as more instruments added • frequent doubling of instrumental parts/unison • modal tonality • frequent use of ornamentation • repetition of musical ideas • use of drone • frequent changes of tempo/metre Any other valid musical comment (c) [1] per valid musical comment Quality of Written Communication

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[5] [2] [3] Section 1 14

40

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Section 2: Incidental Music for Stage, Screen and Television 4 “Davy Jones Theme”; from “Pirates of the Carribbean”, 0.00–1.12 (a) (i) Music Box/Davy Jones [1] [1] [1] [1] [1] [1] [1] [1] [2]

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(ii) 3/4 (b) (i) string family

(ii) oboe (iii) minor (c) (i) perfect

(ii) Hans Zimmer film/movie Pirates of the Caribbean – Dead Man’s Chest 5 “Midsummer Night’s Dream”; Mendelssohn, 2.06–3.09 (a) (i) clarinets

10

[1] [2] [2] [1] [1] [1] [1]

(ii) violas, cellos, bassoon, horns, clarinets Any two (b) (i) staccato, forte (mf fortissimo) loud(ly)

(ii) (descending) scale (c) (i) dominant

(ii) exposition (iii) love theme (d) (i) Mendelssohn Midsummer Night’s Dream Romantic Sonata form

[4]

(ii) • Large orchestra with dominating brass section • Use of chromaticism • Music telling a story/programmatic • Lyrical melodic lines • Mendelssohn belonged to the Romantic period • Use of emotion in the music • Wide dynamic range from pp to ffff (Any three)

[3]

16

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“The Big Country”; from “Classic FM presents Greatest Movie Music” LSO; Stanley Black © Haymarket Media Group 2011 (a) • Fast moving ostinato creates exciting pace • Fanfare-like brass interjections • Syncopated melodies add to pace of extract • Dramatic use of percussion, especially timpani rolls/cymbal crashes • Wide variety of contrasting

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