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GCSE MUSIC

Examples of candidate work with


examiner commentaries
Unit 42702

CANDIDATES 1-6

Contents

The examples that follow are work submitted in 2012. Therefore the strand of learning is
Popular Music of the 20th and 21st centuries.

Page number
Candidate 1

Appraisal
Annotation
Commentary

3
5
7

Candidate 2

Appraisal
Annotation
Commentary

9
10
11

Candidate 3

Appraisal
Score
Commentary

13
17
24

Candidate 4

Appraisal
Score
Commentary

26
29
32

Candidate 5

Appraisal
Score
Commentary

33
37
41

Candidate 6

Appraisal
Annotation
Commentary

43
46
55

There are recordings to accompany this document.

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Candidate 1
What areas of study did you choose and what is the focus of your composition within the
given strand?
I chose structure and form, and also Harmony and Tonality. I chose the two of these simply
because I wanted to make a song-like piec, and therefore the two of them were perfect for a
piece put into strophic form, and that was something which I followed quite well. Also, I chose
Harmony and Tonality because my piece of music followed a certain chord sequenc and also
the melody was something which I concentrated quite highly on, just like a usual song writer
would do.

14

Why did you choose these areas of study and the particular focus within the given strand?
I chose these areas of study because I had chosen to create something new and different,
though something which was slightly like a song, only without the lyrics which meant the listener
was given some sort of freedom when listening to the piece, the freedom to think whatever they
liked about the piece and decide what sort of words they think should fit into it, which of course
meant that these were the things I was required to focus on, as a song has a specific form to it,
which cannot be strayed too far away from.

How did you go about composing your music and how was the final recording achieved?
I began in the first few lessons, to simply listen to other songs in the pop music genre, taking
notes on the sort of instruments which were featured, the sort of lyrics which were featured in
each of the different songs, the sort of sounds which can be heard in each of the songs and also
the sorts of patterns in each of the different songs. From the research which I had done, I
decided that I was going to create a love piece, having realised that quite a vast majority of pop
songs, do feature some sort of love theme within them, which made me figure that it was either
the most popular thing to sing about, or that people simply liked hearing about love for some
reason.l then began to write my introduction, deciding that it had to be simple, yet not too
simple, and that it was going to have to be effective and catchy if I was wanting to gain the
attention of the listener, and also if I was wanting the listener to continue listening to the music
all of the way through. I combined a cojiection of chords with a series of notes, choosing simple
ones, ones which would be remembered easily by the listener and catch the interest of the
listener. Once the introduction had been completed, I began working on the first part. The
second part of my piece, once again, this consisted of piano chords, matching bass guitar chords
and also a melody part on the piano, though of course the chord sequence was fairly different
from the verse and also the pattern in which it was played, though not a large enough change so
that it would sound too different from the verse, thus sounding like it could have been a
completely different song, rather than the same one. I then copied and pasted both the verse
and the chorus, one after the other, so that it had the typical pattern.
.

What difficulties did you encounter during the task and how did you overcome them?
Overall, I didnt encounter too many difficulties and nothing really prevented me from doing
much work on my composition. Overall, my composition went smoothly. The main problem
during my composition task, was usually when the headphones chose not to help, this meant

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3V
4jJ.
j
4
,

that I had to go into Devices on Cubase, and then I had to click on the Device Setup button,
and from there, I had to click on the drop down menu on the right of the pop up window, and
click onto the ASIO E-MU 0202 I USB, rather than the ASIO DirectX Full Duplex Driver, which
can also be selected, this did happen a fair few times and seemed to be the problem which I
encountered the most. My other difficulty was trying to fit in the melody with the chords t...r
without making it sound like too much of a mess and while making it sound as though the two
did in fact belong together, rather than sounding like two completely different things.

What makes your composition successful in relation to the Areas of Study and the focus within
the given strand?
I have done my piece into parts, which means that it fits perfectly with the structure and form
area of study as my piece is very well structured and keeps to the structure all of the way
through, without moving away from such a thing, which makes it catchy and also means that it
will become stuck in the listeners head fairly easily, even after only a couple of times of listening

to the piece, this also means more people are likely to listen to it. The harmony and tonality part
fits well with my composition because I have followed a specific chord pattern, which means
that it all fits well and also means that it does follow a pattern and that the pattern is kept to all
of the way through.

What is the relationship of your composition to its context?


My piece would be played somewhere such as a cafe or somewhere along those lines,
somewhere peaceful and somewhere where the piece would be concentrated on, though
people would still be able to talk over the top of it, which means people would be able to have it
in the background quite casually and still be able to focus on one another while being able to
enjoy the piece of music which I have created for them to listen to. Also, it does have quite a
calming sound to it, which gives more reason for it to be played in a cafe, or a place which is
quite similar, possibly such as a different kind of eating establishment or maybe as background
music for a film.

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Annotation for Without You


For this composition, I chose to create a song-like piece, which sounds much like a typical pop love
song which would be heard in the 21 century and therefore it fits in well with the design brief, the
only difference being that rather than giving the piece lyrics and making it into a song, I had decided
to give it a song-like structure, however, without the lyrics which therefore allows the listener to
make up their own images, words and whatever else they may think of. I have focused a lot on using
chords along with melody, creating something which the lyrics can fit in well with and which will not
sound like a clutter or sounds and therefore will be quite pleasant to the ears, something which the
listener would enjoy listening to.
The piece sounds much like a soft, and almost depressing sort of song, as it has quite a slow beat to
it and therefore makes it seem as though it would have quite a negative feeling to it and therefore it
could quite possibly give the listener quite negative images in their mind However, it could also be
seen as quite a positive thing on the other hand as some may hear it quite differently to how I
assume it would be heard, which therefore makes it better as it becomes open to interpretation
which means a wider range of people are likely to listen to and enjoy the piece, rather than a select
few people listening to and enjoying it
Structure was quite an important part of my piece as I have kept it to a song-like structure without
even intending to add lyrics to the piece, as I wanted people to be able to make their own decisions
of what the piece was about, rather than handing a theme to them on a plate, and rather than
making them think how I was wanting them to think about the song The use of the piano gives it
quite a gentle feel, where as the use of the bass gives it a bit of a harsher feel to it, which gives
contrast to the song and gives the listener more reasons to be unable to decide whether they think
the piece is about love or whether it is more about heartbreak or something along those lines.
/

The pieces has quite a usual song structure, starting with an introduction before going onto a usual
ABAB structure, which gives something to be stuck in the mind of the listener and which also means
that the listener will have something they are reminded of and something which they can enjoy
multiple times, rather than having to listen to it once, and never being able to hear it again
The piece has a 4/4 time signature, which is again much like a song would have, and it does cause
the piece to be more catchy because of this point alone.

//

The introduction is very simple as it consists of a drum beat, chords on a piano, a melody part which
is also on a piano and also a bass part which mirrors the chord piano part perfectly and there is no
difference at all between the two. The introduction is there to make the listener curious about what
is going to happen in the piece and I believe it does this quite successfully. The chords in the
introduction are E for a four beat bar, F for the same amount of time, D for the same, followed by
an Ffor two beats and then a G for another two beats
After 18 seconds, the piece changes, and the introduction has a bit of variation as all of the other

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4

instruments are stripped, and instead, a few chords play, one after the other, and then the verse
begins after that point.
Much like the introduction, the first part has the same sort of pattern of instruments, the chords on
the piano, the melody on the piano and chords are also on the bass, thus adding emphasis to the
chords themselves and making the sound seem as though it is at the top of the layers of the sound.
The verse begins at twenty two seconds into the song, and the chords of the verse are a B, C, A, all
for four beats, then followed by a C and also a D which cover a bar together. The chords are
emphasised quite well, due to them being played by both a bass part and also as a normal piano
part, which together make the piece of music seem even more important than it would without it.
At 40 seconds into the piece, the second part starts and once again, the instruments are kept the
same and also with the music they play, which keeps the sound the same, though not too much the
same, just enough to recognise that it is all part of the same piece of music, which means that the
listener will not become confused too much by what is happening throughout the piece. The chords
in the chorus are, G, followed by the notes B and D, followed by the A chord, followed by the C and
the E notes, followed by a B chord, followed by the 0 and the F note, then the G chord, followed by a
B and a D note, an F chord, and finally the A and also the C notes, this makes it different from the
first part of the piece, which therefore makes it sound like it could be important once again.
My piece, although it is not actually a song, it is still in strophic form, as it does sound almost as
though it is a song without the lyrics, as it does copy the sort of form which a song would have,
though I decided against making an actual song, as I thought that making something which sounded
quite similar to a song, was something which was different and which would therefore have people
more interested in, as it is something which doesnt happen very often.

II
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Commentary
Composition title: Without You
Areas of Study:
AoS2 Harmony & Tonality
AoS5 Structure & Form
Link to the strand Popular Music of the 20th & 21st Centuries: Strophic Form
Note: on the Candidate Record Form (CRF) AoS3 Texture & Melody is given instead of
AoS2
Composition
The composition is presented by means of a recording and quite a detailed annotation. The
piece is to follow a song-like structure and there are references to a soft, and almost
depressing sort of song though the candidate goes on to state that it could also be seen as
quite a positive thing. This does not really help to clarify the candidates intentions. The
song structure is given as an introduction followed by A B A B in a 4/4 time signature.
Instrumentation of piano and bass follows.
The candidate gives a description of the piece, starting with its very simple introduction with
chords of E, F and D each lasting a bar and followed by half bars of F and G. There is no
acknowledgement of the fact that some of the chords used are minor. The verse, beginning
at bar 22, has chords of B, C and A for a bar each, followed by half bars of C and D. The
second part chorus? starts after 40 seconds and its chord sequence is given as G A B A
B G F and A, though the additional notes listed by the candidate after each chord suggest
that many are minor chords.
No central tonality is established in this annotation and there is no reference to dynamics
apart from the initial soft. The recording features piano, bass and some percussion, though
this is not mentioned within the annotation. The form as described is aurally discernible. The
left hand of the piano plays block triads while the melodic line above is very angular and
often produces clashes with the underlying chord. There are silences before the start of the
B section (40 seconds) and again shortly before its return (after approximately one minute
17 seconds.) These interrupt the flow of the music.
There is little real evidence of understanding of Harmony and Tonality: the chords are not
fully described (only a single letter is ever given, thus failing to differentiate between major
and minor); there is little true sense of harmonic progress and the tonality is never fully
established. The abrupt ending suggests that the piece is unfinished or that the recording is
incomplete.
The basic structure is evident: Intro A B A B (very much shortened), though this is not really
Strophic Form. Harmonically and melodically, the piece lacks a sense of direction, of
progression.
At best, the piece works at a basic level, reflecting the descriptors for a mark in the 6 4
band, with only a basic understanding of the AoS and link shown, some incoherence in the
handling of the musical ideas, simplistic instrumental writing and some inconsistencies and
omissions within the annotation (score).
To gain higher marks, the music would need to respond more fully and obviously to the
chosen Areas of Study and the musical content would have to show greater imagination,
with a deeper understanding of how to write for the chosen resources.

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Appraisal
The six questions are dealt with in turn, with each question written out before the candidates
response to it.
The two AoS are identified and the use of strophic form is confirmed, although it is not
identified here as the link to the strand. The response to Question 2 is much less successful,
lacking in real detail or reasons. The appraisal offers only the intention to compose
something which was slightly like a song.
The candidate writes at length in answer to Question 3 but most of what is written lacks any
specific detail. No specific songs are identified as having been listened to; the statement I
combined a collection of chords with a series of notes is far removed from giving details as
to the process of composition. Some information on chords is given within the annotation but
this is not relevant to the marking of the appraisal: the annotation is supplied to help with the
understanding of the composition; and the composition and appraisal are marked separately.
There is no actual reference to the recording of the piece.
As for difficulties met, the main one centred around the headphones, which is not really the
focus of this question. The other difficulty was trying to fit in the melody with the chords
without making it sound like too much of a mess and while making it sound as though the
two did in fact belong together, rather than sounding like two completely different things.
No solution is forthcoming for this difficulty. The responses to Question 5 lack specific detail.
The concept of context, the focus of Question 6, is not understood: the candidate writes
instead about where the piece might be played.
After the first question, most of what follows is either vague or lacks understanding. This
results in the Appraisal showing little understanding of the task, the process of composition,
its success or its context. The relative success of the response to the first question and
some details about instrumentation and chords help move it higher within the 5 1 band and
a mark of 4 was awarded.
Marks awarded: 5 + 4 = 9

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Candidate 2

Appraisa
7

I have decided to combine AOSI-Rhythm and Metre, AOS5-Structure aorm.


My main
reasons for choosing these are: I 1
wou
b
e
ld able to write a piece of music for the piano the
instrument I play and understand well1 would be able to use a wide range of
chords, based on
the fact that I like to play around with different chords at the piano4may have
been able to use
a form such as rondo form, which would allow me to contrast different keys, moods
and ways
of writing for the piano. llt that it would be more appropriate for me as I find
it much easier to
compose a song by through this because I can easily make a song with a chord
sequence a
melody and sometimes improvisation.
/
First I started off trying to create the chord sequence which wasnt very hard
and has now
turned out to be F C Am G.and Am F C E in section B.,7hen for the melody
I didnt go too far
with the notes I kept them based around the notes of th chords. Making the melod
y was
slightly difficult because it had to be something original so I made it easy to remem
ber and not
too long. My piece is now in ternary form ABA and in Fmaj which then modulates
into A minor
returns to Fmaj and ends in A minorA Section A part 1 the chords are mainly
in homophonic
texture an.inpart 2 the chords are played as broken chords and are arpeggiat
_When I
move to the Section B introduction the chord sequence changes and is played
Am F C E
with a melody and part 2 of section B is the same chord sequence but with a
different melody.
Section A then repeats then part 1 and 2 of the last secon iiave the same
chords but with a
different melody as before four times throughout each part: And the composition
finishes on A
minor and the note A that is with the melody.
As I was in the process of creating my composition I had struggled in many differe
nt areas like
finding a good chord sequence that sounded right, splitting the sections and
having to find
another chord sequence for that.

The area of study I think I achieved most in composing my song was AOS5-Struct
ure and form.
This is because I have separated each section well and made it clear which section
I am
moving on to. Vhe genre of my composition if I had to choose one would have
to be classical if
I had associated more instruments like the violin, trumpet, cello and a clarinet.

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Chosen Areas of Study: Structure and form


Rhythm and Metre
This table give a brief explanation of what my composition should sound like. Piece is in Fmaj which
then modulates into Aminor returns to Fmaj and ends in Aminor

Structure
Time Signature 4/4

Time
120 bpm

Piano
Solo Piano

Introduction

00:01-00:34

Chords F C Am 6 Repeated four


times throughout with melody

Part 1 of Section A

00:35-01:05

Chords F C Am 6 with melody


repeats four times

Part 2 of Section A

01:06-01:36

Section B introduction

02:00-02:3 1

Broken Chords FCF, CGC,


AEA,GDG with melody and
continues till 02:00
Chords Am F C E with melody

Section B ending

02:32-03:00

Chords Am F C E with melody

03:01-03:34

Chords F C Am G Repeated four


times throughout

03 35 03 50

Chords F C Am 6 with different


melody from first part

03:50-04:15

Chords F C Am G with different


melody from first part

(Section A repeats
.

Part 1 of section A

Part 2 of section A and


ending of composition

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Commentary
Composition title: Bettys Song
Areas of Study:
AoS1 Rhythm & Metre
AoS5 Structure & Form
Link to the strand Popular Music of the 20th & 21st Centuries: Structure and Rhythm
(indicated on the CRF)
Composition
The composition is presented with a recording and an annotation set out in grid format
referring to timings and events. There is an introduction into Ternary Form. Unfortunately,
there are some discrepancies between the timings and what is heard, although from 0301
0415 there is correlation. The composition is a solo piano piece. The sections of the piece
are differentiated partly through the left hand accompaniment patterns and partly through the
chord sequences used. The left hand plays either block chords (semibreves or crotchets) or
broken chords. The melody is sometimes the top note of the chord sequence, sometimes
more independent. At times, it seems to lack direction. Of the two chord sequences, the
second has a stronger sense of progression. There is a contrast of tonality between F major
(though this is not always clearly established because of the use of the chord of G) and A
minor. In response to the choice of AoS1, there is no change of Metre though there is some
variety of Rhythm. Ternary Form can be heard quite clearly.
Section A includes some pleasant two-part playing but is quite repetitive. The use of the
same chords in the Introduction and in both parts of Section A is rather limiting. Section B is
in A minor but there is less melodic interest here. There is some evidence of understanding
of how to write for the piano but only a limited number of possible techniques are explored.
Problems with the actual performance of the piece tend to interrupt the flow of the music
and, given the lack of a more detailed and precise score, this is relevant to the overall
impression of the pieces success.
The annotation shows only some of the musical ideas clearly but the fact that the candidate
is playing means that we are hearing his / her intentions. The piece is only partially
successful and this is reflected in the mark awarded. To gain higher marks, a choice of AoS
other than AoS1 might have been advantageous, as there is little real response to either
Rhythm or Metre. A stronger melody is needed as well as a greater understanding of how to
write for piano, with its wide range of pitch and technique more fully exploited.
Appraisal
The candidate identifies the two AoS and goes on to explain the reasons for choosing them.
No clear link to the strand is ever established. Unfortunately, most of the reasons given
relate to Harmony (AoS2) the ability to use a wide range of chords, Melody (AoS3)
writing a melody and perhaps using improvisation and Timbre (AoS4) being able to write
for piano. The choice of AoS5 is explained through the use of Rondo form. No reasons are
given for the choice of AoS1.
The process of composing (Question 3) is presented more as what has happened, ie an
annotation or description of the finished composition. However, some basic information
about the composition is given here, though much replicates what is found in the
accompanying Annotation. The candidate also acknowledges that the final composition is in
Ternary Form.

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Nothing is written about the process of recording the music. The only difficulty identified is
that of finding a good chord sequence: this is at odds with an earlier statement that to create
the chord sequence . . . wasnt very hard. The writing about the success of the
composition in relation to the chosen AoS and the link to the strand concentrates on form.
The candidate correctly points out that the sections are differentiated. The response to
context is to suggest that the genre might have been classical: this demonstrates a lack of
understanding of what is required here. It is worth noting, although this did not affect the
final mark, that the candidate refers to this composition as a song: this is an error of
designation common to many GCSE candidates, with the name applied to most forms of
composition, whether lyrics are present or not.
This is an unbalanced appraisal with some strengths and some weaknesses and omissions.
Holistically, this indicates a mark within the 10 6 band and the middle mark within this band
was awarded. Much more detail within the answers to all questions would be required to
move the mark substantially higher.
Marks awarded: 8 + 8 = 16

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Candidate 3

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Commentary
Composition title: Unit 2 composition
Areas of Study:
AoS3 Texture & Melody
AoS5 Structure & Form
Link to the strand Popular Music of the 20th & 21st Centuries: Film Music
Composition
This is a piece of film music scored for full orchestra and realised via Sibelius 7. It is
presented as a recording and a fully-notated score. There is no detail as to the film scenario
/ mood / emotion except for the references to two pieces of film music which had inspired
this composition. Nevertheless, it has certainly captured a sense of film music in that it is
broad, expansive, melodic, rhythmic and colourful.
The opening 16-bar horn melody is well phrased and supported by lower strings playing
sustained octave or fifth dotted minims, with the third added only occasionally. There is, in
fact, a modal feel to the melody and this adds to its successful creation of the film genre.
The timpani roll and increase in tempo helps a sense of build-up. The omission of some
instrumental lines at certain points (eg Violin II bars 54 64, re-entering for just one note, 2nd
Oboe bars 50 64, again re-entering for just one note, 1st Viola omitting bars 50 52 and 54
55) seems perhaps a little arbitrary and the fact that the harp plays only in bars 34 49 in
a piece which lasts 69 bars, merely doubling what is already heard at different octaves
elsewhere in the texture, does not suggest a real understanding of how best to use this
instrument. The piece would have benefited from a stronger contrasting section (or two).
The ending is effective.
There is a sense of imagination here and the music is satisfying, building up through the
addition of instruments and dynamics. Melodies are memorable and the choice of voicing is
appropriate, though there is, perhaps, rather too much doubling of the melody rather than
adding supportive harmonic lines. The occasional moment of harmony, as in bar 36, points
to just how much more successful this could have been and, in effect, withholds a mark in
the top band, although the piece fulfils all the criteria for the top mark in the 16 13 band.
Therefore, to access the top mark band, this piece needs to introduce a fuller harmony of the
main tune and development rather than repetition with greater instrumental forces. A clear
contrasting section might well have enhanced the piece as would a clearer idea of its
intended context. Although no specific mark is awarded for an appropriate title, in this case
its omission mitigates against a real understanding of the candidates intentions and the
context of the film theme.
Appraisal
The two AoS and the link to the film genre are identified. The response to Question 2 seems
to address Texture only. Within the answer to Question 3 there is not really a lot about
process. However, some reasons are given for the decisions made and these are worthy of
credit. An example is the reference to the opening section where the minimal orchestration
allows the listener to focus on the melody line. The melody is referred to as being irregular,
though the meaning of this is never explained.
Nothing is written about the process of recording the piece. Difficulties (Question 4) revolve
around the music software, Sibelius 7, rather than the composition itself. Question 5 is not
answered directly though there are some sentences which perhaps pertain to it. The context

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of the piece is addressed via its influences. This is done quite early within the appraisal and
then again towards the end. The candidate concentrates on how the piece reflects the
characteristics of the music heard while planning it. Holistically, the appraisal meets the 10
6 band criteria, showing some understanding of the task, its success and its context.
To gain a higher mark, the link to the strand needs to be made more clearly. Reasons for
choosing the AoS need to be explained in much greater detail. The actual process of
composing the film theme needs a fuller explanation, including the reasons for choosing the
key, time signature, tempo and instrumentation. The chosen opening melody instrument
was appropriate for the theme as composed but why did the candidate favour this rather
than one of the many other available instrumental timbres? How was the piece recorded?
What needed to be done to ensure a good balance between the many lines of music?
What were the difficulties encountered during the composing of the music itself?
Question 5 needs to be answered, and the actual context of the film needs explanation.
Marks awarded: 16 + 8 = 24

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Candidate 4
GCSE Unit 2 Composition Appraisal (Ballad Composition)
What areas of study did you choose and what is the focus of your
composition within the given strand?
In my unit 2, I chose Area of study 3, Texture and Melody, and Area of
Study 4, Timbre and Dynamics My focus on my composition is to write piece
a
that is very smooth and like in a minor feel but with very interesting melod
y over
the top to give a easy listening Ballad type feet Into the piece, which links to
the
genre of 20th21st century popular music.
Why did you choose these areas of study and the particular focus
within the

given strand?

I chose these Areas of Study because these are the techniques that speak
out in the whole composition piecethe texture of thisc onis generally
,polyphonic throughout The genre is 20th -21 Century Popular music
Spanishballad guitar type creating a very smooth easy listening mood. The melod
y is
structured and based around C minor, A flat major 7, F minor and G sus4(a
dd 2)
chords as the guitars are both tuned to Drop C to give a sinister, Ballad
sound.
Theguitarafpolyphonic/contrapuntal as they layer over each other
in the
song. The dynamics in this piece is very natural and not deliberate makin
g it flow
and not sound like it is planned, as it is smooth when it is soft and strikin
g when
it is loud intriguing the listener, so it has a natural crescendos and diminu
endos
in certain parts of the piece as shown on the score. The timbral effect
that this
piece has is that the rhythm guitar is using a Chorus, Delay, Clean an1
Reverb
effect, to make that warm airy feel, and the lead guitar is using a Delay,
Clean and
Reverb effect to give that warm ballad feel when the piece is being
heard. At the
beginning and the ending of the song, the rhythm guitar uses arpe
ggiatehords
to introduce and to conclude the song, and set the mood for the listene
r before it
plays a strum patterntor the chords as the lead guitar plays the main
section of
its part.
How did you go about composing your music and how was the final
recording achieved?
In this composition, I started developing the piece by experimenting
with
the four chords (CMin, AbMaj7, Fmin, GSus4 (add2)) developing this
further by
trying to come up with different ways in which to convey the chord
types,
looking specifically at certain guitar techniques (arpeggiation/strum
ming). I
then started to compose lead guitar part by improvisingt first,
before choosing
which idea wouldbest create a solid melodic part for it. I recorded
the song in
layers after developing the compositional ideas within the different
instrumental
parts, using professional recording software called Logic Pr6 As
the ideas
initially were based around an improvised structure, the overall
sound wasnt
achieved until all parts were composed and recorded. I used a softwa
re called:
guitar pro to write the different sections and riffs of the guitars,
I developed the
composition over a period of weeks by listening to the recording,
tweaking the
parts and figuring out which frets to type on tablature. I recorded
both guitar
parts separatel5iiayering the two parts achieved the final record
ing.

Page 26 of 56

By
What difficulties did you encounter during the task and how did you
overcome them?
In this composition, the main difficulty was trying to get the timing of the
notes of the lead guitar part and the duration of the note down on tabs with the
standard notation markings, the guitar effects and which best sounding preamp
to use on the software during recording to produce the end piece (the song
recording). I had also had to convert my recording file to a WAV file from an
MP3
file due to Logic Pro not having the option of exporting it into a WAV file, so
I
used the assistance of the schools music Technician to help convert it for me.
The initial tuning of the guitar parts wasnt exactly as I desired so I decided
to
alter the guitar tuning to make the sound heavy, lower and interesting by using
a
Drop Cas the 6th string is an octave lower than the 4th string on the guitar.
What makes your composition successful in relation to the areas of study
and the focus chosen within the given strand?
My composition fits the brief of composing music in the genre of Popular
Music of the 20th 21st Centuries well. The use of having 2 guitars layering
in a
contrapuntal way, over each othl and, using interesting and typical stylisti
c
effects on the sound of the guitars, such as: Chorus and Delay, making the
piece
sound smooth and creative due to the guitar enabling the piece to explor
e unique
chords like the rhythmic effects in this piece whilst keeping familiarity
by using
the 4 chords: C minor, A flat major 7, F minor and G sus 4 (add 2), again
typically
stylistic of the genre and the chosen brief.This makes my composition
intriguing
to the listener whilst the repetition used in the chord progressions give
a warm
and familiar feel.

What is the relationship of your composition to its context?


In this composition, it falls into a Ballad genre as the song is in a minor
key and has a slow metronome speed of Larghetto (tempo of 60). A song
called
Farewell Ballad byafamous metal guitarist called ZakkWylde has inspire
d me
to compose this piece by its slow pace at the beginning,its natural dynam
ics, and
the minor tone given to it making it very interesting and nice to listen
to. For the
main chords that the rhythm guitarplays, I used the clean chord progre
ssion at
the middle of the song My Curse br Killswitch Engage but with a little
change of
the progression by adding the GSus4 (add 2) just to conclude that chord
progression in a minor tone giving a warm and smooth sound to the piece.

Page 27 of 56

Ballad Composition
In this piece there are only two guitars, Rhythm guitars has a chorus, clean
and
delay effect and the lead has a clean and delay effect on it.
The rhythm guitar starts off with arpeggiated chords to set the feel of
the song
and goes to a strummed chord pattern then back to the arpeggiated
chords, over
that structure, the lead guitar plays a clean solo in a minor C key to give
a
warm/Spanish/ballad feel to the piece making it smooth and easy to
listen to.
Instruments:
Rhythm Guitar (Clean, Delay, Reverb and Chorus effects)
Lead Guitar (Clean, Delay and Reverb effects)
-

Software used:
Composition Guitar Pro 5 as it has a wider range of sounds and tuning
s
and is perfect for my composition
Recording Logic Pro 8 as it is a professional recording software which
has a vast variety of recording capabilities such as sequencing drums
and
many effects for guitars with in the software
-

Page 28 of 56

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Page 31 of 56

..

Commentary
Composition title: Ballad Composition
Areas of Study:
AoS3 Texture & Melody
AoS4 Timbre & Dynamics
Link to the strand Popular Music of the 20th & 21st Centuries: layering of guitars (polyphonic /
contrapuntal)
Composition
The music is for two guitars and, as well as the recording, there is a brief annotation and a
tab score of the separate parts. Details are given as to the effects used on the two guitars
and there is a brief outline of the piece. The candidate has inputted both parts into the
software and has applied the effects, so we can be confident that we are hearing final
intentions. The piece shows a good understanding of the chosen AoS, with variety of
Texture, Timbre and Dynamics. The Melody is very effective and both parts contain idiomatic
writing. There is some development of the musical ideas and the score is appropriate to the
chosen style of music. The piece is imaginative and satisfying, fulfilling all the criteria for a
mark in the 16 13 band and a little more, indicating a mark at the lower end of the 20 17
band. Further development and variety would have helped ensure a higher mark within this
band.
Appraisal
The candidate tackles the six questions in turn, prefacing each answer with the question
written out in full. The two AoS are identified but, instead of what was written on the
CRF(see above), the focus is described as writing a piece that is very smooth and like a
minor feel but with an interesting melody over the top to give an easy listening Ballad type
feel to the piece. Reasons for choosing the AoS and link are given, dealing with each
element in turn and the last point is rather more to do with the next question, the process of
composing. The response to Question 3 is rather repetitive and, despite identifying specific
chords, the actual process of developing the piece is dealt with in rather vague terms.
Difficulties revolve around the intricacies of tab notation and how to produce particular guitar
effects (no solutions are given to either problem), the limitations within the software and
guitar tuning, though this last point is a little confusingly presented. The need to convert the
file from MP3 to WAV is the only other real reference to the recording of the composition.
In terms of answering Question 5, the only evaluation of success is a reference to Texture.
There is some understanding of the Ballad context and a reference to a particular guitar
piece in this style. Another song is identified as having been influential in the choice of
chords to be used.
This is rather an uneven response and much more detail is needed on the process of
composition and the evaluation of success in order to gain a mark in the higher bands.
Marks awarded: 17 + 10 = 27

Page 32 of 56

Candidate 5
Appraisal
I chose to write my composition for the piano because it is
the instrument I play and understand
most. It also meant I could use the piano to get ideas for my
composition and play it, rather than
just using Sibelius. My composition is written for a childrens
adventure film and is based on toys
coming alive and out of their toy box, returning back to the
toy box at the end of the piece.
What Areas of Study did you choose and what is the focus
of your composition within the given
strand? and Why did you choose these Areas of study and
the particular focus within the given
strand?
I found that dynamics were an important part of rt,y composition
because they helped to portray the
toys feelings and also the whole atmosphere e. danger, securit
y. TEure and melody helped to
add more complex feelings in the piece and structure and form
were important in bringing my ideas
into a finished, structured composition. I found that my compo
sition also linked in with other areas
of study, like rhythm and metre. All the areas of study were
necessary in some part of my
composition to bring it together.
Rhythm and Metre
My composition is in simple quadruple time (4/4), and for most
of the piece the right hand plays
semiquavers and the left hand plays crotchets. In the first
th
phrase, I used accents on every 7
note to
give a sense of on-beat rhythm in the piece. My ideas are in
2 and 4 bar structure so that there is a
sense of continuity.
I chose to write my piece in c minor and in 4/4 time becaus
e it is a feature used in popular and film
music. I also wrote it in 4/4 time because the ideas I came
up with initially fitted into that time
signature better than any other.
-

Harmony and Tonality


I chose to write it in C minor, although occasionally the piece
goes into the relative major: f major,
but not for long. 11e first phrase is a chromatic scale, startin
g on middle c, going up in semiquavers
for 2 octaves. ltthen pauses, descends to f sharp and contin
ues up a third octave, finishing on the
tonic note: c. A chromatic scale is repeated at the end of the
piece to reflect the beginning. I used a
chromatic scale to add colour to the music. The rest of the
piece is mostly diatonic
Most of the cadences in my piece are perfect cadences, for
example at the end of the first phrase in
bar 4. Occasionally I used an imperfect cadence to create suspen
se, like in bar 23.ln the left hand, I
mainly used the tonictriad: c, e flat and g. In the first phrase
, the note c is followed by e flat and g
played as a chord. In bar 9, this becomes a broken chord and
each note is played separately. I then
changed this at bar 21 and played double octaves in the
left hand. I did this to give a bold, strong
effect. At some points in my composition, like in bars 3235, the left hand and right hand play in
unison. This is also to give it a bold effect.

Page 33 of 56

Texture and Melody


Throughout my composition, 4 ideas are used. I developed the
ideas by repeating them at different
octaveiSometimes, I used the same structure for a phrase
but on different notes. Fhe first idea,
after the introduction, uses the first 3 notes of the c minor scale.
2 staccato crotchets are followed
by 3 legato semiquavers. This idea is then imitated an octave
lower, forming a 4 bar phrase. I then
used this 4 bar structure and same idea to create the next phrase
, which begins in bar 9. I used four
conjunct semiquavers to each part of the phrase, going down
in steps .The left hand uses the same
notes as it did in the introduction but in a broken chord and
is made of staccato crotchets, unlike the
right hand which is legato, to contrast the right hand and add
a better texture to the piecel
repeated this is the next idea, as well, which starts in bar 19. The
idea is based on the first 5 notes of
c minor- c,cJ, e flat, f and g. In the right hand I played these notes
in ascending order with g a g in
betweeniln the left hand, I used the idea of an arpegiated,
broken chord but changed the order. In
the last idea, in bar 29, the left hand repeats the idea played
that the right hand plays, whilst the
right hand takes on what the left hand plays. I
Timbre and Dynamics
I used dynamics in my composition because dynamics are injport
ant in the strand I have chosen but
more importantly, enhances the composition as a whole-.rescen
dos are used to build up to a climax
and create suspense, like in bar 1 and 2 and also from bar 19
up to bar 24. Piano is used to create a
feeling of cautiousness from bars 5 to 8.The following phrase
is mezzo forte to portray more
confidence and boldness j4e dynamics are frequently changi
ng because the actions and feelings of
the toys in the film are changing often and the dynamics are
used to emphasize and sometimes
exaggerate their emotions. From bar 27 to bar 31, l,used dynam
ics for a different reason.,Jhis part is
a light-hearted point in the film so the dynamics, although they
change, they come back to the about
the same volume as they are in the start of the phrase. When
the toys are more distant, the
dynamics are softer and when the toys are nearer, the dynam
ics increases.
/
Structure and Form
My piece best fits Intro ABACA (rondo) form.The introduction
continues for 4 bars, before I
introduce my first idea .At bar 19, I introduce a different idea
but then return to the first idea after
the glissando at the end df bar 24.! then briefly introduce
a new idea at bar 29, although this is
linked to the previous idea because an arpegiated chord is used
again. I then return to the first idea
before bringing all the ideas together at the end of the piece
and then use the same phrase as I did
for the introduction to finish the piece.
I used this from because it suits the strand I chose, linking differe
nt events occurring in the film but it
is always based around the same theme so I returned to A after
each idea. The film takes place in a
childs bedroom but different things happen at different points
st 2
nd
id
which is why I used a 1
and 3
idea.

Page 34 of 56

What makes you composition successful in relation to the Areas of Study and the
focus chosen
within the given strand?
My piece relates to the strand which I have chosen because it portrays what is
happening in a
childrens adventure film.dAt the beginning, the toy box lid is cautiously opened
further and further
and then suddenly the toys halter, thinking they hear someone coming and so
they begin to close
the toy box lid again as the toys think they hear someone coming. Howev they
er,
hear the noise fade
away and continue to open the toy box lid .At the end of bar 4, the box is fully
open and I used a trill
and the pedal to emphasize this and also to show that the toys are considering
whether to go out or
not.
Other examples of why my composition is successful in relation to the Area of
Study are:
In bars 5 and 6, a toy mouse is bolder than the others and so creeps out tiptoei
ng. For this, I played it
at a higher pitch and soft dynamics. Thn, the rest of the toys follow, so to make it
sound more noisy
and heavy, I repeated the idea- because they are copying the mouse- but at a octave
lower and
mezzo forte. I made the notes staccato to show they are tiptoeing and 3 semiqu
avers followed by a
rest to show that the toys quickly run forward a few steps.
Then, at bar 9, the mouse becpmes more confident and runs across the bedroo
m, so I used 12
semiquavers with no rests. The other toys then follow in bar 10.At the end
of this bar, the pitch
suddenly falls as an elephant that had been left behind comes clumsily out the
box1 then repeated
the first idea in the bass to show the elephant creeping and then running along,
whilst the chords in
the right hand show the other toys, slightly impatient, waiting for him. I then modul
ated into the
relative major as the toys begin to relax and start to play around and become quite
lively.
In bar 19 however, the toys begin to panic as they hear someone outside.The footste
ps become
louder and louder s the dynamics increases and during bar 19 and 20 the toys
are rushing to hide in
the toy box agair(ln bar 22, I used accents to show how the footsteps are getting
bolder and louder
and on the trill the noise suddenly stops and the toys are confused. The toys
then all tumble out of
the toy box. I used a glissando to make this effective. In bar 25, I used call and respon
se to show 2
toys interacting.
How did you go about composing your music and how was the final record
ing achieved? and What
difficulties did you encounter during the task and how did you overcome them?
I began to get ideas for my composition by choosing a key and then playing in this
key on the piano. I
came up with 1 idea initially and then came up with a 2 idea a while later. *(owev
er, the main
problem was transferring my ideas from just musical phrases into a piece, where
all the ideas linked
in and flowed together. To do this, I ended most of my phrases on a cadence rather
than going
straight into the next phrase. Other times, like in bar 10 and 11, I a scale to link
the 2 phrases
together. Another problem I had was extending ideas. The first draft of my compo
sition was only a
page long and there were only a couple of ideas which lasted about 2 bars long.After
being given
suggestions for how to repeat the ideas but in different ways, I made them longer
by repeating the
phrases at different octaves, like in bar 5 8.1 also changed the notes from crotche
ts to
semiquavers, like in bar 25 and rearranging the structure of the phrase .For examp
le, in bar 34 and
35, I used the same idea as in bar 25, but in a different order.

Page 35 of 56

Film music is an important part in the history of popular music. My compo


sition relates to popular
music in the way it uses rhythm and metre, harmony and tonality, texture and
melody, timbre and
dynamics and structure and form to create a film music composition. Techni
ques are used in film
music that are used in other strands of popular music and other techniques are
used that makes film
music different. I have used these techniques to relate my composition to
its context and link it to
popular music and more specifically film music.

Page 36 of 56

Page 37 of 56

I
*

Page 38 of 56

Page 39 of 56

V.
Page 40 of 56

Commentary
Composition title: Childrens Adventure Film
Areas of Study:
AoS1 Rhythm & Metre
AoS2 Harmony & Tonality
AoS3 Texture & Melody
AoS4 Timbre & Dynamics
AoS5 Structure & Form
Link to the strand Popular Music of the 20th & 21st Centuries: on the Candidate Record Form
it is stated as being that the piece is in 4/4 time and uses a change of time signature within
the piece. However, in the Appraisal, the focus is given as a childrens adventure film based
on toys coming alive. Despite this apparent confusion, it is readily apparent from the rest of
the appraisal that the focus is indeed the childrens adventure film.
Composition
The piece is written for piano, the instrument played by the candidate. Despite being written
in Common Time, the opening bars have a distinct feel of 6/8: though it looks a little odd,
the aural effect is good and provides a contrast with the ensuing music, which is firmly in
simple time. This is part of the pieces response to AoS1 Rhythm & Metre. Although much of
the harmony depends on primary chords, there are more sophisticated harmonies used,
including diminished sevenths. Tonality is mostly centred in C minor although there is a
quasi-modal feel to the F minor / E flat alternation in bars 13 14 and 17 - 18. The
harmonic minor scale is used consistently and effectively.
A five-octave range of pitch is used, thus exploiting the timbre of the piano. Textures used
include monophony, melody and accompaniment, octave writing and chordal movement.
Melodic movement includes stepwise / scalic, chromatic, sequential, imitative, triadic. Trills,
mordents and a glissando are also incorporated. Dynamics are well contrasted and the
structure is clear, following the outline described by the candidate within the appraisal.
The music is well written for the piano and the score includes a lot of performance detail in
terms of articulation and use of the sustain pedal.
Overall, the music is interesting and satisfying. It is imaginative and there is a clear
understanding of the Areas of Study and chosen link to the strand (Film Music.) There is
some evidence of development of the musical ideas and a final mark to reflect this would
place the piece just in the top band (20 17.) It is worth reflecting whether or not the
decision to choose to identify all five AoS was the correct one: although it is obvious that all
five are represented within this music, perhaps a more judicious choice could have better
reflected the musics areas of strength.
Appraisal
The candidate does not follow the six questions in order. Nevertheless, there is a lot of
relevant information here. Having stated why the piano was chosen and outlined the film
scenario, the candidate proceeds to explain first why all the AoS were chosen. Following
this, there are more focussed explanations for each AoS and, at the same time, details about
the process of composition. Appropriate examples of the use of the different AoS are given
very precisely. Difficulties encountered are mentioned briefly and, although Question 6
(context) is never directly answered, the candidates intentions are clear regarding the use of
musical ideas to tell a story relating to a childs adventure film. There are some obvious
inconsistencies within the appraisal (eg the music does not go to F major, which is certainly

Page 41 of 56

not the relative major of C minor.) However, there is a lot of detail contained in the written
submission and there is sufficient to warrant a mark in the top (20 16) band but nearer the
lower end.
Marks awarded: 17 + 17 = 34

Page 42 of 56

Candidate 6

Music Appraisal
My two chosen areas of study are: AoS2 Harmony and Tonality and AoS3 Texture
th
st
and Melody. My link to the music of the 20
and 21
century is through a composition I
created reminiscent of the Britpop/Rock-Pop genre of the early to mid 1990s. It is
inspired by bands such as Pulp and Blur, predominantly the latter. I have achieved a
sound similar to those artists by my choice of chord progressions; melody and oftensimple drum beats, which is clearly very common in the aforementioned bands

The reason I chose these areas of study was due to the fact I play the guitar and bass
guitar. I also play piano at a reasonable, self-taught level and can play drums well on the
MIDI keyboard. Recently, I was listening to a lot of Blur, particularly the Parklife era of
the band. On the album is a song called Jubilee and in the verse there is a chord
progression that is; A to E to D to F to G. I liked the sound, in particular, of the
transition from D to F and the unpredictability of how it sounded, therefore instead of
copying the whole progression, I just used that transition in what turned out to be my pre
chorus. Listening to that particular section now, I like how it compliments the ostinato
melody I have used. I wanted to write a piece of music like Blur and Pulp as I have
always enjoyed their experimental melodies and most importantly, how they write in a
major key with upbeat tempos due to it giving the music an exciting feel.
Initially, after working out my whole composition on acoustic guitar, I began recording
the drumbeat, something that I value very highly in a catchy, up-beat song. I tried to
make it simplistic at the verses, and I believe I achieved that. The rhythm is a simplistic 8
beat rock, with a double bass drum on the third beat, followed by a floor torn immediately
after. At the section before the chorus (where the guitar is playing the E chord), a
crescendo is used on the drums, as the snare, bass drum and floor torn gradually build up
to the chorus. I then used a similar drumbeat to the verse, however I used an open hi-hat
to give the composition texture, which links to my second area of study Texture and
Melody. The drums also give the song a very clear structure, by gradually building up to
a climax at the chorus. This could therefore be also linked to the area of study; Structure
and Form. After the drums were completed, I commenced with the bass, the riff is fairly
complex (and again, influenced by Alex James from Blur) and, as my first area of study
was AoS2 Harmony and Tonality, it plays notes from the A Major scale, as I wanted
to write in a major key. At the pre-chorus, the bass then becomes quite simplistic, simply
playing the root notes and then a short riff after the F note is played. At the section
before the chorus, the bass, once again, plays a root note, however this time on the note
E. As the crescendo climaxes on the drums the bass then goes up an octave. The
combination of the 2 bar drum fill and the increasing octave gives the section a real sense
of texture as it feels as if the music is about to climax dynamically. This links to my area
of study; AoS3 Texture and Melody. The chorus then returns to root notes of the A,
G, D, F and E chords. The fact I played root notes instead of a bass riff at the
chorus compliments my melody well (A0S3 Texture and Melody) and gives a sense
of completion as the transition from E to A is a perfect cadence. Again, this could be
linked to Structure and Form. I then began recording piano, an instrument I felt suitable

Page 43 of 56

as it complimented the major tonality of my composition. In terms of its use, it is again,


/
fairly simplistic, as, when it is used, I play only the standard chords. At the section
immediately before the chorus, the piano has a transition from E to E7 which is played
without the fifth note; a B. I like the sound of this as it creates tension and feels as if it
is building up to something, and, coupled with the increase in octave in the bass and the 2
bar drum fill, it makes the music more interesting in terms of its texture, this links to
AoS3 Texture and Melody. After all of the piano was recorded, I used a MIDI
acoustic guitar, this instrument plays exactly the same as the piano, however, when the
piano stops at each of the verse sections, the acoustic guitar continues to play the chords
A to D to D minor. The simplistic acoustic sound and rhythm compliments the
complex bass riff well by not over-complicating the piece, therefore capturing what I love
about the music of Blur. Next I recorded my melody, it is initially played on a MIDI
electric guitar, it is based around the A major scale as that was my desired tonality, this
links to my area of study AoS2 Harmony and Tonality. It is also idiomatic, as I
created the riff on an actual guitar before recording it. After the guitar riff the melody is
then played on a piano; I like how it compliments the upbeat drums and acoustic guitar.
There is an ostinato played at the pre-chorus with the three notes of Fsharp, Csharp
and E. I have developed the second verse melody by harmonizing it with another MIDI
piano track. The last chorus of the song (which has a different melody to the other
chorus) is also harmonized with another MIDI piano track, and another playing a high
A chord. The harmonization, again links to my first area of study, AoS2 Harmony
and Tonality.

During the recording of my composition, however, I had some difficulties. Initially, I


struggled to compose an introduction to the song after I had tried several things that I
didnt like. I overcame this by listening to the song that was so influential in my
composition; Blur Jubilee. I liked how, in that song, all instruments commence
simultaneously, I felt that it sounded complete and wholesome and so I wanted a similar
feel. I then worked out an introduction on the acoustic guitar and made sure all
instruments came in together on the second bar of my recording. Listening back to my
introduction, I like how it sounds and how I overcame my difficulties. Another problem I
came across was the timing of the melody on the piano, due to my lack of experience.
However, I overcame this by using the enhance timing feature on Garageband. My
melody is now perfectly in time and it is complimented by the acoustic chords.

I believe my composition is successful in relation to my areas of study within the given


20
f
0
st
and 21
strand, firstly, and most simply, because of its instrumentation. A feature th
century music, and more specifically, rock music, is its use of guitars, drum kits, bass
guitars and pianos. I related to my first area of study, namely; AoS2 Harmony and
Tonality, by deliberately writing in a major key, I also developed my melody line in the
second verse and final chorus/outro by harmonizing with another track of the same
instrument. This links to my second area of study, AoS3 Texture and Melody, as well
as my first area of study. Another link to my given strand was the use of an ostinato in the
th
st
and 21
century and
pre-chorus. This is a common feature of popular music in the 20
final
link
my
aforementioned
why
I
incorporated
it
into
my
piece.
My
to
given
that is

Page 44 of 56

th
St
strand, is the use of simplistic rhythms, this is found in music of the 20
and 21
century
and, more specifically, in rock and pop music that influenced my composition.

In terms of my compositions context, which in this case is the Britpop/Rock-Pop genre of


the 1990s influenced by bands such as Blur, Pulp and Oasis, I deliberately wrote to
relate to that style of music. Something that I associate with that genre is a catchy, yet
simple melody, often played on an electric guitar, a vocal part or a piano. In order to
capture this style, my piece incorporates a piano ostinato and a guitar riff at the beginning
of each verse. As I have previously mentioned, I also associate this style of music with
simple, upbeat rhythms. I incorporated this into my composition by writing in 4/4 timing
at a speed of 120 beats per minute. More specifically, I was influenced by the bass
playing of Alex James from Blur and I particularly enjoyed the riff in the song Girls and
Boys. I liked how he follows the synthesizer by playing the root notes of the chords, but
how he plays a riff based around the scales to give the piece an upbeat feel. I replicated
this by creating a fairly complex bass riff based around the A major scale, I believe it is
reminiscent of the work of Alex James and I am happy with how it sounds.

Page 45 of 56

Music Annotation
Song Title- Polly Tetrafluorethene
My song was written and composed solely by myself, it is influenced by the
Britpop era of the 1990s, particularly bands such as Blur and Pulp. All
instruments played were performed on the MIDI keyboard and those
instruments are; drums, bass guitars, pianos, acoustic guitars and electric
guitars. My score is a mixture of staff notation and written description. I
have also included some screenshots from Garageband.

As a feature of the music I was trying to create


is its simple timing rather than compound, I
wrote in 4/4 timing to achieve that.

L.

Image
.j*:I

Image

frizz:

Here is the score for the drums for my intro; it was played on the MIDI rock
kit. Dynamically, I wanted it to be forte to begin with to give an energetic
start, hence why, in total, there are six hits of the crash in the intro.

from
bars

4-

gid
Rock
kit.

--1.

Page 46 of 56

bar

The drum beat for the verse (as pictured above) follows the simplistic
drumming style I was aiming to capture. There is a crash on the opening beat
and from thereon in, in the verse, the hi-hat plays quaver notes. On the
opening beat of every two bars, however, instead of a crash, there is an open
hi-hat. Additionally, on the third beat the bass drum is hit twice.

___

As my verse progresses into


the pre-chorus, halfway
th
through the 25
bar there is a
short drum fill. In total, there
are 6 hits of the lowest floor
torn, and on beats 3 and 4
there is a bass drum. I used
this particular drum fill as it
creates tension well and feels
as if the music is about to
change.

n3

Image from bar 25. Played on Rock


Kit.

I
N tt
Image
above
played on
the MIDI
Rock kit

Then, at the pre-chorus, similar to the verse, the ride symbol plays quaver
notes rather than the hi-hat. This gives the piece a sense of structure, and a
sense of building up to something, and thats why I chose to use it.
Image
played on
the rock

between
bars 26-28.

kit
between
bars 34-36.

Then, after 8 bars of the pre-chorus, the drums change as the only things hit
are the snare drum, floor torn and bass drum. Also, as you can see above, a
crescendo is used, again, to give the music a sense of building up to
something. They also play quaver notes.

Page 47 of 56

After the 2 beats of the crescendo, a drum fill is then used for 2 bars; this
further builds up the song before the chorus.

k:A-.

Played
on
rock
kit.
Bars

38- 40.

On the contrary to other sections of the song, the open hi-hats are played in
crotchets here rather than quavers. This gives the drums a lazy feel, which is
something I like about it.

The intro drums are then repeated after the chorus, however this time it is
twice rather than just the once.
The verse drums then repeat for 15 and V
2 bars, and for the last half of that
bar the same drum fill is used as the end of the last verse.
The drums used for the pre-chorus, crescendo, drum fill, and chorus are all
then repeated exactly to give the piece a sense of structure.
I F3

fLck.

Page 48 of 56

After the second chorus, there is a bridge, the hi-hat is hit twice, and then an
open hi-hat is hit. Dynamically, this section is much more piano, I like how
it differs from other sections of the song in terms of the drums.

rr

Rock Kt
a a aa

a a I I I I I

-!

On the

th
94

bar, as the bridge is coming to an end, another crescendo is used,


again this gives the piece a sense of building up to something.

The drums from the chorus are then repeated from bar 96, to bar 104.
The intro drums are then repeated twice again.

1
I

)i-

th
Then, at the end of the song, on the 110
bar, the drum plays staccato notes
on the floor torn, snare and bass drum. It then ends with a crash, open hi-hat
th
and bass drum on the first beat of the 111
bar. I ended with a crash, as that
is how the piece begins, dynamically, and to end like this gives a real sense
of completion.

? J c

J ST

III

Page 49 of 56

My intro bass part, is based around the A major scale, it lasts 2 bars. I
particularly like the transition from the low A note to the G in a higher
octave.

IF

Lict:c

InQ.rsul

LSS

n,jerstyi

-,

-4

This is the bass riff played throughout each verse, it is based around the A
major scale and influenced, in particular, by Alex James from Blur.

Jj:*Jj

This is the bass riff from thdchoms, it features the, D to F; transition I am


fond of.

Ill

As you can see from the image above, the bass begins playing a low B,
however after 2 bars, the bass goes up an octave, this gives the piece a
texture I like when combined with the crescendo on the drums.

Page 50 of 56

----w-

--

:r::fz:Z;
.

..

The bass riff featured in the chorus, is almost all played on the root notes of
the chords, this gives the piece a sense of completion and a feeling of climax
in the music, which is something I wanted to achieve.
th
th
At the second verse, the bass comes in on the 60
bar rather than the 50
This gives the piece a feeling of development from the first verse as the bass
comes in immediately on the first verse.

Jzzz

::zzz: :

z.rEz:::

The bass riff at the bridge, is played much higher than the rest of the song
before returning to the root A note. I like how it compliments the discordant
sound of the section and was again influenced by the bass riffs of Blur.
I

r
LIII

II

Page 51 of 56

th
The intro piano plays the A major chord, then plays adds the 7
note without
th
5
the
as the bass plays the G on a high octave. This polyphonic feel gives
the piece the texture I was looking for.

At the verses, the piano ceases to play.

Lr

EZ:

-siimi

c
At the pre-chorus, the right hand plays simple A, D and F chords,
whilst the left hand plays those notes on the lower octave.

Again, at the chorus, the left hand plays the lower octave, whilst the right
hand plays the chords. This gives the piece the simplistic feel I was aiming
to achieve.

.A

Page 52 of 56

I,

The acoustic guitar, which I played in on the MIDI keyboard, mirrors the
piano exactly, however at the verse where the piano doesnt play, the
acoustic guitar does.

1
P

The melody is first played on electric guitar, it is based around the A major
scale. I decided to use this choice of instrument, as a key feature of the
music I was influenced by, is simple, catchy guitar melodies and riffs.
Throughout the song, at the pre-chorus and the chorus, the electric guitar
plays the root note of the piano chords. I decided to do this to give the piece
a sense of structure, and, dynamically, make the parts where that instrument
is used, more forte. I did this, as another feature of my influences is there
instantly recognisable choruses, solely from their structure.
zL:zz:.:... z::zzz..

iz:zL..:

Page 53 of 56

IM

1k .
Vb

.1.

The melody throughout the verses is played on the piano; I chose that
instrument as it compliments the major tonality of the piece.

The melody above is the ostinato featured in my pre-chorus, which is again a


feature of my influences music. The notes are; Fsharp, Csharp and E. I
like how it compliments my chord progression of A to D to F.

: i MeIod

The melody is then developed in the second verse by harmonising the


melody with a separate track of the same instrument, in this case a piano.
The contrapuntal, polyphonic sound of the piece during that second verse is
something I particularly enjoy about my composition. I have also used the
same idea in the last section of the song that has the same chords as the
chorus, but a different melody. I used a contrapuntal melody to show, in
terms of texture, that the piece has climaxed.

Page 54 of 56

Commentary
Composition title: Polly Tetrafluorethene
Areas of Study:
AoS2 Harmony & Tonality
AoS3 Texture & Melody
Link to the strand Popular Music of the 20th & 21st Centuries: Genre. Rock / Pop music was
popular during the 20th and 21st centuries
Note: the link as stated on the Candidate Record Form lacks precision. However, it is
clarified within the Appraisal document.
Composition
The composition is presented by means of a recording and a detailed annotation. The
candidate has played all parts into Garageband and, therefore, we can be sure that the work
submitted represents his / her clear and final intentions. The piece is written for acoustic
guitar, electric guitars, bass guitar, piano and drums. As far as AoS2 is concerned, there is
a sure sense of tonality with strong, clear harmonic progressions; varied textures and a
range of melodic shapes and phrase lengths amply justify the choice of AoS3.
This is a well-constructed, imaginative piece of music, written idiomatically for the chosen
instruments and demonstrating a real understanding of their range and capabilities. There is
a sense of completeness about the overall composition, reflecting its clearly-defined form.
Musical ideas are developed. Within the appraisal, the candidate specifies the intended link
within the strand and this is clearly demonstrated within this very successful piece.
The annotation is a mixture of description, staff notation and screen shots. It is extremely
detailed and this, coupled with the fact that candidate has actually played in all the music
and done the editing, enables to listener to follow the music and understand the composers
intentions. As a small point, given that there is no complete score; references to bar
numbers might be better replaced with timings. It is clear that the piece fulfils all the criteria
within the top mark band (20 17) and, therefore, full marks are justified.
Appraisal
The appraisal deals with the six questions in turn. Initially, the AoS are identified and the link
clarified as being by the choice of chords progressions, melody and often-simple drum
beats as found in the Britpop / Rock-Pop genre of the early to mid-1990s and the music of
Pulp and Blur. Reasons for the choice of the AoS are clearly stated as part of the response
to Question 2 and the reasons for choosing the link are explained in detail, with specific
references to chord progressions, melody and tempo. Question 3 asks about the process of
composition and how the piece was recorded. In response to the first part, the candidate
writes at length about the reasons for the decisions made in many of the areas which
determined the progress of the composition, justifying the choices and taking care, at all
stages, to refer to the chosen AoS and the link. As the process of recording is integral to the
compositions development, the two are treated largely side by side. Development of the
musical ideas is highlighted, for example, where the candidate writes:
I have developed the second verse melody by harmonising it with another
MIDI piano track. The last chorus of the song (which has a different
melody to the other chorus) is also harmonised with another MIDI piano
track, and another playing a high A chord.

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Difficulties the focus of Question 4 are dealt with next. They are explained, as are the
steps to overcome them. An evaluation of the success of the composition in terms of the
chosen AoS and the link to the strand follows. The ways in which the composition
successfully demonstrates links to the particular links chosen are well explained. There is
some reference to the use of harmony, tonality and texture and a mention of melody by way
of its development. The context of this composition Question 6 is clearly understood and
the candidate links this piece to specific features of Blurs Girls and Boys.
Overall, this is a detailed, well-organised appraisal which gives a lot of information clearly, if
a little repetitively at times. It deals with all questions in detail and, despite one or two
shortcomings, it can confidently be judged a thorough appraisal in terms of its response to
the descriptors within the 20 - 16 band of marks. Overall, it warrants the top mark.
Marks awarded: 20 + 20 = 40

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