b353 course presentation swa

8/18/2019 B353 Course Presentation SWA

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GCSE Music J535

Unit B353: The Creative Task


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Unit B353: The CreativeTask • 20% of the Exaination!

• "5 inutes to co#$ete recor&in' takes #$ace(ithin the a$$otte& tie!

• Su)itte& as a recor&in' on an instruent* a

(ritten score* or a recor&in' usin' +CT,Gara'e)an&- .o'ic- Cu)ase* etc/!

• The task is &esi'ne& to cha$$en'e can&i&ates to)ui$& a co#osition aroun& a 'iven stiu$us!

Failure to use the stimulus in it’s given formis the equivalent of not answering thequestion in an essay. This (i$$ ca#1 thees#onse ark &e#en&in' on the extent of the

isuse of the stiu$us!


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Rhythmi !hrase

• rh4thic #hrase: 2 )ars of 2"* 3"* ""* or 67!

• 8o#u$ar (ith 9ru it #$a4ers es#ecia$$4 (henit is "" or 2"!

• $so fre;uent$4 use& )4 #$a4ers of sin'$e $ineinstruents!

• $so +CT #erha#s as an ostinato #attern!

• The best responses use key features of the

rhythm throughout, often returning to it, in itsoriginal form at key points in the piece.


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"ote !attern

•

note #attern: u# to < notes ,#rinte& in sta= notation(ith $etter naes/!

• >ften use& )4 instruenta$ists sin'$e $ine an&#ianists! $so soe +CT res#onses!

• The note #attern #rovi&es o##ortunities for can&i&ates

to create a e$o&4! The best responses mould thestimulus into an interesting rhythmic shape from theoutset, often by adding a balancing phrase.

• Ternary form is a coon structure (ith a i&&$e

section in the re$ative inor* or &oinant ke4! The bestresponses manipulate the stimulus into a new themeat this point, )ut others co#ose a i&&$e section(hich )ears $itt$e theatic or st4$istic re$ationshi# tothe o#enin' an& therefore &o not a&& an4thin' to the

;ua$it4 of the outcoe!


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#elo$i !hrase•

e$o&ic #hrase: 7 )ars to (hich a secon& #art ,&escant or)ass $ine/ can )e a&&e&!

• The e$o&ic #hrase is &esi'ne& to #rovi&e o##ortunities forthose can&i&ates (ho un&erstan& the #rinci#$es of t(o #art(ritin'! +t is #ossi)$e to 'ain fu$$ arks )4 si#$4 a&&in' ast4$ish an& usica$ secon& #art ,either a &escant or a )ass$ine/! ?o(ever* an4 can&i&ates exten& the ateria$!

• @o arks for res#onses that si#$4 exten& the 'iven e$o&ic#hrase (ith a&&itiona$ e$o&ic #hrases A no t(o #art (ritin'!

• here ore than one #art has )een a&&e&* exainers ark

the )est #art!• here a chor&a$ #art has )een a&&e&* exainers ark the

)ass $ine!


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Chor$ %equene &

•

chor& se;uence: u# to 5 chor&s ,#rinte& astria&s* (ith chor& naes an& ta)$ature/!

• Most fre;uent$4 use& )4 Guitarists strue&an& #ickin' variations!

•

Soeties u$ti tracke&* or $oo#e& on a #e&a$ Athe chor&s are then use& to #rovi&e anacco#anient to a $ea& #art!

• $so use& )4 e4)oar& an& 8iano #$a4ers a'ainsoeties variations on )roken chor& #atterns*an& in other cases* use& as an acco#anient toa e$o&4 $ine!


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Chor$ %equene '

• There can )e no har& an& fast ru$e a)out (hetherexten&in' the stiu$us (ith a&&itiona$ chor&s area##ro#riate an&or can enhance the ark! Thereare 'oo& res#onses that stick to the chor&se;uence throu'hout* an& e;ua$$4 there are thosethat $ater on in the #iece intro&uce a&&itiona$chor&s* ,often kee#in' soe of the chor&s in these;uence* for a contrastin' section/!

• There are some responses where the chords are

played through once at the start after which the piece moves into a totally unrelated chordsequence (which may well have been preparedearlier!). These responses gain limited credit !


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(or$s

• set of (or&s: u# to ei'ht $ines in $en'th!• >)vious$4 for voca$ists (ith a (i&e ran'e of

achieveent!

• Can exten& 'iven (or&s (ith a&&itiona$ verses is thecharacter of the son' retaine&

• Can use voca$ oohs to a&& intros* transitions an& Co&as!

• cco#anient not essentia$ in fact a #ooracco#anient ,e!'! )a&$4 #$a4e& )$ock chor&s on a8iano/ cou$& #otentia$$4 &etract fro the ;ua$it4 of the

res#onse as (e$$ as the counication! >n the other han&a si#$e )$ock chor& acco#anient a4 ena)$e thecan&i&ate to aintain their #itch throu'hout the #iece!


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%equene of )vents

• Music to &escri)e a se;uence of events three &istinct e#iso&es!

• Three c$ear events re;uire&* (hich #ortra4the three sta'es of the stor4 a##ro#riate$4 not Dust a 'eneric fast an& $ou& shock

an& sto# s$o( an& ;uiet1 t4#e of #iecethat cou$& have )een #re#are& ear$ier!


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The *ssessment Criteria

Res+on$ing

0 @o (ork!

A " Basic often incoherent!

5 7 Si#$e ain$4 $iite& re#etition!

< 2 Soe success )ut not consistent!

3 6 >r'anise& an& coherent a (e$$thou'ht out #iece (ith usica$un&erstan&in'

F 20 9eve$o#entsense of st4$e!

2 A 2" St4$ish an& ia'inative!


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#ark restritions ,Res+on$ing-• es#onses (hich use si'nicant sa#$es ,usua$$4

se;uence of events/ are un$ike$4 to access orethan arks!

• es#onses that either

– >n$4 use a #art of the stiu$us!

– Mani#u$ate the stiu$us into soethin'co#$ete$4 &i=erent fro the outset!

MH+MUM 7 MS!

•

es#onses that ake soe a$teration to thestiu$us* (ithout usin' the 'iven stiu$us in itsori'ina$ for!

MH+MUM 2 arks!


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Communiating ,Reor$e$-0 @o (ork!

A 2 Ier4 $iite& accurac4!

3 " Soe accurac4 of #itch an& rh4th!

5 A 6 easona)$e accurac4 of #itch an& rh4th!

F A 7 easona)$e accurac4 of #itch an& rh4th* (ithsoe a&&itiona$ e$eents!

< A 0 Goo& accurac4- ran'e of a&&itiona$ e$eents- soecontro$ of the resource!

2 St4$istic un&erstan&in' )ut not consistent$4 so!

3 " Musica$ an& st4$ish throu'hout!

5 $a($ess!


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• Scores ust state the instruent* an& contain usica$ articu$ation* &4naics*#hrasin' an& te#o for 3K

Communiating ,(ritten-

0 @o (ork!

A 2 Ier4 $iite& accurac4!

3 " Soe accurac4 of #itch an& rh4th no other arkin's!

5 A 6 8itch an& rh4th correct or soe other arkin's )ut 8 an& errors!

F A 7 easona)$e accurac4 of #itch an& rh4th* (ith soea&&itiona$ e$eents!

< A 0 Goo& accurac4- ran'e of a&&itiona$ e$eents* )ut $acksusica$it4!

2

Score &etai$ akes usica$ sense $ackin' or excessive in

soe sections!

3 "

Musica$ a##$ication of the fu$$ ran'e of score &etai$!

5 Exce$$ent usica$ &etai$!


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Use of /CT

•

@u)er of $a4ers tracks* inc$u&in'* (herea##ro#riate* a &ru track ,are these $oo#s orsa#$es* or ori'ina$ co#ositions/!

• Use of texture!• ##ro#riate ti)res!

• &&ition of a##ro#riate e=ects ,#annin'- rever)*etc/ may require headphones.

• Luantisation!• S4nchronisation )et(een tracks!• Ba$ance of na$ ix!• E&itin' of note ve$ocities to create #hrase sha#es!


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#elo$i !hrase

The success of the haronisation an& texture of the set

stiu$us fors the ain )asis of the assessent! Successfu$extensions a4 raise the ark )4 a further $eve$! ,u# to "arks/!

0 no secon& #art

.eve$ #arts not re$ate&

.eve$ 2 occasiona$$4 haronic successfu$

.eve$ 3 si#$e haron4 ,ain$4 successfu$/! @ote for

note texture.eve$ " si#$e haron4 that (orks A soe variet4

)et(een #arts

.eve$ 5 consistent$4 )a$ance& an& usica$

.eve$ 6 K ia'inative


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%equene of )vents

These criteria are use& to assess the ;ua$it4 of there$ationshi# to the stiu$us!

To 'et ore than 2 for res#on&in': ust have oo& Kevent!

.eve$

@o re$ationshi# to oo&!

.eve$2

Soe re$ationshi# to oo&!

.eve$3

Basic e=ects!

.eve$"

Soe success!

.eve$5

E=ective an& consistent!

.eve$6

Successfu$ an& ia'inative!

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