Frequently Asked Questions

A. Compositional techniques can range from:

• structural devices;
• expressive devices;
• techniques considered characteristic of a particular musical style or genre; and/or
• techniques associated with the use of music technology.

The composition marking criteria helps students prepare for the composition.

A. Students who wish to play bass instruments or inner parts in ensembles often find it difficult to find a suitable piece of music for the performance. This is because it is hard to find a piece of music that makes sufficient technical demands of their individual part. However, teachers must remember that the technical demands in ensemble performance relate to the piece as a whole rather than to any individual part within it. We assess students on their accurate contribution to more complex demands of the chosen music.

A. The ensemble should normally consist of at least three performers.
However, it is possible for pianists to demonstrate their ensemble skills through piano duets, for example by alternating primo and secondo parts in different duets or by accompanying one or more performers. It is not be necessary for all members of the ensemble to be examination candidates.

A. No, a conductor carries overall responsibility for a performance. Students must demonstrate their own sensitivity to the music and to other members of the group.

Students must be aware of the criteria against which their ensemble performance will be marked.

A. The two important aspects of the performance are:

• technical control and accuracy; and
• interpretation, sense of style and communication through the music.

A. The visiting assessor asks students questions about the music being performed, for example:

• Why the music was selected?
• What are the structural features of the music?
• What are the expressive features of the music?
• What are the stylistic aspects of the music?
• What is the student’s interpretation of the composer’s intentions?

Students are also expected to show some knowledge of the relevant repertoire beyond their chosen programme. Students must refer to the marking criteria to help them prepare for the viva voce.

A.The technical demands relate to the ensemble piece as a whole rather than to any individual part within it. We assess students on their accurate contribution to the demands of the chosen music.

At A2, the ensemble music that students choose must demonstrate at least three of the following features:

• fast/slow/contrasting tempi and/or ensemble gradations of tempo;
• complex rhythmic and/or melodic passage work;
• parts that are independent and/or entries that are difficult;
• complex dynamic requirements such as dynamic graduations or nuance; and/or
• complex articulation requirements such as ensemble passage work at a more extreme tempo.

Students must refer to the marking criteria to help them prepare for the ensemble performance.

A. Students must record a live performance and choose appropriate recording techniques for the instruments and type of music being performed. Students must also write a commentary of their work that includes evidence of their planning and an analysis of the final outcome. Students may be tempted to use overtly complex equipment, but the quality of their recording will be better if they use equipment they are familiar with.

Below are some examples of approaches to the multi-tracking task:

Example 1: Ambient Microphones
If the music is in the Western Classical tradition, the intention may be to capture the natural sound of the performance through a stereo ambient microphone technique by using a minimum of two microphones. Additional microphones may be used to add depth and ambience to the recording. When students take this approach, the quality outcome depends as much on the placing of microphones as on subsequent re-balancing or mixing.

Example 2: Close Microphones
With close microphone techniques, each instrument or instrumental group is recorded on its own track and a minimum of four tracks are recorded live. After this, additional sequenced tracks may be added. The four tracks are then mixed-down to a two-track stereo recording and the result is presented for assessment purposes along with the required commentary and the statement of authenticity.

Students must refer to the marking criteria and the Chief Examiner’s Report for Multi-tracking to help them prepare for this task.

A. The main challenge of the recording task is that students must assume the role of the leader/conductor and make musical decisions that will affect the quality of the final performance.

A. The challenge of the sequencing task is to create a musical performance outcome where the student takes responsibility for all aspects of the performance and has the power to alter each individual part in terms of performance detail. The technology students use in sequencing should be subservient to the musical intention rather than used indiscriminately for effects which would be inappropriate for the style and instrumental resources of the original.

In order to complete the sequencing option effectively, students need an understanding of MIDI including MIDI files, channels and controller messages, methods of data input, quantization, editing, tempo and dynamic control and creating MIDI data to control performance directions.

A. The use of complex and highly sophisticated equipment does not necessarily guarantee a better outcome. We award top marks for skilful and musical application of basic procedures.

At AS some students prefer to use specialised sequencing technology for this task. Sibelius is essentially notational software, although it does claim (through its ‘Expressivo’ feature) to incorporate realistic replay, including access to phrasing and expression. Students who use Sibelius will not be penalised if their commentary demonstrates that they have undertaken and understand the features of MIDI outlined above.

The Sibelius package is not acceptable for the sequencing requirement of the A2 part of the course.

A. Students should pay particular attention to the following:

• tempo – to take account of subtle shifts in tempo including accelerandos, rallentandos and aspects of rubato playing;
• articulation – where appropriate, sensitive repositioning of note on/note off values;
• phrasing and dynamics – combining velocity and volume to achieve expression;
• panning – to reflect the positioning of players in an authentic performance or for special effects in modern music;
• programme changes – to take account of more subtle changes in instrumental timbre, for example arco to pizzicato strings;
• reverb and chorus – to create ambience and create a more dense texture;
• quantization – musically sensitive use of this facility to avoid mechanical reproduction;
• pitch bend – a feature of much modern music, especially jazz and blues idioms which can be used to add authentic effects to individual parts;
• modulation – also applied to instrumental parts where it would be considered appropriate in live performance; and
• portamento – most appropriate for modern music or music with rich chromatic harmony.

A. The sequenced music must consist of a two-minute extract from one of the set works. Students may either sequence the set work they are studying or select one of the other set works on the course. Students must have a good knowledge of the music they have chosen to sequence, and their chosen extract must include some full orchestration.

The focus should be on the accurate sequencing of the individual parts of the score rather than on creating an arrangement of the music through the use of sequencing techniques. Where particular challenges exist, students’ work will be assessed on how these have been met.

Students are free to choose the method of data input (real or step time), although we believe that pre-practiced, real time-input will produce a more authentic outcome. This is because input of more information, for example articulation,phrasing and dynamics, will require less editing at a later stage.

Students can refer to the Chief Examiner’s Report for Sequencing and the ASP24 marking sheet for more information.