Unit B353: The Creative Task GCSE Music J535 Unit B353: The Creative Task

Unit B353: The Creative Task 20% of the Examination. 45 minutes to complete – recording takes place within the allotted time. Submitted as a recording on an instrument, a written score, or a recording using ICT (Garageband; Logic; Cubase, etc). The task is designed to challenge candidates to build a composition around a given stimulus. Failure to use the stimulus in it’s given form is the equivalent of not answering the question in an essay. This will “cap” the Response mark depending on the extent of the misuse of the stimulus.

Rhythmic Phrase A rhythmic phrase: 2 bars of 2/4, 3/4, 4/4, or 6/8. Popular with Drum Kit players – especially when it is 4/4 or 2/4. Also frequently used by players of single line instruments. Also ICT – perhaps as an ostinato pattern. The best responses use key features of the rhythm throughout, often returning to it, in its original form at key points in the piece.

Note Pattern A note pattern: up to 9 notes (printed in staff notation with letter names). Often used by instrumentalists – single line and pianists. Also some ICT responses. The note pattern provides opportunities for candidates to create a melody. The best responses mould the stimulus into an interesting rhythmic shape from the outset, often by adding a balancing phrase. Ternary form is a common structure with a middle section in the relative minor, or dominant key. The best responses manipulate the stimulus into a new theme at this point, but others compose a middle section which bears little thematic or stylistic relationship to the opening and therefore do not add anything to the quality of the outcome.

Melodic Phrase A melodic phrase: 8 bars to which a second part (descant or bass line) can be added. The melodic phrase is designed to provide opportunities for those candidates who understand the principles of two part writing. It is possible to gain full marks by simply adding a stylish and musical second part (either a descant or a bass line). However, many candidates extend the material. No marks for responses that simply extend the given melodic phrase with additional melodic phrases - no two part writing. Where more than one part has been added, examiners mark the best part. Where a chordal part has been added, examiners mark the bass line.

Chord Sequence 1 A chord sequence: up to 5 chords (printed as triads, with chord names and tablature). Most frequently used by Guitarists – strummed and picking variations. Sometimes multi tracked, or looped on a pedal - the chords are then used to provide an accompaniment to a lead part. Also used by Keyboard and Piano players – again sometimes variations on broken chord patterns, and in other cases, used as an accompaniment to a melody line.

Chord Sequence 2 There can be no hard and fast rule about whether extending the stimulus with additional chords are appropriate and/or can enhance the mark. There are good responses that stick to the chord sequence throughout, and equally there are those that later on in the piece introduce additional chords, (often keeping some of the chords in the sequence, for a contrasting section). There are some responses where the chords are played through once at the start after which the piece moves into a totally unrelated chord sequence (which may well have been prepared earlier!). These responses gain limited credit.

Words A set of words: up to eight lines in length. Obviously for vocalists – with a wide range of achievement. Can extend given words with additional verses – is the character of the song retained? Can use vocal “oohs “ to add intros, transitions and Codas. Accompaniment not essential – in fact a poor accompaniment (e.g. badly played block chords on a Piano) could potentially detract from the quality of the response as well as the communication. On the other hand a simple block chord accompaniment may enable the candidate to maintain their pitch throughout the piece.

Sequence of Events Music to describe a sequence of events – three distinct episodes. Tends to attract lower quality candidates – but there are also frequent examples of excellent work from this stimulus Three clear events required, which portray the three stages of the story appropriately – not just a generic “fast and loud – shock and stop – slow and quiet” type of piece that could have been prepared earlier.

The Assessment Criteria Responding No work. 1 - 4 Basic – often incoherent. 5 – 8 Simple – mainly limited repetition. 9 – 12 Some success – but not consistent. 13 – 16 Organised and coherent – a well taught template with musical understanding 17 – 20 Development/sense of style. 21 - 24 Stylish and imaginative.

Mark restrictions (Responding) Responses which use significant samples (usually sequence of events) are unlikely to access more than 8 marks. Responses that either Only use a part of the stimulus. Manipulate the stimulus into something completely different from the outset. MAXIMUM 8 MARKS. Responses that make some alteration to the stimulus, without using the given stimulus in its original form. MAXIMUM 12 marks.

The Assessment Criteria Communicating (Recorded) No work. 1 - 2 Very limited accuracy. 3 – 4 Some accuracy of pitch and rhythm. 5 - 6 Reasonable accuracy of pitch and rhythm. 7 - 8 Reasonable accuracy of pitch and rhythm, with some additional elements. 9 - 10 Good accuracy; range of additional elements; some control of the resource. 11 – 12 Stylistic understanding – but not consistently so. 13 – 14 Musical and stylish throughout. 15 Flawless.

The Assessment Criteria Communicating (Written) No work. 1 - 2 Very limited accuracy. 3 – 4 Some accuracy of pitch and rhythm – no other markings. 5 - 6 Pitch and rhythm correct – or some other markings but P and R errors. 7 - 8 Reasonable accuracy of pitch and rhythm, with some additional elements. 9 - 10 Good accuracy; range of additional elements, but lacks musicality. 11 – 12 Score detail makes musical sense – lacking or excessive in some sections. 13 – 14 Musical application of the full range of score detail. 15 Excellent musical detail. Scores must state the instrument, and contain musical articulation, dynamics, phrasing and tempo for 13+

Use of ICT Number of layers / tracks, including, where appropriate, a drum track (are these loops or samples, or original compositions). Use of texture. Appropriate timbres. Addition of appropriate effects (panning; reverb, etc) – may require headphones. Quantisation. Synchronisation between tracks. Balance of final mix. Editing of note velocities to create phrase shapes.

Melodic Phrase The success of the harmonisation and texture of the set stimulus forms the main basis of the assessment. Successful extensions may raise the mark by a further level. (up to 4 marks). no second part Level 1 parts not related Level 2 occasionally harmonic successful Level 3 simple harmony (mainly successful). Note for note texture Level 4 simple harmony that works - some variety between parts Level 5 consistently balanced and musical Level 6 + imaginative

To get more than 12 for responding: must have mood + event. Sequence of Events These criteria are used to assess the quality of the relationship to the stimulus. To get more than 12 for responding: must have mood + event. Level 1 No relationship to mood. Level 2 Some relationship to mood. Level 3 Basic effects. Level 4 Some success. Level 5 Effective and consistent. Level 6 Successful and imaginative.