GCE AS

Music
Summer 2006

Mark Schemes
Issued: October 2006
NORTHERN IRELAND GENERAL CERTIFICATE OF SECONDARY EDUCATION (GCSE)
AND NORTHERN IRELAND GENERAL CERTIFICATE OF EDUCATION (GCE)
MARK SCHEMES (2006)
Foreword

Introduction

Mark Schemes are published to assist teachers and students in their preparation for
examinations. Through the mark schemes teachers and students will be able to see what
examiners are looking for in response to questions and exactly where the marks have been
awarded. The publishing of the mark schemes may help to show that examiners are not
concerned about finding out what a student does not know but rather with rewarding students
for what they do know.

The Purpose of Mark Schemes

Examination papers are set and revised by teams of examiners and revisers appointed by the
Council. The teams of examiners and revisers include experienced teachers who are familiar
with the level and standards expected of 16- and 18-year-old students in schools and colleges.
The job of the examiners is to set the questions and the mark schemes; and the job of the
revisers is to review the questions and mark schemes commenting on a large range of issues
about which they must be satisfied before the question papers and mark schemes are finalised.

The questions and the mark schemes are developed in association with each other so that the
issues of differentiation and positive achievement can be addressed right from the start. Mark
schemes therefore are regarded as a part of an integral process which begins with the setting
of questions and ends with the marking of the examination.

The main purpose of the mark scheme is to provide a uniform basis for the marking process
so that all the markers are following exactly the same instructions and making the same
judgements in so far as this is possible. Before marking begins a standardising meeting is held
where all the markers are briefed using the mark scheme and samples of the students’ work in
the form of scripts. Consideration is also given at this stage to any comments on the
operational papers received from teachers and their organisations. During this meeting, and
up to and including the end of the marking, there is provision for amendments to be made to
the mark scheme. What is published represents this final form of the mark scheme.

It is important to recognise that in some cases there may well be other correct responses which
are equally acceptable to those published: the mark scheme can only cover those responses
which emerged in the examination. There may also be instances where certain judgements
may have to be left to the experience of the examiner, for example, where there is no absolute
correct response – all teachers will be familiar with making such judgements.

The Council hopes that the mark schemes will be viewed and used in a constructive way as a
further support to the teaching and learning processes.

iii
CONTENTS

Page

AS 1: Part 1 1

AS 3: Part 2 11

v
 ADVANCED SUBSIDIARY (AS)
General Certificate of Education
2006

Music
Assessment Unit AS 3: Part 1
Test of Aural Perception
assessing
Module 1: Making and Responding
to Music with Understanding
[ASP31]
MONDAY 5 JUNE, MORNING

MARK
SCHEME

ASU31S6P ASP31S

1
 Music AVAILABLE
MARKS

Assessment Unit AS 3: Part 1 Test of Aural Perception

assessing

Module 1: Making and Responding to Music with Understanding

Mark Scheme

1 Corelli, Concerto Grosso Op. 6 No. 8, third movement, bars 77–83

[1] each for any six of the following points:

• Division of players into two groups (concertino [12]; ripieno/string orchestra [12])
• harpischord/continuo [12]
• Polyphonic texture
– General doubling of parts (duplication of concertino parts by ripieno)…
– Although solo/concertino cello part is a little more difficult
• Major key [12], E major [1]
• Adagio/slow speed [12]
• Calm etc. mood [12]
• Use of suspensions/appropriate reference to dissonance
• (Coda section) includes imitative textures
– Bass line uses falling scale
– Final perfect cadence
– Homophonic texture at end of extract
– Ritardando at end [12]
• accurate reference to melodic content
• 4 [ 1] [6] 6
4 2

2 Mozart, Horn Concerto No. 3 in E flat, K447, first movement,

bars 143–cadenza

[1] each for any six of the following points:

• Plays (first part of) Theme 2
• Holds pedal note (long/held note [12])
• Echoes orchestral material (second part of Theme 2)/shares thematic ideas
with orchestra/dialogue with orchestra [12] – context and details provided [1]
• (Falling) dominant seventh figure; accurate reference to melodic detail in
context
• Ends melodic idea triplet passage with a trill (trill [12])
• Triplet passage [12]
• Horn is silent in bars immediately preceding cadenza
• Begins cadenza [1]; improvised [12]
• Opening idea echoes melodic material from within the movement
(Theme 2)
• Virtuosic qualities [12]
• Natural horn
• Handstopping
• Uses the full range of the horn [6] 6

ASU31S6P 2
3 Beethoven, Piano Concerto No. 5 in E flat, third movement, bars 340–378 AVAILABLE
MARKS

[1] each for any six of the following points:

• Initial statement of rondo theme
– By full orchestra [12]
– In alternation with solo piano
– In two-bar sections
– In A flat major
• Link passage on strings
• New statement of rondo theme
– By full orchestra [12]
– In (repeated) semiquavers (not tremolo)
– In E flat major
– Timpani prominent; timpani [12]
– Brass chords [12]
• Solo bassoon melody; bassoon [12]
• Horn pedal (during passage for solo piano); horn [12]
• String accompaniment to solo piano
– Pizzicato (lower) strings
• Wind take over accompaniment/echo strings [6] 6

4 Mendelssohn, Violin Concerto in E minor, second movement, bars 589–614

(a) Ternary [1]

(b) [1] each for any six of the following points:

• General intensity of expression
• Use of full orchestra (though not particularly large for the Romantic
period)
• Detailed comment on nature of dynamics
• Harmonic style
– Use of diminished chords
– Chromaticism
• Lyrical/passionate melodic style
– Extended melodic lines
• Doubling of melody
• Virtuosic nature of solo violin part
– E.g. combination of melodic line and demisemiquaver
accompaniment; (double stopping)
– Use of high notes (e.g. high C in bar 614)
• Performance features, e.g. use of vibrato, “sliding” effect [6] 7

ASU31S6P 3
5 Handel, Minuet from The Water Music, Suite No. 2 in G, bars 1–28 AVAILABLE
MARKS

(a) [3]

(b) D major/dominant; perfect [2]

(c) Melody played by flute [1]

(d) Trill [1]

(e) [1] each for any two of the following points:

• Bass line rises in steps
• Homophonic texture [12]
• Modulation/changes key [12] back to tonic; subdominant
• Sequence [12] of four bars, rising sequence [1]
• Flute/violin play together
• Detailed comment on melodic material
• Trill [12]
• Opening theme is developed [12] [2]

(f) (i) Baroque [1]

(ii) Use of harpsichord/continuo; style of ornamentation [1] 11

6 ˇ
Dvovrák, The Noon Witch, bars 293–351

(a) [1] each for any eight of the following points:

• Slow opening passage; sustained first note; initial semitone drop;
contrasting registers
• Low clarinet [12] melody
• Bass clarinet [12] plays bass line
• Violins/upper strings play tremolo
• Brass [12] chordal/impassioned passage
• Brass alternate with woodwind/strings
• Melody doubled in octaves
• Strong/impassioned melody
• Rising pitch/rising sequence; sequence [12]
• Timpani [12] rolls
• Use of full orchestra
• Change of mood to more lively section; increasing tempo [12]
• Pizzicato strings
• Lively woodwind passages
• Use of triangle [12]
• Entry of lower woodwind and strings
• Use of repetition [12]
• Changes of speed/rubato; changes of metre
• Dynamic contrast/use of crescendo and diminuendo

ASU31S6P 4
 • Textural contrast/gradual build up of instruments AVAILABLE
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• Minor key [12]
• Chromaticism
• Modulation [12]
• Trills/ornamentation [12] [8]

(b) (i) Romantic [1]

(ii) Use of full/large symphony orchestra; use of dynamics; nature of

melody [1] 10

ASU31S6P 5
7 Ebb/Kander, Mister Cellophane from Chicago, final sections AVAILABLE
MARKS

(a) (i) minor [1]

(ii) major [1]

(b) [1] each for any five of the following points:

• Key change
• Piano tremolo; high piano
1
• Swing rhythm/syncopation; jazz-style [2]; accented off-beats
• Brushed cymbals; drumkit [12]
• Tuba bass line; root-fifth pattern
• Trumpet/trombone [12] countermelodies; Dixie pastiche; effects, e.g.
glissandi, “dirty” notes
• Singing style
• Slower tempo [12]; speeds up [12]
1
• Increased dynamic [2] [5]

(c) [1] each for any six of the following points:

• “Never” and “even” sung separated
– Chords by the band punctuate them
• “Know” sung sustained/as a long note
– Supported by a drum roll
– Band’s chord finishes before singer’s note
• “I’m there” sung more simply
– In minor key
• Violin plays melody (minor-key version of [chorus] tune)
– Addition of glockenspiel/triangle
– Inner part on clarinet/saxophone
• Line 13 spoken
• Final low note (tonic)
• Slows down [12]
1
• Big band style [2] [6]

(d) Musical [1] 14

Total 60

ASU31S6P 6
 Music

Assessment Unit AS 3: Part 1

Test of Aural Perception

assessing

Module 1: Making and Responding

to Music with Understanding

Transcript

This is the Northern Ireland Council for the Curriculum, Examinations and Assessment
General Certificate of Education, Advanced Subsidiary Level Music June 2006
Assessment Unit AS 3 Part 1, Test of Aural Perception.

1 Now look at Question 1.

Pause 15 seconds

Here is the music for Question 1. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds

2 Now look at Question 2.

Pause 15 seconds

Here is the music for Question 2. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds
ASU31S6P 7
3 Now look at Question 3.

Pause 15 seconds

Here is the music for Question 3. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time

Pause 40 seconds

4 Now look at Question 4.

Pause 15 seconds

Here is the music for Question 4. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds

ASU31S6P 8
5 Now look at Question 5.

Pause 30 seconds

Here is the music for Question 5. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds

6 Now look at Question 6.

Pause 30 seconds

Here is the music for Question 6. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and last time.

Pause 40 seconds

ASU31S6P 9
7 Now look at Question 7.

Pause 30 seconds

Here is the music for Question 7. You will hear the extract three times with pauses between
hearings.

Here is the extract for the first time.

Pause 30 seconds

Here is the extract for the second time.

Pause 30 seconds

Here is the extract for the third and final time, after which you will be allowed five minutes to check
your answers before the examination ends.

Pause 5 minutes

This is the end of the recording.

ASU31S6P 10
 ADVANCED SUBSIDIARY (AS)
General Certificate of Education
2006

Music
Assessment Unit AS 3: Part 2
Written Examination
assessing
Module 1: Making and Responding
to Music with Understanding
[ASP32]
MONDAY 5 JUNE, AFTERNOON

MARK
SCHEME

ASP32S6P ASP32S

11
 Music AVAILABLE
MARKS

Assessment Unit AS 3: Part 2 Written Examination

assessing

Module 1: Making and Responding to Music with Understanding

Mark Scheme

CONTEXT FOR MARKING

Each answer should be marked out of 30 marks distributed between the two criteria as
follows:

Criterion 1 – content focused

knowledge and understanding of the area of study applied to the context of the
question (27 marks); and

Criterion 2 – quality of written communication

structure and presentation of ideas, including quality of language and appropriate

musical vocabulary (3 marks).

The criteria have been set out in a way which will not discriminate against candidates
who may have a high level of musical knowledge and understanding, but whose
essay-writing skills may be of a lesser standard.

MARKING PROCESS

Knowledge and Understanding of the Area of Study Applied to the

Context of the Question

Marks should be awarded according to the mark bands stated below.

Marks

[1]–[6] An answer which is limited by insufficient breadth of knowledge. The

answer may contain irrelevant or incorrect detail in relation to the
question.

[7]–[13] An answer which displays some breadth, but limited depth of knowledge
and understanding of the area of study. There is some attempt to relate
the content of the answer to the context of the question.

[14]–[20] An answer which displays breadth and some depth of knowledge and
understanding of the area of study and ability to include some musical
examples to support and exemplify comments. The content of the
answer will generally be related to the demands of the question.

ASP32S6P 12
[21]–[27] An answer which displays a competent grasp of the area of study in terms AVAILABLE
MARKS
of both breadth and depth. There will be evidence of the candidate’s
ability to relate the music to its historical, social and/or cultural context
and to provide appropriate musical examples to support points made
or positions taken. Knowledge and understanding will be applied to
and set within the context of the question.

Marks should be awarded also for the candidate’s ability to communicate effectively in
written format. Each answer should be awarded up to three marks according
to the following criterion:

Structure and Presentation of Ideas, Including Quality of Language and

Appropriate Musical Vocabulary

Marks should be awarded according to the mark bands stated below

Marks

[1] There is little evidence of attention paid to structure and presentation of

ideas or to the quality of language, including spelling, punctuation,
grammar or the use of appropriate musical vocabulary. Alternatively,
there may be inconsistency within and/or across any of the areas.

[2] Ideas and/or arguments are expressed clearly and with correct use of
spelling, punctuation, grammar and appropriate musical vocabulary.
The answer may not be wholly satisfactory in terms of structure and/or
presentation.

[3] Comments, ideas and arguments will be well-structured and presented.

The standard of English will be good and include an appropriate and
accurate musical vocabulary.

ASP32S6P 13
 (Answer one question) AVAILABLE
MARKS

Compulsory area of study: The Concerto (approximately 1700–1897)

1 (a) Outline the contribution of one of the following composers to the concerto
tradition. Illustrate your answer by commenting on works you have studied.

Haydn Mozart Beethoven

Answers may comment on:

Haydn
Output
• Surviving solo concertos include three for violin, one for cello, one for
flute, one for trumpet, two for horn, two for keyboard, eight for organ
and five for organ lyre
• Composed one concerto for two horn soloists and one for violin and
keyboard soloists
Form and style
• Haydn’s early concertos are conservative in form and style, showing the
influence of C.P.E. Bach
• The later trumpet concerto is much closer in form and style to the work
of Mozart

Mozart
• The most important late eighteenth-century composer of concertos
Output
• Surviving concertos include five for violin, two for flute, one each for
oboe, clarinet and bassoon, four for horn and 23 for keyboard
• Keyboard concertos include one for two pianos and two for three
pianos
• Composed one concerto for flute and harp, along with concerto-type
works for two violins and for violin and viola
• Composed piano concertos to be performed by himself and by his
pupils; composed other works for leading performers of his day, e.g. the
clarinet concerto for Stadler and the horn concertos for Leutgeb
Form
• Continued to use the three-movement fast-slow-fast pattern established
in the Baroque period
• Developed and established a new first-movement form, influenced both
by Baroque ritornello form and by the more contemporary sonata form
(may be described as double-exposition sonata form)
• Composed aria-like slow movements using a range of forms, e.g.
romances, complex binary forms, rondos
• Third movements usually in sonata rondo form; sometimes variations
or sonata forms
• Mozart’s treatment of form was far from static: it developed throughout
his composing career, and while all his concertos adhere to these basic
structural principles, no two are exactly alike

ASP32S6P 14
 Style AVAILABLE
MARKS
• Aspects of the concertos are related to operatic style, e.g. the nature of
the melodic material and ornamental passages
• His writing for solo instruments is idiomatic and expressive
• Mozart contributed significantly to the development of keyboard
figuration, e.g. using a wider range of the keyboard and providing a
greater variety of left hand textures
• He developed a more complex relationship between soloist and
orchestra, especially in the later concertos
• Wind instruments have a more prominent and important role in these
works

Beethoven
Output
• Composed five piano concertos, one violin concerto and the Triple
Concerto, for violin, cello and piano soloists
• His piano concertos were primarily vehicles for his own virtuoso
keyboard skills
Form
• Beethoven retained the three-movement pattern used by Mozart and
earlier composers
• He based his first-movement form on that developed by Mozart, but
introduced some innovations, e.g. passages for the soloist at the starts
of the fourth and fifth piano concertos, although these continue in
standard first-movement form (there are precedents for this in the work
of C.P.E. Bach and in Mozart’s K271)
• Second movements generally show the greatest formal range and
originality
• Third movements use rondo forms
• In three concertos, the second and third movement are linked (a
common practice of the time in a range of instrumental forms)
Style
• Beethoven used adventurous tonal schemes
• His concertos became increasingly symphonic, in terms, for instance, of
orchestral writing and of thematic and motivic development
• The solo parts are highly virtuosic, but bravura passages often include
thematic development
• His orchestras, larger than Mozart’s, generally include double
woodwind, horns, trumpets, timpani and strings
• Soloist and orchestra are accorded equal status, as shown in the
relationship and sense of dialogue between the two [27]

Quality of written communication [3]

ASP32S6P 15
 or AVAILABLE
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(b) Choose and comment on three works composed during the period
1700–1897 which illustrate unchanging characteristics of the concerto.

Answers may refer to:

Contrast between soloist(s) and orchestra

• E.g. contrast between concertino and ripieno textures in Corelli’s
concerti grossi, or more dramatic contrast between soloist and orchestra
in Romantic concertos such as Tchaikovsky’s first Piano Concerto
Dialogue between soloist(s) and orchestra
• E.g. exchange of thematic material between soloist and orchestra in
Mozart’s concertos
Element of display
• Considerable level of virtuosity generally demanded of soloist(s),
although this tended to increase during the course of the period
• Cadenza as a vehicle for solo display, e.g.:
– Improvised cadenza of Classical period
– Notated Romantic cadenzas
– Concertos with frequent cadenza-like passages throughout
(e.g. Liszt’s second Piano Concerto)
• Concerto has always been an important part of repertoire for virtuoso
players
• Role of performers in advising concerto composers on matters of
technique
Form and structure
• Three-movement fast-slow-fast structure remained popular from the
Baroque period onwards, although some composers have varied this,
particularly in the Romantic period
• Use of ritornello and sonata forms for fast movements
• Binary, ternary and other frequently-used forms [27]

Quality of written communication [3] 30

ASP32S6P 16
 AVAILABLE
MARKS
(Answer one question)

Optional area of study: Oratorio

2 (a) Identify the main features of the chorus throughout the history of the
oratorio. Illustrate your answer with examples from works you have studied.

Answer may refer to:

Constitution of the chorus

• An ensemble of soloists in early works, e.g. by Carissimi
• Generally a full SATB choir
• Number of parts, including double and triple choruses
• Divisions of the chorus (e.g. semi-chorus of Angels and chorus of Souls
in Elgar’s The Dream of Gerontius)
Roles of the chorus (often changing within a work)
• As narrator, or to comment on dramatic action (e.g. “The heavens are
telling” in Haydn’s The Creation)
• As participants in dramatic action (e.g. “Baal, we cry to thee” in
Mendelssohn’s Elijah)
• Structural function of choruses in defining sections of an oratorio
Music for chorus
• Examples of striking or effective choruses
• Textural contrasts in choral writing (e.g. homophonic writing, use of
imitation, antiphonal style and fugal passages in the choruses of
Handel)
• Examples of word-painting and other ways in which composers have
illustrated the meaning of their texts
• Musical style (e.g. use of chorales in Bach’s Christmas Oratorio;
appropriation of spiritual styles for a similar structural purpose in the
choruses of Tippett’s A Child of our Time) [27]

Quality of written communication [3]

or

(b) Choose two oratorios based on Biblical events. Comment on ways in which
the music of each oratorio conveys its subject matter.

Answers may comment on works such as:

J.S. Bach: St Matthew Passion etc.

Schütz: Christmas Oratorio
Handel: Esther, Saul, Israel in Egypt, Messiah etc.
Haydn: The Creation
Mendelssohn: St Paul, Elijah
Berlioz: L’enfance du Christ
Walton: Belshazzar’s Feast

ASP32S6P 17
 AVAILABLE
MARKS
Answers may refer to:

Nature of oratorio
• As an unstaged genre, the “story” is communicated entirely by the
music, in comparison to opera, where elements of staging, costume and
acting are also available
Structure
• Division of an oratorio into a number of sections, each telling part of
the story (e.g. the three parts of Handel’s Messiah)
• Use of recitative, aria, ensemble and chorus to further the action (e.g.
recitatives in Bach’s St Matthew Passion)
• Use of choral movements to comment on the action (e.g. “Achieved is
the glorious work” in Haydn’s The Creation)
Characterisation
• Use of soloists for important dramatic roles (e.g. in Mendelssohn’s
Elijah)
• Use of the chorus to represent groups of characters in the action (e.g. as
Persian officers in Handel’s Esther)
Musical representation of the drama
• Use of instrumental movements or passages to create atmosphere or set
a scene (e.g. “The repose of the Holy Family” in Berlioz’s L’enfance du
Christ)
• Word-painting
• Musical symbolism (e.g. use of instrumental colour in Walton’s
Belshazzar’s Feast)
• Use of musical intensity or contrasts to convey dramatic action (e.g.
“Be not afraid”, “The Lord hath exalted thee” and “Woe to him” in
Elijah) [27]

Quality of written communication [3] 30

Optional area of study: The Evolution of Jazz (approximately 1890–1929)

3 (a) Comment on jazz styles in New York during the period 1890–1929. Illustrate
your answer by referring to specific recordings.

Answers may refer to:

Piano styles
• Harlem stride piano (e.g. James P. Johnson’s Carolina Shout)
– Steady left hand in octaves/tenths and chords; melodic or chordal
right hand
• Early boogie-woogie
– Repetitive left hand patterns in (generally uneven) quavers;
blues-style improvisation in right hand
Small group jazz
• Blues and blues-influenced pieces (e.g. Jail-House Blues, Graveyard
Dream Blues, Weeping Willow Blues, St Louis Blues, Careless Love
Blues, Backwater Blues etc., performed by Bessie Smith and
instrumentalists)

ASP32S6P 18
 Larger groups AVAILABLE
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• Early big-band jazz (e.g. Hop Off etc. by the Fletcher Henderson
Orchestra, East St Louis Toodle-oo, Black and Tan Fantasy, Take it Easy,
The Mooche etc. by Duke Ellington)
– Importance of written band arrangements
– Influence of “educated” musicians such as Paul Whiteman, Duke
Ellington, Fletcher Henderson and Don Redman
• Early examples of jazz in concert music (e.g. some Duke Ellington
pieces at the Cotton Club)
Other influences
• Visits or removal to New York of musicians such as Louis Armstrong
• Influence of European styles
• Influence of the popular song
• New York’s economic significance as the centre of the recording,
publishing and entertainment industries [27]

Quality of written communication [3]

or

(b) Comment on aspects of group performance in jazz of the period up to 1929.

Illustrate your answer by referring to specific recordings.

Answers may refer to:

Group line-up and instrumental roles

• New Orleans-style bands with:
– Rhythm section: banjo or guitar, drums, double bass or tuba,
sometimes piano; and:
– Front line: cornet (took the lead with the tune), clarinet (added
decorative line), trombone (filled in harmony and interjected
melodies)
• Developments:
– Addition of second cornet, used for answering phrases and
harmonies
– Trumpet used increasingly rather than cornet
– Increasing use of saxophone (late 1920s), sometimes to replace
trombone
– Addition of extra reed instruments
– String bass taking over from tuba
• Big bands of ten or more players
– The Fletcher Henderson Orchestra (e.g. three trumpets, two
trombones, three clarinets/saxes, piano, banjo, tuba, drums);
scoring makes use of two “choirs”, reeds and brass
– Duke Ellington’s Washingtonians (e.g. two trumpets, trombone,
three clarinets/saxes, piano, banjo, tuba, drums)
Group improvisation
• New Orleans style, with clearly defined roles and pitch levels
• Later, freer styles
Ensembles as part of overall structure; contrast with solos
Groups accompanying soloists [27]

Quality of written communication [3] 30

ASP32S6P 19
 Optional area of study: Folk Traditions of Ireland and Scotland AVAILABLE
MARKS

4 (a) Choose one of the following groups and comment on the contribution made
by their music to the folk tradition of Ireland. Illustrate your answer by
referring to specific examples.

Altan The Chieftains Planxty

Answers may refer to:

• Instruments/voices used
• Stylistic characteristics
• Influences on the group
• Significance of the group
• Important albums or pieces

Answers may comment on:

Altan
• Founded by Mairéad Ní Mhaonaigh (fiddle; from Gweedore in the
Donegal Gaeltacht) and Frankie Kennedy (flute; from Andersonstown
in West Belfast)
• Influenced by Irish song, the Scottish-influenced dance music of
Donegal and Cape Breton folk music
• Band’s style characterised by effervescence and fluidity
• Other players have included Ciarán Curran (cittern, bouzouki), Mark
Kelly (guitar), Áine Ní Mhaonaigh (vocals), Paul O’Shaughnessy (fiddle),
Ciarán Tourish (fiddle), Dáithí Sproule (guitar), Dermot Byrne (button
accordion)
• Albums include Altan, Horse with a Heart, The Red Crow, Harvest
Storm, Island Angel, Blackwater, Runaway Sunday, Another Sky
• Memorable performances include the Rathlin Island wedding song
Dónal agus Morag, Drowsy Maggie, Tommy Peoples, Dúlamán

The Chieftains
• Hugely important in popularising Irish traditional music around the
world and in pioneering musical methods and approaches
• Pioneered bold fusion experiments, experimenting with Manx, Breton,
Chinese and Galician traditional music
• Worked with musicians from other musical fields (e.g. Van Morrison,
James Galway, the Rolling Stones, Bonnie Raitt)
• Original line-up of Paddy Moloney (uilleann pipes, tin whistle), Martin
Fay (fiddle), Séan Potts (tin whistle), Michael Tubridy (flute, concertina),
Davey Fallon (bodhrán) first recorded together in 1963
• Other players have included Seán Keane (fiddle), Peadar Mercier
(bodhrán), Derek Bell (harp), Matt Molloy (flute)
• Albums include The Chieftains, Chieftains 2–10, The Chieftains in
China, A Celtic Wedding, Irish Heartbeat (with Van Morrison), The Long
Black Veil, Santiago, Tears of Stone, Water from the Well

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MARKS
• Established in 1972 by Andy Irvine (mandolin, vocals), Dónal Lunny
(bouzouki), Christy Moore (vocals), Liam O’Flynn (uilleann pipes)
• Other players and guests have included Johnny Moynihan, Paul Brady,
Matt Molloy, Nollaig Casey, James Kelly, Noel Hill, Tony Linnane,
Bill Whelan
• Music characterised by ensemble deployment of instruments, intricate,
multi-layered accompaniments and smooth segues from song to song
• Used innovative blends of instruments, also using guitar, bodhrán,
whistle and synthesizer
• Band members from a variety of musical backgrounds
• Albums include Planxty, The Well Below the Valley, Cold Blow and the
Rainy Night, After the Break, The Woman I Loved So Well, Words and
Music
• Memorable performances include The West Coast of Clare, As I Roved
Out, The Jolly Beggar, The Lakes of Ponchartrain [27]

Quality of written communication [3]

or

(b) Comment on the main characteristics of instrumental music in the Irish or

Scottish folk tradition. Illustrate your answer by referring to specific examples.

Answers may refer to:

Ireland
Instruments used
• E.g. fiddle, flute, whistles, uilleann pipes, accordion, concertina,
bodhrán, bouzouki, harp etc.
Repertoire
• Dance tunes, e.g. jigs, reels, hornpipes, polkas, slides etc.
• Slow airs
• Oral tradition
Musical characteristics
• Use of modes (Ionian, Mixolydian, Dorian and then Aeolian are most
frequently used)
• Popular keys (with one or two sharps)
• Common metres and rhythm patterns for dance tunes
Dance music structures
– Generally two parts of equal length (eight bars for most dance
types)
– Lower pitched “tune” followed by higher pitched “turn”
– Each part usually played twice, often with variation
Performance practice
• Ornamentation
• Use of rubato in slow airs
• Performance in sessions

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MARKS
Bagpipe tradition
• Piobaireachd or ceól mór repertoire of laments, salutes, gathering
tunes etc.,
• Ceól beag repertoire of marches, strathspeys, reels, jigs, hornpipes etc.
Fiddle tradition
• Repertoire of dance tunes and slower tunes
Harp tradition
• Repertoire of fiddle and pipe melodies
• Reconstruction of ancient harp repertoire
Ensemble music
• Country bands (e.g. accordion, fiddle, piano, bass, drums)
• More contemporary groups (e.g. bagpipes, fiddle, amplified or
rock-style instruments)
Musical characteristics
• Use of modes, e.g. pentatonic and hexatonic, and double-tonic tunes
• Rhythmic effects, e.g. dotted rhythms and Scotch snap
• Common metres and rhythm patterns for dance tunes
• Dance music structures
– Generally two parts of equal length (eight bars for most dance types)
– Lower pitched ‘tune’ followed by higher pitched ‘turn’
– Each part usually played twice, often with variation
Performance practice
• Ornamentation
• Performance in folk clubs, at sessions and céilidhs [27]

Quality of written communication [3] 30

Total 60

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