Pwyll ap Siôn (Composing) is Professor of Music at Bangor University. A composer and musicologist, his music has been performed by BBC National Orchestra of Wales and Welsh National Opera. He has published books on Michael Nyman and Steve Reich, writes regularly for Gramophone magazine, and has served as examiner for WJEC composition at AS and A level.

Adrian Colborne (AOS C: Musical Theatre) is head of performing arts at Cowbridge comprehensive school and has worked as an examiner for WJEC for ten years. He currently sets questions for the new AS and A Level specifications for Eduqas and WJEC, areas of study B, C and D.

Paula Gardiner (AOS D: Jazz) originally trained as a classical guitarist. She calls herself ‘the accidental bassist’ despite becoming one of Wales’ best known jazz musicians as composer and double bassist. She specialises in composing jazz scores for drama, including theatre, radio and film. Paula is Head of Jazz at The Royal Welsh College of Music and Drama.

Alun Guy (Examiner tips: Performing) has spent his professional music career since graduating from Cardiff University teaching, examining and traversing the world as a conductor and an adjudicator.

Dr Tom Pankhurst (AOS E: Into the 20th Century) is Head of Music at King Edward VI, Stourbridge. His specialisms are in analysis and twentieth century music. He has published an undergraduate text book on Schenkerian analysis which, like his websites on Schenker and Bach Chorales, are widely used in the UK and abroad.

Eric Phillips (Performing) is Head of Music at Whitchurch High School, Cardiff and Principal Examiner for AS and A level performing for WJEC and Eduqas. Eric was awarded an MBE for services to music and education in the 2013 Queen’s Birthday Honours.

James Reevell (AOS B: Rock & Pop) is a Subject Leader for Visual and Creative Arts teaching Music and Music Technology in a sixth form college in the North West of England. He studied Music at the University of Durham and is an experienced examiner, running regular nationwide A level training events and specialising in Popular Music and Music Technology.

Peter Reynolds (AOS F: Into the 21st Century) founded the contemporary music ensemble ‘PM’ and composed the shortest opera on Earth, Sands of Time; a 3 minute 34 second-long piece. He studied and lived in Cardiff and was the artistic director of the Lower Machen Festival in Monmouthshire from 1998 to 2009. Passing away in October 2016, he will be remembered for his composition and his writings and programme notes about contemporary music.

Jan Richards (AOS A: The Western Classical Tradition) has taught across Cardiff and the Vale of Glamorgan in three secondary schools and a sixth form college, working for 35 years as a Head of Performing Arts. An author of teacher resources from KS3-5, she has also been involved in developing the new specifications for GCSE and AS/A Level (WJEC and Eduqas). She is currently the principal examiner for composition at both GCSE and A level, and has recently published a text book for GCSE Music.

Congratulations! You have chosen to study a really exciting and rewarding subject for AS and/or A Level, and the long-term benefits you’ll gain from what you learn are enormous.

Whether you plan to go on and study music further, at university or a conservatoire, or to become a professional musician – a composer, performer, conductor or teacher, or simply to enjoy music as a hobby alongside another professional life, what you learn on this course will give you a broad but also detailed understanding of this extremely rewarding and enjoyable subject. The course will introduce you to music from different periods of history and different genres, and you will learn how those things fit together, where influences can be found from composer to composer, and what the structural elements are that go to make up Western music, both classical and other popular forms.

Music AS and A Level are not entirely or even mostly practical: there are significant written exams worth 40% in both courses. The written exam is called Component 3: Appraising, and the majority of this book is aimed at helping to prepare you for it, beginning on here.

Although this book takes you through all the parts of your course, your teacher will be your main guide: it is also important to note that where there are set works to study, we have not in great detail explored them here. This is because extensive notes on the set works are available on the Eduqas website, written in some cases by the same writers who have written the chapters of this book. Go to www.eduqas.co.uk/qualifications/music/as-a-level/ and choose ‘Digital Resources’ to find them.

How is the course structured?

There are several ways to take this course: you may be planning to take only the AS (Advanced Subsidiary) Level, in one year; you may be planning to take the AS in year 12 followed by the A Level in year 13, or you may plan to do the two-year ‘linear’ A Level which spreads out your study and cuts out the AS altogether.

This book caters for all of those options, and navigating it is easy. Since the A Level course consists of extensions on information already learned for the AS Level, all students should read the AS sections of this book – they form the foundation of the vast majority of your course. Pages or sections of pages which apply only to A Level students and constitute extensions to the information learnt at AS are marked ‘A Level extension’ and coloured purple.

At the end of each chapter in Component 3, there are practice exam questions. These pages are marked out with coloured backgrounds according to whether they are for AS Level (blue), or A Level (purple). You will find the answers from here.

The AS Level course is divided into three components.

Component 1: Performing accounts for 30% of your AS Level and is assessed by a visiting examiner.

Component 2: Composing accounts for 30% of your AS Level and is externally assessed by the exam board.

Component 3: Appraising accounts for 40% of your AS Level. It is a written exam lasting 1 hour and 30 minutes and is divided into two parts:

1. 1.  Area of Study A: The Western Classical Tradition – this is a compulsory area of study and focuses on the development of the symphony from 1750-1830. You will choose one set work from a choice of two for detailed analysis.
2. 2.  Area of Study B, C or D – You will choose only one of these areas of study, they are Rock & Pop, Musical Theatre and Jazz.

The A Level course is divided into three components.

Components 1: Performing, and Component 2: Composing, add up to a total of 60% of your final A Level grade, but you can choose whether you would like to do more performing or more composing.

If you choose Option A:

• Performing will be worth 35% – and your performances will last a total of 10-12 minutes.
• Composing will be worth 25% – and your compositions will last a total of 4-6 minutes.

If you choose Option B:

• Performing will be worth 25% – and your performances will last a total of 6-8 minutes.
• Composing will be worth 35% – and your compositions will last a total of 8-10 minutes.

Choose your options based on what you are best at, and what you most enjoy. Your teacher will also help you to decide.

Component 3: Appraising accounts for 40% of your A Level. It is a written exam lasting 2 hours and 15 minutes and is divided into three parts:

1. 1.  Area of Study A: The Western Classical Tradition – this is a compulsory area of study and focuses on the development of the symphony from 1750-1900. You will choose one set work for detailed analysis, and one for general study.
2. 2.  Area of Study B, C or D – You will choose only one of these areas of study, they are Rock & Pop, Musical Theatre and Jazz.
3. 3.  Area of Study E or F – You will choose only one of these areas of study, they are based on periods of musical history: Into the Twentieth Century, and Into the Twenty-first Century. Each area of study includes two set works.

How am I marked?

Your final, overall mark for the AS and/or A Level will be a grade from A*-E, with A* being the best available grade. Although GCSE grades are now numbered from 9-1, A Levels still have lettered grades.

For each component, your teacher or an external examiner will mark your work according to how well you have met certain ‘Assessment Objectives’, often shortened to ‘AOs’.

They will look at how you:

Not all AOs apply to each component: AO1 cannot be used in the written exams of Component 3, for example, because there is no performance involved, while AO2 applies only to Component 2: Composing. Don’t worry, your teacher will ensure that you are working towards meeting these objectives throughout your course.

Using this book to help with your course

Because there are options along the way for both AS and A Level, there will be whole chapters of this book which don’t apply to you. You are of course welcome to read them to enhance your more general understanding of music, but they won’t help you directly in the exam, so focus on the sections which you are studying.

All students should read the chapters on Performing (here), Composing (here), and Component 3, Area of Study A: The Western Classical Tradition (here). If you are working towards your AS Level, there will then be one further chapter for you to study, and if you are doing the A Level, there will be two.

It is essential, however, that within each area of study you also research and study beyond the information provided in this book. This is designed as an introduction but you must read and listen around the subject as your teacher advises too.

To do well in your course, you can never listen to and analyse too many pieces of music for practice.

Throughout this book, you will find green words like these, which indicate that a full explanation of their meaning is given in the glossary from here). It is very important to become familiar with these technical terms and to use them when you are writing your exam answers.

There is lots of work to do, but music is an incredibly rewarding subject, so don’t forget to enjoy it!

Here is a breakdown of how Component 1: Performing fits in to your course at AS and at A Level. At A Level, as you can see, you can choose to weight your assessment more heavily in favour of performing or composing, depending on where your greater interest and skills lie.

Performing at AS Level

At AS Level, performing and composing are both worth 30% of the examination. You will be required to perform a minimum of two pieces for 6 to 8 minutes at Grade 5 standard. However, you DO have a choice as to whether you perform as a soloist or as a member of an ensemble, or a combination of both.

Performing at A Level

There are two options for Performing at A level:

• Option A means that your performing is worth 35%, and composing worth 25%. You will be required to perform a minimum of three pieces, for 10 to 12 minutes, at Grade 6 standard. For this option, one piece must be a solo. You may perform the other pieces as a soloist or as a member of an ensemble.
• With option B, 25% of your grade depends on your performing, and 35% on your composing. You will be required to perform a minimum of two pieces, for 6 to 8 minutes, at Grade 6 standard. In this option you may perform as a soloist or as a member of an ensemble, or a combination of both.

How will my performing be assessed?

A visiting examiner will come to assess your performance. During your performance, they will be looking and listening for:

• Accurate pitch and rhythm
• Use of an appropriate tempo
• Fluency – whether you are able to maintain the appropriate tempo throughout your piece, without hesitations and without stopping
• Other performance directions followed, e.g. dynamics, phrasing, expression markings
• Technique
• Good intonation
• Tone quality and projection of sound
• Expression and interpretation
• Empathy with other performers (in ensembles)
• Communication with the audience (i.e. the examiner).

Technique

In addition to the general points listed above, the examiner will also be looking out for more specific techniques which are linked with your particular instrument or with singing, such as:

Voice:

• Diction
• Articulation
• Breath control and support
• Vocal techniques including vibrato
• Be aware of projection and communication, do not rely too heavily on your music.

Bowed Strings:

• Bow control
• LH/RH co-ordination
• Dexterity
• Playing techniques e.g. vibrato.

Plucked Strings:

• LH/RH co-ordination
• Dexterity
• Playing techniques e.g. use of pedals.

Woodwind:

• Breath control, phrasing, articulation
• Dexterity
• Playing techniques e.g. double tonguing.

Brass:

• Breath control, phrasing, articulation
• Lip flexibility
• Playing techniques e.g. double tonguing.

There are many elements which combine to make a good performance

Piano:

• RH/LH co-ordination
• Balance between musical parts and touch
• Dexterity
• Playing techniques e.g. pedalling.

Electronic Keyboard/Organ:

• Use of a variety of voices, tones, or stops
• RH/LH co-ordination
• Dexterity
• Pedalling
• Manual and pedal co-ordination (where appropriate).

Percussion:

• Stick or mallet dexterity
• Control over a variety of instruments
• Damper or pedal control
• Playing techniques e.g. damping.

Drum Kit:

• Stick dexterity
• Hands and feet co-ordination
• Control over dynamics
• Playing techniques e.g. single or double strokes, flams, drags and so on.
• Be particularly aware of the need for contrast in your pieces, and remember that you are not allowed to use click-tracks.

Choosing music for your performance

• Choose music which will best demonstrate your ability and skills as a performer
• Choose music which has some contrast within it. Drummers and guitarists should be very careful to choose music which contains some dynamic contrast
• Don’t forget that one of your pieces must reflect the musical characteristics of one of the areas of study
• You may choose to perform one of your own compositions, but make sure that the piece you choose allows you to demonstrate your highest performing skills
• You may improvise, but if you choose to, you must perform an improvisation to a stimulus of your own choice, e.g. a chord sequence, or a scale; and a copy of the stimulus and a lead sheet must be provided for the examiner.

Think carefully about levels of difficulty for your pieces. Each piece is marked out of 36. If you perform a piece which is below the standard (the standard at AS level is Grade 5 and at A Level, Grade 6) – the maximum marks you can achieve will be lowered.

At AS level the maximum marks are:

There is an advantage in performing one grade above the required standard, e.g. playing Grade 6 pieces at AS or Grade 7 at A Level. A raw mark of 33/36 will actually achieve full marks, if your piece is above the required standard. However, don’t be over-ambitious in your choice of music. There is nothing to be gained by performing music which is Grade 8 or Diploma standard. You should only perform pieces of this standard if you have complete control, under examination conditions, of your performance.

Choosing what instrument to play

If you play an unusual or non-standard instrument – an instrument for which there is no graded music examination – your teacher should contact the exam board for advice well before the examination is due to take place.

You are not restricted to one instrument or voice but there is no advantage in performing on more than one instrument, so do not perform on a second instrument or sing unless the standard of your second instrument is as good as your first!

Solo or ensemble performances

You must perform a minimum of two pieces. Except in A Level option A, where one solo performance is compulsory, you can choose to perform as a soloist, as a member of an ensemble, or a combination of both.

Solo performance

A solo performance may be accompanied or unaccompanied but not conducted. The accompaniment can be live or on a backing track. When using a backing track, ensure that the balance between your instrument or voice and the backing track is correct, and agreeable to the examiner.

Ensemble performance

If you would like to perform as a member of an ensemble, give careful thought to your choice of music. Discuss this option with your teacher and instrumental or vocal tutor before you make your final choice of piece.

In an ensemble performance, you must perform a significant individual part. This must not be doubled by any other performer. The performance may be accompanied or unaccompanied but not conducted. The accompaniment can be live or on a backing track, but as with solo performances, when using a backing track, ensure that the balance between your instrument or voice and the backing track is correct and agreeable to the examiner.

An ensemble must consist of two or more performers (not including the accompanist). The maximum number of performers allowed is eight.

Practice

Once you’ve chosen your pieces it is important to do the right kind of practice. Simply playing your piece through from beginning to end repeatedly is not enough.

On the day

Normally, external examiners will visit centres during March or April. They will write a brief report of your performance, which will also be recorded.

A copy of the music for all pieces performed must be provided for the examiner. Where this is not possible, a detailed lead sheet must be provided. The part you are performing must be included on the lead sheet, so if you are singing, the vocal line (not simply the words) must be included; if you are playing the guitar, chord symbols or tab must be included; and if you are playing drums, drum notation must be included on the lead sheet. In addition, ensure that the copies of music or lead sheets provided for the examiner are fully accurate, with no bars cut-off and with repeats or cuts marked in.

The examiner will give you time for brief instrumental fine-tuning with the piano or other instruments in an ensemble.

How will I be assessed?

First of all, it is vital that your total performance lasts the appropriate length of time.

For AS Level and for A Level Option B this is at least six minutes and up to eight.

For A Level Option A, this is at least ten minutes and up to twelve.

If your performance falls short of these minimum times, you will receive no marks.

The following table explains how the examiner will mark your performance at both AS and A Level. Band 4 is the highest and Band 1 is the lowest. The use of the term ‘assured’ refers to a performance which is confident and convincing.

A visiting examiner’s guide to giving your best performance

Technical control

The examiner will expect to hear all notes played or sung correctly, including melody, harmony, chords and rhythm. Intonation with vocal and instrumental playing is so important. String instruments (including the harp and classical guitar) are often difficult to tune. The same applies for tuning woodwind and brass instruments.

Show the examiner that apart from musical excellence, your programme planning projects stylistic organisation and an appreciation of the music content and blending of periods. I always want the performer to communicate to me the power and vitality or pathos of the music.

Expression and performance visualisation

In terms of expression, musical theatre singers like to use rubato sparingly at times to convey feeling in their interpretation. The ability to connect and express the mood of the music is so important. Many singers lose marks due to lack of breath support from insufficient control of the diaphragm. Apart from good vocal technique and intonation, the examiner will look for performance visualisation using the eyes, the body and facial expression.

Interpretation

This is where the examiner wants to experience a truly musical performance. Try to find out if your piece was composed for a particular event – is it programmatic? You can amplify the inner feelings of the composer by playing with soul, excitement and style. You can go to YouTube to hear a broad range of performances with a variety of interpretations, tempi and dynamics. This can be beneficial, but ultimately you yourself must decide how to interpret your chosen composition and communicate it to the examiner. Musical theatre, pop and jazz singers in particular should avoid copying performances you have watched on the internet.

Articulation

The word articulation applies to most instrumental and vocal performances. This is probably one of the most frequently used words by examiners and music tutors. It refers to the ways in which notes are played in relation to each other, such as staccato, legato, tenuto and accented. I hear many allegro passages, especially in brass and woodwind, where the sound quality is weakened due to poor articulation technique. The examiner will be looking for clarity and crisp tone, particularly with flautists and trumpeters who choose to play Mozart and Haydn, for example.

Fluency

A confident performance is generally a fluent performance. However a hesitation or a stumble will probably be noted by the examiner as ‘lacking in fluency’. So if you choose a J.S. Bach Prelude and Fugue for your piano programme you must be reasonably confident of fluency throughout. Similarly if you choose to play the Saint-Saëns composition The Swan on the cello you must aim for the fluency of the swan gliding gracefully along.

Dynamics

The examiner will be particularly interested in the way that you react to the composer’s expressive markings. Some composers such as the Impressionist Debussy in his piece Syrinx have added many dynamic markings for the performer. However Baroque composers such as Vivaldi, Handel and Bach weren’t so liberal in their dynamic markings. Ask your tutors to help you by adding dynamic markings to your copy (not forgetting the examiner’s copy, of course). When a phrase is immediately repeated – as in Vivaldi’s trumpet concerto – it might be a good idea to play the first phrase forte and the repeated phrase piano to obtain an echo effect. Don’t be afraid to edit and add your own dynamics to pieces in this way.

Tempo

Don’t worry about your adagio being too slow or your allegro too fast: these markings are often added by editors. Practising with a metronome is not recommended, the examiner will not be too hard on you if you are a little too fast or too slow. The main thing is to settle on a tempo with which you are comfortable and which is appropriate to the style of the music performed. Vocalists and woodwind and brass players have to judge the tempi carefully because of breath control. Similarly with the bowing patterns of string players: many performances run into difficulties when technically difficult passages occur because the opening tempo is too fast. The speed of the most difficult passages should be your overall tempo.

Technology

I assess an ever-increasing number of performances using backing tracks, mainly from the musical theatre, rock and pop repertoire. The standard of these tracks is excellent overall and can significantly enhance a performance. It is important that you structure your performance to match nuances on the track such as rubato and ritenuti. Try to have a sound and balance check using the equipment or speakers in the venue where the examination will be held: you may even need a microphone. It is imperative that the balance is sorted out well in advance with your teacher or a technician. The same rigour applies equally to drummers and guitarists. Have a spare amp, FX box and plenty of jack-leads on standby just in case.

Ensemble performing

Often the best ensembles are put together by peripatetic staff who are professional performers themselves. Don’t leave ensemble choices until the week before the exam date, as a bolt-on to your solo performances. You should be performing proper ensemble music where possible, presenting worthwhile musical challenges which stretch, and allowing performers to empathise with each other: examiners will be on the look-out for manufactured ensembles where, for example, a drum kit and bass guitar have simply been added to a vocalist’s piano part – it is harder to find the empathy and interaction looked for between a pop solo singer and guitar, drums and synths. If you are going to perform as part of an ensemble, tune up in the rehearsal area, and fine-tune when in the examination room.

To gain really good marks you have to do far more than just perform your own part well. You are working as a team, which means demonstrating your awareness of other members of the ensemble. This awareness is called empathy. You also need to show interaction and the ability to achieve a unified tone and harmonic balance within the group. Knowing that no conductor is permitted, you yourself must take responsibility, showing control and musical understanding. Communication and interplay between members is of great importance. The examiner will want to see evidence of this interaction in your performance.