1. Short answers

2. 3 paragraph answers

3. Longer essays

4. Common pitfalls

Questions needing short answers

This section has questions containing  tests of rudiments and technical devices in precise bars within the music from an extracts.

Answer Type

One word or bar and beat number is often all that is required for an answer.

EXAMPLE

Question 1:     Give the correct bar, beat number and part of an augmented chord?

Answer 1:       Piano, Right hand Bar 21.

References and further information

Look at a History and analysis past examination paper.

Look at the 'guide For Students and Teachers'.

Question Type

This question type requires an understanding of the style and/or form of the musical example.  Sometimes the answer will need to involve more than just reference to the extract but comments about its relationship to the whole work or its context within musical history.

Answer type

A well focused answer with appropriate technical terminology rather than verbose description is necessary. (only 15 minutes for the first question and 10 minutes for the other two questions is advised).

"The answer should focus only on the musical elements referred to in the question.  Students who instead write down everything they know about the music will almost certainly run out of time in the rest of the paper.  Answers should make specific and frequent reference to the music using bar numbers and beat numbers where appropriate." 

You should write about one paragraph per 5 marks available.

Example questions

1. Describe the structure of the song by R. Schumann. (10 marks)

2. Choose three elements which contribute to the Baroque sound of the work by Vivaldi. (15 marks)

3. What is a recitative. Explain how this applies to the extract from "Orpheo" by Montiverdi. (10 marks)

How to organise paragraphs in a 3 paragraph answer

(N.B. a paragraph is usually from 6 to 9 sentences)

A typical paragraph would involve the following structure.

Introduction

     General point (statement)

Development

     A reference to the work with bar and beat numbers where appropriate (quotation from the work)

     Specific musical element qualifying the general statement. (e.g. melody, harmony, texture, timbre etc.)

     The next specific musical element qualifying the first general statement followed by another reference to the work (or vice versa) with bar and beat number where appropriate

     and so on......

Second paragraph

This should usually start with the next general point/statement.

Conclusion

Each paragraph requires a concluding sentence which usually sums up the points made in the paragraph. It is often a restatement of the first sentence.  In a longer section B essay the conclusion may run to another paragraph.  However you must be careful to make new point in the paragraph or you will not gain any extra marks for the effort. A concluding paragraph can be unnecessary.

Other helpful hints

• More than one point can be made in a sentence involving clauses.

• You are likely to gain one mark for each correct focussed musical point and one extra mark for each accurate relevant reference.  You should be able to work out when you will have gained the 10-15 marks available.

N.B. Only refer to the most obvious musical elements which answer the question.

It would also be helpful to make one or two extra points to be sure of all the marks.

Longer essays requiring 7 or more paragraphs

Candidates are required to answer one question out of five.

This question will gain a maximum of 35 marks and so an allowance of at least 35 minutes in the examination would be advisable.  It also gives a clear indication of the number of referenced relevant points which need to be made and thus the length of the answer.

Write paragraphs as for section A2 but more of them.  You will need about 7 paragraphs for this answer. When choosing which question to answer you need to be sure it is the one you can answer most fully.

Question types

All question types will involve using a number of musical examples, discussing their relationship with each other (analysis) in their historical context. (history)

Questions can be asked on any of the 30 set works from the Anthology.  They are often linked with each other in the questions and are often referenced in questions.

Example types:

•      Comparing different approaches to a particular form across a wide time span such as sonata form or fugal form

•      An assessment of the importance of certain works.

•      An assessment of the importance of certain composers.

•      A description of certain genres using specific works such as string quartet, piano music, orchestral etc.

•      An account of different styles of e.g. piano figuration, instrumentation, vocal composition.

Using a relevant quotation or two found in the Anthology is likely to gain extra marks.

Examples

1. 1. How is unity and variety achieved by Weber in "Der Freischutz: Overture"? (Anthology, extract 53, page )

2. Compare and contrast "Prelude Op.28 No. 22" by Chopin and  "Les Preludes" (Anthology, extract 65, page ) by Liszt and explain what the two compositions have in common.

3. In what ways does "Horn Concerto Op.11.1" by Strauss sound Romantic (1820-1900) in character. Make 5 clear points referring to particular elements in the music and to particular bars. (Anthology, extract 75 )

Example question

How is the mood intensified during the second half of the song?

Answer

(Clearly your focus should be on the musical elements which form the differences between the first half and the second half.)

Paragraph 1

Sentence 1

"The composer uses new pitch and rhythm changes in the vocal melodic line which contributes to the heightened emotional tension from bar 27 onwards."

Sentence 2

"The four note upward scale-like semiquaver figure used in sequence on beats one and three of bars 27 and 28 provide a stark contrast with the earlier crotchet and minim movement."

Sentences 3-5 (with quotation)

"Quotation 1 above show the wide leaps in pitch in the second phrase, starting at bar 32.  It shows the longer note values on the higher note.  This creates a contrast with the first phrase and widens the range of the melodic line rather suddenly, adding an element of surprise to the melodic line."

N.B. Remember that you usually only need one example to make your point.  Multiple similar examples may not gain you more marks.  It is better to make a new point.

Paragraph 2 etc.

The answer should now move onto another general point which should be qualified and referenced in the same way as the earlier example. Other general points in which may be included in a continuation of the answer may include:

•      reference to new harmonic devices

•      new accompanying motifs

•      phrasing, dynamic and articulation elements

The three bullet points above are the type of notes which should be made for all questions at the start of the examination.  This should help you to decide which questions you can answer with the most relevant points.  It will also aid your memory later in the examination when you reach the question.

Conclusion to the essay

Finally, if the composer uses something untypical, (e.g. of what a 19th century audience would expect).  This would increase the intensity or surprise element at the time. Therefore this historical context where relevance is explained could be included in the answer.

How to avoid common pitfalls

Help with phrasing and over simplification.

When dealing with musical history it is advisable to avoid absolutes when making statements such as, "Composers stopped using the harpsichord in 1750". Changes and developments in style and genre are commonly a result of changes in taste, communication and technology.  This means that there will inevitably be an overlap and uneven development of musical types in different musical centres. Even the same composer may be inconsistent in what he may do with his compositions.

The way you deliver your essay answers needs to reflect this aspect of musical history. You also need to be aware of some of the factors which influence the evolution and sometimes revolution of musical taste and musical practice at different times during  history of Western Classical Music.

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