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Coimisiún na Scrúduithe Stáit State Examinations Commission

Leaving Certificate 2017

Marking Schemes

Ordinary Level, Higher Level, Higher Level Elective

Music – Practicals

Note to teachers and students on the use of published marking schemes

Marking schemes published by the State Examinations Commission are not intended to be standalone documents. They are an essential resource for examiners who receive training in the correct interpretation and application of the scheme. This training involves, among other things, marking samples of student work and discussing the marks awarded, so as to clarify the correct application of the scheme. The work of examiners is subsequently monitored by Advising Examiners to ensure consistent and accurate application of the marking scheme. This process is overseen by the Chief Examiner, usually assisted by a Chief Advising Examiner. The Chief Examiner is the final authority regarding whether or not the marking scheme has been correctly applied to any piece of candidate work.

Marking schemes are working documents. While a draft marking scheme is prepared in advance of the examination, the scheme is not finalised until examiners have applied it to candidates’ work and the feedback from all examiners has been collated and considered in light of the full range of responses of candidates, the overall level of difficulty of the examination and the need to maintain consistency in standards from year to year. This published document contains the finalised scheme, as it was applied to all candidates’ work.

In the case of marking schemes that include model solutions or answers, it should be noted that these are not intended to be exhaustive. Variations and alternatives may also be acceptable. Examiners must consider all answers on their merits, and will have consulted with their Advising Examiners when in doubt.

Future Marking Schemes

Assumptions about future marking schemes on the basis of past schemes should be avoided. While the underlying assessment principles remain the same, the details of the marking of a particular type of question may change in the context of the contribution of that question to the overall examination in a given year. The Chief Examiner in any given year has the responsibility to determine how best to ensure the fair and accurate assessment of candidates’ work and to ensure consistency in the standard of the assessment from year to year. Accordingly, aspects of the structure, detail and application of the marking scheme for a particular examination are subject to change from one year to the next without notice.

ASSESSMENTCRITERIAFORPERFORMING‐LCMUSICSYLLABUS

OL O1 O2 O3 O4 O5 O6 O7 O8

90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

Control of the Performing Medium

Chosen Music & Standard of Performance (Musical understanding and response/chosen music)

Group Unprepared Test (Unprepared performing)

Note and rhythm accuracy(including intonation)

When considering rhythm,include pulse.

False start? Late entry? Fluency of the music Technical security Control of sound production Tone quality as appropriateto style

Phrasing, breathing as appropriate to style Dynamic requirements as appropriate to style Articulation, Diction, Intonation Communication(NB of music – does the music communicate?)

Sense of style (popular, classical, traditional) Traditional music‐is the rhythm fluent andlilting, or stiff?

Can the candidate hold their line? Do they contribute musically to theinterpretation as appropriate to thegenre?

Do they make a noticeable contributionto the overall sound?

Do they relate musically with the othermembers of the group?

Accuracy Continuity Pulse choice and control of tempo (HL) Overall musical sense (HL)

NB: Distinguish between inaccuracy (pitch/rhythms/incorrect number of bars/incorrect number of beats in bars) and lack of continuity (control of tempo)

LC Music 2017 – Practical Examinations – Marking Schemes

Clarifications for Examiners

Group performance:

There must be at least two parts (apart from the accompaniment) for a group

performance. This does not mean that a melody instrument with a piano can never

be a group performance. It all depends on the nature of the piano part.

These parts don’t necessarily have to be harmony parts but both have to be an

integral part of the “group”, i.e. interactive

Accompaniment when presented for assessment is always a group performing skill,

even if only accompanying one person, as an accompanist always has to follow the

solo part, but the solo part being accompanied cannot be considered as a group

performance, unless there are times when it relinquishes the solo role.

Although accompaniments are often “vamping” in nature, all “vamping” parts are

not necessarily purely accompaniments, eg, the piano in a trad group is very much a

part of the group; a guitar in a rock band is very much a part of the band. So when

the syllabus specifies “two parts with or without accompaniment” it does not mean

that a piano part can never be one of the two parts. It can, provided it is an

interactive and equal part.

Everything is dependent on the performing skill the candidate wishes to have

assessed and whether this can be achieved through the music presented. If it can,

then there is no problem at all.

When applying a decision re group performance to a different scenario, it is

important to make sure that you are comparing like with like.

OrdinaryLevel‐Solo/GroupPerformanceTwosongs/piecespresentedandperformed

Control of the Medium (20) II Chosen Music & Standard of Performance (60) III SR /AM / Imp (20)

Note accuracy Rhythmic consistency

Manual/technical dexterity Appropriate tone quality

Musicality: phrasing, dynamics, expression, mood Interpretation: style, understanding

Programme content: variety, standard, suitability

Pitch and/or rhythmic accuracy

Mk Description Mk Group

interaction & balance Classical

phrasing ‐ dynamics Popular

feel for style Traditional lilting feel Mk Description

18‐20 17

Very good pitch (incl. intonation) Very good rhythm Very good control of sound (production)

Very good tone quality

54‐60 51‐53

Holds line very well Very strong member of ensemble

Makes a positive input to musical balance of group

Very good interaction and awareness

Very musical performance Very confident performance Very good phrasing Very good attention to dynamics

Very musical performance Very confident performance Very good sense of popular style (melodic & rhythmic) Very good feel for words & rhythm

Very musical performance Very confident performance Very good sense of style Consistent, lilting rhythm

18‐20 17

Very good pitch and/or rhythmic accuracy Very good continuity VG development of given material Imp

16 15 14

Good pitch (incl. intonation) Good rhythm Good control of sound production

Good tone quality

48‐50 45‐47 42‐44

Holds line well Strong member of ensemble Some imbalance (too loud/soft for group)

Good interaction and awareness

Good musical performance Confident performance Good phrasing Good attention to dynamics

Good musical performance Confident performance Good sense of popular style (melodic & rhythmic)

Good feel for words and/or rhythm

Good musical performance Confident performance Good sense of style rhythm lacks “lilt”

16 15 14

Good pitch and/or rhythmic accuracy Good continuity Good development of given material Imp

13 12 11

Fair pitch (incl. intonation) Fair rhythm Fair control of sound production

Fair tone quality

39‐41 36‐38 33‐35

Holds line fairly well Passive member of group Causes imbalance in group Fair interaction and

awareness

Fairly musical performance Fairly confident performance Fairly good phrasing Fairly good attention to dynamics

Fairly musical performance Fairly confident performance Fairly good sense of popular style (melodic & rhythmic) Fairly good feel for words and/or rhythm

Fairly musical performance Fairly confident performance Fair sense of style Rhythm lacks fluency

13 12 11

Fair pitch and/or rhythmic accuracy Fair continuity Fair development of given material Imp

10 9 8

Poor pitch (incl. intonation) Poor rhythm Poor control of sound production

Poor tone quality

30‐32 27‐29 24‐26

Poor attempt at holding line Poor contribution to the group Poor sense of balance Poor interaction or awareness

Poor musical performance Lacking in confidence Poor sense of phrasing Poor attention to dynamics

Poor musical performance Lacking in confidence Poor sense of pop style Poor feel for words/rhythm

Poor musical performance Lacking in confidence Poor sense of style Rhythm is stiff

10 9 8

Poor pitch and/or rhythmic accuracy Poor continuity Poor development of given material Imp

5‐7 2‐4 0‐1

Little sense of pitch (incl. intonation)

Little sense of rhythm Little control of sound production

Very poor tone quality

15‐23 6‐14 0‐5

Difficulty in holding line Little contribution to group Little sense of balance Little interaction or awareness

Musical response is hardly discernible

Insecure performance Little sense of phrasing Little attention to dynamics


Insecure performance Little sense of pop style Little feel for words ot rhythm


Insecure performance Little sense of style Rhythm unsteady

5‐7 2‐4 0‐1

V poor pitch and/or rhythmic accuracy V poor continuity V poor development of given material Imp

OL

OrdinaryLevel–Technology

I Control of the Medium (20) (all aspects of performance)

II Chosen Music & Standard of Performance (60) (all aspects of performance) III SR /AM / Imp (20)

Mark Note accuracy

Rhythmic consistency Manual/technical dexterity Appropriate tone quality M

ark Musicality: phrasing, dynamics, expression, mood

Interpretation: style, understanding Programme content: variety, standard, suitability M

ark

Pitch and/or rhythmic accuracy

A = Aural Memory S = Sight‐reading I = Improvisation

18‐20 17

Inputting completely accurate Very good control of medium

54‐60 51‐53

Very confident inputting Very good musical outcome Edits, printing/recording, save and retrieve very confident Result of edits very musical (where relevant) Very good understanding of system

18‐20 17


16 15 14

Some small errors in inputting Good control of medium

48‐50 45‐47 42‐44

Confident inputting Good musical outcome Edits, printing/recording, save and retrieve confident. Result of edits musical (where relevant) Good understanding of system

16 15 14


13 12 11

Obvious inaccuracies in inputting Fair control of medium

39‐41 36‐38 33‐35

Some hesitation in inputting Fairly musical outcome Some hesitation in editing, printing/recording, save and retrieve. Result of edits fairly musical (where relevant) Fair understanding of system

13 12 11


10 9 8

Constant errors in inputting Little control of medium

30‐32 27‐29 24‐26

Inputting very slow and hesitant Limited musical outcome Editing, printing/recording, save and retrieve executed with difficulty Result of edits not always musical (where relevant) Little understanding of system

10 9 8


5‐7 2‐4 0‐1

Completely inaccurate No control of medium

15‐23 6‐14 0‐5

Unable to input data Musical outcome negligible Unable to execute edits, save and retrieve, printing/recording. Result of edits unmusical (where relevant) No understanding of system

5‐7 2‐4 0‐1


OL O1 O2 O3 O4 O5 O6 O7 O8

90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

OLT

OrdinaryLevel–Improvisation/Conducting

I Control of the Medium ( 20) II Chosen Music & Standard of Performance (60) III SR /AM /Imp (20)




Programme content: variety, standard, suitability Pitch and/or rhythmic accuracy

Mark

Description

C = Conducting I = Improvisation M

ark Group

ensemble – interaction & balance

Improvising

Two pieces Melodic/rhythmic/ harmonic /

mood or combination

Conducting

Two pieces or songs One unseen score M

ark

Description Pitch and/or rhythmic

accuracy A = Aural Memory S = Sight‐reading I = Improvisation

18‐20 17

Very good pitch (incl. intonation) Very good rhythm Very good control of sound

(production) Very good tone quality Very secure beat C

54‐60 51‐53

Holds line very well Very strong member of ensemble Makes a positive input to musical balance of group


Very good musical performance Very confident performance Chosen idiom very well explored Very good sense of style

Very good musical performance Very confident performance Very good rapport with ensemble Very good sense of phrasing Very good attention to dynamics

18‐20 17


16 15 14

Good pitch (incl. intonation) Good rhythm Good control of sound production Good tone quality Secure beat C

48‐50 45‐47 42‐44



Good musical performance Confident performance Chosen idiom well explored Good sense of style

Good musical performance Confident performance Good rapport with ensemble Good sense of phrasing Good attention to dynamics

16 15 14


13 12 11

Fair pitch (incl. intonation) Fair rhythm Fair control of sound production Fair tone quality Fair control of beat C

39‐41 36‐38 33‐35

Holds line fairly well Passive member of group Causes imbalance in group Fair interaction and awareness

Fairly musical performance Fairly confident performance Fair exploration of chosen idiom Fair sense of style

Fairly musical performance Fairly confident performance Fair rapport with ensemble Fair sense of phrasing Fair attention to dynamics

13 12 11


10 9 8

Poor pitch (incl. intonation) Poor rhythm Poor control of sound production Poor tone quality Poor control of beat C

30‐32 27‐29 24‐26


Poor musical performance Lacking in confidence Poor exploration of chosen idiom Poor sense of style

Poor sense of phrasing Poor rapport with ensemble Poor sense of style Poor sense of phrasing Poor attention to dynamics

10 9 8


5‐7 2‐4 0‐1

Little sense of pitch (incl. intonation) Little sense of rhythm Little control of sound production Very poor tone quality Little control of beat C

15‐23 6‐14 0‐5



Insecure performance Little exploration of chosen idiom

Little sense of style


Insecure performance Little sense of style Little sense of phrasing Little attention to dynamics

5‐7 2‐4 0‐1


OL

HigherLevelMarkingSchemes

III‐UnpreparedTests(Pitchand/orrhythmicaccuracy‐Choiceandcontroloftempo‐Overallmusicalsense)

Mark Sight Reading Aural Memory Improvisation

18‐20 17

Excellent pitch and/or rhythmic accuracy Excellent continuity Excellent choice of tempo Excellent dynamics Excellent musical sense

Excellent pitch and/or rhythmic accuracy Excellent continuity Excellent feeling for pulse Excellent musical sense

Excellent development of given material Excellent continuity Excellent feeling for pulse Excellent musical sense

16 15 14

Very good pitch and/or rhythmic accuracy Very good continuity Very good choice of tempo Very good dynamics Very good musical sense

Very good pitch and/or rhythmic accuracy Very good continuity Very good feeling for pulse Very good musical sense

Very good development of given material Very good continuity Very good feeling for pulse Very good musical sense

13 12 11

Good pitch and/or rhythmic accuracy Good continuity Good choice of tempo Good dynamics Good musical sense

Good pitch and/or rhythmic accuracy Good continuity Good feeling for pulse Good musical sense

Good development of given material Good continuity Good feeling for pulse Good continuity

10 9 8

Fair pitch and/or rhythmic accuracy Fair continuity Fair choice of tempo Fair dynamics Fair musical sense

Fair pitch and/or rhythmic accuracy Fair continuity Fair feeling for pulse Fair musical sense

Fair development of given material Fair continuity Fair sense of pulse Fair musical sense

5‐7 2‐4 0‐1

Poor pitch and/or rhythmic accuracy Poor continuity Poor choice of tempo Poor dynamics Poor musical sense

Poor pitch and/or rhythmic accuracy Poor continuity Poor feeling for pulse Poor musical sense

Poor development of given material Poor continuity Poor sense of pulse Poor musical sense

KEYTOGRADES

HL H1 H2 H3 H4 H5 H6 H7 H8 90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

HL

HigherLevel(OneActivity)–Solo/GroupPerformance(100marks)Threesongs/piecespresentedandperformedandoneunseentest

I Control of the Medium (20) II Chosen Music & Standard of Performance (60)





Mk Description Mk Group

ensemble – interaction & balance Classical

tone – phrasing ‐ dynamics Popular

feel for style Traditional lilting feel

18‐20 17

Excellent pitch (incl. intonation) Excellent rhythm Excellent control of sound (production)

Excellent tone quality

54‐60 51‐53

Excellent at holding line Excellent member of ensemble Excellent input to musical balance of group

Excellent interaction and awareness

Excellent musical performance Completely confident performance Excellent phrasing Excellent attention to dynamics

Excellent musical performance Completely confident performance Excellent sense of popular style (melodic & rhythmic) Excellent feel for words & rhythm

Excellent musical performance Completely confident performance Excellent sense of style Consistent, lilting rhythm

16 15 14



48‐50 45‐47 42‐44





Very musical performance Very confident performance Very good sense of style Lilting rhythm

13 12 11

Good pitch (incl. intonation) Good rhythm Good control of sound production

Good tone quality

39‐41 36‐38 33‐35







10 9 8

Fair pitch (incl. intonation) Fair rhythm Fair control of sound production Fair tone quality

30‐32 27‐29 24‐26





5‐7 2‐4 0‐1

Poor pitch (incl. intonation) Poor rhythm Poor control of sound production Poor tone quality

15‐23 6‐14 0‐5





H1



18‐20 17




16 15 14


Very good pitch and/or rhythmic accuracy

Very good continuity Very good feeling for pulse Very good musical sense


13 12 11




10 9 8




5‐7 2‐4 0‐1




KEYTOGRADES

HL H1 H2 H3 H4 H5 H6 H7 H8

90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

HL

HigherLevel(OneActivity)–Technology(100marks)

Technology (27) Performing (53) I Control of the Medium

(7) II Chosen Music & Standard of

Performance (20) I Control of the Medium (13) II Chosen Music & Standard of Performance (40)

7 6

Inputting completely accurate

Excellent control of medium

18‐20 17

Inputting completely secure and confident

Edits, print/record, save & retrieve performed without hesitation

Result of edits completely musical (where relevant)

Completely secure understanding of system

13 12 11

Technically fluent & secure Notes and rhythm all fit into place Completely confident Full control of instrument/voice Excellent intonation

36‐40

34‐35

Excellent proof/evidence/description of compilation BT Excellent choice of instrumentation /key BT Completely convincing backing track (balance, chording, dynamics, interpretation)

Excellent balance between backing track and performance Excellent sense of musical style Excellent musical performance Completely convincing performance

5 Some small errors in inputting

Very good control of medium

16 15 14

Inputting very secure and confident Edits, print/record, save & retrieve very confident

Result of edits very musical (where relevant)

Very secure understanding of system

10 9

Technically secure most of the time Notes and rhythm are mostly accurate

Very confident Very good control of instrument/voice

Very good intonation

32‐33

30‐31

28‐29

Very good proof/evidence/description of compilation BT Very good choice of instrumentation/key BT Very convincing backing track (balance, chording, dynamics) Very good balance between backing track and performance Very good sense of musical style Very good musical performance Very convincing and confident performance

4 Obvious inaccuracies in inputting

Good control of medium

13 12 11

Input and edits, print/record, save & retrieve and printing secure and confident

Result of edits musical (where relevant)

Good understanding of system

8 7

Good technical ability Some inaccuracies in notes and rhythm

Confident Good control of instrument/voice Good intonation

26‐27

24‐25

22‐23

Good proof/evidence/description of compilation BT Good choice of instrumentation/key BT Some convincing features of backing track (balance, chording, dynamics)

Good balance between backing track and performance Good sense of musical style Good musical performance Good performance

3 Constant errors in inputting

Fair control of medium

10 9 8

Fairly secure inputting, edits, print/record, save & retrieve

Result of edits fairly musical (where relevant)

Fair knowledge of system

6 5

Fair technical ability Fairly confident Fair control of instrument/voice Fair intonation

20‐21

18‐19

16‐17

Fair proof/evidence/description of compilation BT Fair choice of instrumentation/key Features of backing track very basic (balance, chording, dynamics) Fair balance between backing track and performance Fair sense of musical style Fairly musical performance Fairly convincing and confident performance

0‐2 Completely inaccurate Very limited control of medium

5‐7

2‐4

0‐1

Unable to execute edits etc / input data

Result of edits unmusical (where relevant)

Work unprepared

3‐4

0‐2

Little control of instrument/voice Problems with intonation Very little technical skill No continuity

10‐15

4‐9

0‐3

No proof/evidence/description of compilation of backing track Poor musical performance Insecure performance

H1T



18‐20 17




16 15 14




Very good development of given material


13 12 11




10 9 8




5‐7 2‐4 0‐1




KEYTOGRADES

HL H1 H2 H3 H4 H5 H6 H7 H8

90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

HL

HigherLevel(OneActivity)–Improvisation/Conducting(100marks)

I Control of the Medium (20) II Chosen Music & Standard of Performance (60) Note accuracy

Rhythmic consistency Manual/technical dexterity Appropriate tone quality



Mark Description

C = Conducting I = Improvisation

Mark Group


Improvising

Three pieces demonstrate three types of improvisation

Conducting

Three pieces or songs One unseen score

18‐20 17

Completely confident Technically fluent &completely secure I Clear indication of beat C (NB – Vocal style = freer) Excellent control of performance C Excellent control of phrasing & dynamics C

54‐60 51‐53

Excellent at holding line Excellent member of ensemble Excellent input to musical balance of group Excellent interaction and awareness

Excellent musical performance Completely confident performance Excellent exploration of chosen idiom Excellent sense of style

Excellent musical performance Completely confident performance Excellent rapport with ensemble Excellent sense of phrasing Excellent attention to dynamics

16 15 14

Very confident Very clear indication of beat C Very good control of dynamics and phrasing C

48‐50 45‐47 42‐44





13 12 11

Good technical ability Confident Good indication of beat C Good control of dynamics and phrasing C

39‐41 36‐38 33‐35

Holds line well Strong member of ensemble Some imbalance (too loud/soft for group) Good interaction and awareness



10 9 8

Fair control / continuity Fair indication of beat C Fairly confident Fair ability to shape / indicate dynamics C

30‐32 27‐29 24‐26




5‐7 2‐4 0‐1

Very little skill Obvious inaccuracies No continuity

15‐23 6‐14 0‐5




H1

III ‐ Unprepared Tests

(Pitch and/or rhythmic accuracy ‐ Choice and control of tempo ‐ Overall musical sense) Mark Sight Reading Aural Memory Improvisation

18‐20 17




16 15 14





13 12 11




10 9 8




5‐7 2‐4 0‐1




KEY TO GRADES

HL H1 H2 H3 H4 H5 H6 H7 H8

90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

HL

HigherLevel(twoactivities)–Solo/GroupPerformance(100marks)Twosongs/piecespresentedandperformedineachactivityandoneunseentest

I Control of the Medium (max 20) (10 + 10)

II Chosen Music & Standard of Performance (max 60) (30 + 30)





Mk Description Mk

Group ensemble – interaction &

balance

Classical phrasing ‐ dynamics

Popular feel for style

Traditional lilting feel

9‐10 8.5



27‐30 26






8 7.5 7

Good pitch (incl. intonation) Good rhythm Good control of sound production Good tone quality

24‐25 23

21‐22







6.5 6 5.5


20 18‐19 17





5 4.5 4


15‐16 14

12‐13





0‐3 Little sense of pitch (incl. intonation)

Little sense of rhythm Little control of sound production Very poor tone quality

8‐11 3‐7 0‐2





Insecure performance Little sense of pop style Little feel for words ot rhythm


Insecure performance Little sense of style Rhythm unsteady

H2

III‐UnpreparedTests

(Pitchand/orrhythmicaccuracy‐Choiceandcontroloftempo‐Overallmusicalsense)


18‐20 17




16 15 14





13 12 11




10 9 8




5‐7 2‐4 0‐1




KEYTOGRADES

HL H1 H2 H3 H4 H5 H6 H7 H8 90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

HL

HigherLevel(Twoactivities)–Technology(100marks)

I Control of the Medium (20) (10 + 10)

(all aspects of performance)

II Chosen Music & Standard of Performance (60) (30 + 30)

Mark Note accuracy



Interpretation: style, understanding Programme content: variety, standard, suitability

9‐10 8.5


27‐30 26


8 7.5 7


24‐25 23

21‐22


6.5 6 5.5


20 18‐19 17


5 4.5 4


15‐16 14

12‐13


0‐3 Completely inaccurate No control of medium

8‐11 3‐7 0‐2


H2T



18‐20 17




16 15 14





13 12 11




10 9 8




5‐7 2‐4 0‐1




KEYTOGRADES

HL H1 H2 H3 H4 H5 H6 H7 H8

90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

HL

HigherLevel(TwoActivities)–Improvisation/Conducting(100marks)







Mark Description


ark Group


Improvising

Two pieces Melodic/rhythmic/ harmonic / mood or combination

Conducting

Two pieces or songs One unseen score

9‐10 8.5

Note accurate I Rhythmically consistent Very secure beat C Very good control of

instrument/medium

27‐30 26

Holds line very well Very strong member of ensemble Makes a positive input to musical balance of group Very good interaction and awareness

Very good musical performance Very confident performance Chosen medium very well explored Very good sense of style


8 7.5 7

Generally note accurate I Rhythmically generally consistent Secure beat C Good control of medium

24‐25 23

21‐22




6.5 6 5.5

Inaccuracies in pitch & rhythm I Fair control of medium (intonation / breathing)

Fair control of beat C

20 18‐19 17




5 4.5 4

Limited technique Little musical confidence Little control of medium (intonation / breathing)

15‐16 14

12‐13




0‐3 Obvious inaccuracies throughout No control of medium

8‐11 3‐7 0‐2


Musical response is hardly discernible Insecure performance Little exploration of chosen idiom Little sense of style

Musical response is hardly discernible Insecure performance Little sense of style Little sense of phrasing Little attention to dynamics

H2



18‐20 17




16 15 14




13 12 11




10 9 8




5‐7 2‐4 0‐1




KEYTOGRADES

HL H1 H2 H3 H4 H5 H6 H7 H8

90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

HL

HigherLevelElective(Oneactivity)Solo/GroupPerformance(200marks)Sixsongs/piecespresentedandperformedandoneunseentest

I Control of the Medium (40) II Chosen Music & Standard of Performance (140)





Mk Description Mk

Group ensemble – interaction &

balance

Classical tone – phrasing ‐ dynamics



36‐40 34‐35

Technically fluent and secure Notes and rhythm all fit into place Completely confident Full control of inst. / voice Excellent intonation

126‐140 119‐125

Excellent at holding line Excellent member of ensemble Excellent input to musical balance of group

Excellent interaction and awareness

Excellent musical performance Completely confident performance Excellent phrasing Excellent attention to dynamics

Excellent musical performance Completely confident performance Excellent sense of popular style (melodic & rhythmic) Excellent feel for words & rhythm

Excellent musical performance Completely confident performance Excellent sense of style Consistent, lilting rhythm

32‐33 30‐31 28‐29

Notes and rhythms are mostly accurate

Tempo well chosen, consistent Very confident V. good control of inst./ voice Very good intonation

112‐118 105‐111 98‐104





Very musical performance Very confident performance Very good sense of style Lilting rhythm

26‐27 24‐25 22‐23

Some technical inability, but not enough to mar the musical communication

Good control of inst. / voice Good confident Good intonation

91‐97 84‐90 77‐83







20‐21 18‐19 16‐17

Careless note placing Lack of continuity Fairly confident Fair control of inst./voice Fair intonation

70‐76 63‐69 56‐62





10‐15 4‐9 0‐3

Very limited skill Obvious inaccuracies No continuity

35‐55 14‐34 0‐13





HE1



18‐20 17




16 15 14





13 12 11




10 9 8




5‐7 2‐4 0‐1




KEYTOGRADES

HL H1 H2 H3 H4 H5 H6 H7 H8 90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

HL

HigherLevelElective(OneActivity)–Technology(200marks)

Technology (61) Performing (119) I Control of the Medium

(13) II Chosen Music & Standard of

Performance (48) I Control of the Medium (27) II Chosen Music & Standard of Performance (92)

13

12

Inputting completely accurate

Excellent control of medium

44‐48

41‐43

Inputting completely secure and confident

Edits, print/record, save & retrieve performed without hesitation

Result of edits completely musical (where relevant)

Completely secure understanding of system

25‐27

23‐24

Technically fluent & secure Notes and rhythm all fit into place Completely confident Full control of instrument/voice Excellent intonation

83‐92

78‐82

Excellent proof/evidence/description of compilation BT Excellent choice of instrumentation /key BT Completely convincing backing track (balance, chording, dynamics, interpretation)

Excellent balance between backing track and performance Excellent sense of musical style Excellent musical performance Completely convincing performance

11

10 9

Some small errors in inputting

Very good control of medium

38‐40

36‐37

34‐35

Inputting very secure and confident

Edits, print/record, save & retrieve very confident

Result of edits very musical (where relevant)

Very secure understanding of system

22

20‐21 19

Technically secure most of the time Notes and rhythm are mostly accurate

Very confident Very good control of instrument/voice

Very good intonation

74‐77

69‐73

64‐68

Very good proof/evidence/description of compilation BT Very good choice of instrumentation/key BT Very convincing backing track (balance, chording, dynamics) Very good balance between backing track and performance Very good sense of musical style Very good musical performance Very convincing and confident performance

8 7

Obvious inaccuracies in inputting

Good control of medium

31‐33

29‐30

26‐28

Input and edits, print/record, save & retrieve and printing secure and confident

Result of edits musical (where relevant)

Good understanding of system

18

16‐17 15

Good technical ability Some inaccuracies in notes and rhythm

Confident Good control of instrument/voice Good intonation

60‐63

55‐59

51‐54

Good proof/evidence/description of compilation BT Good choice of instrumentation/key BT Some convincing features of backing track (balance, chording, dynamics) Good balance between backing track and performance Good sense of musical style Good musical performance Good performance

6 5

Constant errors in inputting

Fair control of medium

24‐25

22‐23

19‐21

Fairly secure inputting, edits, print/record, save & retrieve

Result of edits fairly musical (where relevant)

Fair knowledge of system

14

12‐13 11

Fair technical ability Fairly confident Fair control of instrument/voice Fair intonation

46‐50

41‐45

37‐40

Fair proof/evidence/description of compilation BT Fair choice of instrumentation/key Features of backing track very basic (balance, chording, dynamics) Fair balance between backing track and performance Fair sense of musical style Fairly musical performance Fairly convincing and confident performance

0‐4 Completely inaccurate Very limited control of medium

12‐18

5‐11

0‐4

Unable to execute edits etc / input data

Result of edits unmusical (where relevant)

Work unprepared

7‐10

3‐6

0‐2

Little control of instrument/voice Problems with intonation Very little technical skill No continuity

23‐36

9‐22

0‐8

No proof/evidence/description of compilation of backing track Poor musical performance Insecure performance

HE1T



18‐20 17




16 15 14





13 12 11




10 9 8




5‐7 2‐4 0‐1




KEYTOGRADES

HL H1 H2 H3 H4 H5 H6 H7 H8

90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29

HL

HigherLevelElective(OneActivity)–Improvisation/Conducting(200marks)

I Control of the Medium (40) II Chosen Music & Standard of Performance (140) Note accuracy




Mark Description


ark

Group ensemble – interaction & balance

Improvising

Six pieces demonstrate three types of improvisation

Conducting

Six pieces or songs One unseen score

36‐40 34‐35

Completely confident Technically fluent &completely secure I Clear indication of beat C (NB – Vocal style = freer) Excellent control of performance C Excellent control of phrasing & dynamics C

126‐140 119‐125

Excellent at holding line Excellent member of ensemble Excellent input to musical balance of group Excellent interaction and awareness

Excellent musical performance Completely confident performance Excellent exploration of chosen idiom Excellent sense of style

Excellent musical performance Completely confident performance Excellent rapport with ensemble Excellent sense of phrasing Excellent attention to dynamics

32‐33 30‐31 28‐29

Very confident Very clear indication of beat C Very good control of dynamics and phrasing C

112‐118 105‐111 98‐104





26‐27 24‐25 22‐23

Good technical ability Confident Good indication of beat C Good control of dynamics and phrasing C

91‐97 84‐90 77‐83




20‐21 18‐19 16‐17

Fair control / continuity Fair indication of beat C Fairly confident Fair ability to shape / indicate dynamics C

70‐76 63‐69 56‐62




10‐15 4‐9 0‐3

Very little skill Obvious inaccuracies No continuity

35‐55 14‐34 0‐13




HE1


KEYTOGRADES

HL H1 H2 H3 H4 H5 H6 H7 H8

90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29


18‐20 17




16 15 14





13 12 11




10 9 8




5‐7 2‐4 0‐1




HL

HigherLevelElective(twoactivities)–Solo/GroupPerformance(200marks)Foursongs/piecespresentedandperformedineachactivityandoneunseentest

I Control of the Medium

(max 40) (20 + 20) II Chosen Music & Standard of Performance (max 140)

(70 + 70) Note accuracy




Mark

Description

Mark Group


Classical phrasing ‐ dynamics



18‐20 17



63‐70 60‐62






16 15 14

Good pitch (incl. intonation) Good rhythm Good control of sound production Good tone quality

56‐59 53‐55 49‐52







13 12 11


46‐48 42‐45 39‐41





10 9 8


35‐38 32‐34 28‐31





5‐7 2‐4 0‐1

Little sense of pitch (incl. intonation)

Little sense of rhythm Little control of sound production Very poor tone quality

17‐30 7‐16 0‐6




Musical response is hardly discernible Insecure performance Little sense of pop style Little feel for words ot rhythm

Musical response is hardly discernible Insecure performance Little sense of style Rhythm unsteady

HE2


KEYTOGRADES

HL H1 H2 H3 H4 H5 H6 H7 H8

90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29


18‐20 17




16 15 14




13 12 11




10 9 8




5‐7 2‐4 0‐1




HL

HigherLevelElective(TwoActivities)–Technology



Mark Note accuracy



Interpretation: style, understanding Programme content: variety, standard, suitability

18‐20 17


63‐70 60‐62


16 15 14


56‐59 53‐55 49‐52


13 12 11


46‐48 42‐45 39‐41


10 9 8


35‐38 32‐34 28‐31


5‐7 2‐4 0‐1

Completely inaccurate No control of medium

17‐27 7‐16 0‐6


HE2T


KEY TO GRADES

HL H1 H2 H3 H4 H5 H6 H7 H8 90‐100 80‐89 70‐79 60‐69 50‐59 40‐49 30‐39 0‐29


18‐20 17


Excellent pitch and/or rhythmic accuracy

Excellent continuity Excellent feeling for pulse Excellent musical sense


16 15 14





13 12 11




10 9 8




5‐7 2‐4 0‐1




HL

HigherLevelElective(TwoActivities)–Improvisation/Conducting(200marks)


II Chosen Music & Standard of Performance (140)

(70 + 70)





Mark

Description


ark

Group ensemble – interaction & balance

Improvising

Four pieces Melodic/rhythmic/ harmonic / mood or

combination

Conducting

Four pieces or songs One unseen score

18‐20 17

Note accurate I Rhythmically consistent Very secure beat C Very good control of

instrument/medium

63‐70 60‐62

Holds line very well Very strong member of ensemble Makes a positive input to musical balance of group Very good interaction and awareness

Very good musical performance Very confident performance Chosen medium very well explored Very good sense of style


16 15 14

Generally note accurate I Rhythmically generally consistent Secure beat C Good control of medium

56‐59 53‐55 49‐52




13 12 11

Inaccuracies in pitch & rhythm I Fair control of medium (intonation / breathing)

Fair control of beat C

46‐48 42‐45 39‐41




10 9 8

Limited technique Little musical confidence Little control of medium (intonation / breathing)

35‐38 32‐34 28‐31




5‐7 2‐4 0‐1

Obvious inaccuracies throughout No control of medium

17‐30 7‐16 0‐6


Musical response is hardly discernible Insecure performance Little exploration of chosen idiom Little sense of style

Musical response is hardly discernible Insecure performance Little sense of style Little sense of phrasing Little attention to dynamics

HE2

coimisiún na scrúduithe stáit state examinations ... · advising examiners to ensure consistent...

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