GCSE Music J535

Unit B353: The Creative Task

Unit B353: The Creative

Task

20% of the Examination.

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

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

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

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

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

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

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

Sequence of Events
Music to describe a sequence of events
three distinct episodes.
Three clear events required, which portray
the three stages of the story appropriately
not just a generic fast and loud shock
and stop slow and quiet type of piece
that could have been prepared earlier.

The Assessment Criteria

Responding

No work.

1-4

Basic often incoherent.

58

Simple mainly limited repetition.

9 12

Some success but not consistent.

13 16 Organised and coherent a well

thought out piece with musical
understanding
17 20 Development/sense of style.
21 - 24 Stylish and imaginative.

Mark restrictions (Responding)

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

The Assessment Criteria

Communicating (Recorded)
0

No work.

1-2

Very limited accuracy.

34

Some accuracy of pitch and rhythm.

5-6

Reasonable accuracy of pitch and rhythm.

7-8

Reasonable accuracy of pitch and rhythm, with

some additional elements.

9 - 10

Good accuracy; range of additional elements; some

control of the resource.

11 12

Stylistic understanding but not consistently so.

13 14

Musical and stylish throughout.

15

Flawless.

The Assessment Criteria

Communicating (Written)
0

No work.

1-2

Very limited accuracy.

34

Some accuracy of pitch and rhythm no other markings.

5-6

Pitch and rhythm correct or some other markings but P and

R errors.

7-8

Reasonable accuracy of pitch and rhythm, with some

additional elements.

9 - 10 Good accuracy; range of additional elements, but lacks

musicality.
11
12

Score detail makes musical sense lacking or excessive in

some sections.

13
Musical application of the full range of score detail.
14
Scores must state the instrument, and contain musical articulation, dynamics,
15

phrasing and tempo for 13+

Excellent musical detail.

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

Melodic Phrase
0

no second part

Level 1

parts not related

Level 2

occasionally harmonic successful

Level 3

simple harmony (mainly successful). Note for

note texture

Level 4

simple harmony that works - some variety

between parts

Level 5 consistently balanced and musical

The
success
the harmonisation and texture of the set
Level
6 +of
imaginative
stimulus forms the main basis of the assessment. Successful
extensions may raise the mark by a further level. (up to 4
marks).

Sequence of Events
These criteria are used to assess the quality of the
relationship to the stimulus.

Level No relationship to mood.

1
Level Some relationship to mood.
2
Level Basic effects.
3
Level Some success.
To get 4more than 12 for responding: must have mood +
event.
Level Effective and consistent.
5
Level Successful and imaginative.
6