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SECTION A

Answer ALL questions


Write your answers in the spaces provided or, where appropriate, choose an answer and
put a cross in the box . If you change your mind about an answer,
put a line through the box
and then mark your new answer with a cross .
1 The Kinks: Waterloo Sunset
Track 1: music begins at 044
(a) Is this song in a major or minor key?
(1)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

(b) In which decade was this track originally recorded?


(1)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

(c) Which of the following best describes the shape of the main guitar melody
starting at 052? Put a cross in the correct box.
(1)
A

Ascending sequence

Descending sequence

Ascending arpeggio

Descending arpeggio

(d) What technique has been used to record the lead vocal on the phrase but I dont
need no friends at 119? Put a cross in the correct box.
(1)

Stereo chorus

Stereo pair

Ambient recording

Double tracking

*N35825A0216*

(e) This track features creative use of panning. Indicate where the following
instruments are placed in the stereo field using the diagram below.
(4)
Bass Guitar

Lead Vocal

Left

Backing Vocals

Piano (Outro)

Centre

Right

(f ) On which two tracks is delay used?


(2)
1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................
2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................
(Total for Question 1 = 10 marks)

*N35825A0316*

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2 Kate Bush: Hounds Of Love


Track 2: music begins at 006
(a) In which decade was this track recorded? Put a cross in the correct box.
(1)
A 70s
B 80s
C 90s
D 00s
(b) The drummer uses a reduced kit. Name one part of a regular kit which is
conspicuously missing.
(1)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ......................................................................................

(c) Which characteristic type of reverb has been used on the drums? Put a cross in the
correct box.
(1)
A Gated
B Hall
C Plate
D Spring Line
(d) Fill in the three missing pitches from the backing vocal line at 036 (each marked
by an asterisk).
(3)

G ?

5
Oo,

5
oo,

oo,

5
oo,

oo,

oo,

oo.

*P38982A0416*

h.

(e) The Cello features heavily in the texture of this recording. Look at the picture
below and describe the choice of mic, the distance and the intended result of
this setup.

Description

Result

Choice of mic.
(1)

(1)

(1)

(1)

Distance

(Total for Question 2 = 10 marks)

*P38982A0516*

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Leave
blank

3.

Walking In Memphis: Marc Cohn


This question is based on two separate extracts from this song.
Extract 1
Music begins at 012
(a) Describe two performance characteristics you would aim to recreate if you were
sequencing the opening piano part of this song.
1 .....................................................................................................................................
2 .....................................................................................................................................
(2)
(b) Which of the following describes this piano part? Put a cross in the correct box.
broken chords

scales

stride chords

block chords
(1)

(c) The piano introduction is based on a repeated chord pattern. Which of the following
represents this pattern? Put a cross in the correct box.
C

Am

Am

F
(1)

*M23546A0824*

Leave
blank

(d) An acoustic guitar enters at 102. Below are illustrations of three microphone
placements that could be used to record this instrument, together with descriptions of
the expected recorded sound. Using the following table, match each recording set-up
with the correct description.
B

Description
1

Thin, percussive sound with emphasised string and


fret noise

Full sound with a good balance of bridge, sound hole


and neck tones

Bright, tight and metallic sound

Recording set-up

(3)
Extract 2
Music begins at 154
(e) The lyrics to this song make reference to life in the southern states of the USA.
Describe three ways in which the musical arrangement and performance reflect these
images.
1 .....................................................................................................................................
2 .....................................................................................................................................
3 .....................................................................................................................................
(3)

Q3

(Total 10 marks)

*M23546A0924*

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blank

4.

Respect: Aretha Franklin


Track begins at 008
(a) Describe the relationship between the lead and backing vocals.
.......................................................................................................................................
(1)
(b) This is a representation of where some of the parts have been placed in the stereo
field. Identify four other instruments playing and place them in their correct position
on the diagram.

Left

Centre

Keyboard

Lead vocal

Right

Backing vocals

Bass

(4)
(c) Describe one feature of this early stereo recording that indicates the engineers were
working with limited technology.
.......................................................................................................................................
.......................................................................................................................................
(1)

10

*M23546A01024*

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blank

(d) This is an example of soul music.


(i) Describe two characteristics of the lead vocal performance that are typical of this
style.
1 ..............................................................................................................................
................................................................................................................................
2 ..............................................................................................................................
................................................................................................................................
(2)
(ii) Describe one other characteristic of this track that identifies it as soul music.
................................................................................................................................
................................................................................................................................
(1)
(e) In which decade was this recording made? Put a cross in the correct box.
1950s

1960s

1970s

1980s

1990s
(1)

Q4

(Total 10 marks)

*M23546A01124*

11

Turn over

4 Rickie Lee Jones: Woody and Dutch on the Slow Train to Peking
Track 4: music begins at 009
* (a) This song has a strong jazz influence. What elements of the arrangement and/or
performance demonstrate this?
(3)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

(b) Identify the performance techniques used by the bass guitarist and the drummer.
Bass guitarist
(1)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

Drummer
(1)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

(c) Acoustic guitars are prominent on this recording. How would you use a single mic
to achieve a well-balanced acoustic guitar sound for a pop recording? Refer to
type, direction and distance of mic in your answer.
(3)
Type of mic

Direction of mic

Distance of mic

*N35825A0816*

* (d) This recording recreates the feel of an intimate live performance in a small club.
How has this been achieved? You should refer to technology and/or performance
in your answer.
(2)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .

(Total for Question 4 = 10 marks)


TOTAL FOR SECTION A = 40 MARKS

*N35825A0916*

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4 Ella Fitzgerald: Got A Pebble In My Shoe


Track 4: music begins at 0'07"
(a) This track is an example of big band jazz. Identify three musical features, apart
from instrumentation, that support this statement.
(3)
1 . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ................ ............................................................................................................................. . . . . . . . . . . . . . . . . . . . .
2 . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ................ ............................................................................................................................. . . . . . . . . . . . . . . . . . . . .
3 . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ................ ............................................................................................................................. . . . . . . . . . . . . . . . . . . . .
(b) There is an instrumental lead line between 013 and 021.
(i) What instruments play this lead line?
(1)
. . . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........... ........

(ii) What is the pitch range of this lead line?


Put a cross

in the correct box.


(1)

A Minor seventh
B Major seventh
C Minor ninth
D Major ninth
(c) This recording was probably captured using a single microphone. The drum kit is
often masked in the mix. How could a 1930s engineer have prevented this?
(1)
. . . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........... ............................................................................................................................... .. . . . . . . . . . . . . . . . . . . . .

(d) What effect would you use to give this mono recording a natural stereo feel using
a digital audio workstation?
(1)
. . . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........... ............................................................................................................................... .. . . . . . . . . . . . . . . . . . . . .

*P40432A0816*

(e) There are some problems with the recording of the lead vocal. Complete the table
below, describing how these problems could be avoided using modern recording
equipment.
Distortion

(1)
Limited
frequency
response
(1)
Balance

(1)
(Total for Question 4 = 10 marks)
TOTAL FOR SECTION A = 40 MARKS

*P40432A0916*

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