Instrumental Music (1700-1820)

OCR

GCSE

Candidates must analyse the structural and stylistic conventions of the Classical period (1700–1820), focusing on the development of the symphony, sonata, and concerto. Responses must demonstrate a secure grasp of Sonata Form, specifically the functional tonal relationships between the Exposition (Tonic/Dominant axis), Development, and Recapitulation. Credit is awarded for the accurate identification of orchestral evolution, particularly the independence of woodwinds and the abandonment of the Basso Continuo in favour of melody-dominated homophony.

Objectives

Exam Tips

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Key Terms

Mark Points

Subtopics in this area

Instrumental Music (1700-1820)

What You Need to Demonstrate

Key skills and knowledge for this topic

Award marks for precise identification of Baroque features: basso continuo, harpsichord, terraced dynamics, and polyphonic/contrapuntal textures.
Credit recognition of Classical characteristics: balanced phrasing, homophonic (melody and accompaniment) texture, Alberti bass, and gradual dynamic changes (crescendo/diminuendo).
Candidates must accurately identify structural forms specific to the era, distinguishing between Ritornello form in Baroque concerti and Sonata/Rondo forms in Classical works.
Award marks for correct terminology describing the soloist-orchestra relationship, such as 'dialogue', 'imitation', 'tutti', and 'cadenza'.
Award marks for precise identification of Classical structural features: Sonata Form (Exposition, Development, Recapitulation) and Rondo Form (ABACA).
Credit recognition of specific textural devices: Melody and Accompaniment, Alberti Bass, and dialogue/imitation between soloist and tutti.
Candidates must identify the 'Cadenza' as a structural landmark, noting its improvisatory nature and placement towards the end of a movement.
Award marks for accurate dictation of pitch and rhythm within the listening extracts, specifically regarding diatonic scalic and arpeggiated passages.

Example Examiner Feedback

Real feedback patterns examiners use when marking

"You correctly identified the instrument. To secure higher marks, describe how its role changes between the Exposition and the Development."
"Your description of the texture is accurate. Now, explain how this texture supports the soloist's virtuosity in the context of a Concerto."
"Avoid generic terms like 'fast'; use 'Allegro' or 'Presto' and link the tempo choice to the movement number (e.g., 1st movement)."
"Review your melodic dictation; ensure the interval distances are accurate, particularly when notating the leap of a perfect 4th or 5th."

Marking Points

Key points examiners look for in your answers

Award marks for precise identification of Baroque features: basso continuo, harpsichord, terraced dynamics, and polyphonic/contrapuntal textures.
Credit recognition of Classical characteristics: balanced phrasing, homophonic (melody and accompaniment) texture, Alberti bass, and gradual dynamic changes (crescendo/diminuendo).
Candidates must accurately identify structural forms specific to the era, distinguishing between Ritornello form in Baroque concerti and Sonata/Rondo forms in Classical works.
Award marks for correct terminology describing the soloist-orchestra relationship, such as 'dialogue', 'imitation', 'tutti', and 'cadenza'.
Award marks for precise identification of Classical structural features: Sonata Form (Exposition, Development, Recapitulation) and Rondo Form (ABACA).
Credit recognition of specific textural devices: Melody and Accompaniment, Alberti Bass, and dialogue/imitation between soloist and tutti.
Candidates must identify the 'Cadenza' as a structural landmark, noting its improvisatory nature and placement towards the end of a movement.
Award marks for accurate dictation of pitch and rhythm within the listening extracts, specifically regarding diatonic scalic and arpeggiated passages.

Examiner Tips

Expert advice for maximising your marks

💡When asked to identify the era, explicitly link an audible feature (e.g., 'harpsichord') to the period (e.g., 'Baroque') to secure the mark.
💡Memorise the Italian terms for tempo and dynamics; examiners do not credit English translations like 'fast' or 'getting louder' where technical vocabulary is required.
💡In comparison questions, ensure direct comparisons are made on the same musical element (e.g., 'Extract A is major, whereas Extract B is minor') rather than unrelated observations.
💡When asked to describe the texture, listen specifically for the 'question and answer' or 'dialogue' between the soloist and the orchestra.
💡Memorise the distinct timbres of the Classical woodwind section (Clarinet vs. Oboe) as instrument identification is a frequent 1-mark question.
💡In the extended response comparison question, ensure you link musical elements (dynamics, texture, instrumentation) directly to the specific time period (1700-1820).

Common Mistakes

Pitfalls to avoid in your exam answers

Confusing the 'harpsichord' with the 'piano' or failing to identify the presence of the basso continuo as a definitive Baroque marker.
Describing texture vaguely as 'thick' or 'thin' rather than using specific terms like 'polyphonic', 'homophonic', or 'unison'.
Attributing the use of the clarinet to the Baroque era or failing to recognise the expansion of the woodwind section in the Classical period.
Conflating 'tempo' (speed) with 'rhythm' (pattern) in descriptive responses.
Confusing the sound of the Fortepiano with the Harpsichord, leading to incorrect era identification (Baroque instead of Classical).
Describing dynamics vaguely as 'getting louder' rather than using the required Italian terminology (Crescendo/Diminuendo).
Failing to distinguish between 'Polyphonic' texture and the 'Melody and Accompaniment' texture typical of the Classical period.
Incorrectly identifying the cadence at the end of a phrase, specifically confusing Perfect and Imperfect cadences.

Study Guide Available

Comprehensive revision notes & examples

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Key Terminology

Essential terms to know

Sonata Form Structure and Tonal Logic

Functional Harmony and Cadential Points

Orchestral Texture and Instrumentation Development

Thematic Development and Periodic Phrasing

Structural Codification (Sonata Form, Rondo, Minuet and Trio)

Functional Tonality and Diatonic Harmony

Orchestral Standardisation and Timbral Development

Melody-Dominated Homophony and Periodic Phrasing

Likely Command Words

How questions on this topic are typically asked

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