Advanced Higher Music

C850 77 (performance option)

Course code:
or
C878 77 (portfolio option)
X850 77 (performance option)
Course assessment code:
or
X878 77 (portfolio option)
SCQF: level 7 (32 SCQF credit points)

Valid from: session 2019–20

This document provides detailed information about the course and course assessment to
ensure consistent and transparent assessment year on year. It describes the structure of
the course and the course assessment in terms of the skills, knowledge and understanding
that are assessed.

This document is for teachers and lecturers and contains all the mandatory information
required to deliver the course.

The information in this document may be reproduced in support of SQA qualifications only on
a non-commercial basis. If it is reproduced, SQA must be clearly acknowledged as the
source. If it is to be reproduced for any other purpose, written permission must be obtained
from permissions@sqa.org.uk.

This edition: April 2019 (version 1.0)

© Scottish Qualifications Authority 2014, 2019

Contents
Course overview 1
Course rationale 2
Purpose and aims 2
Who is this course for? 3
Course content 4
Skills, knowledge and understanding 4
Skills for learning, skills for life and skills for work 14
Course assessment 15
Course assessment structure: question paper 15
Course assessment structure: assignment 16
Assignment marking instructions 21
Course assessment structure: performance 26
Performance marking instructions 37
Course assessment structure: portfolio 39
Portfolio marking instructions 43
Grading 47
Equality and inclusion 48
Further information 49
Appendix 1: approved instruments and combinations of instruments 50
Course overview
This course consists of 32 SCQF credit points, which includes time for preparation for course
assessment. The notional length of time for candidates to complete the course is 160 hours.

The course assessment has five components: three mandatory components and two optional
components. Candidates complete the question paper, assignment, and performance —
instrument 1, and either performance — instrument 2 (performance option) or composing
portfolio (portfolio option).

Component Marks Scaled mark Duration

Question paper 40 35 1 hour and 15

minutes
(approximately)
Assignment 20 15 see ‘Course
assessment’ section
Performance — 30 25 see ‘Course
instrument 1 assessment’ section
and
Performance — 30 25 see ‘Course
instrument 2 assessment’ section
or
Portfolio 30 25 see ‘Course
assessment’ section

The course code for the performance option is C850 77. The course assessment code is
X850 77.

The course code for the portfolio option is C878 77. The course assessment code is
X878 77.

Recommended entry Progression

Entry to this course is at the discretion of  other qualifications in music, for

the centre. example Higher National (HN)
qualifications in music or related areas
Candidates should have achieved the  further study, employment and/or
Higher Music course or equivalent training
qualifications and/or experience prior to
starting this course.

Conditions of award
The grade awarded is based on the total marks achieved across all course assessment
components.

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Course rationale
National Courses reflect Curriculum for Excellence values, purposes and principles. They
offer flexibility, provide time for learning, focus on skills and applying learning, and provide
scope for personalisation and choice.

Every course provides opportunities for candidates to develop breadth, challenge and
application. The focus and balance of assessment is tailored to each subject area.

Throughout this course, candidates develop and extend their knowledge and understanding
of music concepts and music literacy. They learn to recognise, distinguish and apply
level-specific music concepts, signs and symbols as they perform, create and listen to music.

The course allows candidates to develop and consolidate practical skills in music and
knowledge and understanding of music styles and concepts. It encourages them to
self-reflect and explore their creative ideas. Understanding music through listening and
analysing enables candidates to build on and extend their knowledge and understanding of
music and influences on music.

The course provides opportunities for candidates to perform a range of music in solo and/or
group settings.

Purpose and aims

The course provides candidates with a broad practical experience of performing, creating
and understanding music. It enables them to work independently or in collaboration with
others, and can help them to plan and organise, to make decisions, and to take responsibility
for their own learning.

The course aims to enable candidates to:

 broaden their knowledge and understanding of music and music literacy by listening to
music, analysing and identifying music concepts, signs and symbols
 create original music or arrange existing music, using compositional methods
 perform music

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Who is this course for?
The course is suitable for candidates with an interest in developing their understanding and
skills in music. It allows them to consolidate and reinforce skills, knowledge and
understanding of music developed through other qualifications or experience. It provides a
pathway for those who want to progress to more specialised training, further and higher
education, or entry into a diverse range of occupations and careers.

The course takes account of the needs of different candidates and can be contextualised to
suit a diverse range of needs, interests and aspirations. There is considerable scope for
personalisation and choice through the activities of performing, creating, listening to and
analysing music, and through opportunities for using music technology to create or arrange
music.

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Course content
The course has an integrated approach to learning and combines practical learning and
understanding of music. Candidates draw upon their understanding of music styles and
concepts when performing and creating music.

Candidates experiment with and use music concepts in creative ways, within a range of
compositional methods, as they compose or arrange music and reflect on their creative
choices. Through listening, they develop knowledge and understanding of a variety of music
styles and concepts, and signs and symbols used in music notation.

Candidates develop their performing skills on one instrument or voice through regular
practice and reflection.

Candidates must also:

 perform on a second contrasting instrument

or
 compose a portfolio of music

Skills, knowledge and understanding

Skills, knowledge and understanding for the course
The following provides a broad overview of the subject skills, knowledge and understanding
developed in the course:

 aural perception and discrimination through listening to music

 knowledge and understanding of level-specific music styles, concepts, notation signs and
symbols
 analysis of music
 creating original music using compositional methods
 reviewing the creative process of composing and/or arranging
 performing music in contrasting styles on one or two contrasting instruments
 self-reflection and review of rehearsal and practice skills

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Skills, knowledge and understanding for the course assessment
The following provides details of skills, knowledge and understanding sampled in the course
assessment.

Question paper
The question paper tests skills in aural discrimination and perception, knowledge and
understanding of music concepts, music literacy and analysis of music. These are developed
throughout the course.

Assignment
The assignment draws on candidates’ skills, knowledge and understanding of music
composition. The composition or arrangement must show use of all of the following elements
of music:

 melody
 harmony
 rhythm
 structure
 timbre

Candidates show their understanding of these elements of music through the creative and
effective development of a range of musical ideas and compositional methods. They reflect
on their own original music and identify areas for improvement. They also analyse a chosen
piece of music.

Performance
Candidates demonstrate their performing skills by presenting a prepared programme of
music. The following aspects of performance are assessed:

 melodic accuracy and/or intonation

 rhythmic accuracy
 tempo and flow of the music
 mood and character
 instrumental or vocal tone
 dynamics

The selected programme of music must allow the candidate to demonstrate a sufficient level
of technical and musical skills at the appropriate level (Grade 5 or above).

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Portfolio option
The portfolio option allows candidates to further demonstrate their skills, knowledge and
understanding of music composition and/or arranging. The compositions and/or
arrangements must show use of all of the following elements of music:

 melody
 harmony
 rhythm
 structure
 timbre

Candidates show their understanding of these elements of music through the creative and
effective development of a range of musical ideas and compositional methods. They also
reflect on their own original music and identify areas for improvement.

The concepts in the course build on previous knowledge and understanding of concepts in
Music courses at lower SQCF levels. Candidates are expected to have a secure
understanding of the concepts at National 3, National 4, National 5 and Higher levels, in
addition to knowledge and understanding of those specific to Advanced Higher.

These concepts are detailed in the following tables.

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 Music concepts list — Advanced Higher
Styles Melody/harmony Rhythm/tempo Texture/structure/form Timbre
Renaissance Appoggiatura Hemiola Fugue Consort

Pavan Turn Subject Countertenor

Galliard Tritone Answer Piano trio

Motet Augmented triad Countersubject Sprechgesang

Ayre or air Suspension Stretto

Ballett Chords I, IV, V and VI in Antiphonal

major and minor keys
Madrigal Bridge
Chord II and its first
Anthem inversion (major keys only) Song cycle

Chorale Polytonality or bitonality Leitmotif

Nationalist Tone row or note row Inversion

Neoclassical Retrograde

Serial

Contemporary jazz

Electronic dance music

(EDM)

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 Music concepts list — Higher
Styles Melody/harmony Rhythm/tempo Texture/structure/form Timbre
Plainchant Mode or modal 3 against 2 Basso continuo Tremolando

Oratorio Relative major Time changes Concerto grosso Harmonics

Mass Relative minor Irregular time signatures Ritornello String quartet

Recitative Interval Triplets Passacaglia Ripieno

Sonata Obbligato Augmentation Da capo aria Concertino

Chamber music Acciaccatura Diminution Sonata form Coloratura

String quartet Mordent Exposition

Lied Plagal cadence Subject

Impressionist Interrupted cadence Through-composed

Musique concrète Tierce de Picardie

Jazz funk Dominant 7th

Soul music Diminished triad

Diminished 7th

Added 6th

Harmonic minor scale

Melodic minor scale

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 Music concepts list — National 5
Styles Melody/harmony Rhythm/tempo Texture/structure/form Timbre
Symphony Atonal, cluster Rubato Strophic Piccolo, oboe,
bassoon
Gospel Chord progressions — Ritardando Binary/AB
chords I, IV, V and VI in a (French) horn, tuba
Classical major key Moderato Rondo/ABACA — episode
Viola
Pibroch Imperfect/perfect cadences Cross rhythms Alberti bass
Castanets,
Celtic rock Inverted pedal Compound time — Walking bass hi-hat cymbals,
6 9 12 bongo drums
Bothy ballad Chromatic 8 8 8 Ground bass
Clarsach, bodhran
Waulking song Whole-tone scale Homophonic
Sitar, tabla
Gaelic psalm Grace note Polyphonic
Arco, pizzicato
Aria Glissando Contrapuntal
Con sordino
Chorus Modulation Coda
Flutter-tonguing
Minimalist Contrary motion
Rolls
Indian Trill
Reverb
Syllabic, melismatic
Mezzo-soprano,
Countermelody baritone

Descant (voice) A cappella

Pitch bend

Tone/semitone

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 Music concepts list — National 4
Styles Melody/harmony Rhythm/tempo Texture/structure/form Timbre
Baroque Major/minor (tonality) Syncopation Canon Brass band, wind
band
Ragtime Drone Scotch snap Ternary/ABA
Violin, cello, double
Romantic Broken chord/arpeggio Strathspey Verse and chorus
bass, harp
Swing Chord progressions — Jig Middle 8
chords I, IV and V (major Flute, clarinet,
Concerto keys) Simple time — 2 3 4 Theme and variation saxophone, pan
4 4 4 pipes, recorder
Opera Change of key Cadenza
Compound time Trumpet, trombone
Scots ballad Pedal Imitation
Anacrusis Timpani, snare drum,
Mouth music Scale
bass drum, cymbals,
Andante triangle, tambourine,
Reggae Pentatonic scale
guiro, xylophone,
Accelerando
African music Octave glockenspiel
Rallentando
Rapping Vamp Harpsichord
A tempo
Scat singing Bass guitar
Dotted rhythms
Ornament Distortion

Muted

Soprano, alto, tenor,

bass

Backing vocals

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 Music concepts list — National 3
Styles Melody/harmony Rhythm/tempo Texture/structure/form Timbre
Blues Ascending Accent/accented Unison/octave Striking (hitting),
blowing, bowing,
Jazz Descending Beat/pulse Harmony/chord strumming, plucking

Rock Step (stepwise) 2, 3 or 4 beats in the bar Solo Orchestra, strings,

brass, woodwind and
Pop Leap (leaping) On the beat/off the beat Accompanied/unaccompanied percussion (tuned and
untuned)
Rock ’n’ roll Repetition Repetition Repetition
Accordion, fiddle,
Musical Sequence Slower/faster Ostinato/riff bagpipes

Scottish Question and answer Pause Round Acoustic guitar,

electric guitar
Latin American Improvisation March
Piano, organ
Chord Reel
Drum kit
Discord Waltz
Steel band
Chord change Drum fill
Scottish dance band
Adagio
Folk group
Allegro
Voice

Choir

Staccato, legato

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 Music literacy
Melody/harmony Rhythm/tempo Texture/ Dynamics/
structure/form timbre
Advanced Higher
Bass clef C–E two ledger lines below stave Ties No additional No additional
to two ledger lines above texture/structure/ dynamics/
Syncopated rhythms form concepts are timbre
Transposing from bass clef one octave introduced at concepts are
higher into treble clef Time signature: 5 Advanced Higher. introduced at
4 Advanced
Rewriting (in either treble or bass clef) a Higher.
note at the same pitch using up to two Time changes
ledger lines below or above the stave
Dal segno (D.S.)
Enharmonic equivalent — rewriting a note
at the same pitch Fine

Scales and key signatures — D major, B flat

major, E minor and D minor

1st and 2nd inversions of major and minor

triads in the keys of C, G, F, D and B flat
major and A, E and D minor

Chord II and its 1st inversion (major keys as

listed above)

Identifying chords at cadence points and

under melodies

Inserting chords at cadence points

Creating a bass line using chord information

provided

Diminished 7th

Dominant 7th

Added 6th

Augmented triad

Tritone

Augmented 4th

Diminished 5th

8va (octave higher); 8vb (octave lower)

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 Music literacy
Melody/harmony Rhythm/tempo Texture/ Dynamics/
structure/form timbre
Higher
Bass clef — E–C — range of notes from E Quavers, crotchets, Phrase mark Accents ( > )
below the stave to middle C dotted crotchets and
dotted minims within Slurs
Transposing from treble clef down one 6 9 12
octave into bass clef 8 8 8 time Staccato ( . )

Identifying chords I, IV, V and VI in major Triplet quavers,

and minor keys in treble and bass clefs triplet crotchets

Identifying tonic, subdominant and dominant Rests — quaver,

notes in the keys of C, G and F major and crotchet,
A minor dotted crotchet,
minim, semibreve,
Naming diatonic intervals: 2nd, 3rd, 4th, 5th, whole bar
6th, 7th, octave
Da capo (D.C.)
Writing diatonic intervals above a given note
in treble clef

National 5
Tones, semitones, accidentals — flats, Dotted rhythms ff —
sharps and naturals fortissimo
Dotted crotchet
Scales and key signatures — C major, pp —
G major, F major, A minor Dotted quaver pianissimo

Chords — C major, G major, F major and Scotch snap sfz —

A minor sforzando
1st and 2nd time
Leaps bars

National 4
Treble clef stave Quaver mf —
mezzo forte
C–A’ — range of notes from middle C to Semiquaver
first ledger line A mp —
Grouped mezzo piano
Sequences semiquavers

Paired quavers

Repeat signs

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 Music literacy
Melody/harmony Rhythm/tempo Texture/ Dynamics/
structure/form timbre
National 3
Lines and spaces of the treble clef Crotchet f — forte

Steps Minim p — piano

Repetition Dotted minim < cresc. —

crescendo
Semibreve
> dim. —
Barlines diminuendo

Double barlines

Skills, knowledge and understanding included in the course are appropriate to the SCQF
level of the course. The SCQF level descriptors give further information on characteristics
and expected performance at each SCQF level, and are available on the SCQF website.

Skills for learning, skills for life and skills for work
This course helps candidates to develop broad, generic skills. These skills are based on
SQA’s Skills Framework: Skills for Learning, Skills for Life and Skills for Work and draw from
the following main skills areas:

3 Health and wellbeing

3.1 Personal learning

5 Thinking skills
5.3 Applying
5.4 Analysing and evaluating
5.5 Creating

Teachers or lecturers must build these skills into the course at an appropriate level, where
there are suitable opportunities.

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Course assessment
Course assessment is based on the information in this course specification.

The course assessment meets the purposes and aims of the course by addressing:

 breadth — drawing on knowledge and skills from across the course

 challenge — requiring greater depth or extension of knowledge and/or skills
 application — requiring application of knowledge and/or skills in practical or theoretical
contexts as appropriate

This enables candidates to:

 demonstrate a depth of knowledge and understanding of music, level-specific music

concepts and music literacy
 create original music or arrange music and review the process
 demonstrate analytical skills
 prepare and perform a programme of music on one instrument or voice

and either
 prepare and perform a programme of music on a second contrasting instrument
or
 produce a portfolio of music

Course assessment structure: question paper

Question paper 40 marks
The question paper is a mandatory course assessment component.

The question paper assesses candidates’ knowledge and understanding of music concepts
and music literacy.

Candidates demonstrate their conceptual knowledge and understanding of music by

responding to questions that relate to excerpts of music in different styles. A range of
question types is used in the question paper. Candidates answer all the questions.

The question paper gives candidates an opportunity to demonstrate the following skills,
knowledge and understanding:

 aural perception, discrimination and analytical thinking

 knowledge and understanding of a range of music styles, concepts and music literacy

The question paper has 40 marks out of a total of 120 marks. This is scaled by SQA to
represent 35% of the overall marks for the course assessment.

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Marks are awarded for:

 identifying concepts in a range of excerpts of music and styles

 applying music literacy skills
 analysing two excerpts of music, identifying similarities and differences
 identifying the style and/or period(s) of two excerpts of music and providing a valid
justification

Short-answer questions specifically examine concepts introduced at Higher and Advanced

Higher levels.

In sequential listening questions, or questions where candidates identify the prominent

features of the music, concepts from all levels up to and including Advanced Higher are
examined.

Setting, conducting and marking the question paper

SQA sets and marks the question paper. It is conducted in centres under conditions specified
for external examinations by SQA.

Candidates have approximately 1 hour and 15 minutes to complete the question paper.

Specimen question papers for Advanced Higher courses are published on SQA’s website.
These illustrate the standard, structure and requirements of the question papers candidates
sit. The specimen papers also include marking instructions.

Course assessment structure: assignment

Assignment 20 marks
The assignment is a mandatory course assessment component.

The assignment allows candidates to explore and develop musical ideas to create music. It
has three parts:

 composing or arranging one piece of music

 reviewing the creative process of their composition or arrangement
 analysing a chosen piece of music

The assignment has 20 marks out of a total of 120 marks. This is scaled by SQA to represent
15% of the overall marks for the course assessment.

Marks are awarded for:

 composing or arranging music (10 marks)

 review of the creative process (5 marks)
 analysis (5 marks)

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Composing or arranging one piece of music
The composed piece or arrangement can be in any style or genre and must last a minimum
of 1 minute and a maximum of 4 minutes and 30 seconds. Carefully-timed cuts or fade-outs
can be used to keep within the time limit.

For a composition candidates must:

 plan their composition

 explore and develop musical ideas using all of the musical elements of melody, harmony,
rhythm, structure and timbre
 create one complete piece of music

For an arrangement candidates must:

 plan their arrangement

 creatively rework the chosen music by exploring and developing musical ideas using all
of the musical elements of melody, harmony, rhythm, structure and timbre
 create one arrangement

If a candidate submits an arrangement, they must include a copy of the source materials
used and clarify details of their input in their review. Candidates must provide clear evidence
of the specific content they created.

An arrangement cannot be a basic transcription from an available score. Candidates must

creatively rework their chosen piece of music.

Reviewing the creative process of their composition or arrangement

For the review, candidates must, with reference to compositional methods used, include
clear details of their:

 main decisions
 exploration and development of musical ideas
 strengths and/or areas for improvement

Analysing a chosen piece of music

Candidates must choose a piece of music by a composer and analyse the key features with
reference to compositional methods and music concepts. Candidates must not analyse their
own music in this part of the assignment.

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The analysis must contain reference to at least five of the elements below:

 style
 melody
 harmony
 rhythm and tempo
 texture
 structure and/or form
 timbre and dynamics

Candidates must provide an audio recording of their chosen piece. This could be in the form
of an audio file or web link. The candidate’s analysis must include audio time codes
referencing the key features they identify. Candidates do not need to provide edited excerpts
of the audio recording.

Candidates can include sections of a score or a guide to the music referencing the key
features identified.

Setting, conducting and marking the assignment

The assignment is:

 set by centres within SQA guidelines

 conducted under some supervision and control

The assignment is submitted to SQA for external marking. SQA quality assures all marking.

Teachers or lecturers must agree the scope and focus of the assignment with the candidate,
and must allow personalisation and choice.

The assignment must:

 allow candidates to apply the knowledge and skills developed throughout the course to
show understanding of compositional methods
 be a meaningful and challenging task that enables candidates to clearly demonstrate
application of musical skills in a creative way
 allow candidates to demonstrate competence in creating and developing musical ideas
and an understanding of harmony

The composition or arrangement can contain sections of improvisation, but this must be in
the context of a wider composition that demonstrates composing skills. A piece that is solely
an improvisation will be awarded 0 marks.

Candidates who choose to work with pre-recorded loops must ensure that they do this in the
context of a wider composition or arrangement and show the compositional process. The
candidate’s actual creative input must be clearly identifiable. Candidates must provide details
of their creative input in their review.

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Assessment conditions
Time
The assignment is carried out over an extended period of time in open-book conditions,
allowing candidates to develop and refine their work before it is presented for assessment.
Candidates start their assignment at an appropriate point in the course, as determined by
their teacher or lecturer, allowing for personalisation.

Supervision, control and authentication

The assignment is carried out under some supervision and control. This means:

 candidates do not need to be directly supervised at all times

 the use of resources, including the internet, is not tightly prescribed
 the work an individual candidate submits for assessment is their own
 teachers or lecturers can provide reasonable assistance

Candidates may complete part of the work outwith the learning and teaching setting.
Teachers or lecturers may give support and guidance if required and should put in place
processes for monitoring progress, for example regular checkpoints to ensure that the work
is the candidate’s own.

Resources
There are no restrictions on the resources that candidates may access while producing their
assignment.

Reasonable assistance
Candidates must carry out the assessment independently. However, they can receive
reasonable assistance before the formal assessment process takes place.

The term ‘reasonable assistance’ is used to try to balance the need for support with the need
to avoid giving too much assistance. If candidates need more than what is thought to be
‘reasonable assistance’, they may not be ready for assessment, or they may have been
entered for the wrong level of qualification.

Teachers or lecturers may provide guidelines for the assignment to lead candidates through
the assignment in stages.

Candidates can seek clarification regarding the wording of the assignment assessment tasks
if they find them unclear. In this case, teachers or lecturers should clarify this for the whole
class.

If a candidate is working on their assignment and is faced with more than one possible
solution to a problem, then the teacher or lecturer may explore options with them. The
teacher or lecturer and the candidate can discuss the pros and cons of each option. The
candidate can then decide on a solution based on the discussion.

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Evidence to be gathered
The following candidate evidence must be submitted:

 an audio recording of the composition or arrangement

 a score or performance plan of the composition or arrangement
 a review of the creative process for the composition or arrangement
 an analysis of a chosen piece of music, including reference to audio time codes
 an audio recording (for example an audio file or web link) of the chosen piece of music
used for analysis

In addition to this, candidates who submit an arrangement must provide a copy of the original
music, including any harmonies (where available).

Candidates must use the SQA review of the creative process and analysis templates. The
templates are available from the Advanced Higher Music subject page.

Volume
Candidates can present their review in prose or bullet points. It should be approximately 200
to 350 words.

The analysis of a chosen piece of music should be approximately 600 to 800 words.

Word count is given to indicate the volume of evidence required. No penalty is applied.

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Assignment marking instructions
In line with SQA’s normal practice, the following marking instructions for the Advanced
Higher Music assignment are addressed to the marker. They will also be helpful for those
preparing candidates for course assessment.

Candidates’ evidence is submitted to SQA for external marking.

General marking principles

Always apply these general principles. Use them in conjunction with the detailed marking
instructions, which identify the key features required in candidates’ responses.

a Always use positive marking. This means candidates accumulate marks for the
demonstration of relevant skills, knowledge and understanding; marks are not
deducted for errors or omissions.
b For each of the parts, select the band descriptor that most closely describes the
evidence presented. For composing and arranging, once the best fit has been selected:
— Where the evidence almost matches the description of the level above, award the
higher mark from the range.
— Where the evidence just meets the standard described, award the lower mark from
the range.
c For composing and arranging:
— If a candidate does not submit an audio recording for their composition or
arrangement, award 0 marks.
— If a candidate does not submit a score or a performance plan, award 0 marks.
— If a candidate has submitted a piece that is solely an improvisation, award 0 marks.
— If a candidate does not provide a copy of the source material used to create their
arrangement, award 0 marks.
— If a candidate only uses four of the elements to create their composition or
arrangement, award a maximum of 5 marks.
d For analysis:
— If a candidate does not provide an audio recording or a web link to the piece of
music they have analysed, award 0 marks.
— If a candidate does not provide audio time codes referencing the key features of
the music, award a maximum of 1 mark.
— If a candidate only refers to four of the elements when analysing their chosen piece
of music, award a maximum of 4 marks.

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Detailed marking instructions
Mark
Composing music Summary statements
range
Candidates must An excellent composition demonstrating a range of musical ideas that have been developed imaginatively
use all of the and convincingly, appropriate to the candidate’s chosen style. The use of elements is highly creative and 9–10
elements listed effective.
below:
A good composition demonstrating a range of musical ideas that have been developed with some
7–8
imagination, appropriate to the candidate’s chosen style. The use of elements shows creativity.
 melody
 harmony
A composition demonstrating musical ideas that have been developed satisfactorily, appropriate to the
 rhythm 5–6
candidate’s chosen style. The use of elements may be simplistic and straightforward.
 structure
 timbre A composition demonstrating musical ideas that have been developed inconsistently within the candidate’s
3–4
chosen style. The use of elements is not always appropriate.

A composition demonstrating limited musical ideas with little or no development within the candidate’s
1–2
chosen style. The use of elements is poor.

No evidence produced. 0

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 Mark
Arranging music Summary statements
range
Candidates must
An excellent arrangement that uses a range of compositional methods to develop aspects of the original
creatively rework the
piece imaginatively and convincingly. The arrangement skilfully and effectively employs varied instrumental 9–10
original piece of
forces and combinations, shows originality, and is highly creative.
music using all of
the elements listed
A good arrangement that uses a range of compositional methods to develop aspects of the original piece
below:
with some imagination. The arrangement successfully employs varied instrumental forces and combinations, 7–8
shows some originality, and is creative.
 melody
 harmony
 rhythm A satisfactory arrangement that uses compositional methods to show some development of aspects of the
5–6
original piece. The arrangement employs instrumental forces and combinations in a straightforward way.
 structure
 timbre
A simplistic arrangement that uses compositional methods to show limited development of aspects of the
3–4
original piece. Instrumental forces and combinations are not always appropriate.

A poor arrangement that shows very limited development of aspects of the original piece. Instrumental
1–2
forces and combinations are inappropriate.

No evidence produced. 0

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 Review of the creative process Summary statements Mark

The review must, with reference to The review contains:

compositional methods used,
include:  a detailed account of the main decisions made
5
 a detailed explanation of the exploration and development of musical ideas
 main decisions made  clear details of strengths and/or areas for improvement
 the exploration and The review contains:
development of musical ideas
 a fairly detailed account of the main decisions made
 strengths and/or areas for 4
improvement  a relevant explanation of the exploration and development of musical ideas
 identification of strengths and/or areas for improvement
The review contains:

 a satisfactory account of the main decisions made

3
 sufficient explanation of the exploration and development of musical ideas
 satisfactory identification of strengths and/or areas for improvement
The review contains:

 a limited account of the main decisions made

2
 a limited explanation of the exploration and development of musical ideas
 limited identification of strengths and/or areas for improvement
The review contains:

 a poor account of the main decisions made

1
 a very limited explanation of the exploration and development of musical ideas
 little or no identification of strengths and/or areas for improvement

No evidence produced. 0

Version 1.0 24
 Analysis Summary statements Mark
The analysis of the chosen piece The candidate demonstrates a perceptive understanding of the chosen piece by giving a
must identify key features within detailed identification of key features of the music, backed up with detailed reference to the 5
the music by referring to at least audio and, where appropriate, a score or guide to the music.
five of the elements below:
The candidate demonstrates a secure understanding of the chosen piece by giving a fairly
 style detailed identification of key features of the music, backed up with fairly detailed reference to 4
the audio and, where appropriate, a score or guide to the music.
 melody
 harmony The candidate demonstrates a satisfactory understanding of the chosen piece by giving a
satisfactory identification of key features of the music, backed up with satisfactory reference 3
 rhythm and tempo
to the audio and, where appropriate, a score or guide to the music.
 texture
The candidate demonstrates a limited understanding of the chosen piece by giving a limited
 structure and/or form
identification of key features of the music, backed up with limited reference to the audio and, 2
 timbre and dynamics where appropriate, a score or guide to the music.
The candidate demonstrates little or no understanding of the chosen piece. There is little or
no identification of key features of the music, backed up with little, inaccurate, or no reference 1
to the audio nor, where appropriate, a score or guide to the music.

No evidence produced. 0

Version 1.0 25
Course assessment structure: performance
Performance — instrument 1 30 marks

Performance — instrument 2 30 marks

The performance on instrument 1 is a mandatory course assessment component.

The performance on instrument 2 is an optional course assessment component. Candidates

either complete this or the portfolio.

If candidates choose to perform on instrument 1 and instrument 2, they must be entered

using course code C850 77 and course assessment code X850 77.

If candidates choose to perform on one instrument and complete a portfolio, they must be
entered using course code C878 77 and course assessment code X878 77.

The performance allows candidates to demonstrate skills on either one or two contrasting
selected instruments, either of which could be voice.

Performance on two instruments

For candidates performing on instrument 1 and instrument 2, the total performance time for
both instruments must be a minimum of 18 minutes and must not exceed 20 minutes.
Candidates do not need to perform for an equal length of time on each of their instruments,
or on their instrument and voice. The performance time on either of the two selected
instruments must be a minimum of 6 minutes within the overall programme.

Performance — instrument 1 has 30 marks out of a total of 120 marks. This is scaled by
SQA to represent 25% of the overall marks for the course assessment.

Performance — instrument 2 has 30 marks out of a total of 120 marks. This is scaled by
SQA to represent 25% of the overall marks for the course assessment.

Candidates can perform their programme of music for instrument 1 and 2, solo and/or in a
group setting. The programme of music must include a minimum of two contrasting pieces of
music. These pieces must be of an appropriate level of difficulty.

Performance on one instrument

For candidates performing on one instrument, the total performance time must be a minimum
of 6 minutes and must not exceed 8 minutes.

Performance — instrument 1 has 30 marks out of a total of 120 marks. This is scaled by
SQA to represent 25% of the overall marks for the course assessment.

Candidates can perform their programme of music for instrument 1 solo and/or in a group
setting. The programme of music must include a minimum of two contrasting pieces of
music. These pieces must be of an appropriate level of difficulty.

Version 1.0 26
Marks are awarded, as appropriate for:

 melodic accuracy and/or intonation

 rhythmic accuracy
 tempo and flow
 mood and character
 tone
 dynamics

Each instrument (or voice) is marked out of 30, and individual pieces are given a mark out of
10. The number of pieces in the performance programme is variable, therefore scaling is
used to determine the final mark for each instrument (or voice).

Performance overview
The performance allows candidates to demonstrate their musical and technical skills in an
appropriately challenging context.

Music can, for example, be selected from current or past syllabuses (including graded
anthologies) at Grade 5 or above from any of the following, or any other equivalent music
organisation:

 Associated Board of the Royal Schools of Music (ABRSM)

 Trinity College
 Rockschool
 London College of Music
 Royal Conservatoire of Scotland (RCS) Scottish Traditional Music Graded Exams

The music in the 6- or 18-minute programme should allow the candidate to demonstrate a
sufficient level of technical and musical skills. It should include complete pieces of music.
However, carefully-timed cuts to music may be required to keep within time requirements.
Teachers or lecturers must ensure that the sections of music performed meet the criteria
outlined above.

The list of approved instruments and unacceptable combinations of instruments is provided

below and in appendix 1. Candidates who choose to perform on two instruments must refer
to this list.

Version 1.0 27
Approved instruments and unacceptable combinations of instruments
Candidates should demonstrate skills on either one or two contrasting instruments, either of
which can be voice. Teachers or lecturers should send requests about presenting
instruments not contained in the table below to SQA.

Unacceptable in combination with

Instrument 1
Instrument 1

Accordion (free bass) Accordion (Stradella)

Accordion (Stradella) Accordion (free bass)

Bagpipes (Scottish)

Horn in F
Horn (tenor)/Cornet (Eb)
Baritone/Euphonium
Trumpet/Cornet/Flugel (Bb)
Tuba

Bassoon Oboe

Bass guitar** Double bass**

Cello

Clarinet Any saxophone

Clarsach Harp

Double bass** Bass guitar**

Pipe band drumming*

Drum kit* Snare drum*
Timpani*

Flute

Guitar (classical)
Guitar (acoustic) Guitar (electric)
Ukulele
Guitar (acoustic)
Guitar (classical) Guitar (electric)
Ukulele
Guitar (acoustic)
Guitar (electric) Guitar (classical)
Ukulele

Harp Clarsach

Version 1.0 28
 Unacceptable in combination with
Instrument 1
Instrument 1
Baritone/Euphonium
Horn (tenor)/Cornet (Eb)
Horn in F
Trumpet/Cornet/Flugel (Bb)
Tuba
Baritone/Euphonium
Horn in F
Horn (tenor)/Cornet (Eb)
Trumpet/Cornet/Flugel (Bb)
Tuba
Organ (electronic)
Keyboard (electronic) Organ (pipe)
Piano
Scots fiddle
Mandolin Viola
Violin

Oboe Bassoon

Keyboard (electronic)
Organ (electronic) Organ (pipe)
Piano
Keyboard (electronic)
Organ (pipe)
Organ (electronic)
Keyboard (electronic)
Piano
Organ (electronic)
Drum kit*
Pipe band drumming* Snare drum*
Timpani*

Recorder (any one recorder or combination Any other recorder

of descant, treble, tenor recorders) Tin whistle

Saxophone (any one saxophone or

Any other saxophone
combination of soprano, alto, tenor, baritone
Clarinet
saxophones)
Mandolin
Scots fiddle Viola
Violin
Drum kit*
Snare drum* Pipe band drumming*
Timpani*
Drum kit*
Timpani* Pipe band drumming*
Snare drum*

Version 1.0 29
 Unacceptable in combination with
Instrument 1
Instrument 1

Tin whistle Any recorder

Trombone (tenor)

Baritone/Euphonium
Horn in F
Trumpet/Cornet/Flugel (Bb)
Horn (tenor)/Cornet (Eb)
Tuba
Baritone/Euphonium
Horn in F
Tuba
Horn (tenor)/Cornet (Eb)
Trumpet/Cornet/Flugel (Bb)
Tuned percussion (any one instrument or
combination of glockenspiel, marimba, Any other tuned percussion instrument
vibraphone, xylophone)
Guitar (acoustic)
Ukulele Guitar (classical)
Guitar (electric)
Mandolin
Viola Scots fiddle
Violin
Mandolin
Violin Scots fiddle
Viola

Voice

Version 1.0 30
Combining similar instruments into one programme
Candidates can construct a performance programme that combines instruments from the
‘Unacceptable in combination with Instrument 1’ column with the corresponding instrument 1.
They must also perform a second programme on another acceptable instrument. However,
candidates must not combine drum kit, pipe band drumming, snare drum and timpani.

For example:

Performance programme one Performance programme two

Piano and Any instrument other than:
keyboard (electronic)
keyboard (electronic)
piano
organ (electronic)
organ (pipe)

Guitar (acoustic) and Any instrument other than:

guitar (classical) and
guitar (electric) guitar (acoustic)
guitar (classical)
guitar (electric)
ukulele

*Instruments that cannot be combined into one programme

Candidates must not combine any of the following instruments into one performance
programme:

 drum kit
 pipe band drumming
 snare drum
 timpani

Further instrument-specific information

**Bass guitar and double bass
Candidates can present bass guitar and double bass as two separate instruments, providing
they use the bow for a substantial part of the double bass programme and use different
music for each instrument. The double bass programme should largely consist of arco
playing with pizzicato only where the piece particularly requires it. Candidates must not play
a whole pizzicato programme on double bass and then play a bass guitar programme.

If a centre intends to present the same candidate for bass guitar and double bass, they must
inform SQA at the start of the academic session.

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Bagpipes (Scottish)
Candidates must perform on Highland bagpipe at Advanced Higher level. They cannot
perform on practice chanter.

Candidates must include piobaireachd, march, Strathspey and reel.

Candidates may not be able to perform an entire piobaireachd within the chosen time
allocation. Where they perform sections of a piobaireachd, they must include the crunluath.
Candidates may miss out repeats in the march, Strathspey and reel to accommodate their
chosen time allocation on the instrument. Candidates must play all pieces from memory.

Drum kit
A drum kit programme at Advanced Higher must have the following content:

Number of contrasting Number of different fills 4-way independence

styles required in a required within each style required in
programme

6 4 all styles

Carefully-timed cuts may be made in the printed music. Cuts and fade-outs may be made in
the backing tracks to keep within the time limit, and should be at the discretion of the teacher
or lecturer. Teachers or lecturers must ensure that the required number of fills is included
before the cut or fade-out. Within any one programme, one piece only can include two styles
and, in this case, candidates do not have to double the required number of fills. Candidates
must demonstrate four-way independence in all styles.

Candidates presenting drum kit must be accompanied, and this may be live or recorded.
However, candidates may include one unaccompanied piece within any one programme.

The pieces of music must allow the candidate to demonstrate a sufficient level of technical
and musical skills.

Version 1.0 32
Drum kit styles
For Advanced Higher, candidates must perform a programme of six contrasting styles. Candidates must choose their six styles from banks 1 to 9
below. Each of their six styles must come from a different bank.

Bank 1 Bank 2 Bank 3 Bank 4 Bank 5 Bank 6 Bank 7 Bank 8 Bank 9

Rock Disco Blues Shuffle Jazz Waltz Reggae Cha-cha Irregular time
Heavy rock 16th note (three (2 or 4 feel) signatures

Rock ballad rhythm quavers to

one crotchet)
Metal rock

Pop 16 beat 12/8 Funk shuffle Swing 3 beats Ska Bossa nova Free choice
(simple or of any other
compound style not
time) listed in
banks 1–8
Hip hop Big band 9/8 Latin
swing

Soul Samba

Hard rock Rumba

Punk Calypso

Funk

R ’n’ B

Rock ’n’ roll

Version 1.0 33
Guitar and ukulele (electric and acoustic)
There are three separate approaches to presenting a guitar or ukulele programme:

 a programme of pieces of chordal guitar or chordal ukulele throughout

 a programme of pieces that is a mixture of melodic guitar or melodic ukulele and chordal
guitar or chordal ukulele — in which case the full chordal requirements for each level
must be in the programme
 a programme of pieces of melodic guitar or melodic ukulele throughout

In the third approach, candidates do not have to include chordal guitar or chordal ukulele
within the programme and the requirement for a set number of chords does not apply.

Chordal requirements are shown below:

Minimum Style
number of
chords
18 Candidates must:

 play single melodic lines at the appropriate standard

 incorporate melody and accompaniment in at least one piece

Chords should be played in:

 a continuous accompanying style

 a more demanding arpeggiated style:
— barre chords, varied textures and more complex playing
techniques appropriate to the style of the music are expected
— techniques might include alternating bass, runs, slurring,
bending and harmonics; candidates may also incorporate
pieces from the classical guitar repertoire in their programme

Keyboard
Advanced Higher candidates must play fully fingered chords throughout their keyboard
programme. If a candidate plays with right hand only or uses single-fingered chords, they will
be awarded 0 marks for the piece.

Recorder
Advanced Higher candidates must present a programme that includes performances on both
C and F recorders, for example:

 descant and treble recorders

or
 tenor and treble recorders

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Voice
Singers do not need to perform from memory; however this allows for a more convincing
interpretation and presentation.

Songs may be accompanied or unaccompanied (where appropriate), and transposed to any

suitable key.

Setting, conducting and marking the performance

The performance is set by centres within the following SQA guidelines:

 The teacher or lecturer must agree the programme for the performance with the
candidate.
 The teacher or lecturer must ensure that the music is of an appropriate standard for
Advanced Higher level.

The performance is conducted under a high degree of supervision and control.

The performance is marked by an SQA visiting assessor. SQA quality assures all marking.

Assessment conditions
Time
Teachers or lecturers should ensure that there is sufficient time before the performance for
candidates to prepare and warm up their instruments. Before the assessment event,
teachers or lecturers are responsible for stating on the candidate mark sheet:

 the title and duration of individual pieces

 the playing time on the chosen instrument(s)

This is a single assessment event. The full programme of music is performed in front of an
SQA visiting assessor.

Supervision, control and authentication

The performance is marked by an SQA visiting assessor, and conducted in centres under
conditions specified for visiting assessment by SQA.

Resources
There are no restrictions on the resources that candidates may access while preparing for
their performance.

Reasonable assistance
Candidates must carry out the assessment independently. However, they can receive
reasonable assistance before the formal assessment process takes place.

The term ‘reasonable assistance’ is used to balance the need for support with the need to
avoid giving too much help. If candidates need more than what is thought to be ‘reasonable

Version 1.0 35
assistance’, they may not be ready for assessment, or they may have been entered for the
wrong level of qualification.

Teachers or lecturers may give reasonable assistance on a generic basis to a class or group
of candidates, for example, by offering advice on how to select suitable pieces of contrasting
music for the performance programme. Teachers and lecturers may also give candidates
reasonable assistance on an individual basis.

Group work approaches are acceptable as part of the preparation and also for the formal
assessment. However, there must be clear evidence to show that the balance within group
performances allows the SQA visiting assessor to clearly hear each candidate’s performance
programme.

Teachers or lecturers can provide candidates with some formative assistance prior to the
formal assessment event.

Evidence to be gathered
An SQA visiting assessor assesses each candidate’s performance by listening to their full
programme of music. The SQA visiting assessor records assessment decisions on a
candidate mark sheet provided by SQA.

Volume
The following evidence is required for this assessment:

 the candidate’s performance of their 6- or 18-minute prepared programme of music on

either one or two selected instruments, either of which could be voice

The programme of music must be appropriate for Advanced Higher level and include a
minimum of two contrasting complete pieces of music on each selected instrument.
Carefully-timed cuts to music may be necessary to keep within time requirements.

Version 1.0 36
Performance marking instructions
In line with SQA’s normal practice, the following marking instructions for the Advanced
Higher Music performance are addressed to the visiting assessor. They will also be helpful
for those preparing candidates for course assessment.

Candidates’ evidence is marked in centres by an SQA visiting assessor.

General marking principles

Always apply these general principles. Use them in conjunction with the detailed marking
instructions, which identify the key features required in candidates’ performances.

a Always use positive marking. This means candidates accumulate marks for the
demonstration of relevant skills, knowledge and understanding; marks are not
deducted for errors or omissions.
b Award marks for the following, as appropriate:
— melodic accuracy and/or intonation
— rhythmic accuracy
— tempo and flow
— mood and character
— tone
— dynamics
c Add the final marks for each piece of music together, and apply scaling to determine a
final overall mark for each instrument, or instrument and voice.
d Record assessment decisions on a candidate mark sheet.

Version 1.0 37
Detailed marking instructions
Music performance — summary statements
Mark range 9–10
A convincing and stylish performance, which demonstrates excellent technique
Melodic accuracy and/or intonation Excellent level
Rhythmic accuracy Excellent level
Tempo and flow Appropriate and musically convincing
Mood and character Conveyed with sensitivity
Tone Confident, convincing and well-developed
instrumental or vocal sound
Dynamics Convincing
Mark range 7–8
A secure performance musically and technically
Melodic accuracy and/or intonation Secure
Rhythmic accuracy Secure
Tempo and flow Appropriate and consistent
Mood and character Conveyed securely
Tone Secure and effective control of instrumental or vocal
sound
Dynamics Effective
Mark range 5–6
A mainly accurate performance, displaying effective technical and musical control
Melodic accuracy and/or intonation Mainly accurate
Rhythmic accuracy Mainly accurate
Tempo and flow Appropriate and mainly consistent
Mood and character Conveyed with some success
Tone Some evidence of development and control
Dynamics Some contrast
Mark range 3–4
An inconsistent performance, lacking sufficient technical and/or musical skill to
communicate the sense of the music
Melodic accuracy and/or intonation Inconsistencies in melodic accuracy and/or passages
of poor intonation
Rhythmic accuracy Inconsistencies in rhythm
Tempo and flow Inappropriate speed and/or some breaks in continuity
Mood and character Not conveyed satisfactorily
Tone Little evidence of development and control
Dynamics Not observed satisfactorily
Mark range 0–2
A poor performance with little or no evidence of required technical and/or musical ability
Melodic accuracy and/or intonation Inaccurate melody and/or consistently poor intonation
Rhythmic accuracy Frequent inaccuracies
Tempo and flow Totally inappropriate speed and/or frequent stumbling
Mood and character Not conveyed
Tone Poor
Dynamics Ignored

Version 1.0 38
Course assessment structure: portfolio
Portfolio 30 marks
The portfolio is an optional course assessment component. Candidates either complete this
or the performance on instrument 2.

If candidates choose to complete a portfolio, they must be entered using course code
C878 77 and course assessment code X878 77.

The portfolio option allows candidates to explore and develop musical ideas to create music.
It has two parts:

 composing and/or arranging music

 reviewing the creative process of their composition(s) or arrangement(s)

The portfolio has 30 marks out of a total of 120 marks. This is scaled by SQA to represent
25% of the overall marks for the course assessment.

Marks are awarded for:

 composing and/or arranging music (20 marks)

 review of the creative process (10 marks)

Composing and/or arranging music

The composed pieces or arrangements may be in any style or genre and must last a
minimum of 6 minutes and a maximum of 8 minutes. Carefully-timed cuts or fade-outs should
be used to keep within the time limit and should be at the discretion of teachers or lecturers.

Candidates must create a minimum of two complete pieces of music. Candidates must not
submit the same pieces of music for the assignment and the portfolio.

Each piece can be a composition or an arrangement.

For a composition candidates must:

 plan their composition(s)

 explore and develop musical ideas using all of the musical elements of melody, harmony,
rhythm, structure and timbre
 create the complete piece(s) of music

For an arrangement candidates must:

 plan their arrangement(s)

 creatively rework the chosen music by exploring and developing musical ideas using all
of the musical elements of melody, harmony, rhythm, structure and timbre
 create the arrangement(s)

Version 1.0 39
If a candidate submits an arrangement, they must include a copy of the source materials
used and clarify details of their input in their review. Candidates must provide clear evidence
of the specific content they created. A basic transcription from an available score is not
sufficient.

Candidates can compose or arrange more than two pieces of music. If they do this, each
piece is marked out of 10 and scaling is applied.

Reviewing the creative process of their compositions or arrangements

Candidates must write a review for each piece in their portfolio.

For each review, candidates must, with reference to compositional methods used, include
clear details of their:

 main decisions
 exploration and development of musical ideas
 strengths and/or areas for improvement

Each review is marked out of 5 and scaling is applied if candidates include more than two
pieces of music in their portfolio.

Setting, conducting and marking the portfolio

The portfolio is:

 set by centres within SQA guidelines

 conducted under some supervision and control

The portfolio is submitted to SQA for external marking. SQA quality assures all marking.

Teachers or lecturers must agree the scope and focus of the portfolio with the candidate, and
must allow personalisation and choice.

The portfolio must:

 allow candidates to apply the knowledge and skills developed throughout the course to
show understanding of compositional methods
 be a meaningful and appropriately challenging task that enables candidates to clearly
demonstrate application of musical skills in a creative way
 allow candidates to demonstrate competence in creating and developing musical ideas
and an understanding of harmony

The composition(s) or arrangement(s) may contain sections of improvisation, but this must
be in the context of wider composition(s) or arrangement(s) that demonstrates composing
skills. A piece that is solely an improvisation will be awarded 0 marks.

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Candidates who choose to work with pre-recorded loops must ensure that they do this in the
context of wider composition(s) or arrangement(s) and show the compositional process. The
candidate’s actual creative input must be clearly identifiable and detailed in their review(s).

Assessment conditions
Time
The portfolio is carried out over an extended period of time in open-book conditions, allowing
candidates to develop and refine their work before it is presented for assessment.
Candidates start their portfolio at an appropriate point in the course, as determined by their
teacher or lecturer, allowing for personalisation.

Supervision, control and authentication

The portfolio is carried out under some supervision and control. This means:

 candidates do not need to be directly supervised at all times

 the use of resources, including the internet, is not tightly prescribed
 the work an individual candidate submits for assessment is their own
 teachers or lecturers can provide reasonable assistance

Candidates may complete part of the work outwith the learning and teaching setting.
Teachers or lecturers may give support and guidance if required and should put in place
processes for monitoring progress, for example regular checkpoints, to ensure that the work
is the candidate’s own.

Resources
There are no restrictions on the resources that candidates may access while producing their
portfolio.

Reasonable assistance
Candidates must carry out the assessment independently. However, they can receive
reasonable assistance before the formal assessment process takes place.

The term ‘reasonable assistance’ is used to try to balance the need for support with the need
to avoid giving too much assistance. If any candidates need more than what is thought to be
‘reasonable assistance’, they may not be ready for assessment, or they may be have been
entered for the wrong level of qualification.

Teachers or lecturers may provide guidelines to lead candidates through the portfolio in
stages.

Candidates can seek clarification regarding the wording of the portfolio assessment tasks if
they find them unclear. In this case, teachers or lecturers should clarify this for the whole
class.

If a candidate is working on their portfolio and is faced with more than one possible solution
to a problem, then the teacher or lecturer may explore options with them. The teacher or

Version 1.0 41
lecturer and the candidate can discuss the pros and cons of each option. The candidate can
then decide on a solution based on the discussion.

Evidence to be gathered
The following candidate evidence must be submitted: For each piece in the portfolio,
candidates must submit the following:

 an audio recording of the composition or arrangement

 a score or performance plan of the composition or arrangement
 a review of the creative process for the composition or arrangement

Candidates must use the SQA review of the creative process template. The template is
available from the Advanced Higher Music subject page.

In addition to this, candidates who submit an arrangement must provide a copy of the original
music, including any harmonies (where available).

Volume
Candidates can present each of their reviews in prose or bullet points. Each review should
be approximately 200 to 350 words.

Word count is given to indicate the volume of evidence required. No penalty is applied.

Version 1.0 42
Portfolio marking instructions
In line with SQA’s normal practice, the following marking instructions for the Advanced
Higher Music portfolio are addressed to the marker. They will also be helpful for those
preparing candidates for course assessment.

Candidates’ evidence is submitted to SQA for external marking.

General marking principles

Always apply these general principles. Use them in conjunction with the detailed marking
instructions, which identify the key features required in candidates’ responses.

a Always use positive marking. This means candidates accumulate marks for the
demonstration of relevant skills, knowledge and understanding; marks are not
deducted for errors or omissions.
b For composing and arranging, once the best fit has been selected:
— Where the evidence almost matches the description of the level above, award the
higher mark from the range.
— Where the evidence just meets the standard described, award the lower mark from
the range.
c For composing and arranging:
— If a candidate does not submit an audio recording for their composition or
arrangement, award 0 marks.
— If a candidate does not submit a score or a performance plan, award 0 marks.
— If a candidate has submitted a piece that is solely an improvisation, award 0 marks.
— If a candidate does not provide a copy of the source material used to create their
arrangement, award 0 marks.
— If a candidate only uses four of the elements to create their composition or
arrangement, award a maximum of 5 marks.
d For analysis:
— If a candidate does not provide an audio recording or a web link to the piece of
music they have analysed, award 0 marks.
— If a candidate does not provide audio time codes referencing the key features of
the music, award a maximum of 1 mark.
— If a candidate only refers to four of the elements when analysing their chosen piece
of music, award a maximum of 4 marks.

Version 1.0 43
Detailed marking instructions
Mark
Composing music Summary statements
range
Candidates must An excellent composition demonstrating a range of musical ideas that have been developed imaginatively
use all of the and convincingly, appropriate to the candidate’s chosen style. The use of elements is highly creative and 9–10
elements listed effective.
below:
A good composition demonstrating a range of musical ideas that have been developed with some
7–8
imagination, appropriate to the candidate’s chosen style. The use of elements shows creativity.
 melody
 harmony
A composition demonstrating musical ideas that have been developed satisfactorily, appropriate to the
 rhythm 5–6
candidate’s chosen style. The use of elements may be simplistic and straightforward.
 structure
 timbre A composition demonstrating musical ideas that have been developed inconsistently within the candidate’s
3–4
chosen style. The use of elements is not always appropriate.

A composition demonstrating limited musical ideas with little or no development within the candidate’s
1–2
chosen style. The use of elements is poor.

No evidence produced. 0

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 Mark
Arranging music Summary statements
range
Candidates must
An excellent arrangement that uses a range of compositional methods to develop aspects of the original
creatively rework the
piece imaginatively and convincingly. The arrangement skilfully and effectively employs varied instrumental 9–10
original piece of
forces and combinations, shows originality, and is highly creative.
music using all of
the elements listed
A good arrangement that uses a range of compositional methods to develop aspects of the original piece
below:
with some imagination. The arrangement successfully employs varied instrumental forces and combinations, 7–8
shows some originality, and is creative.
 melody
 harmony
 rhythm A satisfactory arrangement that uses compositional methods to show some development of aspects of the
5–6
original piece. The arrangement employs instrumental forces and combinations in a straightforward way.
 structure
 timbre
A simplistic arrangement that uses compositional methods to show limited development of aspects of the
3–4
original piece. Instrumental forces and combinations are not always appropriate.

A poor arrangement that shows very limited development of aspects of the original piece. Instrumental
1–2
forces and combinations are inappropriate.

No evidence produced. 0

Version 1.0 45
 Review of the creative process Summary statements Mark

The review must, with reference to The review contains:

compositional methods used,
include:  a detailed account of the main decisions made
5
 a detailed explanation of the exploration and development of musical ideas
 main decisions made  clear details of strengths and/or areas for improvement
 the exploration and The review contains:
development of musical ideas
 a fairly detailed account of the main decisions made
 strengths and/or areas for 4
improvement  a relevant explanation of the exploration and development of musical ideas
 identification of strengths and/or areas for improvement
The review contains:

 a satisfactory account of the main decisions made

3
 sufficient explanation of the exploration and development of musical ideas
 satisfactory identification of strengths and/or areas for improvement
The review contains:

 a limited account of the main decisions made

2
 a limited explanation of the exploration and development of musical ideas
 limited identification of strengths and/or areas for improvement
The review contains:

 a poor account of the main decisions made

1
 a very limited explanation of the exploration and development of musical ideas
 little or no identification of strengths and/or areas for improvement

No evidence produced. 0

Version 1.0 46
Grading
Candidates’ overall grades are determined by their performance across the course
assessment. The course assessment is graded A–D on the basis of the total mark for all
course assessment components.

Grade description for C

For the award of grade C, candidates will typically have demonstrated successful
performance in relation to the skills, knowledge and understanding for the course.

Grade description for A

For the award of grade A, candidates will typically have demonstrated a consistently high
level of performance in relation to the skills, knowledge and understanding for the course.

Version 1.0 47
Equality and inclusion
This course is designed to be as fair and as accessible as possible with no unnecessary
barriers to learning or assessment.

Guidance on assessment arrangements for disabled candidates and/or those with additional
support needs is available on the assessment arrangements web page:
www.sqa.org.uk/assessmentarrangements.

Version 1.0 48
Further information
 Advanced Higher Music subject page
 Assessment arrangements web page
 Building the Curriculum 3–5
 Guide to Assessment
 Guidance on conditions of assessment for coursework
 SQA Skills Framework: Skills for Learning, Skills for Life and Skills for Work
 Coursework Authenticity: A Guide for Teachers and Lecturers
 Educational Research Reports
 SQA Guidelines on e-assessment for Schools
 SQA e-assessment web page
 SCQF website: framework, level descriptors and SCQF Handbook

Version 1.0 49
Appendix 1: approved instruments and combinations of instruments
Requests about the presentation of other instruments not contained in this grid should be sent to SQA.
INSTRUMENT 1

Saxophone (soprano and tenor)

Saxophone (alto and baritone)
Guitar (electric and acoustic)

Trumpet/Cornet/Flugel (Bb)
Horn (tenor)/Cornet (Eb)
Accordion (Stradella)
Accordion (free bass)

Keyboard (electronic)
Baritone/Euphonium

Pipe band drumming

Recorder (descant)
Bagpipes (Scottish)

Tuned percussion
Organ (electronic)

Trombone (tenor)
Recorder (treble)
Guitar (classical)

Organ (pipe)
Double bass

Snare drum
Scots fiddle
Bass guitar

Tin whistle
Mandolin
Horn in F
Clarsach
Bassoon

Drum kit

Timpani
Clarinet

Ukulele
Piano

Voice
Oboe

Violin
Cello

Tuba
Flute

Viola
Harp
Accordion (free bass)   
Accordion (Stradella)   
Bagpipes (Scottish)   
Baritone/Euphonium   
Bassoon   
Bass guitar   
Cello   
Clarinet  
Clarsach  
INSTRUMENT 2

Double bass   

Drum kit   
Flute   
Guitar (classical)   
Guitar (electric and acoustic)   
Harp  
Horn in F   
Horn (tenor)/Cornet (Eb)   
Keyboard (electronic)   
Mandolin   
Oboe   
Organ (electronic)   
Organ (pipe)   
Piano   
Pipe band drumming   
Recorder (descant)   
Recorder (treble)   
Saxophone (alto and baritone)  
Saxophone (soprano and tenor)  
Scots fiddle   
Snare drum   
Timpani   
Tin whistle   
Trombone (tenor)   
Trumpet/Cornet/Flugel (Bb)   
Tuba   
Tuned percussion   
Ukulele   
Viola   
Violin   
Voice   

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Administrative information

Published: April 2019 (version 1.0)

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© Scottish Qualifications Authority 2014, 2019

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