OCR · A-Level
Your journey to excellence inMusic
By Revision Genie
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OCR A-Level Music lets you explore music through performance, composition, and analysis. You'll study diverse genres, styles, and eras, developing technical and expressive skills while understanding music's historical and cultural contexts.
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Start with the first Music lesson.
Defining Musical Elements
1Defining Musical ElementsRead next2Understanding Musical ContextsRead next3Understanding Musical LanguageRead next4Pitch in Melody and HarmonyRead next5Harmonic Change and CadencesRead next6Melodic Devices: AugmentationRead next7Complex Chord ProgressionsRead next8Tonality and Key RelationshipsRead next9Circle of FifthsRead next10Enharmonic and Remote KeysRead next11Understanding Musical StructureRead next12Sonata FormRead next13Fugue StructureRead next14Through-Composed MusicRead next15Exploring SonorityRead next16Vocal Timbres in MusicRead next17Instrumental Techniques: Con SordinoRead next18Instrumental Techniques: Sul PonticelloRead next19Texture: Homophony and PolyphonyRead next20Fugal TextureRead next21Tempo and MetreRead next22Changing Metres and SyncopationRead next23Additive RhythmRead next24Polyrhythms in MusicRead next25Dynamics and Expressive DevicesRead next26Extreme Dynamic RangesRead next27Purpose and Intention in MusicRead next28Historical and Social ContextsRead next29Effect of Audience and VenueRead next30Music Across Time PeriodsRead next31Reading Staff NotationRead next32Rhythmic Notation in Compound TimeRead next33Irregular Time SignaturesRead next34Key Signatures in NotationRead next35Chords and Harmonic ProgressionsRead next36Chord InversionsRead next37Dominant 7th ChordsRead next38Extended Chords: Secondary 7thsRead next39Extended Chords: 9thsRead next40Musical Vocabulary and TerminologyRead next41Recognising Musical DevicesRead next42Sophisticated Terminology: PortamentoRead next43Sophisticated Terminology: Ascending Minor ScaleRead next
Introduction to Classical Instrumental Music
1Introduction to Classical Instrumental MusicRead next2Defining the Classical Period in MusicRead next3Key Characteristics of Classical Instrumental MusicRead next4The Role of Chamber Music in the Classical PeriodRead next5The Symphony: Origins and EvolutionRead next6The Classical Concerto: Structure and FeaturesRead next7The Sonata in the Classical EraRead next8The Orchestra of the Classical PeriodRead next9Instrumentation in Haydn, Mozart, and BeethovenRead next10Articulation Techniques in Classical MusicRead next11Texture in Classical Instrumental MusicRead next12Melodic Construction in the Classical PeriodRead next13Harmonic Language in Classical MusicRead next14Inversions, Cadences, and ProgressionsRead next15Phrasing and Structure in Classical WorksRead next16Dynamics and Expressive Devices in Classical MusicRead next17Harmonic and Melodic Devices in Classical MusicRead next18Historical Context of the Classical PeriodRead next19Social Context of Haydn, Mozart, and BeethovenRead next20Purpose and Intention in Classical MusicRead next21Working Conditions for Classical MusiciansRead next22Staff Notation in Classical Instrumental MusicRead next23Haydn: Innovations in Symphony and Chamber MusicRead next24Mozart: Mastery of the Concerto and SymphonyRead next25Beethoven: Transition from Classical to RomanticRead next26Comparing Instrumental Styles of Haydn, Mozart, and BeethovenRead next27Analysing a Haydn SymphonyRead next28Analysing a Mozart ConcertoRead next29Analysing a Beethoven SonataRead next30Critical Judgements on Classical Instrumental MusicRead next31Using Technical Vocabulary in AnalysisRead next32Form and Style in Classical Instrumental MusicRead next33Evaluating Developments in Classical MusicRead next34Listening Skills for Classical Instrumental MusicRead next35Contextual Knowledge in Music AnalysisRead next
Introduction to Early Popular Song
1Introduction to Early Popular SongRead next2The Origins of Blues MusicRead next3Characteristics of Blues MusicRead next4The Role of Blues VocalistsRead next5The Development of Jazz MusicRead next6Jazz Vocalists and Their InfluenceRead next7Swing and Big Band OriginsRead next8Key Swing and Big Band ArtistsRead next9Song Structures in BluesRead next10Song Structures in JazzRead next11Song Structures in Swing and Big BandRead next12Improvisation in JazzRead next13Improvisation in SwingRead next14Delivery and Expression of LyricsRead next15Melody and Lyric TreatmentRead next16Vocal Techniques: Belt and RegisterRead next17Vocal Techniques: Articulation and VibratoRead next18The Role of Accompaniment in Popular SongRead next19Voice and Accompaniment RelationshipRead next20Pitch Organisation in BluesRead next21Pitch Organisation in JazzRead next22Pitch Organisation in Swing and Big BandRead next23Using Musical Vocabulary in AnalysisRead next24Key Terms in Vocal Jazz and BluesRead next25Key Terms in Swing and Big BandRead next26Historical Context of Blues MusicRead next27Historical Context of Jazz MusicRead next28Historical Context of Swing and Big BandRead next29The Role of Technology in Early RecordingsRead next30Social Context of Blues MusicRead next31Social Context of Jazz MusicRead next32Social Context of Swing and Big BandRead next33Working Conditions for Early MusiciansRead next34Audience Influence on Performance StylesRead next35The Evolution of Vocal StandardsRead next36Interpretation of Standards by VocalistsRead next37Popular Solo Songs in Jazz and BluesRead next38Recordings of Early Vocal ArtistsRead next
Introduction to Instrumental Jazz
1Introduction to Instrumental JazzRead next2Early Jazz: Origins and Key FeaturesRead next3New Orleans Jazz and Dixieland StyleRead next4Swing Era: Characteristics and InnovationsRead next5Big Band Arrangements in SwingRead next6Bebop: Key Features and ArtistsRead next7Cool Jazz: Style and ContextRead next8Hard Bop: Influences and CharacteristicsRead next9Avant-Garde and Free JazzRead next10Jazz-Rock Fusion: Key DevelopmentsRead next11Contemporary Jazz: Styles and TrendsRead next12Improvisation in Jazz: Techniques and ExamplesRead next13Swing and Syncopation in JazzRead next14Polyrhythms in Jazz PerformanceRead next15Harmony and Tonality in JazzRead next16The Blues Scale and Blue NotesRead next17Ornamentation in Jazz: Vibrato and Pitch BendsRead next18Timbre in Jazz: Instrumental ColorsRead next19Melodic and Harmonic Organisation in JazzRead next20Jazz Devices: Riffs, Ostinatos, and Call and ResponseRead next21Roles of Soloists in Jazz EnsemblesRead next22The Rhythm Section: Drums, Bass, and PianoRead next23The Origins of Jazz in New OrleansRead next24The Spread of Jazz to the USA and EuropeRead next25Popularity and Commercial Viability of JazzRead next26Radio and Recordings in Jazz DevelopmentRead next27Working Conditions for Jazz MusiciansRead next28Using Technical Vocabulary in Jazz AnalysisRead next29Critical Judgements in Jazz RepertoireRead next30Listening and Contextual Knowledge in JazzRead next31Analysing Recorded Jazz PerformancesRead next
Introduction to Baroque Religious Music
1Introduction to Baroque Religious MusicRead next2Sacred Vocal Music in the Baroque EraRead next3Listening to Baroque Religious MusicRead next4Score Analysis for Baroque Sacred MusicRead next5Critical Judgement in Baroque MusicRead next6Evaluating Baroque Religious MusicRead next7Key Technical Vocabulary for Baroque MusicRead next8Understanding Baroque Music ContextsRead next9The Catholic Tradition in ItalyRead next10Venetian Concertato StyleRead next11A Cappella Successors to PalestrinaRead next12Latin Oratorio in the Baroque EraRead next13Operatic Influence on Vernacular OratorioRead next14Lutheran and Catholic Traditions in GermanyRead next15Chorale in Baroque Religious MusicRead next16Venetian Influence on German Church MusicRead next17Passion Music in the Baroque PeriodRead next18Church Cantatas in Baroque MusicRead next19Baroque Recitative, Aria, and ChorusRead next20Anglican Developments in Baroque MusicRead next21The Baroque Motet in EnglandRead next22English Oratorio in the Baroque EraRead next23French Grand MotetRead next24Solo Petit Motet in FranceRead next25French Baroque CantataRead next26Choral Styles in Baroque Religious MusicRead next27Harmony and Tonality in Baroque MusicRead next28Structures in Baroque Sacred MusicRead next29Textures in Baroque Religious MusicRead next30Word Setting and Text InterpretationRead next31Use of Instruments in Baroque Sacred MusicRead next32Accompaniment in Baroque Religious MusicRead next33Rhythm and Metre in Baroque Sacred MusicRead next34Worship and Liturgy in the Baroque EraRead next35Religious Restrictions on Baroque MusicRead next36Language in Baroque Religious MusicRead next37Dissemination of Baroque Sacred MusicRead next38Working Conditions for Church MusiciansRead next39Education and Training of Baroque MusiciansRead next40St Mark’s Venice and Baroque MusicRead next41The Chapel Royal and Baroque MusicRead next42St Thomas’s Leipzig and Baroque MusicRead next
Introduction to Programme Music
1Introduction to Programme MusicRead next2Defining Programme MusicRead next3Romanticism in the ArtsRead next4The Role of Narrative in MusicRead next5Concert Overture: Features and ExamplesRead next6Symphonic Poem: Features and ExamplesRead next7Programme Symphony: Features and ExamplesRead next8Solo Works in Programme MusicRead next9National Identity in Programme MusicRead next10Expansion of the OrchestraRead next11Improvements in Piano TechnologyRead next12Virtuoso Soloists in the Romantic EraRead next13The Role of the ConductorRead next14Expressive Effects of DissonanceRead next15Chords and Modulation in Programme MusicRead next16Melodic Writing in Romantic MusicRead next17Rhythm and Expressive FreedomRead next18Adapting Sonata Form in Programme MusicRead next19Dramatic Contrast in DynamicsRead next20Texture and Complex Layers in Romantic MusicRead next21Influence of Opera on Programme MusicRead next22Technological Advances in InstrumentsRead next23Valved Brass and Orchestral DevelopmentRead next24Audience Growth in the Romantic EraRead next25Industrialisation and Its Impact on MusicRead next26Railway Travel and Music DisseminationRead next27Growth of Orchestras and Public ConcertsRead next28Working Conditions for Romantic MusiciansRead next29Transmission of Music in Europe and the USARead next30Critical Judgements on Romantic Programme MusicRead next31Analysing Romantic Programme MusicRead next32Evaluating Developments in Programme MusicRead next33Using Technical Vocabulary for Romantic MusicRead next34Listening Skills for Programme MusicRead next35Contextual Knowledge in Programme Music AnalysisRead next36Studying Scores of Programme MusicRead next37Live Performances of Romantic Programme MusicRead next38Recordings as a Resource for AnalysisRead next
Late Romantic Symphonic Works
1Late Romantic Symphonic WorksRead next2Impressionism in MusicRead next3Expressionism and AtonalityRead next4Introduction to SerialismRead next5Neo-Classical ReinterpretationsRead next6National Styles and Folk TraditionsRead next7Post-1945 Avant-Garde MusicRead next8Experimental Approaches in MusicRead next9The Rise of Electronic MusicRead next10Post-Modern Influences in MusicRead next11Minimalism and Its TechniquesRead next12Contemporary Composition ApproachesRead next13Irregular Rhythm and MetreRead next14Polyrhythm and PolymetreRead next15Dissonance and Harmonic ExplorationRead next16Tonality, Modality, and AtonalityRead next17Exploring Sonority and TimbreRead next18Innovative Instrumental TechniquesRead next19Technological Advances in TimbreRead next20Dynamics and Extreme ContrastsRead next21Innovations in Musical StructureRead next22Aleatoric and Improvisational TechniquesRead next23Audience Reactions to InnovationRead next24Technology and Mass Media in MusicRead next25Music and Political EventsRead next26Music and Social ChangeRead next27Function and Relevance of MusicRead next28Gebrauchsmusik and Practical MusicRead next29Crossover with Popular StylesRead next30Music for Film and PropagandaRead next31Challenges for Modern ComposersRead next32Issues for Contemporary PerformersRead next33Critical Judgements in 20th Century MusicRead next34Listening Skills for Modern MusicRead next35Score Study for Modern MusicRead next36Live Performances of Contemporary WorksRead next37Audience Reaction to InnovationRead next38Political and Social Influences on MusicRead next39Technical Vocabulary for Contemporary MusicRead next40Understanding Repertoire GuidanceRead next41Exploring Suggested RepertoireRead next
Introduction to Performing A
1Introduction to Performing ARead next2Understanding Technical Control in PerformanceRead next3Expressive Control in PerformanceRead next4Interpreting Musical IdeasRead next5Understanding Style in PerformanceRead next6Understanding Context in PerformanceRead next7Selecting Contrasting PiecesRead next8Defining Contrasting Musical StylesRead next9Solo Performance TechniquesRead next10Ensemble Performance TechniquesRead next11Using Music Technology in PerformanceRead next12Achieving Control and ContinuityRead next13Understanding Appropriate TempiRead next14Performing FluentlyRead next15Shaping Musical DirectionRead next16Critical Understanding of StyleRead next17Practicing as a SoloistRead next18Practicing in an EnsembleRead next19Practicing Accompaniment SkillsRead next20Practicing with Music TechnologyRead next21Performing with ConfidenceRead next22Performing with StyleRead next23Achieving Accuracy in PerformanceRead next24Performing with FluencyRead next25Technical Control Across TechniquesRead next26Interpreting Performance MarkingsRead next27Understanding Performing ConventionsRead next28Developing Stylistic UnderstandingRead next29Interpreting Music StylisticallyRead next30Communicating Musical IdeasRead next31Evaluating Performance ChoicesRead next32Recording and Reviewing PerformancesRead next33Preparing for Live PerformanceRead next34Overcoming Performance AnxietyRead next35Audience Awareness in PerformanceRead next36Adapting to Different VenuesRead next37Time Management in RehearsalsRead next38Setting Performance GoalsRead next39Balancing Technical and Expressive SkillsRead next40Link Between Performing A and Composing ARead next
Introduction to Performing B
1Introduction to Performing BRead next2Understanding the Requirement for Three PiecesRead next3Selecting Repertoire for Performing BRead next4Understanding Style and Context in PerformanceRead next5Technical and Expressive Control in PerformanceRead next6Control and Continuity in PerformanceRead next7Fluency in PerformanceRead next8Shape and Direction in MusicRead next9Accompanying Techniques in PerformanceRead next10Developing Confidence in PerformanceRead next11Accuracy and Fluency in PerformanceRead next12Stylistic Understanding in PerformanceRead next13Interpreting Idiomatic RepertoireRead next14Making Informed Musical ChoicesRead next15Understanding Styles in Idiomatic RepertoireRead next16Techniques in Idiomatic RepertoireRead next17Focused Study: Selecting a Further PieceRead next18Critical Understanding of Chosen MusicRead next19Evaluating Performance ProgressRead next20Preparing for a Live PerformanceRead next21Adapting to Different Performance VenuesRead next22Balancing Solo and Ensemble CommitmentsRead next23Understanding the Link Between Performing B and Composing BRead next
Understanding the OCR Composition Brief
1Understanding the OCR Composition BriefRead next2Choosing an Area of StudyRead next3Interpreting a Set BriefRead next4Developing Initial Musical IdeasRead next5Using Musical Elements CreativelyRead next6Exploring Techniques in CompositionRead next7Responding to a CommissionRead next8Genre and Style in CompositionRead next9Understanding Musical ConventionsRead next10Musical Devices in CompositionRead next11Creating a Convincing Musical StructureRead next12Expressive Use of DynamicsRead next13Harmonic Language and ProgressionsRead next14Melodic Development TechniquesRead next15Using Texture EffectivelyRead next16Timbre and Instrumentation ChoicesRead next17Experimenting with Rhythm and MetreRead next18Creating Contrast and UnityRead next19Refining Musical IdeasRead next20Balancing Technical Control and CreativityRead next21Sophistication in Combining ElementsRead next22Editing and Revising CompositionsRead next23Finalising a Composition for SubmissionRead next24Self-Evaluation of CompositionsRead next25Linking Compositions to Areas of StudyRead next26Exploring Stylistic Features of GenresRead next27Incorporating Expressive UnderstandingRead next28Understanding Technical ExpectationsRead next29Creative Use of Resources in CompositionRead next30Understanding the Assessment CriteriaRead next31Avoiding Common Composition PitfallsRead next32Time Management in ComposingRead next33Presenting Scores and RecordingsRead next34Incorporating Feedback into CompositionsRead next35Exploring Advanced Musical TechniquesRead next36Link Between Composing A and Performing ARead next37Composing A: Overview and Marks AllocationRead next38Minimum Duration for CompositionsRead next39Composition Response to OCR BriefRead next40Learner-Set Composition BriefsRead next41Short Compositions Using AoS TechniquesRead next42Marking Criteria for CompositionsRead next43Submission Requirements for CompositionsRead next44Realising Compositions Through TechnologyRead next45Composing B: Overview and Marks AllocationRead next46Minimum Duration for Composing BRead next47Marking Criteria for Composing BRead next48Submission Requirements for Composing BRead next49Minimum Duration in ComposingRead next50Responding to OCR Set BriefsRead next51Assessment Criteria for CompositionsRead next52Creating a Learner Set BriefRead next53Evaluating Learner Set BriefsRead next54Harmony and Tonality in Jazz CompositionRead next55Assessing Compositional CoherenceRead next56Short Composition RequirementsRead next57Compositional Achievement by Course EndRead next58Compositional Assessment CriteriaRead next59Composing in Response to Learner BriefsRead next60Evaluating Learner Brief ResponsesRead next61Listening and Appraising Exam DetailsRead next62Exam Duration and StructureRead next63Exam Section A: Aural ExtractsRead next64Exam Section B: Prescribed Works AnalysisRead next65Exam Section C: Essay QuestionsRead next66A Level Work StandardsRead next67Sophistication in A Level CompositionsRead next68Fluency in A Level PerformancesRead next69Creative Use of Musical ElementsRead next70Guidance on Materials and ProceduresRead next71Supervised Conditions for SubmissionsRead next72Performance and Composition TimingRead next73Authenticating Non-Examined ComponentsRead next74Integration of Music SkillsRead next75Exploration of Genres and StylesRead next
Previews load for the first 60 in this unit.
Understanding the Composing B Requirement
1Understanding the Composing B RequirementRead next2Technical Control in CompositionRead next3Expressive Understanding in CompositionRead next4Developing Musical IdeasRead next5Using Musical Elements in CompositionRead next6Exploring Compositional TechniquesRead next7Selecting Resources for CompositionRead next8Responding to a Set BriefRead next9Understanding the Role of Areas of StudyRead next10Linking a Brief to an Area of StudyRead next11Interpreting a Set Brief EffectivelyRead next12Creating Original Material for a BriefRead next13Adapting Ideas to Fit a BriefRead next14Balancing Creativity and ConstraintsRead next15Evaluating Compositional ChoicesRead next16Refining a CompositionRead next17Drafting and Redrafting in CompositionRead next18Incorporating Feedback into a CompositionRead next19Achieving Coherence in CompositionRead next20Structuring a CompositionRead next21Exploring Textures in CompositionRead next22Using Harmonic Language EffectivelyRead next23Exploring Rhythmic ComplexityRead next24Creating Effective Melodic LinesRead next25Managing Dynamics and Expressive DevicesRead next26Exploring Timbres and InstrumentationRead next27Writing for Specific EnsemblesRead next28Understanding Idiomatic WritingRead next29Composing for Solo InstrumentsRead next30Composing for VoiceRead next31Using Technology in CompositionRead next32Exploring Extended TechniquesRead next33Experimenting with Unconventional StructuresRead next34Creating Contrast in a CompositionRead next35Developing Thematic MaterialRead next36Using Motivic DevelopmentRead next37Incorporating Stylistic FeaturesRead next38Responding to Genre-Specific BriefsRead next39Adapting to Different Compositional StylesRead next40Preparing a Composition PortfolioRead next41Documenting the Compositional ProcessRead next42Writing a Reflective CommentaryRead next43Planning a Composition TimelineRead next44Presenting a Final CompositionRead next
Introduction to Critical Listening
1Introduction to Critical ListeningRead next2Understanding Inter-Related Musical ElementsRead next3Musical Contexts Across GenresRead next4Musical Language in the Areas of StudyRead next5Analysing Repertoire in Aural FormRead next6Analysing Repertoire in Written FormRead next7Evaluating Musical InterpretationsRead next8Responding to Unfamiliar MusicRead next9Forming Critical Judgements in MusicRead next10Techniques for Attentive ListeningRead next11Commenting on Music in DetailRead next12Critical Understanding Across StylesRead next13Developing Aural Perception SkillsRead next14Using Discrimination in ListeningRead next15Interdependencies Between Musical ElementsRead next16Connections Between Music and ContextRead next17Exploring Stylistic Features in MusicRead next18Comparing Performances of the Same WorkRead next19Identifying Key Features in a ScoreRead next20Techniques for Aural AnalysisRead next21Using Musical Evidence in EvaluationRead next22The Role of Context in InterpretationRead next23Understanding Performance ChoicesRead next24Evaluating Expressive DevicesRead next25Listening for Stylistic NuancesRead next26Identifying Genre-Specific FeaturesRead next27Examining the Role of the PerformerRead next28Exploring Historical Performance PracticesRead next29The Impact of Technology on ListeningRead next30Recognising Influences Across GenresRead next31Exploring Cultural Influences in MusicRead next32Understanding the Evolution of Musical StylesRead next33Listening for Innovation in MusicRead next34Developing Personal Responses to MusicRead next35Preparing for Listening and Appraising ExamsRead next36Requirements for Contrasting PiecesRead next37Minimum and Maximum Duration for RecitalRead next38Recital Formats and OptionsRead next39Relating Recital to Areas of StudyRead next40Technology in Performance RecitalsRead next41Assessment Criteria for RecitalsRead next42Timing for Recital SubmissionRead next43Audio-Visual Recording RequirementsRead next44Score or Lead Sheet SubmissionRead next45Alternative Reference Material for RecitalsRead next46Marks Awarded for Performance QualityRead next47Requirements for Three-Piece RecitalRead next48Demonstrating Style and Context UnderstandingRead next49Live Control in Technology-Based RecitalsRead next50Assessment Criteria for Extended RecitalsRead next51Alternative Materials for Extended RecitalsRead next52Cover Sheet for Recital SubmissionRead next53Listening and Appraising RequirementsRead next
Introduction to Suggested Repertoire
1Introduction to Suggested RepertoireRead next2Defining Wider ListeningRead next3Purpose of Wider ListeningRead next4Selecting Repertoire for Wider ListeningRead next5Exploring Prescribed WorksRead next6Understanding Areas of StudyRead next7Making Connections Between WorksRead next8Critical Listening SkillsRead next9Analysing Musical Elements in RepertoireRead next10Exploring Musical Contexts in RepertoireRead next11Understanding Musical Language in RepertoireRead next12Evaluating Performances of RepertoireRead next13Using Repertoire to Understand StyleRead next14Identifying Key Features of RepertoireRead next15Developing Critical JudgementsRead next16Comparing Works Within an Area of StudyRead next17Exploring Historical Contexts of RepertoireRead next18Social and Cultural Influences on RepertoireRead next19Technical Vocabulary for Repertoire AnalysisRead next20Examining Instrumentation in RepertoireRead next21Texture and Timbre in Wider ListeningRead next22Harmony and Tonality in Wider ListeningRead next23Rhythm and Metre in Wider ListeningRead next24Dynamics and Expressive Devices in RepertoireRead next25Using Wider Listening in Exam AnswersRead next26Referring to Repertoire as EvidenceRead next27Structuring Answers with Wider ListeningRead next28Citing Examples from Wider ListeningRead next29Integrating Repertoire Knowledge in AnalysisRead next30Avoiding Common Exam Traps with Wider ListeningRead next31Balancing Prescribed Works and Wider ListeningRead next32Developing a Listening LogRead next33Reflecting on Wider Listening ExperiencesRead next34Creating Links Between Genres and PeriodsRead next35Using Recordings for Wider ListeningRead next36Live Performances and Wider ListeningRead next37Analysing Scores from Wider ListeningRead next38Evaluating Innovations in RepertoireRead next39Understanding Composer IntentionsRead next40Examining Audience and Venue InfluenceRead next41Synthesising Knowledge Across WorksRead next42Building Confidence in Critical JudgementsRead next43Exploring Contrasting Styles in RepertoireRead next44Developing Personal Responses to RepertoireRead next
Introduction to Technology in Performance
1Introduction to Technology in PerformanceRead next2Video Evidence for Technology UseRead next3Overview of Sequencing in PerformanceRead next4Requirements for Sequenced PerformancesRead next5Creating Sequenced PartsRead next6Avoiding Pre-Programmed Loops and SamplesRead next7Step Input in Sequencing SoftwareRead next8Real-Time Recording in SequencingRead next9Using MIDI Controllers in SequencingRead next10Manipulating Tracks for Musical OutcomesRead next11Introduction to DJ-ing in PerformanceRead next12Freestyle DJ PerformancesRead next13Using Vinyl, CD, and DJ SoftwareRead next14Full Control of DJ DecksRead next15Dynamics in Sequencing: Volume ChangesRead next16Note Velocity for PhrasingRead next17Tempo Changes in SequencingRead next18Timbre: Choosing and Using Sound SourcesRead next19Texture: Adding Independent PartsRead next20Structure in Sequencing: Contrasting SectionsRead next21Creating Longer Pieces with Structural ChangesRead next22Quantisation in SequencingRead next23Stereo Placement in SequencingRead next24Drum Scratching Techniques: Forward and BackwardRead next25Chops, Stabs, and Crab ScratchingRead next26Scribble Scratching and Echo FadingRead next27Rhythmic Complexity and Syncopation in DJ-ingRead next28Using Deck Faders for DynamicsRead next29Cross Faders in DJ PerformancesRead next
Analysing Jazz Styles and Developments
1Analysing Jazz Styles and DevelopmentsRead next2Musical Elements in Jazz PerformanceRead next3Roles in Jazz EnsemblesRead next4Origins and Dissemination of JazzRead next5Critical Judgements in Jazz AnalysisRead next6Using Technical Vocabulary in Jazz ContextsRead next7Contemporary Challenges for Jazz MusiciansRead next
Frequently Asked Questions
The course covers musical elements, contexts, and language, with areas of study including Classical instrumental music, jazz, Baroque religious music, Romantic programme music, and modern innovations.
Assessment includes performing, composing, and a written listening and appraising exam. Performances and compositions are externally assessed, and the exam includes analysis and essay questions.
The listening and appraising written exam lasts two hours and thirty minutes, and performances and compositions are completed during the course under supervised conditions.
To revise effectively for OCR A-Level Music, focus on attentive listening, understanding musical elements and contexts, and practising performance and composition. Use past papers to refine your exam technique and deepen your knowledge.