Cambridge A Level Music 9483 — 2022 May/June Paper 1 · Variant 2

This document has 12 pages. [Turn over DC (RW) 306443 © UCLES 2022 * 0 4 3 4 6 6 8 8 7 7 * MUSIC 9483/12 Paper 1 Listening May/June 2022 2 hours You must answer on the question paper. You will need: Insert (enclosed) Section B audio recordings Manuscript paper (optional) Section A audio recordings (enclosed) Candidates may use their own unedited recording of the Set Works in Section B only. INSTRUCTIONS ● Answer five questions in total: Section A: answer all three questions. Section B: answer one question. Section C: answer one question. ● Use a black or dark blue pen. ● Write your name, centre number and candidate number in the boxes at the top of the page. ● Write your answer to each question in the space provided. ● Do not use an erasable pen or correction fluid. ● Do not write on any bar codes. ● Recordings: you must listen to recordings on individual listening equipment with headphones. Individual recordings for Section A are provided. You may use your own unedited recordings of the Set Works in Section B and may listen to extracts from any of them. No recordings are to be used for Section C. ● You may find it useful to make notes as you listen to the extracts. ● Scores: the insert contains the score referred to in Section A. No additional scores may be used. INFORMATION ● The total mark for this paper is 100. ● The number of marks for each question or part question is shown in brackets [ ]. Cambridge International AS & A Level

2 9483/12/M/J/22 © UCLES 2022 You are advised to spend no more than 45 minutes on each of Sections A and B and no more than 30 minutes on Section C. Section A – Compositional Techniques and Performance Practice Answer all questions in Section A. Your CD contains three tracks. Track 1 contains the music for Question 1. Track 2 contains Performance A and Track 3 contains Performance B. A full score of the music for Questions 2 and 3 is in the accompanying Insert. No additional scores may be used in Section A. 1 Listen to this extract from Corelli’s Concerto Grosso, Op. 6 No. 8 (Track 1). (a) What is the time signature of this section? … [1] (b) Describe the music which comes before this extract. … … [2] (c) Describe two features of the harmony of the extract. … … [2]

3 9483/12/M/J/22 © UCLES 2022 [Turn over 2 Listen to Performance A on the recording provided (Track 2). Look at the score provided, which you will find in the separate insert, and read through the questions. (a) Give the exact name of the scale used in bars 1–4. … [2] (b) Identify the key in bars 36–41 and its relationship to the key of the movement. … … [2] (c) Name the melodic device used in the 1st violin part in bars 48–51. … [2] (d) Identify the harmonic device in the continuo part in bars 85–97. … [2] (e) How is the cello theme in bars 5–8 used throughout the movement? … … … … … … … [6]

4 9483/12/M/J/22 © UCLES 2022 3 Refer to both Performances A and B on the recordings provided (Tracks 2 and 3). (a) Compare the approach to articulation in the two performances. … … … … … … … … [6] (b) Compare the two performances. You may wish to refer to instrumentation, pitch, ornamentation, tempo, the overall sound or any other features you consider important. You should not refer to articulation. … … … … … … … … … … … … [10]

5 9483/12/M/J/22 © UCLES 2022 [Turn over Section B – Understanding Music Answer one question in Section B. Refer to your own unedited recordings of the set works. You may not use scores. 4 Discuss the use of repetition in the structure of Barber’s Knoxville: Summer of 1915. Briefly describe how this differs from the use of repetition in Sculthorpe’s Third Sonata for Strings ‘Jabiru Dreaming’. [35] 5 Compare how the composers’ use of harmony contributes to a suggestion of time and place in both the 1812 Overture and Knoxville: Summer of 1915. [35] … … … … … … … … … … … … … … … … … … … … …

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9 9483/12/M/J/22 © UCLES 2022 [Turn over Section C – Connecting Music Answer one question in Section C. You must refer to musical examples of two or more styles or traditions from: world, folk, pop, jazz. You may also refer to music from the Western classical tradition not including the set works. You may not use recordings or scores. 6 Outline the origins and evolution of Pop and Jazz styles. [30] 7 Describe some of the ways in which performers interact with each other when they play or sing together. [30] 8 Discuss a range of scales from different styles or traditions and compare how they are used by performers, improvisers and/or composers. [30] … … … … … … … … … … … … … … … … … … …

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12 9483/12/M/J/22 © UCLES 2022 Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the publisher will be pleased to make amends at the earliest possible opportunity. To avoid the issue of disclosure of answer-related information to candidates, all copyright acknowledgements are reproduced online in the Cambridge Assessment International Education Copyright Acknowledgements Booklet. This is produced for each series of examinations and is freely available to download at www.cambridgeinternational.org after the live examination series. Cambridge Assessment International Education is part of Cambridge Assessment. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which is a department of the University of Cambridge. … … … … … … … … … … … … … … … … … … … … … … … …

This document consists of 16 printed pages. © UCLES 2022 [Turn over Cambridge International AS & A Level MUSIC 9483/12 Paper 1 Listening May/June 2022 MARK SCHEME Maximum Mark: 100 Published This mark scheme is published as an aid to teachers and candidates, to indicate the requirements of the examination. It shows the basis on which Examiners were instructed to award marks. It does not indicate the details of the discussions that took place at an Examiners’ meeting before marking began, which would have considered the acceptability of alternative answers. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers. Cambridge International will not enter into discussions about these mark schemes. Cambridge International is publishing the mark schemes for the May/June 2022 series for most Cambridge IGCSE, Cambridge International A and AS Level and Cambridge Pre-U components, and some Cambridge O Level components.

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 2 of 16 Generic Marking Principles These general marking principles must be applied by all examiners when marking candidate answers. They should be applied alongside the specific content of the mark scheme or generic level descriptors for a question. Each question paper and mark scheme will also comply with these marking principles. GENERIC MARKING PRINCIPLE 1: Marks must be awarded in line with:  the specific content of the mark scheme or the generic level descriptors for the question  the specific skills defined in the mark scheme or in the generic level descriptors for the question  the standard of response required by a candidate as exemplified by the standardisation scripts. GENERIC MARKING PRINCIPLE 2: Marks awarded are always whole marks (not half marks, or other fractions). GENERIC MARKING PRINCIPLE 3: Marks must be awarded positively:  marks are awarded for correct/valid answers, as defined in the mark scheme. However, credit is given for valid answers which go beyond the scope of the syllabus and mark scheme, referring to your Team Leader as appropriate  marks are awarded when candidates clearly demonstrate what they know and can do  marks are not deducted for errors  marks are not deducted for omissions  answers should only be judged on the quality of spelling, punctuation and grammar when these features are specifically assessed by the question as indicated by the mark scheme. The meaning, however, should be unambiguous. GENERIC MARKING PRINCIPLE 4: Rules must be applied consistently, e.g. in situations where candidates have not followed instructions or in the application of generic level descriptors.

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 3 of 16 GENERIC MARKING PRINCIPLE 5: Marks should be awarded using the full range of marks defined in the mark scheme for the question (however; the use of the full mark range may be limited according to the quality of the candidate responses seen). GENERIC MARKING PRINCIPLE 6: Marks awarded are based solely on the requirements as defined in the mark scheme. Marks should not be awarded with grade thresholds or grade descriptors in mind.

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 4 of 16 Question Answer Marks Guidance Section A – Compositional Techniques and Performance Practice Answer all questions in Section A. Your CD contains three tracks. Track 1 contains the music for Question 1. Track 2 contains Performance A and Track 3 contains Performance B. A full score of the music for Questions 2 and 3 is in the accompanying Insert. No additional scores may be used in Section A. 1 Listen to this extract from Corelli’s Concerto Grosso Op. 6 No. 8 (Track 1). 1(a) What is the time signature of this section? C / Common Time / 4/2 (1). 1 Accept ‘4 minims in a bar’ or similar. 1(b) Describe the music which comes before this extract. It is fast/vivace (1) with block chords (1) separated by rests (1) / homophonic / (largely) homorhythmic (1) in simple triple / 3-4 time (1) and ends with a hemiola (1). It is a tutti (1) and in G minor/a minor key (1). It ends imperfectly (1). It is a short/6-bar complete section (1). 2 It is likely to be played forte. 1(c) Describe two features of the harmony of the extract. The tonality (and therefore much of the harmony) is minor (1). There is frequent chromaticism (1) and suspensions (1) creating dissonances (1). There is a Neapolitan 6th (1) in the approach to the perfect cadence (1). The final chord is major/a tierce de Picardie (1). 2 Accept any valid harmonic point, e.g. specific chords.

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 5 of 16 Question Answer Marks Guidance 2 Listen to Performance A on the recording provided (Track 2). Look at the score provided, which you will find in the separate Insert, and read through the questions. 2(a) Give the exact name of the scale used in bars 1–4. G harmonic (1) minor (1). 2 G minor (1) harmonic. (1) .No mark for ‘harmonic’ without ‘minor’. 2(b) Identify the key in bars 36–41 and its relationship to the key of the movement. Bb major (1), which is the relative major (1). 2 Award both marks for ‘Bb’ with ‘relative major’. Award 2 marks only if there is mention of ‘major’. 2(c) Name the melodic device used in the 1st violin part in bars 48–51. Descending (1) sequence (1). 2 No mark for ‘descending’ without ‘sequence’. 2(d) Identify the harmonic device in the continuo part in bars 85—97. Dominant (1) pedal (1). 2 No mark for ‘dominant’ without ‘pedal’. Do not credit ‘drone’.

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 6 of 16 Question Answer Marks Guidance 2(e) How is the cello theme in bars 5–8 used throughout the movement? It is used as a countersubject (1). After its initial entry, the cello’s original theme is next used in the viola (1) in bars 12–15 (1), then in the 2nd violin (1) from bar 19 (1). Both violins (1) use it from bar 26 (1) in thirds (1), immediately inverted afterwards (1). At bar 45 (1), 2nd violin, cello and continuo hold this theme (1), which is then absent until bar 58 (1), when it appears in violin 1 and viola (1) over a dominant pedal (1) and from bar 62 (1) the 1-bar quaver motif is heard extensively over a circle of fifths (1). The penultimate use of the theme occurs in 2nd violin and viola (1) at bar 77 (1) before the 1st and 2nd violin from 89 (1) pass the 1-bar quaver motif (1) between themselves (1) and then to the viola (1) for an extended passage (1) over a dominant pedal at the end. Candidates may refer to other appearances of the opening minor 6th motif in minims (1) e.g. 1st violins in bar 32–35 or 58 (1), and its inversion (1) e.g. bar 37 or 39 (1). In Bars 91–92 (1) the 2nd violin (1) has the theme beginning with a rising octave (1) rather than a sixth. 6 Award maximum 3 marks for reference to bar numbers. Award (1) for each correct intervallic displacement of the theme. Award credit for reference to the fugal entries/structure.

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 7 of 16 Question Answer Marks Guidance 3 Refer to both Performances A and B on the recordings provided (Tracks 2 and 3). 3(a) Compare the approach to articulation in the two performances. Performance A has more varied articulation (1), its quavers are often detached (1).The subject is performed with a stronger emphasis (than Performance B) on the 3rd note (1) and a slur to the 4th (1). The repeated minims are detached, as in Performance B (1). There is a greater prevalence of accents, for example at the start of the quaver figurations (1). Bar 101 contains a striking difference of articulation, being smoother (1) compared with the rest of the final phrase and Performance B (1). Performance B is more generally detached (1), though its quavers are often more legato (1). There is some slightly smoother articulation at bar 48 (1). The tone in passagework is more even/has fewer accents(1). The 3rd and 4th notes of the subject are lightly connected (1), with clear decay. Further specific examples (1) with bar numbers (1) may be highlighted by candidates. 6 Award max. 3 marks for bar numbers and, 4 marks max. for commentary on any one performance.

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 8 of 16 Question Answer Marks Guidance 3(b) Compare the two performances. You may wish to refer to instrumentation, pitch, ornamentation, tempo, the overall sound or any other features you consider important. You should not refer to articulation. Levels Descriptor Marks 3 A clear and detailed comparison, demonstrating excellent aural perception and secure knowledge of issues appropriate to the two performances and the question. The examples of differences given are apt and comprehensive, and include relevant detail. The observations made are informed by pertinent contextual information. The response reflects a consistently balanced account of the two performances. 8–10 2 A detailed comparison at times, demonstrating good aural perception and good knowledge of issues appropriate to the two performances and the question. The examples of differences given are apt, and include mostly relevant detail. The observations made are informed by correct contextual information most of the time. The response overall reflects a balanced account of the two performances. 4–7 1 An uneven comparison, demonstrating some aural awareness and some knowledge of issues appropriate to the two performances and the question. The examples given are few, and include at times some relevant detail. Any observations made are informed by contextual information which is general in nature. 1–3 0 No creditable response. 0 Most answers should notice that:  Performance B uses a harpsichord in the continuo, and Performance A an organ.  Performance A also uses a theorbo and violone, making for a ‘heavier’ sound when the continuo group enters.  Neither performance contains any obvious ornamentation, although reference might be made to the theorbo’s small flourish at the end of Performance A.  Performance B is faster than Performance A. 10

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 9 of 16 Question Answer Marks Guidance 3(b) Better answers might add that:  Performance A is higher than Performance B in pitch.  This might suggest that Performance B uses period instruments.  Performance A has a more nuanced balance, with individual melodies more apparent; this is sometimes linked to dynamics, which are more obviously varied in Performance A, including changes of dynamic on some long notes.  Neither performance contains any (obvious) vibrato.  Performance B is perhaps a more appropriate interpretation of allegro molto.  Performance B is more resonant. Better answers are likely to give more detailed examples of differences in phrasing and dynamics and show an awareness of performance practice issues. Answers in the highest mark levels are also likely to:  Explain that Performance B is closer to normal expectations of historically informed performance than Performance A in terms of pitch.  To give more comprehensive examples of differences in dynamics and show a secure understanding of performance practice issues. Weaker answers are likely to:  Make generalisations without pointing to specific musical examples.  Lack contextual information to inform observations.

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 10 of 16 Question Answer Marks Guidance Section B – Understanding Music Answer one question in Section B. Refer to your own unedited recordings of the set works. You may not use scores. Questions in this section should be marked using the generic mark levels. Candidates will be expected to show:  close familiarity with the set works  an understanding of typical techniques and processes  personal responsiveness and an ability to explain musical effects  an ability to illustrate answers by reference to appropriate examples. Levels Description Marks 5 A well-developed understanding is demonstrated appropriate to the question, together with an ability to select, describe and analyse relevant and significant examples. A secure understanding of typical techniques and processes in relation to these examples is demonstrated throughout the response, and their musical effects clearly and convincingly explained. The connections identified between the pieces are appropriate and well-reasoned and support a wholly pertinent answer. 29–35 4 A good understanding is demonstrated appropriate to the question, together with an ability to select, describe and analyse relevant and significant examples. A secure understanding of typical techniques and processes in relation to these examples is demonstrated throughout much of the response, and their musical effects clearly explained. The connections identified between the pieces are generally appropriate and well-reasoned and support a focused answer. 22–28 3 An adequate understanding is demonstrated appropriate to the question, together with an ability to select and describe, and in some cases analyse, relevant examples of music. A secure understanding of typical techniques and processes in relation to these examples is demonstrated at times, and their musical effects explained. The connections identified between the pieces are generally appropriate and reasoned and support an answer that is focused at times. 15–21

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 11 of 16 Question Answer Marks Guidance Levels Description Marks 2 Some understanding is demonstrated appropriate to the question, together with an ability to select and describe some relevant examples of music. At times, an awareness of typical techniques and processes in relation to these examples is demonstrated and musical effects explained. The connections identified between the pieces are generally appropriate and contribute to an answer that varies in focus. 8–14 1 Some understanding is demonstrated appropriate to the question, and a few examples of partly relevant music are cited. An awareness of typical techniques and processes is sometimes demonstrated but not always in relation to these examples. Musical effects are sometimes referred to. Some connections identified between the pieces are appropriate. The answer includes some focused points. 1–7 0 No creditable response. 0 4 Discuss the use of repetition in the structure of Barber’s Knoxville: Summer of 1915. Briefly describe how this differs from the use of repetition in Sculthorpe’s Third Sonata for Strings ‘Jabiru Dreaming’. Knoxville is loosely in Rondo form, with the initial material returning twice more, around clearly contrasting sections. Towards the end, the music eventually transitions back into the material from the first vocal entry. Further key and harmony changes distinguish this section from the opening material, including a più agitato section, clearly musically related to the original material. The piece ends with a final, brief return to the opening material, and the orchestra echoes this to conclude. In discussing the use of repetition, candidates are likely to refer to particular lyrics or rehearsal marks to identify the section, as well as distinguishing musical features. In Jabiru Dreaming, reference might be made to the different thematic material and how motifs repeat, as well as the return of aleatoric sections. The repeated use of two-bar links is also notable. The end of each movement is the same, with glissandi mimicking an insect chorus. 35 Exhaustive detail is not needed, especially not for the Sculthorpe which should be briefly compared to the Barber.

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 12 of 16 Question Answer Marks Guidance 5 Compare how the composers’ use of harmony contributes to a suggestion of time and place in both the 1812 Overture and Knoxville: Summer of 1915. Knoxville makes use of a wide range of harmonic language, including chromatic passages, parallel chords, modulations to remote keys, and dissonance to create effect. Some of these examples will be directly related to particular lyrics (thus contributing to a suggestion of time and place), although this question is not about word-painting per se. The advanced harmonic language is a reflection both of musical evolution and encroaching urbanisation. Tchaikovsky, composing in the second half of the 19th century rather than just after World War II (Barber), uses a less adventurous harmonic palette, although particular examples of dissonance and chromaticism might be worthy of discussion. As the 1812 Overture is a fairly literal depiction of the Battle of Borodino and Napoleon’s defeat, and the piece was commissioned for the opening of a festival, the choice of harmony closely reflects both the time of the battle and the time in which it was written. 35

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 13 of 16 Question Answer Marks Guidance Section C – Connecting Music Answer one question in Section C. You must refer to musical examples of two or more styles or traditions from: world, folk, pop, jazz. You may also refer to music from the Western classical tradition not including the set works. You may not use recordings or scores. Questions in this section should be marked using the generic mark levels. Candidates will be expected to show:  knowledge and understanding of two or more styles or traditions from: World, Folk, Pop, Jazz.  evidence of reflection on issues related to the composition and performance of music they have heard  an ability to state and argue a view with consistency  an ability to support assertions by reference to relevant music/musical practices. Levels Descriptor Marks 5 In answer to the issues raised by the question, the response demonstrates:  a thorough and articulate discussion, well supported by relevant references to music and musical practices from two or more styles or traditions  incisive reflection on relevant issues related to the composition and performance of the music identified  a clear statement of view, consistently argued. 25–30 4 In answer to the issues raised by the question, the response demonstrates:  a sensible and clearly-expressed discussion, largely supported by relevant references to music and musical practices from two or more styles or traditions  careful reflection on relevant issues related to the composition and performance of the music identified  a clear statement of view, mostly consistently argued. 19–24

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 14 of 16 Question Answer Marks Guidance Levels Descriptor Marks 3 In answer to the issues raised by the question, the response demonstrates:  an adequate attempt to address the issues raised by the question, supported by some relevant references to music and musical practices from two or more styles or traditions  adequate reflection on some relevant issues related to the composition and performance of the music identified  a clear statement of view, argued consistently at times. 13–18 2 In answer to the issues raised by the question, the response demonstrates:  some attempt to address the issues raised by the question, but lacking support from references to relevant music and musical practices from two or more styles or traditions  some attempt at reflection on some relevant issues related to the composition and performance of the music identified  a statement of view, argued at times. 7–12 1 In answer to the issues raised by the question, the response demonstrates:  a limited discussion of the issues raised by the question, lacking evidence of relevant musical knowledge and musical practices from one or more styles or traditions  some limited reflection on some relevant issues related to the composition and performance of the music identified  a statement of view. 1–6 0 No creditable response. 0

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 15 of 16 Question Answer Marks Guidance 6 Outline the origins and evolution of Pop and Jazz styles. Candidates should give a brief overview of how the two styles evolved. Jazz draws many characteristics from African traditions and spirituals. Early forms assimilated European practices and instruments, combining syncopation with Western harmonies. This evolved into styles like Ragtime and Blues. In New Orleans, Dixieland emerged, a style using swing rhythms and collective improvisation. From that time, new forms of Jazz emerged as a reaction against what had gone before – Swing, Bebop, Cool Jazz, Jazz Fusion, Hard Bop, Acid Jazz, Free Jazz, for example. Each of these built on what had come before. Notable practitioners might be discussed, such as Charlie Parker, Miles Davis and Thelonious Monk, among many others. In part, ‘pop’ music arose from Jazz and Blues, most notably coming together in Rock n Roll. This gave rise to artists like Elvis Presley and The Beatles, who further moulded Pop music styles. Today, Pop music is recognisable from its instrumentation (vocalist, keyboard, drum kit, guitar, bass, etc.) and structure (verse/chorus). Candidates could also mention any number of styles, including K-Pop, Metal, Punk, Electronic and Rap, in outlining the evolution of Pop music. 30 Responses do not need to be exhaustive, but some understanding of stylistic evolution should be evident. Question Answer Marks Guidance 7 Describe some of the ways in which performers interact with each other when they play or sing together. The emphasis here is on how performers interact, and not necessarily the music that they are playing, although that is a legitimate interpretation. For example, in Gamelan, the colotomic structure is marked by various gongs; an awareness of what other players are doing is essential. Players in an orchestra (e.g. Chinese or Western) may have a conductor, who coordinates the whole. Within sections, musicians need to listen carefully to each other and watch the conductor. Smaller ensembles in any tradition may use eye contact and gesture to communicate intent. Some African music involves call and response, which is a form of interaction. It may be legitimate to discuss different textures (i.e. interactions between different parts), although the focus should be on what musicians need to do to make music with others. 30 Candidates may discuss any aspect of performers’ interaction.

9483/12 Cambridge International AS & A Level – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 16 of 16 Question Answer Marks Guidance 8 Discuss a range of scales from different styles or traditions and compare how they are used by performers, improvisers and/or composers. Scales are an important musical element that often defines the origins of a musical piece. Different cultures have varying classifications and names for their scales, as well as varying tuning systems and sometime microtones (not necessarily the ‘tempered’ Western tuning): Japan – ristu, ryo China - gōng, shāng, jué, zhǐ, yǔ (pentatonic) India – raga Indonesian (Gamelan) – slendro, pelog Western – major, minor, whole tone, chromatic, pentatonic, octatonic, blues Modes – Ionian, Lydian, Mixolydian, Aeolian, Dorian, Phrygian, Locrian Candidates could choose any number of these (an exhaustive list is not required) and offer examples of how these have been used. For example, in Indian classical music, the ‘alap’ section involves a free improvisation on the notes of the raga; the Blues scale and modes are used frequently in Jazz improvisation; slendro and pelog are used in different types of Gamelan; Debussy uses the whole tone scale in some of his pieces. 30 The choice of scales and examples of their use will discriminate between responses.