AQA GCSE Music

Handbook

How is the exam structured?

What do I need to know?

How can I help myself?

What resources are available?

Qualification: GCSE Music Qualification Code: 4272 Examination Board: AQA

How Is the Exam Structured?

UNIT ONE: Listening to and Appraising Music 42701

Assessed: Written Paper - 1 hour – 80 marks – 20% of total mark

Externally Assessed

UNIT TWO: Composing and Appraising Music 42702

Assessed: Externally by submission of one composition and a question booklet

40 marks – 20% of total marks

UNIT THREE: Performing Music 42703

Assessed: Internally by performance of two pieces (one solo skills piece, one

ensemble skills piece) Controlled Assessment

60 marks – 40% of total marks

UNIT FOUR: Composing Music 42704

Assessed: Internally by creation of one composition and a candidate record sheet

Controlled Assessment – 30 marks – 20% of total marks

UNITS IN MORE DETAIL

Exam Completed % of Exam

Unit 4 Summer Term 2014 20%

Unit 2 Autumn Term 2014 20%

Unit 3 February 2015 40%

Unit 1 May 2015 20%

UNIT ONE: Listening to and Appraising Music (20%)

ASSESSMENT:

In a final listening exam you will be asked questions based around: The Five Areas of Study AoS 1 – Rhythm and Metre

AoS 2 – Harmony and Tonality

AoS 3 – Texture and Melody

AoS 4 – Timbre and Dynamics

AoS 5 – Structure and Form

All these will be explored through the following…

Music from the Western Classical Tradition (classical music)…

Baroque orchestral music

The concerto

Music for voices

Chamber music

The sonata

Popular Music of the 20th and 21st Century (popular music)

Blues

Popular music of the 1960s

Rock Music, R ‘n’ B (rhythm and bass), Hip Hop

Music Theatre

Film Music

Music from around the World

Music of the Caribbean

Music of Africa

Music of India

HOW YOU WILL BE PREPARED FOR THIS: Each week you will practice your listening skills and learn how to listen to music in specific ways, using key words to describe what you hear. You will also have practice of using notation to write what you hear and identify elements in the music. You will complete practice exam papers so you are prepared for the exam. Pinterest and various other resources will be developed as the course runs for you to use. That bit is up to you!

Unit 1 Listening Key Words to Learn

Rhythm and Metre – Area of Study 1

Pulse Simple/Compound Time Regular Time Irregular Time

Free Time Augmentation Diminution Hemiola

Cross-Rhythm Dotted Rhythms Triplets Syncopation

Tempo Rubato Polyrhythm Bi-rhythm

Drum Fills

Harmony and Tonality – Area of Study 2

Harmony Diatonic Chromatic Consonant

Dissonant Pedal Drone Imperfect Cadence

Perfect Cadence Plagal Cadence Interrupted Cadence Tierce de Picardie

Major Chords Minor Chords Dominant 7th Chords Chord Symbols

Tonality Tonal Major Minor

Modal Key Signatures (4#/b) Modulation

Texture and Melody – Area of Study 3

Texture Harmonic Homophonic Polyphonic

Contrapuntal Imitative Canonic Layered

Unison Octaves Single Line Melody Monophonic

Melody with Accomp Antiphonal

Melody Intervals Conjunct Disjunct

Triadic Broken Chords Scalic Arpeggio

Passing Notes Acciaccaturas Appoggiaturas Blue Notes

Diatonic Chromatic Pentatonic Whole Tone

Modal Augmentation Diminution Sequence

Inversion Slide/Glissando Portamento Ornamentation

Ostinato Riff Phrasing Articulation

Pitch Bend Improvisation

Timbre and Dynamics – Area of Study 4

Timbre Instruments Instrumental Families Groups

World Music Sitar Djembe Samba

Steel Drums Use of Technology Synthesized Computer Sounds

Sampling Reverb Echo Distortion

Instrumental Technique Con Arco (with bow) Pizzicato/Plucked Con Sordino/Mute

Double Stopping Tremolo/Tremolando Vocal Techniques Falsetto

Vibrato Soprano Alto Tenor Bass

Dynamics pp, p, mp Ff, f, mf Crescendo/Cresc

Decrescendo Diminuendo/Dim sfz - Sforzando ‘Hairpins’

Common Signs Common Terms Common Symbols

Structure and Form

Bianary Ternary Call and Response Rondo

Theme/Variations Arch-Shape Sonata Minuet

Minuet and trio Scherzo and Trio Strophic Through Composed

Da Capo Aria Cyclic Popular Song Form Ground Bass

Continuo Cadenza

UNIT TWO: Composing and Appraising Music (20%)

ASSESSMENT:

You will submit a score and sound source (i.e. CD) and completion of questions about the

process and finished version in a booklet supplied by the board and a Candidate Record

Sheet. All of these are sent to the board and marked externally.

You must choose TWO OR MORE of the Areas of Study already mentioned:

AoS 1 – Rhythm and Metre AoS 2 – Harmony and Tonality AoS 3 – Texture and Melody AoS 4 – Timbre and Dynamics AoS 5 – Structure and Form

Which must be linked to ONE of the three strands below (chosen by the Board):

The Western Classical Tradition

Popular Music of the 20th and 21st Centuries

World Music

2015 Strand is Popular Music of the 20th and 21st Centuries

How do I complete this work?

At the start of Autumn Term 2013 up to half term:

You will need to complete some research and preparatory tasks related to the style of the piece.

This will help you compose the best possible piece of work. This will involve personalised tasks

related to your strengths involving the internet, work at home or in libraries.

Half Term up to Christmas 2013:

The piece must be completed in the classroom informally supervised by your teacher. Officially

you are allowed 20 hours in lesson time to do this work. You cannot waste any time in lessons, as

this will not create a composition that attracts high marks.

The piece must be handed in completed by the end of the first week back after Christmas.

You are not allowed to complete this composition outside school

The Appraisal Booklet

This will be completed under exam conditions. You will have 2 hours to do this. This is the part of

the exam that will depend on the notes you have taken throughout the project. When told to make

notes – make them. Do not throw anything away until you have handed in your piece.

UNIT THREE: Performing Music (40%)

ASSESSED: Submission of Scores and Recordings of Performances Internally assessed and externally moderated You need to perform TWO pieces. One solo and one ensemble piece. 1. Solo Piece (One of the following)

Unaccompanied solo (where this is the intended nature of the piece, i.e. no playing without an accompaniment if there was one composed for it)

An accompanied solo

A performance where the candidate has a substantial part (if you are a band player or in a large ensemble you need to ensure you have the main part)

Technology-based performance – using a sequencer and/or multi-track recorder. At least one track must be a live performance recorded

2. Ensemble Piece You must play a piece which has TWO or more live players. If you are in a large ensemble you must be clearly heard on the recording. HOW WILL YOU BE PREPARED FOR THIS? Solo Piece: Your instrumental lessons will guide you to the standard required but you are the one who has to put in the work. You need to ensure you play a piece which shows your ability. Do not choose a piece just because it is simple to play. Ask the advice of your instrumental tutor Ensemble Piece: The music department is free to use at lunch times for you to practice ensemble work with others. Again, do not leave it to someone else to sort out who you are performing with or what you are playing. If you have singing lessons, you will work with other singers and the teacher unless you request otherwise. Guitarists and drummers will be expected to create a band to perform their ensemble piece with. YOUR Lessons: The lessons are free to you but they cost the school a lot of money. If you are found not to be turning up to these lessons, or not putting in any work, they will be taken away from you. These lessons are a privilege not a right. The timetables are up on the wall in the music corridor. It is up to you to check these. I will not be running around the school to find you and nor will your teacher. If you are on a school trip or have an exam etc, you must let me know in advance that you will not be attending. Reminders will go out through twitter and you could take a picture of the timetable on your phone.

UNIT FOUR: Composing Music (20%)

ASSESSED: Submission of a score and a sound recording (i.e.CD, etc) and a Candidate Record Sheet. Internally marked and externally moderated. You must choose TWO OR MORE of the Areas of Study: AoS 1 – Rhythm and Metre AoS 2 – Harmony and Tonality AoS 3 – Texture and Melody AoS 4 – Timbre and Dynamics AoS 5 – Structure and Form This is a FREE STYLE composition, which means it is your choice, but must be DIFFERENT from Unit Two. You still need to link it to two or more areas listed above. How do I complete this work? Summer Term up to half term 2014: You will need to complete some research and preparatory tasks related to the style of the piece. This will help you design a really good piece. This will involve personalised tasks related to your strengths involving the internet, work at home or in libraries. Just before half term until the end of the year 2014: This must be completed in the classroom informally supervised by your teacher. Officially you are allowed 25 hours in lesson time to do this work. You cannot waste any time in lessons, as this will not create a composition that attracts high marks. A few of these hours can be done outside of the lesson itself in organised composition sessions to save a bit of lesson time. This piece must be finished by the end of year 10. You are not allowed to complete this composition outside school

MARKING SCHEMES

How do I know how I am doing and how can I do better?

UNIT ONE: Listening to and Appraising Music (20%)

Throughout the course, you will be doing lots of tasks that increase your ability to identify lots of

musical elements in a piece of music. You will also be completing questions that are in the style of

the exam paper so you will be used to the style and language used. When we do any test papers,

you will keep these and annotate them when we go through them in class so you have a reference

for the future.

I will be putting lots of music onto Pinterest and information on the wordpress that will form a

reference book for you to revise from. It is of course, up to you to use these resources. I can put

them there, but they are pointless if you never listen to/look at them. You have the complete list of

words in this handbook and straight from the AQA criteria.

UNIT TWO: Composing and Appraising Music (20%)

The task will be marked by an AQA Examiner.

The Composition

The composition will be assessed in the light of the selected areas of study and its success

measured against the realisation of key elements with consideration to the musical aspects

detailed below. Strengths in one or more aspects may balance relative strengths or weaknesses

elsewhere:

the imaginative use of sound

a sense of musical balance

the creation and development of musical ideas

an understanding of the chosen medium

the appropriate and idiomatic use of instruments, voices and other sound sources

appropriate uses of musical elements, devices, techniques and conventions

Compositions will be marked according to the following six bands of assessment in combination

with the musical aspects listed above.

Unit 2 Marking Criteria

20 –17 The composition is musically stimulating, interesting and satisfying. The candidate demonstrates the successful and imaginative creation of musical ideas in relation to the areas of study and strand selected. There is a sense of completeness in the music and there is evidence of development of the musical ideas. Writing for instruments, voices and sound sources is idiomatic. The score is accurate and contains detailed performance directions appropriate to the chosen style of the music. 16 –13 The composition is imaginative and largely satisfying. The candidate demonstrates a sound sense of understanding of musical ideas in relation to the areas of study and strand selected. There is a sense of wholeness in the music with some development of the musical ideas. Writing for instruments, voices and sound sources demonstrates understanding of the techniques required. The score contains sufficient detail to reflect the candidate’s intentions, though some details may be missing. 12 –10 The composition is largely effective. The candidate demonstrates some understanding of the musical ideas in relation to the areas of study and strand selected. There is a competent handling of the musical ideas. Writing for instruments, voices and sound sources demonstrates some understanding of the techniques required. The score shows some accuracy but may contain some omissions and/or inaccuracies. 9 –7 The composition is partially effective. The candidate demonstrates limited understanding of the musical ideas in relation to the areas of study and strand selected. There are some limitations in the handling of the musical ideas. Writing for instruments, voices and sound sources may present inconsistencies in their deployment. The score shows some musical ideas clearly. 6 –4 The composition works but at a basic level. The candidate demonstrates a basic understanding of the musical ideas presented in relation to the areas of study and strand selected. There may be some incoherence in the handling of musical ideas. Writing for instruments, voices and sound sources appears simplistic and may lack finish. The score shows inconsistencies and is not accurately presented. 3 –1 The composition is very rudimentary. The candidate demonstrates a rudimentary understanding of the ideas in relation to the areas of study and strand selected. Musical ideas lack coherence and may appear incomplete. Writing for instruments, voices and sound sources lack understanding. The score is inaccurate and incomplete. 0 The candidate’s work shows no evidence of the skills being assessed.

The Appraisal Booklet Marks are awarded for the candidate’s ability to appraise the success of the process of composing and the outcome (the final completed recording). This is undertaken in response to a set of questions on a pro forma that forms part of the Candidate RecordForm. The questions relating to the appraisal will include:

details of the areas of study and strand chosen

an explanation of why the candidate chose the areas of study and strand for their composition

details of the process of composition and how the final recording was achieved

details of the difficulties encountered during the task and how they were overcome

comments on what makes the composition successful in relation to the areas of study and strand selected

the relationship of the composition to its context. Candidates may at their discretion, write their response on separate sheets of paper, but all the questions must be answered. The appraisal must include a consideration of the success of the composition in relation to the areas of study and the strand selected. 20 –16 Appraisals at this level demonstrate a thorough understanding of the success of the composition in relation to the areas of study and strand selected. There is a detailed and accurate description of the composing process and a sound understanding of how the music has been developed. Problems and difficulties are readily acknowledged and solutions identified. These are clearly evidenced in the composition. Any weakness in the composition has been identified. The candidate demonstrates a thorough knowledge of the essential musical elements, characteristics and conventions relating to the areas of study and strand chosen. The candidates use a wide range of relevant musical vocabulary. There will be few, if any, errors in spelling, grammar and punctuation. 15 –11 Appraisals at this level demonstrate a broad understanding of the success of the composition in relation to the areas of study and strand selected. There is an accurate description of the composing process and a clear understanding of how the music has evolved. There is an awareness of problems and difficulties encountered and solutions suggested. The candidate demonstrates a broad knowledge of the essential musical elements, characteristics and conventions relating to the areas of study and strand chosen. The candidate uses musical vocabulary relevant to their chosen task accurately and in context. There may be errors in spelling, grammar and punctuation, but they will be infrequent. 10 –6 Appraisals at this level demonstrate some understanding of the success of the composition in relation to the areas of study and strand selected. There is some understanding of the composing process and an understanding of how the music has been created. There is some awareness of problems and difficulties encountered although remedies and solutions may not always be in evidence. The candidate demonstrates that s/he has some knowledge of musical elements, characteristics and conventions relating to the areas of study and strand chosen. Some musical vocabulary associated with the areas of study and strand chosen is used appropriately. Errors in spelling, grammar and punctuation may be noticeable and intrusive and suggest a weakness in these areas, though the candidate’s meaning will be discernible.

5 –1 Appraisals at this level demonstrate limited understanding of the success of the composition in relation to the areas of study and strand selected. Comments on the composing process focus on technical demands but lack understanding of how ideas have been created and developed. There is little or no awareness of problems or difficulties encountered with little or no evidence of remedies or solutions Knowledge of musical elements, characteristics and conventions relating to the area(s) of study and strand chosen are limited or entirely lacking. Musical vocabulary associated with the areas of study and strand chosen may be sparse or inappropriately used. Errors in spelling, grammar and punctuation may be intrusive, making the answer difficult to follow. 0 The candidate’s work shows no evidence of the skills being assessed. REMEMBER TO TAKE NOTES ALL THE WAY THROUGH THIS ASSESSMENT YOU WILL NEED THEM!!!!!!

UNIT THREE: Performing Music (40%) Solo Performance Max 30 marks First a number must be selected to indicate the difficulty level of the piece you are playing. 3 is high and 0 is low. Level of Demand 3 - Complex and demanding music, presenting a range of challenges equivalent to pieces graded above 4 by the examining boards: i.e. requiring a higher degree of technical facility than at level 2, presenting challenges in areas such as tempo, key, intricacy of rhythm and complexity of chords or texture. Music at this level requires increased command of the instrument/voice and a variety of performance techniques in a style appropriate to the piece, sustained throughout a performance of reasonable duration. 2 - Music presenting a range of challenges equivalent to pieces graded at 4 by the examining boards: i.e. requiring a moderate degree of technical facility but with increased challenges in terms of the command of the instrument/voice and the range of performance techniques required. There are moderate demands in rhythmic complexity and/or melodic patterns and in the duration of the piece. 1 - Music presenting a range of challenges equivalent to pieces graded at 3 (or 2) by the examining boards: i.e. music of a fairly simple nature, of relatively short duration and in easier keys. Tempo, range and rhythmic/melodic patterns will place only modest demands on the performer. 0 - Straightforward and undemanding music, presenting few technical challenges. The remaining 27 marks are awarded for… Accuracy Communication Interpretation Accuracy 9 –7 A secure performance in terms of pitch (including intonation, where appropriate) and rhythm. Occasional slips not affecting the fluency of the performance result in a mark at the lower end of this band. 6 –4 A reasonably secure performance in terms of pitch (including intonation, where appropriate) and rhythm. Slips and/or inaccuracies tend to compromise the overall flow, increasing in number as marks move lower down this band. 3 –1 A performance inhibited by slips/inaccuracies/miscalculations of pitch (including intonation, where appropriate) and rhythm. Fluency is poor. At the top of this band, the outline of the music is appreciable to the listener but, at the lower marks, the music may be barely recognisable. 0 The candidate’s work shows no evidence of the skills being assessed

Communication 9 –7 A committed, assured, convincing and well-projected performance. The candidate demonstrates a high level of involvement in the music. The music is likely to be complex and demanding. 6 –4 A performance which, at the top of this band, demonstrates a generally assured level of commitment and an overall sense of conviction in the performance. Towards the lower end, the performance lacks some conviction and commitment on occasions. 3 –1 The performance shows only limited conviction and the candidate may fail to impose him/herself upon the performance. Towards the lower end of this band, the performance may be an anxious experience for both the candidate and the listener. The music is likely to be simple and undemanding. 0 The candidate’s work shows no evidence of the skills being assessed Interpretation 9 –7 The candidate shows a mature understanding of both period and style. The tempo is appropriate and mastery of the techniques demanded by the music is evident. The candidate observes the composer’s expressive and performance directions. The music is likely to be complex and demanding. 6 –4 The performance has style and tempo appropriate to the music for the most part. At the top of this band, the majority of the composer’s expressive and performance directions are observed, although less so as marks are reduced. At the lower end of the band, there is a sense of the character of the music. In general, the techniques demanded by the music are met, though with increasing loss of integrity towards the lower end of this mark band. 3 –1 There is limited sensitivity to the interpretative demands of the music. Technical demands may compromise the tempo. There is little or no application of the composer’s expressive and performance directions. At the lower end of this band, there is only rudimentary sensitivity to the interpretative demands of the music. The music is likely to be simple and undemanding. 0 The candidate’s work shows no evidence of the skills being assessed.

Group Performance Max 30 marks Level of Demand 3 - Music presenting a range of challenges equivalent to pieces graded above 4 by the examining boards: i.e. requiring a higher degree of technical facility than at level 2, presenting challenges in areas such as tempo, key, intricacy of rhythm and complexity of chords or texture. Music at this level requires increased command of the instrument/voice and a variety of performance techniques in a style appropriate to the piece, sustained throughout a performance of reasonable duration. The candidate has a consistently important, but perhaps varying, role within the ensemble. 2 - Music presenting a range of challenges equivalent to pieces graded at 4 by the examining boards: i.e. requiring a moderate degree of technical facility but with increased challenges in terms of the command of the instrument/voice and the range of performance techniques required. There are moderate demands in rhythmic complexity and/or melodic patterns and in the duration of the piece. The candidate’s role within the ensemble may be within limited parameters and remain consistent. 1 - Music presenting a range of challenges equivalent to pieces graded at 3 (or 2) by the examining boards: i.e. music of a fairly simple nature, of relatively short duration and in easier keys. Tempo, range and rhythmic/melodic patterns place only modest demands on the performer. The candidate’s role within the ensemble presents few challenges. 0 - Straightforward and undemanding work, presenting few challenges. The remaining 27 marks are awarded for… Accuracy Communication and Interpretation Sense of Ensemble Accuracy 9 –7 A secure performance in terms of pitch (including intonation, where appropriate) and rhythm. Occasional slips not affecting the fluency of the performance result in a mark at the lower end of this band. 6 – 4 A reasonably secure performance in terms of pitch (including intonation, where appropriate) and rhythm. Slips and/or inaccuracies tend to compromise the overall flow, increasing in number as marks move lower down this band. 3 – 1 A performance inhibited by slips/inaccuracies/miscalculations of pitch (including intonation, where appropriate) and rhythm. Fluency is poor. At the top of this band, the outline of the music is appreciable to the listener but, at the lower marks, the music may be barely recognisable. 0 The candidate’s work shows no evidence of the skills being assessed. Communication and Interpretation 9 –7 A committed, assured, convincing and well-projected performance. The candidate demonstrates a high level of involvement in the music. The candidate shows a mature understanding of both period and style. The tempo is appropriate and mastery of the techniques demanded by the music are evident. The candidate observes the composer’s expressive and performance directions. The music is likely to be complex and demanding.

6 – 4 A performance which at the top of this band, demonstrates a generally assured level of commitment and an overall sense of conviction in the performance. The majority of the composer’s expressive and performance directions are observed although less so as marks are reduced. Towards the lower end, the performance lacks some conviction and commitment on occasions. There is a sense of character of the music. In general, the techniques demanded by the music are met, though with increasing loss of integrity towards the lower end of this mark band. The performance has style and tempo appropriate to the music for the most part. 3 –1 The performance shows only limited conviction and the candidate may fail to impose him/herself upon the performance. There is limited sensitivity to the interpretative demands of the music. Technical demands may compromise the tempo. At the lower end of this band, there will be only rudimentary sensitivity to the interpretative demands of the music. There is little or no application of the composer’s expressive and performance directions and the performance may be an anxious experience for both the candidate and the listener. The music is likely to be simple and undemanding. 0 The candidate’s work shows no evidence of the skills being assessed. Sense of Ensemble 9 –7 A performance showing complete unity of purpose in all aspects of ensemble playing, including balance, timing, intonation and responsiveness to others. If necessary, the candidate shows the ability to react positively to any difficulties which may occur. Marks towards the bottom of this band reflect success in most of these areas. 6 – 4 There is a generally high level of responsiveness to the other performers, showing a good understanding of the nature of ensemble playing, demonstrated in timing, intonation and dynamics. At the bottom of this band marks reflect an inconsistent level of responsiveness. 3 –1 The candidate shows some awareness of the other member (s) of the ensemble but the response will be uneven. At the bottom of this band, there is little or no evidence of responsiveness. Performances at this level include those where the candidate tends to concentrate on his/her own part to the exclusion of other ensemble considerations. 0 The candidate’s work shows no evidence of the skills being assessed.

UNIT FOUR: Composing Music (20%) Teachers will mark and assess the final presented composition according to a single set of assessment criteria. This assessment will be subject to moderation by AQA. The piece will be assessed in the light of the selected areas of study and its success measured against the realisation of key elements with consideration of the musical aspects detailed below. Strengths in one or more areas may balance relative weaknesses in others:

the imaginative use of sound

a sense of musical balance

the creation and development of musical ideas

an understanding of the chosen medium

the appropriate and idiomatic use of instruments,

voices and other sound sources

appropriate uses of musical elements, devices,

techniques and conventions Compositions will be marked according to the following six bands of assessment with the musical aspects listed above: 30–26 The composition is musically stimulating, interesting and satisfying. The candidate demonstrates the successful and imaginative creation of musical ideas in relation to the areas of study selected. There is a sense of completeness in the music and there is evidence of development of the musical ideas. Writing for instruments, voices and sound sources is idiomatic. The score is accurate and contains detailed performance directions appropriate to the chosen style of the music. 25–21 The composition is imaginative and largely satisfying. The candidate demonstrates a sound sense of understanding of musical ideas in relation to the areas of study selected. There is a sense of wholeness in the music with some development of the musical ideas presented. Writing for instruments, voices and sound sources demonstrates understanding of the techniques required. The score contains sufficient detail to reflect the candidate’s intentions, though some details may be missing. 20–16 The composition is largely effective. The candidate demonstrates some understanding of the musical ideas in relation to the areas of study selected. There is a competent handling of the musical ideas. Writing for instruments, voices and sound sources demonstrates some understanding of the techniques required. The score shows some accuracy but may contain some omissions and/or inaccuracies. 15–11 The composition is partially effective. The candidate demonstrates limited understanding of the musical ideas in relation to the areas of study selected. There are some limitations in the handling of the musical ideas. Writing for instruments, voices and sound sources may present inconsistencies in their deployment. The score shows some musical ideas clearly. 10–6 The composition works but at a basic level. The candidate demonstrates a basic understanding of the musical ideas presented in relation to the areas of study selected. There may be some incoherence in the handling of musical ideas. Writing for instruments, voices and sound sources appears simplistic and may lack finish. The score shows inconsistencies and is not accurately presented. 5–1 The composition is very rudimentary. The candidate demonstrates a rudimentaryunderstanding of the ideas in relation to the areas of study. Musical ideas lack coherence and may appear incomplete. Writing for instruments, voices and sound sourceslacks understanding. The score is inaccurate and incomplete. 0 The candidate’s work shows no evidence of the skills being assessed.