2016 VCE MUSIC TEACHERS' CONFERENCE SESSION ...

2016 VCE MUSIC TEACHERS’

CONFERENCE

SESSION NOTES

Association of Music Educators

VCE CONFERENCE 2016 SATURDAY 27 FEBRUARY

SESSION 1 MUSIC STYLE AND COMPOSITION

EAT report Pip RobinsonEAT process Mark McSherryScaffolding Outcome 1 Anna van VeldhuisenI hear, I see – Outcomes 2 and 3 Mandy StefanakisContext as part of Outcome 2 Matt PankhurstTransition to 2017 Helen Champion SESSION 2. MUSIC INVESTIGATION

MUSIC INVESTIGATION PLENARY SESSION Messages from 2015 and transitioning to 2017 Helen ChampionOutcome 3 – Performance Rod MarshallChief Assessor’s reportOutcome 1 – Investigation Lynne MortonState Reviewer’s report

Teaching strategy workshop MI:1

MI:1.1: Selecting repertoire for the end of year exam/linking with Focus Statement – Rod Marshall

MI:1.3: Preparing students for composition and improvisation via a folio of works – Nick Taylor

MI:1.4: Surviving and achieving in the Multi-Study Classroom – Lynne Morton

Teaching strategy workshop MI:2

MI:2.1: Selecting repertoire for the end of year exam/linking with Focus Statement – Rod Marshall

MI:2.2: Using the new assessment guide numbers for School Assessed Coursework. – Lynne Morton

MI:2.3: A systematic approach to teaching improvisation – David Urquhart-Jones

MI:2.4: Enhancing and harnessing creativity in Outcome 2: Composition – Matt Pankhurst

SUNDAY 22 FEBRUARY

SESSION 3. MUSIC PERFORMANCE

MUSIC PERFORMANCE PLENARY SESSIONMessages from 2015 and transitioning to 2017 Helen ChampionOutcome 3 Examiner’s report Barry FletcherOutcome 2 State reviewers report David GrahamOutcome 1 Examiner’s report Eddie Dorn

Teaching strategy workshops MP:1

MP:1.1: Surviving and achieving in the Multi-Study Classroom - Lynne Morton

MP:1.2: Selecting repertoire appropriate for each student – Outcome 1 - Manfred Pohlenz

MP:1.3: The things I wish I knew when I started teaching my first VCE instrumental student - Shannon Ebeling

MP:1.4: Dialogue with a mentor - Roland Yeung

MP:1.6: Rhythmic dictation - Andrew Philpot

MP:1.7: Performance excellence - Jenny Going

MP:1.8: NEW - Auralia and Musition 5 – Classroom essentials - Peter Lee


MP:2.1: Surviving and achieving in the Multi-Study Classroom - Lynne Morton

MP:2.2: VCE Contemporary Voice - Melinda Ceresoli

MP:2.3: VCE Music Performance: How the year unfolds in the life of a school - Fiona Branford

MP:2.4: Writing about music: Is it beyond words? - Roland Yeung

MP:2.5: When it’s too late for sol fa - Jayne Turner

MP:2.6: Engaging learning activities in musicianship - James LeFevre

MP:2.7: The things I wish I knew when I started teaching my first VCE instrumental student - Shannon Ebeling

MP:2.8: Auralia and Musition 5 - Creating dictation, multiple choice and tapping questions with real music! - Peter Lee


MP:3.1: Selecting repertoire appropriate for each student – Outcome 1 - Manfred Pohlenz

MP:3.2: Performance excellence - Jenny Going

MP:3.3: Integrating jazz into the VCE music curriculum - Tim Nikolsky

MP:3.4: The technical SAC – Don’t invent problems! - John Ferguson

MP:3.5: How to REALLY practice musicianship, aural and theory skills? - Deborah Smith

MP:3.6: Developing vocabulary linking musical experiences - Jennifer Gillan

MP:3.7: VCE Music Performance: How the year unfolds in the life of a school| - Fiona Branford

MP:3.6: NEW - Auralia 5. Testing, courses, assessment and reporting - Peter Lee

5.00pm CLOSE OF CONFERENCE

**Notes contained in this document

MUSIC STYLE AND COMPOSITION

I hear, I see – Outcomes 2 and 3Mandy Stefanakis

Lost and Found 1

Context 1. Watch each sequence a couple of times. 2. Look at the questions. 3. Investigate the context of each piece. For example listen to and view other works by the composers and video

makers: Suggest: Drone https://en.wikipedia.org/wiki/Drone_(music) Fell Music by Luke Altman http://altmann.net.au Screenplay by Natasha Pincus (video for Gotye’s Somebody I Used to Know) Watch visuals accompanying music. Missy Higgins’ Everyone’s Waiting also about a kind of loss and landscape http://www.starkravingproductions.com.au/music_videos.html Paper Planes Music by Nigel Westlake http://www.rimshot.com.au Listen and view other scores by Westlake, many snippets available on You Tube. Pavane https://en.wikipedia.org/wiki/Pavane Score Reading

4. Where a score is available (Paper Planes) use it to follow the interactions between instruments, identify patterns, variations in pattern and instrumentation, repetition, texture, key and metre changes for example.

Lost and Found 2

Responding 5. Respond with as much detail as possible.

Sharing 6. Discuss your responses with other class members and audio this sharing. Refer to aspects of the elements of music

on page 135 of the Music Study Guide the compositional devices on page 136 and the contextual guidelines on page 137 to guide your responses.

Question Fell

(2 sequences)

Paper Planes (Pavane)

(2 sequences) What is the role of the drone in each of these examples?

Lost and Found 3

What methods are used to alter the nuance of the drone throughout? Refer, for example to dynamics, articulation, timing, form

How is emotional elicitation shaped in these sequences? Refer to, for example: . melodic shape and relationship to drone, key, changes in key . use of beat, or rhythm, timing devices, metre, changing metre . use of expressive devices such as dynamics, legato, staccato, articulation and shaping of specific notes or groups of notes, tempo . form . instrumentation and changes in or additions to instrumentation . tone colour such as use of

Lost and Found 4

glissandi, distortion, note-‐bending . changes in texture . harmonic devices, example chord sequences, modulations, suspensions and harmonic impact on tension and resolution . use of repetition, contrast, variation Why ‘Pavane’? Why ‘Fell’? What impact does landscape have on the characters and on what is conveyed aesthetically?

Lost and Found 5

Describe the nature of what you think is being expressed musically in each sequence and how this expression changes.

Describe the relationship between the visuals and the music for each sequence and what you think the composer is attempting to achieve. Fell Sequence 1 Sequence 2 Paper Planes Sequence 1 Sequence 2 How is the meaning affected by the music? How is the meaning affected by similar music used with different visual/narration contexts?

Lost and Found 6

Describe the relationship between sound effects and music

Compare the similarities of the sequences referring to your responses and anything you have not talked about so far.

Lost and Found 7

Describe the differences between the sequences referring to your responses and anything you may not have talked about.

Write about which sequence you feel ‘works’ most effectively as a score for the visuals it is enhancing and describe why you think this.

Lost and Found 8

I have thematically combined outcomes two and three so one feeds the other. I have also combined them because they look at similar musical features to address the common theme. It needs to be remembered that in other music subjects in VCE, the emphasis is on aural development in order to perform with technical proficiency, contextual understanding and expressivity although there are aspects of composition in Music Investigations. In Styles and Composition, however, you will probably need to play well, but the emphasis is on looking at the compositional devices used to create music, because the students need to understand these devices in order to compose themselves. So it is breaking down the strategies and tools used by composers to express and communicate an idea or feeling or concept. Students can find themselves creating formulaic music. There’s sometimes a need to reconceptualise how sounds are sculpted together to make meaning. I like to flog Australian content because we make good music and good art and good films, none of which get flogged enough! Firstly, Fell. This is about a man whose daughter is killed by a logging truck. He seeks revenge on the driver, also a logger. However, their shared environment impacts on this resolution. A warning that this has anMA15 rating but not these sections and not most sections actually. Just ensure you review what you wish to use. There are two sequences. The music does not change but the context does. How does this impact on the musical meaning? Paper Planes is a kids flick but the thematic material is universal. Don’t balk at being ageless in your selections of material. There are, again, two sequences with the same music, though the second time the music is developed further. The score is valuable. The CD version of Pavane has a developed section in it not available in the score. But it is worth following the score even for not so good score readers as its a good way of understanding different aspects of the music. Students can focus on different elements – the use of dynamics, the overlay of instruments, the use of changing metre and tempo the harmonic structure with changes from major to minor tonalities, the use of upper portion of the keyboard and so on, the interpretation of the drone – just from following the score while listening. The listening task sheet is provided in Word format so that you can change it in any way, shape or form to suit circumstances. All it doesn’t look at is the technical construction of the score to music. But you may wish to focus on just a

2 Lost and Found

couple of areas such as melodic shape and the interaction of counter-‐melodic passages and the drone. It’s also important to look at the context for both these films and the music as suggested in the worksheet and replicated here. These include: Fell The score is by Luke Altman http://altmann.net.au Listen to Winter. there and students will come to an understanding of his stylistic intent. Natasha Pincus wrote the screenplay for Fell. She also makes video clips. She did Gotye’s Somebody I used to Know. But better in this context is Missy Higgins’ Everyone’s Waiting, which is a fabulous video clip investigating that sense of loss or disengagement with people. (You can’t use this as a second piece of study as the visuals are created for the music, not the other way around, however it’s important for students to contemplate the similarities and differences in these approaches.) http://www.starkravingproductions.com.au/music_videos.html The link between Pincus and Westlake is Melbourne-‐based singer/songwriter, Lior. Pincus made videos for him and you can view them and the process in the previous link. Pincus loves to throw us into a situation where we’re just not sure what the outcome is going to be. You’ll see this in Fell and in Everyone’s Waiting in particular. Lior also wrote a song called Learn to Live, which is in Paper Planes (more tissues) and on the CD. Again, this was not written specifically for the film. It’s also worth looking at some of Westlake’s other film scores because he uses some really lovely devices quite commonly. His orchestration is stunning. The section chosen is very simple, but evocative. Nigel Westlake http://www.rimshot.com.au So the process of creating music for a similar context does not have to involve the making of the visuals, however it helps the learner to understand the process that a composer goes through. So that’s what I chose to do. I’m also providing the documentation for this, just as a model of how students might present it. Students could include more short audio snippets of the work in progress if they wished and annotated parts of the score.

You can use any theme you wish and any style of music and of course, the composition emanating from students can be in any style with any kind of instrumentation. I think the thing with music written FOR something is that it provides a context where the music has to work hard to help convey the meaning intended in the original source. If you turn off the sound in a film, or you just have a raw piece of video footage, you see how palpable the music is. Students understand this really well. In this instance, a good starting point is for students to create a really interesting drone. Again, they could follow the score from Westlake and listen for the changes by Michael Kieran Harvey in the performances of the drone. You can see performer choice in the articulation of notes there. Or students might work with electronic sounds as Altman has. This drone has no pulse and yet he makes it prominent, warping it with harmonics and an added octave and panning for example. Students could experiment with guitar drones using effect pedals, or MIDI effects. Students could then also work just with one or two notes around this drone – perhaps a harmonic, or two notes quite close to the drone note. Restrictions such as this actually help with the creative process. Discuss then, what comes out of this process and then let students have their head. So once they have a basis and a shape, they will find it a lot easier to develop their composition. The value of moving visual content such as film is that it helps students impose limitations on their own music-‐making, because their composition has to be a response to the visuals. If there’s time for them to work on the visuals in addition to the music it’s a fabulous process to learn. But it can be a still image or a series of still images they make or take or something that is already in existence. Make sure your assessment is based on the established criteria you have set students (with reference to the Study Guide) and that students are aware of these criteria. You can develop a rubric of achievement, such as those for units three and four. See the PDF on VCE Music Style and Composition Externally Assessed Task for example: http://www.vcaa.vic.edu.au/Documents/exams/music/mustylecomp-‐EAT-‐spec-‐crit-‐w.pdf This is just a guide. The criteria are different for this unit, but the overall intent is similar. The reasons for this unit:

1. Drones are a universal, not only in music but in the universe! (Have a listen to gravitational waves.) Used very differently in these pieces.

2. They provide a point of musical homeostatic regulation around which other sonic events are placed to move us physically and emotionally from

4 Lost and Found

this point of stasis. If you think of music this way, you compose differently!

3. Drones are a fantastic way for students to listen acutely and experiment with the detail of sound and changes in sound whilst remaining accessible to all students to explore with their technical and expressive capacities as composers/performers. Think again of Altman’s drone!

4. The common theme focuses on the abstract but palpable concept of ‘LOSS’ and finding a way out of its hold. Both films use the chosen motifs more than once and in different contexts so that the underlying concept does not change but the meaning changes immensely. Students can look at how the same music can actually express quite different things in different contexts.

5. The music is accessible and provides students with the tools to create their own music using simple, or more complex musical ideas effectively.

Resources Fell (Available from JB Hi Fi) From after beginning 33secs to 3.22 Then from 1.15.08 to 1.16.05 Music by Luke Altman http://altmann.net.au Paper Planes Music by Nigel Westlake. Performed by the SSO. From 13.27 and 14.13 but then the context after. From 47. 24 to 50.23 DVD from anywhere (JB HI-‐Fi) Score from Australian Music Centre or Rimshot Music (link above) CD from ABC or iTunes (Pavane)

MUSIC INVESTIGATION

PLENARY SESSION

Outcome 1 – Investigation Report

Lynne Morton

MUSIC INVESTIGATION

2016 Lynne Morton Belmont High School

MUSIC INVESTIGATION •  Focus Area – ask yourself can it be demonstrated through performance? If not, the Focus Area will need to be modified so that it can be demonstrated through performance. The concept of the Music InvesJgaJon Focus Area is not to be an essay topic or a mini thesis! •  Focus Area Approvals – are dependent on whether it can be demonstrated through performance; the depth of performance techniques; the relevance of the proposed performance program to the Focus Area

Lynne Morton Belmont High School

MUSIC INVESTIGATION COURSEWORK

•  How are you as a teacher linking the outcomes to the Focus Area and the elements of Music?

•  Outcome 1 – DemonstraJng an understanding of the performance pracJces/contexts and influences

•  Unit 3 SAC Outcome 1 Performance/Commentary is recommended for authenJcaJon, that includes characterisJcs, techniques and performance pracJces, analysis of a sample of works, and audio/video excerpts to support analysis eg students could present a report that includes all of these items and demonstrate live, the techniques being highlighted



•  Outcome 3 – Performance (program to be representaJve of the Focus Area) Unit 3 15min, Unit 4 10min

•  Unit 3 & 4 Outcome 3 SAC – Performance/Commentary is recommended for authenJcaJon of the performance of technical work and exercises relevant to the Focus Area, and how the technical work is informing the development of the performance program


MUSIC INVESTIGATION COURSEWORK AUDIT

•  How are you as a teacher demonstraJng that you are covering the requirements for each outcome?

•  Do you use a Jmeline for your class acJviJes?

•  What resources and acJviJes are you using to promote the Focus Area intent?

•  How are you guaranteeing that the Focus Area can be demonstrated through performance?

•  How are you communicaJng with the Instrumental Music staff/Classroom Music staff/Tutors?

•  Do you need help? •  What can you do to improve your teaching of this course?


TASK DESIGN


•  When you design your task, is it clear that students need to demonstrate a direct link to their specific Focus Area?

•  When you design your task, is it clear that the direct link to the specific Focus Area is assessed?

•  When you design your task, is it clear that the Technical Work and Exercises must be directly linked to the Focus Area and the specified performance program ? (NB a generic list of scales is inappropriate for this task)

•  When you design your task, how do you ensure that students are always highlighJng their Focus Area and performance program, as they progress through their coursework?

•  When you design your task, have you provided opportuniJes for students to demonstrate how they link their work to the Focus Area and performance program?

•  When you design your ComposiJon/ImprovisaJon/Arrangement task, what exercises/techniques directly linked to the Focus Area style and performance program are being incorporated?


•  Unit 4 Outcome 2 -‐ ComposiJon/ImprovisaJon/Arrangement •  What exercises/techniques linking to the Focus Area style are being incorporated?

•  Unit 4 SAC Outcome 2 Performance/Commentary is recommended for authenJcaJon. Students are to present and perform their composiJon/improvisaJon/arrangement that uses the characterisJcs, performance techniques relevant to the Focus Area, and an explanaJon on HOW the work is representaJve of the Focus Area


GRADING SYSTEM FOR SACS 2016 Music Inves+ga+on Unit 3

Unit 3 SACs contribute 25% to the final assessment Outcome 1: Present a report (performance and commentary or mulJmedia or wriben or a combinaJon of these formats) that discusses characterisJcs, techniques and performance pracJces of works representaJve of a Focus Area. The report will need to define the Focus Area and include: •  Analysis of a sample of works •  Audio/video excerpt to support analysis •  Discussion of characterisJcs and pracJces and other issues that influence interpretaJon of

works MARKS /60


GRADING SYSTEM FOR SACS 2016 Music InvesJgaJon Unit 3

Unit 3 SACs contribute 25% to the final assessment

Outcome 3: Performance of technical work and exercises

relevant to the Focus Area and descripJon of how this technical work is informing development of the performance program. MARKS /15


GRADING SYSTEM FOR SACS 2016

Music Inves+ga+on Unit 4


•  Outcome 2: Present and perform a composiJon, improvisaJon or arrangement of a music work that uses characterisJcs, performance techniques and other convenJons relevant to the Focus Area AND an explanaJon of how the work is representaJve of the Focus Area (wriben or mulJmedia or oral)

MARKS /60


MUSIC INVESTIGATION

• ModeraJon •  Are you in a moderaJon group? •  The benefits of moderaJon


MUSIC INVESTIGATION 2016

[email protected]


MUSIC INVESTIGATION

TEACHING STRATEGY WORKSHOP

MI:1.4

Surviving and achieving in the Multi-Study Classroom

Lynne Morton

Music Inves+ga+on

Outcome 1 Inves.ga.on

•  The combined class approach using a Listening Journal highlights the elements of Music in a progressive pedagogy to develop greater depth of understanding in the elements of Music. Previous and current examiners reports, detail the lack of understanding by many students of the elements of Music eg. melody – students discuss rhythm, dynamics etc but not the characteris+cs of the melody! This workshop aims to give teachers a Listening Journal approach that highlights a variety of Musical elements and builds on student knowledge progressively throughout the year, to bring depth of understanding to the Focus Area.

•  2011 VCE Study Design . . . “On comple+on of this unit the student

should be able to demonstrate understanding of performance prac+ces, context/s and influences on music works.


Music Inves+ga+on Outcome 1 Key Knowledge includes: •  Aural and theore+cal concepts that underpin ways in which elements of music,

including structure, melody, harmony, rhythm, tone colour, texture, dynamics, tempo, ar+cula+on and instrumenta+on, are characteris+cally treated within a sample of works representa+ve of the Focus Area Strategies for preparing performances of selected group and solo works

•  Idioma+c instrumental techniques associated with the sample of works •  Performance prac+ces and conven+ons associated with the Focus Area and

sample of works •  Leading composers/performers associated with the selected Focus Area and

sample of works •  Social, cultural, personal, historical, geographical and commercial influences that

impact on the selected Focus Area and sample of works •  Ways in which works chosen for performance are representa+ve of the Focus Area •  Issues that impact on interpreta+on of works selected for performance •  Music terminology and language appropriate to iden+fica+on, descrip+on and

discussion of characteris+c features of the sample of works and works selected for performance


Music Inves+ga+on Key Skills includes the ability to:

•  Describe the Focus Area •  Aurally and visually analyse a sample of music works that are representa+ve of the

Focus Area, including works that are selected for performance in Area of Study 3 •  Apply aural and theore+cal Knowledge to iden+fy, describe and discuss •  Ways in which elements of music are characteris.cally treated in the sample of

works •  Idioma+c instrumental techniques associated with the selected Focus Area and

ways in which they are applied within the sample of works, including works chosen for performance

•  Social, cultural, personal, historical, geographical and commercial influences that have had an impact on both the Focus Area and the sample of works

•  Performance prac+ces and conven+ons associated with the Focus Area and ways in which these might be applied in performance of the selected program of works

•  Issues that influence interpreta+on of works selected for performance •  Use appropriate music terminology and language


Music Inves.ga.on

Elements of Music


Focus Area


Variety of Focus Areas •  The development of Nocturnes (for Solo Piano) beginning

with the style’s origin with John Field (Nocturne in C minor) and then looking at innova+ons made by other composers such as Chopin and Faure as well as the different approach of C20 composers.

•  The stylis+c characteris+cs used by Guitarists Jeff Beck, Mark

Knopfler and Albert King, and the use of different varia+ons of a finger-‐picking method to achieve the style.


Focus Areas

•  Vocal performance techniques and characteris.cs of recognised female jazz vocalists from 1940-‐2010.

•  A demonstra.on of how the early French saxophone style and techniques were developed in the C20, as influenced by Marcel Mule

•  A demonstra.on of the development of the contemporary use of polyrhythms and other performance techniques (e.g. double bass drum and various accent paQerns) on the drum kit in modern progressive rock and metal styles 1990 to present


Class Time Structure •  Listening Journal – Elements of Music •  Aural Training – Intervals, Chords and progressions, rhythmic

and melodic dicta+on as appropriate •  Theory – select one piece from program, specify the tonic

key, find the modula+ons and how they relate to the tonic or chord progression within a phrase/sec+on

•  Technical work or exercises designed and prac+cal work on exercises OR

•  Inves+ga+on research ques+on OR •  Composing/Arranging/Improvisa+on exercises linked to the

above


Unit 3 Timeline •  Week of March 7 Trial performance of Focus Area works, (at

least 15 minutes of contras+ng works), and technical work and exercises

•  Week of March 14 Submit drae of how technical work and exercises is assis+ng your development and understanding in preparing your Outcome 3 pieces & submit drae of progressive analysis and research discussing characteris+cs, techniques and performance prac+ces of your Focus Area works

•  Week of March 21 Submit drae of composi+on/improvisa+on/arrangement exercsises and how this relates to your Focus Area


Unit 3 Timeline cont. •  Week of March 21 Presenta+on of technical work and

exercises explaining how they have improved your instrumental skills and understanding of the Focus Area

•  Week of May 2 Report Presenta+on -‐ (performance and commentary or mul+media or wrigen or a combina+on) discussing characteris+cs, techniques and performance prac+ce of works representa+ve of your Focus Area-‐ SAC

•  Week of May 9 Technical work and exercises SAC (including a wrigen descrip+on of how selected performance

techniques, technical work and exercises have supported the student as an instrumentalist, and in their prepara+on of works for Outcome 3)


Unit 3 Timeline cont.

•  Week of May 14 Performance of at least a 15 minute program of Focus Area works

•  Week of May 21 Submit and perform composi+on/improvisa+on/arrangement exercises and outline how your created work relates to your Focus Area

•  Weekly Aural and Theory exercises relevant to Focus Area analysis

•  Weekly Progress report and plan for next week Focus Area Research


Grading system for SACs 2016

Music Inves.ga.on Unit 3


Outcome 1: Present a report (performance and commentary or mul+media or wrigen or a combina+on of these formats) that discusses characteris+cs, techniques and performance prac+ces of works representa+ve of a Focus Area. The report will need to define the Focus Area and include: •  Analysis of a sample of works •  Audio/video excerpt to support analysis •  Discussion of characteris+cs and prac+ces and other issues that

influence interpreta+on of works MARKS /60


Grading system for Sacs 2016 Music Inves+ga+on Unit 3

Unit 3 SACs contribute 25% to the final

assessment

Outcome 3: Performance of technical work and exercises relevant to the Focus Area and

descrip+on of how this technical work is informing development of the performance program. MARKS /15


Listening Journal


Listening Journal

•  Name the instruments •  Detail the Form/structure •  Rhythm •  Melody •  Harmony •  Tone Colour •  Texture •  Instrument techniques •  Style?


Key Words Melody

•  Ascending, descending, repe++ve, short, long, high, low, wide range, small range, stepwise/smooth, based on a scale, based on a triad, jagged, made up of phrases, uses

•  sequences, tonality – scale forms, modal, contour, draw a line-‐graph of the phrase shape, upbeat, anacrusis, angular contour (leaps), mo+ve, register, unison, chroma+cism

Rhythm •  Riff, straight, shuffle, jazz, swing, la+n, describe note values within a phrase, short rhythmic

pagerns, call and response, os+natos, off beat, nota+on, +me signatures, mixed metres, polyrhythms, doged rhythms, even, syncopa+on, tacet, dura+on, note values, pulse, regular, irregular, repe++ve, hemiola, isometric

•  Used as – to maintain momentum, as part of the structure/form, os+nato, to provide pulse/beat, to create unity, to create contrast

Harmony •  Chord progression, tonality, primary triads, 7ths, altered chords, describe the chords within a

phrase, modula+on, consonance, dissonance, resolu+on Lynne Morton Belmont High School

Key Words Dynamics

•  Loud, soe, crescendo, decrescendo, diminuendo, fade-‐out, fade-‐in, moderately loud, moderately soe, sforzando, smorzando

Tone Colour

•  Timbre, warm, cold, shrill, mellow, woody, bright, bleak, dark, light, heavy, percussive, Guitar amp effects, effects units, Powerchords, mute

Texture

•  Monophonic, homophonic, polyphonic

Interpreta.on •  Rubato, rallentando, register, Piano pedalling, vibrato, change of register, •  Recording techniques – effects, reverbera+on, mutlitracking, •  Ornamenta+on – trills, mordents, drops offs, smears, pause, harmonics, melismas, scat, •  Ar+cula+on – legato smooth, semi-‐legato, staccato, mezzo-‐staccato, marcato, accents, tenuto,

slides, bends, hammer ons, pull offs, damping, pizzicato, double stop, mute •  Tempo – slow, fast, broadly, lively, accelerando, rallentando, ritenuto, ritardando,


Listening Journal

•  Describe the different rhythms heard in excerpt 1 •  Write the different rhythms heard in excerpt 1 that you have described

•  Describe the shape of the melody in excerpt 2 •  Draw the shape of the melody in excerpt 2 •  Describe the varia+ons in tone colour throughout the excerpt

•  Describe the structural and expressive role of each instrument in excerpt 2


Listening Journal •  Select one instrument, and detail the use of ar+cula+on throughout the excerpt

•  Write the rhythm of 2 instruments/voices that performed in excerpt 1, include the ar+cula+ons

•  Iden+fy and describe the interpreta+ve decisions you believe is evident in the pre-‐recorded work

•  What expressive elements have been used in the excerpt and what effect do they have?


Listening Journal

•  What style is this piece of Music? Describe why you think it is this style.

•  Discuss how the performer’s approached performing the melody and rhythm to highlight the style.

•  Discuss how the performer’s approached performing the melody and rhythm to demonstrate variety within the style.


Listening Journal •  Describe the similari+es and differences between how the different instruments are being played.

•  Describe the similari+es and differences between excerpt 1 & 2

•  Describe the similari+es and differences with the rhythms being performed.

•  Describe the similari+es and differences with the expressive elements used.


Music Language


Highlight the use of key words to extend student language

Music Inves+ga+on Outcome 3 Performance (including Technical Work)

•  On comple+on of this unit the student should be able to present a

performance of music works that communicates understanding of the Focus Area.

•  Key Knowledge includes: •  Strategies for planning a performance program that communicates

understanding of a selected Focus Area •  Strategies for developing and refining accuracy, control, fluency, flexibility,

dexterity, security, coordina+on and clarity in performance as relevant to the selected works and instruments

•  Idioma+c instrumental tone quali+es and varia+on of tone relevant to the selected repertoire

•  Stylis.c characteris.cs, musical structures and textures, and use of other elements of music in selected works as they relate to the Focus Area

•  Ways of achieving purposeful shape in music through ar.s.c varia.on of expressive elements of music, including tone quality, tempo, phrasing, ar.cula.on, dynamics and texture


Cont. Outcome 3 •  Strategies for developing expressively shaped, informed

interpreta+ons of works that demonstrate understanding of relevant historical and contemporary performance prac+ces, conven+ons and ar+s+c balance between relevant personal, stylis+c, prac+cal, technological, historical and cultural influences

•  Roles of, and rela+onships between, instrumental voices in selected group works, or parts within the texture of solo works in achieving ar+s+c balance, blend and varia+on of texture


Outcome 3 •  Key skills include the ability to: •  Prepare and perform a program of group or solo works that communicates

understanding of a selected Focus Area •  Demonstrate accuracy, control, fluency, flexibility, dexterity, security, coordina+on

and clarity in the performance of selected works •  Control idioma+c tone quality, and ar+s+c varia+on of tone in the performance of

selected works •  Demonstrate ar+s+c intent •  Create shape in performance of selected works through ar+s+c varia+on of

expressive elements of music •  Communicate direc+on in performance through considered, expressive contrasts

between structural and textural sec+ons of each work and across the program of selected works

•  Demonstrate developing mastery of historical and contemporary performance conven+ons in interpre+ng and performing selected works


Outcome 3 •  Perform informed interpreta+ons of selected works that demonstrate

understanding of ar+s+c balance between relevant personal, stylis+c, prac+cal, technological, historical and cultural influences

•  Demonstrate understanding of the roles of, and rela+onships between,

instrumental voices in selected group work/s, or parts within the texture of solo work/s, to achieve ar+s+c balance, blend and varia+on of tone.

•  Demonstrate communica+on, interac+on, coopera+on and empathy with

other musicians and audience as appropriate to the performance of selected works

•  Reflect on and evaluate development of a performance program


Technical Work & Exercises •  Students specify one piece of Music from their program •  Students state what the key of the Music is •  Students write the scale one octave ascending •  Students write three technical work scales related to the tonic key •  Students highlight one rhythm in this piece •  Students write an exercise using the tonic key scale, and the

rhythm •  Students design three exercises using the rhythm and

combina+ons from the scale


Exercises

•  Exercises are directly related to their piece of Music •  All technical work and exercises are used in prac+cal sessions

•  Exercises are designed to enhance the knowledge of the elements of Music

•  Students keep a weekly journal of technical work and exercises

•  Student knowledge and technical skill is progressively developed


Assessment Tasks


Unit 3 Assessment Tasks Outcome 1

•  Weekly Listening Journal – Elements of Music and stylis+c characteris+cs

•  Weekly research documented –to include over the Semester characteris+cs, techniques and performance prac+ces of the Focus Area

•  Analysis of a sample of works (at least two) from the Focus Area program that highlight the Elements of Music

•  Audio/video excerpts to support analysis •  Discussion of characteris+cs and prac+ces and other issues

that influence interpreta+on of Focus Area works


Unit 3 Outcome 1 SAC •  Present a report (performance and commentary or

mul+media or wrigen or a combina+on of these formats) that discusses characteris+cs, techniques and performance prac+ces of works representa+ve of a Focus Area. The report will need to define the Focus Area and include:

•  Analysis of a sample of works •  Audio/video excerpt to support analysis •  Discussion of characteris+cs and prac+ces and other issues

that influence interpreta+on of works


Unit 3 Outcome 1 SAC •  1. Focus Area statement •  2. Detail the stylis+c characteris+cs of the pieces in your performance program

•  3. Audio/Visual excerpts to support your analysis •  4. What techniques and performance prac+ces are representa+ve of your Focus Area?

•  5. What has been the most interes+ng thing you have discovered from your research to date?

•  6. Present your performance/commentary of the above


Unit 4 Assessment tasks Outcome 1

•  Weekly research to reflect on and evaluate their interpreta+ve approaches to the music works being prepared for performance -‐ balance relevant personal, stylis+c, prac+cal, technological, historical and cultural influences.

•  Prepare (draes and refine) program notes based on the Focus

Area research and evalua+on, that may be used to introduce the Outcome 3 performance program. These notes will inform the Focus Statement provided by the student for the end-‐of-‐year performance examina+on


Unit 4 Outcome 1

Assessment Task – Class Presenta+on of Program Notes

•  Evaluate and present your interpreta+ve approach to your Focus Area program of Music works.


Unit 4 Music Inves+ga+onTimeline


Unit 4 Timeline •  Week of August 15 Trial performance of Focus Area

works, (at least 10 minutes of contras.ng works), and technical work and exercises

•  Week of August 15 Submit dra_ of composi.on/

improvisa.on/arrangement and how this relates to your Focus Area

•  Week of August 29 Presenta.on of technical work and exercises explaining how they have improved your instrumental skills and understanding of the Focus Area


Unit 4 Timeline cont. •  Week of August 22 Crea.ve Work Presenta.on SAC -‐

Outcome 2: Present and perform a composi.on, improvisa.on or arrangement of a music work that uses characteris.cs, performance techniques and other conven.ons relevant to the Focus Area AND an explana.on of how the work is representa.ve of the Focus Area (wriQen or mul.media or oral)

•  Week of September 5 Technical work and exercises SAC (including a wriQen descrip.on of how selected performance techniques, technical work and exercises have supported the student as an instrumentalist, and in their prepara.on of works for Outcome 3)


Unit 4 Timeline cont. •  Week of September 5 Performance of at least a 10

minute program of Focus Area works

•  Week of September 12 Performance of created work, with explana.on on how this relates to Focus Area

•  Weekly Aural and Theory exercises relevant to Focus Area analysis

•  Weekly Progress report and plan for next week Focus Area Research


Grading system for SACs 2016

Music Inves.ga.on Unit 4


•  Outcome 2: Present and perform a composi+on, improvisa+on or arrangement of a music work that uses characteris+cs, performance techniques and other conven+ons relevant to the Focus Area AND an explana+on of how the work is representa+ve of the Focus Area (wrigen or mul+media or oral)

MARKS /60

Lynne Morton

Belmont High School

Grading system for SACs 2016 Music Inves.ga.on Unit 4


•  Outcome 3: Performance of technical work and exercises

relevant to the Focus Area and a descrip+on of how this technical work is informing development of the performance program.

MARKS /15


eMail Address

[email protected]


MUSIC INVESTIGATION


MI:2.2

Using the Assessment Guide numbers for SACsLynne Morton

MUSIC INVESTIGATION

2016 Lynne Morton Belmont High School

MUSIC INVESTIGATION •  Focus Area – ask yourself can it be demonstrated through performance? If not, the Focus Area will need to be modified so that it can be demonstrated through performance. The concept of the Music InvesJgaJon Focus Area is not to be an essay topic or a mini thesis!

•  Focus Area Approvals – are dependent on whether it can be demonstrated through performance; the depth of performance techniques; the relevance of the proposed performance program to the Focus Area



•  How are you as a teacher linking the outcomes to the Focus Area and the elements of Music?

•  Outcome 1 – DemonstraJng an understanding of the performance pracJces/contexts and influences

•  Unit 3 SAC Outcome 1 Performance/Commentary is recommended for authenJcaJon, that includes characterisJcs, techniques and performance pracJces, analysis of a sample of works, and audio/video excerpts to support analysis eg students could present a report that includes all of these items and demonstrate live, the techniques being highlighted



•  Outcome 3 – Performance (program to be representaJve of the Focus Area) Unit 3 15min, Unit 4 10min

•  Unit 3 & 4 Outcome 3 SAC – Performance/Commentary is recommended for authenJcaJon of the performance of technical work and exercises relevant to the Focus Area, and how the technical work is informing the development of the performance program


GRADING SYSTEM FOR SACS 2016 Music Inves+ga+on Unit 3

Unit 3 SACs contribute 25% to the final assessment Outcome 1: Present a report (performance and commentary or mulJmedia or wri]en or a combinaJon of these formats) that discusses characterisJcs, techniques and performance pracJces of works representaJve of a Focus Area. The report will need to define the Focus Area and include: •  Analysis of a sample of works •  Audio/video excerpt to support analysis •  Discussion of characterisJcs and pracJces and other issues that influence interpretaJon of

works MARKS /60


NEW GRADING SYSTEM

•  Unit 3 Area of Study 1 Outcome 1

•  Demonstrate understanding of performance pracJces, context/s and influences on music works.

•  This outcome will contribute 60 marks out of 75 marks allocated to School-‐assessed Coursework for Unit 3. It will be assessed by one or more tasks, which will contribute a total of 60 marks.


GRADING SYSTEM

MARK RANGE DESCRIPTOR: typical performance in each range 49-60 marks An informed and perceptive description of the Focus Area. Highly detailed

analysis of selected works demonstrates sophisticated understanding of pertinent characteristics of the music enhanced by a wide range of highly relevant music examples and insightful annotations. Very well chosen contextual information insightfully highlights specific, relevant influences and their impact on the Focus Area, selected works and associated performance conventions and practices. Provides an articulate, considered and critical discussion of the impact of these influences and the application of relevant performance practices and conventions in performance of works. A sophisticated and articulate use of highly relevant music terminology and language.

Performance descriptors The following descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 37-48 marks A clear and concise description of the Focus Area. Detailed analysis

of selected works shows strong understanding of relevant characteristics of the music supported by a range of appropriate music examples and clearly articulated annotations. Carefully chosen contextual information highlights and describes specific influences and their impact on the Focus Area, selected works and associated performance conventions and practices. Provides an informed discussion of the impact of these influences and the application of some performance practices and conventions in performance of works. A detailed use of appropriate music terminology and language.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 25-36 marks A generally clear description of the Focus Area. Analysis of selected

works demonstrates general understanding of some relevant characteristics of the music supported by a range of generally appropriate music examples and generally relevant annotations. Appropriately chosen contextual information discusses generally relevant influences and their impact on the Focus Area, selected works and some associated performance conventions and practices. Provides some discussion of the impact of some of these influences and the application of performance practices and conventions in performance of works. Generally clear and appropriate music terminology and language is used.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 13-24 marks A limited description of the Focus Area. Analysis of selected works

shows some understanding of a limited range of characteristics of the music referenced by a limited range of music examples and annotations with limited detail and/or relevance. Some contextual information discusses a limited range of influences and their impact on the Focus Area, selected works and associated performance conventions and/or practices. Range and appropriateness of music terminology and language is limited.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 1–12 marks Very limited description of the Focus Area. Analysis of

selected works shows minimal understanding of a very limited range of characteristics of the music. Music examples and annotations show very limited relevance and detail. Contextual information demonstrates very limited understanding of influences and their impact on the Focus Area, selected works or associated performance conventions and/or practices. Very limited use of relevant music terminology and language.

GRADING SYSTEM


•  Present a performance of music works that communicates understanding of the Focus Area.



GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 13–15 marks Insightful understanding of relationship between Focus Area

and range and nature of material performed. Outstanding levels of accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone, artistic variation of expressive elements of music and use of relevant performance practices and conventions are evident. Relationship between impact of technical matters on shaping of works in performance and development of informed interpretations is articulated in a detailed and perceptive way.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 10–12 marks Clear understanding of relationship between Focus Area

and range and nature of material performed. Very high levels of accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone, artistic variation of expressive elements of music and use of generally relevant performance practices and/or conventions. Relationship between impact of technical matters on shaping of works in performance and development of informed interpretations is articulated in a detailed way.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 7–9 marks Mostly clear understanding of relationship between Focus

Area and range and nature of material performed. Competent levels of accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone, artistic variation of expressive elements of music and use of some relevant performance practices and/or conventions. Relationship between impact of technical matters on shaping of works in performance and development of informed interpretations is articulated in a plausible way.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 4–6 marks Limited understanding of relationship between Focus Area

and range and nature of material performed. Limited accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone, artistic variation of expressive elements of music and/or use of some relevant performance practices and/or conventions is evident throughout. Limited clarity and understanding of the relationship between impact of technical matters on shaping of works in performance and development of informed interpretations.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 1–3 marks Very limited understanding of relationship between Focus

Area and range and nature of material performed. Very limited accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone, artistic variation of expressive elements of music and/or use of some relevant performance practices and/or conventions is demonstrated throughout. Very limited understanding of the relationship between impact of technical matters on shaping of works in performance and development of informed interpretations.


•  Unit 4 Outcome 2 -‐ ComposiJon/ImprovisaJon/Arrangement •  What exercises/techniques linking to the Focus Area style are being incorporated?

•  Unit 4 SAC Outcome 2 Performance/Commentary is recommended for authenJcaJon. Students are to present and perform their composiJon/improvisaJon/arrangement that uses the characterisJcs, performance techniques relevant to the Focus Area, and an explanaJon on HOW the work is representaJve of the Focus Area


GRADING SYSTEM FOR SACS 2016

Music Inves+ga+on Unit 4


•  Outcome 2: Present and perform a composiJon, improvisaJon or arrangement of a music work that uses characterisJcs, performance techniques and other convenJons relevant to the Focus Area AND an explanaJon of how the work is representaJve of the Focus Area (wri]en or mulJmedia or oral)

MARKS /60


GRADING SYSTEM


•  Compose/improvise/arrange and perform a music work and discuss the use of music characterisJcs, instrumental techniques, performance techniques and convenJons in the work.



GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 49–60 marks Sophisticated understanding of Focus Area through

informed and perceptive use of elements of music and compositional devices in the work. Refined and well-rehearsed use of relevant instrumental and performance techniques and conventions to achieve idiomatic instrumental sound/s and communicate music ideas. Sophisticated consideration and resolution of issues relating to performer ability and performance space. Expert use of music language and relevant terminology to explain connections between the work and the Focus Area.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 37–48 marks Detailed understanding of Focus Area through informed use

of elements of music and compositional devices in the work. Well-rehearsed use of relevant instrumental and performance techniques and conventions to achieve idiomatic instrumental sound/s and communicate music ideas. Good consideration and resolution of issues relating to performer ability and performance space. Competent use of music language and relevant terminology to explain connections between the work and the Focus Area.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 25–36 marks Satisfactory understanding of Focus Area through mostly

well-informed use of elements of music and compositional devices in the work. Generally well-rehearsed use of relevant instrumental and performance techniques and conventions to achieve idiomatic instrumental sound/s and communicate music ideas. Satisfactory consideration and resolution of most issues relating to performer ability and performance space. Generally competent use of music language and relevant terminology to explain connections between the work and the Focus Area.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 13–24 marks Limited understanding of Focus Area through some relevant

use of elements of music and compositional devices in the work. Performance is under-rehearsed and lacks security and refinement. Limited use of instrumental and performance techniques and conventions to achieve idiomatic instrumental sound/s and communicate music ideas. Limited consideration and resolution of issues relating to performer ability and performance space. Limited use of music language and terminology to explain connections between the work and the Focus Area.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 1–12 marks Very limited understanding of the Focus Area through minimal use

of elements of music and compositional devices in the work. Performance is under-rehearsed and demonstrates minimal refinement. Very limited application of instrumental and performance techniques and conventions leads to use of instrumental sound/s that are not idiomatic in the context of the Focus Area. Most issues relating to performer ability and performance space are not considered and/or are resolved in ways that lack relevance to the Focus Area. Very limited explanation of connections between the work and the Focus Area. Limited use of music language and terminology.

GRADING SYSTEM


•  Demonstrate arJsJc intent and understanding of the Focus Area in a cohesive and engaging performance of music works.

•  This outcome will contribute 15 marks out of 75 marks allocated to School-‐assessed Coursework for Unit 4. It will be assessed by one task, which will contribute a total of 15 marks.

Task/s Descrip4on

•  Performance of technical work and exercises relevant to the Focus Area and descripJon of how this technical work is informing development of the performance program.


GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 13–15 marks Mature and highly refined technical ability characterises

performance of all elements of music. Work is presented with certainty and features complete accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and stylistically appropriate variation of tone and artistic variation of expressive elements of music. A broad range of relevant performance practices and conventions are used in ways that reflect comprehensive understanding of the Focus Area. Relationship between technical material selected for study and decisions relating to shaping, interpreting and presenting a performance program features extensive specialist knowledge, evaluation and reflection.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 10–12 marks Reliable and generally refined technical ability is evident in

performance of all elements of music. Performance features high levels of accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone and artistic variation with generally stylistically appropriate application of expressive elements of music. A range of relevant performance practices and conventions are used in ways that reflect understanding of the Focus Area. Relationship between technical material selected for study and decisions relating to shaping, interpreting and/or presenting performance program features some specialist knowledge with detailed evidence of evaluation and reflection.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 7–9 marks Reliable and generally refined technical ability is evident in

performance of most elements of music. Performance is sometimes tentative with limited accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity and/or idiomatic tone colour and variation of tone. Generally stylistically relevant artistic variation of expressive elements of music and use of performance practices and conventions. Relationship between technical material selected for study and decisions relating to shaping, interpreting and/or presenting performance program includes some specialist knowledge and some evidence of evaluation and reflection.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 4–6 marks Limited reliability and refinement is evident in technical

ability across performance of most elements of music. Performance is often tentative with limited accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity and/or idiomatic tone colour and variation of tone. Limited artistic variation of expressive elements of music and use of relevant performance practices and conventions. Limited use of specialist knowledge, reflection and/or evaluation is evident in rationale for decisions relating to shaping, interpreting and/or presenting performance program.

GRADING SYSTEM

MARK RANGE

DESCRIPTOR: typical performance in each range 1–3 marks Very limited reliability and refinement is evident in technical

ability in performance of most elements of music. Performance is generally tentative with very limited accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity and/or idiomatic tone colour and variation of tone. Minimal artistic variation of expressive elements of music and performance practices and conventions are used. Rationale for decisions relating to shaping, interpreting and/or presenting performance is described with minimal specialist knowledge and little evidence of reflection and evaluation.

MUSIC INVESTIGATION

• ModeraJon •  Are you in a moderaJon group? •  The benefits of moderaJon


MUSIC INVESTIGATION 2016

[email protected]


MUSIC INVESTIGATION


MI:2.3

A systematic approach to teaching improvisationDavid Urquhart-Jones

�1

Improvisation - Category I (accompanying)

Melodies Requiring only Tonic and Dominant Harmony.

Objectives:

1. The accompanist can improvise an accompaniment for melodies in two-time or three-time requiring only tonic and dominant harmony. The accompaniment will consist of block chords in root position; the roots will be played by the left hand and the remaining notes of the chord by the right.

2. Having become familiar with a given melody, the accompanist will change chords in accordance with the harmonic directions suggested by the melody.

Content

The chord progression given below is arranged so that it is:

· easy to play - it lies under the fingers;· demonstrates the most important progression in functional harmony - V-I (the harmonic axis which delimits the key);· demonstrates an important principle of voice leading - the 3rd and 7th of the dominant 7th resolve to tonic and third respectively (the law of the half-step); · demonstrates another important principle of harmonic progression which is that notes common to two successive chords should normally remain in the same voice while other voices move to their nearest neighbours - the D stays where it is while the other two voices move by half-step in contrary motion; and · can be used to accompany many songs in which the I and the V chord is all that is 1

required.

�

Use the progression as follows:

Two time:

See examples in previous handouts.

1

The ‘V’ chord is really a V7 chord. The V7 is easy to play and has a stronger compulsion towards the tonic. 1

�2

Three time:

See examples in previous handouts.

Repertoire

Here are some more melodies that can be harmonised with V-I; try to find others.

Hot Cross BunsLittle Bo PeepCockles & MusselsLondon Bridge is Broken DownBobby Shaftoe

II. The ‘Three Chord Trick’; IV-V-I or II-V-I.

Objectives:

1. The accompanist can improvise an accompaniment for melodies in two-time or three-time requiring only tonic, dominant and subdominant (or supertonic) harmony. The accompaniment will consist of block chords in root position; the roots will be played by the left hand and the remaining notes of the chord by the right.

2. Having become familiar with a given melody, the accompanist will change chords in accordance with the harmonic directions suggested by the melody.

Content

The chord progression given below is arranged so that it is:

· easy to play - it lies under the fingers;· demonstrates II or IV as a dominant preparation;· demonstrates that notes common to successive chords should normally remain in the same voice while other voices move to their nearest neighbours; and · can be used to accompany songs in which the I, II (or IV) and V chords are all that a satisfactory harmonisation requires.

� In the above example the II chord may be played with or without a seventh. It is easier with the seventh.

G C A 7 min A min GD7

I IV II7 II V7 I

�3

You will note that chords II and IV have two notes in common. This being so, one can often be substituted for the other. The possibility of substitution also exists with chords I/VI and I/III.

The example that follows shows how the chords I, II, IV and V can be used to harmonise a melody. the melody is that used for the nursery rhyme Mary, Mary Quite Contrary

Here are some melodies that can be harmonised with I, II7/IV and V7 chords.

Waltzing MatildaFor He’s a Jolly Good FellowWay down Upon the Swanee RiverHappy Birthday

We shall revisit some of these melodies as we progress using different harmonies from among those that we shall be learning.

�

Discussion

Much further down the track it will be possible to use both chord substitution and tonicization to develop a much more colourful harmonisation:

G A 7min D7 G A 7

min D7C G

G C A 7 min A min GD7

I IV II7 II V7 I

G A 7min D7 G A 7

min D7C G

C A 7min G D G

I II7 V7 I II7 V7 IV I

IV II7 I V7 I

�4

�Note the following:

1.Improvement in harmonic rhythm by using VI on the 3rd beat of bar 1.2.For the sake of variety the G chord at the beginning of bar 3 is given in its first inversion.3.Tonicization of the II chord in bars 3-4 by using VI. By raising the third of VI it becomes the dominant of A minor - the seventh serves to strengthen the change of tonality.4.In bar 6 chord VI replaces (substitutes) for chord I on the third beat. It is also tonicised by the three chord (III) which precedes it. By raising its third, III of G becomes, momentarily, V of E minor.5.The II chord preceding the cadence is a strong dominant preparation. 6.The last two bars contain a perfect cadence. I 64 and V7 combine to make a decorated dominant.

7.The I chord in its second inversion serves as an embellishment of the V chord and not as a I

8.chord in its own right. This progression (known as a ‘cadential 64 )needs to be learnt early since it is very common. Melodies at cadential points consisting of the scale degrees 8-7-8 or 3-2-1 are most commonly harmonised in this way.

Twinkle

In the following example (which truly belongs within category II since it embodies the melody) all scale degrees except scale degree 7 are ‘tonicised; that is, they are momentarily made to sound like tonics by being preceded by their dominant.

G Emin A 7min D7 G A

min D7 C GB A 7

min B Emin GD D GA 7

min

I VI

1

II7 V7 I

2

VI#a: V7

II

3

IV7 IV I

2

II III#E: V7 I

VI

4

II7

5

I 6/4V7

6

I

�5

�

9.Tonicization of scale degree 410. ‘ 311. “ 212. “ 613. “ 614. “ 5

In the foregoing, progress from simple to complex is, of course, highly compressed. Actual rate of progress will depend on readiness. I have experimented with a nine year old who, within four weeks was using I-IV-II-V-I accompanying harmony effectively and who, in our last session, picked up the cadential six-four and understood its uses (both aurally an intellectually) very quickly.

My suggestion for our book layout is that a sample lesson plan, as illustrated above be set out for each stage of development together with some suggestions for repertoire.

Jazz voicing has not been touched upon but would be introduced and integrated when readiness became apparent.

The book would also give example of various accompanying patterns based on the harmonic vocabulary being taught.

III The Cadential 6/4

One of the unfortunate things about ‘theory book’ language is that it use rather arcane terms to identfy very common or garden events. A ‘cadential 6/4’ is the term used to describe a fancy or ‘decorated’ V chord which precedes a I chord or a vi chord at the end of a phrase. These chord combinations, V-I and V- vi, are used as musical punctuation marks; in this case full stops and commas respectively. Such punctuation marks are called cadences.

C dim Dmin G7 C7

I I b7V7Bb:

IV7I7

1

VII7a: V7

III

2

IVI #

g: V7

3

II7I

V7 III6# d: V7

VII

4

II7 V7 I

Pedal bass on dominant with alternating tonic and dominant harmonies #Vdimd: VII

VI

5

I C: V7II V7

I

6

�6Cadences are very important since they define the layout of musical phrasing just as punctuation in prose marks the rhythm of written phrases.The decorated V chord is one of the most commonly used chord progressions in the repertoire and therefore it would be difficult to harmonise almost anything without knowing how to use it.

Examples 1 & 2. (to be inserted)

In the example given above you will notice that scale degree 5 in the bass supports what appears to be two chords; chord I with it’s 5th in the bass (hence the description 6/4 since the third and root are, respectively, a 6th and 4th above the bass ) and chord V with its root in the bass.2

This view of a 5th/root function of the D is falsesince the the so-called 6th and 4th are simply decorations of the the 5th and 3rd of the V chord.

The second example illustrates the cadential 6/4 with a V7 instead of a plain V chord.

Here are some examples of accompaniments incorporating the cadential 6/4.

IV The vi Chord

We have discussed the concept of ‘substitution’ in relation to the uses of the ii chord and the IV chord. The substitution of one for the other allowing variety to the harmonic texture.

Similarly, the vi chord can be used in place of the I chord. In addition, as mentioned in paragraph III, the vi chord preceded by the V chord may be used to conclude a phrase. The vi-V chord combination is often referred to as in interrupted cadence since it creates a feeling of suspense in the listener. The music is not over, not because the fat lady has not sung, but because the finality can occur until the tonic chord has been sounded and the music brought to rest or, as musicicians say, resolved.

This feeling of tension and release created by chord porgressions, an anologue of life itself, is quintessential to the harmonic rubric established in the 18th century; a rubric which is still central to most porpular perceptions of music and which we now call functional harmony.

Many important twentieth century composers, Schoenberg in particular, have discarded functional harmony and the diatonic scale system upon which it is founded in favour of other means of pitch organisation.

V The iii Chord

The iii chord may also be used as a substitute for the I chord. Here are some examples.

(to be inserted)

Remember that the root is the note upon which the chord is built while the bass is the note at the bottom of 2

the chord. The root can be the bass but the bass need not necessarily be the root.

�7Part Two

Tonicisation

VI The Concept

We have seen in Part One of this book that expansion of our chord vocabulary allows us to create more colourful harmonisations. We can continue this process by employing the device of tonicisation.

Tonicisation occurs when any chord of a key, except VII major keys and VII and II in minor keys , 3

is tricked into believing that it is a tonic chord. The easiest way to do this is to prefix the chord we want to tonicise with its V7; that is, we create a harmonic axis targeting the chord of choice as a tonic.

In the case of tonicisation the new tonic holds sway only momentarily; the melody has not required that a new key be established and continued. In this latter case the process of establishing a new tonic would be called modulation.

Many well-known melodies lend themselves to tonicisation and many popular ditties of our time use the process as a matter of course; I Still Call Australia Home is a case in point.

examples

These chords would be diminished and so could not be the tonics of major or minor keys.3

MUSIC PERFORMANCE

PLENARY

Outcome 1 – Performance Examiners report

Eddie Dorn

Music Performance (Solo) GA 2: 2015 Performance examination aMuse VCE Workshop, February 27-‐28, 2016 Report from Eddie Dorn, Chief Assessor

Preamble Over the course of a year, students in this subject undertake a variety of Areas of Study, including Performance, Performance Technique and Musicianship. They do this either as a Soloist or as a member of a Group. The specific key skills they are expected to develop (as outlined by the Study Design) by Unit 4 include the ability to:

• Prepare, refine and present a performance of a program of group and solo works that demonstrates a range of music styles and diversity of character

• Demonstrate accuracy, fluency and control in the performance of selected group and solo works • Demonstrate idiomatic tone quality, clarity and variation of tone in a performance of selected

group and solo works • Shape the performance of selected group and solo works through control and variation of

expressive elements of music • Present informed interpretations of selected group and solo works that demonstrate balance

between relevant personal, stylistic, practical, technological, historical and cultural influences • Use relevant historical and contemporary performance conventions to interpret and perform

selected group and solo works • Demonstrate communication, interaction, cooperation and empathy with other musicians as

appropriate to the performance of selected works • Demonstrate stylistic characteristics and refine ability to communicate awareness of musical

structures in the performance of selected groups and solo works • Demonstrate understanding of the roles of, and relationships between, instrumental voices in

selected groups work/s, or parts within the texture of solo work/s • Demonstrate presentation techniques and conventions of performance that are appropriate to

the instrument/s, ensemble/s, works, styles and performance space/s • Perform using effective sound production and/or sound reinforcement techniques as

appropriate to acoustic properties of performance venues, style and character of selected works and performance contexts

Solo Performance examinations Each students’ competence in these keys skills is assessed in the GA2 examination. Students perform on either one of 34 prescribed instruments or an approved alternative instrument, in a formal recital examination that will not exceed 25 minutes. Each performance is assessed by a panel of two trained assessors, one of whom is a specialist in the instrument, the other who provides a perspective of typical VCE standards across a variety of instruments. Each assessor gives a mark out of 10 for each of ten

published criteria, resulting in a mark out of 200. Scaling points are later applied by the VCAA, to provide a letter grade (A+ to E).

Overall, students who scored very highly performed a wide range of characters and techniques and demonstrated a deep stylistic understanding of their work. They were able to make their performance fresh and personal, and had developed their interpretation far beyond the notation, displaying outstanding musicianship. Most of these students worked with excellent accompanists (where appropriate). This only supported and enhanced the fine work they were already doing on their own.

Students who scored poorly generally did not display a wide variety of characters and techniques. Some had long programs with little variation evident, and did little to portray the particular nuance of each style/work. Some of the accompanists who presented with these students also did not demonstrate the appropriate stylistic conventions, and this made it more difficult for the students to accomplish the relevant styles. Some students performed works from different categories, but they sounded very similar.

Criteria

Criterion 1 -‐ Compliance with the requirement of the task In 2015, most students achieved a full score in this criterion. Full compliance was just over 98%, which is a real credit to both students and teachers alike. Considering that a number of years ago, full compliance was running as low as 90%, this is an excellent result. For the few who erred in compliance, it would have been disappointing though. Typical errors included; leaving out a required category, failing to perform the minimum works required, leaving out a significant section of a work, or failing to fulfill the requirements for performing accompanied or unaccompanied works. Always check and re-‐check the requirements for each instrument so as to maximize this mark.

Criterion 2 -‐ Skill in performing accurately and with clarityOver 40% of students in 2015 achieved a score of 8 and above for this criterion. It is interesting to note that there is a strong correlation between a very high score in this criterion and a very high score in other criteria. In other words, students who learned their works accurately were most able to play with a high degree of control, phrasing, tonal shading, and style. It is recommended that students learn to play their works as early in the year as possible. Then they can concentrate on interpretation, performance practice and a range of other aspects.

Criterion 3 -‐ Skill in performing a range of techniques with control and fluency The discriminator in this criterion is the range of techniques performed. Students who had the widest range of techniques in the chosen program, as well as having been able to perform those techniques with control and fluency gained access to the highest marks. Interestingly enough the median mark for this question was lower than the median for criterion 2. In other words, students were more successful in performing accurately, than they were in controlling their technique.

Criterion 4 -‐ Skill in producing a range of expressive tonal qualities Again, students who accessed the highest marks in this criterion chose programs, which contained a wide variety of possible tonal effects, as appropriate to their instrument. As mentioned, a performer needs to have absolute security with their works, so that they can focus on other aspects of their playing. In this criterion, the quality of the sound that is made is being assessed. Often the discriminator is how that quality is maintained across a range of dynamics. It is particularly telling at the dynamic extremes. Where one plays with a beautiful tone at a moderate dynamic, the tone typically may become harsh and forced at a very loud dynamic, or weak and unfocused at a very quiet dynamic.

Criterion 5 -‐ Skill in expressive communication through articulation and phrasing. Whilst music is incapable of linguistic expression (except when using text in song), it is capable of expressing that which is linguistically inexpressible. Within an instrumental context, creativity of expression is achieved through the use of articulation and phrasing. The students who were most expressive, of course gained the highest marks in this criterion. It is of note that the number of perfect scores in this criterion is somewhat higher than in the previous three criteria. Again, 40% of students scored in the top three marks of this criterion. That is a very impressive result indeed, and shows that many students understand the nature of high-‐end musical performance, across a wide range of instruments and genres.

Criterion 6 -‐ Skill in differentiating the musical lines • Accompanied works (live). Access to the highest marks are gained through thoroughly

synchronized and interactive performances with the accompanist, with the solo line taking the appropriate role (either leading or following dependent on the musical context), as well as excellent and appropriate balance of the solo and accompaniment

• Accompanied works (pre-‐recorded). A high level of synchronisation and appropriate balance provided access to the highest marks. Typically the equipment was of an appropriate quality and set up, and the soloist new how to operate it well

• Unaccompanied works. Access to the highest marks is typified by the students’ ability to balance the various threads or lines against each other to create a performance that clearly made sense of their relative importance within a work

Most students achieved scores in the middle to top band of marks, with only 14% achieving a mark of 4 or lower. Students are advised to rehearse as much as possible with their accompanist. It is even easier to rehearse with a backing track, as it is potentially always available, as is software that will enable tempo modifications.

Criterion 7 -‐ Skill in differentiating the structures and characters of each work The best way to access the highest marks in this criterion is to start by selecting works that use a variety of structures. The highest marks are gained when students can heighten tension and release that is already inherent in the works, to create the global shape of each work, and to make each work sound unique. There were about 40% of students who scored 8 and above, and there were very few students who scored below 4. Many of these could have maximized their potential by choosing works of different structures, as well as working on highlight these.

Criterion 8 – Skill in presenting an informed interpretation of a range of styles Some students limited their access to high marks in this criterion by choosing programs where the style of each work was very similar, or the performance of each work sounded similar. Note that this criterion specifically has a focus on a range of styles. Students who listened to a wide range of styles of music, often out-‐perform others (in this criterion) who had little stylistic understanding. The marks are almost identical to criterion 7 although there are a few less 9s and 10s for criterion 8, showing that the highest ranking students are a little stronger at performing a range of structures than a range of styles.

Criterion 9 – Skill in performing with musicality through creativity and individuality Whilst the musical reference (notation, referenced recording, or both) is the starting point in learning any work, it must eventually be interpreted with integrity. Every performer brings something different to the performance of a musical work. Students are expected to bring something of their own personality to the interpretation of their program of works. Some students were very creative, but performed without due consideration to stylistic conventions, which brought down their mark in this criterion. Generally the marks were quite strong for criterion 9, demonstrating a pleasing trend that students were allowing their individuality and creativity to be apparent in their performances. It is interesting to note that the most frequent mark in this criterion was 10, closely followed by 8.

Criterion 10 – Skill in presenting a musical program within appropriate performance conventions As this subject is called ‘Music Performance’ the performance exam (MC042) is a formal recital. Students obviously have treated it as such, looking at the marks awarded. Students are invited to treat the performance space and time as theirs. It is up to them to consider what that means in terms of program order, tuning, flow of the program, dress, stage management and so on. The students who excelled in this criterion did make the space theirs, and delivered a flowing and polished performance. Some decided to formally introduce the works they performed, others didn’t. As appropriate to the styles being performed, some used movement whilst others didn’t. However they remained poised throughout their performance. Many took the trouble to dress appropriately, as it assisted them to enter in to the special occasion of a performance.

Issues to consider

General • Accompanists need to be chosen wisely. Rehearse as often as is possible, and consider balance

(Criterion 6) • Playback equipment for backing tracks needs to be appropriate, and levels set wisely. Do a quick

sound check in the room before the performance starts (Criterion 6) • Amplification equipment brought into the exam room must be able to be taken in and removed

quickly. Aim for quality and portability • Make sure the program is compliant as per the conditions published for your instrument

(Criterion 1)

• Choose the correct arrangements/pieces . For contemporary instruments particularly, the arrangement is vital, as different one might be simplified and thus may be considered a non-‐compliant work

• Make sure the exam is a performance, and practice performing the program as a whole (Criterion 10)

• Utilise the opportunities to demonstrate a diversity of styles, techniques, tonal qualities, and structures within the 25 minutes allowed (Criteria 3, 4, 5, 6, 7, 8)

• Try to craft your program so that every work chosen sounds different, and enables you to focus on showing different skills

• Fill out your program sheet clearly and use the titles and movements as listed in the Prescribed List of Notated Solo Works. Cite the composer, the correct title and the correct category

• Choose pieces within your technical difficulty • If the program is long, ensure that you have the stamina to perform it all at the same standard. • There is opportunity for embellishment or improvisation (as appropriate to the style) if repeats

are performed (Criterion 8) • 25 minutes is the maximum time allowed. There is no official minimum, although a compliant 10

or 15 minute program is less likely to explore as wide a range of styles, techniques and so on as a 20 minute performance

• Be prepared for contingencies. Bring extra leads & cables, extension chords, strings, reeds, sticks, as you would for any particularly important performance (Criterion 10)

• Contemporary instrument candidates are encouraged to play at least one work with a live accompaniment (2nd guitar or bass perhaps) (Criterion 6)

• If you decide to verbally introduce the pieces in the performance exam, keep it brief and make sure it enhances the performance

• Amplifiers and drum kits must be used within OHS standards and not exceed safe listening levels • Avoid unisons in accompaniment -‐ live or on backing track

Instrument specific comments Contemporary guitar

• Try to explore a wide range of styles – many guitarists play the same limited group of favorites on the list

• Whilst it is a good idea to use more than one guitar, if using an acoustic guitar, it is best to rely on performance technique to project the tone, rather than amplification

• Make sure the notated solos are played • Students should aim to develop their fingerstyle technique to gain the maximum dynamic

control and the ability project their tone into the room.

Drumkit

• Explore as wide a variety of styles as possible • Brushes piece and snare rudiments tend to be the weakest areas in drumkit

Voice Contemporary

• If using belting techniques, make sure the correct techniques are used. Consider vocal hygiene • Take the ‘Vocalise’ category seriously – sing it as expressive song. • Be aware of the category that each song comes from, and sing it in the appropriate style • Consider how to stage the performance – stand where you can face and address the audience,

but also have some eye contact with the accompanist • Ensure a stylistic understanding of contemporary vocal techniques. Sing each song with a

different vocal and musical approach – avoid always using the same pop licks for different styles • Avoid doing an exact replica of the reference recording. A more imaginative approach is

required

Contemporary Piano

• Many students fail to demonstrate adequate understanding of how to use the sustain pedal • Some programs are performed with a lack of discipline, suggesting a higher degree of

preparation is needed

Pianoforte

• Students are advised to not take on programs that are too difficult for their ability • Sometimes the sustain pedal is poorly understood

Wind and Brass

• Make sure that the articulation and phrasing are given due attention • Consider stamina required if performing a long program. Some students ‘chop out’ before the

end of the exam

Strings

• Avoid the temptation to take on works that are too difficult • Often intonation is the area of greatest weakness in performances

MUSIC PERFORMANCE


MP:1.1MP:2.1

Surviving and achieving in the Multi-Study Classroom

Lynne Morton

Music Performance Music Performance Outcome 2 Performance Technique

•  Technical work and exercises linked to a Listening Journal approach towards

greater understanding of the elements of Music •  The combined class approach using a Listening Journal highlights the elements of

Music in a progressive pedagogy to develop greater depth of understanding in the elements of Music.

•  Previous and current examiners reports, detail the lack of understanding by many

students of the elements of Music eg. melody – students discuss rhythm, dynamics etc but not the characteris@cs of the melody! This workshop aims to give teachers a Listening Journal approach that highlights a variety of Musical elements and builds on student knowledge progressively throughout the year, to bring depth of understanding. Technical work and exercises are designed based on the elements of Music, to cement the understanding, via the prac@cal applica@on of Music terminology, being directly linked to the Performance Program.


Music Performance


Area of Study 2 Performance Technique

•  This area of study focuses on the development of techniques for group and/or solo performance. Students systema@cally iden@fy instrumental techniques required to perform selected group and/or solo works and prac@se relevant technical work and other exercises to support their performance. Students inves@gate influences relevant to the interpreta@on and performance of the selected group and/or solo works. They research and trial a range of performance and interpreta@ve strategies used by other performers to iden@fy approaches to developing their own skills as a solo performer and as a member of a group. They inves@gate and prac@se approaches to unprepared performance.


Performance Technique

Outcome 2 On comple@on of this unit the student should be able to demonstrate instrumental techniques used in performance of selected works, demonstrate unprepared performance skills and describe influences on their approach to performance


Music Performance Unit 1 Outcome 2 Performance Technique

Key Knowledge includes: •  Strategies for developing effec@ve instrumental prac@ce rou@nes •  Strategies for developing effec@ve rehearsals with other musicians •  Strategies for developing instrumental techniques •  Strategies for developing instrumental techniques required to meet

specific technical, expressive and stylis@c challenges in selected group and/or solo works

•  Links between technical work and exercises for development of flexibility, dexterity and control when performing selected group and/or solo works

•  Strategies used by other performers to op@mize performance outcomes •  Ways of improving iden@fied aspects of performance ability •  Strategies for achieving systema@c development of unprepared

performance skills, including, as appropriate, sight reading and/or improvisa@on


Cont. Outcome 2 Performance Technique Key Skills include the ability to: •  Implement instrumental prac@ce rou@nes •  Rehearse effec@vely with other musicians •  Prepare and perform a program of technical work and exercises relevant

to achieving flexibility, dexterity and control when performing selected group and/or solo works

•  Iden@fy and describe strategies used by other performers to op@mize performance outcomes

•  Reflect on processes used to improve aspects of performance prac@ce •  Systema@cally develop unprepared performance skills, including as

appropriate, sight reading and/or improvisa@on skills •  Present an unprepared performance by either sight reading previously

unseen music, spontaneously imita@ng within a set style or spontaneously improvising within a set style


Elements of Music


Listening Journal



Key Words

Melody •  Ascending, descending, repe@@ve, short, long, high, low, wide range, small range, stepwise/

smooth, based on a scale, based on a triad, jagged, made up of phrases, uses sequences, tonality – scale forms, modal,contour, draw a line-‐graph of the phrase shape, upbeat, anacrusis, angular contour (leaps), mo@ve, register, unison, chroma@cism

Rhythm

•  Riff, straight, shuffle, jazz, swing, la@n, describe note values within a phrase, short rhythmic pa`erns, call and response, os@natos, off beat, nota@on, @me signatures, mixed metres, polyrhythms, do`ed rhythms, even, syncopa@on, tacet, dura@on, note values, pulse, regular, irregular, repe@@ve, hemiola, isometric

•  Used as – to maintain momentum, as part of the structure/form, os@nato, to provide pulse/beat,

to create unity, to create contrast


phrase, modula@on, consonance, dissonance, resolu@on


Key Words

Dynamics •  Loud, sob, crescendo, decrescendo, diminuendo, fade-‐out, fade-‐in, moderately loud, moderately

sob, sforzando, smorzando

Tone Colour •  Timbre, warm, cold, shrill, mellow, woody, bright, bleak, dark, light, heavy, percussive, Guitar amp

effects, effects units, Powerchords, mute

Texture •  Monophonic, homophonic, polyphonic

InterpretaDon •  Rubato, rallentando, register, Piano pedalling, vibrato, change of register, •  Recording techniques – effects, reverbera@on, mutlitracking, •  Ornamenta@on – trills, mordents, drops offs, smears, pause, harmonics, melismas, scat, •  Ar@cula@on – legato smooth, semi-‐legato, staccato, mezzo-‐staccato, marcato, accents, tenuto,



Listening Journal


•  Describe the shape of the melody in excerpt 2 •  Draw the shape of the melody in excerpt 2 •  Describe the varia@ons in tone colour throughout the excerpt



Listening Journal •  Select one instrument, and detail the use of ar@cula@on throughout the excerpt

•  Write the rhythm of 2 instruments/voices that performed in excerpt 1, include the ar@cula@ons

•  Iden@fy and describe the interpreta@ve decisions you believe is evident in the pre-‐recorded work





combina@ons from the scale


Exercises

•  Exercises are directly related to their piece of Music •  All technical work and exercises are used in prac@cal sessions





Keywords highlighted to extend language skills


Listening Journal





Listening Journal •  Describe the similari@es and differences between how the different instruments are being played.

•  Describe the similari@es and differences between excerpt 1 & 2

•  Describe the similari@es and differences with the rhythms being performed.

•  Describe the similari@es and differences with the expressive elements used.


Class Time Structure


•  Listening Journal – Elements of Music •  Aural Training – Intervals, Chords and progressions, rhythmic

and melodic dicta@on •  Theory – scales, intervals, chords, select one piece from

program, specify the tonic key, write the primary chords of this tonic key, are there any modula@ons in the piece etc

•  Technical work or exercises designed and prac@cal work on exercises OR

•  Unit 2 Composing/Improvisa@on/Arranging exercises •  Group/Solo performance program prac@ce

Unit 1 Music Performance


Music Performance Unit 1 Timeline •  Week of March 7 Trial performance of both group and solo works,

(at least three contrasDng works), and technical work and exercises, and unprepared performance

•  Week of March 14 Submit draN of how technical work and exercises is assisDng your development and understanding in preparing your Outcome 1 pieces

•  Week of May 2 PresentaDon of technical work and exercises explanaDon on how they have improved your skills

•  Week of May 9 Aural and Theory Test •  Week of May 16 Performance of at least three works, and

technical work and exercises, and Unprepared performance •  Weekly Aural and Theory exercises throughout the

Semester


Unit 2 Area of Study 2 Performance Technique

•  This area of study focuses on con@nuous development of techniques for

group and solo performance •  Students systema@cally prac@se technical work and exercises to enhance

their ability to realise character and style of selected group and solo works. They trial different rehearsal strategies and iden@fy those which achieve the most effec@ve outcomes. Students research and trial performance and interpreta@ve strategies used by other performers and apply approaches to op@mise their own performances. They build their skills in unprepared performance and apply these when learning and rehearsing group and solo works.


Music Performance Unit 2 Outcome 2 •  On comple@on of this unit the student should be able to demonstrate

instrumental techniques used in performance of selected works, demonstrate unprepared performance skills and describe influences on their approach to performance.

Key Knowledge includes: •  Strategies for developing effec@ve instrumental prac@ce rou@nes,

including ways of incorpora@ng use of ICT •  Strategies for developing effec@ve rehearsals with other musicians •  Strategies for developing instrumental techniques relevant to specific

technical, expressive and/or stylis@c challenges in selected group and/or solo works

•  Strategies for developing control of instrumental techniques


Music Performance Unit 2 •  Strategies for prac@sing technical work and exercises and for development

and maintenance of fluency and control across the range of styles represented in selected group and/or solo works

•  Links between selected technical work and exercises and achieving fluency and control in the performance of selected group and/or solo works

•  Strategies to research interpreta@ons of selected works by other performers

•  Strategies for incorpora@ng research findings from recordings, scores and/or transcrip@on into preparing performance of works

•  Strategies used by other performers to op@mize performance outcomes •  Ways of improving iden@fies aspects of performance ability, including

reflec@on and evalua@on •  Strategies for achieving systema@c development of unprepared

performance skills, including, as appropriate, sight reading and/or improvisa@on


Music Performance Unit 2 •  Key Skills include the ability to: •  Implement instrumental prac@ce rou@nes •  Rehearse effec@vely with other musicians •  Prepare and perform a program of technical work and exercises relevant to

achieving fluency and control when performing selected group and/or solo works •  Describe the impact of studying selected technical work and exercises on

performance for selected group and/or solo works •  Iden@fy, describe and evaluate strategies used by other performers to op@mize

performance outcomes •  Describe how use of selected strategies to develop technical skill has improved

iden@fies aspects of own performance ability •  Systema@cally develop unprepared performance skills, including as appropriate,

sight reading and/or improvisa@on skills •  Present a fluent unprepared performance by either sight reading previously

unseen music, or imita@ng within a set style or spontaneously improvising within a set style


Music Performance Unit 2 Timeline •  Week of August 15 Trial performance of both

group and solo works, (at least three contrasDng works), and technical work and exercises, and unprepared performance

•  Week of August 15 Submit draN of how technical work

and exercises is assisDng your development and understanding in preparing your Outcome 1 pieces

•  Week of August 29 PresentaDon of composiDon and/or

improvisaDon exercises with accompanying documentaDon


Music Performance Unit 2 Timeline cont.

•  Week of September 5 Aural and Theory Test •  Week of September 12 Performance of at least three

works, and technical work and exercises, and Unprepared performance

•  Weekly Aural and Theory exercises throughout

the Semester •  Weekly ComposiDon and/or improvisaDon

exercises


eMail Address

[email protected]


Music Performance Music Performance Outcome 2 Performance Technique

•  Technical work and exercises linked to a Listening Journal approach towards

greater understanding of the elements of Music •  The combined class approach using a Listening Journal highlights the elements of

Music in a progressive pedagogy to develop greater depth of understanding in the elements of Music.

•  Previous and current examiners reports, detail the lack of understanding by many

students of the elements of Music eg. melody – students discuss rhythm, dynamics etc but not the characteris@cs of the melody! This workshop aims to give teachers a Listening Journal approach that highlights a variety of Musical elements and builds on student knowledge progressively throughout the year, to bring depth of understanding. Technical work and exercises are designed based on the elements of Music, to cement the understanding, via the prac@cal applica@on of Music terminology, being directly linked to the Performance Program.


Music Performance


Area of Study 2 Performance Technique

•  This area of study focuses on the development of techniques for group and/or solo performance

•  Students systema@cally iden@fy instrumental techniques required to perform

selected group and/or solo works and prac@se relevant technical work and other exercises to support their performance. Students inves@gate influences relevant to the interpreta@on and performance of the selected group and/or solo works. They research and trial a range of performance and interpreta@ve strategies used by other performers to iden@fy approaches to developing their own skills as a solo performer and as a member of a group. They inves@gate and prac@se approaches to unprepared performance.


Outcome 2 •  On comple@on of this unit the student should be able to demonstrate instrumental

techniques used in performance of selected works, demonstrate unprepared performance skills and describe influences on their approach to performance.

Key Knowledge includes:

•  Strategies for developing effec@ve instrumental prac@ce rou@nes •  Strategies for developing effec@ve rehearsals with other musicians •  Strategies for developing instrumental techniques •  Strategies for developing instrumental techniques required to meet specific technical,

expressive and stylis@c challenges in selected group and/or solo works •  Links between technical work and exercises for development of flexibility, dexterity and

control when performing selected group and/or solo works •  Strategies used by other performers to op@mize performance outcomes •  Ways of improving iden@fied aspects of performance ability •  Strategies for achieving systema@c development of unprepared performance skills, including,

as appropriate, sight reading and/or improvisa@on


Outcome 2 cont. •  Key Skills include the ability to: •  Implement effec@ve technical prac@ce rou@nes •  Develop and demonstrate instrumental and performance techniques to

achieve accuracy, control, fluency, flexibility, dexterity, security, coordina@on, tone and other relevant idioma@c instrumental techniques in group and/or solo works selected for performance

•  Develop and demonstrate instrumental and performance techniques relevant to technical, expressive and/or stylis@c challenges in selected group and/or solo works

•  Prepare and present technical work that demonstrates a variety of idioma@c instrumental techniques at appropriate tempi, with appropriate expressive shape and characteris@c tone

•  Implement strategies to op@mise effec@veness of group rehearsals and present effec@ve group performances


Outcome 2 cont. •  Demonstrate effec@ve ways of achieving appropriate blend, balance,

intona@on, tempi, dynamics and ar@cula@on, and of leading and following in the performance of selected group and/or solo works

•  Describe links between the selected technical work and improved outcomes in the performance of selected group and/or solo works

•  Reflect on and evaluate strategies used to build personal development as an instrumentalist, including physical and psychological well-‐being and ability to perform technical, expressive, and/or stylis@c aspects of selected works

•  Systema@cally develop unprepared performance skills, including as appropriate, sight reading and/or improvisa@on skills

•  Present a fluent and expressive unprepared performance by either sight reading previously unseen music, or imita@ng within a set style or spontaneously improvising within a set style


Elements of Music


Listening Journal



Key Words

Melody •  Ascending, descending, repe@@ve, short, long, high, low, wide range, small range, stepwise/

smooth, based on a scale, based on a triad, jagged, made up of phrases, uses sequences, tonality – scale forms, modal,contour, draw a line-‐graph of the phrase shape, upbeat, anacrusis, angular contour (leaps), mo@ve, register, unison, chroma@cism

Rhythm

•  Riff, straight, shuffle, jazz, swing, la@n, describe note values within a phrase, short rhythmic pa^erns, call and response, os@natos, off beat, nota@on, @me signatures, mixed metres, polyrhythms, do^ed rhythms, even, syncopa@on, tacet, dura@on, note values, pulse, regular, irregular, repe@@ve, hemiola, isometric

•  Used as – to maintain momentum, as part of the structure/form, os@nato, to provide pulse/beat,

to create unity, to create contrast


phrase, modula@on, consonance, dissonance, resolu@on


Key Words

Dynamics •  Loud, soa, crescendo, decrescendo, diminuendo, fade-‐out, fade-‐in, moderately loud, moderately

soa, sforzando, smorzando

Tone Colour •  Timbre, warm, cold, shrill, mellow, woody, bright, bleak, dark, light, heavy, percussive, Guitar amp

effects, effects units, Powerchords, mute

Texture •  Monophonic, homophonic, polyphonic

InterpretaDon •  Rubato, rallentando, register, Piano pedalling, vibrato, change of register, •  Recording techniques – effects, reverbera@on, mutlitracking, •  Ornamenta@on – trills, mordents, drops offs, smears, pause, harmonics, melismas, scat, •  Ar@cula@on – legato smooth, semi-‐legato, staccato, mezzo-‐staccato, marcato, accents, tenuto,



Listening Journal


•  Describe the shape of the melody in excerpt 2 •  Draw the shape of the melody in excerpt 2 •  Describe the varia@ons in tone colour throughout the excerpt



Listening Journal •  Select one instrument, and detail the use of ar@cula@on throughout the excerpt

•  Write the rhythm of 2 instruments/voices that performed in excerpt 1, include the ar@cula@ons

•  Iden@fy and describe the interpreta@ve decisions you believe is evident in the pre-‐recorded work





combina@ons from the scale


Exercises

•  Exercises are directly related to their piece of Music •  All technical work and exercises are used in prac@cal sessions





Keywords highlighted to extend language skills


Listening Journal





Listening Journal •  Describe the similari@es and differences between how the different instruments are being played.

•  Describe the similari@es and differences between excerpt 1 & 2

•  Describe the similari@es and differences with the rhythms being performed.

•  Describe the similari@es and differences with the expressive elements used.


Class Time Structure


•  Listening Journal – Elements of Music •  Aural Training – Intervals, Chords and progressions, rhythmic

and melodic dicta@on •  Theory – scales, intervals, chords, select one piece from

program, specify the tonic key, find the modula@ons and how they relate to the tonic or detail the chord progression in a phrase/sec@on

•  Technical work or exercises designed and prac@cal work on exercises OR

•  Group/Solo performance program prac@ce

Music Performance Unit 3 Timeline

•  Week of March 7 Trial performance of both group and solo works, (at least 15 minutes of contrasDng works), and technical work and exercises, and unprepared performance

•  Week of March 14 Submit draO of how technical work and exercises is assisDng your development and understanding in preparing your Outcome 1 pieces.

•  Week of March 21 PresentaDon of technical work and exercises explanaDon on how they have improved your skills

•  Week of May 2 Aural and Theory Test SAC Lynne Morton Belmont High School


•  Week of May 9 Technical work and exercises, and unprepared performance SAC (including a wriTen descripDon of how selected performance techniques, technical work and exercises have supported the student as an instrumentalist, and their preparaDon of works for Outcome 1)

•  Week of May 16 Performance of at least a 15 minute program of contrasDng group and solo works

•  Weekly Aural and Theory exercises throughout the Semester


Music Performance Outcome 2 SAC

•  Outcome 2: A demonstra@on of performance techniques, technical work and exercises AND either an oral, mul@media or wri^en descrip@on of how selected performance techniques, technical work and exercises have supported the student as an instrumentalist, and their prepara@on of works for Outcome 1 AND a performance of unprepared material – sight reading or improvisa@on

MARKS /10


Unit 4 •  Area of Study 2 Performance Technique •  In this area of study students refine their ability to consistently control use

of idioma@c instrumental and performance techniques. Students prac@se a range of technical work and exercises chosen to consolidate and refine command of instrumental and performance techniques as relevant to selected group and solo works. They build and refine their understanding of the relevance of technique to their performance of selected group and solo works. Students also systema@cally develop skills in unprepared performance.

•  Outcome 2 -‐On comple@on of this unit the student should be able to demonstrate performance techniques, technical work and exercises, and discuss their relevance to the performance of selected group and/or solo works, and present an unprepared performance.


Unit 4 SAC

•  SACS MARKS/10 •  Outcome 2: A demonstra@on of performance techniques, technical work and exercises AND either an oral, mul@media or wri^en discussion of how selected performance techniques, technical work and exercises have supported the student as an instrumentalist, and their prepara@on of works for Outcome 1 AND a performance of unprepared material – sight reading or improvisa@on


Music Performance Unit 4 Timeline •  Week of August 15 Trial performance of both group and

solo works, (at least 10 minutes of contrasDng works), and technical work and exercises, and unprepared performance

•  Week of August 15 Submit draO of how technical work and exercises is assisDng your development and understanding in preparing your Outcome 1 pieces.

•  Week of August 29 PresentaDon of technical work and exercises explanaDon on how they have improved your skills

•  Week of August 29 Aural and Theory Test



•  Week of September 5 Technical work and exercises, and unprepared performance SAC (including a wriTen descripDon of how selected performance techniques, technical work and exercises have supported the student as an instrumentalist, and their preparaDon of works for Outcome 1)

•  Week of September 12 Performance of at least a 10

minute program of contrasDng group and solo works

•  Weekly Aural and Theory exercises throughout the Semester


eMail Address

[email protected]


MUSIC PERFORMANCE


MP:1.3MP:2.7

The things I wish I knew when I started teaching my first VCE instrumental student

Shannon Ebeling

2/7/2016

1

The things I wish I knew when I started teaching

my first VCE instrumental student

Shannon Ebeling

aMuse VCE Conference, February 28 2016

Session Outline

Outcome 2

Outcome 1

General sanity

Q & A

2/7/2016

2

Outcome 2

Technical work is more than just scales

Outcome 2

Warm-ups in the lesson should match the technical work

2/7/2016

3

Outcome 2

Students value the tech work more when they are a

part of the process

Outcome 2

Improvisation can be done by anyone

James Rae - Jazz Zone

Jeffrey Agrell – Improvisation Games for Classical Musicians

Brian Kane – Constructing Melodic Jazz Improvisation

ABRSM - Jazz Exam tunes

Rob Hughes and Paul Harvey – Free to Solo

2/7/2016

4

Outcome 2

It takes two to sightread

Paul Harris – Improve your sightreading

Outcome 1

Know the student, know the list

2/7/2016

5

Outcome 1

Harder doesn’t mean better

Outcome 1

Record…Review…Re-record

2/7/2016

6

Outcome 1

A picture is worth a thousand words

Outcome 1

Be a good partner

2/7/2016

7

General Sanity

Plan for lots of small wins

General Sanity

Maximise your return from practice sessions

1) What to practise

2) Why to practise

3) How to practise

4) How long for

http://www.google.com.au/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0CAcQjRw&url=http://www.lavishlotus.com/what-success-truly-means/&ei=uPQ-VPPDMoXooATxqoGYAQ&bvm=bv.77648437,d.cGU&psig=AFQjCNHNL6uXKlMsMFkBGafNQdxbo68xew&ust=1413498303125712

http://www.google.com.au/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0CAcQjRw&url=http://www.lavishlotus.com/what-success-truly-means/&ei=uPQ-VPPDMoXooATxqoGYAQ&bvm=bv.77648437,d.cGU&psig=AFQjCNHNL6uXKlMsMFkBGafNQdxbo68xew&ust=1413498303125712

2/7/2016

8

General Sanity

Butterflies in the stomach are OK…

just make them fly in formation

“you can’t control perception, you can only control presentation”

– Jeff Nelson

General Sanity

It’s easier when things are familiar

2/7/2016

9

General Sanity

Connect with other instrumental teachers

www.youtube.com/watch?v=uDF3CHqqb-4

Q & A

MUSIC PERFORMANCE


MP:1.6

Rhythmic Dictation

Andrew Philpot

Rhythmic d ictat ion is a sect ion of the VCE exam that is done poor ly by many students. This session aims to provide students and teachers tools to improve dictat ion ski l ls using the iPad app “Rhythm Expert” .

1. WHY RHYTHMIC DICTATION?

A critical part of music making from written notation is forming the link between what we see and recognise with our eyes, and what we hear in our head, in preparation to play. Rhythm is the constant for readers of notated music, unlike pitch that can be in different clefs. Rhythm development during class time is therefore an activity that engages more students.

Rhythmic dictation is an important part of the VCE Aural and Written Exam. However, the average score for rhythmic dictation for the last two years is 4.9 out of 12. From these numbers it would be fair to say that there are many students who can improve their performance in this area. It would also seem that if students are not doing this section of the exam very well, some of us are not teaching it especially well.

2. WHY “RHYTHM EXPERT”? “Rhythm Expert” allows your students the opportunity to practice their rhythm skills at the pace that they need. If you have a student that has not had a great deal of experience with music notation, this app gives them the opportunity to start with exercises as easy as necessary. Also, it gives them as many exercises as necessary with instant feedback. Workbooks can only give a finite number of examples to work with that need to be corrected by a teacher, often with delayed feedback.

3. HOW DOES “RHYTHM EXPERT” WORK? Check out the YouTube video here:

https://www.youtube.com/watch?v=VKhSBNkazwY

4. WHAT ABOUT SHORTHAND? “Rhythm Expert” has its own shorthand method in the app. You can use it or not, it’s entirely up to you. An explanation of the shorthand in the app is found when you press the drum icon on the starting page. A detailed explanation with examples will be provided during the session.

5. SO HOW DO I USE “RHYTHM EXPERT” IN A CLASS? The starting page of “Rhythm Expert” looks like:

Start with the settings page:

Choose the number of bars you want to use: 2,4 or 8 in the upper left of the page.

Turn the shorthand “on” or “off” in the upper right of the page. A visual representation of the shorthand is found when you press the drum icon on the starting page.

Choose the rhythm combinations you want to use, only a few for beginners or up to all of them if you have advanced students, at the bottom of the page. (In simple time the only elements missing for VCE are triplets and ties. Compound time is missing some dotted quaver patterns, duplets and ties.)

5. WHAT ARE SOME OF THE WAYS I CAN USE IT IN MY CLASS?

If all of the students in your class have their own iPad, you can:

- Set students differentiated tasks, asking that they show you the “winning screen” once their exercise is complete.

- Set individual homework tasks, working on newly introduced rhythm combinations.

- Have each student practice their preferred shorthand method with pencil and paper, then insert their answer in “Rhythm Expert” to check if they are correct or not.

If you are the only one with an iPad, you can:

- Have students practice their shorthand and dictation as a group.

- Use a few exercises at the start of each class as an aural warm-up.

- Generate random and repeatable exercises without having to write out and tap or clap rhythms yourself.

Andrew Philpot’s details:

[email protected]

Rhythm Expert on Facebook: https://www.facebook.com/RhythmExpert

!

MUSIC PERFORMANCE


MI:1.7 MP:3.2

Performance Excellence

Jenny Going

58

Analysing your Presentation Skills

Video yourself giving a performance, preferably in front of an audience. This is a chance for you to look at what you do well and what you still need to be working on with your presentation skills. Under the column ‘What to look for’ please add your own issues. Insert your own category and criteria at the end as well. This is only a starting point for your analysis.

Behaviour What to look for What you did well To be Improved

Wal

king

in

ConfidenceEye contact Smile OrganisationRelaxed and assuredTiming

Intr

oduc

tion

ClarityTempoSmileConfidence

Whi

le P

layi

ng

Pause before you start Physical Movement Where are you looking?Facial expressionsBeing connected with musicCommunicating musical meaning

Student EditionPage 49

59

Behaviour What to look for What you did well To be ImprovedBe

twee

n Pi

eces

OrganisationCalmness Audience understands what is happening

Fini

shin

g

Confidence RelaxedSmileTakes time A clean get away

Ove

r A

ll

OutfitStage layoutInteraction with others on stageFeeling assuredLooked like you enjoyed it

Student EditionPage 50

28

Look at me - look at me

Many students put presentation skills as a low priority as something you can learn and tack on at the last minute, but almost every performance will have a large emphasis on presentation skills. The only exceptions are probably graded music exams or blind auditions where you simply play your pieces. Basic presentation skills are easy like introducing yourself and what you are about to do. The

commonly termed ‘X factor’ which is having the ability to make people want to watch you.

Performers sometimes forget that they need an audience and the audience have turned up especially to see them perform. The performance is for the audience, not for the performer. Acknowledging them and preparing your presentation skills come under the category of basic

actually feel quite rude from an audience perspective. Here are some basic concepts of performance that always need to be considered.

Look confident

Smile

Speak slowly and clearly

Interact with your music

Look connected with the music

Appropriate outfit

Stage layout

Music stand placement

Eye contact

Have your own style

Walk in with meaning Give the audience

reason to relax

Interaction with others on stage

Communicate musical meaning

Pause at the start

Music Performance Assessment Criteria

1. Compliance with the requirements of the task The program must comply with the requirements for the selected instrument as published in the Prescribed List of Notated Solo Works

2. Skill in performing accurately and with clarity • accuracy of pitch, rhythm, articulation, dynamics and phrasing as notated and with reference to tempo markings where indicated • clarity of passage work and timing as appropriate to the instrument

3. Skill in performing a range of techniques with control and fluency • performance of a range of techniques throughout the program that is reflective of the range in the prescribed list • techniques are performed with dexterity and flexibility • transitions of dynamics and tempo occur in a controlled manner • the performance of the program of works is fl uent

4. Skill in producing a range of expressive tonal qualities • performance of a range of tonal qualities throughout the program that is reflective of the range in the prescribed list • quality and projection of tone production throughout the dynamic range as appropriate to the instrument – throughout the program

5. Skill in expressive communication through articulation and phrasing • creation of musical shape through phrasing as appropriate to the instrument and program • appropriate use of a variety of articulations as represented in the prescribed list • expressive communication beyond the notation through the use of appropriate nuances including accent, articulation, ornamentation and embellishments, phrasing and instrument specific techniques

6. Skill in the differentiating of the musical lines • the program presented, contains a range of textures which demonstrate a variety of interactions between the parts, including – the balance, empathy and synchronisation between solo and accompaniment – the appropriate balancing of levels as well as interaction with the parts of the accompaniment

7. Skill in differentiating the structures and characteristics of each work • performance of a range of structures throughout the program that is reflective of the range in the prescribed list • differentiation of structures in each work • shaping the performance to create a clear sense of musical direction • the use of tension and release to bring out the main elements in the performance of each work

8. Skill in presenting an informed interpretation of a range of styles • performance of works from a range of styles, eras and geographical locations that is reflective of the range in the prescribed list • performance of a range of styles in a manner that is historically informed • the use of contemporary conventions in performance

9. Skill in performing with musicality through creativity and individuality • communication of personal interpretations of the musical selections as appropriate to the styles of music performed

10. Skill in presenting a musical program within appropriate performance conventions • use of poise and focus in the performance • structure and continuity of the program as a whole • use of conventions of performance within a given style. This includes: stage management, performance etiquette, and manner and/or movement • ability to adjust to performance conditions

Progress

Umm... OK Good Excellent

25

Top 10 Performance Tips

1. Always give yourself a little bit of time by yourself before you go on to collect your ideas and think through your piece.

2. Focus on the music and making it exciting.

3. Visualise your favourite performer on your instrument. How do you think they feel before giving a performance? During a performance?

6. Smile

7. Have your ‘game face’ on.

8. Think forward in the music to what excitement is to come, not what you have already played.

9. Speak slowly and calmly.

10. Enjoy yourself!!!!

MUSIC PERFORMANCE


MP:2.6Engaging learning activities in musicianship

James LeFevre

EXPRESSIVE ELEMENTS GLOSSARY

DurationTime Signatures How the pulse is organised

Simple Crotchet beats with quavers grouped in 2’s

Compound Dotted Crotchet beats with quavers grouped in 3’s

Duple 2 beats per bar

Triple 3 beats per bar

Quadruple 4 beats per bar

Complex Cannot be grouped evenly into simple or compound. Top number is often 5, 7, 13 etc. EG (5/4 or 7/8)

Mixed Metre Time signature changes very regularly. 2 bars of 5/4 then 1 bar of 4/4.

Pulse/ Beat

Syncopation Displacement of accent onto a note that is normally weakly accented. Use of extensive off beats

Constant/ Consistent

Rubato "To rob the time". Played with great freedom of time = heavy rubato.

Repetition

Ostinato Repeating figure that underpins a large section of music. Like the riff in Stevie Wonders Superstition

Tempo Fast/ medium/ slow.

Accelerando To get faster

Fermata/ Pauses

Ritardando (Rit.) Gradually slow down. Often at the end of a section.

Rallentando (Rall.) Gradually slow down. Often at the end of a section.

Silence/ space

Note Values How long a note goes for

PitchTonality In a major or minor key

A-‐Tonal piece is not within a key -‐ often 20th century classical or works based on the chromatic scale

Dissonance/discordant Clashing notes (think minor 2nd, major 7th and tritone)

Consonance Notes in a pleasing harmony (think major or minor triad)

Range High or low…..

Tension & Release Movement from Dissonance to Consonance

Modulation Key change

Tierce de Picardie Minor section that ends with a major chord

MelodyContour/ Shape The overall shape of a musical phrase/ melody

Scalic/ Conjunct Melody follows the movement of a scale

Step wise Melody moves by small step like intervals

Disjunct/ leaps Melody moves by more than a 2nd

Chromatic melody moves by semi-‐tone

Repetition Segments or entire melodies are repeated

Sequence The same melody repeated at a different pitch

Variation a repeated melody with variation in some way

Descending Melody moves down in pitch

Ascending Melody moves up in pitch

Arpeggiated Uses chord tones played like an arpeggio

Static Very stationary/ little movement or change

Imitation Part of the melody is played by another instrument

Ornamentation Additions to the melody to add character, interpretation and style

Mordent Ornamentation -‐ move quickly one note above, back to main note

Turn Ornamentation -‐ move quickly one note above, back to main note, then down a note.

Acciaccatura Ornamentation -‐ A quick note that moves into the main or target note

appoggiatura see acciaccatura

Grace Note As above

Trill Rapid oscillation between two notes

Tone ColourTessitura Range of instrument

Instrumentation What instruments are being used

Articulation

Staccato (.) = note played short & detached

Legato Style of playing where care is taken to be smooth and connected within a phrase.

Tenuto (-‐) = note played long and connected

Accent (>) = a note played with enphasis (louder)

Marcato (^) = Played with enphasis and short

Slur No articulation between notes -‐ movement between notes is smooth.

Pizzicato String instruments plucked

Arco Sting instrument played with a bow

Tremelo Fast bowing o the one note

Sul Pont String instruments played near the bridge -‐ creates a glassy sound that highlights harmonics

Electronic effects Distortion/ chorus/ phaser/ reverb/ delay/ tremelo

Attack How a note is started

Decay How a note dies away

Plucked Guitar

Strummed Guitar

Leggerio Play lightly….

Pesante Play heavy

Detached played with seperation

Tongued Wind instruments

Growl Brass & woodwind technique that creates a gruff 'growling' sound

Describing Timbre

warm Dirty Metallic

round Muted Wooden

Vibrato Warm Raw

Tone Colour Open Unrefined

Instrumentation Husky Reedy

Bright Airy Dark

Round Whispery Muffled

Rich Throaty Pure

Bell Like Ringing piercing

Light Shrill Gravely

Delicate Hollow Bold

Gentle Sweet/Dolce Clean

Smooth Piercing Clear

Brassy Thin Melancholy

Harsh Thick Raspy

Edgy Booming Mellow

Imitative Textured muddy

TextureMonophonic solo instrument

Homophonic Melody + accompaniment

Polyphonic 2 or more melodies simeltaneously

Counterpoint A secondary melody that moves against the main melody

Contrapunctal See counterpoint

Dense/ Sparse

Think/ Thin

Full/ Open

Light/ Heavy

Block Harmony Full & thick dense chords

DynamicsVery Quiet = Pianisimo (pp) Quiet = Piano (p) Moderatly Quiet = Mezzo Piano (mp) Moderatley Loud = Mezzo Forte (mf) Loud = Forte (f) Very Loud = Fortissimo (ff)

Crescendo/ swell = Get Louder Dimenuendo = Get softer Sforzando = Sudden emphasis (uber accent) Fortepiano = Loud then suddenly soft) Morendo = Dying away

Subito = suddenly Terraced Dynamics = Staggered deliberately sudden dynamic changes increasing or decreasing Constant = No change…..

C Major

F Major

Bb Major

Eb Major

Ab Major

C# Major

Db Major

F# Major

Gb Major

B Major

E Major

A Major

D Major

G Major

C Minor

F Minor

Bb Minor

Eb Minor

Ab Minor

C# Minor

Db Minor

F# Minor

Gb Minor

B Minor

E Minor

A Minor

D Minor

G Minor

1 b

2 b

3 b

4 b

5 b

6 b

7 b

1 #

2 #

3#

4#

5#

6#

7#

Major Scale

Natural Minor

Harmonic Minor

Melodic Minor

Minor Pentatonic

Major

Pentatonic Blues Scale

Chromatic Scale

Myxolydian

Mode Dorian Mode

Major Triad

Minor Triad

Augmented Triad

Diminished

Triad

Suspended 4th

Dominant 7th

Minor 7th

Major 7th

Half diminished 7

Full diminished 7

ENGAGING LEARNING ACTIVITIES IN MUSICIANSHIP

James Le Fevre

[email protected]

AMUSE VCE Teachers Conference 2016

Q: WHY ARE YOUR STUDENTS IN VCE MUSIC?

Engaging learning acCviCes James Le Fevre

A: They enjoy music!


Goal #1 To maximise student engagement, learning and enjoyment in class. Methods •  QuesConing technique •  CompeCCons •  Discussion •  Movement •  ICT •  Sprint acCviCes •  Regular revision


BACKGROUND

•  All Girls school •  Combined class of Unit 1 – 4 •  Many students are low on theory •  Some students are streets ahead (differenCaCon….) •  Busy lives outside of school •  I like to enjoy myself in class •  Music teachers are always very busy – group work! •  Please adapt what you see presented today


Lesson #1 – Sing everything!

Sing scales: •  Solfa •  Scale degrees •  Note names

Then: •  In 2 part, 3 part, 4 part harmony •  One note each •  Skip notes •  Have students play on their

instrument & piano ( links with OC3 PracCcal)


Bang! 1.  All students in circle 2.  Call a students name

3.  They drop

4.  Students either side race to ‘shoot’ each other

5.  Slowest student is out


Key Signature Bang!

Rather than using names, each student gets a key signature (EG: 2 #s). •  Call out the major scale that has that

key signature

•  RelaCve minor

•  The third not of the major scale is…

•  The leading note of the major scale is….

•  The dominant 7 chord is… Engaging learning acCviCes

James Le Fevre

LET’S PLAY….

Learning Engagement – Bang! Students are quickly recalling essenCal informaCon at all stages of the game!

If things get slow throw a lifeline – aher a count of 3 with no ‘shot’ students who are

out can call out the answer and come back to life. Helps keep all students engaged in the

game

Students are up and moving – they won’t even realise they are learning!


MUSIC THEORY OLYMPICS

A LITTLE HEALTHY COMPETITION…. Engaging learning acCviCes

James Le Fevre

Team Chord ConstrucCon •  Split class into groups of 3 or more.

•  Each student sings one note of a chord

•  Award points for each chord accurately performed as a group

•  Bonus points for first group to finish all chords


Interval Bingo •  Each student/ team is given a list of different intervals or rhythms

•  Teacher performs the intervals/ rhythms in a random order (make sure you keep track of what the order is…)

•  First student to recognise and mark off their intervals win the points.

•  Points can be awarded for each interval/ rhythm recognised with bonus points for the one with the most correct


Rhythm Relay •  Students pair off (I like to have a different group/ partner

for each Olympic event).

•  Student #1 from each group is given a 4 bar rhythm (you can choose how long or complicated you want to make the rhythms. Just make sure all rhythms are the same length.

•  Student #1 from each group performs their rhythm at the same Cme whilst their partner transcribes it. (Great for developing listening skills for transcribing in 4 parts). I tend to give them each a different percussion instrument to make it easier to hear their part.

•  The performer has to get the rhythm correct and the transcriber has to write it down correctly for points to be awarded. Engaging learning acCviCes

James Le Fevre

Pick up quavers Warning – this one can get hecNc

•  You will need a heap of icy pole sCck in a pile in the middle of the group.

•  Each sCck represents a quaver.

•  Call out a Cme signature and the first student to accurately group the quavers is awarded d a point.


Musical Heads •  Based on celebrity heads.

•  Each student holds a card above their head with a scale, chord, interval wriken.

•  Student then asks Yes/ No quesCons to try to establish “who they are”

•  If the answer is “yes” then they get to ask another quesCon.


Musical Heads Examples of the types of quesCons that can be asked: •  Am I a scale? •  Do I have a major 3rd? •  Am I the same going up as I am down? •  Am I a three note chord? •  Do I have a flat 5th?

Tip: Make sure all students are answering the quesCons asked to ensure they are revising the knowledge. Keep it interesCng and throw in something random like a treble clef or an instrument that you have been listening to in analysis.


Partnered TranscripNon

Students compose a melody/ rhythm without using an instrument.

They then perform this for a partner to transcribe. Great for developing students inner hearing and will naturally differenCate if the partners have a similar skill level. Students tend to try an catch each other out and make it difficult for each other J


ICT Aural Programs •  Auralia Cloud can be installed on any PC including students homes & allows you to set tests, due dates and monitor student work.

•  Tenuto is a cheap-‐ish App & studnets can send you a report.

•  Goodear is online and now has Apps.

•  E-‐learning subscripNon based Engaging learning acCviCes

James Le Fevre

ANALYSIS ACTIVITIES


The One Minute Analysis Lesson •  Each prepares a one minute analysis of a live recording and then presents to the class.

•  You can ask them to cover certain topics such as: – Discuss the use of arCculaCon. – What makes this a quality performance? – How dynamics are used to outline the structure of the work?

– What makes this performance idiomaCcally accurate?


The One Minute Lesson – cont.

•  Ask other students to write down the performer details and take notes whilst listening to the recording. This gets their mind in the habit of brainstorming as they listen and will be great for revision.

•  Make it interesCng – presenters are not allowed to pause or say “umm/ arrr” or they are deducted “points”

•  No “Reality” TV performances please! Engaging learning acCviCes

James Le Fevre

Analysis of the week prepared by… •  Each week a different student prepares an analysis on a

recording. •  This is presented to the class and students highlight:

–  What worked well / what they liked –  What they have quesCons about –  SuggesCons

Amazing how much extra effort goes in when their peers are assessing the work….

•  Then they choose one paragraph to edit and improve upon – great for students to develop ediCng skills for their own work!

•  All changes are then discussed with the class. Engaging learning acCviCes James Le Fevre

Microscope Analysis •  Each student focuses on a different element or instrument for a selected song.

•  Their job is to “apply the microscope” and write down as much detail as possible about their focus area.

•  At the end of the process students can pair up and try to weave their observaCons together with someone else's

Wri9ng about how the elements of music combine to contribute to character/ expressive outcomes. Engaging learning acCviCes

James Le Fevre

Microscope Analysis -‐ Instrument •  Students discuss how one instrument uses the elements to create character. (See Pg 42 of study design)

•  “Find someone who has an instrument that works together with yours at some point”

•  Discuss how these instrument contribute to the creaCon of character….


Microscope analysis -‐ Element •  Each student is given an element to focus on: –  IdiomaCc Tone Colour –  Blend of voices & relaCve balance –  Structural roles of instruments (within texture) – ArCculaCon – OrnamentaCon –  Embellishment: harmony & rhythm (for your most experienced music student)

– Dynamic range and shape –  Phrasing –  Tempo Choice (perhaps pair this with something else)


SNOWBALL ANALYSIS •  Present a “Previously unheard performance” •  Students brain storm and then write their analysis.

•  Then partner with a another student to develop & refine their analysis.

•  Then two groups come together to further refine & develop. Care must be taken to make sure their work flows, makes sense and is not repeCCve.

•  Whole class comes together to create a class analysis.

Engaging learning acCviCes

James Le Fevre

SNOWBALL ANALYSIS – cont. •  This can really lead to some great conversaCons about interpreCve decisions!

•  Teacher will need to guide and assist some groups.

•  Be careful no to leave it all to the class analysis guru…


Google Docs •  CollaboraCve learning where students can edit the same document.

•  Great for Class discussion and brainstorming.

•  Google Sheets can be used for creaCng a class vocabulary sheet with definiCons and youtube links.


Analysis Mind Map •  Each student creates a mind map of what they expect to hear when a piece is in a certain character.

•  Make sure you share yours with every one in the class!

•  Helps guide their thoughts in the exam and can help them get wriCng more quickly


Analysis Mind Map


Suggested Edits…


Suggested Edits •  We increase what we affirm….. •  Highlight the strong points •  Explain the areas for improvement in detail •  Offer rewording suggesCons •  Provide alternaCve ways to say the same thing

•  Have students edit each others work


OLDIES BUT GOODIES


Exit cards •  Students are given a card at the end of class to write down three things they have learned or three quesCons they now have.

•  This is really helpful for to see if the lesson was successful and they grasped the concepts you wanted them to.

•  Next lesson, hand the exit cards to other people in the class as a reminder of what was covered.


Paddle pop currency •  At the beginning, each student is given 5 paddle pop sCcks.

•  Every Cme they ask a quesCon/ offer a response they get to give you a paddle pop sCck.

•  Person who gets rid of all their sCcks first wins.

•  Great for encouraging all students to parCcipate and gives the license for weaker students to ask any quesCon they want.


QUESTIONS?

OTHER SUGGESTIONS ON ACTIVITIES?


ENGAGING LEARNING ACTIVITIES IN MUSICIANSHIP

James Le Fevre

[email protected]

AMUSE VCE Teachers Conference 2016

Expressive elements

Ornamenta(on

Ar(cula(on Tempo Choice

Idiom

Tone Colour

Blend of Tone Colour

Dynamics

Balance of lines

Structural Role

Expressive Roles

Phrasing

Dura%on

Harmony

Melody

Texture

MUSIC PERFORMANCE


MP:3.3

Integrating jazz into the VCE curriculum

Tim Nikolsky

Introducing Jazz into the VCE curriculumDr. Tim Nikolsky www.australianjazzrealbook.com

http://www.australianjazzrealbook.com

How to get students into Jazz?

Play

Listen

Respond/Interact/Involve

Essential Albums

Listening Exercise: Miles Davis “Kind Of Blue”

http://www.youtube.com/watch?v=Rhv8iOY08TY1959 The Year that Changed Jazz http://www.youtube.com/watch?v=dou3aSZmEg0

http://www.youtube.com/watch?v=Rhv8iOY08TY

http://www.youtube.com/watch?v=dou3aSZmEg0

Essential Australian Albums

Communication & Interaction

Aaron Choulai: “Wow... i'm both really impressed and flattered. They sound great. I wrote that tune when i was about their age ( year 11?) They play it much better than i did at that age. Congratulations to you too. The AJRB has obviously been received well, and is clearly doing great things for improvised music culture in Australia. Good on ya :) All the best, Aaron.”

Scott Templeton (MD YVG): “Hi Anthony, Patrick, Kim & Sotaro. I recently put the video of the Combo performing "Dreams of Paper Roses" on YouTube and sent the link to Tim Nikolsky, who is the publisher of the Australian Jazz Real Book. He sent the link to Aaron Choulai, the composer of the piece, who watched your performance. Check his comments below, very cool!”

Dreams of Paper Roses: YVG Combo

Anthony Barnhill - Piano (year 12)Kim Alford - Vibraphone (year 11)Patrick Schmidli - Bass (year 11)Sotaro Sato - Drums (year 11)

Mentor: Nathaniel PoynterComposition by Aaron Choulai

Recorded June 2013, George Wood Performing Arts Centre at Yarra Valley Grammar

Everything comes from somewhere

http://www.youtube.com/watch?v=23pY4EeEy3sStevie Ray Vaughan “Chitlins Con Carne”

Kenny Burrell “Chitlins Con Carne”http://www.youtube.com/watch?v=mP0flneNfaQ

Wes Montgomery “Round Midnight”http://www.youtube.com/watch?v=MOm17yw__6U

http://www.youtube.com/watch?v=23pY4EeEy3s

http://www.youtube.com/watch?v=mP0flneNfaQ

http://www.youtube.com/watch?v=MOm17yw__6U

Vocalists

Ella Fitzgerald, Billie Holiday, Sarah Vaughan

Beyonce, Christina Aguilera, Rhianna, Pink, etc

Aretha Franklin, Etta James, Ray Charles

Whitney Houston, Michael Jackson, Mariah Carey

Why Not?Kimbra, Washington, Katie Noonan

Renee Geyer, Marcia Hines, Vince Jones

Georgia Lee, Kerrie Biddell

Music Theory

Intervals: Nowhere else would you hear these intervals

The Music Theory Song: Intervals http://www.swensongs.com/musictheorysong.pdf http://www.youtube.com/watch?v=dF074CL5vjI

Descending Major 7th? http://www.youtube.com/watch?v=pVIzt_0qwAc

http://www.swensongs.com/musictheorysong.pdf

http://www.youtube.com/watch?v=dF074CL5vjI

http://www.youtube.com/watch?v=pVIzt_0qwAc

Interesting Links

http://www.informationisbeautiful.net/2010/how-much-do-music-artists-earn-online/

audiomap.tuneglue.net

Active Years for the top 1000 hottest artists http://static.echonest.com/visualizations/years-active/ya-hot.html

http://music-timeline.appspot.com

http://www.informationisbeautiful.net/2010/how-much-do-music-artists-earn-online/

http://static.echonest.com/visualizations/years-active/ya-hot.html

http://music-timeline.appspot.com

MUSIC PERFORMANCE


MP:3.6

Developing vocabulary linking musical experiences

Jennifer Gillan

Developing Vocabulary linking to musical experiences AMuse VCE Conference Notes Jenny Gillan 2016 [email protected] Tone Colour/Timbre Definition: Individual Tone Colours: Warm Airy Harsh Bright Dry

Combinations:

Overall: Full, Complex, Unified, Complementing Blended, Contrasting, Clashing, Multi-‐layered, conflicting, juxtaposing, harmonious, homogeneous

Influences: Range, register, dynamics, articulation

Formula for answering: The ___ ____ Tone Colour of the _________ (instrument) complements/contrasts the ____ _____ tone colour of the ________(instrument) through _______ __________ (influences). The overall Tone colour is at times ______ ________ through ________ ____ (influences) and at other times ____ _____ through ____ ____ (influences)

Tone Colour Analysis: Tone Colour and Character: Character Description Tone Colour Serene

Frantic

Chaotic

Lonely

Triumphant

Tone Colour and Character Sombre

Mellow Tinny Forceful

Tired

Excited Growling Whispering

Aspirate

Rumbling Quick Tinkling

Driving

Muted Brassy Ecstatic

Distorted

Arch-like Accented Ringing

Guided listening Worksheet: Iain Grandage, Travelling from ‘Remember Me’ http://www.iaingrandage.com/listen/

What is the initial character of the piece?________________________________

• Describe the tone colour in the opening section

Instrument: tone colour:

Influences on this tone colour?

How does this tone colour develop?

• Instruments added: ____________________ tone colour: __________________________

Influences on this tone colour

• Instrument: ____________________________ tone colour:___________________________

Influences on this tone colour

• Make some links from tone colour to the resulting character

• What do you call the high, whistling notes and how are they created?

• What is their Tone colour?

• Describe a combination of instruments heard in this excerpt with contrasting timbre and describe their different tone colours

• Describe a combination of instruments heard in this excerpt with complementing timbre and describe their tone colour

• Do any of the individual instruments change their tone colour? Yes/No

This can correspond with a change in character. Describe a tone colour combination that creates a different character to that heard initially

• Describe the change and what influences this

• Describe the overall Tone colour of the excerpt

(contrasting/unified/multilayered/simple/complex/blended/clashing)

• Does this overall tone colour change at any stage in the excerpt? Yes/No

Describe where and how

Use these notes to write a paragraph outlining how tone colour creates character in this work

Sample Tone Colour Responses.

“…The overall tone colour is very disjointed and distorted. The tone colour is very full but very rough and not this creates tension in the sound. The listeners ear becomes confused as it doesn’t know who or what to tune into a the excerpt is so busy in terms of tone colours…” Comments/Feedback: “…The entire orchestra and exposing parts are drowning out others with all the various tone colours presented in this piece. The spontaneousness of the piece also creates this confusion of tone colour. The focus of the ear leaps around the orchestra as one instrument is prominent but then literally seconds later a completely different instrument becomes prominent to the listener…” Comments/Feedback: “…The strident, heavy colour of the trumpet is complimented by the shimmering colour of the cymbal, together creating a more explosive, interruptive colour. The silky, thin colour of the violins contrasts with the heavy, strident trumpet. The tone colour of the trumpet sticks out and is made more alarming…” Comments/Feedback: “…Piano soloing, minor tonality, piano using pedal point small range and small intervals. Through the use of a small range, the melody seems to be stagnant, and doesn’t seem to gain anything new. This creates a tense feeling of claustrophobia. A harsher more grimacing tone is created through the slight rise in dynamics, more instrumentation and a semitone shift…” Comments/Feedback:

2016 VCE MUSIC TEACHERS' CONFERENCE SESSION ...

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