Association of Music Educators
2016 VCE MUSIC TEACHERS’ CONFERENCE
SESSION NOTES VCE CONFERENCE 2016
SATURDAY 27 FEBRUARY
SESSION 1 MUSIC STYLE AND COMPOSITION
EAT report Pip Robinson EAT process Mark McSherry Scaffolding Outcome 1 Anna van Veldhuisen I hear, I see – Outcomes 2 and 3 Mandy Stefanakis Context as part of Outcome 2 Matt Pankhurst Transition to 2017 Helen Champion
SESSION 2. MUSIC INVESTIGATION
MUSIC INVESTIGATION PLENARY SESSION
Messages from 2015 and transitioning to 2017 Helen Champion Outcome 3 – Performance Rod Marshall Chief Assessor’s report Outcome 1 – Investigation Lynne Morton State 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 SESSION Messages from 2015 and transitioning to 2017 Helen Champion Outcome 3 Examiner’s report Barry Fletcher Outcome 2 State reviewers report David Graham Outcome 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
Teaching strategy workshops MP:2
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
Teaching strategy workshops MP:3
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 3 Mandy Stefanakis
1 2 3 4 5 6 7 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 1 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 Paper Planes (Pavane) (2 sequences) (2 sequences) What is the role of the drone in each of these examples?
Lost and Found 2 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 3 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 4 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 5 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 6 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 7
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
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.
2 Lost and Found
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
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)
4 Lost and Found
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 Inves ga on 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 – Demonstra ng an understanding of the performance prac ces/ contexts and influences • Unit 3 SAC Outcome 1 Performance/Commentary is recommended for authen ca on, that includes characteris cs, techniques and performance prac ces, 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
Lynne Morton Belmont High School MUSIC INVESTIGATION COURSEWORK
• Outcome 3 – Performance (program to be representa ve of the Focus Area) Unit 3 15min, Unit 4 10min
• Unit 3 & 4 Outcome 3 SAC – Performance/Commentary is recommended for authen ca on 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
Lynne Morton Belmont High School MUSIC INVESTIGATION COURSEWORK AUDIT
• How are you as a teacher demonstra ng that you are covering the requirements for each outcome? • Do you use a meline for your class ac vi es? • What resources and ac vi es 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 communica ng with the Instrumental Music staff/Classroom Music staff/ Tutors? • Do you need help? • What can you do to improve your teaching of this course?
Lynne Morton Belmont High School 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 highligh ng their Focus Area and performance program, as they progress through their coursework? • When you design your task, have you provided opportuni es for students to demonstrate how they link their work to the Focus Area and performance program? • When you design your Composi on/Improvisa on/Arrangement task, what exercises/ techniques directly linked to the Focus Area style and performance program are being incorporated?
Lynne Morton Belmont High School MUSIC INVESTIGATION COURSEWORK
• Unit 4 Outcome 2 - Composi on/Improvisa on/Arrangement • What exercises/techniques linking to the Focus Area style are being incorporated? • Unit 4 SAC Outcome 2 Performance/Commentary is recommended for authen ca on. Students are to present and perform their composi on/ improvisa on/arrangement that uses the characteris cs, performance techniques relevant to the Focus Area, and an explana on on HOW the work is representa ve of the Focus Area
Lynne Morton Belmont High School 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 mul media or wri en 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
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School GRADING SYSTEM FOR SACS 2016 Music Inves ga on Unit 4
Unit 4 SACs contribute 25% to the final assessment
• 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 (wri en or mul media or oral)
MARKS /60
Lynne Morton Belmont High School GRADING SYSTEM FOR SACS 2016 Music Inves ga on Unit 4
Unit 4 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
Lynne Morton Belmont High School MUSIC INVESTIGATION
• Modera on • Are you in a modera on group? • The benefits of modera on
Lynne Morton Belmont High School MUSIC INVESTIGATION 2016
Lynne Morton Belmont High School 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.
Lynne Morton Belmont High School 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 Lynne Morton Belmont High School 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
Lynne Morton Belmont High School Music Inves ga on
Elements of Music
Lynne Morton Belmont High School Focus Area
Lynne Morton Belmont High School 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.
Lynne Morton Belmont High School 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 pa erns) on the drum kit in modern progressive rock and metal styles 1990 to present
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School 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 dra of how technical work and exercises is assis ng your development and understanding in preparing your Outcome 3 pieces & submit dra of progressive analysis and research discussing characteris cs, techniques and performance prac ces of your Focus Area works • Week of March 21 Submit dra of composi on/ improvisa on/arrangement exercsises and how this relates to your Focus Area
Lynne Morton Belmont High School 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 wri en 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 wri en 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)
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School 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 mul media or wri en 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
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School Listening Journal
Lynne Morton Belmont High School Listening Journal
• Name the instruments • Detail the Form/structure • Rhythm • Melody • Harmony • Tone Colour • Texture • Instrument techniques • Style?
Lynne Morton Belmont High School 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
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, so , crescendo, decrescendo, diminuendo, fade-out, fade-in, moderately loud, moderately so , 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,
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School 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?
Lynne Morton Belmont High School 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.
Lynne Morton Belmont High School 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.
Lynne Morton Belmont High School Music Language
Highlight the use of key words to extend student language
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School Assessment Tasks
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School Unit 3 Outcome 1 SAC
• Present a report (performance and commentary or mul media or wri en 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
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School 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 (dra s 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
Lynne Morton Belmont High School 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.
Lynne Morton Belmont High School Unit 4 Music Inves ga onTimeline
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School 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 (wri en or mul media or oral) • Week of September 5 Technical work and exercises SAC (including a wri en 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)
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School Grading system for SACs 2016
Music Inves ga on Unit 4
Unit 4 SACs contribute 25% to the final assessment
• 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 (wri en or mul media or oral)
MARKS /60
Lynne Morton Belmont High School Grading system for SACs 2016 Music Inves ga on Unit 4
Unit 4 SACs contribute 25% to the final assessment
• 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
Lynne Morton Belmont High School eMail Address [email protected]
Lynne Morton Belmont High School MUSIC INVESTIGATION
TEACHING STRATEGY WORKSHOP
MI:2.2
Using the Assessment Guide numbers for SACs 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 Inves ga on 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 – Demonstra ng an understanding of the performance prac ces/ contexts and influences • Unit 3 SAC Outcome 1 Performance/Commentary is recommended for authen ca on, that includes characteris cs, techniques and performance prac ces, 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
Lynne Morton Belmont High School MUSIC INVESTIGATION COURSEWORK
• Outcome 3 – Performance (program to be representa ve of the Focus Area) Unit 3 15min, Unit 4 10min
• Unit 3 & 4 Outcome 3 SAC – Performance/Commentary is recommended for authen ca on 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
Lynne Morton Belmont High School 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 mul media or wri en 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
Lynne Morton Belmont High School 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
Lynne Morton Belmont High School NEW GRADING SYSTEM
• Unit 3 Area of Study 1 Outcome 1 • Demonstrate understanding of performance prac ces, 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.
Lynne Morton Belmont High School GRADING SYSTEM Performance descriptors The following descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s. 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. 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
• Unit 3 Area of Study 3 Outcome 3 • Present a performance of music works that communicates understanding of the Focus Area. • This outcome will contribute 15 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 15 marks.
Lynne Morton Belmont High School 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. MUSIC INVESTIGATION COURSEWORK
• Unit 4 Outcome 2 - Composi on/Improvisa on/Arrangement • What exercises/techniques linking to the Focus Area style are being incorporated? • Unit 4 SAC Outcome 2 Performance/Commentary is recommended for authen ca on. Students are to present and perform their composi on/ improvisa on/arrangement that uses the characteris cs, performance techniques relevant to the Focus Area, and an explana on on HOW the work is representa ve of the Focus Area
Lynne Morton Belmont High School GRADING SYSTEM FOR SACS 2016 Music Inves ga on Unit 4
Unit 4 SACs contribute 25% to the final assessment
• 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 (wri en or mul media or oral)
MARKS /60
Lynne Morton Belmont High School GRADING SYSTEM FOR SACS 2016 Music Inves ga on Unit 4
Unit 4 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
Lynne Morton Belmont High School GRADING SYSTEM
• Unit 4 Area of Study 2 Outcome 2 • Compose/improvise/arrange and perform a music work and discuss the use of music characteris cs, instrumental techniques, performance techniques and conven ons in the work. • This outcome will contribute 60 marks out of 75 marks allocated to School-assessed Coursework for Unit 4. It will be assessed by one or more tasks, which will contribute a total of 60 marks.
Lynne Morton Belmont High School 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
• Unit 4 Area of Study 3 Outcome 3 • Demonstrate ar s c 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 Descrip on • 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.
Lynne Morton Belmont High School 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
• Modera on • Are you in a modera on group? • The benefits of modera on
Lynne Morton Belmont High School MUSIC INVESTIGATION 2016
Lynne Morton Belmont High School MUSIC INVESTIGATION
TEACHING STRATEGY WORKSHOP
MI:2.3
A systematic approach to teaching improvisation David 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 chord1 is all that is required. 1