SAMPLE COURSE OUTLINE

MUSIC – CONTEMPORARY ATAR YEAR 11

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Sample course outline Music – Contemporary – ATAR Year 11 Units 1 and 2 delivered as a pair Unit 1 – Pop

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and historical analysis Composition portfolio Sight-singing: to be continued consistently Theory Include visual and aural analysis tasks and Distribute technical lists and throughout the semester. Examples in both  Knowledge and function of treble and bass comparative analysis with unfamiliar works to recommended repertoire from the treble and bass clef based on scales and clefs including leger lines reinforce teaching of music styles and Music Performance Resource intervals stipulated  Identify and write intervals, scales (major, associated characteristics Package Scales: Major pentatonic, minor pentatonic, major and minor pentatonic) and chords in  Pop versus Rock. Play clips of Kylie Minogue Outline assessment requirements major (ionian mode) treble and bass clef, major keys, up to four and Queens of the Stone Age to identify for the semester in consultation Intervals: m2, M2, m3, M3, P4, P5, m6, M6, m7, sharps and flats similarities and differences with instrumental teachers, M7, P8ve (melodic and ascending only)  Scale degree numbers and their application in  Revision of music elements for analysis: ensemble directors and/or Imitation and Call and response: up to scales, intervals and chords instrumentation, timbre, texture, metre, composition portfolio supervisors 4 bars based on rhythms, scales and intervals  Terminology/symbol for tempo and genre, style, tempo, dynamics, tonality, form, covered modifications of tempo rhythmic, melodic and harmonic elements, Week 3: submit proposed Chords: power chords/tonic and dominant,  Additional rests for simple/compound articulations, compositional devices repertoire/draft proposal for major primary triads: I, IV and V (and V7) or Chords  Analysis explosion on board – apply to Rock Practical Task 1 chord names (e.g. C, F and G).  Chord recognition and analysis; major triad, and Pop and discuss definitions of each, using Major triad, dominant 7th, major 7th 1–3 I, IV, V and V7 using Roman numerals and examples such as the following to assist: Rhythmic dictation: dictations of ostinatos in chord names (Whip It, Roundabout, One Way or Another, simple time signatures: ,  Major triad, dominant 7th and major 7th chords Superstition, Bohemian Rhapsody) Notes, rests and subdivisions of crotchet beat:  Provide chords to a given melody/song  Late 1950s and early 1960s background to Rhythmic exercises pop music – the backlash to early Rock & Roll , ,, , , , ,  Identify and write syncopated rhythms, and the evolution and marketing of the teen focusing on the use of ties, anticipation and idol. Brill Building Pop – listen to examples , , ,, delay like Frankie Avalon, Pat Boone etc. Discuss  Rhythm re-grouping exercises using the ‘good boy’ image of Boone as opposed to

, , , syncopation and rests the early Elvis persona. Use these songs for Melodic dictation: simple time, 4 bars, treble  Provide a rhythmic for given lyrics aural recognition of chord progressions. Note and bass clef, using major and major pentatonic Melody writing the prevalent use of the I–vi–IV–V chord scales up to three sharps and flats. Rhythm and  Short melodic fragments. Writing by contour, progression some pitch provided by chord, by scale or to fit a phrase of words  The Rise of the Producer – Leiber and Stoller  From a given motif, 4–8 bars in major or minor and Phil Spector. Discuss the relationship

Sample course outline | Music – Contemporary | ATAR Year 11 2

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and historical analysis Composition portfolio keys, in simple and compound time, in treble between the musician and the producer. or bass clef Increased focus on the recording studio and  For a given 4 bar rhythmic pattern the sounds it could produce. Look at Phil  Write a lead sheet using Contemporary Spector’s ‘Wall of Sound’ approach (listen to conventions and compositional devices The Crystals and The Ronettes for Spector Arranging girl-group sound)  Discuss score layout, examining sample scores British Invasion and notation (conventional, slash-rhythm  Early Beatles and the British Invasion guitar, TAB, drum set, including percussion  Early influences on the development of Pop clef) music – include Elvis, Little Richard and Chuck  Identify the use of music elements in a blues Berry, in addition to Leiber and Stoller and melodic style analysing given melodies Phil Spector. Other influences included Beatlemania (1963–1966), British Invasion bands and groups that followed, such as Gerry and the Pacemakers, Herman’s Hermits and The Hollies Designated Work 1 I Saw Her Standing There – The Beatles Aural and visual analysis of the work Week 6: Task 1 – Aural test (4%) Week 7: Task 2 – Melody and accompaniment Motown Week 5: Performance Task 1 – writing (3%)  The impact of the British Invasion and the Prepared repertoire (2%) Scales: natural minor (aeolian mode), blues demise of some African-American pop music scale Theory Week 5: Composition Task 1 –  Berry Gordy, Motown and commercial Intervals: add harmonic intervals: P4, P5, P8  Identify and write natural minor (aeolian Composition proposal (5%) success – producing crossover music aimed at Chords: root position (block), arpeggio (broken). mode) and blues scales and related intervals the white teen market, modelled on the Brill Week 6: negotiate repertoire, form Minor triad, minor 7th chord in minor keys Building approach. Gordy’s control over the ensembles and begin rehearsals for  add secondary triads: ii and vi in major keys  Identify modulations to the relative minor and Motown artists, both musically and in their Ensemble Performance  Standard blues progressions I, IV, V and V7 major in melodic excerpts public persona 4–7 Modulation: relative major/minor  Rhythm exercises in compound time  The Funk Brothers – studio band for most of  Rhythmic dictation: simple time add Expressive devices: general dynamic the Motown hits in the 60s descriptions. Terminology/symbol for  Listen to: The Temptations, The Supremes , , , , , dynamics, changes in intensity of sound and and Martha and the Vandellas accents, articulations and ornamentations  Discuss common perception of Motown as Chords Correct grouping of rhythms and rests within having ‘sold out’ to White America  Minor triad and minor 7th chord the bar  Listen to Stevie Wonder and discuss how he  12-bar blues progression and structure Swing/shuffle feel and Marvin Gaye gained significant artistic  Introduce ii, iii and vi in major keys

Sample course outline | Music – Contemporary | ATAR Year 11 3

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and historical analysis Composition portfolio Melodic dictation: simple time, 4–8 bars, minor  I, vi, IV, V progression– listen to and analyse control over their music – acting as producers pentatonic and natural minor examples using this progression. Harmonise  Second British Invasion, new Romantic scene Discrepancies: treble/bass clef, 4 bars, given melodies using the progression and Designated work 2 4 discrepancies in either pitch or rhythm write a melody to fit the progression Rocket Man – Elton John Aural analysis: recognition of music elements in Melody writing Aural and visual analysis of the work. short extracts (form, metre, dynamics,  For a given chord structure, 4–8 bars expressive devices, tempo, instrumentation)  For given lyrics, creating an appropriate Elton John rhythm, 4–8 bars  Early career as a songwriter  For a given scale to imitate a style or mood,  Partnerships with lyricists Bernie Taupin and 4–8 bars, for a solo instrument or voice Tim Rice Arranging – Bass lines  Became known for flamboyant performance  Listen to and analyse bass lines – various style inspired by glam rock styles and typical pop bass lines such as  Breakthrough Your Song from self-titled walking bass or country style (root/5th second album in 1970 common notes, passing notes and linking  Performed at Live Aid in 1985 passages/notes)  Knighthood and charitable work – Elton John  Select and write appropriate bass lines for AIDS Foundation given melodies in different styles  Songs for The Lion King  Add a stylistically appropriate bass line to a  Candle In the Wind at royal funeral given melody, lyrics and chord progression  Awards, sales records, etc. Drum kit notation  Identify and demo different parts of drum set Read and perform simple pop patterns  Teach swing/shuffle feel – blues music  Identify and analyse (aurally and visually) different drum techniques – side stick, rim shot, double kick, open and closed hi-hat  Drum fill – notation and when it is appropriate  Analyse and write drum parts using appropriate notation, add drum part to given melody Scales: harmonic minor Theory Week 9: Task 3 – Summary table and extended Week 8: Performance Task 2 – Intervals: add harmonic intervals: m2, M2, m3,  Identify and write scales, including harmonic responses (2%) Ensemble performance (3%) M3, m6, M6, m7, M7 minor 8–10 Rock and Pop Interface – 70s Week 10: Performance Task 3 – Chords: primary triads and chord progressions  Texture: single line, melody with  Round-up of Contemporary rock music in the Sight-reading or Improvisation in minor keys: accompaniment, multi-voice

 Roman numerals early 70s – progressive rock, heavy rock, glam (3%)

Sample course outline | Music – Contemporary | ATAR Year 11 4

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and historical analysis Composition portfolio . minor: i, iv, V and V7  Form/structure: binary (AB), call and rock, singer-songwriters (Elton John)  chord names (as indicated) response, ternary (ABA), song form (AABA), 8  Note ABBA’s influence as the most popular . minor: Am, Dm, E and E7 bar structure, 12-bar structure, 16-bar pop music recording act of the 70s  minor blues progression structure, 12-bar blues  Listen to examples and watch video clips . i, iv, V and V7  Signs/symbols:  Discuss the ‘Euro pop’ style and the wall of Modulation: to the dominant . bar line, double bar lines, final bar line, sound recording technique Rhythmic dictation: repeat signs, 1st and 2nd time bars Pop in the 80s . bpm, pause, fine, coda, dal segno, D.C. al  MTV and blockbuster movies reshaped pop Introduce compound time: , , coda, D.S. al coda, segue culture Notes, rests and subdivisions of the dotted  Revise symbols and terminology for tempo,  Beginning of the computer age, more explicit crotchet beat: dynamics and expressive elements for use of technology in Pop music accents, articulations and ornamentations , , , , ,  Popularisation and idealisation of consumerism in Western countries , , , , , , ,  Madonna, the Queen of Pop, and the Like a Chords Virgin album (1984) that established her as an , ,,  Chord recognition, analysis and icon Melodic dictation: compound time, 8 bars, harmonisation of given melodies in keys up to  Importance of image and the music video treble and bass clef using harmonic minor scale four sharps and flats Designated work 3 Imitation and call and response: up to 4 bars . Roman numerals Discrepancies: treble/bass clef, 4 bars, Material Girl – Madonna o Major: I, ii, iii, IV, V, V7 and vi 4 discrepancies in either pitch or rhythm Aural and visual analysis of work o minor: i, iv, V and V7 Aural analysis: identification of style, form,  note lyric themes typical of 1980s society . Chord names (as indicated in C) instruments, voice types, instrumental and vocal  heavy synthesizer instrumentation and o Major: C, Dm, Em, F, G, G7 and Am techniques inclusion of robotic backing vocal sound o minor: Am, Dm, E and E7  Identify and write standard blues progressions I, IV, V and V7  Recognise passing notes (diatonic/chromatic) Composition and arrangement  Identify and analyse guitar techniques and notation; bend, slide, palm mute, harmonics, vibrato  Transcribe and write TAB notation for guitar and bass  Analyse the role of the lead guitar or keyboard as a melodic instrument in blues examples, identifying spaces in the 12-bar structure for improvisation or lead playing

Sample course outline | Music – Contemporary | ATAR Year 11 5

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and historical analysis Composition portfolio  Analyse and write short guitar examples using appropriate notation Melody writing  Analyse a range of Contemporary/Pop melodies, identifying melodic shape, use of repetition, syncopation, passing notes (chromatic and diatonic) and scale types  Compose an 8-bar melody over given chords, incorporating features identified and discussed in analysis tasks. Add expressive elements such as accents, articulations, ornamentations as stylistically appropriate Week 12: Task 4 – Aural analysis (4%) Theory Pop in the 90s and beyond Week 11: discuss repertoire and/or  Tritone, augmented 4th and diminished 5th  Discuss the impact of hip hop music and composition progress Scales: chromatic  Identify and write chromatic scale and dorian culture on pop music in the 90s Tonal qualities: identifying and describing all Week 13: Performance Task 4 – mode in treble and bass clef  Examine the rise of contemporary R&B with scales studied Recital practice (3%) artists like Mariah Carey and Janet Jackson, Intervals: introduce tritone. Revise all intervals  Simple metre: or and links to the gospel music tradition Week 13: Composition Task 2 – in isolation or part of a melodic excerpt   Discuss the rise of the Spice Girls and boy Composition assessment (4%) Rhythmic dictation: compound time add Accidentals including double sharps and double flats bands like Backstreet Boys – link back to , , ,  Enharmonic note equivalents Motown and Brill Building groups  Madonna’s continuing influence in Pop , , ,  Form/structure: . Song sections: bridge, chorus, hook, intro,  Lady Gaga: flamboyant costumes, middle 8, outro, pre-chorus, verse, solo performances and videos, and her tendency Melodic dictation: simple or compound, 11–13 . Compositional devices: ostinato/riff, pedal to reinvent her sound and image in a similar chromatic passing notes in major and minor note, sequence, imitation way to Madonna pentatonic, major, natural minor and harmonic Chords/harmony  Digital downloads and the importance of minor (not blues or chromatic)  Identify/write major 7th and minor 7th chords instant access to music. Consumers download Discrepancies: treble/bass clef, 4–8 bars, songs immediately as a result of TV/radio  Identify/write standard blues progressions 4 discrepancies in both pitch and rhythm appearances and online videos (I, IV, V and V7) Aural analysis: including tonality, textural  Adele: English singer-songwriter discovered  Identify/write passing notes (diatonic and features, articulations, compositional devices, through Myspace. Three highly-successful chromatic) and rhythmic, melodic and harmonic elements albums (19, 21 and 25) with numerous  Identify and write circle of fifths/fourths awards and sales records Modulation  Recognise and transpose given extracts to Designated work 4 either the relative major or minor and Skyfall – Adele dominant Aural and visual analysis of work

Sample course outline | Music – Contemporary | ATAR Year 11 6

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and historical analysis Composition portfolio  Compose a melody that contains a modulation  Co-written and richly orchestrated to the relative major/minor  Movie theme songs and the mutual benefit to Composition musician and film  Listen to and analyse examples of harmonisation, harmony lines, rhythmic figures and counter-melodies in different styles of Pop music  Add appropriate chords to a given melody. Include B flat transposing instruments  Create a harmony part to given melodies (or melodies students have written in previous weeks) Revise all scales, intervals and chords Theory Week 14 – Task 5: Cultural and historical Performance Task 5 – Modulation: relative major/relative minor, to  Revision of timbre including all instruments analysis (3%) Semester 1 performance the dominant, using a range of examples listed in syllabus examination (15%) Revision of Semester 1: using familiar and Rhythmic dictation Scales unfamiliar excerpts, focusing on the designated Composition Task 3 – Submission Revise simple metres: 8 bars, including ties,  Revision of all scales, modes and intervals up works. of composition portfolio (15%) syncopation and anacrusis to four sharps and flats Compound metres add: Chords  Revision of major and minor triads, major 7th, ,, , ,,, minor 7th and dominant 7th chords 14–15 , ,  Chord recognition and analysis of major and Melodic dictation: 8 bars, chromatic passing minor chord progressions notes Composition/arranging Discrepancies: treble/bass clef, 4–8 bars,  Revise instrumental and vocal techniques 4 discrepancies in both pitch and rhythm  Revise drum notation, slash notation  Symbols and terminology for tempo, Revision of Semester 1 work for exams dynamics, accents and articulation  Melody-writing and harmonisation practice Revision of Semester 1 work for exams 16 Task 6: Semester 1 written examination Task 6: Semester 1 written examination Task 6: Semester 1 written examination

Sample course outline | Music – Contemporary | ATAR Year 11 7

Unit 2 – Folk

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and historical analysis Composition portfolio Sight-singing: to be continued consistently Theory Introduction to folk music Outline assessment requirements throughout the semester. Examples in both  Identify and write intervals and scales in  Definitions of folk music – starting with the for the semester in consultation treble and bass clef based on scales and treble and bass clef, major keys, up to four purist view of songs belonging ‘to the musical with instrumental teachers and/or intervals stipulated sharps and flats heritage of a particular people, (having) no composition portfolio supervisors Scales: revise major/do pentatonic, minor/la Harmonisation known composer, and (having) been passed Week 2: submit proposed pentatonic, major/ionian mode, natural minor,  Analyse chords in given 4–8 bar extracts orally from one generation to another or from repertoire/progress report on harmonic minor  Harmonise given melodies at phrase endings one group of people to another’ (Dorricott – composition task Intervals: revise all intervals in isolation and as Word setting and melody writing In Tune With Music Bk 3). Basic music part of a melodic line  Complete a word setting task, providing an elements of folk music with listening Harmony: chord progressions appropriate rhythm for given lyrics examples (include aural recognition of major  4–8 bars, major and minor keys  Compose a suitable 8 bar melody in a folk pentatonic scale)  Major: style to fit the established rhythm.  Listen to several musical examples of . Roman numerals: I, IV, V, V7 and vi Incorporate syncopation and word painting Contemporary folk and identify the music 1–3 . chord names: C, F, G, G7 and Am  Compose an 8 bar melody from a given motif elements that distinguish it from other styles.  minor: or chord progression, incorporating a Generate a discussion of the blurred lines . Roman numerals: i, iv, V and V7 modulation to the relative major or minor between Folk, Rock, Pop, Country etc. . chord names: C, F, G and G7  Use of Venn diagram (or similar graphic Rhythmic dictation: simple time, revise all representation) to illustrate the general notes, rests and subdivisions characteristics of Contemporary folk in Melodic dictation: 8 bars, treble and bass clef, comparison to other Contemporary styles up to three sharps and flats, based on major  Joan Baez, music with a social justice or pentatonic and major scales (some pitch and/or protest theme. An early performer of and rhythm provided.) Simple and compound advocate for Bob Dylan metres throughout semester Designated work 1 Discrepancies: treble/bass clef, 4 bars, We Shall Overcome – Joan Baez 4 discrepancies in either pitch or rhythm Aural and visual analysis of work

Sample course outline | Music – Contemporary | ATAR Year 11 8

Week 7: Task 8 – Aural test (4%) Week 6: Task 7 – Theory test (2%)  Folk in the 1940s and 50s – Woody Guthrie Week 5: Performance and Pete Seeger and their appeal to college Task 6 – Prepared repertoire (2%) Scales: revise natural minor/aeolian mode, Theory students in the USA as opposed to the teen harmonic minor, blues scale  Identify and write natural minor/aeolian Week 5: Composition Task 4 – pop market Intervals: revise all harmonic intervals mode and harmonic minor scales and related Composition presentation (5%)  Watch first part of No Direction Home, the Harmony: chord progressions intervals in minor keys Martin Scorsese film about Dylan as an Week 7: performers submit  4–8 bars, key signatures up to Harmonisation introduction to folk, country, rock‘n’roll in the proposed list of technical work 3 sharps and 3 flats  Chords revision – major, minor, dominant 7th, 50s. Good insight into the ‘beatnik’ culture Modulation: relative major/minor and major 7th, minor 7th and Greenwich Village in the early 60s dominant  Recognition of chords aurally and visually  Protest song – The Weavers and the folk Rhythmic dictation: simple time, including  Provide chords to given melodies revival. Folk song as protest. The McCarthy anacrusis and syncopation Melody writing era and the blacklist. Some good footage and Melodic dictation: 4–8 bars, based on minor  Write a melody to a given chord progression background information about Pete Seeger in pentatonic, natural minor and harmonic minor in a folk style No Direction Home scales, treble and bass clef  Harmonise the melody writing a suitable  The Kingston Trio and Peter, Paul and Mary – Aural analysis: recognition of music elements in counter melody folk-pop. Some good footage of Peter, Paul short extracts (form, metre, Modulation and Mary in No Direction Home dynamics/expressive devices, tempo,  Identify modulations to the dominant and  instrumentation) Listening – comparison between Peace Train relative major/minor in a range of examples and Blowin’ in the Wind (Bob Dylan and Peter,  Compose an 8–12 bar melody that includes a Paul and Mary versions). Use as an exercise in 4–7 modulation identifying chord progressions Arranging  Review of arrangement techniques and Designated work 2 notation-bass lines, passing notes, auxiliary Peace Train – Cat Stevens notes, slash notation for guitar Aural and visual analysis of work  Listen to and analyse guitar and bass guitar Resources: techniques: slap, pop, walking bass, etc. and  YouTube for versions of Peace Train and drum parts and drum kit notation others above  No Direction Home (Martin Scorsese film)  More on ‘protest’ song – from 1963 and Martin Luther King’s speech in Washington to Woodstock in 1969  The Vietnam War – watch Joan Baez and performances by other folk singers at Woodstock – use songs as Aural analysis activities – chord recognition, etc. What’s that sound? first edition by John Covach  ‘Rockin’ Out – Popular Music in the USA’ by Reebee Garofalo  The Jazz and Rock Resource by Geoff Lowe  Woodstock – The Music DVD

Sample course outline | Music – Contemporary | ATAR Year 11 9

Scales: blues, chromatic  Identify and write blues and chromatic scales Week 8: Task 9: Analysis (2%) Week 9: Performance Chords: recognition of major, minor, dominant Chords  Search YouTube and listen to covers of folk Task 7 – Technical work (4%) 7th, minor7 and maj7 chords  Analyse blues progressions songs and compare with originals, discussing Chord progressions  Identify and write standard blues progressions stylistic differences  4–8 bars, with some chords given (I, IV, V and V7)  Listen to other songs by the same artist,  Identifying the chords below a given melody  Identify and write passing notes (diatonic and compare and analyse compositional and  Roman numerals chromatic) stylistic characteristics . major: I, IV, V, V7 and vi  Identify and write circle of fifths/fourths  Newport Folk Festival . minor: i, iv, V and V7 Melody writing and arranging  The development of folk-rock  Chord names (as indicated)  Write a blues-style melody to a given blues  Folk after the ‘60s – Altimont, Kent State . major: C, Dm, F, G, G7 and Am progression, incorporating appropriate University and the end of the hippie aesthetic . minor: Am, Dm, E and E7 syncopation and articulation  Compare and contrast Took the Children Away  Standard Blues progression 8–10 . I, I7, IV, IV7, V and V7  Arrange a given melody and chord progression – Archie Roach with Treaty – Yothu Yindi Rhythmic dictation: compound time, 8 bars, for a folk ensemble, incorporating counter  Archie Roach and Australian folk music. revise all notes, rests and subdivisions melody, suitable guitar and bass guitar parts, Protest music in an Australian context: Melodic dictation: 8 bars, treble and bass clef, drum part, using appropriate notation, Aboriginal and environmental issues. articulation and stylistic indications in major and minor pentatonic, major, natural Designated work 3 minor and harmonic minor (not blues or Took the Children Away – Archie Roach chromatic). Incorporate at least two challenging Aural and visual analysis of work sections – rhythms/ties/larger intervals. Include examples with chord progressions Discrepancies: treble/bass clef, 4 discrepancies in either pitch or rhythm Aural analysis: recognition of music elements, form, compositional devices, instrumentation, instrumental techniques

Sample course outline | Music – Contemporary | ATAR Year 11 10

Harmony: revise all chords in major and minor Week 11: Task 10 – Theory and composition Week 12 – Task 11: Cultural and historical Week 13: Performance keys test (3%) analysis (3%) Task 8 – Recital practice (3%) Modulation: relative major/minor and  Current trends and the revival of folk in the Melody writing Week 13: Composition Task 5 – dominant in a range of examples ‘roots’ genre  Rhythmic word setting Composition assessment (6%) Rhythmic dictation: 8 bars, all metres, include  Back to ‘What is Folk?’ How does modern folk  Melody writing for given lyrics syncopation and anacrusis relate to 60s folk?  Write an 8 bar melody for a given chord Melodic dictation: 8 bars, treble and bass clef,  Compare modern artists such as Mumford and progression based on scales covered, including chromatic Sons, Iron and Wine, Bon Iver, Ani Di Franco 11–13  Complete an 8 bar melody from a given motif passing notes to older artists such as Woody Guthrie, Composition/arranging Discrepancies: treble/bass clef, 4–8 bars, Leonard Cohen, Joni Mitchell, Simon and  Revise instrumental and vocal techniques 4 discrepancies in both pitch and rhythm Garfunkel.  Revise drum notation, slash notation  Symbols and terminology for tempo, Designated work 4 dynamics, accents and articulation Bridal Train – The Waifs Aural and visual analysis of work Revision of Semester 1 Revision of year’s work Revision of year’s work Revision of Semester 2, using familiar and Performance Task 9 – Performance Revise all scales, intervals and chords Revision for exam: transposition exercises, unfamiliar excerpts, focusing on the designated examination (15%) Modulation: relative major/relative minor and scales, chords, melody writing and arrangement works. Composition portfolio Task 6 – dominant, using a range of examples exercises Submission of final composition 14–15 Rhythmic dictation: all metres, 8 bars portfolio (15%) Melodic dictation: 8 bars, include chromatic passing notes Discrepancies: treble/bass clef, 4–8 bars, 4 discrepancies in both pitch and rhythm 16 Task 12: Semester 2 written examination Task 12: Semester 2 written examination Task 12: Semester 2 written examination

Sample course outline | Music – Contemporary | ATAR Year 11