Year 10 Btec Half Terms 1 and 2: Unit 1 the Music Industry

Year 10 Btec Half Terms 1 and 2: Unit 1 The Music Industry

Learning aim A – Understanding different types of Learning aim B – Understanding job roles in the organisations that make up the music industry music industry

Venues and Live performances Performance/Creative roles Media and other roles • Small and medium local venues • Musician • Music journalist/blogger • Large multi space venues • Composer/songwriter/producer • Broadcaster Health and Safety • Musical director • Software programmer/app • Health and safety in the work place • Live sound technician developer • Responsibility of venues to ensure health and safety of staff and • Roadie • Retail and distribution audience • Instrumental support/guitar • Risk assessments tech/drum tech Employment in the industry • Policies and procedures in relations to health, safety and security • Full time/part time/freelance Production and Promotion Management roles • Permanent/casual • Record companies • Artistic management • Self employed • Music publishing • Venue management • Volunteers • Promoters • Studio management • Broadcasting • Promoter Payment in the industry • Marketing and distribution • Marketing • Contracts/invoices Service companies and agencies • A&R (Artists and Repertoire) • Tax/NI/ • Royalty collection agencies • Fee/negotiation • Artists’ representation Recording roles • Hire companies • Recording studio personnel • Transport companies • Producer Unions • Session musician • Musicians union -MU • Mastering • Equity • Broadcast Entertainment Cinematograph Theatre Union - BECTU How organisations interrelate Year 10 Btec Half Terms 1 and 2: Unit 4 Composition

Composing for commercials Learning aim A – Explore creative stimuli to meet the brief

• Compose 4 short pieces suitable for adverts for the following products: - Perfume/aftershave - Action film/TV series - Soft drink - Computer game Each piece should last approximately 30 seconds.

Composing for commercials Learning aim B – Develop, extend and shape music for performance

• Choose two of your pieces from learning aim A and extend these ideas to create two developed compositions, using compositional devices. Each piece should last between 1 and 1 and a half minutes.

• Then choose ONE of your extended pieces – further develop this to produce a finished work suitable for an advertisement. Your final piece should last between 3 and 4 minutes.

Composing for commercials Learning aim C – Present compositions appropriately • Present your work using as appropriate any of the following: - MIDI recordings, audio files - Standard notation/scores - Tab – guitar tab/drum kit tab - Graphic notation - Lead sheet - Chord chart Year 10 Btec Half Terms 1 and 2: Unit 4 Composition

Glossary: • Unison – all voices play a melody at the same pitch • Octaves – voices play the same melody at their relevant octaves • Melodic fragments – melodic idea • Inversions – chords which do not have the root note in the bass • Rhythmic patterns – rhythmic ideas Structure: • Chords – 1st, 3rd and 5th notes of a scale • Binary - two sections to the piece – A B • Chord progressions – order in which chords change • Ternary - Three sections to the piece – the first being repeated at the end – A • Harmonic systems - sequence of sounds B A • Textures – layering of your music • Rondo - return of an idea – A B A C A D – section A returns in related keys • Riff and hooks – repeated, catchy motifs • Arch - symmetrical – forming an arch – A B C B A • Sound palettes – a mix f sound colours • Ground bass - repeated bass line over which melody is composed • Improvisation - spontaneous – without prior preparation • Introduction – section at the beginning of a piece • Experimentation – trying different methods and ideas • Coda – section at the end of a piece Software: Presentation: • Loops - short sections of track that can be repeated • MIDI files – file format that provides a standardised way for music sequences • Software instruments - computer programme that creates the sound of to be saved instruments • Audio files - a file format for storing digital audio data • Quantizing – using computer programme to place notes in time • Notation - written music on staves using symbols Melodic and harmonic ideas: • Scores – notated music showing all parts, instruments and voices • Repetition - repeated melodic or rhythmic figure • Guitar Tab – notated music specifically for guitar using strings and frets • Sequence – restatement of a motif or melody at a higher or lower pitch in • Drum kit tab – notation specifically for drum kit using the stave and symbols the same voice to represent the different part of the kit • Decoration – added notes – ornaments to add to the interest of the music • Graphic notation - representation of music using visual symbols away form • Variation – material is repeated in an altered form traditional staved notation • Modulation/Changing tonality - change from one tonality to another • Lead sheet – associated with popular music – gives basic information – • Transposition - moving musical material to sound higher or lower usually a single line melody or lyrics with harmony provided through chord • Use of contrast - difference in parts – melodic, harmonic and rhythmic symbols • Inversion – where a melody is re-written upside down • Chord chart - provides structure, harmonic and rhythmic information for a • Retrograde – where a melody is written back to front song using chord symbols and rhythmic notation – similar to a skeleton score • Retrograde inversion – where a melody is written back to front and upside down • Canon – instrument/voices play the same part beginning at different times • Phrasing – a musical sentence • Homophonic - texture based on chords • Polyphonic – 2 or more melodies played at the same time weaving in and out of each other Year 10 Btec Half Terms 3 and 4: Unit 1 The Music Industry

Learning aim A – Understanding different types of Learning aim B – Understanding job roles in the organisations that make up the music industry music industry

Composing for commercials Learning aim B – Develop, extend Glossary: • Polyphonic – 2 or more melodies played at the same time and shape music for performance weaving in and out of each other • Melodic fragments – melodic idea • Unison – all voices play a melody at the same pitch • Choose two of your pieces • Rhythmic patterns – rhythmic ideas • Octaves – voices play the same melody at their relevant octaves from learning aim A and • Chords – 1st, 3rd and 5th notes of a scale • Inversions – chords which do not have the root note in the bass extend these ideas to create • Chord progressions – order in which chords change Structure: two developed • Harmonic systems - • Binary - two sections to the piece – A B compositions, using • Textures – layering of your music • Ternary - Three sections to the piece – the first being repeated at compositional devices. Each • Riff and hooks – repeated, catchy motifs the end – A B A • Rondo - return of an idea – A B A C A D – section A returns in piece should last between 1 • Sound palettes • Improvisation - spontaneous – without prior preparation related keys and 1 and a half minutes. • Experimentation - • Arch - symmetrical – forming an arch – A B C B A Software: • Ground bass - repeated bass line over which melody is composed • Then choose ONE of your • Loops - short sections of track that can be repeated • Introduction – section at the beginning of a piece extended pieces – further • Software instruments - computer programme that creates the • Coda – section at the end of a piece develop this to produce a sound of instruments Presentation: finished work suitable for an • Quantizing – using computer programme to place notes in time • MIDI files – file format that provides a standardised way for music advertisement. Your final Melodic and harmonic ideas: sequences to be saved piece should last between 3 • Repetition - repeated melodic or rhythmic figure • audio files - a file format for storing digital audio data • Notation - written music on staves using symbols and 4 minutes. • Sequence – restatement of a motif or melody at a higher or lower pitch in the same voice • Scores – notated music showing all parts, instruments and voices • Decoration – added notes – ornaments to add to the interest of • Guitar Tab – notated music specifically for guitar using strings and the music frets • Variation – material is repeated in an altered form • Drum kit tab – notation specifically for drum kit using the stave Composing for commercials • Modulation/Changing tonality - change from one tonality to and symbols to represent the different part of the kit Learning aim C – resent another • Graphic notation - representation of music using visual symbols compositions appropriately away form traditional staved notation • Transposition - moving musical material to sound higher or lower • Lead sheet – associated with popular music – gives basic • Present your work using as • Use of contrast - difference in parts – melodic, harmonic and information – usually a single line melody or lyrics with harmony provided through chord symbols appropriate any of the rhythmic • Inversion – where a melody is re-written upside down • Chord chart - provides structure, harmonic and rhythmic following: • Retrograde – where a melody is written back to front information for a song using chord symbols and rhythmic notation • Retrograde inversion – where a melody is written back to front – similar to a skeleton score - MIDI recordings, audio files and upside down - Standard notation/scores • Canon – instrument/voices play the same part beginning at - Tab – guitar tab/drum kit tab different times - Graphic notation • Phrasing – a musical sentence - Lead sheet • Homophonic - texture based on chords - Chord chart Year 10 Btec Half Terms 3 and 4: Unit 2 Managing a Music Product

• Status of the product – full scale/trial/experiment/practice/formal or informal/finished product/demo/master/pre-production master/rehearsal Managing a Music Product • Success criteria – how will you know if it was a success or failure Learning aim A – Plan, develop and deliver a music product • What does the final delivery look like? Is it a press launch for a CD, a show, a presentation to peers? You must plan, develop and deliver ONE of the following: Planning and development activities ▪ A live concert/event ▪ A CD/online product Planning and development activities will vary depending on the nature of the product but will usually include: Planning for a live concert/event • Attending and contributing to and performing or producing at scheduled You will work collaboratively with a team to plan and prepare the work sessions: You will need to consider factors that affect the form and content of live events, - preparations – composing, recording, sequencing music as well as technical and logistical requirements and constraints, including: - rehearsals • Target audience • Artistic intention - productions meetings • Type of venue • Purpose/theme • Carrying out research or development work in response to ideas that arise out • Selection of repertoire of the planning and production process • Venue: size/location/equipment/resources/health and safety • Developing material • Availability and allocation of technical support • Performance work • Time constraints – set up/rehearsals/length • Compositions/arrangements • Availability of performers • Recordings/sequenced music • Awareness of copyright issues • Listening and responding to direction and instructions - from the producer Creating a CD or online product - from the production manager or director You will work collaboratively in a team to prepare for the production of the work. - from peers • You will need to consider factors that affect the nature of the CD/online product, Monitoring the progress of work as well as technical and logistical requirements and constraints, including: - regularly reviewing the progress • target audience • Artistic intention - adjusting plans where necessary in order to meet deadlines and/or achieve • Type of product • Selection of material aims • Choice and availability of studio/equipment/booking studio • Availability of performers/engineers Team working skills and personal management • Time constraints – recording/mixing During your work as part of planning and development teams, you must consider • Awareness of copyright issues and employ appropriate team-working and personal management skills: • Respecting opinions of others • Supporting colleagues • Preparedness to work Delivering a music product • Timekeeping skills • Agreeing and meeting deadlines You must evidence your planning, decision making and development work in the • Bringing the correct equipment realisation and delivery of the chosen product • Adhering to safe working practices at all times • Demonstrating rehearsal discipline You must manage expectations and ensue there is a clear understanding of the end • Being willing to try things out product – this must be agreed by all before the planning begins. • Demonstrating performance or production skills • Format, size and scope of the final concert, event, CD or product • Demonstrating appropriate business etiquette/personal presentation • Timescales involved, milestones and speed required to achieve the desired • Giving and accepting constructive and positive feedback outcome Year 10 Btec Half Terms 5 and 6: Unit 1 The Music Industry

Learning aim A – Understanding different types of Learning aim B – Understanding job roles in the organisations that make up the music industry music industry

Managing a Music Product Managing a Music Product Learning aim B – Promote a music product Learning aim C – Review the management of a music product Promoting practice You should review work you have done and that completed by Music is promoted using a variety of techniques and tools that your peers and others who have contributed to your product. constantly change and develop into newer and fresher ideas. Consider the purpose of planning and the preparation process You should consider: to review: • What is promotion? • The strengths/weaknesses of the process • What is promotion for and how do you know when it has • The effectiveness of planning – e.g. sufficient time to prepare been successful? • The management of professional relationships • What strategies are being used in the music industry at the • The use of resources moment? • Individual and team contributions to the process • Why do some promotion strategies succeed and others fail? • How planning was affected and changed as a result of the • Developments in online methods: large organisations(e.g. creative process Amazon), social networking (e.g. Facebook), streaming (e.g. You should also review the musical product and make Spotify) and mobile services (e.g. IOS/Android) suggestions for improvement/development in terms of future Promotional pack projects: You must develop material to be included in a promotional • Artistic merits pack for your chosen music product: • Strengths and weaknesses of the final product • CD – Cd case/magazine advert/press release/radio • Audience/customer response advert/website. • Concert – press release/magazine advert/posters/radio advert/merchandise • Online product – website/web adverts/banners/magazine advert/radio advert/press release You must individually produce at least one element of the promotional pack Year 10 GCSE Half Terms 1 and 2:

• Component 3 – Composition - Compositional devices: Component 1 –Understanding Music – AoS 2Popular Rhythm and Metre Music e.g. simple time/regular Music of Broadway 1950s to 1990s tempo/semibreves/minims/crotchets/quavers Rock Music of 1960s and 1970s Texture and melody Films and computer gaming music 1990s to present e.g. single line melody/unison/octaves/homophonic texture/riff Structure and form e.g. binary/ternary/strophic/ground bass/popular song Component 1 –Understanding Music – AoS2 Popular form/twelve bar blues Music Harmony and Tonality Study works – Sgt Pepper’s Lonely Hearts Clun Band – Lucy e.g. major and minor chords/perfect and imperfect in the Sky with Diamonds cadences/major tonality/pedal • Structure Timbre and dynamics • Instrumentation e.g. single and/or group instrumental/vocal or • Key signatures synthesised/computer generated sounds/balance in dynamics • Time signatures Phrasing and Articulation • Metre e.g. legato/staccato/slurring • ADT • Melody • Harmony

Component 2 – Performance • Preparation of solo performances – either one or more pieces of up to 2 minutes focusing on exam board criteria • Preparation of ensemble performances – either one or more pieces of up to 2 minutes focusing on exam board criteria Criteria for each performance: Level of Demand Technical control – accuracy of pitch, rhythm, intonation and fluency Expression and articulation – ability to demonstrate expression and interpretation and sense of style appropriate to the piece and as directed by the composer Year 10 GCSE Half Terms 1 and 2:

Glossary: • Melody Riff – a short repeated phrase Slide guitar/bottleneck – steel tube placed over multiple strings to produce a Pitch – high/low smooth sound Melisma – a group of notes sung to one syllable of a text Drum kit components: Hook – a short musical idea repeated to be catchy Rim shot – striking the rim of the drum and the head at the same time Slide – rapid run of notes Rim click – striking the rim of the drum whilst dampening the skin Glissando – glide from one pitch to another Vocal timbres: Improvisation – spontaneous – without prior preparation Falsetto – singing outside the normal vocal range Ostinato – a continually repeated musical phrase or theme Belt – a controlled yell Blue notes – flattened 3rd, 5th and 7th notes Rap – emphasising rhyme and rhythm • Harmony Beat-boxing – vocal percussion Power chords- root, 5th and 8ve Scat singing – improvisation with wordless syllables Chord symbols – Key and roman numeral (C/I) Instrumental techniques: Chord progressions – order of chords – e.g. I, IV, V, VI Slap bass – producing percussive sound on string instruments • Tonality Instrumental effects: Pentatonic – 5 notes per octave Distortion – increasing the gain on amplified sounds to sound fuzzy Modal – diatonic scales which are neither major or minor – associated with Amplification – increasing the signal and volume the 8 church modes Recording techniques: Blues scale – including blues notes – flattened 3rd, 5th and 7th ADT – Automatic double tracking – enhances tracks by delaying the original • Structure copy intro-/outro – beginning or ending DIT – Direct Input Transformer – improves sound quality Verse – music the same – change of lyrics Tempo, metre and rhythm: Chorus – music and lyrics the same Bpm – beats per minute Break – instrumental or drum solo Mm – metronome marking 12 bar blues – 12 bar format using chords I, IV and V Groove – a pronounced enjoyable, repeated rhythm Drum fill – short break in the groove – filling in the gaps Backbeat – a strong accent on a normally unaccented beat of the bar • Sonority/Timbre Syncopation – stressing the normally unaccented beats band instruments – typically used in Pop bands Off-beat – weak beats Specialist instruments – more traditional e.g. sitar/diruba Shuffle – rhythm based on triplet subdivision Instrumental techniques: Swing/swung – dotted rhythm typical of jazz Palm mute – muting strings with palm near the bridge Pitch bend – changing the pitch electronically Hammer-on – changing the pitch by applying pressure on a fret Pull-off – changing the pitch by removing fingers from the fret board Year 10 GCSE Half Terms 3 and 4:

• Component 3 – Composition - Compositional devices: • Component 1 –Understanding Music – AoS2 Popular Rhythm and Metre Music e.g. simple and compound time/regular Film and Computer Gaming 1990s to present tempo/semibreves/minims/crotchets/quavers/semiquavers Pop music 1990s to present Texture and melody e.g. single line melody/unison/octaves/homophonic • Component 1 –Understanding Music – AoS3 texture/riff/ostinato Traditional Music Structure and form Blues music from 1920-1950 e.g. binary/ternary/strophic/through composed/ground Fusion music incorporating African and/or Caribbean music bass/popular song form/twelve bar blues Harmony and Tonality • Component 1 –Understanding Music – AoS2 Popular e.g. major and minor chords/perfect and imperfect Music cadences/major tonality/pedal Study works – Sgt Pepper’s Lonely Hearts Clun Band – Within Timbre and dynamics You, Without You: e.g. single instrumental, vocal or synthesised/computer • Structure Tonality generated sounds/groups instrumental, vocal or • Instrumentation Harmony synthesised/computer generated sounds/changes in dynamics • Recording techniques Vocals Phrasing and Articulation • Metre Melody e.g. legato/staccato/accent/slurring/arco/pizzicato/tonguing Component 2 – Performance • Preparation of solo performances – either one or more pieces of up to 2 minutes focusing on exam board criteria • Preparation of ensemble performances – either one or more pieces of up to 2 minutes focusing on exam board criteria Criteria for each performance: Level of Demand Technical control – accuracy of pitch, rhythm, intonation and fluency Expression and articulation – ability to demonstrate expression and interpretation and sense of style appropriate to the piece and as directed by the composer Year 10 GCSE Half Terms 3 and 4: Glossary: Plus glossary from term 1

• Melody – (usually by increasing the gain) Blue notes – flattened 3rd, 5th and 7th notes Chorus – applied through MIDI – thickens the sound Pentatonic – scale with 5 notes per octave Drone – a note or chord is consistently sounded through all or most of the piece Whole tone – each note separated by one whole tone Vocal techniques: Modal - diatonic scales which are neither major or minor – associated with the 8 Falsetto – singing outside the normal vocal range church modes Vibrato – pulsating change of pitch Slide– rapid run of notes Rap – emphasising rhyme and rhythm Glissando– glide from one pitch to another Texture: Portamento – pitch sliding from one note to another A cappella – without instrumental accompaniment Pitch Bend - changing the pitch electronically Imitative – repetition of melody in polyphonic texture Appoggiaturas – delaying a note in a melody by introducing a note before it Layering/layered – several sounds are stacked on top of each other producing a Ostinato– a continually repeated musical phrase or theme thicker effect Riff - a short repeated phrase Tempo, metre and rhythm: Melody-scat Irregular rhythms – do not fit into normal duple, triple or quadruple times Melisma – a group of notes sung to one syllable of a text Irregular time signatures – e.g. 5/4,7/4,5/8.7/8 – where bars are made up of 2 and Improvisation– spontaneous – without prior preparation 3 beat patterns • Tonality Free – no definite metre or pulse Pentatonic – 5 notes per octave Skank – associated with ska and reggae – emphasis on weaker 2nd and 4th beats Modal – diatonic scales which are neither major or minor – associated with the 8 Bubble – typically associated with reggae organ/piano – right hand plays on beats 2 church modes and 4 – left hand plays all upbeats ( all the ‘ands’) • Structure Clave – syncopated rhythmic pattern associated with Afro-Cuban music such as: Strophic – song structure when each verse (strophe) of the text is sung to the same rumba, conga, son, mambo, salsa and Afro-Cuban Jazz musical tune Augmentation – melody or rhythm repeated with notes of a longer duration Verse and chorus – song structure built around two repeating sections – the chorus Diminution – melody or rhythm repeated with notes of a shorter duration if which repeats lyrics and melody Anacrusis – note/motif precedes the downbeat Cyclic – multiple themes/movements in which material occurs in more than one Hemiola – 2 groups of 3 beats are replaced by 3 groups of 2 beats giving the effect Call and response – question and answer format of changing between triple and duple metre Popular song forms – generally constructed of verse/chorus/bridge/pre- Bi-rhythm – a specific type of polyrhythm consisting of two independent rhythms chorus/instrumental/intro/outro sections played simultaneously 12/16 bar blues – 12/16 bar format using chords I, IV and V Cross rhythm – two different rhythms are played at the same time – usually • Sonority/Timbre contrasting in some way – e.g. triple metre against duple metre World music instruments – e.ge steel drums Polyrhythm – a polyrhythmic texture is created when 2 or more rhythms are Technology, synthesised and computer generated sounds – played at the same time – usually in African and Afro-Cuban music Sampling techniques: Shuffle beat -rhythm based on triplet subdivision Reverb – a musical effect produced by electronic equipment in which a sound is Backbeat -a strong accent on a normally unaccented beat of the bar repeated like an echo Syncopation -stressing the normally unaccented beats Distortion – alters the sound of amplified instruments to produce a ‘fuzzy’ sound Off-beat –weak beats Year 10 GCSE Half Terms 5 and 6:

• Component 3 – Composition - Compositional devices: • Component 1 –Understanding Music – AoS3 Rhythm and Metre Traditional Music e.g. simple and compound time/change of metre/syncopation Fusion music incorporating African and/or Caribbean music /semibreves/minims/crotchets/quavers/semiquavers/dotted Contemporary Latin music rhythms/triplets Contemporary folk music of the British Isles Texture and melody e.g. single line melody/unison/octaves/homophonic texture/ornamentation/riff/ostinato/imitation/canon Structure and form • Component 1 –Understanding Music – AoS2 Popular e.g. binary/ternary/strophic/through composed/ground Music bass/popular song form/twelve bar blues/theme and variations Study works – Sgt Pepper’s Lonely Hearts Clun Band – With a Harmony and Tonality Little Help from my friends e.g. major and minor chords/perfect, plagal, interrupted and imperfect cadences/major and minor tonality/inverted chords/pedal or drone/chromatic harmony • Structure Tonality Timbre and dynamics • Instrumentation Harmony e.g. single instruments and/or voices/instrumental groupings and • Recording techniques Vocals /or vocal groupings/synthesised/computer generated • Metre Melody sounds/crescendo and diminuendo/vibrato/falsetto Phrasing and Articulation e.g. legato/staccato/accent/slurring/arco/pizzicato/tonguing

• Component 2 – Performance Preparation of solo performances – either one or more pieces of up to 2 minutes focusing on exam board criteria Preparation of ensemble performances – either one or more pieces of up to 2 minutes focusing on exam board criteria Criteria for each performance: Level of Demand Technical control – accuracy of pitch, rhythm, intonation and fluency Expression and articulation – ability to demonstrate expression and interpretation and sense of style appropriate to the piece and as directed by the composer Year 10 GCSE Half Terms 5 and 6: