SAMPLE COURSE OUTLINE

MUSIC – ATAR YEAR 12

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Sample course outline Music – ATAR Year 12

Unit 3 – Jazz – Be-Bop

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Use designated works and support material for Theory Include visual and aural analysis tasks and Distribute technical lists and integrated aural/composition tasks based on the • identify and write scales and intervals in treble comparative analysis with unfamiliar works to recommended repertoire from styles studied. and bass clef in major and minor keys up to five reinforce teaching of music styles and associated the Instrumental Resource sharps and five flats characteristics Package. Sight singing • rhythm exercises in simple and compound • to be continued consistently throughout the Introduction to Be-Bop time; regrouping, writing and performing Outline assessment requirements semester. Examples in both treble and bass clef compound rhythmic canons Supportive listening for the semester in consultation based on scales and intervals stipulated • ths ths ths ths common extensions (6 , 7 , maj 7 , 9 ) Salt Peanuts (, 1947) with instrumental teachers Scales Chords https://www.youtube.com/watch?v=kOmA8LOw258 and/or composition portfolio

• major pentatonic, minor pentatonic, major, • identify and write major and minor dominant supervisors. th Bouncin’ with Bud (Bud Powell, 1949) natural minor (aeolian), blues 7 chords in root position http://www.youtube.com/watch?v=0t5gbhk4l7k&feat • key signatures up to and including two sharps • harmonic analysis of sample scores and ure=BFa&list=TLBs8j-omHrK4&lf=artistob and two flats harmonising a melody Designated work listening Score analysis Intervals Confirmation by • • forms: binary (AB), call/response, ternary 1–3 m2, M2, m3, M3, P4, P5, m6, M6, m7, M7, P8ve https://www.youtube.com/watch?v=yXK0pZx92MU (melodic only) (ABA)/popular song form (AABA), rondo (ABACA), 12 bar blues Focus/discuss Melodic dictation • song sections: bridge, chorus, head, intro, Analysis of suggested listening from the perspectives of • 4–8 bars, treble and bass clef, up to two sharps outro/coda, shout chorus, solo and verse harmonic structure, form and melody. and two flats, based on scales covered. Rhythm • articulations: staccato, slur, scoop, bend, • defining characteristics of rhythm section styles, and some pitch provided fall-off, shake/tremolo/vibrato, glissando including piano/guitar comping, the role and use of Harmony • signs/symbols: fine, coda, dal segno, D.C. al the drum kit and the development of bass lines Roman numerals coda, D.S. al coda, repeat signs, 1st and 2nd • defining characteristics of individual composers, 7 time repeats, pause/fermata • major: I, ii, IV, V, V and vi including: Chord names (as indicated in C tonalities) Rhythm writing . instrumentation • major: C, Dmi, F, G, G7, Ami • write, interpret and perform 4–8 bar rhythm . colouristic effects – timbral, instrumental, • standard progression patterns using percussion clef and drum kit different articulations 7 . ii – V7 – IMa7 notation . the role of improvisation in the compositional • write style specific parts for a standard Jazz process and the difference between highly rhythm section arranged and highly improvised compositions

Sample course outline | Music – Jazz| ATAR Year 12 2

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Rhythmic dictation: Modulation • defining characteristics of individual musicians • 4–8 bars, simple metre rhythms, including: • to the relative major . instrument/s • to the relative minor . timbre-quality and type of sound, use of mutes th and • up a 4 and/or effects . identifiable traits of improvisatory style as seen in the use of rhythm, melody, harmony and range , , , , , . specific instrumental techniques appropriate to the style/era and repertoire, including virtuosity, , , and left hand piano comping and drumming styles Skeleton score/Aural analysis (‘dropping bombs’ etc.) • form, repeat signs, first and second time bars . influential recordings/performances . compare and contrast suggested listening with Modulations the designated work • to the relative major • to the relative minor • up a 4th • sing and aurally identify circle of 4ths, ascending or descending to the 4th degree Scales Theory Designated work listening • add harmonic minor, melodic minor and Jazz • identify and write harmonic minor, melodic Ornithology (Charlie Parker) minor minor and jazz minor scales in treble and bass https://www.youtube.com/watch?v=fsAMAIaas94 clef in keys up to and including five sharps and Intervals five flats How High The Moon by Morgan Lewis, performed by • add A4/D5/tritone to melodic intervals • rests Ella Fitzgerald • harmonic intervals: P4, P5, P8 https://www.youtube.com/watch?v=2d-l7_TGnIE , Harmony – history of the chord progression Melody and rhythm writing • 7 7 7th recognition of major , minor and dominant • given the lyrics, create an appropriate rhythm Focus/discuss chords in isolation • 4–6 and melody contrafact tunes and the Be-Bop era Modulation • create/write 8–12 bar melody for a given • melodic improvisation techniques • chord structure • surrounding techniques relative major/minor and dominant • Rhythmic dictation Chords arpeggios • Jazz chord nomenclature: +, -, O, Ø, ∆ • guide tones • guide tones • tempo – extremely fast tempos that allow for • simple time: , , • passing notes (diatonic and chromatic) virtuosic improvisation • identify and write perfect and plagal cadences • compound time: , , basic rhythms and instrumentation – the interactive rhythm section for • suspensions (Sus2 and Sus4) Be-Bop rests and ,

Sample course outline | Music – Jazz | ATAR Year 12 3

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Melodic dictation Standard progressions • 4–8 bars, treble and bass clef, some rhythm • key signatures up to five sharps and five flats provided, include chromatic passing notes • 4–8 bars • Chord progressions Roman numerals and chord names where appropriate • add minor chords 7 7 Ma7 Ma6 Ma6/9 7 • major: ii – V – I (I , I ) . i, iv, V and V 7 7 7 7 Ma7 7 . iii – vi – ii – V – I . Ami, Dmi, E and E Ma6 Ma6/9 (I , I ), ‘turnaround’ • Ma7 7 Ma7 Ma6 Ma6/9 perfect and plagal cadences . IV – V – I (I , I ) Discrepancies • minor: ii7(♭5) – V7(♭9) – i6 • treble/bass clef, 4 bars • circle of fourths chord progression • four discrepancies in either pitch or rhythm • variation and expansion of the major 12 bar Aural analysis: recognition of music elements in blues progression (chords per bar shown in C) short extracts . C7, C7 C7, C7, F7, F7, C7 C7, G7, F7, C7, C7 • form/structure . C7, F7, C7, C7, F7, F7, C7, A7, Dmi7, G7, C7, (G7) . binary/AB, call/response, ternary/ABA, Accompaniment writing popular song form/AABA, 12 bar blues • harmonise given melodies and write • song sections accompaniments for keyboard, electric or . verse, bridge, chorus, head/tag, turnaround, double bass intro, outro/coda, solo • create appropriate guide tones to a given • signs/symbols chord progression . fine, coda, dal segno, D.C. al coda, D.S. al coda, repeat signs, 1st and 2nd time bars Task 1: Aural test (6%) Task 2: Theory test (3%) Complete analysis of first designated work. 7 (Distribute Task 4: Melody and accompaniment Comparative visual and aural analysis tasks. writing (4%) due in Week 12) Sight singing Theory Task 3: Unseen analysis (4%) Week 9 Task 1: Performance – Prepared

• call and response in scales and modes studied • identify and write ionian, aeolian, dorian and repertoire (4%) Week 8 Supportive listening • guide tone lines mixolydian modes and Be-Bop scale (Charlie Parker – Dial) and OR • rhythmic tasks; regrouping, regular and Scales/modes (Sonny Rollins, 1954) 8–10 irregular subdivisions, rhythmic scansion of Task 1: Composition portfolio – • http://www.youtube.com/watch?v=MgZVT2m0ziY&fea add dorian and mixolydian given text Composition assessment (8%) • major and minor Be-Bop scale (extension ture=artistob&playnext=1&list=TLfaPlS7AmTUc • use of Jazz specific terminology ‘substitutions’, Week 8 activity, using designated and related works) ‘turnarounds’ and ‘rhythm changes’

Sample course outline | Music – Jazz | ATAR Year 12 4

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Intervals Chords and chord progressions • analyse and discuss the harmonic structure of • all melodic intervals in isolation or as part of a • rhythm changes A Night in Tunisia th melodic excerpt, add 9 • Jazz chord nomenclature: +, -, O, Ø, ∆ http://www.bing.com/videos/search?q=Night+in+Tu • add m2, M2, m3, M3, to harmonic intervals • primary, secondary triads in root and first nisia&qpvt=Night+in+Tunisia&FORM=VDRE# 7 7 7 Ma7 7 Chord progressions inversion: I, I , ii, ii , iii, iii , IV, IV , V, V , vi Latin music and its influence on Be-Bop – the role of Ma Ma 7 • major: add iii, Ib, I 7, IV 7 and vi the drums/percussion • minor: add VI • Standard progressions . Discuss and analyse the rhythmic characteristics • standard progressions Roman numerals and chord names where 7 7 Ma7 appropriate evident in the melody Oleo by Sonny Rollins . ii – V – I Ma Ma o major: iii7 – VI7 – ii7 – V7 – I 6 (I 7, Compare and contrast Anthropology and Oleo • add interrupted cadences in major and minor Ma6/9 keys I ) Musical characteristics 7 7 7 7 Ma6 Ma7 Ma6/9 • circle of fourths o iii – ♭III – ii – V – I (I , I ) • improvisation

7( 5) 7( 9) 6 th Rhythmic dictation o minor: ii ♭ – V ♭ – i • chord extensions past the 7 • 8 bars, simple time: • construction of substitution chords as follows: • syncopated rhythms . ii7 – V7 – I • chordal additions and substitutions in harmony add , , , 7(♭5) 7 • adaptation and development of form and structure . ii – V – i 7 7 • compound time: , add: . ii – ♭II – I Designated work listening 8–10 Epistrophy (Thelonious Monk) , , Melody writing https://www.youtube.com/watch?v=dZ9El7k4mNo • create an appropriate rhythm pattern and , , melody to given lyrics • write an 8–12 bar guide tone melody to a given Melodic dictation chord progression • 8 bars, treble and bass clef, up to two sharps and two flats, based on scales covered Lead sheet, accompaniment writing and • include chromatic passing notes, flat 7th and arranging natural 7th as per Be-Bop scale • lead sheet writing using Jazz conventions and

Discrepancies nomenclature • treble/bass clef • 1–2 bar patterns for drum notation • four discrepancies in either pitch or rhythm incorporating the full kit and various auxiliary percussion instruments Modulation • realise a lead sheet for a full rhythm section • up one tone and down one tone (piano, bass, drum kit and guitar) Task 2: Performance – Sight Aural analysis reading or Improvisation (5%) • recognition of music elements, form, Week 10 compositional devices, instrumentation and instrumental techniques

Sample course outline | Music – Jazz | ATAR Year 12 5

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Task 5: Aural analysis test (6%) Week 12 Task 4: Melody and accompaniment writing (4%) Task 6: Cultural and historical analysis (6%) Task 3: Performance – Recital Week 12 Week 13 practice (6%) Week 13 Scales • add chromatic scale Theory Continue review and analysis of the designated works. OR • identify and write chromatic scales, discussing Intervals Review the key characteristics of Be-Bop from the Task 2: Composition portfolio – double sharps, double flats and enharmonic • all melodic intervals in isolation or as part of a following perspective: Presentation of selected equivalents melodic excerpt • melody compositions (12%) Week 13 • rhythm tasks, including; double time, half time, • add m6, M6, m7, M7 to harmonic intervals • harmony augmentation, diminution, hemiola, • rhythm Chord progressions anticipation and syncopation. 7 7 7 • form • major: add ii , iii , vi and VI • identification and writing of perfect, plagal, • socio-economic factors • standard progressions interrupted and imperfect cadences in piano Ma7 7 Ma7 • rebellion of Be-Bop players . IV – V – I and vocal style in major and minor keys 7 7 7 7 Ma7 • move from dance music to listening music . iii – vi – ii – V – I • recognise modulations to the relative major • passing notes and minor, dominant, subdominant up a tone Supportive listening • add imperfect cadences and down a tone in a range of examples 1. Round Midnight (Thelonious Monk) https://www.youtube.com/watch?v=-yg7aZpIXRI Modulation Chords and chord progressions • th th • 11–13 up a 4 (subdominant), up a 5 (dominant) continue analysis and harmonisation tasks 2. Anthropology (Charlie Parker/Dizzy Rhythmic dictation • variation and expansion of the standard Be-Bop Gillespie) https://www.youtube.com/watch?v=AMuI forms of Blues, AABA, contrafaction tUv9xZc • compound: , • rhythm changes chord progression 3. Groovin’ High (Dizzy • circle of fourths chord progression Gillespie) https://www.youtube.com/watch?v=oslM , , , • altered chords FOeFoLI Melodic dictation • guide tones • chromatic passing notes, combination of • passing notes and suspensions melodic and harmonic dictations • tritone substitution and application

Discrepancies Melody and rhythm writing • treble/bass clef, 4–8 bars, • compose an 8–12 bar Be-Bop melody using a • four discrepancies in both pitch and rhythm contrafacted chord progression . piece is to contain standard Be-Bop Skeleton score techniques such as surround technique, • compositional devices, dictations, chords, tonic avoidance, motivic variation etc. cadences . notation-based and in lead sheet style • style specific parts for all rhythm section instruments

Sample course outline | Music – Jazz | ATAR Year 12 6

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Arranging • arranging and transposing using B flat and E flat instruments • arranging from a given lead sheet and/or piano score for a specified ensemble, 4–8 bars Revise all scales and intervals Revision of Semester 1 work for exams Revision of Semester 1: the development of Task 4: Performance – Be-Bop using familiar and unfamiliar excerpts, Instrumental teacher report (3%) Modulation focusing on the designated works. Week 14 • relative major/relative minor and dominant using a range of examples What comes next? Bridging between the Be-Bop era Task 5: Performance – Rhythmic dictation and the Hard Bop Era Performance examination (30%) • simple metres: 8 bars, including syncopation • Week 15 introduce Cool School Jazz, discussing key stylistic and anacrusis and musical characteristics, composers and OR • compound metres: 8 bars, including anacrusis performers and listen to representative works Task 3: Composition portfolio – • irregular metres for dictations, imitations, • compare Cool School with Be-Bop and Hard Bop, partial submission of composition call/responses and discrepancies noting similarities and differences, and investigate portfolio (30%) Week 15 West Coast and East Coast styles

, , , • discuss the orchestration, characteristics of the ensemble formats and improvisation techniques Melodic dictation used 14–15 • 8 bars, include chromatic passing notes • discuss the simultaneous presence of numerous Jazz Chord progressions styles being performed in the 1950s by different Jazz • continue with all chords, focusing on artists (Hard Bop, Cool School, Be-Bop, Big Band and inversions and minor blues progressions Swing) and identify the main characteristics of each through comparative listening tasks Discrepancies • treble/bass clef, 4–8 bars West Coast Cool • four discrepancies in both pitch and rhythm 1. Boplicity (Miles Davis) https://www.youtube.com/watch?v=KTVvz6YwQw0 Aural analysis • recognition of music elements, form, 2. Round Midnight (Art Pepper plus 11) compositional devices, instrumentation, https://www.youtube.com/watch?v=Rsky6BNWxAk instrumental techniques and special effects 3. Blues for Pablo (Miles Davis and Gil Evans) https://www.youtube.com/watch?v=FoU1drxfdYM

Sample course outline | Music – Jazz | ATAR Year 12 7

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio East Coast Cool 1. Bernie’s Tune (Gerry Mulligan) https://www.youtube.com/watch?v=RmZSrY6CAX8

2. Take Five (Dave Brubeck) https://www.youtube.com/watch?v=PHdU5sHigYQ

3. You Don’t Know What Love Is (Chet Baker)

https://www.youtube.com/watch?v=h-mxK5Vwid0

From Cool to Modal 1. So What (Miles Davis) https://www.youtube.com/watch?v=zqNTltOGh5c

2. Blue Train (John Coltrane) https://www.youtube.com/watch?v=S1GrP6thz-k Exam Task 4: Semester 1 written examination (20%) week

Sample course outline | Music – Jazz | ATAR Year 12 8

Unit 4 – Jazz – Hard Bop/Cool School

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Use suggested works and supportive material for Theory Include visual and aural analysis tasks and Outline assessment requirements integrated aural/composition tasks based on the • identify and write all intervals and scales comparative analysis with unfamiliar works to for the semester in consultation genres studied. covered in isolation or as part of an excerpt reinforce teaching of music styles and associated with instrumental teachers

• key signatures up to and including characteristics and/or composition portfolio Sight singing six sharps and six flats supervisors. • to be continued consistently throughout the • discuss the simultaneous presence of numerous • semester. Examples to be based on scales, rhythmic exercises: irregular time signatures, Jazz styles being performed in the 1950s by modes and intervals stipulated groupings and subdivisions, rhythmic different Jazz artists (Hard Bop, Cool School, regrouping, word setting, including: Be-Bop, Big Band and Swing) and identify the main Intervals characteristics of each through comparative • sing and aurally identify all melodic intervals , , and listening tasks ascending and descending, including A4/D5 Harmonisation within the range of an octave, in isolation or as Designated Work 1 and 2 listening • analyse chord progressions and standard • Subconcious-Lee (Lee Konitz) part of a melodic excerpt progressions in score excerpts from works https://www.youtube.com/watch?v=QQMSPEi6WPc Scales studied in Hard Bop/Cool School style • major pentatonic, minor pentatonic, major, • harmonise given melodies at phrase endings • Moanin’ (Art Blakey and the Jazz Messengers) 1–3 natural minor, harmonic minor and blues using four part cadences https://www.youtube.com/watch?v=ynZDm50EgBY

• ionian and aeolian modes • harmonise given melodies • analysis of suggested listening from the Melodic dictation Transposition perspective of harmonic structure, form and • 8 bars, treble and bass clef, starting note and • transposition and arrangement tasks melody

some rhythm provided . clef to clef (treble and bass) Supportive listening • key signatures up to three sharps and flats, . B flat and E flat instruments • Caravan (Art Blakey and the Jazz Messengers, based on scales stipulated 1963) Melody writing Pitch discrepancies • Create an appropriate 8–12 bar rhythm and • Worksong (Nat and Cannonball Adderley, 1960) • pitch (including key signature and tonality) melody for given lyrics . at least four pitch discrepancies in a short musical example

Rhythmic discrepancies • rhythm (including time signature) . at least four rhythmic discrepancies in a short musical example

Sample course outline | Music – Jazz | ATAR Year 12 9

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Rhythmic dictation • simple metre time signatures and rhythms for dictations: or

• compound time

Chords and chord progressions 7( 5 7( 9 • major7, minor7, minor ♭ ), dom7, dom ♭ )

• 4–8 bars, major key signatures up to three sharps and three flats . Roman numerals Ma7 7 7 o I, I , ii, ii , IV, V, V and vi . chord names (as indicated in C tonalities) Ma7 7 7 o C, C , Dmi, Dmi , F, G, G and Ami • perfect and plagal cadences in major keys

Modulations • to the relative major/minor and dominant Intervals Theory • discuss the role of vocal Jazz and its place in Cool Task 6: Performance – Technical • all melodic and harmonic intervals, including • identify and write Jazz minor and modes School work (5%) Week 5 A4/D5 • Jazz chord nomenclature: +, -, O, Ø, ∆ • investigate the Jazz Ballad and discuss the various

Scales Melody writing roles of the rhythm section • compare and contrast the first two designated • add Jazz minor and melodic minor • from a given motif, 8–12 bars in major or minor works and highlight the major differences between • mixolydian and dorian mode keys, in simple time and compound time • for a given chord structure, 8–12 bars Hard Bop and Cool School from a cultural and Chord progressions historical perspective. The analysis could be 4–6 • for given guide tone lines, 8–12 bars, in major or • 4–8 bars, key signatures up to three sharps and minor keys, in simple time and compound time categorised according to the following headings: . three flats Harmonisation melody, rhythm and harmony • . add the following chords to major progressions; • analysing a given big band score instrumentation and orchestration . Roman numerals . improvisation-defining instrumental 7 7 • creating a riff and a standard variation of the o iii, iii and vi riff, 2–4 bars, to a given melody or chord characteristics . chord names (as indicated in C tonalities) . socio-economic factors 7 7 structure o Emi, Emi and Ami . rebellion against the Be-Bop style of playing . shift from dance music to listening music

Sample course outline | Music – Jazz | ATAR Year 12 10

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio • include the following minor chords: Analysis and accompaniment writing . move to attract a wider commercial audience . Roman numerals • recognise compositional devices, and regain some market share against the o i, i7, iv, V, V7 and VI instrumentation and instrumental techniques, emerging Rock & Roll styles . chord names (as indicated in C tonalities) Jazz conventions and nomenclature in score • discuss historical and social characteristics that 7 7 o Ami, Ami , Dmi, E, E and F analysis tasks, using familiar and unseen influenced composers and performers of the time • standard progressions extracts and contributed to the development of the style 7 Ma7 . ii – V7 – i • creating appropriate guide tones to a given • continue comparative analysis of representative Ma7 7 Ma7 . IV – V – I chord progression, up to 8 bars in major and works from the perspective of harmonic structure, minor keys Modulation form, melody, instrumentation and orchestration • analyse accompaniment styles in a range of • comparative aural and visual analysis of selected • add to the subdominant works works, identifying the role and use of the elements Melodic dictation • harmonise a given melody and write a suitable of music, stylistic conventions, instrumentation • 8 bars, treble or bass clef accompaniment for either keyboard or bass and orchestration • key signatures up to three sharps and flats, based on scales covered • starting note given, no rhythm provided

Rhythmic dictation • simple time – include the following rhythms:

, , , ,

• compound time – include and the following rhythms:

, , ,

, , ,

, , ,

Discrepancies • combination of rhythm and pitch • at least four discrepancies in a short musical example

Sample course outline | Music – Jazz | ATAR Year 12 11

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Aural analysis recognition of music elements in short extracts

(form, metre, dynamics/expressive devices, tempo, instrumentation) Task 8: Aural analysis test (5%) Chords and chord progressions Designated Work 3 • • identify and analyse passing notes (diatonic and listen to Giant Steps (John Coltrane) chromatic) and suspensions in short musical https://www.youtube.com/watch?v=30FTr6G53VU extracts (extracts from the designated works or • discuss historical and social characteristics that related works may be used) influenced composers and performers of the time • altered and augmented chords and contributed to the development of the style • 7 modal interchange • continue comparative analysis of representative works from the perspective of harmonic structure, form, melody, instrumentation and orchestration • comparative aural and visual analysis of selected works, identifying the role and use of the elements of music, stylistic conventions, instrumentation and orchestration Scales Task 10: Theory and composition (4%) Week 8 Task 9: Aural and visual analysis (4%) Week 8 Task 4: Composition portfolio – • revise chromatic scale Theory and score analysis Composition assessment (5%) Designated Work 4 Week 8 • identify and write all scales and modes and Melodic dictation • listen to Maiden Voyage (Herbie intervals in isolation and as part of an excerpt Task 7: Performance – • 8 bars, treble or bass clef, starting note given Hancock) https://www.youtube.com/watch?v=hwmR • Performance of prepared • key signatures up to three sharps and three flats, identify modulations to the relative major, Q0PBtXU based on scales and modes covered relative minor, dominant and subdominant in a repertoire (3%) Week 9 • • incorporate syncopation, some larger intervallic range of examples discuss historical and social characteristics that 8–10 leaps and chromatic passing notes • identify accents, articulation, ornamentation influenced composers and performers of the time and Jazz chord nomenclature and contributed to the development of the style Discrepancies • identify rhythmic devices and effects such as • continue comparative analysis of representative • combination of rhythm and pitch syncopation, polyrhythms, cross rhythms and works from the perspective of harmonic structure, • at least four discrepancies in a short musical hemiola in a range of examples form, melody, instrumentation and orchestration example • include metre changes and mixed metre examples

Sample course outline | Music – Jazz | ATAR Year 12 12

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Rhythmic dictation Chords and chord progressions • simple time – include the following rhythms: • identify and write all four cadence types in isolation and as part of a progression in , keyboard and four part vocal style • identification and replication of turnaround • compound time – include , and the phrases, including: following rhythms: . ii, V, I . ii, vi, ii, V , , . IV, vii, iii, vi, ii, V in major and minor keys • 8 bars, all time signatures and rhythms, including • circle of fourths and rhythm changes chord rests and some syncopation progressions Chords and chord progressions Arranging • 4–8 bars, key signatures up to three sharps and • transcribing for piano, from a given lead sheet three flats Ma7 and/or specified ensemble, which may include • add Ib, Ic, IV and VI, to major chord transposing instruments for four or more parts, progressions 4–8 bars • add ib and ic to minor progressions • identifying, analysing and using instrumental • add to standard progressions 7 7 7 7 Ma7 devices and techniques for small Jazz ensembles . iii – vi – ii – V – I • add interrupted and imperfect cadences in major Rhythm section writing and minor keys • realising and composing appropriate and stylistic scores/charts for a standard Jazz Modulations rhythm section, 8–12 bars • include up a tone and down a tone

Aural analysis • recognition of music elements, compositional devices – including retrograde, instrumentation and instrumental techniques in short extracts Scales Task 11: Composition and arranging (4%) Week 13 Supportive listening and analysis • revise all scales and modes in isolation and as Chords and chord progressions • One Finger Snap (Herbie Hancock, 1964) part of melodic excerpts • Blue Train (John Coltrane, 1956) • variation and expansion of the 12 bar blues and Intervals minor blues progressions, rhythm changes • Freddie Freeloader (Miles Davis, 1959) 11–13 • revise all intervals in isolation and as part of chord progressions melodic excerpts focussing on harmonic intervals • passing notes (diatonic and chromatic) and

suspensions • tritone substitutions

Sample course outline | Music – Jazz | ATAR Year 12 13

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Melodic dictation • continue analysis and harmonisation tasks, • 8 bars, treble or bass clef, based on scales and revising all chords, cadences and chord modes covered progressions outlined in the course content • solo transcriptions Modulation Chords • to the relative major, relative minor, dominant, • revise all chords in major and minor keys in subdominant and up or down a tone. Discuss isolation and as part of a progression and enharmonic note equivalents and relationships include: Form-based compositions 7( 5) 7( 9) . major: iib, Vb, ii ♭ and V ♭ • composing for solo voice/instrument or small • identification of passing notes and suspensions Jazz ensemble, using either 12 bar blues • standard progressions, add: (incorporating variation and expansion), popular 7(♭5) (♭9) 6 song/song form or rondo form . ii – V7 – i • revise all cadence types in isolation and as part Melody and accompaniment writing and of a progression Arranging • review instrument ranges, transpositions, clefs, Modulation notation, techniques and timbral effects for all • to the relative major/minor, dominant, instruments subdominant, up and down a tone, in a range of • continue melody and accompaniment writing in examples a range of styles Discrepancies • combination of rhythm and pitch • at least four discrepancies in a short musical example • include metre changes and mixed metre examples

Rhythmic dictation • 8 bars, all time signatures and rhythms, including rests and some syncopation • include examples using irregular time signatures and rhythmic groupings

Sample course outline | Music – Jazz | ATAR Year 12 14

Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and Historical Analysis Composition portfolio Task 12: Aural test (8%) Week 14 Review year’s work Task 13: Cultural and historical analysis (6%) Task 8: Performance – Recital

Harmony Week 14 night (7%) Week 14

• revise all chords in major and minor keys in Review year’s work: the development of Hard OR isolation and as part of a progression Bop/Cool School from Be-Bop, using familiar and Rhythmic and melodic dictations unfamiliar excerpts, focusing on the designated Task 6: Composition Portfolio –

works Presentation of selected Aural analysis compositions (10%) Week 14 • recognition of music elements, compositional

devices, instrumentation, instrumental Task 9: Performance – techniques and effects in short extracts Instrumental Teacher Report 14–15 Revision of year’s work, focusing on aspects (3%) Week 14 requiring particular attention OR

Task 5: Composition Portfolio – Composition portfolio supervisor report (5%) Week 14

Task 10: Performance – Ensemble (4%) Week 14

Task 11: Performance – Performance examination (30%)

Exam OR Task 14: Semester 2 written examination (20%) week Task 7: Composition portfolio – Submission of final composition portfolio (30%)

Sample course outline | Music – Jazz | ATAR Year 12