T A S M A N I A N Q U A L I F I C A T I O N S Music A U T H O R I T Y

© Copyright for part(s) of this document may be held by individuals or organisations other than the TQA Period of Accreditation: XXXX Version 1 Date of Publication:

XXXXXX TQA Level 3, Size Value = 15

THE COURSE DOCUMENT

This document contains the following sections:

RATIONALE ................................................................................................................................................. X

AIMS ............................................................................................................................................................ X  

LEARNING OUTCOMES ............................................................................................................................. X

ACCESS ...................................................................................................................................................... X

PATHWAYS ................................................................................................................................................. X

RESOURCES .............................................................................................................................................. X

COURSE SIZE AND COMPLEXITY ............................................................................................................ X

COURSE DESCRIPTION ........................................................................................................................... X

COURSE REQUIREMENTS ........................................................................................................................ X

COURSE CONTENT ................................................................................................................................... X  

ASSESSMENT ............................................................................................................................................ X

QUALITY ASSURANCE PROCESSES ..................................................................................................... X

EXTERNAL ASSESSMENT REQUIREMENTS ........................................................................................... X

CRITERIA .......................................................................................................................................... X

STANDARDS ...................................................................................................................................... X

QUALIFICATIONS AVAILABLE ............................................................................................................... X

AWARD REQUIREMENTS .................................................................................................................... X

COURSE EVALUATION .............................................................................................................................. X

COURSE DEVELOPERS ........................................................................................................................... X

EXPECTATIONS DEFINED BY NATIONAL STANDARDS ........................................................................ X

ACCREDITATION ........................................................................................................................................ X

VERSION HISTORY .................................................................................................................................... X

APPENDIX A……………………………………….…………………………………………………………….…..X

APPENDIX B………………………………………………………………………………………………………….X

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RATIONALE Music is an expression of human experience. As an aural art form it encompasses performing, composing, listening, analysing and communicating. Learners will study complex elements of music in depth. The study of music enhances cognitive, affective, motor, social and personal skills of learners. Through authentic learning experiences, learners build a relevant and meaningful context for their participation in the musical community and develop an aesthetic appreciation and enjoyment of music.

Music provides a firm basis for learners to engage in the senior secondary music program, and successful completion enhances the learner’s pathway to tertiary studies.

AIMS Learners develop comprehensive skills in performing, creating and listening to music. Learners study a range of music genres (e.g. classical, contemporary, jazz) to gain a broad understanding and knowledge of, the characteristics of different music genres.

Learners will reflect upon and apply their understanding of music through: their performance musicianship; engaging in the creative process; through exercising their analytical listening.

Learners will develop comprehensive knowledge of musical literacy including theory knowledge and aural skills.

LEARNING OUTCOMES On successful completion of this course, learners will be able to:

• use performance skills to present polished music performances

• create original music using elements of music

• present original music ideas through notation and performance

• plan, organise and complete music activities

• apply critical listening analysis to a range of music genres

• apply aural skills to analyse and respond to music through its elements

• apply music theory knowledge to analyse and respond to music through its elements.

ACCESS Learners undertaking this course require prior learning in music skills - playing and theory – for a selected instrument. The characteristic of Australian Music Examination Board Fourth Grade, St Cecilia School of Music Grade 5, and Trinity College London Grade 4 are indicative of the level of skills required.

PATHWAYS Music prepares learners for the study of music at tertiary level.

This course is also suitable for learners with career pathways to tertiary study including Foundation Practical Study through UTAS Conservatorium of Music.

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RESOURCES Learners will require:

• a specialist instrumental or composition tutor

• an accompanist (where required)

• an instrument in good working order

• rehearsal space

• performance venues.

COURSE SIZE AND COMPLEXITY This course has a complexity level of TQA level 3.

At TQA level 3, the learner is expected to acquire a combination of theoretical and/or technical and factual knowledge and skills and use judgment when varying procedures to deal with unusual or unexpected aspects that may arise. Some skills in organising self and others are expected. TQA level 3 is a standard suitable to prepare learners for further study at tertiary level. VET competencies at this level are often those characteristic of an AQF Certificate III.

This course has a size value of 15.

COURSE DESCRIPTION Music will enable learners to develop as musicians through an experience based program that provides opportunities to experience and investigate the relationship between creating, listening to and performing music.

Learners will engage in reflective and critical analysis in order to refine, evaluate and articulate their ideas, and to consolidate their musical practice.

Opportunities will be provided for learners to develop experience in, and to place emphasis on, areas of interest. Though not a requirement, attendance at relevant music performances and events is encouraged wherever possible and practical.

Learners are encouraged to participate in extra-curricular music activities.

COURSE REQUIREMENTS

Work submitted for assessment in Music must be produced within the year of study. Learners MUST study all four common units AND one of the following options:

OPTION 1 Performance

OPTION 2 Composition

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COURSE CONTENT

Learners must undertake ALL four Common Units and the study of EITHER Option 1 – Performance OR Option 2 – Composition.

COMMON UNITS This course has four (4) common units. Common units are compulsory for all learners.

UNIT 1 MUSIC PERFORMANCE SKILLS

UNIT 2 CREATE AND PRESENT ORIGINAL MUSIC STATEMENTS

UNIT 3 CRITICAL LISTENING ANALYSIS

UNIT 4 MUSIC LITERACY: THEORY KNOWLEDGE AND AURAL SKILLS

UNIT 1 MUSIC PERFORMANCE SKILLS The following content will be delivered to ALL learners:

• range of styles

• use of accompaniment

• building on previous experience

• care and maintenance of instrument/voice

• techniques of sound production relevant to the instrument/voice.

In addition, for the development of solo performance skills, the following content will be delivered:

• intonation

• rhythm

• dynamics

• phrasing

• posture

• tonal quality

• articulation

• interpretation

• fluency

• confidence

• accuracy as applicable.

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In the development of ensemble performance skills, the following content will be covered:

• awareness of the role within the ensemble

• response to direction

• co-operation

• fluency

• intonation

• reading skills

• timing

• balance

• accuracy

• awareness of idiom and style

• preparation

• practice procedures

• sensitivity and control in dynamics and music expression.

UNIT 2 CREATE AND PRESENT ORIGINAL MUSIC STATEMENTS The following content will be delivered to develop skills in the creation of music through composing, improvising and/or arranging:

• horizontal and vertical arrangement of pitch

• different tonal systems

• elementary structural devices

• dynamic contrast

• accurately notating original ideas using conventional and non- conventional symbols as appropriate.

In addition, when composing and/or arranging, the following content will be delivered (as applicable):

• purpose

• artistic quality and sense of style

• originality

• suitability for instrumental/vocal combination

• coherence

• structure (melodic and harmonic)

• accurate use of appropriate notation

• use of interpretative markings

• transposition

• use of appropriate technology.

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In addition, when improvising, the following content will be delivered (as applicable):

• fluency

• confidence

• phrase structure

• attention to harmonic structure

• melodic and rhythmic coherency

• expression and dynamics

• stylistic integrity

• development of theme or idea

• originality

• responsiveness to other performers.

UNIT 3 CRITICAL LISTENING ANALYSIS Listening experiences will be provided that:

• place music within historical and cultural settings

• enhance the learner’s understanding of the role of performers, arrangers, composers and critics

• represent a range of idioms and styles

• provide insight into particular styles

• provide insight into performance and improvisation techniques

• increase the learner’s sensitivity to music

• encourages learners to reflect on performances and/or creative work of self and others.

Learners will use these listening experiences to develop their understanding of:

• pitch and melody

• tonal systems

• harmony

• time and rhythm

• structure

• sound sources

• dynamic contrast

• texture

• performance skills

• creative process

• technical and musicianship skills

• music terminology.

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TQA Level 3

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UNIT 4 MUSIC LITERACY: AURAL AND THEORY SKILLS Refer to APPENDIX A: Aural and Theory Skills – Music Literacy Components for a comprehensive list of music literacy course content.

Content includes:

Pitch • aural identification and notation

• identifying and writing chords

• transposition

• harmonizing a simple melody with appropriate chord symbols

• clefs

• recognition of and meaning of signs, symbols, terminology and abbreviations.

Time • aural identification and notation

• understanding time signatures

• use of appropriate note and rest groupings

• adding bar lines to an unbarred segment/phrase

• composing an appropriate rhythm to given poetry/lyrics

• use of appropriate rhythmic devices

• recognition of and meanings of signs, symbols, terminology and abbreviations.

Design • identification of compositional techniques

• voice leading and cadence identification

• aural and/or written identification

• recognition of and meanings of signs, symbols, terminology and abbreviations

• score analysis.

OPTIONS

EITHER:

OPTION 1 PERFORMANCE

Learners will prepare a program of music to be performed before an audience and for external assessment.

See current TQA External Assessment Guidelines for further details.

See also APPENDIX B: Examples of Repertoire.

In negotiating a performance program the following content will be covered:

• range of styles

• degree of difficulty

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• material appropriate to the instrument/voice

• rhythmic complexity

• range of keys

• number and length of pieces

• use of accompaniment

• building on the learner’s previous experience

• care and maintenance of instrument/voice

• techniques of sound production relevant to the instrument/voice

In development of solo performance skills, the following content will be covered:

• intonation

• rhythm

• dynamics

• phrasing

• posture

• tonal quality

• articulation

• interpretation

• fluency

• accuracy

• performance anxiety

In development of ensemble performance skills, the following content will be covered:

• awareness of the role within the ensemble

• response to direction

• co-operation

• fluency

• intonation

• reading skills

• timing

• balance

• accuracy

• awareness of idiom and style

• preparation

• practice procedures

• sensitivity and control in dynamics and music expression.

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TQA Level 3

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OR:

OPTION 2 COMPOSITION Learners will prepare a selection of music. This will be presented through:

• a folio of works

• a series of sound recordings and/or video recordings and/or a live performance (as applicable).

See current TQA External Assessment Guidelines for further details.

Learners will create music through composing and/or improvising and/or arranging, attending to:

• horizontal and vertical arrangement of pitch

• different tonal systems

• elementary structural devices

• mixes of both tuned and non-tuned sound sources

• dynamic contrast

• basic transposition

• accurately notating original ideas using conventional and non- conventional symbols as appropriate.

In addition, when composing and/or arranging, the following content will be covered (as applicable):

• purpose

• artistic quality and sense of style

• originality

• suitability for instrumental/vocal combination

• coherence

• structure (melodic and harmonic)

• accurate use of appropriate notation

• use of interpretative markings

• resourcefulness

• effectiveness in performance

• transposition

• principles of orchestration/arrangement

• use of appropriate technology.

In addition, when improvising, the following content will be covered (as applicable):

• fluency

• confidence

• phrase structure

• attention to harmonic structure

• melodic and rhythmic coherency

• expression and dynamics

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• stylistic integrity

• development of theme or idea

• originality

• technical competence

• responsiveness to other performers and accompaniment.

ASSESSMENT Criterion-based assessment is a form of outcomes assessment that identifies the extent of learner achievement at an appropriate end-point of study. Although assessment – as part of the learning program – is continuous, much of it is formative, and is done to help learners identify what they need to do to attain the maximum benefit from their study of the course. Therefore, assessment for summative reporting to the Tasmanian Qualifications Authority will focus on what both teacher and learner understand to reflect end-point achievement.

The standard of achievement each learner attains on each criterion is recorded as a rating ‘A’, ‘B’, or ‘C’, according to the outcomes specified in the standards section of the course.

A ‘t’ notation must be used where a learner demonstrates any achievement against a criterion less than the standard specified for the ‘C’ rating.

A ‘z’ notation is to be used where a learner provides no evidence of achievement at all.

Providers offering this course must participate in quality assurance processes specified by the Tasmanian Qualifications Authority to ensure provider validity and comparability of standards across all awards. Further information on quality assurance processes, as well as on assessment, is available in the TQA Senior Secondary Handbook or on the website at http://www.tqa.tas.gov.au.

Internal assessment of all criteria will be made by the provider. Providers will report the learner’s rating for each criterion to the Tasmanian Qualifications Authority.

The Tasmanian Qualifications Authority will supervise the external assessment of designated criteria which will be indicated by an asterisk (*). The ratings obtained from the external assessments will be used in addition to internal ratings from the provider to determine the final award.

QUALITY ASSURANCE PROCESSES The following processes will be facilitated by the TQA to ensure there is:

• a match between the standards of achievement specified in the course and the skills and knowledge demonstrated by learners

• community confidence in the integrity and meaning of the qualification.

Processes – the Authority gives course providers feedback about any systematic differences in the relationship of their internal and external assessments and, where appropriate, seeks further evidence through audit and requires corrective action in the future.

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EXTERNAL ASSESSMENT REQUIREMENTS External assessment for this course will assess criteria 5, 6, 7, 8, 9 and 10.

• Criteria 5 and 6 Music Literacy: 2 hour written paper

• Criteria 7 and 8 Performance Option: 10 to15 minute practical performance

• Criteria 9 and 10 Composition Option: folio with a 10 to 15 minute audio CD

For further information see the Examination Specifications and External Assessment Guidelines on the relevant TQA website page.

CRITERIA The assessment for Music, TQA level 3 will be based on the degree to which the learner can:

1. use performance skills to present music

2. create and present original music statements

3. apply time management, planning and negotiation skills to music tasks

4. appraise music works

5. * listen to music statements and identify use of music elements

6. * read and write music statements and identify use of music elements.

AND the degree to which the learners can (from any ONE (1) of the two (2) options listed below):

Option A - Performance (where this option is selected, Criterion 1 should not be reported)

7. * perform a repertoire with accuracy and fluency

8. * perform a stylistically varied repertoire with music sensitivity.

Option B - Composition

(where this option is selected, Criterion 2 should not be reported)

9. * create coherent music statements in a variety of styles

10. * apply music elements in creation of music.

* = externally assessed criteria

SUMMARY OF CRITERIA / OPTIONS

OPTION CRITERIA ASSESSED

PERFORMANCE 2, 3, 4, *5, *6, *7 & *8

COMPOSITION 1, 3, 4, *5, *6, *9 & *10

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STANDARDS

CRITERION 1 USE PERFORMANCE SKILLS TO PRESENT MUSIC

Rating ‘C’ Rating ‘B’ Rating ‘A’

The learner: The learner: The learner:

• performs music with accuracy and fluency so intended effect is achieved

• performs music that is accurate and fluent. There may be occasional errors

• performs music accurately and fluently

• performs music with appropriate music style so intended effect is achieved

• performs music applying stylistic characterization as per score or direction

• performs music applying stylistic characterization and appropriate individual interpretation within style

• performs with sensitivity* and musicality in order to maintain integrity of the performance

• performs with sensitivity and musicality as per score or direction

• performs with sensitivity and musicality using appropriate individual interpretation

• plays/sings with dexterity and instrumental competence. There may be occasional flaws.

• plays/signs with dexterity and instrumental competence with minimal flaws.

• plays/sings with dexterity and instrumental competence.

*Sensitivity refers to the application of musical elements as listed on page 4.

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TQA Level 3

Tasmanian Qualifications Authority Period of Accreditation: XXXXX Version 1 Date of Publication:

CRITERION 2 CREATE AND PRESENT ORIGINAL MUSIC STATEMENTS

Rating ‘C’ Rating ‘B’ Rating ‘A’

The learner: The learner: The learner:

• creates original music statements that are generally coherent

• creates original music statements that are coherent

• creates original, complex music statements that are coherent

• uses music style in in composing, arranging and improvising, under direction

• uses appropriate music style in composing, arranging and improvising

• purposefully uses appropriate music style in composing, arranging and improvising to create desired effects

• creates music statements that are expressive and use some compositional techniques to enhance music

• creates music statements that use a range of expressive techniques and compositional techniques to enhance music

• creates music statements that use a range of appropriate expressive techniques and compositional techniques to enhance music

• identifies the sources of music statements and techniques used, borrowed or adapted from the works of others using appropriate methodologies.

• clearly identifies the sources of music statements and techniques used, borrowed or adapted from the works of others using appropriate methodologies.

• clearly identifies the sources of music statements and techniques used, borrowed or adapted from the works of others using appropriate methodologies. The degree to which statements and techniques of others have been borrowed or adapted is clearly articulated.

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CRITERION 3: APPLY TIME MANAGEMENT, PLANNING AND NEGOTIATION SKILLS TO MUSIC TASKS

Rating ‘C’ Rating ‘B’ Rating ‘A’

The learner uses negotiation, planning, and task and time management strategies in undertaking music tasks

The learner: The learner: The learner:

• identifies time, resources and equipment needed to complete task, and develops and employs a plan

• identifies time, resources and equipment needed to complete task, and develops and employs a coherent plan

• identifies time, resources and equipment needed to complete task, and develops and employs a systematic, coherent plan

• proposes and negotiates achievable and realistic goals

• proposes and negotiates measurable, achievable and realistic goals

• proposes and negotiates measurable, achievable and realistic complex goals

• reflects – orally and in writing – on progress towards meeting goals and timelines, and articulates some ways in which goals may be met in the future

• reflects – orally and in writing – on progress towards meeting goals and timelines, analyses progress and plans future actions

• reflects – orally and in writing – on progress towards meeting goals and timelines, critically evaluates progress and plans effective future actions

• meets specified/negotiated timelines and addresses most aspects of required task characteristics.*

• meets specified/ negotiated timelines and addresses all required task characteristics.*

• meets specified/negotiated timelines and addresses all required task characteristics* with a high degree of accuracy.

* Task characteristics may include, but are not limited to: format of response; mode of response; and presentation requirements

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TQA Level 3

Tasmanian Qualifications Authority Period of Accreditation: XXXXX Version 1 Date of Publication:

CRITERION 4: APPRAISE MUSIC WORKS AND PERFORMANCES

Rating ‘C’ Rating ‘B’ Rating ‘A’

The learner: The learner: The learner:

• communicates response to music using methods, formats and styles appropriate to task

• communicates response to music using methods, formats and styles appropriate to task

• communicates response to music using methods, formats and styles appropriate to task and setting

• uses a range of concepts and music terminology when discussing music works

• uses relevant concepts and musical terminology to convey appropriate meaning when discussing music works

• uses relevant concepts and music terminology to clarify ideas and convey appropriate meaning when discussing music works

• identifies effect of music works on self and articulates reasons for effect

• describes effect of music works on self and clearly articulates reasons for effect

• explains effect of music works on self and clearly articulates influence of contextual features and own experiences in shaping interpretation and responses to music

• correctly identifies ways in which elements of music are used in works, and their effect

• correctly describes ways in which elements of music are used in works, and their effect

• correctly explains ways in which elements of music are used in works, and their effect

• assesses effectiveness of use of elements of music in works, using examples to support discussion.

• analyses effectiveness of use of elements of music in works, using relevant examples to support analysis and provide justification of opinions.

• evaluates effectiveness of use of elements of music in works, using a range of relevant examples to support analysis and provide detailed, informed justification of opinions.

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CRITERION 5 *LISTEN TO MUSIC STATEMENTS AND IDENTIFY USE OF MUSIC ELEMENTS

Rating ‘C’ Rating ‘B’ Rating ‘A’

The learner listens to music statements. The learner:

The learner listens to music statements. The learner:

The learner listens to music statements. The learner:

• correctly identifies use and/or effect of some* simple** elements of pitch in given music contexts

• correctly identifies use and/or effect of many* simple and complex** elements of pitch in given music contexts

• correctly identifies use and/or effect of most* simple and complex** elements of pitch in given music contexts

• correctly identifies use and/or effect of some* simple** elements of time in given music contexts

• correctly identifies use and/or effect of many* simple and complex** elements of time in given music contexts

• correctly identifies use and/or effect of most* simple and complex** elements of time in given music contexts

• correctly identifies use and/or effect of some* simple** elements of design in given music contexts

• correctly identifies use and/or effect of many* simple and complex** elements of design in given music contexts

• correctly identifies use and/or effect of most* simple and complex** elements of design in given music contexts

• uses a limited range of concepts and music terminology when assessing music statements.

• uses relevant concepts and musical terminology to convey appropriate meaning when assessing music statements.

• uses a wide range of relevant concepts and music terminology to clarify ideas and convey appropriate meaning when assessing music statements.

REFER APPENDIX A: AURAL AND THEORY SKILLS – MUSIC LITERACY COMPONENTS

* The measure of ‘some’, ‘many’ and ‘most’ will – for the purpose of external assessment – be defined in the current year’s Markers’ Guide. For internal assessment, indicative of the measures are:

‘some’ – approximately 50% – 64% of given items answered correctly

‘many’ – approximately 65% – 79% of given items answered correctly

‘most’ – approximately 80% – 100% of given items answered correctly.

** Illustrative examples of ‘simple’ elements include, but are not limited <example to be completed>

Illustrative examples of ‘complex’ elements include, but are not limited <example to be completed>

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TQA Level 3

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CRITERION 6 *READ AND WRITE MUSIC STATEMENTS AND IDENTIFY USE OF MUSIC ELEMENTS

Rating ‘C’ Rating ‘B’ Rating ‘A’

The learner reads music statements. The learner:

The learner reads music statements. The learner:

The learner reads music statements. The learner:

• correctly identifies use and/or effect of some* simple** elements of pitch in given music contexts

• correctly identifies use and/or effect of many* simple and complex** elements of pitch in given music contexts

• correctly identifies use and/or effect of most* simple and complex** elements of pitch in given music contexts

• correctly identifies use and/or effect of some* simple** elements of time in given music contexts

• correctly identifies use and/or effect of many* simple and complex** elements of time in given music contexts

• correctly identifies use and/or effect of most* simple and complex** elements of time in given music contexts

• correctly identifies use and/or effect of some* simple** elements of design in given music contexts

• correctly identifies use and/or effect of many* simple and complex** elements of design in given music contexts

• correctly identifies use and/or effect of most* simple and complex** elements of design in given music contexts

• uses a limited range of concepts and music terminology when assessing music statements.

• uses relevant concepts and musical terminology to convey appropriate meaning when assessing music statements.

• uses a wide range of relevant concepts and music terminology to clarify ideas and convey appropriate meaning when assessing music statements.

REFER APPENDIX A: AURAL AND THEORY SKILLS – MUSIC LITERACY COMPONENTS

* The measure of ‘some’, ‘many’ and ‘most’ will – for the purpose of external assessment – be defined in the current year’s Markers’ Guide. For internal assessment, indicative of the measures are:

‘some’ – approximately 50% – 64% of given items answered correctly

‘many’ – approximately 65% – 79% of given items answered correctly

‘most’ – approximately 80% – 100% of given items answered correctly.

** Illustrative examples of ‘simple’ elements include, but are not limited <example to be completed>

Illustrative examples of ‘complex’ elements include, but are not limited <example to be completed>

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OPTION-SPECIFIC CRITERIA

OPTION A – PERFORMANCE

CRITERION 7 *PERFORM A REPERTOIRE WITH ACCURACY AND FLUENCY

Rating ‘C’ Rating ‘B’ Rating ‘A’

For a selected instrument the learner:

For a selected instrument the learner:

For a selected instrument the learner:

• performs music where the degree of melodic, rhythmic and harmonic precision are sufficiently accurate that the integrity of the music is not compromised

• performs music where the degree of melodic, rhythmic and harmonic precision are predominantly accurate

• performs with accurate melodic, rhythmic and harmonic precision

• performs with fluency, technical control, dexterity, security* and coordination. There may be some errors

• performs with fluency, technical control, dexterity, security and coordination. There may be some minor errors

• performs with fluency, demonstrating skillful technical control, dexterity, security and coordination. Lapses are minor and rare

• maintains consistency of intonation across the instrumental range in performance. There may be inconsistencies

• maintains consistency of intonation across the instrumental range in performance. There may be occasional inconsistencies

• demonstrates consistency of intonation across the instrumental range in performance

• performs with instrumental tone that is mostly clear and even.

• performs with instrumental tone that is clear and even.

• performs with clear and even instrumental tone colour** across the repertoire.

REFER TO APPENDIX B: EXAMPLES OF REPERTOIRE

• security – means that the music is known and rehearsed, not unseen.

**instrumental tone colour – means timbre or tone quality: the quality of a musical note or sound or tone.

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TQA Level 3

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CRITERION 8 *PERFORM A STYLISTICALLY VARIED REPERTOIRE WITH MUSIC SENSITIVITY

Rating ‘C’ Rating ‘B’ Rating ‘A’

The learner: The learner: The learner:

• performs repertoire in a stylistically appropriate manner that is proficient, but not always refined

• performs repertoire in a stylistically appropriate manner in accordance with the intentions of the composer and/or arranger that is proficient, but not always refined

• performs repertoire in a stylistically appropriate manner in accordance with the intentions of the composer and/or arranger that is proficient and refined

• performs repertoire using dynamics and, where appropriate, tempo alterations and articulations that are proficient, but not always refined

• performs repertoire expressively using a range of dynamics and, where appropriate, tempo alterations and articulations that are proficient, but not always refined

• performs repertoire expressively using a wide range of dynamics and, where appropriate, tempo alterations and articulations that are proficient and refined

• performs repertoire with attention to phrasing

• performs repertoire with attention to phrasing and harmonic/melodic shape that is proficient, but not always refined

• performs repertoire with attention to phrasing and harmonic/melodic shape that is proficient and refined

• • performs repertoire with a sense of balance between parts.

• performs repertoire with a sense of melodic and harmonic balance.

• performs repertoire with melodic and harmonic balance that is proficient and refined.

REFER TO APPENDIX B: EXAMPLES OF REPERTOIRE

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OPTION B COMPOSITION

CRITERION 9 *CREATE COHERENT MUSIC STATEMENTS IN A VARIETY OF STYLES

Rating ‘C’ Rating ‘B’ Rating ‘A’

The learner: The learner: The learner:

• creates coherent music works using stylistic, structural and instrumental variations. Not all elements are appropriate to style

• creates coherent works proficiently using stylistic, structural and instrumental variation

• creates coherent works skilfully using stylistic, structural and instrumental variation appropriate to style

• uses musical form to create a balance between unity and variety leading to partially coherent and engaging works

• uses musical form to create a balance between unity and variety leading to generally coherent and engaging works

• uses musical form to create a balance between unity and variety leading to highly coherent and engaging works

• articulates an intent, describing the music development process and identifies relationship of piece to music elements

• articulates an intent describing the music development process and analyses relationship of piece to music elements

• clearly articulates intent, describing in depth all developmental stages and evaluating relationship of piece to music elements

• identifies the sources of music statements and techniques used, borrowed or adapted from the works of others using appropriate methodologies.

• clearly identifies the sources of music statements and techniques used, borrowed or adapted from the works of others using appropriate methodologies.

• clearly identifies the sources of music statements and techniques used, borrowed or adapted from the works of others using appropriate methodologies. The degree to which statements and techniques of others have been borrowed or adapted is clearly articulated.

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TQA Level 3

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CRITERION 10 *APPLY MUSIC ELEMENTS IN CREATION OF MUSIC

Rating ‘C’ Rating ‘B’ Rating ‘A’

The learner: The learner: The learner:

• uses elements of music* to create unrefined music statements

• uses elements of music* to create coherent music statements

• uses elements of music* to create complex and coherent music statements

• uses a limited range of compositional devices in construction of music statements

• uses a range of compositional devices in construction of music statements

• uses of a range of compositional devices to achieve coherency in music statements

• uses score conventions generally appropriate to style, and some score direction given

• uses score conventions appropriate to style, and some score direction is given.

• uses score conventions appropriate to style, and appropriate score direction is given.

* Elements of music: pitch, timbre, dynamics, melody, harmony and texture

GLOSSARY OF TERMS USED IN STANDARDS

Analyse: to examine, scrutinise, explore, review, consider in detail for the purpose of finding meaning or relationships, and identifying patterns, similarities and differences

Assess: to make a judgement about, to rate, to weigh up, to form an opinion

Critically analyse: to closely examine, analyse in detail, focus on essence, examine component parts of an issue or information (for example identifying the premise of an argument or ideology, and its plausibility, illogical reasoning or faulty conclusions)

Describe: to recount, tell of/about, chronicle, comment on, give an account of characteristics or features

Evaluate: to appraise, measure, judge, provide a detailed examination and substantiated judgement concerning the merit, significance or value of something

Explain: to make plain, clear, intelligible, to describe in detail, revealing relevant facts

Identify: to point out, name, list, distinguish, recognise, establish or indicate who or what someone or something is

Task characteristics may include, but are not limited to: word limits; format of response; mode of response; and presentation requirements

Terms: word or phrase used to describe abstract aspects or features of music, and more specific features.

Tools and strategies used to collect and organise information include, but are not limited to:

o graphic organisers, mind maps o note taking o computer technology o use of categories to organise information.

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QUALIFICATIONS AVAILABLE Music, TQA Level 3 (with the award of):

EXCEPTIONAL ACHIEVEMENT

HIGH ACHIEVEMENT

COMMENDABLE ACHIEVEMENT

SATISFACTORY ACHIEVEMENT

PRELIMINARY ACHIEVEMENT

AWARD REQUIREMENTS The final award will be determined by the Tasmanian Qualifications Authority from the 11 ratings (7 ratings from the internal assessment and 4 ratings from the external assessment).

The minimum requirements for an award in this course are as follows:

EXCEPTIONAL ACHIEVEMENT (EA) 9 ‘A’, 2 ‘B’ ratings (3 ‘A’, 1 ‘B’ from external assessment) HIGH ACHIEVEMENT (HA) 6 ‘A’, 4 ‘B’, 1 ‘C’ ratings (2 ‘A’, 1 ‘B’, 1’C’ from external assessment) COMMENDABLE ACHIEVEMENT (CA) 6 ‘B’, 2 ‘C’ ratings (2 ‘B’, 2 ‘C’ from external assessment) SATISFACTORY ACHIEVEMENT (SA) 9 ‘C’ ratings (3 ‘C’ from external assessment) PRELIMINARY ACHIEVEMENT (PA) 5 ‘C’ ratings.

A learner who otherwise achieves the ratings for a CA (Commendable Achievement) or SA (Satisfactory Achievement) award but who fails to show any evidence of achievement in one or more criteria (‘z’ notation) will be issued with a PA (Preliminary Achievement) award.

COURSE EVALUATION

Courses are accredited for a specific period of time (up to five years) and they are evaluated in the year prior to the expiry of accreditation.

As well, anyone may request a review of a particular aspect of an accredited course throughout the period of accreditation. Such requests for amendment will be considered in terms of the likely improvements to the outcomes for learners and the possible consequences for delivery of the course.

The TQA can evaluate the need and appropriateness of an accredited course at any point throughout the period of accreditation.

23 Music

TQA Level 3

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COURSE EVALUATION

Courses are accredited for a specific period of time (up to five years) and they are evaluated in the year prior to the expiry of accreditation.

As well, anyone may request a review of a particular aspect of an accredited course throughout the period of accreditation. Such requests for amendment will be considered in terms of the likely improvements to the outcomes for learners and the possible consequences for delivery of the course.

The TQA can evaluate the need and appropriateness of an accredited course at any point throughout the period of accreditation.

COURSE DEVELOPER The TQA acknowledges the significant leadership of Jennifer MacDonald and Scott Weston in the development of this course.

EXPECTATIONS DEFINED BY NATIONAL STANDARDS There are no statements of national standards relevant to this course.

ACCREDITATION The accreditation period for this course is from XXXX to XXXX.

VERSION HISTORY Version X – Accredited on XXXX for use in XXXX to XXXX. This course replaces MSM315110 Music TQA

Level 3 that expired on 31 December 2014.

24 Music TQA Level 3

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APPENDIX A - THEORY AND AURAL SKILLS – MUSIC LITERACY COMPONENTS This Appendix contains the minimum theoretical concepts - and corresponding music notation - to be delivered and assessed in this course.

Both the meaning of the listed symbols and their usage in accordance with current notation conventions is required. For detailed lists of conventions, refer to the sources cited in the reference list at the end of this Appendix.

 

PITCH    

Clefs  

Treble  Clef   Bass  Clef   Alto  Clef   Tenor  Clef   Percussion  Clef  

 

When  reading  and  writing  notation   in   the  above  clefs   learners  will  also  use  /   interpret   ledger   lines,  and  adhere  to  conventions  regarding  stem  directions.  

Note  that  the  number  of  lines  in  the  stave(s)  used  with  the  percussion  clef  may  vary  depending  on  the  percussion  instrument  used.  

 

Scales      

• Major  • Natural  minor  • Harmonic  minor  • Melodic  minor  • Chromatic  • Major  pentatonic  • Blues  scale  • Whole  tone  

Notated  examples  of  the  scales  are  given  below.  

The  range  of  key  signatures  for  possible  scales  is  given  below.  

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 Scale  Degree  

Names  

 

Tonic   Supertonic   Mediant   Subdominant   Dominant   Submediant  

Leading  Note  

 

(Leading  Tone)  

     Tonic  

 Intervals  

 

All   major,   minor,   perfect,   augmented   and   diminished   intervals,   used   either   harmonically   and/or  melodically.  These  include  compound  intervals  up  to  and  including  the  9th.  

A  comprehensive  list  of  intervals  is  given  below.  Note  the  precise  identification  of  unison  and  octave  intervals.    

Given  the  range  of  intervals  learners  will  be  able  to  determine  the  enharmonic  equivalent  of  a  given  note.  

 

Key  Signatures    

Sharps  

Flats  

 

 Accidentals  

 

Flat   Double  Flat   Sharp   Double  Sharp   Natural  

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 Triads  

 

 

Major  

(C)  

minor  

(C  min)  

diminished  

(C  dim)  

Augmented  

(C  Aug)  

 

The  four  basic  triad  types  listed  here  are  in  C  Major.  

Note  the  composition  of  the  triads  in  root  position:  

• Major  triad  –  Major  third  on  the  bottom,  minor  third  on  top  • Minor  triad  –  minor  third  on  the  bottom,  Major  third  on  top  • Diminished  triad  –  two  minor  thirds  • Augmented  triad  –  two  Major  thirds    

 Chord  

Extensions  

   Major  7th    

 

Dominant  7th    

 

       Major  9th    

 

         Major  6th    

 

                             minor  (#7)                                                  minor  7th                                                  minor  7  (b9)                                                    minor  9th    

                             minor  6th  

Note  that  when  voicing  an  extended  chord  some  notes  may  be  omitted,  particularly  the  fifth  of  the  chord.      

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 Chord  

Inversions  

Root  Position  

(C)  or  (I)  

1st  Inversion  

(C/E)  or  (Ib)  

2nd  Inversion  

(C/G)  or  (Ic)  

3rd  Inversion  

(C7/Bb)  or  (Id)  

 The   inversions   listed   here   are   in   C   major.   Note   that   the   inversions   have   been   indicated   using  contemporary  nomenclature.  

 Chord  

Alterations

Suspended  4th    

diminished  7th    

Half  diminished                                                    

   Augmented  7th                                                    

The  alterations  and  extensions  listed  here  are  in  C  major.  

 Triads  –  

Degrees  of  the  Major  Scale  

 Triads  –  

Degrees  of  the  Minor  Scale  

 Chord  Symbols  

• Capital  Letter  name  (e.g.,  C)  =  Major  chord  • min  (also  –  and  lower  case  m)  =  minor  chord  • +  (also  Aug)  =  Augmented  chord  • O  (also  dim)  =  diminished  chord  • 7  =  minor  seventh  (interval  from  the  root  of  chord)  • 6  =  Major  or  monir  triad  with  an  added  Major  6th  interval  • Maj7  (also            )  =  Major  seventh  (interval  from  the  root  of  chord)  • o7  =  diminished  seventh  chord  • ø            =  half  diminished  chord  or  min7b5  • Sus4  =  suspended  chord  

                     Tonic                                  Supertonic                Mediant              Subdominant        Dominant              Submediant        Leading  Note              Tonic  

                                   Major                                minor                                minor                            Major                              Major                              minor                        diminished                    Major                            

             Tonic                            Supertonic                  Mediant                Subdominant        Dominant            Submediant          Leading  Note                Tonic  

                   minor                          diminished            Augmented                    minor                              Major                            Major                      diminished                    minor  

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 Chord  

Inversions  

 Chord  inversions  can  be  identified  in  three  ways:    1. Standard  chord  positions  –  e.g.,  Root  position,  1st  Inversion,  2nd  Inversion,  3rd  Inversion;  2. Roman  Numerals  –  e.g.,  I,  Ib,  Ic,  Id;  3. Chord  structure  –  e.g.,  C,  C/E,  C/G,  C/Bb

 Simple  

Harmonisation  

 

Harmonise   a   simple   melody   using   the   chords   outlined   above,   within   the,   specified   range   of   keys  whilst  adhering  to  principles  of  voice  leading  as  appropriate.  

The  melody  may  be  harmonised  by  placing  chord  names  above   the  melody  and  /  or  by  voicing   the  progression  in  piano-­‐style  arrangement.  

 

Cadences    

Perfect,  Plagal,  Imperfect  and  Interrupted  cadences.      

Note  the  use  of  the  more  traditional  names  of  cadences  rather  than  ‘authentic’,  ‘half’  or  ‘deceptive’.    

 Transposition  

 

Learners  will  transpose  by  interval  and  by  instrument.      

Instruments  include,  but  are  not  limited  to:  

Woodwind                                          Brass   String   Percussion   Voice  

Oboe  Piccolo    Flute    Bb  Clarinet  Bassoon        Eb  Alto  Saxophone    Bb  Tenor  Saxophone  

Bb  Trumpet            Trombone  French  Horn  in  F    

Violin    Viola        Cello        Double  Bass  Bass  Guitar    Guitar                                                                                                                                                                                                                                                                                                                                                    

Piano                                                      Soprano  Alto  Tenor  Bass  

 

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TIME  /  RHYTHM    

Meter    

Simple  Meters   Compound  Meters  Simple  duple   Compound  duple  Simple  triple   Compound  triple  

Simple  quadruple   Compound  quadruple  

 

Meters  may  also  be  irregular  /  asymmetric.  

Note  the  two-­‐part  identification  of  meter  for  the  regular  meters:  ‘simple’  +  ‘duple’.  

 

   

Time  Signatures  -­‐  Simple  

 

 

                   

 Time  Signatures  -­‐  

Compound    

 

           

 Time  Signatures  –  

Irregular  /  Asymmetric  

 

 

         

 Extension  Time  Signatures  

 The  following  (but  not  limited  to)  time  signatures  may  be  used  to  extend  learner’s  understanding  and  application  of  knowledge:    

               

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 Rhythmic  Notation  

 Semibreve/Whole  note:  

 Semibreve/Whole  rest:  

 Minim/Half  note:  

 Minim/Half  rest:  

 Crotchet/Quarter  note:  

 Crotchet/Quarter  rest:    

 Quaver/Eighth  note:    

 Quaver/Eighth  rest:    

 Semiquaver/Sixteenth  note:  

 Semiquaver/Sixteenth  rest:  

 Demisemiquaver/Thirty-­‐second  note:        

 Demisemiquaver/Thirty-­‐second  rest:    .  

   

Bar  lines    

 

   

   

 

   

Dotted  Notes    A  dot  after  a  note  increases  the  rhythmic  value  of  the  note  by  half.        

 =  

 +    

     

Normal   Double   Final   Start  Repeat  

End    Repeat  

1st  time  bar   2nd  time  bar  

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 Triplets  

 Triplets  are  a  type  of  tuplet,  one  where  three  notes  appear   in  the  time  of  two.  They  are  usually  notated  with  the  figure  ‘3’  placed  within  a  slur  or  a  bracket.    Sometimes,  just  the  figure  ‘3’  is  used.    Triplets  can  be  added  to  any  rhythmic  value.  

         

 

 

 Duplets  

 Duplets  are  also  a  type  of  tuplet,  one  where  two  notes  in  the  time  of  three.    Duplets  are  usually  notated  with  the  figure  ‘2’  placed  within  a  slur  or  a  bracket.    Sometimes,  just  the  figure  ‘2’  is  used.    Duplets  can  be  added  to  any  rhythmic  value.    

   

 

 Ties  

 A  tie  joins  two  notes  of  equal  pitch.  This  is  not  to  be  confused  with  a  slur,  which  joins  two  notes  of  different  pitch.  

 

   

     Ties  may  be  used  across  bars.  

   

 

 

 

=    

 

Tie Slur

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Syncopation    A  temporary  displacement  of  a  regular  metrical  accent  where  the  accent  shifts  from  a  strong  to  a  weak  beat.    

 

 

 

Couplets  /  Verse  to  Rhythm  

 

Notating  couplets  or  short  verses  in  simple  and  compound  time.  

When  notating   text,   attention   should  be  given   to   the  placement  of  hyphens   for  breaking  words  into  syllables,  phrasing  and  where  appropriate,  the  use  of  underscores  to  extend  the   length  of  a  note.  Rhythmic  notation  may  commence  with  or  without  an  anacrusis.  

 

 Note  Groupings  

 

Individual  rhythmic  durations  are  grouped  in  ways  that  reflect  the  underlying  meter,  as  suggested  by  the  time  signature,  and  make  the  notation  easy  to  read.  

Examples:  

1. Subdivisions  are  written  /  beamed  so  that  they  clearly  demonstrate  each  beat.      

   

 

 

Is  correct   Is  not  correct      

2. Likewise,  rests  need  to  complete  the  current  beat  before  being  followed  with  additional  rests  or  notes.    

     

   

   

 

Is  correct   Is  not  correct    

                     

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3. Beats  two  and  three  are  not  ‘joined’  using  a  note  or  rest.  Instead  ties  are  used.    

 

   

 

 

 

 

 

 

Are  correct   Are  not  correct      

4. When  using  rests,  the  longest  possible  rest  is  used  providing  the  above  conventions  are  adhered  to.  The  result  is  the  use  of  fewer  rests.  

     

   

   

 

Is  correct   Is  not  correct      

COMPOSITIONAL  TECHNIQUES  :  AURAL  RECOGNITION    

Binary  Form   Schematised  as  A-­‐B.    A  piece  in  2  parts  where  the  first  section  (A)  differs  to  the  second  section  (B)  

Ternary  Form  Schematised   as   A-­‐B-­‐A.       A   piece   where   the   first   (A)   and   third   (A)   sections   are   the   same   with   a  contrasting  middle  section  (B)    

Theme  and  Variation  

A  device  where  material  is  repeated  in  an  altered  form  

Call  and  Response  

It  consists  of  two  distinct  phrases,  where  the  second  phrase  is  heard  as  a  response  to  the  first  phrase  (call)    

12-­‐Bar  Blues  A   piece   consisting   of   12   bars   following   a   set   chord   progression.     The   chord   progression   in   Roman  numerals  is:  I-­‐I-­‐I-­‐I,  IV-­‐IV-­‐I-­‐I,  V7-­‐IV-­‐I-­‐I.    Each  roman  numeral  represents  one  bar  

Improvisation   Music  that  is  created  “on-­‐the-­‐spot”  or  in  the  immediate  

Riff   A  short  repeated  rhythmic  and/or  melodic  phrase.  Used  particularly  in  jazz  and  rock  music  

Ostinato   A  short  melodic  phrase  repeated  throughout  a  piece  of  music  

Rhythmic  Ostinato  

A  short,  constantly  repeated  rhythmic  pattern  

Augmentation   The  restatement  of  a  theme  where  the  notes  are  of  a  longer  duration  (generally  double  the  beat  value  of  the  original)  

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Diminution  The  restatement  of  a  theme  where  the  notes  are  of  a  shorter  duration  (generally  half  the  beat  value  of  the  original)  

Ground  Bass   A  short  melodic  bass  line  which  is  repeated  constantly  throughout  a  piece      

Syncopation  A  temporary  displacement  of  a  regular  metrical  accent  where  the  accent  shifts  from  a  strong  to  a  weak  beat    

Crescendo   Gradually  becoming  louder  

Diminuendo/  Decrescendo  

Gradually  becoming  softer  

Sforzando   Suddenly  or  strongly  accented  

Staccato   Short  and  detached  

Pizzicato   Where  a  stringed  instrument  is  to  be  plucked  

Tremolo  a. The  rapid  repetition  of  a  single  note  produced  by  the  bow  on  a  stringed  instrument;  b. The  rapid  reiteration  of  two  notes  of  different  pitch  producing  a  vibrating  effect  

Polyphony   Music  with  two  or  more  independent  melodic  parts  sounded  together  

Polytonality   The  use  of  more  than  one  key  simultaneously  

Whole  Tone  Tonality  

A  piece  using  the  whole  tone  scale  

Modulation   A  key  change  within  a  piece  

Sequence  The  immediate  restatement  of  a  motif  at  a  higher  or  lower  pitch  in  the  same  voice.    It  is  still  a  sequence  if  the  restatement  of  the  motif  is  greater  than  a  tone  

Chromaticism   The  use  of  accidental  notes  outside  the  prevailing  diatonic  key  

Canon/Imitation   The  restatement  in  succession  of  identical  musical  material  in  two  or  more  parts  

Drone/Pedal  Point  

A  drone  will  often  consist  of  more  than  one  note,  but  more  importantly  it  does  not  contribute  to  the  harmonic  movement   of   the   piece.   Therefore   drones  may   continue   unchanged   for   an   entire   piece   /  movement  

Conversely,  pedal  points  do  support  the  harmonic  movement  of  music  by  creating  tension  that  is  then  resolved,  either  by  moving  to  another  pedal  point  or  by  resolving  in  the  form  of  a  cadence.  As  the  name  suggests,  the  pedal  of  organ  music  often  sustains  such  notes  

Melodic  Decoration  

Where  the  melody   is  embellished   (or  decorated)  with  extra  notes,   rhythms,  and/or  ornaments   (trills,  mordents,  turns,  grace  notes,  etc…)  

Accelerando   Gradually  becoming  faster  

Rallentando  (rall)     Gradually  becoming  slower  

Ritardando  (rit)   Immediately  slower  

Meter  change   Where  the  meter  (time  signature)  changes  within  the  piece  

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Polyrhythm  

The  simultaneous  combination  of  contrasting  rhythms,  where  the  notes  of  one  rhythm  are  not  divisible  by  the  notes  of  the  other.  Therefore  ‘two  against  three’  is  a  polyrhythm  but  ‘two  against  four’  is  not  –  see  two  simple  meter  examples  below:  

 

 

   

 

   

Is  a  polyrhythm   Is  not  a  polyrhythm    

Irregular  Time  Signature  

A  time  signature  that  does  not  conform  to  either  a  duple,  triple  or  quadruple  meter.  Examples  include  time  signatures  representing  five  or  seven  beats  in  the  bar.      

Irregular  time  signatures  /  meters  are  often  perceived  as  having  alternating  sub-­‐groups  of  two,  three  and  sometimes  four  beats,  each  beginning  with  its  own  down  beat.  The  result  is  a  strong  beat  occurring  at  irregular  intervals,  hence  the  description  ‘irregular  meter’  

Tempo  Change     Where  the  speed  of  the  piece  changes  from  the  original  starting  speed  

   

COMPOSITIONAL  TECHNIQUES  :  READING  &  WRITING  MUSIC    

Sequence  

The   immediate  restatement  of  a  motif  at  a  higher  or   lower  pitch   in  the  same  voice.     It   is  still  a  sequence  if  the  restatement  of  the  motif  is  greater  than  a  tone    Example  1:                  Example  2:        

Syncopation  A  temporary  displacement  of  a  regular  metrical  accent  where  the  accent  shifts  from  a  strong  to  a  weak  beat  

Diminution  

The  restatement  of  a  theme  where  the  notes  are  of  a  shorter  duration  (generally  half  the  beat  value  of  the  original)  -­‐    

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Augmentation  

The  restatement  of  a  theme  where  the  notes  are  of  a  longer  duration  (generally  double  the  beat  value  of  the  original)  -­‐    

Retrograde  

Where  a  musical  theme  (or  motif)  is  played  backwards      

Inversion  

When  the  intervals  of  an  original  musical  motif  are  reversed  (turned  upside-­‐down)      

MUSIC  TERMS  

Terms   Definitions   Terms   Definitions  

Adagio   Slowly   Legato   Smoothly  or  well  connected  

Andante   At  an  easy  walking  pace   Staccato   Short  and  detached  

Allegro   Lively  and  fast   Poco   A  little  

Moderato   At  a  moderate  speed   Poco  a  poco   Little  by  little  

Presto   Very  fast   Molto   Very  

Vivace   Lively  and  spirited   Dal  segno   From  the  sign  (      )  

Accelerando  (accel.)   Gradually  becoming  faster   Da  capo  al  fine  From   the   beginning   to   the   word  fine  

Meno  mosso   Less  movement  (slower)   Fine   End  

Piu  mosso   More  movement  (quicker)   Tremolo   Rapid  bowing  –  shimmering  effect  

Rallentando  (rall)/  Ritenuto  (rit)  

Gradually  becoming  slower   Pizzicato  (pizz)   Pluck  the  string  with  finger  

Ritardando  (ritard)   Gradually  becoming  slower   Arco   With  the  bow  (after  a  pizz  sign)  

A  tempo   Return  to  former  speed  8va  

 (ottava)  Notes   should   be   played   an   octave  higher  than  written  

Rubato  

‘Tempo   rubato’   literally  means   ‘robbed   time’.   The  music  is  therefore  performed  with  some  freedom  in  time  

8vb    

(ottava  bassa)  Notes   should   be   played   an   octave  lower  than  written  

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Crescendo  (cresc)  

 

 

Gradually  becoming  louder  

Grace  note  

 

 

A   small  musical  note   that   is  added  to   the   main   note   for  embellishment.       Two   common  forms   include   the   appoggiatura  and   the   acciaccatura   (crushed  note).  

Diminuendo  (dim)  

 

Gradually  becoming  softer   Tenuto  (-­‐)   To  be  held  for  the  full  time  value  

Forte  (f)   Loud   Marcato  accent  (>)   Marked  accent  full  value  

Fortissimo  (ff)   Very  loud   Martellato  accent  (^)   Strong  (often)  detached  accent  

Mezzo  forte  (mf)   Moderately  loud  

Trill  

 

A   rapid   alteration   of   two   tones  either  a  semitone  or  a  tone  apart  

Piano  (p)   Soft  

Mordent  

 

A  melodic  ornament   in  which   the  principal   note   alternates   rapidly,  and   only   once,   with   the   note  above  

Pianissimo   Very  soft  

Turn  

 

A  melodic  ornament  that  makes  a  turn   around   a   note,   beginning  with   the   note   above,   note   itself,  note   below   and   finishing   on   the  note  itself  

Mezzo  piano   Moderately  soft  

Pitch  bend  

 

A   smooth   slide   from   one   note   to  another  

Sforzando  (sfz)   A  strong  accent   Hammer  on/  pull  off  

Hammer-­‐on   –   to   bring   the  fretting-­‐hand   down   on   the  guitar’s   fingerboard   behind   a   fret  causing  the  note  to  sound  

 

Pull-­‐off  -­‐  pulling  the  finger  off  the  string  causing  the  note  to  sound  

 

In   conventional   notation   the   two  techniques   are   expressed   with  

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slurs.   In   tablature,   they   are  expressed  using  the  letters  ‘H’  and  ‘P’  respectively  

Glissando

 

A   rapid   slide   through   a  series  of  consecutive  tones  

Drop  note  

 

A   non-­‐diatonic   slide   off   the  main  note  

Scoop  

 

A   non-­‐diatonic   slide   up   to  the  main  note     Bar  repeat    

Repeat   the   notes   of   the   previous  bar.  

Flam

 

A   drumbeat   consisting   of  two   strokes   the   first   of  which   is   a   very   rapid   grace  note  

Rim  click  

 

The  sound  produced  by  hitting  the  rim  with   the   stick   across   the   face  of   the   drum   head   resting   on   the  skin  

Ripple  chord/Arpeggio  (Rolled  chord)

 

Where   the   notes   of   the  chord  are  played  separately,  in   rapid   ascending   or  descending  order  depending  on  the  symbol  used.  

Rim  shot  

 

The  sound  produced  by  hitting  the  rim   and   the   head   of   a   drum  simultaneously  with  a  drum  stick  

 

In   this   instance   the   tempo  would  equate   to   120   crotchet   beats   per  minute  

 

This   sometimes  appears   as   ‘M.M.  =  120’  

Metronome marking

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Perfect  Intervals  

Within  the  octave  of  a  Major  and  minor  scale  there  are  four  perfect  intervals:  

Prefect  unison   (0  semitones)  

 

Perfect  4th   (5  semitones)    

Perfect  5th   (7  semitones)  

 

Perfect  octave   (12  semitones)  

 

 

Major  Intervals  

Within  the  octave  of  a  Major  scale  there  are  four  major  intervals:  

Major  2nd  

(Tone)  (2  semitones)  

 

Major  3rd   (4  semitones)  

 

Major  6th   (9  semitones)  

 

Major  7th   (11  semitones)  

 

 

   

LIST  OF  INTERVALS  

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Minor  Intervals  

If  each  of  the  above  major  intervals  is  reduced  by  a  semitone  minor  intervals  are  the  result.    

minor  2nd  

(Semitone)  (1  semitone)  

 

minor  3rd   (3  semitones)    

minor  6th   (8  semitones)  

 

minor  7th   (10  semitones)    

 

 

Diminished  Intervals  

If   perfect   or   minor   intervals   are   lowered   by   a   semitone   they   become   diminished   intervals.   There   are   no   ‘minor’  unisons,  fourths,  fifths,  or  octaves.  

diminished  2nd   (0  semitones)    

diminished  3rd   (2  semitones)    

diminished  4th   (4  semitones)    

diminished  5th   (6  semitones)    

diminished  6th   (7  semitones)    

diminished  7th   (9  semitones)    

diminished  octave   (11  semitones)    

   

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Augmented  Intervals  

If  perfect  or  major  intervals  are  raised  by  a  semitone  they  become  diminished  intervals.    

Augmented  unison   (1  semitone)    

Augmented  2nd   (3  semitones)    

Augmented  3rd   (5  semitones)    

Augmented  4th   (6  semitones)    

Augmented  5th   (8  semitones)    

Augmented  6th   (10  semitones)    

Augmented  7th   (12  semitones)    

Augmented  octave   (13  semitones)    

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List  of  Scales    

Major    

Tone  =  T;  Semitone  =  S  

 

 Natural  minor  

The  natural  minor  scale  does  not  contain  a  raised  7th  note.  

 

 Harmonic  minor  

 

In  a  harmonic  minor  scale,  the  7th  note  is  always  raised.  

 

 Melodic  minor  

 

In  a  melodic  minor  scale,  notes  6  and  7  are  raised  ascending  and  lowered  descending.  

 

 Chromatic    

Includes  every  note  within  the  octave.    Sharps  are  added  ascending  and  flats  descending.  

 

 Major  

Pentatonic    

A  pentatonic  is  a  5-­‐note  scale,  plus  the  ‘upper  tonic’  –  Notes  1,  2,  3,  5,  6,  8.  

 

 Blues  

 

The  blues  formula  consists  of  notes  1,  3,  4,  b5,  5,  b7,  8.  

   

Whole  Tone  

A  whole  tone  scale  consists  of  notes  built  solely  from  tones.  

 

               T                                    T                              S                                    T                                  T                              T                          S  

                         T                              S                              T                                      T                                  S                              T                          T  

           T                            S                          T                                    T                                  S                          T  ½                                  S      

             T            S                  T                      T                T              T                    S              T                            T              S              T                  T                      S              T  

     T                          T                    T  ½                            T                      T  ½    

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 SUGGESTED  ADDITIONAL  READING:  Ben-Amots, O., & Lamb, A. (1996). The Big Site of Music Notation and Engraving. Retrieved 2014 20-January from Intyernet Archive Wayback Machine: http://web.archive.org/web/20100119060350/http://www.coloradocollege.edu/Dept/MU/musicpress/engraving.html

Music Publishers' Association of the United States. (1993). Standard Music Notation Practice. Retrieved 2014 20-January from WIMA: Werner Icking Music Archive: http://www.icking-music-archive.org/lists/sottisier/notation.pdf

Benward, B., & Saker, M. (2009). Music In Theory and Practice: volume 1. New York:McGraw-Hill

Grant, G. (2005). Music Explained. Sydney:McGraw-Hill  

   

 

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APPENDIX B EXAMPLES OF REPERTOIRE (INDICATIVE OF APPROPRIATE STANDARD)

 

INSTRUMENT   TITLE   COMPOSER     PUBLISHER  

Piano   Unsquare  Dance  (from  The  Genius  of  Dave  Brubeck)  

Dave  Brubeck   Warner  Bros  

  Misty  Day  (from  Microstyles  #2)   Christopher  Norton   Boosey  &  Hawkes  

  Sonata  Op.49  No.1  (1st  Mov)   Beethoven   Beethoven  

Organ   Highly  Strung  (from  Microjazz  1  for  Electronic  Organ)  

Christopher  Norton   Eldon  Music  

  Adagio   T.  Albinoni   Opus  One  Music  

Classical  Voice   Se  Florindo  è  fedele   Alessandro  Scarlatti   Alfred  

  The  Sky  Above  the  Roof   Vaughan  Williams   Boosey  &  Hawkes  

Contemporary  Voice  

Misty   Burke/Garner   All  Woman  Jazz  -­‐  IMP  

  Superstition   Wonder   7  Super  Hits  Motown  Songs  -­‐  Hal  Leonard  

Violin   1st  &  2nd  Mov  of  Sonata  in  E,  Op.5,  No.  11   A.  Corelli   Stainer  &  Bell  

  1st  Mov  of  Concerto  Number  2   A.  Komarovsky   Peters  

Viola   Adagio  (from  Album  of  Classical  Pieces,  Vol  I,  Ed.  Klengel)  

A.  Corelli   IMC  

  Valse  Triste,  Op.  44,  No.  1   J.  Sibelius  (arr.  Hermann)  

Breitkopf  &  Hartel  

Cello   Sicilienne,  Op.  78   G.  Faure   Hamelle  

  Different  (from  Two  Poems)   P.  Truman   P.Trurman  

Double  Bass   Minuet  (from  Classical  Pieces,  Bk.  2)   L.  Boccherini   Billaudot  

  Elephant's  Gavotte   D.Walter   Yorke  

Flute   Jazz  Incorporated  vol  2  -­‐  any  piece   Kerin  Bailey   Bailey  

  Cinq  Pièces  Brèves  op  39  -­‐  2  or  3  contrasting  movements  

Mouquet   Lemoine  

Oboe   Pièce   Fauré   Leduc  

  Sonata  in  Eb  -­‐  1st  and  2nd  movts   Pepusch   Nova  

Clarinet   3  Short  Pieces  -­‐  1  and  3   Elena  Kats-­‐Chernin   AMC  

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INSTRUMENT   TITLE   COMPOSER     PUBLISHER  

  Allegro  op  71   Beethoven   Chester  

Bassoon   Lyric  Suite  -­‐  any  movt   Dunhill   Boosey  &  Hawkes  

  Sonata  no  2  in  A  Minor  -­‐  1st  and  2nd  movts   Boismortier   Musica  Rara  

Soprano  Saxophone  

Anthem   Russell  Gilmour   Reed  Music  

  So  Long  Birdie  (from  Easy  Jazz  Conception)   Snidero   Advance  Music  

Alto  Saxophone   Aria   Bozza   Leduc  

  Mucho  Mariachi   Mike  Mower   Boosey  &  Hawkes  

Tenor  Saxophone  

Romance  (from  The  Gadfly)   Shostakovich   Fentone  Music  

  Duke's  Convoy   Snidero   Advance  Music  

Baritone  Saxophone  

Rock  On  (from  Easy  Jazz  Conception)   Snidero   Advance  Music  

  Golliwog's  Cakewalk  (from  Saxophone  Album)   Debussy,  arr.  Rae   Universal  

French  Horn   Nocturne  (from  Concert  and  Contest  Collection)  

F.  Mendelssohn   Rubank  

  Tender  Mercies   G.  Dreyfus   All  Music  Publishing  

Trumpet   Pastorale  (from  Classical  Album)   Kuhnau   Boosey  &  Hawkes  

  The  Moose  is  Loose,  no.  15    (from  2nd  Book  of  Trupet  Solos)  

Wallace   Faber  

Trombone   2nd  Mov  of  Concerto  for  Trombone  (from  1st  Solos  for  Trombone  Player)  

Wagenseil   Schirmer  

  Stokers  Siding  (from  Jazz  Incorporated,  Vol  I)   K.  Bailey   Bailey  Music  Sales  

Euphonium   Andantino,  arr  Ball   A.  Stradella   R.Smith  &  Co.  

  Jumbuck  Jive  (from  Jazz  Incorporated,  Vol  I)   K.  Bailey   Bailey  Music  Sales  

Tuba   Preludio  and  Allemanda   A.  Corelli   Brodt  Music  

  Summer  Nocturne   D.  Uber   Southern  Music  

Classical  Guitar   Take  Five   Dave  Brubeck   Desmond  Music  

  Cavatina   Stanley  Meyers   Robbins  Music  

Rock  Guitar   Tears  in  the  Rain   Joe  Satriani   Strange  Beautiful  Music  

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INSTRUMENT   TITLE   COMPOSER     PUBLISHER  

  Always  with  me,  Always  with  you   Joe  Satriani   Strange  Beautiful  Music  

Bass  Guitar   Continum   Jaco  Pastorius   Pastorius  Music  

  Blue  Cha  Cha  arr.  Kim  Cambridge   Goines,  Amees,  Stern  &  Hernandez  

K.  Cambridge  

  Portrait  of  Tracy   Jaco  Pastorius   Pastorius  Music  

Rock  Drum  Kit   Blood  Sugar  Count  High   Deirdre  Cartwright   Rock  School  

  Pyramids  on  Mars   Virgil  Donati   Gildon  Music  

Bagpipes   The  Big  Bril   R.  Mathieson    

  By  The  Water's  Edge   D.  Masterson    

Percussion          

Snare  Drum   Variations  on  "Crazy  Army"   Steve  Gadd   Manhattan  Music  

Drum  Kit   Fusion  Boulevard   Frank  Corniola   Allans  

Timpani   Sonatina  (3  timpani)   Alexander  Tcherepnin   Boosey  &  Hawkes  

  Three  Designs  for  3  Timpani   Robert  Muczynski   Schirmer  

Xylophone   Sonata  for  Xylophone  Solo   Thomas  B.  Pitfield   Peters  

Bongos,Congas,Tomtoms  

Variations  on  a  Ghanaian  Theme   Daniel  Levitan   Good  Vibes  Music