Rhythm regrouping exercises using syncopation and rests Analysis/Composing and arranging Swing listening example – discuss forms/compositional styles and their development Band – discuss voicing types. Open vs Closed vs Unison Analyse Take the according to voicings and note choices Analyse and identify textural features –unison, open voicing, closed voicing, homophonic, polyphonic, call/response, imitation, backing riffs, standard Identify compositional devices within scores (aurally and visually) – riff, pedal point, sequence, imitation , call and response Add/incorporate compositional devices to given melodies/scores Focus/Discussion The popularisation of Jazz leading to the ‘Swing Era’ Contrast and compare geopolitical stylistic differences and similarities 4–6 Scales: as before Intervals: add harmonic intervals: P4, P5, P8 Chords: root position (block), arpeggio (broken), major, minor, dominant 7th, major7 , minor7 add vi in major keys (C: Ami) minor keys–Roman numerals: i, iv, V, V7 and chord names in A min: Ami, Dmi, E and E7 perfect and plagal cadences in major and minor keys Modulation: to the relative major/minor Rhythmic dictation: simple time – ,, , , and compound time basic rhythms and rests, including and Melodic dictation: 4–8 bars, keys Theory Transposition into and from E flat instruments Identify modulations to the relative minor and major in melodic excerpts Continue chord building including upper extensions Introduction to guide tones Introduction to AB piano voicings Chords Chords in root position and inversion Construction of bass lines over given chord progressions Chord relationships (dominant, mediant etc.) Identify and write turn around phrases and relevant cadences Write improvisations using the Blues scale and appropriate modes over a Blues progression Focus/Discussion Examine changes and developments in relation to the advent of the Swing Style Duke Ellington vs Count Basie style (Kansas City vs Cotton Club) Defining characteristics of rhythm section styles including piano/guitar comping, the role and use of the drum kit and the development of bass lines Aural and visual analysis of designated work and comparative repertoire Listen to salient examples and identify key features comparing and contrasting the two new works. Revise the previous works to demonstrate the evolution of the musical era.
Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythm Aural analysis: recognition of music elements in short extracts (form, metre, dynamics/expressive devices, tempo, instrumentation) Skeleton score: 2–4 parts, 4–8 bars Chord tones Passing notes (diatonic and chromatic) Composing and arranging Identify compositional devices within scores (aurally and visually) – add double time, half time, diminution and augmentation Voice a given melody and chord progression using open/closed and/or unison voicings Using guide tones and chord tones, harmonise a given example Create a riff for a melody or chord structure Identify and Incorporate stylistic articulations/score directions into given melodies and score extracts when composing or arranging melodies/pieces in certain styles (Kansas city style, 12 bar Blues, early instrumental Blues form) Works could include: Ko-ko, Front Burner, Basie Straight-Ahead, Mood Indigo, Satin Doll, Splanky etc. 7 Task 1: Formal assessment – Aural test (3%) Task 2: Formal assessment – Theory test (2%) Comparative aural and visual analysis of familiar and unfamiliar works. Performance Task 1 – Prepared repertoire (2%) Composition portfolio Task 1 – Composition assessment (5%)
4–6 Scales: revise natural, harmonic and melodic minor Intervals: revise all harmonic intervals Harmony: Chord progressions 4 to 8 bars, key signatures up to 2 sharps and 2 flats minor: i, iv, V, V7 and VI revise perfect and plagal cadences in keys Modulation: relative and dominant Rhythmic dictation: simple time compound time ,, , Melodic dictation: 4–8 bars, minor keys Aural analysis: recognition of music elements in short extracts (form, metre, dynamics/expressive devices, tempo, instrumentation) Skeleton score: 2–4 parts, 4–8 bars Theory Identify and write natural and harmonic minor scales, related intervals and perfect and plagal cadences in minor keys Harmonisation Continue harmonic analysis and harmonisation tasks in major and minor keys up to 2 sharps and flats Accompaniment writing Harmonise a 4–8 bar melody and compose a suitable accompaniment pattern Compose a melody to a given accompaniment pattern Modulation Identify modulations to the dominant and relative major/minor a range of examples Compose an 8 bar A section and an 8 bar B section of a melody that includes a modulation Complete analysis of designated work Overview of West Coast and East Coast Cool Jazz. Complete analysis of comparative examples of West Coast, East Coast and Bop pieces to demonstrate development of form, instrumental style and techniques, instrumentation and orchestration across genres. Week 5: Performance Task 6 – Prepared repertoire (2%)
Modulation: relative major/relative minor and dominant, using a range of examples. Rhythmic dictation Simple metres: 8 bars, including syncopation and anacrusis Compound time , , , Melodic dictation: 8 bars, chromatic passing notes Discrepancies: treble/bass clef, 4–8 bars, 4 discrepancies in both pitch and rhythm. Skeleton score: compositional devices, dictations, chords. Revision of year’s work Arrangement tasks for mixed ensembles (strings, wind, brass) including at least two transposing instruments Review year’s work Revision of Semester 2: the development of Jazz post-1956, using familiar and unfamiliar excerpts, focusing on the designated works. Make educated guesses about the direction the music took after the hard bop era. Week 15: Performance Task 9 – teacher report (3%) Week 15: Composition Task 5 – Composition portfolio supervisor report (5%) 16 Task 14: Semester 2 examination Task 14: Semester 2 examination Task 14: Semester 2 examination Performance Task 10 Semester 2 – Performance examination (15%) Composition portfolio Task 6 – of final composition portfolio (15%)