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SAMPLE COURSE OUTLINE

MUSIC – CONTEMPORARYATAR YEAR 11

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2014/19856v4

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Sample course outlineMusic – Contemporary – ATAR Year 11Unit 1 – Rock

WeekWritten component – Key teaching points Practical component

Aural Theory and Composition Cultural and historical analysis Performance orComposition portfolio

1–3

Sight singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulatedScales: Major pentatonic, minor pentatonic, Major, Blues scaleIntervals: m2, M2, m3, M3, P4, P5, m6, M6, m7, M7, P8ve (melodic and ascending only)Imitation and Call and response: up to 4 bars based on rhythms, scales and intervals coveredChords: power chords/tonic and dominant, major chords: I, IV and V or chord names (e.g. C, F and G)

Rhythmic dictation: , , or

rhythms including , Melodic dictation: 4 bars, treble and bass clef, up to one sharp and one flat, based on scales covered. Rhythm and some pitch provided

Theory Identify and write intervals, scales and

chords in treble and bass clef, major keys, up to two sharps and flats

Chords Chord recognition and analysis; major

and minor triads, dominant 7th chords, I, IV and V using Roman numerals and chord names

Provide chords to a given melody/song 12 bar blues progression and structureRhythmic exercises Identify and write syncopated rhythms,

focusing on the use of ties, anticipation and delay

Rhythm regrouping exercises using syncopation and rests

Provide a rhythmic scansion for given lyrics

Arranging Discuss score layout, examining sample

scores and notation (conventional, slash-rhythm guitar, TAB, drum set)

Identify the use of music elements in a blues melodic style analysing given melodies

Introduction to style – what is Rock?Listen to a range of examples to prompt discussion about elements of rock music.

The Blues – background and characteristics syncopation call and response improvisation blues scale and ‘blue notes’ 12 bar structure

Discuss the socio-cultural context in 1950s America. Watch The invention of the teenager

(DVD – ‘James Mays’ 20th century’) Rock’n’roll – the ‘whitening’ of African

American rhythm and blues, influence of country and western music

Elvis Presley – background and controversy surrounding TV appearances

Australian Rock in the 1950sAural and visual analysis of designated work. Comparison with other rock’n’roll songs

of the ‘50s; (Elvis Presley, Lil’ Richard, Buddy Holly, Jerry Lee Lewis etc.)

Distribute technical lists and recommended repertoire from the Music: Resource package for the practical component.

Outline assessment requirements for the semester in consultation with instrumental teachers, ensemble directors and/or composition portfolio supervisors.

Sample course outline | Music – Contemporary | ATAR Year 11

2



4–6

Scales: natural minor/aeolian mode, Blues scaleIntervals: add harmonic intervals: P4, P5, P8Chords: root position (block), arpeggio (broken), major, minor, dominant 7th, maj 7th

add V7, vi in major keys Standard Blues progressions I, IV, V and

V7

Modulation: relative major/minor

Rhythmic dictation: simple time ,, , , and

compound time – basic rhythms and

rests, including and

Melodic dictation: 4–8 bars, minor keysDiscrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythmAural 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 minor/Aeolian

and Blues scales and related intervals in minor keys

Identify modulations to the relative minor and major in melodic excerpts

Rhythm exercises in compound timeChords Introduce vi in major keys I, vi, IV, V progression– listen to and

analyse examples using this progression. Harmonise given melodies using the progression and write a melody to fit the progression

Arranging – Bass lines Listen to and analyse Bass lines – various

styles and typical pop bass lines such as walking bass or country style (root/5th common notes, passing notes and linking, passages/notes)

Select and write appropriate bass lines for given melodies in different styles

Add a stylistically appropriate bass line to a given melody, lyrics and chord progression

Drum Kit Notation Identify and demonstrate different parts

of the drum set, reading and performing simple rock patterns

Teach swing/shuffle feel – blues music

Discuss the demise of rock’n’roll and the rise of the producer

Overview of music in the late ‘50s – Phil Spector and the wall of sound, girl groups, teen pop, folk rock, and surf rock

Listen to a range of examples to compare and contrast rock and pop

The British Invasion – what was new? Discuss the background of British pop in the late ‘50s, the influence of skiffle music on the Beatles and American influences, in particular Buddy Holly and early rock’n’roll The Beatles – examine and discuss

their impact on American music (watch the Beatles perform on the Ed Sullivan Show in 1964)

discuss The Rolling Stones as an alternative ‘bad-boy’ image

compare the look, performance style of and the music of both bands

listen to other bands included in the British Invasion identifying either ‘Beatles–style’ or ‘Rolling Stones-style’

discuss the influence of the Chicago electric blues tradition on the Rolling Stones – British Blues revival

compare and contrast with other bands in the same style – The Yardbirds, The Animals, The Kinks, The Who etc.

Aural and visual analysis of second designated work.

Week 5: Performance


3



Identify and analyse (aurally and visually) different drum techniques –side stick, rim shot, double kick, open and closed hi-hat

Drum fill – how to notate and when it is appropriate

Analyse and write drum parts using appropriate notation, add drum part to given melody

7

Task 1: Aural test (3%) Task 2: Theory test (2%) Comparative aural and visual analysis of familiar and unfamiliar songs.

Performance Task 1 –Prepared repertoire (2%)Composition portfolio Task 1 –Composition assessment (5%)

8–10

Scales: harmonic minorIntervals: add harmonic intervals: m2, M2, m3, M3, m6, M6, m7, M7Chords: ii in Major keys minor chord progressions Roman numerals

o minor: i, iv, V and V7

chord names (as indicated)o minor: Am, Dm, E and E7

minor Blues progressiono i, iv, V and V7

Modulation: to the dominantRhythmic dictation: 8 bars, anacrusis/ upbeat/pick-up, syncopation, ties

Simple time:

Compound: ,

, ,

,

Theory Identify and write scales, including

harmonic minorChords Chord recognition, analysis and

harmonisation of given melodies in keys up to three sharps and three flats Roman numerals

o Major: I, ii, IV, V, V7 and vio minor: i, iv, V and V7

Chord names (as indicated in C)o Major: C, Dm, F, G, G7 and Amo minor: Am, Dm, E and E7

Identify and write standard Blues progressions I, IV, V and V7

Recognise passing notes (diatonic and chromatic)

Week 9: Task 3 – Cultural and historical analysis (3%) Examine the development of hard rock

following the Rolling Stones – Led Zeppelin, Deep Purple etc.

Psychedelia – new ways to experience the world. The youth culture and drugs – Ken Kesey, Timothy Leary and LSD musical expression of Psychedelia –

Sergeant Pepper’s Lonely Hearts Club Band album release and impact. The Beach Boys and ‘Smiley Smile’, the San Francisco scene (Jefferson Airplane, The Grateful Dead etc.), Woodstock and the rock festival phenomenon.

Progressive Rock – extension of the hippie aesthetic, influence of Western Art Music and Jazz listening examples: Pink Floyd, Yes,

Emerson, Lake and Palmer, King Crimson etc.

Week 10: Performance Task 2 –Sight reading or Improvisation (3%)


4



Melodic dictation: 8 bars, treble and bass clef, two sharps and two flats, based on scales coveredImitation and Call and response: up to 4 barsDiscrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythmAural analysis: identification of style, form, instruments, voice types, instrumental and vocal techniques

Composition and arrangement Identify and analyse guitar techniques

and notation; bend, slide, palm mute, harmonics, vibrato

Transcribe and write TAB notation for guitar and bass

Analyse the role of the lead guitar or keyboard as a melodic instrument in blues examples, identifying spaces in the 12 bar structure for improvisation or lead playing

Analyse and write short guitar examples using appropriate notation

Revise symbols and terminology for tempo, dynamics and expressive elements for accents, articulations and ornamentations

, , Melody writing Analyse a range of Contemporary/rock

melodies, identifying melodic shape, use of repetition, syncopation, passing notes (chromatic and diatonic) and scale types

Compose an 8 bar melody over given chords, incorporating features identified and discussed in analysis tasks. Add expressive elements such as accents, articulations, ornamentations where stylistically appropriate

Discuss the big business of rock in the mid ‘70s – investment in record companies, money made from album sales and concerts held in arenas and stadiums. Friction between creativity and economic concerns – perceived or reality?

Introduce Rock from an Australian perspective, discussing the pub rock scene in Australia and ACDC formed in 1973 – influences drawn

from ‘70s hard rock and the British Blues Revival. Considered pioneers of heavy metal

aural and score analysis of Highway to Hell. Comparison with other Australian bands such as Cold Chisel, The Angels etc.


5



11–13

Task 4: Formal assessment – Aural analysis (2%)Scales: chromaticIntervals: all intervals in isolation or part of a melodic excerpt.Harmonic intervals: m6, M6, m7, M7Harmony: ii in Major keys, VI in minor keysInterrupted cadences in minor keysV-VI, V7-VI (keyboard and vocal style)Rhythmic dictationSimple time signatures

Compound: ,

, , Melodic dictation: chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythmSkeleton score: compositional devices, dictations, chords, cadences

Theory Identify and write chromatic scales in

treble and bass clefChords/Harmony Identify and write major 7th and minor 7th

chords in keys up to 3 sharps and 3 flats

Identify and write Standard Blues progressions (I, IV, V and V7)

Identify and write passing notes (diatonic and chromatic)

Identify and write circle of fifths/fourthsModulation Recognise and transpose given extracts to

either the relative major or minor and dominant

Compose a melody that contains a modulation to the relative major/minor

Composition Listen to and analyse examples of

harmonisation, harmony lines, rhythmic figures and counter-melodies in different styles of rock music, particularly in progressive rock

Add appropriate chords to a given melody Create a harmony part to given melodies

(or melodies students have written in previous weeks)

Discuss the roots of Punk music as an underground reaction to the big business of rock in the mid ‘70s. Discuss the origins of the punk scene in New York – The Velvet Underground, Patti Smith, The Ramones etc.

Listen to and discuss the look, music and performing style of The Sex Pistols and the British Scene, noting that British punk also developed as a reaction to the economic conditions of the time

Examine the rise of the New Wave – removal of the more negative and anti-social aspects of British punk. Listen to examples from Elvis Costello, Devo, The Clash, Blondie, Talking Heads etc.

Discuss the development of rock music in the ‘80s. Examine the influence of MTV in contributing to the growth in importance of the music video to sell music and achieve success and popular appeal in the music industry

REM and the development of the college rock underground – lack of affiliation with major labels, small independent labels, college radio stations played recordings released by the bands themselves; non-commercial

Examine the development of Heavy Metal and Rap in the early ‘80s – image representing a disenfranchised societal group


6



Look at the rise of the metal mega-stars and ‘hair bands’ – Bon Jovi, Guns and Roses, Metallica etc.

Alternative Rock – a reaction to the visually-oriented MTV stars and the flashy heavy metal bands as well as a style that embraced the return-to-simplicity aesthetic of ‘70s British punk. Characterised by casual fashion, rejection of long virtuosic guitar solos and usually not affiliated with major record labels

Background to Nirvana and the Seattle grunge scene analysis of Smells Like Teen Spirit.

Resource: Covach, pp. 502–503 Listen to other grunge bands such as

Pearl Jam, Foo Fighters, Soundgarden etc.

14–15

Revise all scales, intervals and chordsHarmonyModulation: relative major/relative minor, using a range of examplesRhythmic dictationSimple metres: 8 bars, including syncopation and anacrusisCompound metres: 8 bars

, ,

Melodic dictation: 8 bars, chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythm

Week 14 – Task 6: Formal assessment – Score analysis and Melody writing (2%)Scales Revision of all scales, modes and intervals

up to three sharps and three flatsChords Revision of major and minor triads, major

7th, minor 7th and dominant 7th chords in keys up to three sharps and three flats

Chord recognition and analysis of major and minor chord progressions Roman numerals

o Major: I, ii, IV, V, V7 and vio Minor: i, iv, V and V7

Week 14 – Task 5: submit summary table and 1000 word essay (2%)Complete analysis of final designated work.

Revision of Semester 1: using familiar and unfamiliar excerpts, focusing on the designated works.

Week 14: Performance Task 3 – Recital practice (3%)

Week 15: Performance Task 4 – Instrumental teacher report (2%)

Week 15: Composition Task 2 – Composition portfolio supervisor report (5%)


7



Skeleton score: compositional devices, dictations, chordsRevision of Semester 1 work for exams

Composition/arranging Revise instrumental and vocal techniques Revise drum notation, slash notation Symbols and terminology for tempo,

dynamics, accents and articulation Melody-writing and harmonisation

practice

Revision of Semester 1 work for exams

16

Task 7: Semester 1 examination Task 7: Semester 1 examination Task 7: Semester 1 examination Performance Task 5 – Semester 1 performance examination (15%)

Composition portfolio Task 3 – submission of composition portfolio (15%)


8Unit 2 – Folk


Aural Theory and Composition Cultural and historical analysis Performance or Composition portfolio

1–3

Sight singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulatedScales: revise Major/do pentatonic, minor/la pentatonic, Major/ionian mode, natural minor, harmonic minorIntervals: revise all intervals in isolation and as part of a melodic lineHarmony: chord progressions 4 to 8 bars, major and minor keys up to

2 sharps and 2 flats Major:

Roman numerals: I, IV, V, V7 and vi chord names: C, F, G, G7 and Am

minor: Roman numerals: i, iv, V and V7

chord names: C, F, G and G7

Rhythmic dictation: simple time including

, , ,Melodic dictation: 8 bars, treble and bass clef, up to two sharps and flats, based on scales stipulated. (Some pitch and/or rhythm provided.)Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythm

Theory Identify and write intervals and scales in

treble and bass clef, Major keys, up to two sharps and flats

Harmonisation Analyse chords in given 4–8 bar extracts Harmonise given melodies at phrase

endingsRhythmic scansion/Melody writing Complete a word scansion task, providing

an appropriate rhythm for given lyrics Compose a suitable 8 bar melody in a

folk style to fit the rhythmic scansion. Incorporate syncopation and word painting

Compose an 8 bar melody from a given motif or chord progression, incorporating a modulation to the relative major or minor

Introduction to folk music Definitions of folk music – starting with

the purist view of songs belonging ‘to the musical heritage of a particular people, (having) no known composer, and (having) been passed orally from one generation to another or from one group of people to another’ (Dorricott – In Tune With Music Bk 3). Basic music elements of folk music with listening examples (include aural recognition of major pentatonic scale)

Listen to several musical examples of Contemporary folk and identify the music elements that distinguish it from other styles. Generate a discussion of the blurred lines between Folk, Rock, Pop, Country etc.

Use of Venn diagram (or similar graphic representation) to illustrate the general characteristics of Contemporary folk in comparison to other Contemporary styles

Begin analysis of designated work

Outline assessment requirements for the semester in consultation with instrumental teachers and/or composition portfolio supervisors.


9



4–6

Scales: revise natural/Aeolian mode, harmonic and melodic minor, Blues scaleIntervals: revise all harmonic intervals Harmony: chord progressions 4 to 8 bars, key signatures up to

2 sharps and 2 flats Add chord ii in major keysModulation: relative major/minor and dominantRhythmic dictation: include anacrusis and syncopation:

simple time

compound time ,

, ,Melodic dictation: 4–8 bars, based on minor scales and Blues scale, treble and bass clefAural 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 minor/aeolian

mode and harmonic minor scales and related intervals in minor keys

Harmonisation Chords revision – Major, minor,

dominant 7th, major 7th, minor 7th

Recognition of chords aurally and visually Provide chords to given melodiesMelody writing/arranging Write a melody to a given chord

progression in a folk style Harmonise the melody writing a suitable

counter melody/descantModulation Identify modulations to the dominant

and relative major/minor a range of examples

Compose an 8–12 bar melody that includes a modulation

Folk in the 1940s and ‘50s – Woody Guthrie and Pete Seeger and their appeal to college students in the USA as opposed to the teen pop market

Watch first half of No Direction Home, the Martin Scorsese film about Dylan as an introduction to folk, country, rock‘n’roll in the ‘50s. Great background to Bob Dylan and his influences. Good insight into the ‘beatnik’ culture and Greenwich Village in the early ‘60s

Protest song – the ‘Weavers’ and the folk revival. Folk song as protest. The McCarthy era and the blacklist. Some good footage and background information about Pete Seeger in No Direction Home

The Kingston Trio and ‘Peter, Paul and Mary’ – folk-pop. Some good footage of Peter, Paul and Mary in No Direction Home

Listening – comparison between Bob Dylan and Peter, Paul and Mary in Blowin’ in the Wind. Use as an exercise in identifying chord progressions

Resources: YouTube for versions of Blowin’ in the

Wind No Direction Home (Martin Scorsese film)

Week 5: PerformanceTask 6 – Prepared repertoire (2%)


10



7

Task 8: Formal assessment – Aural test (3%)

Arranging Review of arrangement techniques and

notation-bass lines, passing notes, auxiliary notes, slash notation for guitar

Listen to and analyse guitar and bass guitar techniques-slap, walking bass etc. and drum parts and drum kit notation

More on ‘protest’ song – from 1963 and Martin Luther King’s speech in Washington to Woodstock in 1969

The Vietnam War – watch Joan Baez and performances by other folk singers at Woodstock – use songs as Aural analysis activities – chord recognition etc.

Resources: No Direction Home What’s that Sound? first edition by John

Covach ‘Rockin’ Out – Popular Music in the USA’

by Reebee Garofalo ‘The Jazz and Rock Resource’ by Geoff

Lowe Woodstock – The Music DVDAnalysis of designated work: folk characteristics, chords, lyrics, performance style

Composition portfolio Task 4 – Composition assessment (5%)

8–10

Scales: Blues, chromaticChords Recognition of major, minor, dominant

7th, minor7 and maj7 chordsChord progressions 4–8 bars, with some chords given Identifying the chords below a given

melody Roman numerals

major: I, ii, IV, V, V7 and vi minor: I, iv, V and V7

Chord names (as indicated) major: C, Dm, F, G, G7 and Am minor: Am, Dm, E and E7

Standard Blues progression I, I7, IV, IV7, V and V7

Week 8 – Task 9: Formal Theory test (2%)Theory Identify and write Blues and chromatic

scalesChords Analyse Blues progressions and provide

chords to a given Blues melody Identify and write Standard Blues

progressions (I, IV, V and V7) Identify and write passing notes (diatonic

and chromatic) Identify and write circle of fifths/fourths

Week 8 – Task 10: Aural and visual analysis test (2%) Search YouTube and listen to covers of

folk songs and compare with originals, discussing stylistic differences

Listen to other songs by the same artist, compare and analyse compositional and stylistic characteristics

Bob Dylan – New directions. The British invasion and its effect on Dylan. The new sound of Like a Rolling Stone – good footage and background in No Direction Home

Newport Folk Festival 1965 The development of folk-rock

Week 9: PerformanceTask 7 – Technical work (2%)


11



Rhythmic dictation: 8 bars, include anacrusis and some syncopationSimple metre rhythms for dictations:

,

Compound: , , , ,

, Melodic dictation: 8 bars, treble and bass clef, up to two sharps and two flats, based on scales covered. Incorporate at least 2 challenging sections – rhythms/ties/larger intervals. Include examples with chord progressionsDiscrepancies: treble/bass clef, 4 discrepancies in either pitch or rhythmAural analysis: recognition of music elements, form, compositional devices, instrumentation, instrumental techniques

Melody writing and arranging Write a Blues style melody to a given

chord Blues progression, incorporating appropriate syncopation and articulation

Arrange a given melody and chord progression for a folk ensemble, incorporating counter melody, suitable guitar and bass guitar parts, drum part, using appropriate notation, articulation and stylistic indications

Compare and contrast Mr Tambourine Man by The Byrds and Dylan

Folk after the ‘60s – Altimont, Kent State University and the end of the hippie aesthetic

Nixon’s America in the ‘70s

11–13

Harmony: revise all chords in major and minor keys Standard Blues progression

I, I7, IV, IV7, V and V7

Minor Blues progression i, i7, iv, iv7, V and V7

Modulation: relative major/minor and dominant in a range of examplesRhythmic dictation: 8 bars, simple time continued, include syncopation

Compound: , ,

Melody writing Rhythmic scansion and Melody writing

for given lyrics Write an 8 bar melody for a given chord

progression Complete an 8 bar melody from a given

motifComposition/arranging Revise instrumental and vocal techniques Revise drum notation, slash notation Symbols and terminology for tempo,

dynamics, accents and articulation

Current trends and the revival of folk in the ‘roots’ genre

Archie Roach and Australian folk music Back to ‘What is Folk?’

Revision of Semester 1


12



Melodic dictation: 8 bars, treble and bass clef, based on scales covered, including chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythmSkeleton score: 3–4 parts, mixed ensembles; identifying compositional devices, dictations, chordsWeek 12 – Task 12: Aural test (4%)

Week 12 – Task 11: Melody and accompaniment writing (2%)

14–15

Revise all scales, intervals and chordsHarmony: revise all cadence types in major and minor keysModulation: relative major/relative minor and dominant, using a range of examplesRhythmic dictationSimple metres: 8 bars, including syncopation and anacrusis

Compound time: , , ,Melodic dictation: 8 bars, chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythm.Skeleton score: mixed parts and ensembles –compositional devices, dictations, chordsRevision of year’s work

Revision for exam: transposition exercises, scales, chords, melody-writing and arrangement exercises.Review year’s work

Week 14 – Task 13: Cultural and historical analysis (3%)

Revision of Semester 2, using familiar and unfamiliar excerpts, focusing on the designated works.

Week 14: PerformanceTask 8 – Recital practice (3%)

Week 15: Performance Task 9 – Instrumental teacher report (3%)

Week 15: CompositionTask 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 – Submission of final composition portfolio (15%)


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