1. Music Investigation Outcome 3 Performance (including Technical Work) On completion of this unit the student should be able to present a performance of music works that communicates understanding of the Focus Area. Key Knowledge includes: Strategies for planning a performance program that communicates understanding of a selected Focus Area Strategies for developing and refining accuracy, control, fluency, flexibility, dexterity, security, coordination and clarity in performance as relevant to the selected works and instruments Idiomatic instrumental tone qualities and variation of tone relevant to the selected repertoire Stylistic characteristics, musical structures and textures, and use of other elements of music in selected works as they relate to the Focus Area Ways of achieving purposeful shape in music through artistic variation of expressive elements of music, including tone quality, tempo, phrasing, articulation, dynamics and texture Lynne Morton Belmont High School

2. Cont. Outcome 3 Strategies for developing expressively shaped, informed interpretations of works that demonstrate understanding of relevant historical and contemporary performance practices, conventions and artistic balance between relevant personal, stylistic, practical, technological, historical and cultural influences Roles of, and relationships between, instrumental voices in selected group works, or parts within the texture of solo works in achieving artistic balance, blend and variation of texture Lynne Morton Belmont High School

3. Outcome 3 Key skills include the ability to: Prepare and perform a program of group or solo works that communicates understanding of a selected Focus Area Demonstrate accuracy, control, fluency, flexibility, dexterity, security, coordination and clarity in the performance of selected works Control idiomatic tone quality, and artistic variation of tone in the performance of selected works Demonstrate artistic intent Create shape in performance of selected works through artistic variation of expressive elements of music Communicate direction in performance through considered, expressive contrasts between structural and textural sections of each work and across the program of selected works Demonstrate developing mastery of historical and contemporary performance conventions in interpreting and performing selected works Lynne Morton Belmont High School

4. Outcome 3 Perform informed interpretations of selected works that demonstrate understanding of artistic balance between relevant personal, stylistic, practical, technological, historical and cultural influences Demonstrate understanding of the roles of, and relationships between, instrumental voices in selected group work/s, or parts within the texture of solo work/s, to achieve artistic balance, blend and variation of tone. Demonstrate communication, interaction, cooperation and empathy with other musicians and audience as appropriate to the performance of selected works Reflect on and evaluate development of a performance program Lynne Morton Belmont High School

5. Music Investigation Elements of Music Lynne Morton Belmont High School

6. Focus Area Lynne Morton Belmont High School

7. Variety of Focus Areas The development of Nocturnes (for Solo Piano) beginning with the style’s origin with John Field (Nocturne in C minor) and then looking at innovations made by other composers such as Chopin and Faure as well as the different approach of C20 composers. The stylistic characteristics used by Guitarists Jeff Beck, Mark Knopfler and Albert King, and the use of different variations of a finger-picking method to achieve the style. Lynne Morton Belmont High School

8. Class Time Structure Listening Journal – Elements of Music Aural Training – Intervals, Chords and progressions, rhythmic and melodic dictation as appropriate Theory – select one piece from program, specify the tonic key, find the modulations and how they relate to the tonic or chord progression within a phrase/section Technical work or exercises designed and practical work on exercises OR Investigation research question OR Composing/Arranging/Improvisation exercises linked to the above Lynne Morton Belmont High School

9. Unit 3 Timeline Week of March 12 Trial performance of Focus Area works, (at least 15 minutes of contrasting works), and technical work and exercises Week of March 19Submit draft of how technical work and exercises is assisting your development and understanding in preparing your Outcome 3 pieces & submit draft of progressive analysis and research discussing characteristics, techniques and performance practices of your Focus Area works Week of April 19 Submit draft of composition/improvisation/arrangement and how this relates to your Focus Area Lynne Morton Belmont High School

10. Unit 3 Timeline cont. Week of May 2 Presentation of technical work and exercises explaining how they have improved your instrumental skills and understanding of the Focus Area Week of May 10Report Presentation - (performance and commentary or multimedia or written or a combination) discussing characteristics, techniques and performance practice of works representative of your Focus Area- SAC Week of May 18 Technical work and exercises SAC (including a written description of how selected performance techniques, technical work and exercises have supported the student as an instrumentalist, and in their preparation of works for Outcome 3) Lynne Morton Belmont High School

11. Unit 3 Timeline cont. Week of May 25Performance of at least a 15 minute program of Focus Area works Week of May 25Submit and perform composition/improvisation/arrangement and outline how your created work relates to your Focus Area Weekly Aural and Theory exercises relevant to Focus Area analysis Weekly Progress report and plan for next week Focus Area Research Lynne Morton Belmont High School

12. Listening Journal Lynne Morton Belmont High School

13. Listening Journal Name the instruments Detail the Form/structure Rhythm Melody Harmony Tone Colour Texture Instrument techniques Style? Lynne Morton Belmont High School

14. Key Words Melody Ascending, descending, repetitive, short, long, high, low, wide range, small range, stepwise/smooth, based on a scale, based on a triad, jagged, made up of phrases, uses sequences, tonality – scale forms, modal, contour, draw a line-graph of the phrase shape, upbeat, anacrusis, angular contour (leaps), motive, register, unison, chromaticism Rhythm Riff, straight, shuffle, jazz, swing, latin, describe note values within a phrase, short rhythmic patterns, call and response, ostinatos, off beat, notation, time signatures, mixed metres, polyrhythms, dotted rhythms, even, syncopation, tacet, duration, note values, pulse, regular, irregular, repetitive, hemiola, isometric Used as – to maintain momentum, as part of the structure/form, ostinato, to provide pulse/beat, to create unity, to create contrast Harmony Chord progression, tonality, primary triads, 7ths, altered chords, describe the chords within a phrase, modulation, consonance, dissonance, resolution Lynne Morton Belmont High School

15. Key Words Dynamics Loud, soft, crescendo, decrescendo, diminuendo, fade-out, fade-in, moderately loud, moderately soft, sforzando, smorzando Tone Colour Timbre, warm, cold, shrill, mellow, woody, bright, bleak, dark, light, heavy, percussive, Guitar amp effects, effects units, Powerchords, mute Texture Monophonic, homophonic, polyphonic Interpretation Rubato, rallentando, register, Piano pedalling, vibrato, change of register, Recording techniques – effects, reverberation, mutlitracking, Ornamentation – trills, mordents, drops offs, smears, pause, harmonics, melismas, scat, Articulation – legato smooth, semi-legato, staccato, mezzo-staccato, marcato, accents, tenuto, slides, bends, hammer ons, pull offs, damping, pizzicato, double stop, mute Tempo – slow, fast, broadly, lively, accelerando, rallentando, ritenuto, ritardando, Lynne Morton Belmont High School

16. Listening Journal Describe the different rhythms heard in excerpt 1 Write the different rhythms heard in excerpt 1 that you have described Describe the shape of the melody in excerpt 2 Draw the shape of the melody in excerpt 2 Describe the variations in tone colour throughout the excerpt Describe the structural and expressive role of each instrument in excerpt 2 Lynne Morton Belmont High School

17. Listening Journal Select one instrument, and detail the use of articulation throughout the excerpt Write the rhythm of 2 instruments/voices that performed in excerpt 1, include the articulations Identify and describe the interpretative decisions you believe is evident in the pre-recorded work What expressive elements have been used in the excerpt and what effect do they have? Lynne Morton Belmont High School

18. Listening Journal What style is this piece of Music? Describe why you think it is this style. Discuss how the performer’s approached performing the melody and rhythm to highlight the style. Discuss how the performer’s approached performing the melody and rhythm to demonstrate variety within the style. Lynne Morton Belmont High School

19. Listening Journal Describe the similarities and differences between how the different instruments are being played. Describe the similarities and differences between excerpt 1 & 2 Describe the similarities and differences with the rhythms being performed. Describe the similarities and differences with the expressive elements used. Lynne Morton Belmont High School

20. Music Language Lynne Morton Belmont High School Highlight the use of key words to extend student language

21. Technical Work & Exercises Students specify one piece of Music from their program Students state what the key of the Music is Students write the scale one octave ascending Students write three technical work scales related to the tonic key Students highlight one rhythm in this piece Students write an exercise using the tonic key scale, and the rhythm Students design three exercises using the rhythm and combinations from the scale Lynne Morton Belmont High School

22. Exercises Exercises are directly related to their piece of Music All technical work and exercises are used in practical sessions Exercises are designed to enhance the knowledge of the elements of Music Students keep a weekly journal of technical work and exercises Student knowledge and technical skill is progressively developed Lynne Morton Belmont High School

23. Assessment Tasks Lynne Morton Belmont High School

24. Unit 3 Assessment Tasks Outcome 3 Weekly Listening Journal – Elements of Music and stylistic characteristics Weekly technical work and exercises documented and rehearsed Trial performances and feedback Discussion and report of characteristics and practices and other issues that influence interpretation of Focus Area works Lynne Morton Belmont High School

25. Unit 3 & 4 Outcome 3 SAC 1. Focus Area statement 2. Performance Program outline 3. Outcome 3: Performance of technical work and exercises relevant to the Focus Area and description of how this technical work is informing development of the performance program. MARKS /5 Lynne Morton Belmont High School

26. Unit 4 Music InvestigationTimeline Lynne Morton Belmont High School

27. Unit 4 Timeline Week of July 12 Trial performance of Focus Area works, (at least 10 minutes of contrasting works), and technical work and exercises Week of July 19Submit draft of composition/improvisation/arrangement and how this relates to your Focus Area Week of August 2 Presentation of technical work and exercises explaining how they have improved your instrumental skills and understanding of the Focus Area Lynne Morton Belmont High School

28. Unit 4 Timeline cont. Week of August 10Creative Work Presentation SAC - Outcome 2: Present and perform a composition, improvisation or arrangement of a music work that uses characteristics, performance techniques and other conventions relevant to the Focus Area AND an explanation of how the work is representative of the Focus Area (written or multimedia or oral) Week of September 18 Technical work and exercises SAC (including a written description of how selected performance techniques, technical work and exercises have supported the student as an instrumentalist, and in their preparation of works for Outcome 3) Lynne Morton Belmont High School

29. Unit 4 Timeline cont. Week of September 25Performance of at least a 10 minute program of Focus Area works Week of September 25 Performance of created work, with explanation on how this relates to Focus Area Weekly Aural and Theory exercises relevant to Focus Area analysis Weekly Progress report and plan for next week Focus Area Research Lynne Morton Belmont High School

30. eMail Address morton.lynne.d@edumail.vic.gov.au Lynne Morton Belmont High School