Irene McCormack



IMCC Year 11 ATAR MUSICSemester 1 Program 2019 – POPWeekWritten component – Key teaching pointsPractical componentAuralTheory and CompositionCultural and historical analysisPerformance1–3Sight 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 covered161385344894500Chords: 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 providedTheory Identify and write intervals, scales and chords in treble and bass clef, major keys, up to two sharps and flatsChords 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/song12 bar blues progression and structureRhythmic exercisesIdentify and write syncopated rhythms, focusing on the use of ties, anticipation and delayRhythm regrouping exercises using syncopation and restsProvide a rhythmic scansion for given lyricsArrangingDiscuss 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 melodiesInclude visual and aural analysis tasks and comparative analysis with unfamiliar works to reinforce teaching of music styles and associated characteristicsPop versus Rock. Play clips of Kylie Minogue and Queens of the Stone Age to identify similarities and differences. Revision of music elements for analysis: instrumentation, timbre, texture, metre, genre, style, tempo, dynamics, tonality, form, rhythmic, melodic and harmonic elements, articulations, compositional devices.Analysis explosion on board – apply to Rock and Pop and discuss definitions of each, using examples such as the following to assist: (Whip It, Roundabout, One Way or Another, Superstition, Bohemian Rhapsody).Late 1950s and early 1960s background to pop music – the backlash to early Rock & Roll and the evolution and marketing of the teen idol. Brill Building Pop – listen to examples like Frankie Avalon, Pat Boone etc. Discuss the ‘good boy’ image of Boone as opposed to the early Elvis persona. Use these songs for aural recognition of chord progressions. Note the prevalent use of the I, vi, IV and V chord progression.The Rise of the Producer – Leiber and Stoller and Phil Spector. Discuss the relationship between the musician and the producer. Increased focus on the recording studio and the sounds it could produce. Look at Phil Spector’s ‘Wall of Sound’ approach. (Listen to the Crystals and the Ronettes for Spector girl-group sound)Designated work – I saw her standing thereDistribute technical lists and recommended repertoire. Outline assessment requirements for the semester in consultation with instrumental teachers.Distribute Group Performance Task. Creating a medley of the set works. All performance work to continue throughout the semester.4–7Task 2: Aural 1 (5%) Week 6Scales: natural minor/aeolian mode, Blues scaleIntervals: add harmonic intervals: P4, P5, P8Chords: root position (block), arpeggio (broken), major, minor, dominant 7th, maj 7thadd V7, vi in major keys Standard Blues progressions I, IV, V and V7 Modulation: relative major/minorRhythmic 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 Task 1: Music Skills (8%) Week 5TheoryIdentify and write natural minor/Aeolian and Blues scales and related intervals in minor keysIdentify modulations to the relative minor and major in melodic excerptsRhythm exercises in compound timeChordsIntroduce vi in major keysI, 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 linesListen 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 stylesAdd a stylistically appropriate bass line to a given melody, lyrics and chord progression Drum Kit NotationIdentify and demonstrate different parts of the drum set, reading and performing simple rock patterns Teach swing/shuffle feel – blues musicIdentify and analyse (aurally and visually) different drum techniques –side stick, rim shot, double kick, open and closed hi-hatDrum fill – how to notate and when it is appropriateAnalyse and write drum parts using appropriate notation, add drum part to given melodyBritish invasionearly Beatles and the British Invasionearly influences on the development of Pop music – include Elvis, Little Richard and Chuck Berry, in addition to Leiber and Stoller and Phil Spector. Other influences included Beatlemania (1963–1966), British invasion bands and groups that followed, such as Gerry and the Pacemakers, Herman’s Hermits and The HolliesDesignated work – Rocket Man8–10 Scales: harmonic minorIntervals: add harmonic intervals: m2, M2, m3, M3, m6, M6, m7, M7Chords: ii in Major keysminor chord progressionsRoman numerals minor: i, iv, V and V7 chord names (as indicated) minor: Am, Dm, E and E7minor Blues progressioni, iv, V and V7Modulation: to the dominantRhythmic dictation: 8 bars, anacrusis/ upbeat/pick-up, syncopation, tiesSimple time: Compound: , , , ,Melodic dictation: 8 bars, treble and bass clef, two sharps and two flats, based on scales coveredImitation and Call and response: up to 4 bars Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythmAural analysis: identification of style, form, instruments, voice types, instrumental and vocal techniquesTheoryIdentify and write scales, including harmonic minorChordsChord recognition, analysis and harmonisation of given melodies in keys up to three sharps and three flats Roman numeralsMajor: I, ii, IV, V, V7 and viminor: i, iv, V and V7Chord names (as indicated in C) Major: C, Dm, F, G, G7 and Amminor: Am, Dm, E and E7Identify and write standard Blues progressions I, IV, V and V7Recognise passing notes (diatonic and chromatic)Task 3: Analysis (5%) Week 7Task 4: Extended Response (5%) Week 9Motown the impact of the British invasion and the demise of some African-American pop musicBerry Gordy, Motown and commercial success – producing crossover music aimed at the white teen market, modelled on the Brill Building approach. Gordy’s control over the Motown artists, both musically and in their public persona The Funk Brothers – studio band for most of the Motown hits in the ‘60slisten to: The Temptations, The Supremes and Martha and the Vandellasdiscuss common perception of Motown as having ‘sold out’ to White Americalisten to Stevie Wonder and discuss how he and Marvin Gaye gained significant artistic control over their music – acting as producersRock and Pop Interface – ‘70sround-up of Contemporary rock music in the early ‘70s – progressive rock, heavy rock, glam rock, singer-songwritersdiscuss ABBA’s influence as the most popular pop music recording act of the ‘70slisten to examples and watch video clipsdiscuss the ‘Euro pop’ style and the wall of sound recording techniqueDiscodiscuss the rise of disco as music to be danced to as opposed to rock which was meant at the time to be listened to. Origins in the New York gay communitylisten to early examples of disco – George McCrae’s Rock Your Baby – as a blend between a direct dance beat and a catchy pop hook. Listen to KC and the Sunshine Band. Watch some of Saturday Night Fever for the dance style and dress associated with disco – also watch a clip of the Bee Gees singing Stayin’ Alivediscuss the role of the producer in disco – as opposed to the hard-fought independence of Brian Wilson and Stevie Wonder. Return of the Brill Building or Motown modelMichael Jackson & Madonnadiscuss background at Motown Records with Jackson 5. Watch YouTube clip of ABC or similarlook at Jackson in the disco era with album Off the Wall and the beginning of his collaboration with Quincy JonesTask 9: Group Performance (4%) Week 10Composition and arrangementIdentify and analyse guitar techniques and notation; bend, slide, palm mute, harmonics, vibratoTranscribe and write TAB notation for guitar and bassAnalyse 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 playingAnalyse and write short guitar examples using appropriate notationRevise symbols and terminology for tempo, dynamics and expressive elements for accents, articulations and ornamentations , , Melody writingAnalyse a range of Contemporary/rock melodies, identifying melodic shape, use of repetition, syncopation, passing notes (chromatic and diatonic) and scale typesCompose 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 appropriateWeekWritten component – Key teaching pointsPractical componentAuralTheory and CompositionCultural and historical analysisPerformance 11–13Task 5: Aural 2 Test (6%) Week 14Scales: 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 keys V-VI, V7-VI (keyboard and vocal style)Rhythmic dictationSimple time signaturesCompound: , , , Melodic dictation: chromatic passing notes Discrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythmSkeleton score: compositional devices, dictations, chords, cadencesTheoryIdentify and write chromatic scales in treble and bass clefChords/HarmonyIdentify and write major 7th and minor 7th chords in keys up to 3 sharps and 3 flatsIdentify and write Standard Blues progressions (I, IV, V and V7)Identify and write passing notes (diatonic and chromatic)Identify and write circle of fifths/fourthsModulationRecognise and transpose given extracts to either the relative major or minor and dominantCompose a melody that contains a modulation to the relative major/minorCompositionListen to and analyse examples of harmonisation, harmony lines, rhythmic figures and counter-melodies in different styles of rock music, particularly in progressive rockAdd appropriate chords to a given melodyCreate a harmony part to given melodies (or melodies students have written in previous weeks)listen to songs on the Thriller album and watch some of his video clips, including his ‘moon dance’ moves. Compare to other video clips at the time. Watch the Thriller video for how Jackson extended the mediumdiscuss Jackson’s musical influences – roots in ‘70s African-American pop and discolook at his collaboration with other artists on the Thriller album. Compare Jackson’s musical style and videos with Madonna in the ‘80sdiscuss the story behind the lyricspoint out the repeating bass line and 4–chord progression that form the foundation of the song Designated work – Material GirlTask 8: Technical Work and sight reading (6%) Week 11Task 7: Prepared Repertoire (10%) Week 1214–15Revise all scales, intervals and chords HarmonyModulation: 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 rhythmSkeleton score: compositional devices, dictations, chordsRevision of Semester 1 work for exams ScalesRevision of all scales, modes and intervals up to three sharps and three flatsChordsRevision of major and minor triads, major 7th, minor 7th and dominant 7th chords in keys up to three sharps and three flatsChord recognition and analysis of major and minor chord progressions Roman numeralsMajor: I, ii, IV, V, V7 and vi Minor: i, iv, V and V7Composition/arrangingRevise instrumental and vocal techniquesRevise drum notation, slash notationSymbols and terminology for tempo, dynamics, accents and articulationMelody-writing and harmonisation practiceRevision of Semester 1 work for examsPop in the ‘90s and beyonddiscuss the impact of hip hop music and culture on pop music in the ‘90sexamine the rise of contemporary R&B with artists like Mariah Carey and Janet Jackson, and links to the gospel music traditiondiscuss the rise of the Spice Girls and boy bands like Backstreet Boys – link back to Motown and Brill Building groupsLady Gaga: discuss her influence, music and listen to a range of songsdiscuss her flamboyant costumes, performances and videos, and her tendency to reinvent her sound and image in a similar style to Madonnalook at influences – David Bowie, Michael Jackson, Madonna and Queenlisten to songs from Born This Way album and discuss the large range of musical styles explored by Gaga – opera, metal, house and rock & rollDesignated work – SkyfallBorn This Way, the single, was the fastest selling single in iTunes history. Discuss the lyrics. A good comparison can be made with Madonna’s song Express Yourselfcomplete analysis of Applause and comparative listening and analysis tasksRevision of Pop styles and designated works Exam Week Task 6: Semester 1 written examination (20%)Task 10: Semester 1 practical examination 30%IMCC Year 11 ATAR MUSICSemester 2 Program 2019 - ROCKWeekWritten component – Key teaching pointsPractical componentAuralTheory and CompositionCultural and historical analysisPerformance1–3Sight 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 progressions4 to 8 bars, major and minor keys up to 2 sharps and 2 flats Major:Roman numerals: I, IV, V, V7 and vichord names: C, F, G, G7 and Amminor: 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 rhythmTheory Identify and write intervals and scales in treble and bass clef, Major keys, up to two sharps and flatsHarmonisation Analyse chords in given 4–8 bar extractsHarmonise given melodies at phrase endingsRhythmic scansion/Melody writingComplete a word scansion task, providing an appropriate rhythm for given lyricsCompose 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 minorIntroduction to style – what is Rock? Listen to a range of examples to prompt discussion about elements of rock music.The Blues – background and characteristicssyncopationcall and responseimprovisationblues scale and ‘blue notes’12 bar structureDiscuss 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 musicElvis Presley – background and controversy surrounding TV appearancesAustralian Rock in the 1950s Designated work – Hound DogComparison 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. Outline assessment requirements for the semester in consultation with instrumental teachers.Distribute Group Performance Task. Creating a medley of the set works. All performance work to continue throughout the semester.4–7Scales: revise natural/Aeolian mode, harmonic and melodic minor, Blues scaleIntervals: revise all harmonic intervals Harmony: chord progressions4 to 8 bars, key signatures up to 2 sharps and 2 flatsAdd chord ii in major keys Modulation: 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 barsTheoryIdentify and write natural minor/aeolian mode and harmonic minor scales and related intervals in minor keysHarmonisationChords revision – Major, minor, dominant 7th, major 7th, minor 7thRecognition of chords aurally and visuallyProvide chords to given melodiesMelody writing/arrangingWrite a melody to a given chord progression in a folk styleHarmonise the melody writing a suitable counter melody/descantModulationIdentify modulations to the dominant and relative major/minor a range of examplesCompose an 8–12 bar melody that includes a modulationArrangingReview of arrangement techniques and notation-bass lines, passing notes, auxiliary notes, slash notation for guitarListen to and analyse guitar and bass guitar techniques-slap, walking bass etc. and drum parts and drum kit notationDiscuss the demise of rock’n’roll and the rise of the producerOverview 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 popThe 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’rollThe 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’ imagecompare 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.Designated work – You can’t always get what you want. 8–10 Scales: Blues, chromaticChords Recognition of major, minor, dominant 7th, minor7 and maj7 chordsChord progressions4–8 bars, with some chords givenIdentifying the chords below a given melodyRoman numerals major: I, ii, IV, V, V7 and viminor: I, iv, V and V7Chord names (as indicated) major: C, Dm, F, G, G7 and Amminor: Am, Dm, E and E7Standard Blues progressionI, I7, IV, IV7, V and V7 TheoryIdentify and write Blues and chromatic scalesChordsAnalyse Blues progressions and provide chords to a given Blues melodyIdentify and write Standard Blues progressions (I, IV, V and V7)Identify and write passing notes (diatonic and chromatic)Identify and write circle of fifths/fourthsExamine 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 LSDmusical 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.Designated work – Flame TreesDiscuss 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 ACDCformed in 1973 – influences drawn from ‘70s hard rock and the British Blues Revival. Considered pioneers of heavy metalaural and score analysis of Highway to Hell. Comparison with other Australian bands such as Cold Chisel, The Angels etc.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 techniquesMelody 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 indicationsDiscuss 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 timeExamine 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 industryREM 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-commercialExamine the development of Heavy Metal and Rap in the early ‘80s – image representing a disenfranchised societal group11–13Harmony: revise all chords in major and minor keysStandard Blues progressionI, I7, IV, IV7, V and V7 Minor Blues progressioni, i7, iv, iv7, V and V7 Modulation: relative major/minor and dominant in a range of examplesRhythmic dictation: 8 bars, simple time continued, include syncopationCompound: , , Melodic dictation: 8 bars, treble and bass clef, based on scales covered, including chromatic passing notes Discrepancies: 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%)Melody writingRhythmic scansion and Melody writing for given lyricsWrite an 8 bar melody for a given chord progressionComplete an 8 bar melody from a given motif Composition/arrangingRevise instrumental and vocal techniquesRevise drum notation, slash notationSymbols and terminology for tempo, dynamics, accents and articulation 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 labelsBackground to Nirvana and the Seattle grunge sceneanalysis of Smells Like Teen Spirit. Resource: Covach, pp. 502–503 Listen to other grunge bands such as Pearl Jam, Foo Fighters, Soundgarden etc.Designated work – Knights of Cydonia14–15Revise all scales, intervals and chords Harmony: 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 anacrusisCompound 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 workRevision for exam: transposition exercises, scales, chords, melody-writing and arrangement exercises. Review year’s workComplete analysis of final designated work.Revision of Semester 1: using familiar and unfamiliar excerpts, focusing on the designated works. 16Task 6: Written Examination Semester 2 (20%) Task 10: Practical Examination Semester 1 (30%) ................
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