J536 Composition. Composing to a set brief Own choice composition

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1 J536 Composition Composing to a set brief Own choice composition

2 Composition starting point 1 AABA melody writing (to a template) Use the seven note Creative Task note patterns as a starting point teaches the importance of structure; balanced phrases; cadential points; use the B section to teach the concept of a sequence as a device for extending a melodic idea 16 bars. Start with just crotchets, minims and semibreves. Each phrase is two bars long; sequence can be four one bar patterns, or two two bar patterns Increase the demand by adding rhythmic complexity; passing notes; modulation; chords / two part writing; extend melody with additional 8 / 16 bar sections.

3 Composition starting point 2 Rhythm piece: teaches awareness of recording to a pulse, beats in a bar, timbres and layers (uses ICT or works as a group composition) Choose a Creative Task rhythm pattern in 4/4. Record/play on a percussion sound/instrument of choice to use as an ostinato. Loop it. Learners add rhythmic layers, one track at a time to build the texture and complexity of their piece; each layer on a new percussive timbre. Start with basic rhythms, on the beat only (quantising important) as simple as beats 1 and 3 only, and then beats 2 and 4 only, before encouraging more complexity from the able and confident musicians Suggest an arch structure: layers build, then reduce original ostinato is the first and last part heard Can be extended with the addition of pitched parts, Tonic and Dominant timpani, etc

4 Composition starting point 3 Chord note waltzes / marches teaches how to make a melody fit the chords; the importance of 8 and 16 bar structures; cadential points 16 bars using only C F G (Section A): one chord per two bars, using a standard um cha cha or um cha um cha LH accomp. figuration 16 bars using only Am Dm Em (Section B) introduce the concept of the sharpened leading note later. Copy and paste Section A on the end Create a chord note melody long note (full bar) every 8 bars Now teach passing notes (to smooth the melody out and create more rhythmic variety) Extend by varying the accompaniment figurations; adding a counter melody; composing a drum kit part; changing the timbres. Add a Section C in the dominant key can lead to a session on how to modulate.

5 Composition starting point 4 Multi-tracking teaches the importance of texture, repetition and variation (uses ICT) Choose a Creative Task set of four chords e.g C Dm F G Record as block chords in the middle range of the Keyboard choose a suitable voice for this. Loop a number of times New track: record a bass line using root notes RHYTHMICALLY (model some examples to the students). Choose a bass voice: start on 2 nd repetition of the loop Gradually build up tracks, one at a time, initially using chord notes only, but can increase in rhythmic and melodic complexity. Add to texture at 4 bar intervals, each with a new voice

6 Composition starting point 4 continued Add a Drum loop: or teach the students how to record their own rhythm track Aim to have 6 8 layers recorded in different pitch areas of the Keyboard, each with a different voice, starting at four bar intervals Now use this to teach the effect of texture drop layers in and out (either by automation, or by actual deleting, and reintroducing later) to hear the effect of losing the bass, losing the block chords, etc. Discuss the need to balance stronger and weaker timbres. Can be extended with a section of contrasting chords

7 Reinforce the basic techniques regularly Learners quickly forget things when they don t use and apply them!

8 Score evidence See document on website under TEACHING AND LEARNING RESOURCES Candidate Exemplar for detailed guidance. Further examples within this presentation

9 Composition 2 Characteristics of the marking bands Musically accomplished and stylish; excellent development of ideas Musically successful; good musical understanding shown through the development of ideas Development of ideas shows musical understanding, but the ideas lack imagination. For example, the melodies and harmonies work, but feel predictable constructed rather than created Mostly successful piece, but lacking extension of ideas perhaps some sections are better than others 5-8 Musically simple piece short (or excessively long and meandering) 1-4 Limited success e.g melodies and harmonies clash; awkward length phrases.

10 Relationship to the brief criteria (Composition 2 only) How the learner uses the chosen stimulus to meet the brief this will be explicit in the wording of examination materials for this specification. 6 Imaginative use of the given brief through the use of the stimulus 5 Effective use of the given brief with, with the composition being clearly derived from the stimulus 4 Successful use of the given brief and the stimulus is used as the basis of the composition 3 Some successful use of the given brief and the stimulus is evident within the composition 2 An attempt to use the given brief, with the stimulus used 1 Little or no evidence of relationship to the given brief and/or stimulus

11 Area of Study 2: The Concerto Through Time Create a melodic solo and accompaniment composition, suitable for presentation at a Performing Arts Showcase evening. Using the chord sequence stimulus Bb Eb C F

12 Note pattern: Oboe Sonata in D Minor Brief (The Concerto through Time): Create a melodic solo and accompaniment composition suitable for presentation at a Performing Arts Showcase evening Note pattern stimulus: A G F G A D C# (NOT the sequence from the exemplar assessment paper) Learner provides a notated score

16 Oboe sonata Musical features Musically coherent: ABC structure Note pattern used (and extended) as the basis of the opening melody. Subsequent melodic phrases retain and develop the character of this opening phrase B section in the relative major also includes some call and response between solo and accompaniment Characteristic use of Baroque style melodic structures (scales and broken chord patterns). Some sequential ideas in sections B and C. Limited use of oboe in Section C would have benefitted from a return to the A section.

17 Oboe Sonata assessment Musically successful a sense of style. Cadences are weak (see bar 11 and 12; bars 15/16; bars 21/22; bars 35/36). None of them have a solid root position perfect cadence. Good character and style to the piece- helped by a very musical performer (who is the composer). Accompaniment is mainly successful in terms of chord distribution. Some harmonic weakness in addition to the cadence (e.g. bar 2 should be chord V. Good rhythmic interest (bar 20) Oboe writing in last section is sparse this is a potentially excellent piece it just needed a little more extension.

18 Area of Study 2: (The Concerto through time) Area of Study 2 Brief: Create a melodic solo and accompaniment composition, suitable for presentation at a Performing Arts showcase evening. Chosen stimulus is the OCR set rhythm:

19 Piano introduction introduces main theme in balanced phrases. Trumpet follows typical Classical concerto technique.

20 Development - melodic fragments based on the rhythmic pattern are passed between the piano and trumpet. Some variety of texture created

21 Transition to a section in the relative minor the minor section is still clearly based on the rhythmic pattern

22 Shortened recapitulation of opening theme with a short Coda section to create an effective end.

23 Trumpet composition features A well constructed piece full of compositional techniques balanced phrases; call and response; sequential passages; rhythmic and melodic variation; relative minor contrast (which maintains the reference to the stimulus) Ideas are developed through rhythmic and melodic variation; interplay between Trumpet and Piano is effective Uses many Classical concerto techniques, although the chords are not always typical of the genre (e.g. the B major chord used to modulate to A minor in bar 36) this doesn t matter! Piano writing is often chunky block chords but this is GCSE not A Level.

24 AOS 2: Concerto Through Time Create a melodic solo and accompaniment composition, suitable for presentation at a Performing Arts showcase evening. Chosen stimulus is the OCR set chords: Em Am B C

27 Melancholy Minuet Please discuss a suitable mark What advice might be given to the student to enable them to secure a higher mark?

28 AOS 3: Rhythms of the World Brief: A composition suitable for playback on a student run radio station that incorporates a rhythm of the world. Learner has submitted an annotated screen shot and print out of the motifs from the score section of Logic. 7/8 stimulus developed on ICT (Logic software)

30 7/8 piece features 1 Clear use of stimulus rhythm throughout (ostinato on cowbell) ABA structure Texture built up through the use of musically conceived rhythmic, harmonic and melodic ostinati all ideas work rhythmically, harmonically and melodically. Section B contains some nice harmonic and melodic extension. Emphasis of the irregular beats switches in the middle section (from to ). Return of A section lacks further development but has a well constructed Coda

31 7/8 piece features 2 Combination of seven Audio and MIDI tracks used all mixed and balanced well Computer screen shots provide score evidence printouts of motifs from the score section of Logic are not particularly helpful as they don t show the rhythmic division of the irregular beats correctly, but do show the content of the MIDI files (see next slide) Piece has a strong Latin feel but in 7/8 time (always feels musical and stylish) Good instrumental combination used. (Percussion, Guitar rhythmic chords, Organ sustained chords, Vibraphone melody)

33 Good control of texture 7/8 assessment Stylish rhythmic patterns show musical understanding of 7/8 Effective harmony without being particularly complex one slightly suspect moment at the end of the B Section. Well constructed melody that shows effective development from the initial motif. Good contrast in middle section clearly develops from the A section Well mixed production Ends a little abruptly.

34 AOS 3: Rhythms of the World

36 Chord stimulus: C G F G Learner is the ukelele player All parts quite mainly repetitive Clear structure: A B Bridge A A1 A Good written score but lacks clear rhythmic indications Lacks melodic interest but texture builds well at start Brief / Stimulus mark: What is the world style? the word Kehaulani is Hawaiian Chords used throughout the piece Briefly discuss a mark

37 AOS 3: Greek Tune Based on 7/8 rhythm stimulus: Performed live so playback of 7/8 doesn t match score we are not marking the performance, just the compositional intent ABA structure each section in a different key Some development of rhythmic ideas use of balanced phrases. Lots of characteristic melodic phrases stylish. Some transposed use (copy and paste) of second part of B section in A section limiting factor? Piano part simple but effective varied textures, but often single chord / ostinato based but typical of style.

40 Discuss a mark does this have the required compositional skill and style to access the top band?

41 AOS 3: Bhangra Based on the Note pattern: E D C G D C D Structured: Intro A B A. Intro builds the texture Appropriate rhythmic patterns not developed Note pattern extended with a matching balanced phrase but not developed Simple contrasting idea in B section added over the copy and paste of the A section Area of Study Appropriate instruments and rhythms, plus simple use of note pattern.

42 Screen shot adequate on its own as the music is straightforward Suggest a mark?

43 Composition from an image (Area of Study 4) Brief: To create a descriptive composition suggested by the theme of the image that would be suitable for accompanying a short film at a film festival Learner has submitted a screen shot as a score.

46 Sci fi war piece assessment features Stylish musical composition clear balanced structure Strong melodic and harmonic detail Excellent timbres Nice use of repetition and contrast to create moods Note the declared use of drum loops from the sample bank of the software how might this affect the assessment?

47 AOS 4: The Fox and the Rabbit Stimulus storyline: It was a sunny morning in the woodland, and the animals were waking up Use of opening motif recurs throughout the piece creates a sense of unity rather than episodes (a frequent fault with GCSE descriptive compositions) Minor contrast towards end to depict the needs of the story Range of piano writing large section without violin, but the violin writing is good when present. Good 2 part textures created Rhythmically interesting not predictable Harmonically limited

49 Good score detail in piano and violin part Discuss a mark

50 AOS4: Tall Trees Based on an image What are the positive and negative features of this composition

51 What does the score tell us about the construction of this composition; will the moderator be asking for a print out of the notation?

52 Chord composition: It s going to Rain Brief (Conventions of Pop): Create a rock or pop style song suitable for performance at an informal gig or concert. Based on the OCR set chord sequence of Am Em G Dm Please note that this is NOT the sequence from the exemplar assessment paper Learner provides a computer score print out, a lyric and chord sheet and an excellent tabular presentation of the structure.

54 It s Going to Rain features 1 Clear pop song structure Stimulus chords used for Intro and Verse Chorus and Middle 8 chord sequence derived from stimulus Texture well controlled variation in piano chord figuration; drum kit line has simple variation and is not used all the time; Bass line simple but appropriate again with variations

55 It s Going to Rain features 2 Multi tracked vocals mostly successful in relation to the chords; occasional intonation issues (but intention clear see score); good call and response in chorus The lie of the lyrics is slightly awkward in one place Vocal harmonies (multi-tracked by candidate) Verse 3 modulation (sequence up a tone); creates a darker mood that suits the mystery of the lyrics

56 It s Going to Rain assessment Has a sense of style and coherence not marking the performance Musical understanding evident in the combination of the accompaniment and the melodic ideas Development evident in the manipulation of the chord sequence for different sections, the vocal variations and harmonies, and in the textural variations of the accompaniment Melodically repetitive but there is interest in the call and response, and in the vocal harmonies. Chords always in block triads but bass line adds rhythmic interest Nice darker mood created in last verse but the ending is weak.

57 Song composition: Just Can t Understand Words Stimulus: Well I just don t know why I love you like I do, Nobody in the world can get along with you. I helped you when you had no shoes on your feet, I helped you when you had no food to eat. Learner has used the words as a chorus

58 Song composition: Just Can t Understand Learner has provided a recording, lyrics and a score. The score has a notated vocal melody, vocal harmony and bass line - and guitar chord symbols with no rhythmic indication.

59 Song composition: Just Can t Understand Guitar chords played predominantly in the same style throughout this could have been indicated with up down arrows. Piano improvisation by learner as it is a short section this is acceptable.

60 Song composition: Just Can t Is this an issue? Understand Can we be sure that the second singer hasn t improvised the harmony herself?

61 Song composition: Just Can t Understand The harmony for the Chorus is notated on the score, but NOT for the second verse more notation should have been provided

62 Just Can t Understand features Verse and Chorus structure. Piano improvisation provides variety Catchy melody fits chords well. Second part of verse develops the melody of the first half through vocal improvisation Chorus provides a good contrast notated harmony works well Second verse is developed with the improvised harmonies. Nice piano improvisation Musical ending

63 Just Can t Understand assessment The song feels musical and stylish there is a natural lilt to the melody. Musical understanding is shown in the successful relationship of the melody to the chords, the successful vocal harmonies, the well balanced rhythmic shape of the musical phrases, the piano improvisation, and the successful writing of a Bass part. Development of ideas is shown in the variations of the vocal melody, the additional harmonies, and the successfully contrasted verse and chorus melody. Possible limiting factors are the lack of an Introduction, and the question of the learner s input into the rhythm of the guitar part, and the vocal harmonies of Verse 2. Also only uses a limited number of chords. At face value though, this is a successful song.

64 AOS 5: Light (Pop Song) Chords stimulus: G Dm F C Score lacks a melody line could be remedied, or probably accepted in year 1, with a note on report Clear structure Some contrast in melody and chords between verse and chorus: Dm Bb F C used on chorus. Repetitive melody predictable, but there are small variations between lines Accompaniment uses basic figurations, but there is some textural variation

65 Excerpt of score no melodic line Discuss a mark

66 Component 1: Composing to a learner set brief Same criteria as for Composition2, but mark bands are wider as there is no separate brief related criteria Musically accomplished and stylish; excellent development of ideas Musically successful; good musical understanding shown through the development of ideas Development of ideas shows musical understanding, but the ideas lack imagination. For example, the melodies and harmonies work, but feel predictable constructed rather than created Mostly successful piece, but lacking extension of ideas perhaps some sections are better than others 6-10 Musically simple piece short (or excessively long and meandering) 1-5 Limited success e.g melodies and harmonies clash; awkward length phrases.

67 Composition genre Anything goes... Solo study (B351 style!) with or without accompaniment Piece for multiple instruments Song in any style Pop, Classical, Rap, etc Dance piece (ICT based) or B352 Waltz / Salsa / Tango World music No arrangements!

68 Guitar and Vocal composition: Lost Brief: To write a song with a guitar accompaniment Candidate provides a score and a recording of the Guitar part only (from Sibelius).

69 Lost: Musical features 1

70 Lost: Musical features 2 The score indicates the guitar part very clearly but it doesn t sound like 3/4 Rhythmically very limited crotchet pulse throughout Vocal melody can be worked out based on the score but not very interesting. Guitar part works melody harmonised in 3rds is successful, if repetitive after a while. Long piece some attempt at a contrasting section. Key uncertain: G major? But ends on an E major chord

71 Lost: assessment Low level musical understanding shown Use of elements, structure, is basic. Credit for successful use of the third harmony in the Guitar part. Ending is unresolved. NOT a song! Composer s intentions are therefore unclear.

72 Violin and Piano composition: My Attachins Brief: To write a piece for Violin with a piano accompaniment Learner has provided a recording and score (both Sibelius).

73 My Attachins: Musical features

74 My Attachins: Musical features 1 Some structure evident: built on two bar phrases, all of which have the same rhythm however each two bar phrase is melodically different, showing some awareness of development. Melodic range limited under an octave. Harmony is mainly functional (um cha type rhythm) not all the chords work Score has limited detail beyond pitch and rhythm an indicator of weaker musical understanding? Weak ending.

75 My Attachins: assessment The piece has coherence and a limited sense of style the melody has a sense of moving forward as the piece progresses, and the majority of the harmony just about works. The style of the piece is consistent throughout. It is short only 45 secs. Still requires over 2 minutes of composing to satisfy regulations. Composer s intentions are clear but has little bearing on the overall mark.

76 Morning Coffee Brief: To write a piece in a Jazz style for Alto Saxophone, Double Bass, and Piano Learner provides a recording and a score Additional part for Double Bass is not on recording can be assessed as just a Saxophone and Piano composition.

78 Morning Coffee Extended structure: A B A A1 Improv A(accomp variations) A Coda Strong sense of style aided by the learner s skillful playing Slightly over repetitious (main theme) but no repetition is quite the same. Some harmonic issues / dissonances Overall high level musical understanding evident throughout the piece (rhythmic variety, chromaticism, blue notes, wide range of harmonic vocabulary, textural awareness); worth close to full marks (28) Level 9?

79 Jazz in C Bass Guitar / Lead Guitar / Drum Kit no need for score in Tab as well as notation Based on 12 bar blues, therefore chords given, so originality limited Structured with contrasting sections that add variety: A A1(+8ve) B(similar melody, new chords) A A1 Coda (Vivace) Some chromatic moments in melody Melodically predictable Borrows blues conventions Piece works

Score for Jazz in C Characteristics of 16 20 mark band.

80 Score for Jazz in C Characteristics of mark band. Works, but lacks imagination and originality Marked at 18

Exemplar for Internal Achievement Standard. Music Level 2

Exemplar for internal assessment resource Music for Achievement Standard 91271 Exemplar for Internal Achievement Standard Music Level 2 This exemplar supports assessment against: Achievement Standard 91271