SAMPLE COURSE OUTLINE MUSIC JAZZ ATAR YEAR 11

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1 SAMPLE COURSE OUTLINE MUSIC JAZZ ATAR YEAR 11

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3 1 Sample course outline Music Jazz ATAR Year 11 Unit 1 Big Band/Swing Aural and Composition Cultural and historical analysis 1 3 Sight singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulated Scales: Major pentatonic, minor pentatonic, Major/ionian mode, dorian, mixolydian, Blues scale Intervals: 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 covered root position (block), arpeggio (broken), major, minor, dominant 7 th, maj 7 th major keys Roman numerals: I, IV, V and V 7 and chord names in C: C, F, G and G 7 Rhythmic dictation:,, or rhythms including, subdivisions of the minim beat (swung) Melodic dictation: 4 bars, treble and bass clef, up to one sharp and one flat, based on scales covered. Rhythm and some pitch provided. Identify and write intervals, scales and chords in treble and bass clef, major keys, up to two sharps and flats Forms 12 Bar Blues and AABA (Popular Song) forms Chord recognition, analysis and harmonisation of given melodies; major and minor triads, dominant 7 th chords Simple Chord substitutions including ii, V 7, I and tri tone substitutions Turn around phrases (V 7 or ii, V 7 ) Provide chords to a given melody/song 12 bar blues progression and structure Harmonise given melodies at phrase endings using Jazz voicings Complete a harmonisation/substitution task given the melody and selected parts Scale Degrees and chord construction. Transposition into and from Bb Rhythmic exercises Identify and write syncopated rhythms, focusing on the use of ties, anticipation and delay Elements of swing. Where does it come from and how does it function. Performance exercises in same. The development of Swing Music from early jazz including: New Orleans Style Chicago Style Kansas City Style New York Style Examine repertoire using a variety of pieces from each area: e.g. Keyhole Blues, When the Saints Go Marching In, Fidgety Feet, Ko ko, Splanky Era Aural and visual analysis of designated works within the era studied. for each designated work, an additional exemplar of the same era by a different composer is to be studied for each designated work, an additional exemplar of the same composer is to be studied for each era studied, students are expected to know the broad characteristics of the preceding and following eras, to allow for the era to be learnt in context For each era studied, students are expected to cover at least two different Jazz styles. 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.

4 2 Aural and Composition Cultural and historical analysis Rhythm regrouping exercises using syncopation and rests Analysis/Composing and arranging Swing listening example discuss forms/compositional styles and their development Swing/Big Band discuss voicing types. Open vs Closed vs Unison Analyse Take the A Train 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 Transposition into and from Eb 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 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 : root position (block), arpeggio (broken), major, minor, dominant 7 th, major 7, minor 7 add vi in major keys (C: Ami) minor keys Roman numerals: imi, ivmi, V, V 7 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 in root position and inversion Construction of bass lines over given chord progressions Chord relationships (dominant, mediant etc.) 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.

5 3 Aural and Composition Cultural and historical analysis compound time basic rhythms and rests, including and Melodic dictation: 4 8 bars, minor keys 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 Identify and write turn around phrases and relevant cadences Write improvisations using the Blues scale and appropriate modes over a Blues progression 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 given 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) Revise the previous works to demonstrate the evolution of the musical era. 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 test (2%) Comparative aural and visual analysis of familiar and unfamiliar works. Performance Task 1 Prepared repertoire (2%) Task 1 Composition assessment (5%)

6 Aural and Composition Cultural and historical analysis Scales: add chromatic scale Intervals: add A4/D5 and harmonic intervals: m2, M2, m3, M3, m6, M6, m7, M7 AB and standard piano voicings and accompaniment patterns root position (block), arpeggio (broken), major, minor, dominant 7th, major7, minor7, minor6 chord progressions: add iimi7 /C: Dmi7 in maj keys standard progression: iimi7 V 7 IM a 7 Modulation: add to the dominant (up a 5 th ) Rhythmic dictation: 8 bars, anacrusis/upbeat/pick up, syncopation, ties Simple time: Compound:,,,,, Melodic dictation: 8 bars, treble and bass clef, two sharps and two flats, based on scales covered solo transcriptions introduced 4 bars notating melody to a given rhythm and chord progression Imitation and Call and response: up to 4 bars Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythm Aural analysis: recognition of music elements, form, compositional devices, instrumentation, instrumental techniques Identify and write scales, including jazz minor and intervals As above Introduction to Jazz nomenclature and chord symbols including symbols for: Dom 7, Maj7, min 7, dim 7, aug, full diminished, add chords and upper extensions Identify and write standard progressions Turnaround phrases of up to 3 bars Extensions to the 9 th degree (including all flat and sharp permutations) Harmonise given melodies using guide tones and chord tones Composition and arrangement Big Band arrangement of no more than 12 bars concentrating on; voicings, ranges, tessituras, bass construction, rhythm section writing, instrumental roles and techniques and transpositions Write two guide tone lines based on a given chord progression 9: Task 3 Formal assessment (3%) Introduce Set works 3 and 4 Comparative works/tunes/repertoire could include: Four Brothers, Us, In The Mood, Sing Sang Sung, Night and Day, Fly Me To The Moon, Ain t That a Kick, Count Bubba. Anatomy of a Riff and/or other contemporary Big Band charts. Comparative Listening: Sing, Sing, Sing Benny Goodman, Song of India Tommy Dorsey, Fly Me To The Moon (Frank Sinatra Quincy Jones Arrangement) Discussion: Introduction to the Big Band and it s links to earlier Jazz and Blues linking Swing Era to Bebop era increasing speed and complexity of works introduction and popularisation of vocalists Contrafactions of popular chord progressions (Four Brothers is Jeepers Creepers etc.) 10: Performance Task 2 Sight reading or Improvisation (3%)

7 5 Aural and Composition Cultural and historical analysis Task 4: Aural analysis (2%) Sight singing 2 parts, sight singing individually or as a small group jazz arrangements (one per part or up to four per part) Scales: as before Intervals: all intervals in isolation or part of a melodic excerpt Harmonic intervals: A4/D5 chord progressions: add IMa 7 /C: Cma7 in major keys turn arounds, standard progressions revise all chords and cadences Modulation: add to the subdominant (up a 4 th ) Rhythmic dictation Linking with swing style. Rhythmic dictations in a swing style Simple time signatures Compound:,,,,, Melodic dictation: chromatic passing notes Solo transcriptions: 4 bars notating melody and rhythm with some pitch or some rhythm given Chord progression if required is provided Discrepancies: treble/bass clef, 4 8 bars, 4 discrepancies in pitch, harmony (chord progression) and rhythm Skeleton score: compositional devices, dictations, chords, cadences Identify and write scales of Major, Mixolydian, Dorian, Blues and Whole tone in all keys Chord recognition, analysis and harmonisation of given melodies in keys up to three sharps and three flats, add the following: Major: IMa 6, IMa 6/9 /CMa 6 /CMa 6/9 Identify and write standard progressions iimi 7 V 7 IMa 7 (IMa 6, IMa 6/9 ) iiimi 7 vimi 7 iimi 7 V 7 IMa 7 (IMa 6, IMa 6/9 ) IVMai 7 V 7 IMa 7 (IMa 6, IMa 6/9 ) Minor: iimi 7(b5) V 7(b9) imi 6 Circle of fourths chord progression Use of Jazz chord nomenclature +,, O, Ø, Analysis of standard swing progressions incorporating variations (ii, V 7, I) and chord extensions Composition/arrangement Write a melody to a given rhythmic pattern or chord progression Analysis of walking bass lines (chord structures, progressions, melodic construction, style) Write walking bass lines to a given melody or chord progression using chord tones for keyboard, electric or acoustic bass Modulation Identify modulations to the relative major/relative minor, dominant and subdominant using a range of examples Compose a melody containing a modulation Focus Introduction to vocal swing and its major proponents including: Frank Sinatra Ella Fitzgerald Dean Martin Sammy Davis Junior Billie Holiday Sarah Vaughan Tony Bennett (modern equivalent) Harry Connick Junior (modern equivalent) Michael Buble (modern equivalent). Musical characteristics Important and defining musical characteristics of Vocal swing Vocal stylisation and phrasing Vocal tone Vocal timbre Listen to and begin analysis of designated work. Compare and analyse other blues tunes from artists of the era e.g. Listening: Come Fly With Me (Frank Sinatra) Comparative listening: Ain t that a Kick in the Head Dean Martin, All of Me Ella Fitzgerald (with Nelson Riddle Orchestra) Discussion: Jazz vs Popular Music Personalities and frontmen Scat singing

8 6 Aural and Composition Cultural and historical analysis Revise all scales, intervals, chords, cadences and modulations Rhythmic dictation Simple metres: 8 bars, including syncopation and anacrusis. Compound metres: 8 bars,, Melodic dictation: 8 bars, chromatic passing notes Solo transcriptions: of an 8 bar instrumental solo using Western staff notations or appropriate music software Discrepancies: treble/bass clef, 4 8 bars, 4 discrepancies in both pitch and rhythm Skeleton score: compositional devices, dictations, chords Revision of Semester 1 work for exams 14: Task 6 Score analysis and melody writing (2%) Harmony Harmonic analysis and harmonisation exercises using first and second inversion chords in major and minor keys Melody writing/arranging Write guide tones to a given chord progression Add a walking bass accompaniment to a given melody Compose and/or arrange a Blues piece in F major for a small jazz combo using stylistically appropriate rhythms, articulations Revision of Semester 1 work for exams 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. 14: Performance Task 3 Recital practice (3%) 15: Performance Task 4 Instrumental teacher report (2%) 15: Task 2 supervisor report (5%) Task 7 Semester 1 written examination Task 7 Semester 1 written examination Task 7 Semester 1 written examination Task 3 Submission of composition portfolio (15%) Performance Task 5 Semester 1 Performance examination (15%)

9 7 Unit 2 Cool Jazz/Modal Aural and Composition and arrangement Cultural and historical analysis 1 3 Sight singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulated Scales: revise Major/do pentatonic, minor/la pentatonic, Major Intervals: revise all intervals in isolation and as part of a melodic line Harmony: Chord progressions 4 to 8 bars, key signatures up to 2 sharps and 2 flats major: I, ii, IV, V, V 7 and vi revise perfect and plagal cadences in major keys 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 provided) Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythm Identify and write intervals, scales, perfect and plagal cadences in treble and bass clef, Major keys, up to two sharps and flats Introduction of whole tone scale and associated chords (augmented 7th chords) Common tone chord substitutions (particularly to median chords) Harmonisation Analyse chords in given 4 8 bar extracts Harmonise given melodies at cadence points/phrase endings Use of extended turnaround phrases Identify and incorporate harmonic devices: such as surround technique and tonic avoidance in melodic examples Writing melodies that concentrate on the upper extensions rather than chord tones Melody writing Writing in AABA form Compose an 8 bar melody from a given motif or chord progression, incorporating sequence and modulation to the relative major or minor Development of Cool Jazz Introduction to the Cool School of playing Differences (general) between the East Coast and West Coast styles of playing Discuss reasoning for above East Coast Cool Jazz Discuss the roles of musicians and composers in relation to the development of the East Coast Cool Jazz Movement Focus in particular on the works and collaborations of Miles Davis and Gil Evans West Coast Cool Jazz Discuss the importance, and defining characteristics of, Cool Jazz on the West Coast of America Focus on artists such as Dave Brubeck, Gerry Mulligan, Chet Baker and Paul Desmond Listening to: Pieces including (but not limited to) Blues for Pablo (Davis/Evans), Bernie s Tune (Baker/Mulligan), Blue Rondo A La Turk (Brubeck), Round Midnight (Art Pepper + 11), Gil Evans Orchestra etc. Outline assessment requirements for the semester in consultation with instrumental teachers and/or composition portfolio supervisors.

10 8 Aural and Composition and arrangement Cultural and historical analysis Begin analysis of designated work Visual and aural analysis of set sections, identifying forms, musical features, use of instrumentation and orchestration, word painting, vocal techniques and compositional devices Identify salient characteristics of composer s writing style and era specific stylistic features. 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, V 7 and VI revise perfect and plagal cadences in minor keys Modulation: relative major/minor 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 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 given 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. 5: Performance Task 6 Prepared repertoire (2%)

11 9 Aural and Composition and arrangement Cultural and historical analysis 7 Task 8: Aural test (3%) Modes and mode derivations, in particular: ionian, dorian, mixolydian, lydian, aeolian modes Derivation in all keys using the system of b3, b6 etc. Orchestration Transposition exercises from key to key and clef to clef, using treble and bass clefs as well as Eb and Bb transpositions F Transpositions can also be introduced at this point Review of string instruments: instrument ranges, idiomatic writing and playing techniques, bowings. Aural and visual analysis of given excerpts Sammy Nestico The Complete Arranger text on Strings should be used wherever possible Arrange a given piano excerpt for string ensemble, incorporating bowings and string playing techniques Discuss the change to Modal Jazz and the driving force behind this change Listen to pieces such as anything from Kind of Blue (Miles Davis), My Favourite Things (John Coltrane), Blue Moods (Miles Davis), Blue Train (John Coltrane). Task 4 Composition assessment (5%) 8 10 Scales: chromatic, mixolydian and dorian modes. Harmony: Recognition of major, minor, augmented and diminished triads in isolation Interrupted cadences, Major keys V vi, V 7 vi (keyboard and vocal style) Rhythmic dictation: 8 bars, include anacrusis and some syncopation Simple metre rhythms for dictations 8: Task 9 test (2%) Visual identification, reading and writing of all intervals, scales in key signatures up to and including 6 sharps and 6 flats, including chromatic scale Identify and write modes including dorian, mixolydian, aeolian, ionian and lydian. Associating scales to chords (e.g. dorian minor 7 chord, ionian major 7 chord) Melody and accompaniment writing Provide a rhythm section (lead sheet) accompaniment to a given melody 8: Task 10 Analysis test (2%) Begin analysis of designated works 3 and 4 Watch end of episode 11 in Ken Burns Jazz series Start looking at the development of Hard Bop as a not so much a reaction against but a natural development of the idea of modal jazz Discuss Hard Bop Artists such as Canonball Adderly, Horace Silver, Art Blakey, Nat Adderly, Freddie Hubbard and Dexter Gordon 9: Performance Task 7 Technical work (2%)

12 10 Aural and Composition and arrangement Cultural and historical analysis Compound:,,,,, Melodic dictation: 8 bars, treble and bass clef, up to two sharps and two flats, based on scales covered. Incorporate at least two challenging sections rhythms/ties/larger intervals Discrepancies: treble/bass clef, 4 discrepancies in either pitch or rhythm Aural analysis: recognition of music elements, form, compositional devices, instrumentation, instrumental techniques Harmony: revise all chords in major and minor keys Imperfect cadences in keyboard and vocal style major keys: I V, I V 7 minor keys i V, i V 7 Modulation: relative major/minor and dominant in a range of examples Rhythmic dictation: 8 bars, simple time continued, include syncopation Compound:,, 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 rhythm. Skeleton score: compositional devices, dictations, chords, cadences 12: Task 12 Aural test (4%) Compose a melody from a given motif, harmonise and write a suitable lead sheet Orchestration Review of woodwind instruments: ranges, transposition, timbral features 2 4 bar arrangement of a piano score for three or four woodwind instruments (including one Bb, and a non transposing woodwind instrument) Identifying, analysing and realising instrumental devices and techniques for up to four instruments/voices Harmony Identify and write all cadence types in major and minor keys, using appropriate voice leading principles in both keyboard and vocal style Harmonic analysis of given scores up to 4 parts using root position, first and second inversion chords in major and minor keys Full realization of lead sheets in terms of harmonic and melodic construction Transposition of melody and harmony lines into and from transposing instruments Orchestration Review of brass instruments: ranges, transposition, timbral features and effects Transcribing 4 bar excerpt for piano from a brass ensemble up to 4 parts Transposition of melody and harmony lines into and from transposing instruments 12: Task 11 Formal assessment Melody and accompaniment writing (2%) Watch Round About Midnight or excerpts thereof if time permits Look at Work Song (Adderly and then Cantaloupe Island by Herbie Hancock Stylistic, melodic and harmonic analysis of Hard Bop as compared to Cool Jazz and Modal Jazz. Continue as before Look at the overall development of jazz through the Cool, Modal and Hard Bop genres. Trace the development in terms of geo and sociopolitical movements throughout the world (and America, of course). Complete analysis of final designated work. Revision of Semester 1: Big Band Jazz and Swing

13 11 Aural and Composition and arrangement Cultural and historical analysis Revise all scales, intervals and chords Harmony: revise all cadence types in major and minor keys 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 Orchestration Arrangement tasks for mixed ensembles (strings, wind, brass) including at least two transposing instruments Review year s work 14: Task 13 Development of Big Band Swing through to Hard Bop (6%) 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. 14: Performance Task 3 Recital practice (3%) 15: Performance Task 9 Instrumental teacher report (3%) 15: Composition Task 5 supervisor report (5%) Task 14: Semester 2 examination Task 14: Semester 2 examination Task 14: Semester 2 examination Performance Task 10 Semester 2 Performance examination (15%) Task 6 Submission of final composition portfolio (15%)