SAMPLE ASSESSMENT TASKS MUSIC JAZZ ATAR YEAR 11

SAMPLE ASSESSMENT TASKS MUSIC JAZZ ATAR YEAR 11

Copyright School Curriculum and Standards Authority, 2014 This document apart from any third party copyright material contained in it may be freely copied, or communicated on an intranet, for non commercial purposes in educational institutions, provided that the School Curriculum and Standards Authority is acknowledged as the copyright owner, and that the Authority s moral rights are not infringed. Copying or communication for any other purpose can be done only within the terms of the Copyright Act 1968 or with prior written permission of the School Curriculum and Standards Authority. Copying or communication of any third party copyright material can be done only within the terms of the Copyright Act 1968 or with permission of the copyright owners. Any content in this document that has been derived from the Australian Curriculum may be used under the terms of the Creative Commons Attribution NonCommercial 3.0 Australia licence Disclaimer Any resources such as texts, websites and so on that may be referred to in this document are provided as examples of resources that teachers can use to support their learning programs. Their inclusion does not imply that they are mandatory or that they are the only resources relevant to the course. 2014/16412v5

1 Sample assessment task Music Jazz ATAR Year 11 Task 1 Unit 1 Assessment type: Aural Note: This task is a generic task to suit all contexts. Alternative examples can be substituted for some questions to suit the context e.g. questions related to chord progressions and rhythmic dictation The paper will consist of seven questions and will cover the following concepts: identification of scales/modes and intervals chord progression recognition of tonality and modulation rhythmic and melodic dictations Conditions Time for the task: 60 minutes Formal in class assessment, Week 7 Task weighting 3% of the school mark for this pair of units Name: Mark: / 40 Question 1 (4 marks) Interval recognition Identify the four bracketed intervals and write your answers in the spaces underneath the score. (i) (ii) (iii) (iv)

2 Question 2 Scale recognition Identify the scale or mode that occurs in the following extracts. Tick () the correct answer. (2 marks) (a) () Major Harmonic minor Major pentatonic Blues Jazz minor (b) () Major Harmonic minor Major pentatonic Blues Jazz minor Question 3 Tonality and modulation (a) Identify the tonality at the beginning of this extract. Circle the correct answer. (2 marks) Major pentatonic Minor pentatonic Major Minor (b) Identify the modulation (if any) that occurs in this extract. Tick the correct answer. To the relative major To the relative minor No modulation Dominant

3 Question 4 (8 marks) Harmonic progression Complete the following harmonic progression providing the Roman numerals for the missing chords. The tonic chord will be played prior to the progression being heard. Question 5 (2 marks) Identify two compositional devices evident in the following recording (i) (ii) Question 6 Rhythmic dictation (10 marks) The following extract will be heard six times. Insert the time signature, bar lines and rhythm to the pitches given. There are 8 bars in total.

4 Question 7 (12 marks) Melodic dictation Complete the following melodic dictation to be played six times. The tonic chord and note will be played prior to the dictation.

5 Marking key for sample assessment task 1 Unit 1 Question 1 (4 marks) Interval recognition Identify the four bracketed intervals and write your answers in the spaces underneath the score. (i) minor 6 th (ii) perfect 4 th (iii) minor 7 th (iv) Major 6 th Question 2 (2 marks) Scale recognition Identify the scale or mode that occurs in the following extracts. Tick () the correct answer. Mark Blues scale 1 Jazz minor 1 Total /2 Question 3 (2 marks) Tonality and modulation (a) Identify the tonality at the beginning of this extract. Circle the correct answer. Major pentatonic Minor pentatonic Major Minor (b) Identify the modulation (if any) that occurs in this extract. Tick the correct answer. To the relative major To the relative minor No modulation Dominant

6 Question 4 (8 marks) Harmonic Progression Complete the following harmonic progression providing the Roman numerals for the missing chords. The tonic chord will be played prior to the progression being heard. 1 mark for each chord, 1 mark for 7th Question 5 (2 marks) Identify two compositional devices evident in the following recording (i) pedal/pedal point/pedal note (ii) sequence Question 6 Rhythmic dictation (10 marks) The following extract will be heard six times. Insert the time signature, bar lines and rhythm to the pitches given. There are 8 bars in total. 1 mark for each beat, bars 1 7 and 1 mark for bar 8 =15 1 mark for triplet 4 marks for 8 correct bar lines, 3 marks for 6 7 correct bar lines, 2 marks for 4 5 correct bar lines, 1 mark for 2 3 correct bar lines and 0 marks for less than 2 correct bar lines Divide the total mark of 20 out of 2 for a final mark out of 10.

7 Question 7 12 marks Melodic dictation Complete the following melodic dictation to be played six times. The tonic chord and note will be played prior to the dictation. 1 mark for each pitch: 20 marks, divided by 2 for a mark out of 10 1 mark for each rhythm to be completed: 8 marks, divided by 4 for a mark out of 2 Add the two marks together for a total mark out of 12.

8 Sample assessment task Music Jazz ATAR Year 11 Task 2 Unit 1 Assessment type: Performance Sight reading and/or Improvisation Perform a sight reading task from a given excerpt, observing articulation/bowings, phrasing and dynamics Perform an improvised solo over a given chord progression demonstrating shape, stylistically appropriate rhythmic and melodic creativity, and understanding of the chord sequence and harmonic context Conditions Time for the task: five minutes, including two minutes preparation Formal in class assessment, Week 10 Task weighting 3% of the school mark for this pair of units Sight reading: You will be given two minutes to look at a short musical excerpt during which time you must not play/sing any notes. You will then be given two opportunities to perform the extract, noting articulation/bowings, phrasing and dynamics. Marks will only be awarded for your second playing if you choose to select the option of playing it twice. OR Improvisation: You will be required to play an improvised solo over a given chord progression using a backing CD, backing band or instrumentalist. You will then be given two opportunities to perform the extract, demonstrating shape, stylistically appropriate rhythmic and melodic creativity and understanding of the chord sequence and harmonic context. Marks will only be awarded for your second playing if you choose to select the option of playing it twice.

9 Marking key for sample assessment task 2 Unit 1 Name: Mark: /34 (3%) Performance Sight reading Rhythm Marks Performs with consistent rhythmic accuracy and control 9 10 Performs with only very slight rhythmic lapses in rhythm and/or tempo 7 8 Performs with competent rhythmic accuracy, demonstrating an ability to recover from minor inaccuracies 5 6 Performs with several rhythmic inaccuracies, yet manages to maintain a sense of metre 3 4 Performs with many rhythmic errors, displaying an inconsistent pulse 1 2 Pitch and intonation Performs with consistently accurate pitch and intonation 9 10 Performs with excellent pitch and intonation with only occasional slight lapses 7 8 Performs with competent pitch and intonation, demonstrating an ability to recover from minor inaccuracies 5 6 Performs with several inconsistencies in pitch and intonation, but manages to maintain a sense of tonality 3 4 Performs with several errors in pitch and intonation, and little sense of tonality 1 2 Tone Performs confidently, displaying excellent tonal control 5 6 Performs with reasonable confidence, but experiences some difficulty with tonal control 3 4 Performs with little or no confidence, and experiences great difficulty with tonal control 1 2 Dynamics, phrasing and bowings/articulation /8 Performs repertoire with excellent sensitivity, musically and accurately interpreting dynamics, phrasing and bowings/articulation Performs repertoire with generally accurate interpretation of dynamics, phrasing and bowings/articulation Performs repertoire with inconsistent attention and/or some errors with dynamics, phrasing, and bowings/articulation Performs repertoire with minimal attention and/or several errors with dynamics, phrasing, and bowings/articulation Note: Zero will be used when there is no evidence demonstrated relating to each criterion. 7 8 5 6 3 4 1 2 /10 /10 /6 Total mark /34

10 Name: Mark: /34 (3%) Performance Improvisation Rhythm Marks Performs with consistent rhythmic accuracy and control 9 10 Performs with only very slight rhythmic lapses in rhythm and/or tempo 7 8 Performs with competent rhythmic accuracy, demonstrating an ability to recover from minor inaccuracies 5 6 Performs with several rhythmic inaccuracies, yet manages to maintain a sense of metre 3 4 Performs with many rhythmic errors, displaying an inconsistent pulse 1 2 Pitch and intonation Performs with consistently accurate pitch and intonation 9 10 Performs with excellent pitch and intonation with only occasional slight lapses 7 8 Performs with competent pitch and intonation, demonstrating an ability to recover from minor inaccuracies 5 6 Performs with several inconsistencies in pitch and intonation, but manages to maintain a sense of tonality 3 4 Performs with several errors in pitch and intonation, and little sense of tonality 1 2 Tone Performs confidently, displaying excellent tonal control 5 6 Performs with reasonable confidence, but experiences some difficulty with tonal control 3 4 Performs with little or no confidence, and experiences great difficulty with tonal control 1 2 Improvisatory skills Performs a well shaped, effective and imaginative improvisation which clearly outlines the chord changes, using clear rhythmic and melodic shapes and voicings, use of repeated motives and a good understanding of the chord sequence and harmonic context Performs a mostly effective improvisation, demonstrating consistency with rhythmic and melodic aspects of the style and an understanding of the chord sequence and harmonic context Performs an improvisation, demonstrating a basic sense of shape with some rhythmic and melodic aspects of the style, and some understanding of the chord sequence and harmonic context Performs an inconsistent and mostly ineffective improvisation, demonstrating a limited awareness of style, inconsistent application of rhythmic and melodic ideas and a limited understanding of the chord sequence and harmonic context Note: Zero will be used when there is no evidence demonstrated relating to each criterion. 7 8 5 6 3 4 1 2 /10 /10 /6 /8 Total mark /34

11 Sample assessment task Music Jazz ATAR Year 11 Task 5 Unit 1 Assessment type: Cultural and historical analysis This task requires the completion of a summary table outlining the development of the Big Band/Swing style and a 1000 word essay based on given criteria, using the table as a starting point. You will be given eight weeks to complete the task, submitting both in Week 14. Conditions Period allowed for completion of the task: 8 weeks Completed table and essay to be submitted in Week 14 Task weighting 2% of the school mark for this pair of units The Development of the Big Band/Swing style You will be required to write a 1000 word essay discussing the development of the Big Band/Swing style from the pre 40 s through to the post 40 s, based on the summary table: Development of the Big Band/Swing style, which is to be submitted with your essay. The essay must outline the contribution made by the composers/artists of the designated works to the development of the Big Band/Swing style, supported by reference to musical evidence from the designated and related works studied this semester. Part 1: To assist in structuring and planning your essay, you are required to complete the table on the following page: Development of the Big Band/Swing style. This table will summarise developments and changes in tempo/rhythmic, melodic and harmonic features, form and arrangement, instrumentation, rhythm section and expressive devices in each of the four different works you have studied this semester. Part 2: Complete the essay according to the following criteria: Discuss the origin and development of the Big Band/Swing style, organising your material into pre 1940, 1940 s and post 1940. Outline the musical changes in the Big Band/Swing style referring to at least four music elements outlined in the table. Discuss the demise of the style, providing reasons as to why it declined in popularity Outline the cultural, historical and social features that contributed to the development of the Big Band/Swing style. Outline the importance of the contribution made by the composers/artists of the designated works to the development of the Big Band/Swing style, making specific reference to musical evidence from the works studied throughout the semester and additional works where necessary, to support your discussion. Include at least a paragraph for each composer/artist. Refer to other significant composers/artists and representative works that were influential in the development of the Big Band/Swing style. Include a bibliography which correctly references books and websites used to complete the table and the essay. Use correct referencing throughout the essay where necessary.

12 Development of the Big Band/Swing style DUKE ELLINGTON COUNT BASIE THAD JONES QUINCY JONES Tempo/Rhythmic features Melodic features Harmonic features Form and arrangement Instrumentation Rhythm section Expressive devices and other special features

13 Marking key for sample assessment task 5 Unit 1 Marks Completes Development of the Big Band/Swing style table /5 Accurately and comprehensively completes the Development of the Big Band/Swing style table 5 Completes most points of the Development of the Big Band/Swing style table in detail, with some inconsistencies 4 Completes the Development of the Big Band/Swing style table, but only provides simple and sometimes inconsistent responses 3 Provides an incomplete Development of the Big Band/Swing style table with several inaccuracies 2 Provides a mostly incomplete and inaccurate Development of the Big Band/Swing style table 1 Discusses the origin and development of the Big Band/Swing style /5 Provides detailed and insightful discussion about the origin and development of the Big Band/ Swing style across the specified time fame (pre 40s post 40s), accurately referring to all of the 5 required points Provides detailed discussion about the origin and development of the Big Band/Swing style across most of the specified time frame, accurately referring to a number of the required points 4 Provides some discussion about the origin and development of the Big Band/Swing style across most of the specified time frame, referring to some of the required points 3 Provides inconsistent discussion about the origin and development of the Big Band/Swing style across most of the specified time frame, referring to some of the required points with several 2 inaccuracies Provides limited discussion about the origin and development of the Big Band/Swing style across some of the specified time frame, inaccurately or inappropriately referring to few of the required 1 points Outlines musical changes to the Big Band/Swing style referring to at least four music elements outlined in the table /4 Makes specific and insightful reference to at least four music elements outlined in the table to describe musical changes to the Big Band/Swing style 4 Makes some reference to at least three music elements outlined in the table to describe musical changes to the Big Band/Swing style 3 Makes minimal reference to one or two music elements outlined in the table or refers to some of them incorrectly when describing musical changes to the Big Band/Swing style 2 Makes limited reference, or mostly incorrect and/or inappropriate references to the music elements outlined in the table, that do not adequately describe musical changes to the Big 1 Band/Swing style Discusses the demise of the Big Band/Swing style, providing reasons as to why it declined in popularity /3 Provides an accurate and detailed discussion about the demise of the Big Band/Swing style providing significant reasons as to why it declined in popularity 3 Provides a generally accurate discussion about the demise of the Big Band/Swing style providing some reasons as to why it declined in popularity 2 Provides a mostly inaccurate and incomplete discussion about the demise of the Big Band/Swing style providing inconclusive or no reasons as to why it declined in popularity 1 Outlines cultural, historical and social features that contributed to the development of the Big Band/ Swing style /4 Provides a detailed discussion, comprehensively outlining the cultural, historical and social features that contributed to the development of the Big Band/Swing style 4 Provides a mostly detailed discussion, outlining several cultural, historical and social features that contributed to the development of the Big Band/Swing style 3 Provides some discussion, outlining a few cultural, historical and social features that contributed to the development of the Big Band/Swing style 2 Provides limited discussion, making sporadic reference to cultural, historical and social features 1

14 Marks Outlines contributions made by the composers/artists of the designated works to the development of the Big Band/Swing style /4 Provides specific and insightful discussion outlining contributions made by each of the composers/artists of the designated works to the development of the Big Band/Swing style with 4 specific reference to supportive works Provides discussion, outlining contributions made by most of the composers/artists of the designated works to the development of the Big Band/Swing style, or detailed discussion outlining 3 the contribution of only one composer/artist with reference to supportive works Provides little discussion outlining contributions made by one or more composer/s/artist/s of the designated works to the development of the Big Band/Swing style with insufficient reference to 2 selected works or reference to works that are inappropriate Provides limited discussion which is mostly incorrect or inappropriate, with little or no reference to supportive works 1 Cites musical examples from designated and additional works /4 Makes detailed reference to musical examples from each of the designated works and additional works in support of the question 4 Makes reference to musical examples from most of the designated works and some additional works in support of the question 3 Makes little reference to musical examples from the designated works and does not refer to additional works 2 Makes limited reference to musical examples from the designated works and/or additional works 1 Coherent well structured response /3 Presents a coherent, well structured and articulate response supporting the main aims of the question 3 Presents an adequate response, but at times lacks clarity of meaning and/or is not of a sufficient quantity to fully express ideas or support the main aims of the question 2 Provides a simple response offering little support for the main aims of the question 1 Provides limited or no support to the main aims of the question 0 Bibliography and referencing /3 Includes correct referencing in the text and a comprehensive and accurate bibliography 3 Includes mostly correct referencing in the text and bibliography 2 Incorrectly uses referencing in the text and Includes a limited and/or irrelevant bibliography 1 Does not include referencing in the text and does not include a bibliography 0 Total /35

15 Sample assessment task Music Jazz ATAR Year 11 Task 6 Unit 1 Assessment type: Theory and composition The paper will consist of three questions and will cover the following concepts: score analysis transposition chord analysis terminology melody writing and harmonisation Conditions Time for the task: 60 minutes Formal in class assessment, Week 14 Task weighting 2% of the school mark for this pair of units Name: Mark: / 50 Question 1: Transposition (1 mark) Which of the following extracts (i), (ii) or (iii) will be the correct sounding pitch if the passage on the top line is transposed down a major 3rd into bass clef? Place a () tick indicating the correct answer (i), (ii) or (iii). (1 mark)

16 Question 2: Chords (14 marks) (a) The chord progression provided is taken from bars 18 19 of West End Blues. Using the piano manuscript provided, notate each of these chords in root position. The bass clef must include one bass note and the treble clef must provide the entire chord. (10 marks) (b) Using the same chord progression, write a suitable guide tone line. (4 marks) Question 3: Definitions (8 marks) Name and define the meaning for each of the following: Name: Definition: Name: Definition:

17 Name: Definition: Name: Definition:

18 Question 4: Melody writing (17 marks) For the given chord structure, compose an 8 bar melody for the instrument of your choice. Use a simple time signature: 2/4, 4/4. Be sure to include the following points in your composition: i. The name of an appropriate instrument for which your composition is written, demonstrating suitable use of the instruments range (2 marks) ii. Compose a suitable melody that fits the given chord structure (2 marks) iii. The melody should demonstrate motivic and stylistic continuity with balanced phrases and a clear climax that is clearly marked/evident in the score (4 marks) iv. Include stylistically appropriate use of modes/scales (2 marks) v. Use a simple time signature (1 mark) vi. Use stylistically appropriate rhythmic consistency (rhythmic grouping) and include at least one example of syncopation (2 marks) vii. Incorporate stylistically appropriate tempo, dynamic, articulation and score markings viii. Ensure the score presentation is neat and accurate. (3 marks) (1 mark) Chosen instrument:

19 Question 5: Harmonisation (10 marks) Harmonise the final four bars of your melody by composing a second part. i. Write the name of an appropriate instrument for which your harmony part is written. Be sure to compose within instruments range (2 marks) ii. Harmonise the final four bars of your melody by composing a second part suitable to the melody and given chord structure (2 marks) iii. Use a simple time signature iv. Use stylistically appropriate rhythmic consistency (rhythmic grouping) (1 mark) (2 marks) v. Incorporate stylistically appropriate tempo, dynamic, articulation and score markings (2 marks) vi. Ensure the score presentation is neat and accurate. (1 mark) Chosen instrument:

20 Marking key for sample assessment task 6 Unit 1 Question 1: Transposition (1 mark) Which of the following extracts (i), (ii) or (iii) will be the correct sounding pitch if the passage on the top line is transposed down a major 3rd into bass clef? Place a () tick indicating the correct answer (i), (ii) or (iii). The correct answer for the Bb trumpet is response (ii) see below. 1 Mark Total /1 Question 2: Chords (14 marks) (a) The chord progression provided is taken from bars 18 19 of West End Blues. Using the piano manuscript provided, notate each of these chords in root position. The bass clef must include one bass note and the treble clef must provide the entire chord. (10 marks) ANSWER (student may have different placement of these chords, or use minims in the final bar) For each chord required award: 1 mark for the correct notes in the treble clef. 1 mark for the correct bass note. (b) Using the same chord progression, write a suitable guide tone line. Mark 10 Total /10 (4 marks) ANSWER (other possibilities could be provided) 1 mark for two correct guide tone notes provided. 6 notes required 1 mark for clef and correct musical notation (e.g. staff placement, correct number of beats per 4 bar) Total /4 Mark

21 Question 3: Definitions (c) Name and define the meaning for each of the following: 1 mark for the correct name provided. 1 mark for the correct definition. See the breakdown provided below. (8 marks) Mark 8 Total /8 1 mark for the name: Slide. 1 mark for definition: moving from one note to the next, moving between two given pitches. Often this is performed in by slurring to the next note. Total /2 Mark 1 mark for the name: Trill/shake. 1 mark for definition: Ornamentation performed as a rapid alternation between two notes, the one provided and the note above. (Often starting on the note above the written note and the note above. Total /2 Mark 1 mark for the name: Tremolo 1 mark for definition: Ornamentation (as provided here) the rapid alteration between the bass note of the chord and the remaining notes. Total /2 Mark For each chord award: 1 mark for the name: Marcato (or strong accent) 1 mark for definition: accept any of the following well marked, emphasised, strong accent, in relation to the music performed it is made obvious/emphasised, it is louder than a normal accent! Accept both short in length and emphasised. Total /2 Mark

22 Question 4: Melody writing (17 marks) i. Instrument Names an appropriate instrument for the composition and writes a melody within the instrument s range. Names an appropriate instrument for the composition and writes a melody that mostly stays within the instrument s range. Names an appropriate or inappropriate instrument. Does not write a melody that is within the range of the instrument. ii. Chord suitability Melody accurately correlates with the chords. 2 Melody mostly fits/correlates with chords. 1 Many errors and/or poor harmonic relationships. 0 iii. Melody Demonstrates excellent skills in developing, establishing and maintaining stylistically appropriate musical ideas and melodic shape/elements, with good use of passing notes to create an interesting melody. Uses a convincing climax and clearly indicates balanced phrasing. Demonstrates satisfactory skills in developing, establishing and maintaining stylistically appropriate musical ideas and melodic shape/elements with some use of passing notes to create a suitable melody. Uses an adequate climax and mostly balanced phrasing. Demonstrates little or no evidence of developing, establishing and maintaining stylistically appropriate musical ideas and melodic shape/elements. Shows minimal evidence of a musical climax, phrasing and general appeal. iv. Use of modes Consistently uses stylistically appropriate modes. 2 Mostly applies stylistically appropriate modes. 1 Little or no use of stylistically appropriate modes. 0 The following modes are the most logical choices for the given chord progression however students may use notes outside of these modes in an imaginative manner to create tension. Eb Ionian Eb 7 Mixolydian Ab Ionian Abm Dorian Eb6 Ionian C7 Mixolydian Fm7 Dorian Bb7 Mixolydian Bb7 Mixolydian Eb Ionian v. Time signature Uses a simple time signature. 1 Does not use a simple time signature. 0 vi. Rhythm Uses stylistically appropriate rhythms and syncopation and groups rhythms correctly. 2 Uses mostly appropriate stylistic rhythms, some syncopation and groups most rhythms correctly. 1 Uses little or no stylistically appropriate rhythms and syncopation and consistently does not group rhythms correctly. Mark 2 1 0 3 4 1 2 0 0 /2 /2 /4 /2 /1 /2

23 vii. Use of music expression Articulation, dynamics, stylistic direction and other score markings are used effectively and appropriately. Articulation, dynamics, stylistic direction and other score markings are generally used appropriately, with some minor inconsistencies evident. Some articulation, dynamics, stylistic direction and other score markings are used incorrectly and/or are inappropriate to the score. Little or no articulation, dynamics and other score markings are used. 0 viii. Score presentation Excellent/neat use of notation skills clearly communicating musical ideas. 1 Neatness makes reading and understanding the score difficult. 0 Mark 3 2 1 /3 /1 Total /17 Question 5: Harmonisation (10 marks) i. Harmonising instrument Names an appropriate instrument for the composition and writes a harmony line within the instrument s range. Names an appropriate instrument for the composition and writes a harmony line that mostly stays within the instrument s range. Names an appropriate or inappropriate instrument. Does not write a harmony line that is within the range of the instrument. ii. Chord suitability Harmony line accurately correlates with the chords. 2 Harmony line mostly fits/correlates with the chords. 1 Many errors and/or poor harmonic relationships. 0 iii. Time signature Uses a simple time signature. 1 Does not use a simple time signature. 0 iv. Rhythm Uses stylistically appropriate rhythms and groups rhythms correctly. 2 Uses mostly appropriate stylistic rhythms, some syncopation and groups most rhythms correctly. 1 Uses little or no stylistically appropriate rhythms and consistently does not group rhythms correctly. 0 v. Use of music expression Articulation, dynamics, stylistic direction and other score markings are used effectively and appropriately. 2 Some articulation, dynamics, stylistic direction and other score markings are used incorrectly and/or are inappropriate to the score. 1 Little or no articulation, dynamics and other score markings are used. 0 vi. Score presentation Excellent/neat use of notation skills clearly communicating musical ideas. 1 Neatness makes reading and understanding the score difficult. 0 Mark 2 1 0 /2 /2 /1 /2 /2 /1 Total /10