MSM315115 Theory and Aural Skills 2016-2019 - TASC€¦ · voice leading as appropriate. ... Bass...
Transcript of MSM315115 Theory and Aural Skills 2016-2019 - TASC€¦ · voice leading as appropriate. ... Bass...
Music
Subject Code: MSM315115
Theory and Aural Skills (2016 – 2019)
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Thisdocumentclarifiesthecoursecontentformusicliteracy.Itdetailsthetheoreticalconcepts,andcorrespondingmusicnotation,tobecoveredwhenteachingMSM315115Music.ThedocumentshouldbereadandusedinconjunctionwiththesyllabusdocumentforMSM315115.
Theconcepts,andtheirnotation,areaminimumofwhatshouldbetaughtforstudentworkthatistobeassessedbyCriterion5and6.Tofurtherextendstudents,andtopursueareasofparticularinterest,teachersarestronglyencouragedtointroduceadditionalideasandrefertoothermaterial.
Teachersandstudentsshouldnotethatitisnotsufficienttomerelyknowthemeaningofeachofthesymbolsthatappearbelow.Thesymbolsshouldalsobeusedcorrectlyinaccordancewithcurrentnotationconventions.Fordetailedlistsofconventions,refertothesourcescitedinthereferencelistattheconclusionofthisdocument.
Toassistteachers,occasionallycriterion-specificinformationisprovidedregardingparticularconcepts.
PITCH
Clefs
TrebleClef BassClef AltoClef PercussionClef Whenreadingandwritingnotationintheaboveclefs,studentswillalsobeexpectedtouse/interpretledgerlines,andadheretoconventionsregardingstemdirections.Notethatthenumberoflinesinthestave(s)usedwiththepercussionclefmayvarydependingonthepercussioninstrumentused.Intheauralsectionoftheexamstudentswillbeaskedtonotatepitchbyearusingonlythetrebleandbassclefs.Theymaybeaskedtonotaterhythmusingthepercussionclef.Thealtoclefwillonlybeusedwhenreadingorre-writingnotation.
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Scales
• Major*• Naturalminor• Harmonicminor• Melodicminor*• Chromatic• Majorpentatonic*• Bluesscale*• Wholetone*
Notatedexamplesofthescalesmaybefoundattheendofthisdocument.Intheauralpartoftheexamstudentswillbeaskedtoidentifybyearonlythescalesselectedfromthosemarkedwithanasterisk.Theywillalsoonlybeaskedtonotatemelodiesusingthesame.Inthewrittencomponentstudentsmaybeaskedtoidentifyanyoftheabovescales.
ScaleDegreeNames
Tonic Supertonic Mediant Subdominant Dominant Submediant
LeadingNote
(LeadingTone)
Tonic
Intervals
Allmajor,minor,perfect,augmentedanddiminishedintervals,usedeitherharmonicallyand/ormelodically.Theseincludecompoundintervalsuptoandincludingthe9th.Studentswillnotberequiredtoidentifyspecificintervalsintheauralcomponentoftheexam.Nonetheless,theabilitytorecogniseintervalsbyearishelpfulwhennotatingmelody.
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Key
Signatures
Sharps
Flats
Accidentals
Flat DoubleFlat Sharp DoubleSharp Natural
Triads
Major(C)
minor(Cmin)
diminished(Cdim)
Augmented(CAug)
ThefourbasictriadtypeslistedhereareinCMajorbutcouldappearinanykeyinthewrittensectionoftheexam.Studentsmayberequiredtoidentifysomeoftheaboveintheauralcomponentoftheexam.Notethecompositionofthetriadsinrootposition:
• Majortriad–Majorthirdonthebottom,minorthirdontop• Minortriad–minorthirdonthebottom,Majorthirdontop• Diminishedtriad–twominorthirds• Augmentedtriad–twoMajorthirds
CMajGMajDMajAMajEMajBMajF#MajC#MajAminEminBminF#minC#minG#minD#minA#min
CMajFMajBbMajEbMajAbMajDbMajGbMajCbMajAminDminGminCminFminBbminEbminAbmin
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Chord
Extensions
Major7th(eg.,CM7) Dominant7th(eg.,C7) Minor7th(eg.,Cm7)
Major9th(eg.,CM9) Dominant9th(eg.,C9) Minor9th(eg.,Cm9)Notethatwhenvoicinganextendedchordsomenotesmaybeomitted,particularlythefifthofthechord.Thetypesofchordslistedherecouldappearinanykeyinthewrittensectionoftheexam.Studentswillnotberequiredtoidentifyindividualextendedchordsintheauralcomponentoftheexambutmayberequiredtoidentifyachordprogressionusingsomeofthechords.
Chord
Inversions
RootPositionCorI or C
1stInversionC/EorIborC6
2ndInversionC/GorIcorC
3rdInversionC7/BborIdorC
TheinversionslistedhereareinCmajor.Inthewrittensectionoftheexamtheymayappearinanykey.Studentsmayberequiredtoidentifytheabovechordpositionsintheauralsectionoftheexam.
Chord
Alterations
Suspended4th(eg.,Csus4)
diminished7th(eg.,Cdim7orCo7)
Halfdiminished(eg.,Cm7(b5)orCØ)
Major6th(eg.,CM6)
ThealterationsandextensionslistedhereareinCmajor.Inawrittenexamtheymayappearinanykey.Studentswillnotbeexpectedtorecognisethesebyear.
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Triads–
DegreesoftheMajorScale
Triads–
DegreesoftheMinorScale
ChordSymbols
• CapitalLettername(e.g.,C)=Majorchord• min(also–andlowercasem)=minorchord• +(alsoAug)=Augmentedchord• O(alsodim)=diminishedchord• 7=minorseventh(intervalfromtherootofchord)• 6=MajororminortriadwithanaddedMajor6thinterval• Maj7(also)=Majorseventh(intervalfromtherootofchord)• o7=diminishedseventhchord• ø=halfdiminishedchordormin7b5• Sus4=suspendedchord
SimpleHarmonisation
Harmoniseasimplemelodyusingthechordsoutlinedabove,whilstadheringtoprinciplesofvoiceleadingasappropriate.Themelodymaybeharmonisedbyplacingchordnamesabovethemelodyand/orbyvoicingtheprogressioninpiano-stylearrangement.
Cadences
Perfect,Plagal,ImperfectandInterruptedcadences.Intheexamthefourcadencesmayneedtoberecognisedaurallyandmayneedtobeidentifiedinawrittenscore.Studentsmayberequiredtowritecadences.Writtencadenceswilleitherbeinfour-partvocalstyleand/orinstrumentalarrangementand/orpianostyle.Notetheuseofthemoretraditionalnamesofcadencesratherthan‘authentic’,‘half’or‘deceptive’.
TonicSupertonicMediantSubdominantDominantSubmediantLeadingNoteTonicMajorminorminorMajorMajorminordiminishedMajor
TonicSupertonicMediantSubdominantDominantSubmediantLeadingNoteTonicminordiminishedAugmentedminorMajorMajordiminishedminor
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Transposition
Studentswillbeexpectedtotransposebyintervalandbyinstrument.Theinstrumentsinclude:
WoodwindBrass String Percussion VoiceOboePiccoloFluteBbClarinetBassoonEbAltoSaxophoneBbTenorSaxophone
BbTrumpetTromboneFrenchHorninF
ViolinViolaCelloDoubleBassBassGuitarGuitar
PianoSopranoAltoTenorBass
TIME/RHYTHM
Meter
SimpleMeters CompoundMetersSimpleduple CompounddupleSimpletriple Compoundtriple
Simplequadruple CompoundquadrupleMetersmayalsobeirregular/asymmetric.Notethetwo-partidentificationofmeterfortheregularmeters:‘simple’+‘duple’.Studentsmayberequiredtoidentifyameteraurallyorfromwrittennotation,andtoidentifymeterswithparticulartimesignatures.
Time
Signatures-Simple
Timesignatureswilloccurinboththeauralandwrittensectionsoftheexam.
Time
Signatures-Compound
Timesignatureswilloccurinboththeauralandwrittensectionsoftheexam.
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Time
Signatures–Irregular/Asymmetric
Timesignatureswilloccurinboththeauralandwrittensectionsoftheexam.
RhythmicNotation
Semibreve/Wholenote:
Semibreve/Wholerest:
Minim/Halfnote:
Minim/Halfrest:
Crotchet/Quarternote:
Crotchet/Quarterrest:
Quaver/Eighthnote:
Quaver/Eighthrest:
Semiquaver/Sixteenthnote:
Semiquaver/Sixteenthrest:
Demisemiquaver/Thirty-secondnote:Thedemisemiquaverisforwrittenidentificationonly.Itwillnotbeusedintheauralsection.
Demisemiquaver/Thirty-secondrest:Thedemisemiquaverrestisforwrittenidentificationonly.Itwillnotbeusedintheauralsection.
Studentswillberequiredtonotaterhythmsusingtheabovedurations.Thismayincludesettingcoupletsorversetorhythm.
Barlines
Normal Double Final StartRepeat
EndRepeat
1sttimebar 2ndtimebar
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DottedNotes
Adotafteranoteincreasestherhythmicvalueofthenotebyhalf.
=
+
Inthewrittenexaminationdotsmaybeappliedto:semibreves;minims;crotchets;quavers;semiquavers;andequivalentrests.
Triplets
Tripletsareatypeoftuplet,onewherethreenotesappearinthetimeoftwo.Theyareusuallynotatedwiththefigure‘3’placedwithinaslurorabracket.Sometimes,justthefigure‘3’isused.Tripletscanbeaddedtoanyrhythmicvalue.
Studentsmayberequiredtoidentifytripletsaurallyandinwrittenform.
DupletsDupletsarealsoatypeoftuplet,onewheretwonotesinthetimeofthree.Dupletsareusuallynotatedwiththefigure‘2’placedwithinaslurorabracket.Sometimes,justthefigure‘2’isused.Dupletscanbeaddedtoanyrhythmicvalue.
Studentsmayberequiredtoidentifydupletsaurallyandinwrittenform.
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Ties
Atiejoinstwonotesofequalpitch.Thisisnottobeconfusedwithaslur,whichjoinstwonotesofdifferentpitch.
Tiesmaybeusedacrossbars.
Inthewrittensectionofthestudentsmayberequiredtoidentify,interpretand/orwritenotation,usingties.Intheauralsectionoftheexam,studentsmayberequiredtonotatebyearrhythmsthatmayincludeties.Itisacknowledgedthattherecanbeseveralacceptablewaysofnotatingarhythmotherthanusingties.
=
Couplets/VersetoRhythm
Notatingcoupletsorshortversesinsimpleandcompoundtime.Whennotatingtext,attentionshouldbegiventotheplacementofhyphensforbreakingwordsintosyllables,phrasingandwhereappropriate,theuseofunderscorestoextendthelengthofanote.Rhythmicnotationmaycommencewithorwithoutananacrusis.
Tie Slur
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NoteGroupings
Individualrhythmicdurationsaregroupedinwaysthatreflecttheunderlyingmeter,assuggestedbythetimesignature,andmakethenotationeasytoread.Examples:
1. Subdivisionsarewritten/beamedsothattheyclearlydemonstrateeachbeat.
Iscorrect Isnotcorrect
2. Likewise,restsneedtocompletethecurrentbeatbeforebeingfollowedwithadditionalrestsornotes.
Iscorrect Isnotcorrect
3. Beatstwoandthreearenot‘joined’usinganoteorrest.Insteadtiesareused.
Arecorrect Arenotcorrect
4. Whenusingrests,thelongestpossiblerestisusedprovidingtheaboveconventionsareadheredto.Theresultistheuseoffewerrests.
Iscorrect Isnotcorrect
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FORM&STRUCTURE(Criteria5&6)
BinaryForm SchematisedasA-B.Apiecein2partswherethefirstsection(A)differstothesecondsection(B)
TernaryForm
SchematisedasA-B-A.Apiecewherethefirst(A)andthird(A)sectionsarethesamewithacontrastingmiddlesection(B)
RondoForm
MostcommonlyschematisedasA-B-A-C-A.Apiecewhereareoccurring‘A’sectionalternateswithcontrasting‘B’and‘C’sections
ThemeandVariation Astructurewherematerialisrestatedwithalterations
12-BarBlues
Apiececonsistingof12barsfollowingasetchordprogression.ThechordprogressioninRomannumeralsis:I-I-I-I,IV-IV-I-I,V7-IV-I-I.EachRomannumeralrepresentsonebar.
Popularsongform SchematisedasA-A-B-A.Occursover32barswith8barspersectioninthepopularstyle.
TEXTURES(Criteria5&6)
Polyphony Musicwithtwoormoreindependentmelodicpartssoundedtogether.Phrasingwillgenerallyoverlapbetweenparts.
Monophony Asinglemelodiclinewithoutaccompaniment
Homophony Asinglemelodiclinewithaccompaniment.Partswillbegenerallyphrasedtogether.
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EXPRESSIVEDEVICES(Criteria5&6)
Crescendo Graduallybecominglouder
Diminuendo/Decrescendo Graduallybecomingsofter
Sforzando Suddenlyorstronglyaccented
Staccato Shortanddetached
Pizzicato Whereastringedinstrumentistobeplucked
Arco Whereastringedinstrumentistobeplayedwiththebow(usedafterpizzicato)
Tremolo a. Therapidrepetitionofasinglenoteproducedbythebowonastringedinstrument;b. Therapidreiterationoftwonotesofdifferentpitchproducingavibratingeffect
Rallentando(rall.) Graduallybecomingslower
Ritardando(ritard.) Graduallybecomingslower
Ritenuto(rit.) Heldback(ie.Immediatelyslower)
Legato Smoothlyorwellconnected
Crescendo(cresc.)
Graduallybecominglouder
Diminuendo(dim.)
Graduallybecomingsofter
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COMPOSITIONALDEVICES(Criteria5&6)
CallandResponse
Itconsistsoftwodistinctphrases,wherethesecondphraseisheardasaresponsetothefirstphrase(call)
Riff Ashortrepeatedrhythmicand/ormelodicphrase.Usedparticularlyinjazzandrockmusic
Ostinato Ashortmelodicphraserepeatedthroughoutapieceofmusic
RhythmicOstinato Ashort,constantlyrepeatedrhythmicpattern
GroundBass Abasslinethatiscontinuallyrepeatedthroughoutacomposition
Syncopation
Atemporarydisplacementofaregularmetricalaccentwheretheaccentshiftsfromastrongtoaweakbeat
Polytonality Theuseofmorethanonekeysimultaneously
WholeToneTonality Apieceusingthewholetonescale
Modulation Akeychangewithinapiece
Improvisation Musicthatiscreated“on-the-spot”,withoutpreparation
Chromaticism Theuseofaccidentalnotesoutsidetheprevailingdiatonickey
Imitation Therestatementinsuccessionofidenticalmusicalmaterialintwoormoreparts
DroneAdroneisacontinuousunchangednoteorsetofnotesthatdonotcontributetotheharmonicmovementofthepiece.
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PedalPoint Apedalpointisasustained(oftenbass)notethatsupportstheharmonicmovementofthemusicbycreatingtensionandresolution.Pedalnotescanvaryinlength
Ornamentation Wherethemelodyisembellished(ordecorated)withornaments;suchastrills,mordents,turns,gracenotes,glissandi,slides,pitchbends,dropnotes,scoops,flams
Accelerando(accel.) Graduallybecomingfaster
Meterchange Wherethemeter(timesignature)changeswithinthepiece
Polyrhythm
Thesimultaneouscombinationofcontrastingrhythms,wherethenotesofonerhythmarenotdivisiblebythenotesoftheother.Therefore‘twoagainstthree’isapolyrhythmbut‘twoagainstfour’isnot–seetwosimplemeterexamplesbelow:
Isapolyrhythm Isnotapolyrhythm
IrregularTimeSignature
Atimesignaturethatdoesnotconformtoeitheraduple,tripleorquadruplemeter.Examplesincludetimesignaturesrepresentingfiveorsevenbeatsinthebar.Irregulartimesignatures/metersareoftenperceivedashavingalternatingsub-groupsoftwo,threeandsometimesfourbeats,eachbeginningwithitsowndownbeat.Theresultisastrongbeatoccurringatirregularintervals,hencethedescription‘irregularmeter’
TempoChangeAnongoingchangeinthespeedofthebeat,oftenoccurringatthecommencementofanewsectionofmusic.Oftenatempochangeisinitiatedbyagradualaccelerandoorrallentandowhichisanintegralpartofthestructureofthepiece
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AugmentationTherestatementofathemewherethenotesareofalongerduration(generallydoublethebeatvalueoftheoriginal)-
DiminutionTherestatementofathemewherethenotesareofashorterduration(generallyhalfthebeatvalueoftheoriginal)-
Inversion
Whentheintervalsofanoriginalmusicalmotifarereversed(turnedupside-down)
Sequence
Theimmediaterestatementofamotifatahigherorlowerpitchinthesamevoice.ItisstillasequenceiftherestatementofthemotifisgreaterthanatoneExample1:Example2:
RetrogradeWhereamusicaltheme(ormotif)isplayedbackwards
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ADDITIONALMUSICTERMS(Criterion6only)
Terms Definitions Terms Definitions
Adagio Slowly Allegretto Moderatelylively
Allegro Livelyandfast Andante Ataneasywalkingpace
Moderato Atamoderatespeed Poco Alittle
Presto Veryfast Pocoapoco Littlebylittle
Vivace Livelyandspirited Molto Very
Menomosso Lessmovement(slower) Dalsegno Fromthesign()
PiumossoMoremovement(quicker)
DacapoalfineFromthebeginningtothewordfine
Tempoprimo Returntooriginaltempo Fine End
Atempo ReturntoformertempoFermata Toholdthenoteorrestbeyondits
normalvalue.
Rubato
‘Temporubato’literallymeans‘robbedtime’.Themusicisthereforeperformedwithsomefreedomintime
8va(ottava)
Notesshouldbeplayedanoctavehigherthanwritten
Forte(f) Loud8vb
(ottavabassa)Notesshouldbeplayedanoctavelowerthanwritten
Mezzoforte(mf) Moderatelyloud Tenuto(-) Tobeheldforthefulltimevalue
Fortissimo(ff) VeryloudMarcatoaccent
(>)Markedaccentfullvalue
Piano(p) SoftMartellatoaccent(^)
Strong(often)detachedaccent
Mezzopiano ModeratelysoftBarrepeat
Repeatthenotesofthepreviousbar.
Pianissimo(pp) VerySoft
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ADDITIONALMUSICTERMS(Continued)
Mezzopiano ModeratelysoftFortepiano Playedloudthenimmediately
soft.
Dynamicsplayedloudlythefirsttimeandplayedsoftlyontherepeat.
Hammeron/pulloff
Hammer-on–tobringthefretting-handdownontheguitar’sfingerboardbehindafretcausingthenotetosoundPull-off-pullingthefingeroffthestringcausingthenotetosoundInconventionalnotationthetwotechniquesareexpressedwithslurs.Intablature,theyareexpressedusingtheletters‘H’and‘P’respectively
Rimclick
Thesoundproducedbyhittingtherimwiththestickacrossthefaceofthedrumheadrestingontheskin
Rimshot
Thesoundproducedbyhittingtherimandtheheadofadrumsimultaneouslywithadrumstick
Inthisinstancethetempowouldequateto120crotchetbeatsperminuteThissometimesappearsas‘M.M.=120’
Ripplechord/Arpeggio(Rolledchord)
Wherethenotesofthechordareplayedseparately,inrapidascendingordescendingorderdependingonthesymbolused.
Flam
Adrumbeatconsistingoftwostrokesthefirstofwhichisaveryrapidgracenote
Metronomemarking
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ListofScalesMajor
Tone=T;Semitone=S
Naturalminor
Thenaturalminorscaledoesnotcontainaraised7thnote.
Harmonicminor
Inaharmonicminorscale,the7thnoteisalwaysraised.
Melodicminor
Inamelodicminorscale,notes6and7areraisedascendingandlowereddescending.
Chromatic
Includeseverynotewithintheoctave.Sharpsareaddedascendingandflatsdescending.
Major
Pentatonic
Apentatonicisa5-notescale,plusthe‘uppertonic’–Notes1,2,3,5,6,8.
Blues
Thebluesformulaconsistsofnotes1,3,4,b5,5,b7,8.
WholeTone
Awholetonescaleconsistsofnotesbuiltsolelyfromtones.
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