Download - BTEC Level 3: Music Performing - Morecambe High · BTec Level 3: Music Performing ... Unit 43: Special Subject Investigation ... The BTEC National Level 3 course in Music Performing

BTEC Level 3:

Music Performing

Course Handbook

2017-2019

2

BTec Level 3: Music Performing

This course consists of two core units plus four specialist units that provide a combined total of 360

guided learning hours for the completed qualification.

Core Units:

Unit 23: Music Performance Techniques (Year 1)

Unit 40: Working and Developing as a Musical Ensemble (Year 2)

Specialist Units:

Unit 30: Pop Music in Practice (Year 1)

Unit 12: Improvising Music (Year 1)

Unit 24: Music Project (Year 2)

Unit 43: Special Subject Investigation (Year 2)

Who is the course for?

The course is for students who perform as musicians and are looking to further their musical studies

and experiences in a variety of ways. You will have opportunities to develop as a performer and gain

an insight into how the music industry operates.

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How will I be assessed?

The BTEC National Level 3 course in Music Performing runs a controlled assessment system, with you

working to set deadlines. Assessment is through practical demonstration with some written work. All

assessed work is coursework or project based. There are no formal exams. Unit grades will be given

at the end of each unit, with a final grade being given at the end of the course

BTec Level 3 Subsidiary Diploma in Music Performing = 1xA Level Equivalent.

The grading criteria for each unit will be given a grade of FAIL, PASS, MERIT or DISTINCTION. To gain

a pass/merit/distinction for the whole course a pass/merit/distinction must be met for all units.

Once you have handed in your work, you will receive written and feedback on your progress and your

grade. At that point you will be given ONE OPPORTUNITY ONLY to improve your work if a) the work

is below your predicted target grade, or b) you wish to try and improve your mark. Each unit has an

allocated two week period in which you will have the opportunity to improve your work.

Resources:

The school has a fully resourced music studio with recording equipment, microphones, amplifiers, an

iMac suite with sequencing and score writing software and additional rehearsal space. Students will

also have access to the school PA in both the hall and The Studio. Students will be expected to bring

their own instrument to lessons.

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What can the course lead on to?

Students completing the course can gain university entry to study music related programmes at

degree level. Alternatively, students may wish to progress directly into a career in the music industry,

considering such paths as:

Professional Musician

Session Musician

Sound/Recording Engineer

Music Management

Teaching Music

Composing Music and Arrangement

How much home study will I be required to do?

Students are expected to undertake regular home study, including the individual practice of

instruments as well as the completion of homework/coursework. Additional instrumental lessons on

a chosen instrument are essential and are imperative to your professional development. In the

second year of the course, there is an Independent Learning Programme to also complete, which is

outlined at the back of this unit handbook.

A practice/rehearsal log must be kept up to date and some additional research/reading would also be

beneficial.

A new unit will be addressed approximately each term. A variety of skills will be acquired over the

two years and some units may overlap in the skills required to complete tasks.

All written work must contain an accurate Bibliography/Discography with quotations clearly

referenced.

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Pop Music in Practice (Specialist: Year 1) (Autumn Term BPA/PCA)

On completion of this unit a learner should:

1. Know different genres of pop music

2. Know how pop music developed

3. Understand the relationship between society and pop music

4. Be able to perform different styles of pop music.

DUE DATES

Monday 4th September 2017 - Thursday 21st December 2017

Original Song Composition: Friday 1st December 2017

Magazine Article: Friday 8th December 2017

Pop Productions CD: Friday 15th December 2017

Review Weeks: Monday 8th January 2018 - Friday 12th January 2018

Unit Content: Key Words

1 Know different genres of pop music

1950s-60s genres: e.g. blues, dance music, popular ballads, balladeers, novelty songs, R&B, rock,

skiffle, rockabilly, rock ‘n’ roll

1960s-1970s genres: e.g. Merseybeat, Motown, California sound, soul, folk rock, country and western,

progressive rock, psychedelia, reggae

1970s-1990s genres: electronica, glam rock, heavy metal, soft rock, pop ballad, girl power, boy/girl

bands, Britpop northern soul, grunge, punk, hip hop, garage

2000s genres: e.g. urban, pop/rock bands, internet-based ‘indie’ artists

2 Know how pop music developed

Musical elements: song structure, harmony, texture, timbre

Format: e.g. A-side/B-side singles, LPs, extended length rock songs, concept albums, instrumental

rock, music video

Technological/production: e.g. mono/stereo formats, wall of sound (Phil Spector), studio albums,

‘garage’ sound (Buddy Holly, White Stripes), high production values (Quincy Jones, Brian Eno),

scratching, sampling

3 Be able to perform original pop music and 4 Be able to perform music as an ensemble

Styles: any from 1950s-60s, 1960s-1970s, 1970s-1990s, 2000s; selection of repertoire appropriate to

ability; stylistic accuracy

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UNIT 30: POP MUSIC IN PRACTICE STUDENT PLC

ELEMENT CRITERIA R A G

P1 Describe, with reference to examples, styles of pop music

M1 Explain, with reference to examples, styles of pop music

D1 Comment critically, with reference to examples, styles of pop music

P2 Describe, with reference to examples, how pop music developed

M2 Explain, with reference to examples, how pop music developed

D2 Comment critically, with reference to examples, how pop music developed

P3 Perform original pop music with errors that do not detract from the performance

M3 Perform original pop music competently and accurately

D3 Perform original pop music with artistic flair and interpretation

P4 Perform a variety of pieces as an ensemble with errors that do not detract from the performance

M4 Perform a variety of pieces as an ensemble competently and accurately

D4 Perform a variety of pieces as an ensemble with artistic flair and interpretation

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Music Performance Techniques (Core: Year 1) (Spring Term BPA/PCA)

On completion of this unit a learner should:

1. Be able to develop effective instrumental or vocal technique

through a structured practice routine.

2. Be able to apply effective instrumental or vocal technique

within appropriate repertoire in solo performance.

3. Be able to apply effective instrumental or vocal technique in

group performance.

DUE DATES

Monday 15th January 2018 - Friday 23rd March 2018

Written Document Controlled Assessment: Friday 23rd February 2018

Solo Performance Controlled Assessment: Friday 9th March 2018

Ensemble Performance Controlled Assessment: Friday 23rd March 2018

Review Week: Monday 9th April - Friday 13th April 2018

1 Know effective instrumental or vocal technique through a structured practice routine

Effective: considered; specific; measurable achievable; relevant; time bound

Technique: development of a range of physical motor skills; timing; speed and dexterity technical

exercises; tone and sound production; dynamics and expression; scales, rhythmic exercises

Structured practice: progressive, qualitative, realistic and obtainable goals related to defined

timescales; negotiate and form strategies for improvement; set targets, structures and review

progress; regular individual practice; planning and taking part in group rehearsals, leading rehearsals,

taking direction

2 Be able to apply effective instrumental or vocal technique in solo performance

Apply in performance: confident physical coordination; fluency; dexterity; accuracy (timing, tone,

intonation, dynamics and tempo); rhythmic control

Apply through interpretation: prepared and unprepared; with confidence; authority; musicality;

dynamics; expression; phrasing; detail and control of timing and tempo

3 Be able to apply effective instrumental or vocal technique in group performance

Apply in performance: confident physical coordination; fluency; dexterity; accuracy (timing, tone,

intonation, dynamics and tempo); rhythmic control

Apply through interpretation: prepared and unprepared; with confidence; authority; musicality;

dynamics; expression; phrasing; detail and control of timing and tempo

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Apply in a group: communicating with other players; musical connectivity and ‘tightness’; eye

contact; sensitivity to sensible dynamics; tempo and rhythmic control, tone production and volume

control

UNIT 23: MUSIC PERFORMANCE TECHNIQUES STUDENT PLC


P1 Identify an effective strategy for technical improvement through a structured practice routine

M1 Describe an effective strategy for technical improvement through a structured practice routine

D1 Explain an effective strategy for technical improvement through a structured practice routine

P2 Perform as a soloist competently with minor technical errors that do not detract from the overall performances

M2 Perform as a soloist showing confidence and technical competence

D2 Perform as a soloist, with technical skill, confidence, musicality and a sense of interpretive style

P3 Perform an individual part as a member of a group with minor technical errors that do not detract from the overall performance

M3 Perform an individual part as a member of a group, with technical competence and confidence

D3 Perform an individual part as a member of a group, showing technical skill, confidence, a sense of ensemble and interpretive style

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Improvising Music (Specialist: Year 1) OPTION (Summer Term BPA/PCA)

On the completion of this unit a learner should:

1. Be able to improvise musical passages, appropriate to the genre, in response to a

stimulus

2. Be able to improvise musical passages, appropriate to the genre, showing structure

and form

3. Be able to improvise musical passages, appropriate to the genre, showing dynamic

control

4. Be able to create improvisations, showing response to other musicians

5. Be able to perform scales and/or technical exercises required to aid technical and

musical ability to improvise musical passages.

DUE DATES

Monday 16th April 2018 - Friday 22nd June 2018

Presentation Controlled Assessment: Friday 18th May 2018

Call and Response/Solo Recording Controlled Assessment: Friday 8th June 2018

Ensemble Improvisation Controlled Assessment: Friday 22rd June 2018

Review Week: Monday 25th June 2018 - Friday 6th July 2018

1 Understand the stylistic elements of improvisation across a range of musical genres

Stylistic elements: musical elements e.g. rhythmic, melodic, harmonic, tonality, lyricism; sonic

trademarks e.g. distortion of guitar amps, effects, synthesiser sounds, vocal effects

Stylistic interpretation: artistic phrasing and detail; an understanding of appropriate stylistic

requirements of the music e.g. note choice, groove, instrumentation, choice of musical equipment, use

of effects, performance attitude

2 Be able to develop instrumental or vocal techniques appropriate for improvisation in contrasting

styles

Developing: types of rehearsal e.g. group rehearsal, personal practice, jamming sessions, workshops,

master-classes

Techniques: e.g. working from lead sheets, solo breaks, extemporisation, phrasing, note choice, call

and response, groove, instrumentation, choice of equipment

3 Be able to improvise music in response to a stimulus in contrasting styles

Stimulus: sheet music e.g. lead sheet, written part, chord chart, score; aural stimulus e.g. rhythmic,

melodic, harmonic, tonal, lyrical; sonic trademarks

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4 Be able to improvise music responding to other musicians

Responding to other musicians: communication e.g. call and response, imitation, interplay,

counterpoint; collective musical decisions e.g. choosing material, choosing key signature, tempo,

dynamics, structural decisions

UNIT 12: IMPROVISING MUSIC STUDENT PLC


P1 Explain the stylistic elements of improvisation across a range of musical genres

M1 Illustrate the stylistic elements of improvisation across a range of musical genres

D1 Analyse the fundamental stylistic elements of a wide range of musical genres

P2 Develop instrumental or vocal techniques appropriate for improvisation in contrasting styles

M2 Develop instrumental or vocal techniques appropriate for improvisation in contrasting styles competently

D2 Develop instrumental or vocal techniques appropriate for improvisation in contrasting styles with confidence and flair

P3 Improvise music in response to a stimulus in contrasting styles

M3 Improvise music in response to a stimulus in contrasting styles competently

D3 Improvise music in response to a stimulus in contrasting styles with confidence and flair

P4 Improvise music responding to other musicians

M4 Improvise music responding to other musicians competently

D4 Improvise music responding to other musicians with confidence and flair

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Students will be given regular verbal and written feedback on their progress and will

be given the opportunity to improve in preparation for the controlled assessments at

the end of the units.

HELP SESSION DROP-INS

You can drop in to see one of your teachers on Thursday mornings between 8.20 and

8.45am, or by pre-arranged appointment via email.

Suggested Reading List:

Whilst this is a general reading list, a more specialised list will be presented at the beginning of each

unit. Unfortunately it is not possible to buy all of these books, so the options are a) hire them from a

library (this may require a visit to Manchester), or b) buy a book each and share them around.

Bowden, J Writing a Report: How to Prepare, Write and Present Effective Reports, 8th Edition (How To

Books, 2008)

Coker, J Improvising Jazz (Touchstone Books, 1986)

Crook, H How to Improvise (Advanced Music, 1991)

Bruser, M The Art of Practicing: A Guide to making music from the Heart (Bell Tower, 1997)

Frith, S. Straw, W. and Street, J (eds) The Cambridge Companion to Pop and Rock (Cambridge, 2001)

Laitz, S The Complete Musicians Student Workbook, Volume 1: An integrated approach to Tonal

Theory, Analysis, and Listening (Oxford University Press Inc., 2003)

Larkin, P (ed) Virgin Encyclopaedia of Popular Music (Virgin Books, 2002)

Rees, D and Gampton, L Rock and Pop year by year (Edition Olms, 2003)

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BTEC Level 3:

Music Performance

Level 3 Subsidiary Diploma (Year 2) Independent Learning Programme

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BTec Level 3: Music Performance

Independent Learning Project: Task 1

Task The Principles of Song Writing: Part 1

All Should: Understand the main elements involved in writing a good song.

Even Better If: You are able to understand how elements of song writing can be developed between genres.

Excellent When: You can demonstrate a thorough understanding of the compositional elements of at least 3 genres.

Date Set: Date Due:

What You Need To Do: Using a variety of sources (as well as those listed below), you are to research the elements that need

to be considered when writing a pop song. Different genres of songs require different techniques and

rely on different musical elements and your research should draw comparison between all of these.

Things to consider might include:

The role of instrumentation

The development of the use of lyrics over time

The impact that tonality can have on a song

*Remember*: Using the internet only to research information is not acceptable.

How to Find Information: http://robinfrederick.com/ - This is a useful website on the fundamentals of song writing.

http://www.musicthinktank.com/blog/top-10-rules-for-better-songwriting.html

http://www.songwritingfever.com/songwritingtips/

Larkin, P. (ed.), Virgin Encyclopedia of Popular Music (Virgin Books, 2002)

Winterson, J., Nickol, P. and Bricheno, T., Pop Music: The Text Book (Peters Edition, 2003)

How to Present Your Work: Your work will be presented in the format of a 15 minute presentation with a handout to accompany

this. There should be an appropriate selection of examples and demonstrations to reflect your

musical understanding. You must also include a bibliography with your handout.

http://robinfrederick.com/

http://www.musicthinktank.com/blog/top-10-rules-for-better-songwriting.html

http://www.songwritingfever.com/songwritingtips/

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All Should: Understand the main elements involved in writing a good song.

Even Better If: You are able to develop a written set of lyrics for a pop song whilst using a topic or life event as a stimulus.

Excellent When: You can write a set of lyrics for a pop song whilst considering the elements discussed in ILP 1.

Date Set: Date Due:

What You Need To Do: Taking the information you found for ILP 1 into consideration, you must write a set of lyrics for two

songs. Each song must be in a contrasting genre, and each song must have an inspiration or stimulus

behind its conception.

Extension: If you finish this task ahead of the due date, you can begin to think about developing the

musical aspects of your song. You could also write a third set of lyrics (if you are on a roll).

How to Find Information: Whilst this is largely going to be a task that does not require much research, it is important to

consider such things as the news or even your own events in life as an inspiration. If you are

struggling to write a set of lyrics, then you can consider such sources as:

http://www.bbc.co.uk/radio2/soldonsong/guide/song_lyrics.shtml

http://www.musicradar.com/tuition/guitars/24-lyric-writing-tips-131050

How to Present Your Work: Your work will be presented in the format of a written document. This must include the lyrics of each

of your two songs and also an introductory paragraph explaining the meaning and/or inspiration for

them.

When You Can Get Help: Help will be available between 8.20-8.45am on Wednesday and Thursday mornings. If there is a

genuine reason that you cannot get into school at this time, then you can book an alternative

appointment at agreement of the course leaders.

http://www.bbc.co.uk/radio2/soldonsong/guide/song_lyrics.shtml

http://www.musicradar.com/tuition/guitars/24-lyric-writing-tips-131050

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All Should: Be able to add a simple instrumentation to a set of song lyrics

Even Better If: You are able to consider a wider field when considering song instrumentation e.g. keyboard sounds.

Excellent When: You are able to take more musical aspects when planning the instrumentation of a song into consideration

Date Set: Date Due:

What You Need To Do: By now, you should understand the variety of different techniques that can be considered when

writing a song, and you should have at least two sets of song lyrics. This ILP focuses on developing

the music for these lyrics. You should primarily begin with a set of chords as a basis for development.

From here you need to consider the instrumentation of the group, as well as the musical strengths of

each instrument and how can they enhance your songs.

How to Find Information: This ILP will require some time where you will be working together as an ensemble. B13 will be

offered to you as a rehearsal space, but it is imperative that you see us in advance to check its

availability. If you are struggling to write a chord sequence, you could consult another member of

your group, or consider such resources as the following:

http://www.dummies.com/how-to/content/use-chord-progressions-when-writing-

music.html

Rooksby, R, How to Write Songs on Guitar: A Guitar Playing and Song Writing Course,

(Backbeat Books, 2009). *This book is located in the Music Dept. and is for reference only*

How to Present Your Work: You must submit an initial recording of each of your songs, along with a song sheet outlining the

structure, chords and instrumentation.




http://www.dummies.com/how-to/content/use-chord-progressions-when-writing-music.html

http://www.dummies.com/how-to/content/use-chord-progressions-when-writing-music.html

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All Should: Be able to perform an orchestrated version of at least one song

Even Better If: You are able to take more musical aspects when planning the instrumentation of a song into consideration

Excellent When: You are able to create a recording of your song.

Date Set: Date Due:

What You Need To Do: This ILP focuses on the development of your songs and turning a set of words and some chords into a

finalised piece. You must work together to utilise the resources you have as an ensemble and

develop them into making a professional song. You must also begin to develop the recording

processes of your pieces using the Music Technology equipment available. You must have a recording

of one of your songs by the end of this ILP, along with a video recording to illustrate your

understanding of working together as an ensemble.

How to Find Information: The majority of information should be found through ensemble rehearsal and verbal discussion, but

other information might be found in such sources as:

http://www.artistshousemusic.org/articles/how+to+rehearse+your+band

Massey, H. Behind the Glass: Top Record Producers Tell How They Craft the Hits, (Miller

Freeman, 2000).

MacDonald, I., Revolution in the Head: The Beatles Records in the Sixties (Vintage, 2008).

*Both of these books are located in the Music Department for reference only*

How to Present Your Work: You must submit a recording of at least one of your pieces. This must demonstrate a progression

from the initial recording that you made in the previous ILP. You must support your recordings with a

written studio log sheet outlining your use of the time you have spent rehearsing.


http://www.amazon.co.uk/Behind-Glass-Record-Producers-Craft/dp/0879306149/ref=sr_1_2?s=books&ie=UTF8&qid=1402660641&sr=1-2&keywords=behind+the+glass

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All Should: Be able to perform an orchestrated version of at least one song


Excellent When: You are able to create a recording of your song.

Date Set: Date Due:

What You Need To Do: This ILP builds on the development of your songs from the previous ILP and allows you the time to

develop your first song further, as well as give you the opportunity to develop your second song. You

must also begin to develop the recording processes of your pieces using the Music Technology

equipment available. You must have a recording of both of your songs by the end of this ILP, along

with a video recording to illustrate your understanding of working together as an ensemble.

How to Find Information: The majority of information should be found through ensemble rehearsal and verbal discussion, but

other information might be found in such sources as:


Massey, H. Behind the Glass: Top Record Producers Tell How They Craft the Hits, (Miller

Freeman, 2000).

MacDonald, I., Revolution in the Head: The Beatles Records in the Sixties (Vintage, 2008).

*Both of these books are located in the Music Department for reference only*

How to Present Your Work: You must submit a recording of both pieces. This must demonstrate a progression from the recording

that you made in the previous ILP. You must support your recordings with a written studio log sheet

outlining your use of the time you have spent rehearsing.





http://www.amazon.co.uk/Behind-Glass-Record-Producers-Craft/dp/0879306149/ref=sr_1_2?s=books&ie=UTF8&qid=1402660641&sr=1-2&keywords=behind+the+glass

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All Should: Be able to create a finalised recording of both songs


Excellent When: You are able to take post-production units into consideration such as the addition of reverb or the use of distortion.

Date Set: Date Due:

What You Need To Do: You are to now spend time where you are going to create finalised recordings of both of the pieces

that you have composed. This will ultimately be used to create a CD of 18 original songs that will be

marketed at a forthcoming event. As the composer of your songs, you must lead the recording

sessions and make sure that you end up a finalised recording that you are happy with.

How to Find Information: The information that you need here will have been mostly gathered from previous ILP projects. If you

need information about how to use the recording software or any of the technology equipment, then

you must use one of the drop-in sessions offered to you. Otherwise, you could consider such sources

as:

http://www.musictech.net/2013/06/beginners-guide/

How to Present Your Work: You must present two finalised recordings of the songs that you have composed. You must support

your recordings with a written studio log sheet outlining your use of the time you have spent

rehearsing.

When You Can Get Help: Help will be available between 8.20-8.45am on Wednesday and Thursday mornings. There will also

be a drop in session on Thursday break times.

http://www.musictech.net/2013/06/beginners-guide/

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All Should: Be able to create a simple marketing strategy

Even Better If: You are able to produce a more detailed marketing strategy that takes such things as costing and sales into consideration

Excellent When: You are able to produce a detailed marketing strategy that outlines costs and sales figures, as well as a detailed ‘plan of attack’.

Date Set: Date Due:

What You Need To Do: Now that you have a wide selection of recordings, it is time to design and market your CDs. This is an

Independent Task and your course leaders will decide on which is the best marketing scheme to

advertise and sell your product. You must create an album name, design a CD cover and also design a

poster and a plasma screen powerpoint to market your product. You will also be using assembly time

to promote your material.

How to Find Information: In order to know how to create and employ an effective marketing strategy, you may wish to

consider the following areas:

http://www.entrepreneur.com/article/66016

http://www.allbusiness.com/10-tips-effective-advertising/16566950-1.html

How to Present Your Work: You must give a five minute presentation in order to pitch your album name, album artwork and

marketing strategy. This will take place in the week beginning Monday 17th March.




http://www.entrepreneur.com/article/66016

http://www.allbusiness.com/10-tips-effective-advertising/16566950-1.html

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All Should: Be able to evaluate the song writing process.

Even Better If: You are able to produce a more detailed evaluation of the song writing process that evaluates the skills you have learned.

Excellent When: You are able to produce a detailed and thorough evaluation of the processes involved in producing a CD with original songs, and highlights areas that could be reviewed or developed further.

Date Set: Date Due:

What You Need To Do: Congratulations! You have created a CD with original songs and have prepared them ready for sale at

your ‘End of Sixth Form’ musical event. Now is the time to evaluate the work that you have done.

You must produce a detailed and thorough evaluation that reviews all of the stages of the planning,

rehearsing and recording processes that you have undertaken this year. You might want to consider

addressing the following:

How did you decide on which genres to write songs in?

How did you overcome the problems of not fully understanding the instrumentation that you

had available?

What do you feel was your biggest success in this process?

How to Find Information: You should really know how to evaluate your work by now, but in case you are stuck for ideas then

you can come and speak to us at one of the drop-in sessions. Do not forget to use your previous ILP

submissions as a basis for your evaluation, e.g. the studio logs.

How to Present Your Work: You must produce a written and detailed evaluation that highlights and addresses the above areas.




Download - BTEC Level 3: Music Performing - Morecambe High · BTec Level 3: Music Performing ... Unit 43: Special Subject Investigation ... The BTEC National Level 3 course in Music Performing

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