level 3 - unit 60 - music theory and harmony
TRANSCRIPT
OCR LeveL 3CAMBRIDGe TeCHNICALCeRTIFICATe/DIPLOMA IN
PeRFORMING ARTs
MusIC THeORy AND HARMONyF/600/6961
LeveL 3 uNIT 60
GuIDeD LeARNING HOuRs: 60
uNIT CReDIT vALue: 10
TECHNICALSCambridge
2www.ocr.org.uk
Music theory and harMonyF/600/6961
LeVeL 3 unit 60
aiM and purpose oF the unit This unit equips learners with the foundation of music theory that is necessary in any musical career path. It allows the learner to identify and demonstrate the main theory elements for their chosen instrument and develop their musical understanding to respond to the requirements of a broad range of industry scenarios.
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Music Theory and Harmony Level 3 Unit 60
assessMent and GradinG criteria
Learning outcome (Lo)
The learner will:
pass
The assessment criteria are the pass requirements for
this unit.
The learner can:
Merit
To achieve a merit the evidence must show that, in addition to the pass criteria,
the learner is able to:
distinction
To achieve a distinction the evidence must show that,
in addition to the pass and merit criteria, the learner is
able to:
1 Be able to notate pitch, rhythm and harmony using staff notation
P1 use staff notation to write pitch, rhythm and harmony with few errors
M1 use staff notation to write musical elements of own composition for a specified instrument
D1 describe musical elements from a passage of recorded music
2 Be able to notate music, showing dynamics, tempo and expression
P2 notate music using dynamic, tempo and expression markings
3 Be able to harmonise melodies using chords
P3 apply appropriate primary and secondary chords in the harmonisation of melodies
M2 apply melodic decoration to a melody/chord arrangement using staff notation
4 Be able to transpose melody and harmony to various keys
P4 transpose melodies and harmonic progressions to major and minor keys, with few errors, using staff notation
M3 transpose melodies and harmonic progressions to an alternative clef, using staff notation
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teachinG contentThe unit content describes what has to be taught to ensure that learners are able to access the highest grade.
Anything which follows an i.e. details what must be taught as part of that area of content.
Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply relevant examples to their work though these do not need to be the same ones specified in the unit content.
Be able to notate pitch, rhythm and harmony using staff notation
• notation
Note lengths and rests from semibreve to semiquaver including dotted notes and triplets
Pitch names and their places on the treble clef.
Stave, score
Treble, bass and alto clefs.
Sharp, flat, natura
Key signatures and keys
Time signatures: simple duple, triple and quadruple, compound duple and irregular time signatures of 5/4, 7/4, 5/8, 7/8
Bar and double bar lines, repeat marks.
• pitch
Scales – Scales and key signatures of all major and minor keys up to and including six sharps and flats
Intervals – All simple and compound intervals from any note
Tonic, sub-dominant, dominant, relative minor
Modulation Scales: major/minor/pentatonic/modal/blues scale/whole tone/raga/tone row
Stepwise, scalic
Chromatic
Leap
Range.
• rhythm
Metre
Pulse
Off-beat
Syncopation
Rest/silence
Cross-rhythm
Polyrhythm
Swung/swing rhythm.
Be able to notate music, showing dynamics, tempo and expression
• dynamics
Pianissimo
Piano mezzo
Piano
Mezzo forte
Forte
Fortissimo
Crescendo
Decrescendo
Diminuendo
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Music Theory and Harmony Level 3 Unit 60
• tempo
Largo, Andante, Moderato, Allegro, Vivace, Presto
Accelerando
Rallentando/Ritenuto
Allargando
Rubato
Pause.
• expression/articulation
Staccato
Legato
Slurred/tongued
Pizzicato
Arco
Tremolo
Accent/sforzando.
Be able to harmonise melodies using chords
• harmony
Diatonic
Dissonant
Chromatic
Chords – the 5–3, 6–3 and 6–4 forms of the tonic, supertonic, subdominant and dominant chords in any of the keys. The progression 6–4, 5–3 (Ic-V) on the dominant note in any of the keys.
Atonal
Cadences: perfect, imperfect, plagal, interrupted
Arpeggio, broken chord
Triads
Non-chord notes – Passing notes (accented, unaccented, chromatic and harmonic), Auxiliary notes, Changing notes Anticipations, Suspensions, Retardations, Pedals (tonic and dominant).
be able to transpose melody and harmony to various keys
transposition
• Intervals/ major/ minor/ accidentals.
• For all instruments.
• For voice.
6www.ocr.org.uk
deLiVery Guidance
Be able to notate pitch, rythm and harmony using staff notation/Be able to notate music, showing dynamics, tempo and expression
Delivery of these elements may be realised in a variety of written and practical formats. Classroom presentations, lectures, and seminars would all be appropriate along with practical demonstrations and workshops. It is intended to provide the learner with the underpinning knowledge and understanding of music theory required in any musical career. Sufficient time should be allowed for learners to grasp these basic elements *before moving on to more complex ones. It is recommended that a range of musical styles are examined to help the learner understand the fundamental elements in different contexts and recognise the similarities and differences between styles. Learners need to recognise these elements in various forms, both written and aural and activities should be diverse to reflect this.
Be able to harmonise melodies using chords
Teachers could draw extensively on a range of examples from repertoire as well as encouraging learners to practically try a range of forms for themselves. Learners should be encouraged to experiment practically with their own instruments/voices in groups and individually to fully appreciate the range of harmonies available. Activities could be extended into short performance pieces to be performed in class or in more formal performance settings and recorded to raise learners’ awareness and enjoyment.
Be able to transpose melody and harmony to various keys
Transposition exercises and activities should be varied to include both instrumental and voice work. Transposition is more than a theoretical skill. Practical applications should be taught, discussed and experienced, e.g. a singer cannot sing in the presumed appropriate key, or an instrument is not available for a piece. Although this may seem obvious, knowing why transposition is a necessary musical skill not only promotes understanding, but also a better grasp of why it’s needed. Tasks should be set within a suitable context utilising ‘real world ‘ tasks or challenges.
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Music Theory and Harmony Level 3 Unit 60
suGGested assessMent scenarios and Guidance on assessMent
assessment and Grading criteria p1, p2, M1, d1
For p1 and p2 learners must demonstrate the required elements of notation in written form. This could be done as an assignment or test and refer to the learner’s individual instrument or other music mediums such as voice. The notated piece should be of no less than 16 bars in length and must be from an established piece of repertoire. The passage should be written on two staves using treble and bass clefs and appropriate performing directions relating to tempo, dynamics and articulation should be included. All documentation should be retained for moderation purposes.
For M1 learners must accurately notate a piece of their own composition which should be of no less than 16 bars in length, from a given opening and writing for a specific instrument. Appropriate performing directions relating to tempo, dynamics and articulation should be included. All documentation should be retained for moderation purposes.
For d1 learners should be played a passage of music written for voices or instruments and should accurately document relevant information about the piece. This may include the types of voice or names of instruments, the clefs they use, instrument family groups and the basic way by which they produced the sound, as well as points of general musical observation designed to test the candidate’s ability to apply theoretical knowledge to actual music. This may be in the form of a test or written assignment and all documentation should be retained for moderation purposes.
assessment and Grading criteria p3, M2
For p3 learners must successfully demonstrate the application of harmony to a melody. The learner should document their choice of suitable chords, using any recognized method of notation, at cadential points of a given melody in the major key of C, G, D or F. This may be in the form of a test or written assignment and all documentation should be retained for moderation purposes.
For M2 learners must notate a simple melody/chord arrangement with melodic decoration using “non-chord” notes. This must be in a written format but may also be supported by a practical demonstration which should be recorded on DVD
assessment and Grading criteria p4, M3
For p4 learners must demonstrate the transposition at concert pitch of a melody notated for an instrument in Bb, A or F, with a given interval to a major and minor key. This must be in a written format but may also be supported by a practical demonstration which should be recorded on DVD.
For M3 learners must demonstrate the ability to transpose a simple melody with harmony from any clef to another. This must be in written format but may be supported by a practical demonstration which should be recorded on DVD.
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Links to nos
suite ref national occupational standards
apply music theory knowledge ccsMpr39 use both aural and theoretical knowledge combined to inform, develop, and reinforce your musical skills and abilities, including the development of further musical sound knowledge and theoretical knowledge
establish strong links between knowledge of musical sound and theoretical expressions of that knowledge
develop and maintain a solid knowledge of music theory
use digital production technology in composing music
ccsMpr15 compose a piece of music, using digital software creatively, for different styles and genres
produce and evaluate music compositions for relevant markets
review and respond appropriately to feedback on music compositions
apply functional harmony ccsMpr38 recognise the structural and expressive roles that functional harmony plays in music
develop and maintain an appropriate aural knowledge of functional harmony, and be able to use that knowledge as a resource to create music
develop and maintain an appropriate theoretical knowledge of functional harmony, and be able to use that as a resource to create music
develop and maintain appropriate knowledge of how functional harmony can be expressed in musical material, which may include awareness of relevant compositional and orchestration techniques
apply a combination of aural and theoretical knowledge of functional harmony as a resource
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Music Theory and Harmony Level 3 Unit 60
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