Level 3 - Unit 60 - Music theory and harmony

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  • 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.

  • 3

    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

  • 4www.ocr.org.uk

    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

  • 5

    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 53, 63 and 64 forms of the tonic, supertonic, subdominant and dominant chords in any of the keys. The progression 64, 53 (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 its needed. Tasks should be set within a suitable context utilising real world tasks or challenges.

  • 7

    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 learners 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 candidates 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.

  • 8www.ocr.org.uk

    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

  • 9

    Music Theory and Harmony Level 3 Unit 60

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