Transcript Presentation prepared by Manfred Pohlenz (2006)

Different ways scale forms;
harmony, duration and texture
are used individually and in
combination by a variety of
composers, arrangers and
creators of music for groups.
• Study and sing or play examples of music
from other countries. This enables us to
utilize some of the resources available in
the LOTE Depts. and widens the students’
horizons. Great examples include music
from Romania, Japan, and Finland.
Students are also encouraged through the
internet to explore different contemporary
groups from some of the above countries.
• Inviting performers of other Nationalities to
perform works of cultural significance
including groups representing the
Australian Indigenous community.
• In order to maintain the relevance of this to
students, we explore examples of
student’s repertoire looking for elements
such as Key, Time Signature,
Dynamic.etc.
.
• Explore the remix phenomenon and
discuss ways each new edition/version
changes the texture either through
instrumentation, voicing, tempo or even
key.
Scale forms, including major,
harmonic and both melodic
minor forms (ascending and
descending), and modal scales
of Mixolydian and Dorian
• Sing scales both Major and minor using terms
such 1, 2 3, 4, 5, 6, 7, 8.
• Examine using the notes of the C Scale but
beginning on D (Dorian)
• Repeat exercise but begin on G (Mixolydian)
 A popular vocal exercise to secure the
Major scale is 1, 121, 12321, 1234321,
123454321,12345654321,234567654321,
123456787654321, 8878, 87678 etc.
Once major scale and Dorian modes are
established we encourage students to play
/ practice scales on either their instrument
or voice.
Diatonic intervals in a melodic
context
• Sing ‘baby cry exercise’ as this develops
pitch accuracy in Major 2nds, Thirds,
Perfect 4ths and Perfect 5ths.
Chords and chord progressions
in major and minor keys
including chords that are
diatonic to major and minor
keys and chord progressions
involving primary chords in
major and minor chords.
• Group Activity 1
Break down a Major chord in root position.
3/ 4 volunteers depending on whether we
are introducing 7th chords. Person 1 is
Tonic or 1, Person 2 is Major 3rd or 3,
Person 3 is Perfect 5th or 5
• Group activity 2
Sing chords as group, using hand signs to
modulate to IV chord or V chord.
Rhythms, including those in
simple quadruple and triple
time with rhythmic
subdivisions not exceeding
four subdivisions a beat.
 Introduce rhythmic dictations using a
shorthand method.
Structures of melodies in a variety of
major and minor keys with key
signatures of up to three sharps
and flats, including those with
melodic phrases in balanced and
unbalanced sentences, that
conclude with a full closure in that
key.
• Examining form through shapes. Eg
asking students to sort a series of graphic
images such as a triangle, a ball, and a
square where the:
• triangle= 10 secs,
• the ball= 20 secs and the
• square = 30 secs
into a an image representing 1 minute
 We then expand this idea
into an
exploration of various forms eg Binary,
ternary etc.
Conventions in music notation
that will assist students to
increase sensitivity in
interpreting music notation in
performance.
 This to me is a discussion on the use of
Italian terminology, first in music of the
16th Century through to the 21st Century,
then a discussion on how instructions
have changed both in language (eg Italian
to German) and meaning.
RESOURCES
•
•
•
•
Musicianship and Aural Training: Debra Smith
Auralia / Musition
Sibelius 4
Music in Theory and Practice: Bruce Benward and
Gary White
•
•
•
•
Fifty Folk Songs: Hugh Brandon Allans Music Australia
101 Hits for Buskers
Sing For Pleasure: Imogen Holst
Pentatonic Song Book: Novello