Grieg, Clean Bandit, Rodgers and Hammerstein, Saint-Saëns. Melodic dictation with rhythm provided, rhythmic dictation with melody provided, melodic and rhythmic dictation no clues, compositional devices, keys, chords, cadences, harmonic devices, location and correction of pitch errors.
Gardel, Finzi, Schubert, Berlin. Melodic dictation with rhythm provided, rhythmic dictation with melody provided, melodic and rhythmic dictation no clues, compositional devices, keys, chord types, harmonic progressions, location and correction of pitch errors.
Tried and tested 60 minute cover lesson made up of embedded video clips, questions, answers and supporting material. Suitable for students with a solid foundation of music vocabulary.
Exam style practice question 5, with embedded video, guidance on preparation, writing style, essay structure, and a playlist made up of pertinent 'wider listening' reference materials
Tried and tested 60 minute cover lesson made up of embedded video clips, questions, answers and supporting material. Suitable for students with a solid foundation of music vocabulary.
Exam style practice question 5, with embedded video, guidance on preparation, writing style, essay structure, and a playlist made up of pertinent 'wider listening' reference materials
The Emotions, Bartok, Mendelssohn, The Specials. Melodic dictation with rhythm provided, rhythmic dictation with melody provided, melodic and rhythmic dictation no clues, identify the correct melodic fragment, compositional devices, keys, chord types, harmonic progressions, texture, orchestration, location and correction of pitch errors.
Tried and tested 60 minute cover lesson made up of embedded video clips, questions, answers and supporting material. Suitable for the early stages of analytical listening.
Beethoven, Morricone, Hurwitz, Dvořák. Melodic and rhythmic dictation single stave, melodic and rhythmic dictation on two staves, chords, keys and modulation, locating and correct errors, comparison and 'likely composer' questions.
Tried and tested strategies for supporting students during the composing process, analytical listening and discussions around melodic development and transformation, reharmonising melodies when they return, limiting melodic range and allowing rhythm to do all the heavy lifting, simplifying melodic material to create the illusion of thematic development, making good use of sequence and inversion, using motor and cross rhythm to inject energy and provide direction, voicing and breaking up chords, the power of playlists, architectural overviews and ten 'easy wins' to lift the quality and cohesion of a composition without having to generate any new ideas.
