Suitable for students with a solid foundation of music vocabulary, and a decent amount of analytical listening experience.
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
Suitable for students with a solid foundation of music vocabulary, and a decent amount of analytical listening experience.
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.
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.
Materials to support students in preparing for Section A question 8 'unfamiliar' works, including elements driven aural training, score reading and practice questions - featuring the timbres, devices and characteristics of Brazilian Samba and Bossa Nova, Soul/Funk/Jazz fusions of Stevie Wonder, Bossa Nova/Jazz/Rock fusions of Milton Nascimento, Jazz influences of Ornette Coleman, Ron Carter and Wayne Shorter, Jazz/Rock/R&B fusions of Joni Mitchell.
Suitable for students with a solid foundation of music vocabulary, and a decent amount of analytical listening experience.
