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Lesson 1: Practice Exam Question, Performance Prac.

Practice Exam Question:

HSC Music 2 (2010, Q1)

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The exam paper and score attachment are below. Your teacher will time the playings of each excerpt. 

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Complete the questions.

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Discuss and mark your answers as a class once complete. 

Question 1 

Part A

  • First playing - 1 minute 

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Part B

  • First playing - short pause 

  • Second playing - 2 minute pause 

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Part C

  • First playing - short pause 

  • Second playing - 2 minute pause 

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Part D

  • First playing - short pause 

  • Second playing - 2 minute pause 

Part A (1-141)
00:00 / 01:33
Part B (1-58)
00:00 / 00:37
Part C (58-74)
00:00 / 00:11
Part D (95-141)
00:00 / 00:32

Aural Skills:

Dictation 6

You have the remainder of this class to work on your core and/or elective performances. You will each get some one on one time with the teacher. 

In the last 30 minutes of class, you will each perform your piece (core or elective) in front of your peers. 

Your performance will be recorded and uploaded to this blog. 

Provide peer feedback. 

Lesson 2: Texture, Layering

Bolero (1928) - Maurice Ravel
00:00 / 14:49

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Unprepared Listening:

  • In terms of texture, what is one feature you notice in the section [0:00 - 1:43]

  • List the instruments in order of occurrence

  • Notate the rhythm of the first two bars played by the tambour 

  • What is this rhythmic repetition called? 

Aural Skills:

Sight Singing Exercise 11

Both Hindson and Edwards use layering in their respective works, Rush and Dawn Mantras.

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Discuss how each composer has used layering in the excerpts below. 

  • Listen for the entry of each line. The notation is given below. 

  • Analyse the role of each individual layer (e.g. ostinato, drone, melodic)

  • What other examples of layering can be found in Rush?

    • ​Choose one example and transcribe each individual layer. 

Dawn Mantras [1-18]
00:00 / 01:45
Rush [65-92]
00:00 / 00:40

YOUR TURN!

Using either the set of layers above from Rush or Dawn Mantras, arrange your own short composition (32 bars). You may choose to compose your own melodic layer however majority of the lines should be from the respective works. It is not necessary to use the full notation of each line above (e.g. you can use bars 8-9 of the Violin I layer from Rush as an ostinato). You may also modify layers using thematic alteration or other compositional devices you have learnt so far.

Your composition portfolio should include:

  • A transcription of each individual layer 

  • You are also encouraged to document your compositional
    processes and influences.  

You will be given time in next week's class to complete your composition. 

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