Course Profile Music, Grade 10, Open, Public

Unit 3: Theory and Composition

Time: 10 hours

Unit Developers

John Phillips, York Region DSB

Caroline Spearing, Toronto DSB

John Love, Toronto DSB

Unit Description

Students explore and use theory concepts in advanced activities to develop their understanding of music composition. All activities include the application of the skills and knowledge to performance. Emphasis should be placed on the performance of material that is written in each activity. It is anticipated that teachers will want to present them throughout the course, rather than in isolation. Activities include scale and melodic writing, the composition of an entire melody, and transposition.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations: THV.01, THV.02, THV.04, CRV.01, CRV.02, CRV.04, ANV.02.

Specific Expectations: TH1.01, TH1.02, TH1.03, TH1.04, TH1.05, TH1.06, TH1.09, TH1.13, TH1.15, CR1.01, CR1.02, CR1.03, CR1.04, CR1.05, CR1.06, CR1.07, CR1.08, CR1.10, CR2.03, CR2.04, AN1.02, AN1.04, AN2.02, AN2.03.

Activity Titles (Time + Sequence)

Activity 1	Circle of Seven	60 minutes
Activity 2	Major Scales Sound Like This!	60 minutes
Activity 3	Movin’ On Down to Minor	60 minutes
Activity 4	Name That Interval	60 minutes
Activity 5	The Tune On Top	90 minutes
Activity 6	Jump It Up and Down	60 minutes
Activity 7	My Personal Masterpiece	210 minutes

Prior Knowledge Required

· Successful completion of Grade 8 Music as prescribed by The Ontario Curriculum, Grades 1-8, 1998.

· The ability to write key signatures, as well as knowing their correct placement and order on a staff in both treble and bass clefs.

· The ability to transpose from concert pitch to transposing instruments where applicable.

· Some performing experience on voice or instrument.

Unit Planning Notes

Most of the material taught in this unit is meant to be performed as well as written. It is hoped that students will then appreciate the relevance of the music theory concepts. Teachers may wish to have students complete a diagnostic assessment to ensure that students can name and write notes in different clefs, and understand the concept of semitones. The activities are sequential, and teachers are encouraged to spread them out throughout the course. References to concepts such as form, chromaticism, double sharps and flats, and tonality can be introduced in performance material long before they are needed in the Theory and Composition Unit, and are encouraged. There are many opportunities for self- and peer assessment, and some of these are included in the unit on Performance.

Teaching/Learning Strategies

Strategies include: student-centred learning, teacher-directed learning, collaborative learning, exploration, discussion, reflection, individual presentations and performances, creation, remediation, and enrichment.

Assessment and Evaluation

Assessment/evaluation techniques include: assessment of the development of cognitive, psychomotor skills and the affective domain, rubrics, checklists, peer and self-assessment and evaluation, portfolio, formative assessment, and summative evaluation.

Accommodations

· Students with less prior knowledge and skills may be partnered/paired with students possessing greater knowledge and skills in order to facilitate success.

· Students will be given opportunities for enrichment which include performing and recording music of a more advanced level than required in the activities.

Resources

There are many theory texts and software programs available – see Resource List – Appendix TC-14.

Activity 1: Circle of Seven

Time: 60 minutes

Description

By completing a worksheet students discover the relationship between key signatures and their corresponding keys. This knowledge prepares students for the succeeding activities in this unit.

Strand(s) and Expectations

Strand(s): Theory

Overall Expectations

THV.02 – read and understand musical notation.

Specific Expectations

TH1.04 – identify and notate major and relative minor (natural, harmonic, and melodic) key signatures and scales up to and including four sharps and four flats.

Planning Notes

· The teacher should be familiar with the teacher prep sheet (TC-2) before teaching this activity.

· The teacher photocopies enough copies of the Circle Worksheet (TC-1) for all class members.

· A board and/or overhead projector is required for this activity.

Prior Knowledge Required

The ability to write key signatures of up to four sharps and flats, as well as knowing the correct placement and order of these sharps and flats on a staff in both treble and bass clefs

Teaching/Learning Strategies

1. The teacher distributes blank circle worksheets to the class (TC-1).

2. The teacher guides students in filling in the top portion of their worksheet from the given letter C to G, as on the teacher prep sheet (TC-2).

3. Students complete both circles on their worksheets by filling in the remaining letter names.

4. The teacher checks the accuracy of students’ work and provides appropriate feedback.

5. The teacher guides students in understanding the relationship between the numbers inside their circles and the key names on the outside (e.g., D major has two sharps).

6. Students are asked to identify which sharps and flats are in a key signature (e.g., the two sharps in D major are F^# and C^#)

7. Students complete the remaining questions on their worksheet.

8. The teacher checks the accuracy of students’ work.

9. Students practise drawing and labelling the circle of fifths without using the template.

10. Students demonstrate their understanding of the activity by drawing and labelling their own circle of fifths.

11. The teacher evaluates these drawings and provides appropriate feedback to students.

Assessment/Evaluation Techniques

· Teacher observation and feedback of the labelling of the circles

· Teacher marking and feedback of students’ own drawings of the circle of fifths

Accommodations

· Students with less prior knowledge and skills may be partnered/paired with students possessing greater knowledge and skills in order to facilitate success.

· For purposes of remediation, Appendix TC-3 may be used.

· For purposes of enrichment, students may be encouraged to combine the separate sharp and flat circles into one. By combining flats and sharps into a single circle, students will be able to see the relationship between the enharmonic keys (i.e., F^# and G^b)

Resources

There is a variety of source materials, texts, and CD-ROMs which teachers may use to draw exercises and activities. See Resource List (Appendix TC-14).

Appendices

Appendix TC-1 – Circle of Seven Student Worksheet

Appendix TC-2 –Circle of Seven Teacher Prep Sheet

Appendix TC-3 – The Chart of Key Signatures

Activity 2: Major Scales Sound Like This!

Time: 60 minutes

Description

This activity is designed to teach students to write and perform major scales of up to four sharps and flats.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.02 – read and understand musical notation;

CRV.02 – make complex artistic decisions that affect the stylistic accuracy of their playing or singing (e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);

ANV.02 – use aural discrimination skills to identify complex aspects of music (e.g., major and minor triads, diminished and augmented intervals).

Specific Expectations

TH1.04 – identify and notate major and relative minor (natural, harmonic, and melodic) key signatures and scales up to and including four sharps and four flats;

CR1.04 – play or sing with tone quality appropriate to the exercises and repertoire being performed;

CR1.05 – play or sing, with control and within an expanded range, the exercises and repertoire being performed;

CR1.06 – play or sing with accurate pitch;

CR1.07 – play or sing with accurate intonation, both melodically and harmonically;

CR1.08 – maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire being performed;

AN2.03 – reflect on learning by maintaining a journal and/or practice log that records progress.

Planning Notes

· This activity is designed to facilitate the introduction of new keys related to specific repertoire, technical, or sight-reading exercises. Therefore, this activity should be implemented throughout the year, rather than in isolation.

· If students are already able to write and perform major scales of up to four sharps and flats, this activity may be used for review purposes.

· The teacher photocopies enough copies of the Personal Major Scale Worksheet (TC-4a and b) for all members of the class. The given scale is an example of a rhythmic writing pattern for all the other scales.

· In vocal classes students should be encouraged to sing note names, which will enable the teacher to detect mistakes more easily. In these classes more emphasis may be placed on the assessment of the written work.

Prior Knowledge Required

· Knowledge of major key signatures and scales

· Successful completion of Activity 1: Circle of Seven

· Ability to transpose from concert pitch to transposing instruments where applicable

Teaching/Learning Strategies

1. The teacher distributes the appropriate version of the Personal Major Scale Worksheet (TC-4a, TC-4b) (i.e., bass, treble, or alto clef) to each member of the class. This worksheet will be used throughout the year as each scale is learned.

2. Students identify each scale for their instrument where necessary. Using the correct key signature and the rhythm pattern of the model scale, students write the new scale.

3. Students perform the written scale in the class setting or for a peer who verifies it for accuracy.

4. Students may record their own performance of each scale on a tape for assessment.

5. Students repeat this procedure for each scale as requested by the teacher throughout the term.

6. The teacher illustrates these concepts with music from students’ current repertoire, method books, studies, folk-songs, and sight-reading material.

Assessment/Evaluation Techniques

· The teacher provides feedback to students as to the accuracy of their work. The teacher also makes suggestions for improvement.

· Peers verify accuracy of written and performed work.

Accommodations

· For purposes of enrichment, students may keep a taped log of their scale performances which may be placed in their portfolios.

· For purposes of enrichment, students may write and perform the major scales in more than one octave and at a faster tempo in a variety of articulations, dynamics, rhythms, etc.

· Students with less prior knowledge and skills may be partnered/paired with students possessing greater knowledge and skills in order to facilitate success.

Appendices

Personal Major Scale Worksheet (TC-4a, TC-4b)

Activity 3: Movin’ On Down to Minor

Time: 60 minutes

Description

This activity is designed to teach students to write and perform minor scales of up to four sharps and flats.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.02 – read and understand musical notation;

ANV.02 – use aural discrimination skills to identify complex aspects of music (e.g., major and minor triads, diminished and augmented intervals).

Specific Expectations

TH1.03 – identify and notate double sharps and double flats;

TH1.05 – identify and define the degrees of a scale (i.e., tonic, supertonic, mediant, subdominant, dominant, submediant, leading-note);

CR1.04 – play or sing with tone quality appropriate to the exercises and repertoire being performed;

CR1.05 – play or sing, with control and within an expanded range, the exercises and repertoire being performed;

CR1.06 – play or sing with accurate pitch;

CR1.07 – play or sing with accurate intonation, both melodically and harmonically;

CR1.08 – maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire being performed;

AN2.03 – reflect on learning by maintaining a journal and/or practice log that records progress.

Planning Notes

· The timelines for this activity are flexible, but it is anticipated that it will be spread over a few classes and not presented in one

· The teacher photocopies the Personal Minor Scale Worksheet (TC-5a and 5b) for all members of the class. The scale given is to demonstrate a rhythmic writing pattern for all the other scales.

· In band classes students must be able to transpose from concert pitch to their own instrument.

· In vocal classes students could be encouraged to sing note names, so the teacher will be more able to detect mistakes more easily. In these classes more emphasis may be placed on the assessment of the written work.

Prior Knowledge Required

· Knowledge of major key signatures and scales

· Successful completion of Activity 2: Major Scales Sound Like This

Teaching/Learning Strategies

Exercise One

1. Students perform a familiar major scale. In a band class the teacher might choose a B flat concert scale, in a string class a D major scale, and in a vocal class a C major scale.

2. Students play or sing down to the Sub-medient step of this scale, i.e., “la” in solfege.

3. Students now perform a new eight-note scale from this starting note, using the key signature of the original major scale.

4. The teacher identifies this scale as being a natural minor scale.

5. Students are asked to identify what the two scales have in common. The teacher verifies that the scales share the same key signature and are therefore related. The term “relative minor” is introduced.

6. The teacher now explains the raised seventh as a leading tone in the harmonic form of the scale to students and asks them to raise their seventh step as they perform their own scale.

Exercise Two

1. The teacher distributes the appropriate version of the Personal Minor Scale Worksheet (TC-5a, TC-5b) (i.e., bass, treble, or alto clef) to each member of the class. This worksheet will be used throughout the year as each scale is learned.

2. Students identify each scale for their instrument where necessary. Using the correct key signature and the rhythm pattern of the model scale, students write the new scale.

3. Students perform the written scale in the class setting or for a peer who verifies it for accuracy.

4. Students may record their own performance of each scale on a tape for assessment later.

5. Students repeat this procedure for each scale as requested by the teacher throughout the term.

6. The teacher illustrates these concepts with music from students’ current repertoire, method books, studies, folk songs, and sight-reading material.

Assessment/Evaluation Techniques

· The teacher provides feedback to students as to the accuracy of their work. The teacher also makes suggestions for improvement.

· Students receive teacher or peer verification of written and performed work.

Accommodations

· For purposes of enrichment students may keep a taped log of their scale performances. This may be placed in their portfolio to facilitate personal musical growth.

· For purposes of enrichment students may be given a worksheet with no scale names on it, and be asked to label their own major and relative minor names.

· Students with less prior knowledge and skills may be partnered/paired with students possessing greater knowledge and skills in order to facilitate success.

· For purposes of enrichment, students may write and perform the major scales in more than one octave, and at a faster tempo in a variety of articulations, dynamics, rhythms, etc.

Resources

Many performance materials contain exercises which use minor keys and it is recommended that teachers use these to reinforce the performance of minor key signatures.

Appendices

Personal Major Scale Worksheet (TC-5a, TC-5b)

Activity 4: Name That Interval

Time: 60 minutes

Description

In this activity students learn to identify intervals by number and type through a teacher-directed worksheet.

Strand(s) and Expectations

Strand(s): Theory, Analysis

Overall Expectations

THV.02 – read and understand musical notation;

ANV.02 – use aural discrimination skills to identify complex aspects of music (e.g., major and minor triads, diminished and augmented intervals).

Specific Expectations

TH1.06 – solve and notate all intervals from a diminished unison to an augmented octave.

Planning Notes

· The teacher will provide enough copies of the Student Interval Worksheet (TC- 6) for the class.

· This activity does not include the concepts of diminished unison, 2, 3, 6, 7, or the augmented octave. These concepts will have to be explained to students as necessary.

Prior Knowledge Required

· knowledge of major key signatures and scales

Teaching/Learning Strategies

1. Students engage in a discussion of the meaning of “interval” in music.

2. Students number the intervals in a C major scale according to the worksheet (TC-6).

3. Students then number all of the remaining intervals on their worksheet.

4. Students answer question 1 on their worksheet.

5. The teacher verifies the answers with students.

6. Students answer the remaining questions on their worksheets.

7. The teacher checks students’ answers for accuracy.

8. Students listen to examples of the various intervals and compare and discuss.

Assessment/Evaluation Techniques

· Teacher verification of interval identification.

Accommodations

· For purposes of enrichment, teachers may introduce the concept of double sharps and flats to students in this activity.

· For purposes of enrichment, teachers might encourage students to use various intervals in the creation of a melody or tone row.

· Students with less prior knowledge and skills may be partnered/paired with students possessing greater knowledge and skills in order to facilitate success.

Appendices

Appendix TC-6 – Student Interval Worksheet

Activity 5: The Tune on Top

Time: 90 minutes

Description

Using the harmonic template provided, students compose an eight-bar melody. This activity reviews previous material and prepares students for advanced work in later activities.

Strand(s) and Expectations

Strand(s): Theory, Creation

Overall Expectations

THV.01 – explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form;

CRV.01 – play or sing technical exercises and diverse repertoire that reflect the theory expectations at this grade level (including improvisation and their own creations when appropriate).

Specific Expectations

CR1.01 – accurately play or sing complex notated or stylistically correct articulation (e.g., variety of accents, col legno, hammer-on, glissando);

CR1.02 – play or sing with an understanding of complex musical phrase structures (e.g., notated, improvised, or stylistically correct);

CR1.03 – control detailed and subtle notated or stylistically correct dynamics while maintaining good tone quality.

Planning Notes

· The teacher photocopies the melody writing template (TC-7) for the entire class and an overhead of it for the group demonstration.

· It is recommended that a keyboard instrument be available so that the teacher (or a student) can perform the harmonic accompaniment.

· This activity could be developed in conjunction with the improvisation exercise in Unit 4, Activity 3.

· At the teacher’s discretion, the accompaniment could be programmed into an accompaniment generating software program (see same activity as above).

· Some students may complete the activity with little difficulty. These students should act as mentors for the others.

· It is suggested that the warm-up exercise be done frequently in previous classes in preparation for this activity.

· Teacher photocopies enough of the Peer Performance Response forms (TC-8) for each student.

Prior Knowledge Required

· Knowledge of the elements of music at a level consistent with Unit 2 of the Grade 9 Course Profile

· Ability to sing or play at least one octave in the key of C concert

Teaching/Learning Strategies

Warm-up

The teacher may play or sing a short three-bar melodic pattern and have students complete the fourth measure, ending on the tonic (e.g., doh mi soh; soh lah soh; doh mi soh; ? - ? – doh = STUDENT RESPONSE). For vocalists, this exercise can reinforce the practices of solfege. This warm-up may be done often, in classes before the introduction of this activity.

1. The teacher leads the entire class through the process of melody writing using the harmonic template (TC - 7). This collaboration allows students to understand the process of melody writing and reinforces the practices of good manuscript notation. Students are given individual copies of the melody writing template (TC-7) to complete individually, following the process of the group demonstration.

2. Students should write their melodies using simple rhythmic patterns and a conjunct melodic shape. Where disjunct motion is used, students should fit their notes to the harmonic structure provided.

3. Students submit a first draft and receive feedback from the teacher.

4. Students perform their melodies for the class and teacher as a demonstration of their skills and knowledge in this part of the activity.

Assessment/Evaluation Techniques

· Teacher observation and conferencing to ensure successful completion of the activity.

· Student completion of a Peer Performance Response Form (TC- 8) using the group-designed assessment guide.

Accommodations

· Students with less prior knowledge and skills may be paired with students possessing greater knowledge and skills in order to facilitate success.

· As enrichment, students may wish to create their accompaniment using accompaniment generated software described in Unit 4.

· For purposes of enrichment, students may keep a taped log of their melody performance which may be placed in the their portfolios.

Appendices

Appendix TC-7 – The Tune on Top

Appendix TC-8 – Peer Performance Response Form

Activity 6: Jump It Up and Down

Time: 60 minutes

Description

Students transpose the melody from Unit 2, Activity 5 to another key or for another transposing instrument. The melody is performed by another class member to verify successful completion of the task.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.02 – read and understand musical notation;

THV.04 – explain the use of various applications of MIDI technology (e.g., sequencing, notation);

CRV.01 – play or sing technical exercises and diverse repertoire that reflect the theory expectations at this grade level (including improvisation and their own creations when appropriate);

ANV.02 – use aural discrimination skills to identify complex aspects of music (e.g., major and minor triads, diminished and augmented intervals).

Specific Expectations

TH1.03 – identify and notate double sharps and double flats;

TH1.04 – identify and notate major and relative minor (natural, harmonic, and melodic) key signatures and scales up to and including four sharps and four flats;

TH1.06 – solve and notate all intervals from a diminished unison to an augmented octave;

TH1.13 – use music software to improve aural and theoretical skills;

TH1.15 – demonstrate an understanding of the function of the menus of notation software;

CR1.04 – play or sing with tone quality appropriate to the exercises and repertoire being performed;

CR1.05 – play or sing, with control and within an expanded range, the exercises and repertoire being performed;

CR1.06 – play or sing with accurate pitch;

CR1.07 – play or sing with accurate intonation, both melodically and harmonically;

CR1.08 – maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire being performed;

CR1.10 – accurately play or sing rhythms as found in the exercises and repertoire being performed;

AN1.02 – demonstrate an understanding of intervals and triads by reproducing, aurally identifying, and notating all given intervals from a diminished unison to an augmented octave, and major and minor triads;

AN2.02 – analyse and describe their own strengths and needs at various points in the course and work towards improving themselves in identified areas;

AN2.03 – reflect on learning by maintaining a journal and/or practice log that records progress.

Planning Notes

The teacher:

· ensures that all members of the class have manuscript paper.

· checks all melodies composed in Activity 5 for accuracy.

Prior Knowledge Required

· Successful completion of Activity 5

· Knowledge of major key signatures and scales

· Knowledge of intervals

· Ability to transpose from concert pitch to transposing instruments where applicable

Teaching/Learning Strategies

1. Students take their own melody from Unit 2, Activity 5 and transpose it.

· In a band class students transpose the melody for another member of the class whose instrument is not in the same transposing family.

· In a string or vocal class students transpose the melody to another key. In these cases students must observe the appropriate clef.

2. Students give their transposed melody to the other class members for performance.

3. Each pair of students corrects mistakes in each other’s transposition.

4. The teacher marks the transposed melody for accuracy.

Assessment/Evaluation Techniques

· Self-/peer assessment of transposed melody

· Teacher evaluation of transposed melody

Accommodations

· Students with less prior knowledge and skills may be paired with students possessing greater knowledge and skills in order to facilitate success.

· For purposes of enrichment, students may wish to transpose their melody using notation software available in a MIDI lab or workstation.

· For purposes of enrichment, students may wish to create an accompaniment using accompaniment generated software described in Unit 4.

· For purposes of enrichment, students may wish to keep a taped log of their transposed melody which may be placed in their portfolio.

Activity 7: My Personal Masterpiece

Time: 210 minutes

Description

This activity gives students the opportunity to create and perform a technical/melodic piece for their instrument or voice. Students examine current or previously performed material to have a better understanding of form, melodic structure, phrasing, rhythmic interest and other expressive elements. Students use this knowledge to create their own work. They give their piece a descriptive title that reflects the content and explain the relationship between the content and the title to their peers in a performance presentation.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 – explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form);

THV.02 – read and understand musical notation;

CRV.01 – play or sing technical exercises and diverse repertoire that reflect the theory expectations at this grade level (including improvisation and their own creations when appropriate);

CRV.04 – apply the elements and principles of composition at an intermediate level, using the creative process (i.e., perception, production, and reflection);

ANV.02 – use aural discrimination skills to identify complex aspects of music (e.g., major and minor triads, diminished and augmented intervals).

Specific Expectations

TH1.01 – identify and describe a greater variety of musical indicators of speed and changes in speed (e.g., prestissimo, molto, piu mosso, sempre, stringendo, and terms related to the performance medium);

TH1.02 – identify and define musical indicators of metre, including compound, asymmetrical, and alternating metres;

TH1.09 – use appropriate terminology to describe how repetition and contrast of musical elements are used to organize sound (e.g., phrase structure, motif and theme, imitation, verse and chorus, bridge);

CR1.01 – accurately play or sing complex notated or stylistically correct articulation (e.g., variety of accents, col legno, hammer-on, glissando);

CR1.02 – play or sing with an understanding of complex musical phrase structures (e.g., notated, improvised, or stylistically correct);

CR1.03 – control detailed and subtle notated or stylistically correct dynamics while maintaining good tone quality;

CR1.04 – play or sing with tone quality appropriate to the exercises and repertoire being performed;

CR1.06 – play or sing with accurate pitch;

CR1.08 – maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire being performed;

CR1.10 – accurately play or sing rhythms as found in the exercises and repertoire being performed;

CR2.03 – make effective creative choices in performance within musical parameters (e.g., call and response; ornamentation of existing melodies; improvisation of a melody; addition of dynamics, articulation, and tempi to existing music);

CR2.04 – make artistic decisions about interpretive aspects of performance in individual and group situations (e.g., articulation, staccato in different styles, straight versus swing eighths, dynamics, solo versus accompaniment);

AN1.04 – analyse, orally and in writing, the quality and impact of a variety of live and/or recorded performances and performances by themselves and their peers, using appropriate music vocabulary to suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics, articulation, phrasing, rhythm, balance and blend, overall effect);

AN2.02 – analyse and describe their own strengths and needs at various points in the course and work towards improving themselves in identified areas;

AN2.03 – reflect on learning by maintaining a journal and/or practice log that records progress.

Planning Notes

The teacher:

· finds an appropriate piece for demonstration from students’ current repertoire. The piece should be in an “ABA” form, and can be a study, vocalize collection, simple solo, or a short section from current repertoire.

· reproduces the My Personal Masterpiece template (TC-9) on an overhead transparency or on the board for the group demonstration and reproduces enough copies of the My Personal Masterpiece template (TC-9) for students’ compositions.

· reproduces enough copies of the My Personal Masterpiece Instruction Sheet (TC-10), the Completion Checklist (TC-11), the Self-Evaluation (TC-12), and the Summative Evaluation Rubric (TC-13) for the class.

Prior Knowledge Required

· Ability to perform at least a full octave in the key of their choice on their instrument or voice

· Knowledge of keys and their respective key signatures

· Knowledge of musical notation and the expressive language

· Knowledge of the elements of music at a level consistent with Unit 2 of the Grade 9 Course Profile

Teaching/Learning Strategies

Exercise one

1. The teacher guides students through an analysis of the structure of an existing technical or melodic piece using an ABA structure that has been performed in class or ensemble.

2. The teacher leads the entire class in the process of writing a sample piece using the template (TC-9) reproduced either on an overhead or on the board. The teacher solicits from students specific ideas as to which key, starting note, rhythmic structure, and melodic shape would be used for the opening ‘A’ theme.

3. The teacher ensures that students are utilizing a melodic shape which combines scalar and arpeggiated movement.

4. As each phrase is created, a volunteer from the class, or the teacher, performs the material for the rest of the class for comparative analysis.

5. The class continues creating a contrasting ‘B’ section and a culminating return to the ‘A’ theme.

Exercise two

1. Students now begin writing their individual study using the same template (TC-9) and the My Personal Masterpiece Instruction Sheet (TC-10).

2. Encourage students to include a descriptive title for their piece. The title should reflect the major element of the piece whether it be melodic, rhythmic, or expressive, e.g., “Triplet Time” might include a variety of triplets.

3. Students submit a rough draft of their ‘A’ section for feedback and do the same with the ‘B’ sections. Students then complete a revised draft of the entire piece for peer and/or teacher editing.

4. Students complete the final draft ensuring that their work includes appropriate articulation, dynamic, and phrase markings.

5. Students submit the final draft for evaluation.

6. Students perform their pieces for the class, giving a short explanation of their title.

Assessment/Evaluation Techniques

· Teacher feedback to students for the composition of the ‘A’ and ‘B’ sections

· Peer/teacher feedback to students for the revised draft of the composition

· Completion of My Personal Masterpiece Completion Checklist (TC-11)

· Summative Evaluation Rubric of final composition (TC-13)

· Completion of My Personal Masterpiece Self-Evaluation (TC-12)

Accommodations

· Students with less prior knowledge and skills may be paired with students possessing greater knowledge and skills in order to facilitate success.

· In situations where students are unwilling or unable to perform their piece individually, the teacher might provide a tape or video recorder.

· In situations where individual performances are not possible, this activity might be done in pairs. In this case transposition of the instruments might become an issue so the teacher should ensure that students are paired in like instrument groupings or that students have a secure knowledge of transposing for different instruments.

· For purposes of enrichment, students might be encouraged to develop the ‘B’ section with a change of key or metre.

Resources

Appropriate materials from selected study books, vocalize collections, simple solos, or current repertoire may serve to enhance this exercise.

Appendices

Appendix TC-9 – My Personal Masterpiece Template

Appendix TC-10 – My Personal Masterpiece Instruction Sheet

Appendix TC-11 – My Personal Masterpiece Completion Checklist

Appendix TC-12 – My Personal Masterpiece Self-Evaluation

Appendix TC-13 – My Personal Masterpiece – Summative Evaluation Rubric

Appendix TC-1

Circle Of Seven Student Worksheet

NAME:

What are the key signatures for the following keys (e.g., G major: F#)

D major: _________________ C major: _________________

Eb major: ________________ Bb major: _________________

E major: _________________ A major: __________________

F major: _________________ Ab major: _________________

Notate the indicated key signatures.

E major Bb major G major C major Ab major

F major E major A major G major Eb major

Appendix TC-2

Circle Of Seven Teacher Prep Sheet

What are the key signatures for the following keys (e.g., G major: F# )

D major: _________________ C major: _________________

Eb major: ________________ Bb major: _________________

E major: _________________ A major: __________________

F major: _________________ Ab major: _________________

Notate the indicated key signatures

E major Bb major G major C major Ab major

F major E major A major G major Eb major

Appendix TC-3

The Chart Of Key Signatures

Appendix TC-4a

Personal Major Scale Worksheet

Name:

Using the given scale as a model, write your scales as you encounter them in your music classes. Be sure that you place the correct key signature and time signature at the beginning of each staff. ALL KEYS GIVEN ARE IN CONCERT PITCH! In the case of transposing instruments, be sure to write the correct transposed name of the scale in the space provided.

Practise each scale at the required tempo as developed in class and using a clearly defined articulation. Vocalists sing to tonic solfege.

Appendix TC-4a (Continued)

C major (my key )

G major (my key )

D major (my key )

A major (my key )

E major (my key )

Appendix TC-4b

Personal Major Scale Worksheet

Practise each scale at the required tempo as developed in class and using a clearly defined articulation. Vocalists sing to tonic solfege.

Appendix TC-4b (Continued)

C major (my key )

G major (my key )

D major (my key )

A major (my key )

E major (my key )

Appendix TC-5a

Personal Minor Scale Worksheet

Practise each scale at the required tempo as developed in class and using a clearly defined articulation. Vocalists sing to tonic solfege.

Appendix TC-5a (Continued)

A minor (my key )

E minor (my key )

B minor (my key )

Fb minor (my key )

Cb minor (my key )

Appendix TC-5b

Personal Minor Scale Worksheet

Practise each scale at the required tempo as developed in class and using a clearly defined articulation. Vocalists sing to tonic solfege.

D minor (my key )

G minor (my key )

C minor (my key )

F minor (my key )

Appendix TC-5b (Continued)

A minor (my key )

E minor (my key )

B minor (my key )

F# minor (my key )

C# minor (my key )

Appendix TC-6

Student Interval Worksheet

1. Indicate the size of the following intervals by using a number.

2. In the following pairs, indicate whether the top note belongs to the key of C. Use a y (yes) or n (no) on the line beneath the pair.

3. Continue to identify the intervals above by adding the following information on the line where you placed your ‘y’ or ‘n’:

If yes, and the interval is 1, 4, 5, 8, call it (P) for Perfect

If yes, and the interval is 2, 3, 6, 7, call it (+) for Major

If no, and a) the interval is 2, 3, 6, 7

b) the note is too low, call it (-) for minor

If no, and a) the interval is 1, 4, 5, 8

b) the top note is too low, call it (o) for diminished

If no and the top note is too high, call it (x) for augmented

Appendix TC-7

The Tune of Top

Student Title: Composer:

Appendix TC-8

Peer Performance Response Form

As a class, we will discuss appropriate vocabulary for describing a performance. We will also establish the descriptions for each level of the Achievement Chart (record these descriptions on this Response Form).

For each class member, describe the nature of the melody performance using the vocabulary discussed in class (e.g., conjunct/disjunct, ascending/descending motion, etc.). After careful consideration, assign an achievement level to the performance, according to the Achievement Chart.

Student Name	Descriptive Comments	Achievement Level 1-4

Achievement Level Chart

Level 1	Level 2	Level 3	Level 4

Appendix TC-9

My Personal Masterpiece Template

Student Title

A Theme

B Theme

A Theme

Appendix TC-10

My Personal Masterpiece Instruction Sheet

Each member of the class will compose a technical/melodic piece for their instrument or voice following the model(s) studied and developed in class. Your study will be written out neatly on manuscript paper so it can be duplicated on an overhead and shown to the rest of the class. You will perform your piece for the class. The written work for your composition will be evaluated by the teacher and your peers. As well, you will complete a self-evaluation of your effort and success on this project.

FOLLOW THESE GUIDELINES FOR SUCCESS!

APPLY THE BASIC PRINCIPLES OF UNITY AND VARIETY TO YOUR WORK. Be sure there is something that holds your study together. Also add some interest by using contrasts.

FORM: This is perhaps the most important aspect. Your study must be balanced and follow an “A,B,A” form. Therefore, use an 8-bar format for the length of each phrase. You may subdivide the initial 8-bar theme into a repeat of two 4-bar patterns with a slight alteration at the end of the second time through the pattern.

METRE: Be consistent and stay in the same time signature for the entire study. Make sure your notation lines up with the correct number of beats per measure and is a natural subdivision of the metre. Stick with simple patterns.

KEY SIGNATURE: It is recommended that you write your piece in a key with which you are familiar, and also in which you are comfortable performing. Avoid keys that use awkward fingerings, or are out of your voice range.

RHYTHM PATTERNS: It is best to choose a recurring rhythm pattern that follows the natural melodic line. If you use one recurring pattern such as an eighth and two sixteenths in the first section, you may choose to turn it around and use the mirror image in the second section.

MELODIC STRUCTURE: Be sure to use a logical, balanced melodic line that follows scale and arpeggiated patterns. Avoid large, awkward leaps that may be difficult to perform.

PHRASE STRUCTURE: Start and end on the tonic unless you are sure you can do otherwise without the piece sounding awkward.

ARTICULATION: Make sure you add variety to the work by using contrasting articulations as appropriate. Try to make your articulations follow the repetition of the rhythmic structure.

EXPRESSION: As with articulation, your piece needs the variety of dynamics and other expressive phrasing.

TEMPO: You should maintain a steady tempo throughout, however, you may wish to put in a change of tempo at the cadence of some of the sections or change the tempo in the B section.

TITLE: Name your study based on the concept you want it to reflect. (e.g., “Staccatissimo” for a staccato based etude.) A name such as “Etude #1” does not reflect the character of your piece.

EVALUATION: Your work will be evaluated on the criteria indicated on the My Personal Masterpiece – Summative Evaluation Rubric. You should refer to it as you compose your piece!

DUE DATE:

Appendix TC-11

My Personal Masterpiece Completion Checklist

Name:

Use the following as a checklist to make sure that you have completed everything.

TASK COMPLETION	Yes	No

Key Signature chosen	o	o
Time Signature chosen	o	o

‘A’ Section
Notes completed	o	o
Ends on the tonic	o	o
Rhythm completed	o	o
Correct number of beats in each bar	o	o
Note groupings accurate	o	o
Awkward jumps avoided	o	o
Within performance range	o	o

‘B’ Section
Notes completed	o	o
Rhythm completed	o	o
Correct number of beats in each bar	o	o
Note groupings accurate	o	o
Awkward jumps avoided	o	o
Within performance range	o	o
Contrasting style	o	o

FINAL DRAFT
Dynamics added	o	o
Articulations added	o	o
Tempo indicated	o	o
Phrasing indicated	o	o
Corrections made	o	o
Title added	o	o
Manuscript clear	o	o

Appendix TC-12

My Personal Manuscript Self-Evaluation

NAME: ____________________________________________________________________________

Things I learned and/or enjoyed: ___________________________________________

____________________________________________________________________________

Things I missed or wished had happened: __________________________________

____________________________________________________________________________

Something that I found interesting during this unit: _______________________

____________________________________________________________________________

Things I would do differently next time: __________________________________

____________________________________________________________________________

Check the categories that best indicate your feelings about your effort on this project:

_______ I worked carefully over the time allowed and am very proud of my work.

_______ I worked hard to complete the assignment.

_______ I gave some thought to the assignment.

_______ I finished the assignment, but I rushed and wrote too quickly and not very carefully.

_______ I did not complete the assignment.

I would rate myself at this level for my effort on this project.

Level 1 Level 2 Level 3 Level 4

I would rate myself at this level for my accomplishments on this project.

Level 1 Level 2 Level 3 Level 4

Appendix TC-13

My Personal Masterpiece – Summative Evaluation Rubric

Name:

Each criterion demonstrates one or more of the categories of The Achievement Chart (pp. 60-61) of The Ontario Curriculum, Grades 9 and 10, The Arts - Theory (Knowledge/Understanding), Thinking/Inquiry, Communication, and Creation (Application).

Criteria	Level 1 (50-59%)	Level 2 (60-69%)	Level 3 (70-79%)	Level 4 (80-100%)
Melody	- limited use of scalar and arpeggio movement	- some use of scalar and arpeggio movement	- considerable use of scalar and arpeggio movement	- extensive use of scalar and arpeggio movement
Tonality	- limited sense of tonality	- some sense of tonality	- considerable use of tonality	- clearly indicates intended key
Phrasing	- limited sense of phrase balance	- some sense of phrase balance	- considerable sense of phrase balance	- extremely well balanced phrasing
Rhythmic Accuracy	- few bars complete	- some bars complete	- most bars complete	- all bars complete
Rhythm Patterns	- limited consistency	- some consistency	- consistency maintained throughout	- very consistent patterns
Contrast	- limited contrast between sections	- some contrast between sections	- considerable contrast between sections	- very clear contrast
Dynamics	- limited use of dynamics	- some use of dynamics	- considerable use of dynamics	- wide variety of dynamics
Articulations	- few articulations marked	- some articulations marked	- clearly marked articulations	- effective use of articulations
Style	- limited indications of style	- some indication of style	- style clearly indicated	- effective use of style
Originality, Artistry	- applies the creative process with limited effectiveness	- applies the creative process with some effectiveness	- applies the creative process with considerable effectiveness	- applies the creative process with a high degree of effectiveness

Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity.

Appendix TC-14

Resource List

Appleby, Scott Rogal. Apro Theory, Parts 1, 2 & 3. Edmonton, Alberta: Apro Music Co., 1990.

Berlin, Boris, Molley Sclatter, and Kathryn Sinclair. Keys to Music Rudiments. Don Mills, Ontario: Gordon V. Thompson Music, 1969.

Bray, Bruce Snell. For Young Musicians Volumes 1 and 2. Waterloo: Waterloo Music Co., 1985.

Brye, Joseph. Basic Principles of Music Theory. New York, New York: Ronald Press Co., 1965.

Elledge, Jane Yarbrough and Bruce Pearson. Standard of Excellence, Music Theory & History Workbook. San Diego, California: Neil A Kjos, 1993.

Feldstein, Sandy. Complete Practical Theory, Text & Software. Van Nuys, California: Alfred Publishing Co., 1982.

Gagne, D. Theory Worksheets for Beginning Bands. Portland, Main: J. Weston Walch, 1988.

Surmani, Karen, Farnum Surmani, and Morton Manus. Essentials of Music Theory, Text and CD. Van Nuys, California: Alfred Publishing Co., 1983.

Wharram, Barbara. Elementary Rudiments of Music. Oakville, Ontario: Frederick Harris Music Co., 1969.