Phew – you are done. Your homework is to do other stuff until I see you after exam leave!
Listening to the music with heavily annotated scores is the best form of revision both for Question 1 and also for Question 3 – scores should be annotated from your revision notes AND those on Moodle (particularly in the case of vocal works, which are not in the main revision booklet).
You need to make sure you have learnt thoroughly the following:
For Question 3 …
- Standard comparison questions (and regularly reviewed answers to them)
- The content needed for Context questions (including making sure you are ready for variants of the Tippett and Webern questions)
- Basic facts about all the pieces (keys, metre, structure etc.)
For Question 5 …
- Cadence fingerprints
- Method for completing harmony
- Double SLAP
For Question 4 …
- Standard embellishments
- Different types of chords and cadences
This week we have our Unit 3 mocks – for details of what is on each day, please look at the dates and deadlines page.
This week ALL groups must hand in their composition by the end of this FRIDAY. Tom’s Group have got the Sleeve note controlled conditions this Monday and Iain’s next Friday.
Finish the question 4 and 5 we started in class.
Create a revision timetable using the EXAM Countdown 2016 AS to help plan effectively what you do where
Anthology work over Easter
- You need to use your revision booklets to update all your annotations and then listen regularly to your annotated scores
- You need to learn the Comparison Standard Questions (and start practising answering them)
- You need to learn the context essays
Composition work over Easter
Please complete a draft QUESTION 1 for the sleeve note.
“Explain and comment on form and structure, indicating in particular how repetition and contrast are balanced”
You need to fill a side of A4 hand-written paper. Mention thematic and motivic repetitions, keys and modulations and any main contrasts.
Fill in the planner given out in class, picking out the five most interesting comparison points for each of the four set works. In these works, rests and use of rhythmic motifs are worth discussing in addition to or instead of some of the standard comparison questions.
Tom: Please keep plugging away at your composition. Please also add to your tracker sheet at the end four interesting features of your composition. They need to cover TWO of the following: Texture, Melody, Rhythm, Harmony and Instrumentation
Iain: Not yet set
Finish Cadence Worksheet 14 on p. 34 of the harmony work book (all imperfect cadences)
- Write the following essay: Identify features of the TIPPETT that are typical of the Twentieth century. (NOTE: you should discuss both Neo-Classical features and those that are more generally typical). Deadline: FRIDAY
- Revise the Dowland – we are going to do a Skeleton score on WEDNESDAY
Finish p. 50 (started in class)
Submit on Moodle
Please concentrate in particular in getting a melody and a texture sorted for your light sections. There is loads on Moodle to help you – the Williams in the anthology is analyzed in the Developing Motifs and Themes notes. You might also look at Inspiring Melodies and the Orchestral Texture (M examples) in the Orchestration module.
Please look at each of the main sections of the Tippett and work out where there are examples of motifs W, X, Y and Z.
- 1 Exposition 1st Subject
- 10 Transition 1
- 21 Transition 2
- 39 Second subject
- 68 Development
- 129 Recapitulation 1st Subject
- 136 Transition 1
- 147 Transition 2
- 156 Transition 3
- 165 Second subject
- 194 Coda
Finish Cadence Worksheet 12 (p. 32)