Inviting performers of other Nationalities to perform works of cultural significance including groups representing the A

1. Different ways scale forms; harmony, duration and texture are used individually and in combination by a variety of composers, arrangers and creators of music for groups.

2. Study and sing or play examples of music from other countries. This enables us to utilize some of the resources available in the LOTE Depts. and widens the students’ horizons. Great examples include music from Romania, Japan, and Finland. Students are also encouraged through the internet to explore different contemporary groups from some of the above countries.

3. Inviting performers of other Nationalities to perform works of cultural significance including groups representing the Australian Indigenous community.

4. In order to maintain the relevance of this to students, we explore examples of student’s repertoire looking for elements such as Key, Time Signature, Dynamic.etc. .

5. Explore the remix phenomenon and discuss ways each new edition/version changes the texture either through instrumentation, voicing, tempo or even key.

6. Scale forms, including major, harmonic and both melodic minor forms (ascending and descending), and modal scales of Mixolydian and Dorian

7. Sing scales both Major and minor using terms such 1, 2 3, 4, 5, 6, 7, 8. • Examine using the notes of the C Scale but beginning on D (Dorian) • Repeat exercise but begin on G (Mixolydian)

8. A popular vocal exercise to secure the Major scale is 1, 121, 12321, 1234321, 123454321,12345654321,234567654321, 123456787654321, 8878, 87678 etc.

9. Once major scale and Dorian modes are established we encourage students to play / practice scales on either their instrument or voice.

10. Diatonic intervals in a melodic context

11. Sing ‘baby cry exercise’ as this develops pitch accuracy in Major 2nds, Thirds, Perfect 4ths and Perfect 5ths.

12. Chords and chord progressions in major and minor keys including chords that are diatonic to major and minor keys and chord progressions involving primary chords in major and minor chords.

13. Group Activity 1 Break down a Major chord in root position. 3/ 4 volunteers depending on whether we are introducing 7th chords. Person 1 is Tonic or 1, Person 2 is Major 3rd or 3, Person 3 is Perfect 5th or 5

14. Group activity 2 Sing chords as group, using hand signs to modulate to IV chord or V chord.

15. Rhythms, including those in simple quadruple and triple time with rhythmic subdivisions not exceeding four subdivisions a beat.

16. Introduce rhythmic dictations using a shorthand method.

17. Structures of melodies in a variety of major and minor keys with key signatures of up to three sharps and flats, including those with melodic phrases in balanced and unbalanced sentences, that conclude with a full closure in that key.

18. Examining form through shapes. Eg asking students to sort a series of graphic images such as a triangle, a ball, and a square where the: • triangle= 10 secs, • the ball= 20 secs and the • square = 30 secs into a an image representing 1 minute

19. We then expand this idea into an exploration of various forms eg Binary, ternary etc.

20. Conventions in music notation that will assist students to increase sensitivity in interpreting music notation in performance.

21. This to me is a discussion on the use of Italian terminology, first in music of the 16th Century through to the 21st Century, then a discussion on how instructions have changed both in language (eg Italian to German) and meaning.

22. RESOURCES • Musicianship and Aural Training: Debra Smith • Auralia / Musition • Sibelius 4 • Music in Theory and Practice: Bruce Benward and Gary White • Fifty Folk Songs: Hugh Brandon Allans Music Australia • 101 Hits for Buskers • Sing For Pleasure: Imogen Holst • Pentatonic Song Book: Novello