Advanced higher music induction pack
PERFORMANCE ASSESSMENT CRITERIA
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Instrument/voice |
(9-10) Excellent |
(7-8) Secure |
(5-6) Mainly accurate |
(3-4) Inconsistent |
(0-2) Poor |
Mark /10 |
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Piece 1 — |
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Melodic accuracy/intonation |
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Rhythmic accuracy |
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Tempo and flow |
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Mood and character |
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Tone |
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Dynamics |
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Piece 2 — |
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Melodic accuracy/intonation |
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Rhythmic accuracy |
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Tempo and flow |
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Mood and character |
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Tone |
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Dynamics |
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Piece 3 — |
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Rhythmic accuracy |
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Tempo and flow |
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Tone |
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Dynamics |
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Piece 4 — |
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Rhythmic accuracy |
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Tempo and flow |
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Mood and character |
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Tone |
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Dynamics |
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Table of Musical and Literacy Concepts
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NATIONAL 3 | ||||||||||||||||||||||||||||||||||
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Styles |
Melody/Harmony |
Rhythm/Tempo |
Texture/ Structure/Form |
Timbre/Dynamics | ||||||||||||||||||||||||||||||
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Blues Jazz
Rock Pop
Rock‘n’roll Musical
Scottish Latin American |
Ascending Descending Step (stepwise) Leap (leaping) Repetition Sequence
Question and answer
Improvisation Chord
Discord Chord change |
Accent/accented Beat/pulse Bar 2, 3 or 4 beats in the bar On the beat /off the beat Repetition Slower/faster
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Pause March
Reel Waltz
Drum fill Adagio
Allegro |
Unison/octave Harmony/chord Solo Accompanied/ unaccompanied Repetition Ostinato Riff
Round |
Striking (hitting) Blowing
Bowing Strumming Plucking Orchestra – strings, brass, woodwind
and percussion (tuned and untuned)
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Accordion Fiddle
Bagpipes Acoustic guitar Electric guitar Piano Organ
Drum kit |
Steel band Scottish dance band Folk group Voice/Choir Staccato
Legato | |||||||||||||||||||||||||||
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Literacy | ||||||||||||||||||||||||||||||||||
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Lines and spaces of the treble clef Steps
Repetition |
Crotchet Minim
Dotted Minim
Semibreve Barlines
Double barlines |
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f – forte p – piano < cresc (crescendo) > dim (diminuendo) | ||||||||||||||||||||||||||||||
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NATIONAL 4 | ||||||||||||||||||||||||||||||||||
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Styles |
Melody/Harmony |
Rhythm/Tempo |
Texture/ Structure/Form |
Timbre/ Dynamics | ||||||||||||||||||||||||||||||
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Baroque Ragtime
Romantic Swing
Concerto Opera
Scots ballad Mouth music Reggae African music Rapping |
Major/minor (tonality) Drone Broken chord Arpeggio Chord progression chords I, IV and V (major keys) Change of key
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Pedal Scale
Pentatonic scale Octave
Vamp Scat singing Ornament
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Syncopation Scotch snap Strathspey Jig
Simple time 2 3 4
4 4 4 Compound time Anacrusis Andante
Accelerando Rallentando A tempo Dotted rhythms |
Canon Ternary (ABA) Verse and chorus Middle 8
Theme and variation Cadenza Imitation |
Brass band Wind band Violin Cello
Double bass Harp
Flute Clarinet
Saxophone Pan pipes Recorder Tambourine Glockenspiel
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Trumpet Trombone
Timpani Snare drum Bass drum Cymbals
Triangle Guiro
Xylophone Harpsichord |
Bass guitar Distortion Muted Soprano
Alto Tenor
Bass Backing
vocals | |||||||||||||||||||||||||||
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Literacy | ||||||||||||||||||||||||||||||||||
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Treble clef stave C-A’
Sequences |
Semiquaver Grouped semiquavers Paired quavers Repeat signs |
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mf — mezzo forte mp — mezzo piano | ||||||||||||||||||||||||||||||
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NATIONAL 5 | ||||||||||||||||||||||||||||||||||
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Styles |
Melody/Harmony |
Rhythm/Tempo |
Texture/ Structure/Form |
Timbre/ Dynamics | ||||||||||||||||||||||||||||||
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Symphony Gospel
Classical Pibroch
Celtic rock Bothy ballad Waulking song Gaelic psalm Aria Chorus
Minimalist Indian
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Chord progressions including chord VI (major keys) Imperfect cadence Perfect cadence Inverted pedal Chromatic Whole tone scale Grace note Contrary motion Countermelody Tone/semitone |
Modulation Trill
Glissando Syllabic
Melismatic Descant
(voice) Pitch bend Atonal Cluster
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Rubato Ritardando Moderato Cross rhythms Compound time — 6 9 12
8 8 8 |
Strophic Binary (AB) Rondo (ABACA…) Episode
Alberti bass Walking bass Ground bass Homophonic Polyphonic Contrapuntal Coda
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Piccolo Oboe
Bassoon (French) horn Tuba Viola
Castanets Hi-hat
Cymbals Bongo drums Clarsach Bodhran
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Sitar Tabla
Arco pizzicato Con sordino Flutter tonguing Rolls Reverb
Mezzo soprano Baritone
A cappella | ||||||||||||||||||||||||||||
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Literacy | ||||||||||||||||||||||||||||||||||
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Tones, semitones Accidentals (flats, sharps and naturals) Scales and key signatures: C major, G major, F major and A minor Chords: C major, G major, F major and A minor Leaps
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Dotted rhythms Dotted crotchet Dotted quaver Scotch snap 1st and 2nd time bars
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ff — fortissimo pp — pianissimo sfz — sforzando
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HIGHER | ||||||||||||||||||||||||||||||||||
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Styles |
Melody/Harmony |
Rhythm/Tempo |
Texture/Structure/Form |
Timbre/Dynamics | ||||||||||||||||||||||||||||||
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Sonata Oratorio
Impressionist Musique concrete Plainchant Mass
String quartets Recitative Chamber music Jazz funk Soul music
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Mode/modal Relative major/minor Interval Obbligato (instrumental) Acciaccatura Mordent
Plagal cadence Interrupted cadence Tierce de Picardie Dominant 7th Diminished 7th Added 6th Harmonic minor scale Melodic minor scale |
3 against 2 Time changes Irregular time signatures Augmentation Diminution |
Through-composed Da capo aria Lied Passacaglia Concerto grosso Sonata form Exposition Subject
Basso continuo Ritornello |
Tremolando Harmonics Coloratura Ripieno
Concertino String quartet | ||||||||||||||||||||||||||||||
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Literacy | ||||||||||||||||||||||||||||||||||
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Bass clef (E–C) Note naming and transposing into bass clef Chords I, IV, V and VI in major and minor keys Diminished Dominant Naming and writing diatonic intervals formed from the tonic |
6 8 time
Quavers Crotchets Dotted crotchets Dotted minims
Triplets |
Rests: Quaver Crotchet
Dotted crotchet
Minim Semibreve Da capo (DC)
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Slurs Accents
Staccato marks Phrase marks | |||||||||||||||||||||||||||||
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ADVANCED HIGHER | ||||||||||||||||||||||||||||||||||
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Styles |
Melody/Harmony |
Rhythm/Tempo |
Texture/Structure/Form |
Timbre/Dynamics | ||||||||||||||||||||||||||||||
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Renaissance Pavan
Galliard Motet
Ayre/Air Ballett
Madrigal |
Anthem Neo-classical Serial Chorale
Nationalist Electronic dance music Contemporary jazz
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Appoggiatura Turn
Suspension Tritone
Polytonality/Bitonality Tone Row/Note Row Augmented triad Chords I, IV, V and VI in major and minor keys Chord II and 1st inversion (major key only)
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Hemiola |
Fugue Subject
Countersubject Answer
Stretto Antiphonal Bridge Leitmotiv Inversion Retrograde Song Cycle
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Consort Countertenor Sprechgesang Piano Trio | |||||||||||||||||||||||||||||
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Literacy | ||||||||||||||||||||||||||||||||||
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Melody/Harmony |
Rhythm/Tempo | |||||||||||||||||||||||||||||||||
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Identifying/Inserting chords to cadence points and under melodies Diminished 7th Dominant 7th Added 6th 1st and 2nd inversions of major and minor triads Chord II and 1st inversion (major key only) Bass Clef C – E Transposing bass clef into treble clef Rewriting (in either treble or bass clef) a note at the same pitch using up to 2 ledger lines below or above the stave Enharmonic equivalent – rewriting a note at the same pitch Scales and key signatures – D major, Bb major, E minor and D minor 8va ( octave higher); 8vb (octave lower) Augmented triad |
Ties Syncopated rhythms Time signature: 5 4 Dal segno D.S. Fine Time changes | |||||||||||||||||||||||||||||||||
ADVANCED HIGHER GRADE ASSESSMENT DEADLINES 2015/16
All pupils sitting Advanced Higher Music must ensure that the following deadlines are met; otherwise they will be not be eligible for presentation.
Each assessment MUST BE PASSED in order to proceed with the course. Failure to meet deadlines will result in a letter home.
TERM 1
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24 August 2015 |
Analysis |
Piece 1 chosen |
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7 September 2015 9 September 2015 |
Performing (Instrument 1) Composing |
Pupils must complete and perform ONE piece. This will be recorded as evidence for the SQA 1st composition - Popsong to be completed |
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15 September 2015 15 September 2015 |
Listening Analysis |
This paper will cover concepts from Renaissance Period and will include cadences, ornaments, key signatures, time signatures, pitch (Treble and Bass Clef), Italian terms regarding dynamics and tempo. 1st piece introduction and background. |
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21 September 2015 |
Performing (Instrument 2) |
Pupils must complete and perform ONE piece. This will be recorded as evidence for the SQA |
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2 November 2015 |
Analysis |
1st draft submission, analysis of piece 1 |
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9 November 2015 |
Performing (Instrument 1) |
Pupils must complete and perform piece no 2. This will be recorded as evidence for the SQA |
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16 November 2015 |
Listening |
This paper will cover concepts from Baroque Period and will include cadences, ornaments, key signatures, time signatures, pitch (Treble and Bass Clef), Italian terms regarding dynamics and tempo. |
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23 November 2015 |
Performing (Instrument 2) |
Pupils must complete and perform piece no 2. This will be recorded as evidence for the SQA |
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30 November 2015 |
Analysis |
Final submission/presentation of analysis of piece 1 |
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9 December 2015 |
Composing |
2nd Composition Theme and Variations to be completed |
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11 December 2015 |
Analysis |
2nd piece chosen. |
TERM 2
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Deadline (Week beginning) |
Assessment |
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11 January 2016 |
Analysis |
2nd piece, introduction and background submitted. |
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18 January 2016 |
Performing (Instrument 1) |
Pupils must complete and perform piece no 3. This will be recorded as evidence for the SQA |
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1 February 2016 |
Analysis |
2nd piece, introduction and background submitted. |
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8 February 2016 |
Performing (Instrument 2) |
Pupils must complete and perform piece no 3. This will be recorded as evidence for the SQA |
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15 February 2016 |
Listening |
This paper will cover concepts from 20th century period and will include cadences, ornaments, key signatures, time signatures, pitch (Treble and Bass Clef), Italian terms regarding dynamics and tempo. |
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24 February 2016 |
Composing |
Final Composition to be completed. |
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29 February 2016 |
Performing (Instrument 1) |
Pupils must complete and perform piece no 4. This will be recorded as evidence for the SQA |
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7 March 2016 |
Analysis |
1st draft submission, analysis of piece 2 with comparison. |
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14 March 2016 21 March 2016 28 March 2016 |
Performing (Instrument 2) Analysis Performing PRELIM |
Pupils must complete and perform piece no 4. This will be recorded as evidence for the SQA Final submission/presentation Perform full programme on both instruments |
(1 April 2016 Easter Holidays begin)
TERM 3
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Assessment |
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Ongoing |
Listening |
Pupils will sit regular practice listening tests. |
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May 2016 May 2016 |
FINAL LISTENING EXAM FINAL PERFORMING EXAM |
40% of course award Pupils will be assessed through a one hour written paper which will cover all concepts from the concept table and include musical literacy. 60% of course award |
Advanced Higher Music Checklist
Performing
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Instrument 1 ___________ |
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Planned Date |
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Piece |
Mark |
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Assessment 1 |
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w/b 7th Sept |
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/10 |
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Assessment 2 |
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w/b 9th Nov |
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/10 |
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Assessment 3 |
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w/b 18th Jan |
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/10 |
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Assessment 4 |
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w/b 29th Feb |
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/10 |
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Programme Finalised |
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Prelim |
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w/b 21st Mar |
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Mark /30 |
Grade |
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Exam |
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May |
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Instrument 2 ___________ |
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Planned Date |
Date |
Piece |
Mark |
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Assessment 1 |
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w/b 21nd Sept |
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/10 |
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Assessment 2 |
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w/b 23rd Nov |
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/10 |
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Assessment 3 |
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w/b 8th Feb |
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/10 |
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Assessment 4 |
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1/b 14th Mar |
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/10 |
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Programme Finalised |
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Prelim |
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w/b 21st Mar |
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Mark /30 |
Grade |
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Exam |
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May |
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Listening
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Planned Date |
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Mark |
Grade |
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Assessment 1 (Renaissance) |
15th Sept |
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Assessment 2 (Baroque) |
16th Nov |
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Assessment 3 (Classical) |
7th Dec |
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Assessment 4 (Romantic) |
25th Jan |
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Assessment 5 (20th Century) |
8th Feb |
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Prelim |
Mid February |
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Composing
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Deadline |
Evaluated |
Outcomes covered |
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Skills/Exercises |
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Pop Song |
16th Sept |
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Theme and Variations |
9th Dec |
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3rd Composition |
24th Feb |
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Final Composition |
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Analysis
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Deadline |
Pass/Fail |
Audio/Score Examples () |
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Piece 1 Chosen |
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24th Aug |
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Piece 1 Intro/background |
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15th Sept |
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Piece 1 Draft 1 submission |
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2nd Nov |
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Piece 1 Final submission/presentation |
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30th Nov |
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Piece 2 Chosen |
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11th Dec |
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Piece 2 Intro/background |
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1st Feb |
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Piece 2 Draft 1 submission with comparison |
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7th Mar |
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Final submission |
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21st Mar |
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