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Advanced Theory & Aural Investigation 2012/13 Assessment Tasks 2

Important read the following thoroughly: 1. Attempt both questions 2. Manuscript is provided within this assessment paper should you prefer to submit your work handwritten- additional manuscript is available as a PDF from Blackboard. 3. It is recommended that where notation is required, you should use an appropriate score-writing package take note that the marking criteria allow for clarity and this includes legibility. 4. Do not submit rough workings within your final version. 5. Ensure that all notated answers have question numbers clearly indicated. 6. Ensure that all final pages are attached to the main cover sheet it is advised that you place your name at the corner of each page of the assessment paper.

Assessment Criteria: Other than being assessed on the overall accuracy of your answer, your work will also be considered against the following aspects: Pitch and key appropriate use of key signatures is expected and accidentals should adhere to standard conventions. Harmonic accuracy where chords are to be interpreted from chord symbols into notation, they should be harmonically complete. Rhythmic accuracy where notated rhythm is required, the rhythms must adhere to standard conventions of meter and grouping. Musical Grammar your work should demonstrate good understanding of applied theory such that your musical ideas and comments make sense. Musical Awareness where written explanations are required, consideration will be given to the clarity of reasons/evidence that you provide for drawing your conclusions. Presentation all written and notated work should be presented to a high standard and should be clearly legible. Unreadable answers will not be interpreted or guessed at by assessors.

Question 1 4-part harmony (contemporary) Using the lead-sheet for Everything Happens To Me, you are to produce a 4-part arrangement that demonstrates examples of closed, semi-open and open chord voicings. Though this might ultimately be adapted for a horn section, for the purposes of this exercise, you will only work within a pianostaff (i.e. treble clef and bass clef). Note that though this might at first appear to be quite a long piece, there is considerable repetition the structure is A A B A. Use the following instructions to create your arrangement: Assume that there is a bass player providing the root note for all written chords. Create a block chord to sit beneath each melody note At all times, the melody should be in the upper voice Where the melody is not a chord note, you must decide how best to incorporate it into your voicing Use the two clefs to avoid unnecessary leger lines i.e. you do not have to have a set number of voices to each clef; move freely between. For the first section A, apply CLOSED voicings. For the second section A, apply SEMI-OPEN voicings For the B section (middle 8), apply CLOSED voicings For the final A section, apply OPEN voicings

As with previous tasks of this type, it is strongly suggested that you use notation software to produce your final score.

Question 2 4-part harmony (traditional) Using the lead-sheet to Life On Mars, you are to create a simple piano accompaniment to the vocal melody. In this you will demonstrate a more traditional approach to harmonising a chord progression similar to SATB vocal style harmonisation but not restricted by specific vocal ranges. Use the following instructions to produce your arrangement: The opening bar of the piano part has been completed for you Using the same repeated rhythm of two half-note chords per bar, work through the rest of the arrangement using the indicated chords You do not need to include the melody note as the top voice of your arrangement but the lowest voice should reflect the bass note of the chord each time At all times you should take into consideration the various guidelines we covered on: chord spacing, smooth voice leading, voice movement, note doubling. Unlike the previous question, you should keep the number of voices in each clef the same: two in the treble, two in the bass.