COURSE OUTLINE The CPM course is divided into a number of sections, each of which is briefly described below. Each section is weighted according to its significance within the course. The weightings are a guide as to the amount of time to be spent on each section of the course. Performance There are four performance sections, encompassing the performance of five works, an improvisation and technical skills Technical work 25% This section covers technical skill relevant to the contemporary popular musician, All of the technical work set for the course is printed in this book. Set works 15% Set works are standard pieces from contemporary popular repertoire, graded for each Step. In this section of the book we have printed six set works. Backing tracks are provided on the accompanying recording. You need to select two set works for performance in the assessment session. Free choice 15% Since there are many styles and idioms that may not be represented in the set work section, the free choice section provides you with the chance to play pieces that are currently new, innovative or self-composed, You need to prepare three free choice pieces for performance in the assessment session. Creative 15% This section of the course covers improvisation, The CPM recording provides you with two backings for improvisation. You will be asked to improvise to one of these in the creative section of the assessment session. Materials The CPM courses include three sections of materials for the contemporary popular musician. In each of these areas, you need to discuss and/or demonstrate your knowledge and skill, Knowledge and understanding 10% Aural skill 10% Reading skills 10% See the relevant pages in this book for details of each course area. 8 AMEB ‘Alls PublishingASSESSMENT CRITERIA The aim of the assessment is to encourage you, and to provide a measure of your musical development and acquistion of musical skill. The following assessment criteria provide 2 focus for study and will form the basis of your assessment session report and result. The objective of the assessment session is to demonstrate: General performance + The ability to set up for the assessment within the 5 minute time-imit, including tuning the guitar + The setting of an appropriate volume throughout the assessment + The ability to perform all set work and free choice pieces within the 15 minute time-limit Technical work + Well balanced playing posture + Hand and finger positions that facilitate performance + An appropriate tempo as indicated + Asteady, even rhythm + Anaccurate performance of the technical work + Systematic fingering + Fluent playing + Each note clearly articulated + Tonal control + Effective pick technique Set works + A steady sense of time and rhythm + An appropriate tempo + An accurate performance of the pieces + Articulation and phrasing appropriate to the style of the pieces + Dynamics and tone appropriate to the style of the pieces + Aconvincing stylistic interpretation of the pieces + Arrange of styles Allons Publishing AMEB 9Free choice + A steady sense of time and rhythm + An appropriate tempo + An accurate performance of the pieces * Articulation and phrasing appropriate to the style of the pieces * Dynamics and tone appropriate to the style of the pieces + A convincing stylistic interpretation of the pieces + Arrange of styles + Chosen pieces at an appropriate level of difficulty Creative + Rhythmic and melodic creativity + A steady sense of time and rhythm * Appropriate articulation and phrasing + Appropriate dynamics and tone Knowledge and understanding + A knowledge of key signatures and musical features of pieces + Musical features of styles + Naming of notes Aural skills + Interval recognition * Chord recognition (major and minor triads) + Chord recognition (|, IV and V) + Scale recognition + The ability to sing back a melodic phrase + The ability to clap back a rhythmic phrase and state the time signature Reading skills + Accuracy in time and rhythm: + Accuracy in melody + Appropriate dynamics, articulation and style 10 AMEB ‘Alans Publishing