WBL Ameb Series 18-Series 4 Handbook 1

WHOLE BODY
LEARNING
AMEB Piano Comprehensive Series 18
AMEB Piano for Leisure Series 4
What is Whole Body Learning? ................................................................................... 3
Using Technology/A Great Teacher ............................................................................. 4
AMEB Piano for Leisure Series 4 Prelim - Gr 4 Overview ............................................ 5
AMEB Piano Comprehensive Series 18 Prelim - Gr 4 Overview ................................. 9
Andante Duet (Preliminary - PC-S18) ........................................................................ 11
Bourée Ensemble (Gr 4 - PFL-S4) .............................................................................. 14
Synonyms for Dynamics ............................................................................................ 17
Machines on the Loose (Gr 4 - PC-S18) Rhythm Activity .......................................... 18
Mosquito Buzz (Aussie Mozzie Chromatics) .............................................................. 20
Exploring Improvisation (Twilight - Gr 3 - PFL-S4) ..................................................... 22
Exploring Improvisation (A Rainy Saturday - Gr 1 - PC-S18) ..................................... 23
FastTRACK Skeleton - Inspired by a rainy Saturday .................................................. 24
FastTRACK Skeleton - Inspired by Dragon Fly .......................................................... 27
La donna é mobile - harmony worksheet .................................................................. 30
Circle of Fifths Worksheet ......................................................................................... 31
Dances in the AMEB Series 18 Repertoire ................................................................ 32
Dance References ...................................................................................................... 34
Do you remember how to play your scales? Worksheet ........................................... 35
Scale Accompaniments ............................................................................................. 36
Technical Requirements ............................................................................................. 40
Aural Tests ................................................................................................................. 42
Notes to remember about exams ............................................................................. 43
Information for Parents - Thinking about exams? (compliments of Forte) ................ 45
Weekly Timetable ...................................................................................................... 48
Time Names .............................................................................................................. 50
Solfa Hand signs ........................................................................................................ 51
Change Curve ........................................................................................................... 52
General Knowledge Worksheet ................................................................................ 53
New Piece Worksheet ............................................................................................... 54
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WholeBodyLearning.org 2 © 2019
What is Whole Body Learning?
Whole Body Learning is an approach to teaching music that can be incorporated at any stage of
learning for any piano or instrumental student. It is based on the ideas, concepts and approaches of
Orff & Keetmen, Dalcroze, Kodály, Suzuki, Gordon as well as current research into neuroscience and
how the brain learns and processes information.
These strategies for teaching music are not new. Bringing them together to develop pedagogically
sound, educational pathways for instrumental and piano teaching is unique. Over the last 30 years
of teaching, Susan Head, Paul Myatt and Gillian Erskine have explored many approaches and incor-
porated what we believe has worked best for our students and us as teachers.
What we have observed in our own teaching is that students find learning easier and more fun as
well as achieving a more musical outcome which incorporates aural, rhythm, performance, improvi-
sation and reading.
In this approach, all the learning happens in the lesson, so even if they don’t practice during the
week, they tend to remember what has happened because it is embodied. We are confident you will
have the same experience with your students.
Whole Body Learning for piano is quite different from “traditional” music lessons. The “traditional”
approach to instrumental and piano music education started in the 19th century with advances in
paper manufacturing technology. Prior to the 1800s music was taught by ear, passing on tunes, mel-
odies and harmonies through listening, movement and dance. Paper before the 19th century was a
rare and expensive commodity and not readily available to the general public.
The advent of inexpensive paper allowed easy distribution of printed music. With that came a ne-
cessity to read music. For many piano lessons has been about “reading the music” and playing by
reading. This meant there was a need to be able to read hence traditional piano lessons were often
not commenced until a child was about 8 years old.
Research has concluded that starting piano lessons at the age of 4 or 5 offers students’ brain stimu-
lus that enhances future learning and impacts on academic results. At this age students aural de-
velopment learning capacity is at its strongest. From the ages of 4 - 8 years is the point in life when
accent in language and speech is developed and cemented. Those who are lucky enough to speak
more than one language, will often have a “local accent” in both languages or be “accentless” in
the other language.
This occurs because of the rapid development of the ear and its connections to the brain during
the ages of 4 & 8 years. Music can certainly be considered a language and children who learn music
especially with a focus on listening and singing will develop excellent pitch - for some that will be
perfect pitch.
Hence an over arching philosophy of Whole Body Learning is for children to start learning piano
from an early age. Four years of age is the perfect time to commence piano lessons. During this
time an elemental approach to learning incorporating the natural learning process is essential as
these children are too young to read music.
3 © 2019
Using Technology
The development of recorded music and the internet has offered many people the opportunity to
listen to music. The majority of teenagers will now say they’ve learnt a new skill via YouTube for many
it will be a musical instrument like guitar or piano. Susan and Paul have noticed many students will
often take to YouTube to learn a new song or find some help with a piece they are playing. If used
effectively, this technology is incredibly useful in assisting students to learn more efficiently.
Devices like tablets and iPads now offer teachers many new possibilities for improves their teaching
offering for:
• Aural Development - listening activities that can improve students’ aural skills for ongoing ad-
vancement and preparation for exams outside of the lesson
• Sight Reading - apps which will listen to your piano while students play along with a recording
offers student real time improvement of sight reading skills, again which can be done in and out
of a lesson.
• Musical Games (aural & reading) - making learning fun, building friendly competition between
students, etc.
• Technique Improvement - self assessment - using video to self critique, just like the video referee
in a tennis match, students can now see there fingers from a different angle to improve tech-
nique.
• Ensemble - playing with a backing track helps develops rhythmic certainty and aural understand-
ing of printed music.
A Great Teacher
The interaction between students and teacher is human interaction that can not be replaced by AI,
certainly not at this stage in human development. Providing a space for children to explore and learn
through their senses as well as offering the opportunity to imagine and improvise will give you as the
teacher, wonderful creative outcomes. Awakening the brain and stimulating creativity in the students
provides a wonderful foundation for all future education.
It is the ability to be creative that offers children success in their future. Very few of us will ever teach
concert pianists, we can however assist a child by offering him or her some fundamental skills on
their educational journey. Some of these include:
• Understanding that effort equals reward and that what you put in will determine what you get
out. An essential and important part of preparation for exams and higher education.
• Thinking creatively through exploring improvisation like creating and improvising music. This will
extend into other areas of life which often includes science, language and technology.
• An understanding of how music is structured and attentive listening, which helps at school and
also creates the audience for tomorrow’s musicians.
• Developing performance skills, as Condalleeza Rice says, “performance is performance, there is
little difference between a board room presentation or a concert stage”.
• The ability to make music by playing a musical instrument
PRELIMINARY GRADE 1
GRADE Teaching Point Teaching Point
Metre Key Metre Key
Ideas
Dance
Ideas
or Body
Piece
Character
Character
Percussion
Jazz and/or
Jazz and/or
Piece
Jazz Features
Show Tune or
Existing Song
Movie Theme
Jazz Features
Movement or
Show Tune or
Existing Song
Movie Theme
Contemporary
Mood evoking
Contemporary
Mood evoking
eg Atmospheric
eg Atmospheric
“Classical” Genre
Movement/Dance
20th Century &/or
20th Century &/or
Listening and A - Articuation - clap
March of the Going staccato with time (Cut)
moving for “2 in a 4/4 C/F Em
Toreadors Baroque names C
bar feel”
B - RRLRR-Stamp
Swing sneakily
“Here comes the
Lyrics: jivin jivin turkey (4th)
Saxophone sings or chicken (5th) C 12 Bar
Jive Turkey 4/4
blues, saxophone Blues Blues
rings out, Accented grace
Saxophone sings notes (Acciaccatura)
Saxophone
blues, ringing out 4/4 Dm See Trumpet &
Blues
loud & proud. Trumpet Organ example:
4/4 C
Tune* https://youtu.be/
R R Saxophone x 2
B0Fjxx2RNEk
Playing out loud.
RR Saxophone x2 Dance of the
LRLR PPPPP C 4/4 Am
Out & proud. loud. Gnomes
Improv G major
scale with dynamics Percussion, Duet
Warm Starry
over a tonic learning - a difficult 4/4 G
Bourrée 4/4 G Nights
dominant drone song for this grade.
Dynamic Range Walking bass -

Dudes Keep
Swing RH 4/4 Dm
3+2 Body Struttin’
Three plus Improv possibilities
Percussion 3+2/8 Am/C
two LH Ostinato:
Dynamic Range 2 Fingers & Pedal,
Together then D mix-
The Singing Slur Motif repetition Am/ Prayer 4/4
5
4/4 separate. lydian
Sioux and retrograde Em
Improv RH: D
mixolydian
Moonlight Broken
Intervals & direction 2/4 G
Variation Triads LH Ostinato, Story D
Sea Bird 4/4
Telling, Poem Dorian
March of the Beat in feet & hand
4/4 C Hand co-ordination
Cubs percussion
A Wild Chase & lightness of touch 6/8 Am
Singing pitch & slow practice
Walking
Just Jazzin’ direction of walking 4/4 Gm YouTube Bugs
bass
bass Bunny
Walk the bass line Overture https://youtu.be/ 4/4 Em

Winter’s Day 3/4 Dm/F uYBce9Gsz7g
sing the phrase
Dynamics
Walking Sing words
Square-o 2 note slurs 4/4 C
bass https://youtu.be/
In Dreams gyY3Op47Uto 4/4 C
Swung
Walk the bass line Alternating phrases
Full of C & 12 Bar
say the rhythm in 4/4
Confidence Blues Blues Question/Answer
scat sounds
Scale
Identify Primary
Sing song with Harmony: I & V7
Waltzing
dynamics & 4/4 F La Donna è
Matilda Sing in Solfege: 3/4 F
bassline Mobile
mmm | sfr | rrr | fmd
mfd | dtt | rdl | lss :||
Feel free to copy these pages for teachers or students. Please ensure this message appears at the bottom of the page.
© 2017 PAUL MYATT & SUSAN HEAD 7
AMEB Piano for Leisure Series 4 Preliminary - Gr 4 Overview
© 2019
GRADE 2
GRADE 2
Teaching Point cont Teaching Point
Metre Key Metre Key
Ideas Ideas
or Body
Character
Piece
Character
Percussion
Percussion
Jazz and/or
Jazz and/or
Movement/
Piece
Jazz Features
Jazz Features
Show Tune or
Existing Song
Show Tune or
Movie Theme
Existing Song
Movie Theme
Mood evoking
Contemporary
Mood evoking
Dance or Body
eg Atmospheric
20th Century &/
eg Atmospheric
or Contemporary
Movement/Dance
20th Century &/or
Swing quaver Start with outside
against staccato & chord notes with RH
Whatever legato bass line on 4/4 D melody for alberti
the beat. Staccato The Castle phrasing.
C F
leaps (inc 8ve). Ball
Rotate wrist for
Rhythmic Percussoin Alberti Bass
Modified 12 bar Dynamics
Greased C C Blues
blues 4/4 Lots of repetition!
Lightnin’ Blues Scale
https://youtu.be/ The challnege
wK63eUyk-iM is to make the
song sound
Double TC hands
interesting. Explore
move a lot across E
Mayfly C C Mad World improvisation. 4/4
keyboard. Contrary Dorian
Motion See synonoms
for Dynamics for
On the
WholeBodyLearning.org
creative ways to
Champs- Stylistic triple time 3/4 C French
develop dynamic
Élisées
contrast.
Staccato duple time
LH melody and
accompaniment
RH staccato
Polka style 2/4 Dm Spider’s Web 4/4 Am
accompaniment &
https://en.wikipedia. lots of dynamics
org/wiki/Polka Scale passages -
Boogie syncopated beat on Boogie
¾ accompaniment Very (1 & 2.5 & 4) 4/4 C
Woogie Rock LH
6
style with pedal. Disney
Microwaltz 3/4 C Boogie LH
Great for pedalling Song
practice Style Double Bass Clef -
making this sound
Bass ostinato, good on a low
walking bass. quality instrument
will be difficult. Ie.
Lyrics (use sempre pp will be
dynamics): difficult to achieve.
A Potential for story
Walking telling.
Secret Agent x 4 Bass
Who’s the agent? Lyrics A Section:
The
Secret Agent 4/4 Dm
Stowaway Down among the
Watch Out! x 2 Swing
Secret Business x 2 dead men, they lie
Quaver
Secret Agent 4/4 Em x2
B
What’s your secret Down among the
12 Bar dead men x 2
I’m not telling,
blues
It’s a secret not for Down among the,
in A
selling, What’s your down among the
section
secret I’m no telling dead men lie.
you.
A
Getting out of here!
Now!
© 2019
GRADE 2
GRADE 3 cont. Teaching Point
Teaching Point Metre Key
Genre
porary
Metre Key & Ideas
Character
Percussion
& Ideas
“Classical”
Jazz and/or
Movement/
or Body
Piece
20th Century
Jazz Features
Piece
Show Tune or
Character
Existing Song
Movie Theme
&/or Contem-
Percussion
Mood evoking
Dance or Body
Jazz and/or
eg Atmospheric
Jazz Features
Show Tune or
Existing Song
Movie Theme
Contemporary
Mood evoking
eg Atmospheric
Movement/Dance
20th Century &/or
Simple Rag LH
Rhythmic patterns Nashville Rag staccato Tonic 4/4 C
Toccata Perpetual motion 6/8 & Dominant pattern.
Bb
Ritmico 3/4
Hemiola Pedalling required
Sing the song to give the correct
feel. Not suitable for
https://youtu.be/ small hands.
I still call I Dreamed a F/
hbGuqmaDgLA 4/4
Australia 3/4 F/Am Dream Learn to sing the Gm/G
Home Holding the melody song:
against the inner
accompaniment. https://youtu.
be/86lczf7Bou8
Not suitable for
small hands. SATB classic
Morning
Standard pop bass harmony. Play inner 3/4 G
Prayer
line. parts & outer parts.
Twilight 4/4 C
Imprvo in C
pentatonic - great Buckaroo Rotating wrists 4/4 G
for pedal practice.
Ask student to play
the LH while teacher
demonstrates the
RH so they get the
feel of 12/8.
Midnight Ride 12/8 Em
Identify the
semitones.
Hand crossing in the
B section & Coda.
7
Accurate Pedal
required. Rubato is
essential for a great
Misty performance 4/4 G
https://youtu.be/
rPOlakkBlj8
Classical Ballet
The little
travelling step with
would-be 3/4 F/C
a 6/8 feel although
Man
it is a waltz.
Legato 3rds &
Habanera feel.
Am/
Spanish https://youtu.be/
4/4 Dm
Dance jXKUb5A1auM
A/D
https://youtu.be/
QugLFzedHzk
Clean clear
pedalling required
Song of on every beat to
give the music flow. C A/F#m
Twilight
Improv on
Pentatonic.
© 2019
Highlight the
melody -Sing song
GRADE 4 and play only
Teaching Point Theme from
Metre Key accompaniment
Ideas
or Body
Piece New York 4/4 F/G
Character
Percussion
Jazz and/or
Jazz Features
Show Tune or
Existing Song
Movie Theme
New York https://youtu.be/
Contemporary
Mood evoking
eg Atmospheric
Movement/Dance
20th Century &/or
hpiw3cDWmvc
Rolling wrists for the
arpeggio & rotating
F/C/ Great for teaching
Allegro wrist to bring out C
Dm Kitten ‘n’ 4 part harmony,
the melodic line in
mousin’ on secondary 4/4 C/F
RH & LH
the keys dominants
Difficult for small
hands. Play as a Fast scales
duet to start to Metre changes
get the “feel”. 4/4 & G
Jazz Train Chromaticism &
Tambo Tango Composer 4/4 Bm 3/4 blues
swung quavers
performance:
Words to bar 2 “my
https://youtu.be/ old movie blues”
lhsKtfPVskg Rh play LH boogie
My Old pattern. C
Relaxed arm and 12/8
Let the good Rock Movie Blues blues
and hands for 4/4 C 12 bar blue,
times roll feel
chord shifts
boogie bass & Rh
Short nails! syncopation
Technique will show! Even balanced parts
Fast accented for both hands. Cut Gm/
tumbling fingers Bourée Bb/
need lightness Ensemble C Dm
Allegro con Am/ opportunities.
Accompaniment C
fuoco Dm
available:
https://www.
easilearnmusic.com/
8
ameb-gr4-allegro-
con-fuoco
Rotating Rh wrist to
Twilight bring out melody 4/4 G
Clear Pedalling
Rhythmically tricky
Grand-
-listen & step to the
mother’s 3/4 G/Em
beat a al minuet
Minuet
style to get the feel
Careful pedalling
for atmospheric
gorgeousness.
Australian 20C
painters
Sunday Bm/D/
4/4
morning F#m
GRADE 4
cont. Teaching Point
Metre Key
Ideas
or Body
Character
Percussion
Piece Jazz and/or
Jazz Features
Show Tune or
Existing Song
Movie Theme
Contemporary
Mood evoking
eg Atmospheric
Movement/Dance
20th Century &/or
© 2019

Arrangement/Composition
Non-melodic Percussions
AMEB Piano Comprehensive
Melodic Percussion
Series 18 Preliminary - Gr 4
Body Percussion
Overview
Speech Rhymes
Improvisation
Movement
Ensemble
Listening
Notation
Singing
Dance
PRELIMINARY
Let’s sing a duet-
Walzer - Breslaur
Tempo di Minuetto - Hook
Little flower Girl of Paris-Gillock
Creepy Crawlies- McFarlane
GRADE 1
Minuet - Purcell
Minuet - Haydn
Goblin Dance - Bullard
A Rainy Saturday - Diemer
Sailors Dance -Tansman
Mozzie - Milne
Study - Concone
GRADE 2
Dragon Fly - Gillock
Mazurka for Chopin -Rollin
Circus -Peskanov
Tango for Two -Schmitz

The troll at the edge of the Woods -
Waxman
9 © 2019
Arrangement/Composition
Non-melodic Percussions
Melodic Percussion
Body Percussion
Speech Rhymes
Improvisation
Movement
Ensemble
Listening
Notation
Singing
Dance
GRADE 3
Preludio - Handel
Andantino - Elgar
Butterfly Waltz -Hiller
Sonatine - Benda
Fable - Muczynski
Banjo Tune - Schoenmehl

GRADE 4
Machines on the Loose- Olsen
Mazurka - Tchaikovsky
Mountain Village Scene- Yu
Russian Waltz - Kats-Chernin
Tartan - Milne
Andante Duet
11 © 2019
13 © 2019
Bourée Ensemble - Stôlzel
#
15 © 2019
Who
oleBodyLearning.org 16 © 2019
Synonyms for Dynamics
pp p mp mf f ff
Pianissimo piano mezzo piano mezzo forte forte fortissimo
very quiet quiet not so quiet not so loud loud very loud
very delicate, extremely delicate, gentle, mild, moderate, full, ready,
delicate, murmur, hint, light,sensitive,
strong, forceful
trace, secret, concealed. calm, cool, willing, solid, open,
soothing,amiable, robust,
seductive, private,
courteous, soft, temperate, present, powerful,
tame, patient mellow, forward, vigorous,
unfolding energetic, mighty,
convincing, intense,
effective, wild,crazy
heavy,
massive,
direct,
assertive, huge,
deliberate, exciting,
confident thrilling
ferocious
Questions for Listening

Passionate? Joyful Dull?
Moving? Uplifting? Monotonous?
Exciting? Adventurous? Expressive?
Compelling? Inviting? Full of Vitality
Intimate? Intimate Restful?
Fun? Full of Character? Calm?
17 © 2019
Machines on the Loose Rhythm Activity
85 œ œ œ œ œ 78 œ œ œ œ œ œ œ 85 œ œ œ œ œ 78 œ œ œ œ œ œ œ 85
58 œ œ œ œ œ 78 œ œ œ œ œ œ œ 68 œ œ œj œ œ œj œ œ œj œ œ œj 85
5
9
85 œ œ œ œ œ 78 œ œ œ œ œ œ œ 68 œ œ œJ œ œ œJ œ œ œJ œ œ œJ 85
13
17
58 œ œ œ œ œ 78 œ œ œ œ œ œ œ 68 œ œ œj œ œ œj œ œ œj œ œ œj
21
Œ j j 68 Œœ œ œj œœ . j
œ œ œ œœ . œ 48 œ˙ œ œ 48 œ˙ œ 68
25
J J
U
68 Œœ œ œj œœ . j 68 Œœ œ œj œœ . j
œ 48 œ˙ œ œ 68 œ˙ .. œ.
29
J J
85 œ œ œ œ œ 78 œ œ œ œ œ œ œ
œ œ œ œ œ œ 85
33
58 œ œ œ œ œ 78 œ œ œ œ œ œ œ 68 œ œ œj œ œ œj œ œ œj œ œ œj
36
j j j j j
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
œ œ œœ œœ œœ
40
J ‰ ‰ J ‰ ‰
19 © 2019
Mosquito Buzz
21 © 2019
Exploring improvisation before learning
“Song of Twilight” - Gr 3 Series 4 PFL
What is twilight?
What does it look like?
What does it sound like?
How do you feel when you’re sitting and experiencing twilight?
Close your eyes and imagine.
Play the LH and then add one note per bar as you play in the RH. When you feel more confident,
explore with more notes. Does it sounds good? If it doesn’t sound good, you’re
probably only a note away from something that sounds amazing!
Exploring improvisation before learning
“A Rainy Saturday” - Gr 1 Series 18 PC
What’s a rainy day like?

What does it look like?
What does it sound like?
How do you feel when you’re sitting and experiencing a rainy day?
Close your eyes and imagine.
Play the LH and then add one note per bar as you play in the RH. When you feel more confident,
explore with more notes. Does it sounds good? If it doesn’t sound good, you’re
probably only a note away from something that sounds amazing!
23 © 2019
Inspired by A Rainy Saturday by E. Diemer
1
Who
2
25 © 2019
3
Inspired by Dragon Fly by W. Gillock
1
27 © 2019
2
Who
3
29 © 2019
La donna é mobile - Harmony Worksheet
Circle of Fifths Worksheet
1 0 1
2 2
3 3
4 4
5 6 5
1 2 3 4 5 6 7
31 © 2019
Dances in the AMEB Series 18 Repertoire
Grade/Style Minuet Waltz Mazurka Chaconne Character
Preliminary Telemann Breslaur Turk

Little dance
Hook Gillock
Grade One Purcell Szymanowska Bullard - Goblin dance
Haydn Tansman
Sailors Dance
Grade Two Stanley Rollin Bach-March
Mozart Kotchie Tango - Schmitz
Grade Three Haydn Hiller Beach - Gavotte
Grade Four Kats- Tchaikovsky Fischer Milne - Tartan

Chernin
Dance Pulse Origins Popular Style
Chaconne 1st beat of 3 Mexico? Spain 1600’s, Originally fiery and flirty. In the court of Louis
South America? Baroque XIV, composer Jean-Baptiste Lully, transformed
the Chaconne into a slower dance in his operas.
Like the passacaglia - a number of brief sections
- 2,4,8 or 16 bars each ending with a cadence
that leads without a break into the next section.
Mazurka 2nd of 3 beats Poland 16th In the ballrooms A Circle Dance for couples. Both music and
Century Mazur of the 1830’s dance steps use lots of improvisation. The style
folk dance Poland - then became popular with composers in the 19th
Russia, Germany, Century, although they were writing for
England, France instruments rather than the dance.
Minuet 2 bars of 3 17th century 1650-1750 The minuet was performed to the most
French folk France, England important couple in the room “the presence”.
dance: “Branle”. One couple danced at a time to show off their
The term “menu" excellent deportment with elegance and poise.
means small
steps hence Lully popularised this variation of the Branle folk
“menuett” dance in his operas, writing and creating over
90 music and dances in this form.
All minuet step patterns take 2 bars of 3 with

floor patterns in the shape of a figure 8 or Z.
Steps are small, graceful, dignified and
ceremonious with lots of toe pointing. Minuets
are performed with hands in an “open position”
and generally start with a bow called the
“reverence”.
Waltz 1st beat Austria 13th Vienna 16th Walzen is a German word to roll, turn or glide.
Century folk Century then Danced by many couples at the same time it
dance “weller” mid 18th was a social dance not a display. Characterised
Century by partners turning in a circle often changing
holds. Considered outrageous because
people’s bodies faced one another.
Sarabande 3 even minim Spain 16th Suppressed in Originally a lively sensual danced by groups of
beats Century Spain in 1583. women with castanets. In France it became a
Popular in Italy in much more stately dance. It could be danced as
17 Century and a solo theatrical piece for court which often
with Louis XIV in involved men as well.
France
33 © 2019
Dance References
Reference website Expert Field
Dance in danceinhistory.com Moira Goff Baroque Dance

History Specialist
Sarabande https://www.youtube.com/watch?v=4rDDxLvlI1g Raoul Feuillet ca 1700 Choreographer

pour la femme who publishes
Orchesography:
The Art of Dancing
in 1700.
Chaconne https://www.youtube.com/watch?v=cRyeg_r2zqY choreography by Anthony Both Frenchmen at

L’Abbe with music by Lully Court of Louis XIV
Menuet & Jig https://youtu.be/sJUwtXki3iQ English dance master Mr Holt Mr Holt was an
1711 English dance
master
Waltz https://youtu.be/-aMH7O5XVEQ Contemporary choreography Zoltan Maga

violinist Budapest
New Year’s
Concert 2013
Mazurka https://youtu.be/qqXJCJ5W25s https://youtu.be/Q2vfnA_1pjk Comparison of the

Russian and Polish
interpretations of
the same dance
Do you remember how to play your scales?
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Australia’s best music shop for teachers and parents
Scale Name:
RIGHT
GHT
H
35
© blackrockmusic.com.au
LEFT
FFTT
© 2019
C Major Scale Piano Accompaniment
A Harmonic Minor Scale Piano Accompaniment
A Natural Minor Scale Piano Accompaniment
A Melodic Minor Scale Piano Accompaniment
39 © 2019
Technical Requirements - Series 18
(Piano Comprehensive)

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Aural Tests for AMEB Exams Preliminary – Grade 4

Time Rhythm Pitch Pitch
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© 2019

Time Names
An example of time names vocalisation.
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ti-ti œ ti
ta œ œ œ œ ti-ka-ti-ka
ta-a œ œ œ ti-tika
Œ
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ta-a-a-a
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Solfa Hand Signs Doh
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Lah
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Doh
51 © 2019

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53 © 2019
New Piece Worksheet
Title: Composer:
Pitch Contour/Intervals Rhythm Patterns
Articulation & Phrasing Tempo/Speed/Pulse/Metre
Harmony/Chords Dynamic Difference
Structure/Patterns Style & Texture
Tonality/Key Notation/Sight Reading/Writing
Listening with Purpose Activities
Vocalisation
(Speech Rhyme, Singing, Imrpov)
Movement
(Dance/Body Percussion, Improv)
Instrumental
(Ensemble/Duet, Non-melodic/
Melodic Percussion, Improv.)
Extension Activities
(Improvisation, Composition,
Transposition)
New Piece Worksheet
Title: Composer:
Pitch Contour/Intervals Rhythm Patterns
Articulation & Phrasing Tempo/Speed/Pulse/Metre
Harmony/Chords Dynamic Difference
Structure/Patterns Style & Texture
Tonality/Key Notation/Sight Reading/Writing
Listening with Purpose Activities
Vocalisation
(Speech Rhyme, Singing, Imrpov)
Movement
(Dance/Body Percussion, Improv)
Instrumental
(Ensemble/Duet, Non-melodic/
Melodic Percussion, Improv.)
Extension Activities
(Improvisation, Composition,
Transposition)
55 © 2019

WBL Ameb Series 18-Series 4 Handbook 1

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WBL Ameb Series 18-Series 4 Handbook 1

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WHOLE BODY

Join the group on Facebook:

Dynamic Range Walking bass -

Walk the bass line Overture https://youtu.be/ 4/4 Em

Metre Key & Ideas

Let’s sing a duet-

Tempo di Minuetto - Hook

Little flower Girl of Paris-Gillock

Creepy Crawlies- McFarlane

Goblin Dance - Bullard

A Rainy Saturday - Diemer

Sailors Dance -Tansman

Dragon Fly - Gillock

Mazurka for Chopin -Rollin

Tango for Two -Schmitz

Butterfly Waltz -Hiller

Banjo Tune - Schoenmehl

Machines on the Loose- Olsen

Mountain Village Scene- Yu

Russian Waltz - Kats-Chernin

Questions for Listening

Close your eyes and imagine.

What’s a rainy day like?

Close your eyes and imagine.

Grade/Style Minuet Waltz Mazurka Chaconne Character

Preliminary Telemann Breslaur Turk

Grade One Purcell Szymanowska Bullard - Goblin dance

Grade Two Stanley Rollin Bach-March

Mozart Kotchie Tango - Schmitz

Grade Three Haydn Hiller Beach - Gavotte

Grade Four Kats- Tchaikovsky Fischer Milne - Tartan

All minuet step patterns take 2 bars of 3 with

Reference website Expert Field

Dance in danceinhistory.com Moira Goff Baroque Dance

Sarabande https://www.youtube.com/watch?v=4rDDxLvlI1g Raoul Feuillet ca 1700 Choreographer

Chaconne https://www.youtube.com/watch?v=cRyeg_r2zqY choreography by Anthony Both Frenchmen at

Waltz https://youtu.be/-aMH7O5XVEQ Contemporary choreography Zoltan Maga

Mazurka https://youtu.be/qqXJCJ5W25s https://youtu.be/Q2vfnA_1pjk Comparison of the

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Time Rhythm Pitch Pitch

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Rhythm Pitch Pitch Pitch

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