This document provides information about the NCEA Level 1 Music Theory External Achievement Standard. It outlines the requirements to achieve at the Achievement, Merit, and Excellence levels. These levels involve demonstrating knowledge of conventions used in music scores, such as key signatures, time signatures, notation of pitch and rhythm, and performance directions. The document also provides details on the various musical elements that can be assessed, including scales, intervals, chords, cadences, transposition, and instrumentation. It limits the scope to keys with up to 3 sharps/flats, specific time signatures, and scores of 16 parts or less.
Hey, I'm back with another great music PowerPoint on theory!! However, this time I've bumped it up to Grade 2 theory so, it's very useful as I have provided the new info you need as well as exam top tips. Hope you enjoy as this is made all by me and for any references, just checkout 'Blitz! Music theory' and 'MyMusicTheory' too. (NO COPY OR PASTE) Make sure to have a look at my other slide shares as well as the Grade 1 theory in case you haven't seen it. Please like and follow if you'd like to see more of my educational slides. Thank you!
~ Suzan G
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Hey! I'm back with another music SlideShare but, this time I've made a grade 3 theory PowerPoint. Hope you find it useful along with my other music Slide Shares. So, go ahead and checkout my other Slide Shares. Please comment what you think and what else you would like a SlideShare on. Thank you!
~ Suzan G
(Allowed to be shared and used but you must provide a link to the license and credit the creator/owner)
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Published in: Education
License: CC Attribution License
Hey, I'm back with another great music PowerPoint on theory!! However, this time I've bumped it up to Grade 2 theory so, it's very useful as I have provided the new info you need as well as exam top tips. Hope you enjoy as this is made all by me and for any references, just checkout 'Blitz! Music theory' and 'MyMusicTheory' too. (NO COPY OR PASTE) Make sure to have a look at my other slide shares as well as the Grade 1 theory in case you haven't seen it. Please like and follow if you'd like to see more of my educational slides. Thank you!
~ Suzan G
<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width:0" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.
Hey! I'm back with another music SlideShare but, this time I've made a grade 3 theory PowerPoint. Hope you find it useful along with my other music Slide Shares. So, go ahead and checkout my other Slide Shares. Please comment what you think and what else you would like a SlideShare on. Thank you!
~ Suzan G
(Allowed to be shared and used but you must provide a link to the license and credit the creator/owner)
<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width:0" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.
http://creativecommons.org/licenses/by/4.0/
Published in: Education
License: CC Attribution License
This presentation is an interactive PowerPoint, designed to teach and demonstrate to people how to play the piano. It is designed for individuals at any age.
Have you ever felt a melody go in one ear and out the other? Like there was nothing concrete to grasp to help you remember? You create a great melody in your head or while humming along to a chord progression, but within a moment it’s gone.
Thankfully, not all is lost. In fact, hundreds of years ago, a system was developed to enable musicians to recognize and transcribe those sought-after melodies.
Solfege (a.k.a. solfa) provides a framework for melodies by establishing recognizable relationships between pitches, and training your ear to hear patterns. It is an excellent system for learning the architecture behind music, and is a fundamental concept of ear training.
If you are making a search for music theory worksheets then we are right destination for you. We are offering workbook series, medallion workbook series, and different teaching aids. Have a visit at our website to know more about our work sheets.
This presentation is an interactive PowerPoint, designed to teach and demonstrate to people how to play the piano. It is designed for individuals at any age.
Have you ever felt a melody go in one ear and out the other? Like there was nothing concrete to grasp to help you remember? You create a great melody in your head or while humming along to a chord progression, but within a moment it’s gone.
Thankfully, not all is lost. In fact, hundreds of years ago, a system was developed to enable musicians to recognize and transcribe those sought-after melodies.
Solfege (a.k.a. solfa) provides a framework for melodies by establishing recognizable relationships between pitches, and training your ear to hear patterns. It is an excellent system for learning the architecture behind music, and is a fundamental concept of ear training.
If you are making a search for music theory worksheets then we are right destination for you. We are offering workbook series, medallion workbook series, and different teaching aids. Have a visit at our website to know more about our work sheets.
This is a example powerpoint slide of what you might see in a 12th grade music theory class. This is an outline/introduction to root position part writing!
MediaEval 2016 - the C@merata task: Natural Language Queries Derived from Exa...multimediaeval
Presenters: Richard Sutcliffe and Cynthia Liem
The C@merata task at MediaEval 2016: Natural Language Queries Derived from Exam Papers, Articles and Other Sources against Classical Music Scores in MusicXML In Working Notes Proceedings of the MediaEval 2016 Workshop, Hilversum, Netherlands, October 20-21, CEUR-WS.org (2016) by Richard Sutcliffe, Tom Collins, Eduard Hovy, Richard Lewis, Chris Fox, and Deane Root
Paper: http://ceur-ws.org/Vol-1739/MediaEval_2016_paper_55.pdf
Video: https://youtu.be/dL6ouVaM5eo
Abstract: Cl@ssical Music Extraction of Relevant Aspects by Text Analysis
(C@merata) is a shared evaluation held at MediaEval and this is the third time the task has run. The input is a natural language query (‘F# in the cello’) and the output is a passage in a MusicXML score which contains this note played on the instrument in question. There are 200 such questions each year and evaluation is via modified versions of Precision, Recall and FMeasure. In 2014 and 2015 the best Beat F (BF) scores were 0.797 and 0.620, both attained by CLAS. This year, queries were more difficult and in addition the most experienced groups from previous years were unable to take part. In consequence, the best BF was 0.070. This year, there was progress concerning the development of the queries, many of these being derived from real sources such as exam papers, books and scholarly articles. We are thus converging on our goal of relating musical references in complex natural language texts to passages in music scores.
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http://sandymillin.wordpress.com/iateflwebinar2024
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2. Achievement Standard Music 1.5
Demonstrate knowledge of conventions used
in music scores
• External, 4 credits
Achievement Achievement with
Merit
Achievement with
Excellence
Demonstrate
knowledge of
conventions used
in music scores.
Demonstrate in-
depth knowledge
of conventions
used in music
scores.
Demonstrate
comprehensive
knowledge of
conventions used in
music scores.
3. A, M, E
• Demonstrate knowledge of conventions used in music scores involves identifying and
describing musical elements and features used in music scores.
• Demonstrate in-depth knowledge of conventions used in music scores involves
explaining musical elements and features used in music scores.
• Demonstrate comprehensive knowledge of conventions used in music scores
involves applying musical elements and features used in music scores.
4. • Students are expected to demonstrate understanding of conventions and
engage in reading of scores in a range of music styles eg classical,
pop/rock, jazz. Scores will contain independent instrumental/vocal parts up
to an ensemble consisting of no more than 16 parts.
5. • key signatures up to three sharps and three flats, major and minor keys
• time signatures, limited to: 2 3 4 6
• 4 4 4 8
• notation of pitch and rhythm (eg rhythmic groupings; major, minor and perfect intervals)
• performance directions (eg articulation, tempo indications, dynamics)
• terms and signs
• use of treble, bass, alto, tenor, and percussion clefs
• instruments and score layout
• chords in root position: limited to I, IV, V, V7, VI using Roman numerals and jazz/rock terminology (eg A, D, E, E7, F♯m)
• texture: limited to monophony, homophony, polyphony, textural density
• chord progressions including cadences involving chords I, IV, V, V7, VI only
• compositional devices (eg motif, riff, imitation, sequence)
• modulation to closely related keys
• transposition
• transposing instruments (instruments that are notated at a different pitch from their sound): limited to – C instruments/voice (piccolo, double bass, bass guitar, guitar,
tenor voice), B♭ instruments (clarinet and trumpet/cornet), E♭ instrument (alto saxophone), F instrument (horn)
• open to closed/closed to open score
• stylistic features (eg flattened notes in blues, hammer ons and pull offs in rock music, figured bass in Baroque music)
• form/structure: limited to – verse/chorus, Binary AB, Ternary ABA, 12 Bar Blues, intro, coda/outro, bridge.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15. Rhythm / Metre Limited to 2/4, 3/4, 4/4 and 6/8 [including C]
above time signatures –identification and understanding of rhythmic
groupings and classifications: simple/compound, duple/triple/quadruple
durations – notes, rests, (to semiquaver), ties
description of rhythmic feel (e.g. syncopation, swing)
23. 2/4 is also known as ‘simple duple’
¾ is also known as ‘simple triple’
4/4 is also known as ‘simple quadruple’
These are called ‘simple’ because the beats are divided in 2s
6/8 is a little different, its known as ‘compound duple’
It is called ‘compound’ because the beats are divided in 3s
24.
25.
26.
27.
28. Anacrusis-
incomplete bar at the beginning of the music
The incomplete bar at the beginning of the music will add up to a full bar with the final bar.
Eg… 1+3= 4
39. Pitch / Tonality Limited to major and minor keys, up to three sharps and three flats
clefs – treble, bass, alto C-clef, percussion, and “vocal tenor” (i.e. treble-octave)
key signatures and scales– recognition of major and minor keys (harmonic and
melodic), plus addition of Blue notes
key relationships (scale degrees) – tonic, subdominant, dominant, relative major and
minor
pitch names: tonic↔leading note
intervals – recognition of major, minor and perfect intervals within an octave; lower
note can only be the tonic of one of the permitted major keys (i.e B-flat, F, C, G, or D)
transposition – upwards only, sounding pitch → written pitch only, limited to
instruments in B-flat and F also instruments transposing 8ve
transcription – from treble clef ↔ bass clef, from alto clef↔ other clefs,
open ↔ closed score, written pitch → sounding pitch (i.e. vocal tenor, double bass,
piccolo)
50. SCALE
Starts and Ends on the Same Note!!!
Starting Note= Pitch Name of the Scale!!!
• Major- sounds happy
• Minor- natural, harmonic, melodic- sounds sad
• Chromatic- 12 notes in total
• Pentatonic- 5 notes in total- sounds Asian
• Blues- 6 notes in total- used in Blues, Rock and Pop
53. Major Scales
Rule- T, T, ST, T, T, T, ST
• Using this rule, we can create a major scale on any pitch we like!
54. Key Signature
To allow for the major scale rule to
happen in whatever pitch possible, key
signatures tells us which notes need to
be # or b. The Key signature is placed
at the start of the piece, and the # or
b will apply to all the notes throughout
the piece of music.
55. •http://www.musictheory.net/index.html
•Reminder: s key signature is found at the beginning of each stave in a piece of
music, just after the clef.
•It is the short way of writing down all the sharps or flats that will be used in
the scale or piece.
•It is there to help the performer to easily identify which key the music is
written in.
56. Keys & Key Signatures
Key of C= C major/minor
Key Note= Scale Starting Note
The # or b in the key signature does not
equal to the key!!!
For this level we need to learn major and
minor keys up to 3 # & 3b!!!
57. For Level 1 You Only Need to do up
to 3 # & 3bs major + minor keys
58. Ace the major scale in exam!
•Clef: check for the given clef or write it in
•Key signature: name the key signature if it is given, or write it
in
•Check if the ascending or descending version is required (or
both), then write in the eight notes of the scale, starting on the
key note (use semibreves)
•Check the note value required and adjust the semibreves if
necessary. Watch the stem direction for minims and crotchets!
•Check if the accidentals are required, rather than a key
signature. If so, write them in using the key signature as a guide
and then ease the key signature.
62. Understand Minor Scales
•Every major scale is related to a specfic minor scale, meaning that
they share the same key signature.
•To find out the related major/minor scales, use the 'Holy Trinity'
rule...
•Majors to minor, go down 3 alphabet
•Minor to major, go up 3 alphabet
•Again, use the C major/A minor as a rule of thumb to help you.
63. For harmonic minor, always raise the 7th degree of the scale by a
semitone.
The raised 7th note is not part of the key signature and must
always be filled in as an accidental!
Scale/No
.
1 2 3 4 5 6 7 8
A Min A B C D E F G# A
E Min
(F#)
E F# G A B C D# E
B Min
(F# C#)
B C# D E F# G A# B
D Min
(Bb)
D E F G A Bb C# D
G Min
(Bb Eb)
G A Bb C D Eb F# G
64. Filler Harm'Minor
Tip:Work out the Key Signature first
Scale/No
.
1 2 3 4 5 6 7
(sharp
me)
8
A Min
E Min
B Min
D Min
G Min
65. Ace the Harmonic Minor Scale
•Clef and key signature: check and/or write in
•Check if the ascending or descending version is required, then write
in the right notes of the scale, starting on the key note.
•Check the note value required and adjust if necessary. Watch the
stem direction for minims and crotchets!
•Locate the 7th note of the scale and raise it by a semitone!
66. Scale/N
o.
1 2 3 4 5 6 7 8
A Min A B C D E F#
F natural
G#
G natural
A
E Min
(F#)
E F# G A B C#
C natural
D#
D natural
E
B Min
(F# C#)
B C# D E F# G#
G natural
A#
A natural
B
D Min
(Bb)
D E F G A B natural
B flat
C#
C natural
D
G Min
(Bb Eb)
G A Bb C D E natural
E flat
F#
F natural
G
• For melodic minor scale:
• raise the 6th and 7th degrees of the scale by a semitone when ascending and...
• Lower the raised 6th and 7th degrees of the scale by a semitone when descending.
• Remember that the raised and lowered accidentals are not part of the key
signature.
67. Ace the Melodic Minor in Exam
• The general procedure for writing scales is applicable to the
melodic minor scale, but remember to adjust your 6th and 7th
notes!
• Clef
• Key Signature
• Write in the notes
• Locate the 6th and 7th notes of the scale
• Raise them by a semitone if ascending
• Lower them by a semitone if descending (do this only if the
ascending version is written first!)
• Check for accidentals or key signatures and adjust if necessary
68. Filler Mel'Minor
Tip:Work out the Key Signature first
Scale/No
.
1 2 3 4 5 6 ( up
then
down
7 (up
then
down)
8
A Min
E Min
B Min
D Min
G Min
73. Advanced Intervals
• Intervals have 2 things-
• Quality (major/minor/perfect/augmented/diminished) (p.s. does NOT
relate to the major/minor keys/signature ok@@)
• Quantity (123456789….)
74. Finding the Interval Quality
• In all MAJOR KEYS, intervals are either MAJOR or PERFECT (see below
C major example)
75. And then…
• Pending on the addition of #, b, naturals etc, intervals can become
minor/augmented/diminished
76.
77.
78. Transposing Instruments
• C instruments (don’t need to transpose, they see C, they sound C
• Bb instruments, transposing, they see C, they sound Bb (major 2nd lower)
• Eb instruments, transposing, they see C, they sound Eb (major 6th lower)
• F instruments, transposing, they see C, they sound F (perfect 5th lower)
Reason for transposing instruments (to screw with your brain… no I kid I kid…) it
evolved from the technical development of the wind/brass instruments throughout
history, some things just got stuck and we worked around them to fit our music.
79.
80.
81. How to Transpose
• Check key signature (use major key chart
from Circle of 5th)
• Bb up a major 2nd is C
• And just move all the other notes up 1 (so
that the interval becomes major 2nd
automatically
• With any accidentals just double check the
semitones etc… no biggie
82. Transpose a key signature in the SAME WAY that you transpose a note.
There is nothing special about transposing a key signature, but many candidates struggle
with this task! Key signatures are transposed in the same way as notes.
The original key is G major. Let’s say you have to transpose up a perfect 5th.
The note a perfect 5th above G is D, so the new key signature is D major.
It doesn’t matter whether the piece is major or minor, the result will be the same. If we
assume this is actually E minor, then a 5th above E will produce B minor, which also has
two sharps.
83.
84.
85. When writing SATB parts, make sure the note STEMS are written the right way up.
In open score (4 staves) the stems point up or down depending on their position on the stave.
In a short score (on 2 staves) the stems point up or down depending on the part.
The circled notes here show where the stems need to have their positions changed when you rewrite the music.
Vocal Tenor Clef (is written an octave above they would sound, so when you transcribe vocal tenor to normal bass
clef, put it down an octave
86. Harmony Limited to chords I, IV, V, V7, and VI, in
major and minor keys, in root position only
chords – identification of individual chords using Roman numerals and
jazz / rock notation
chord progressions – identification of cadences (perfect, plagal, imperfect
I-V and IV-V only, interrupted)
chords – notation of individual chords
modulation – identification of modulation (via perfect cadence) to related
keys (subdominant, dominant, relative major and minor)
87.
88. ID a chord
List all the notes vertically (A, E, C#),
Put it in a ROOT positon (A, C#, E)
The root note is the name (A chord)
89. Minor Chords have ‘m’ after the letter, plus the small letter roman numerals ‘i’
Roman Numerals are the I, ii, iii etc they are usually BELOW the stave
Jazz Rock are the C, Dm, Em etc they are usually ABOVE the stave
92. ID a Cadence
• Find out the chords in the vertical fashion (as earlier mentioned)
• Find out the keys and its scale degree etc, match them up, voila~
94. You can tell a piece of music has ‘modulated’ (change of key) by
• Accidentals (extra # or b or natural signs in the music that is not usually
there)
• Actual change of key signature (duh…)
• When modulation occurs, it goes to the familiar, hence, there will be a chord
that the old key and new (modulated) key share, that will be used as ‘pivot’
chord, to modulate a piece of music.
96. Instrumentation Limited to scores of no more than 16 instruments.
Limited to common orchestral and jazz / rock
instruments, and common voice types
score layout – recognition of family / instrument order,
English names
97.
98. Woodwind in this order
Flute
Oboe
Clarinet
Bassoon
Brass in this order
Trumpet
Trombone
Timpani
Strings in this order
Violin
Viola
Cello
Bass
104. Slides
In short, a slide is when you go from one note to another by
keeping contact with the string the whole time
Bends
Normally when you fret a note, you push it straight down on the
fingerboard. When you push or pull a string up or down, you
are bending the string. This causes the fretted note to go sharp.
Depending on how much you bend the string, you can change the
note up to a step and a half higher than the original.
111. Tempo Indication-
Tells us how fast or slow to play a piece of music
BPM- a.k.a. beats per minute, as
shown on the score with the ‘note
value equals to number’ sign at the
start of the music
113. Italian Phrasing Terms
italian abbreviation meaning
cantabile In a singing style
legato smoothly
staccato Short and detached
114. Italian Terms: Misc.
Italian abbreviation meaning
Da capo DC From the
beginning
Dal segno DS From the sign
fine The end
mezzo m half
moderato moderately
poco A little
115. Texture textural features e.g.
monophonic
homophonic
polyphonic
melody and accompaniment,
layering (e.g. background, foreground)
textural density
116. Texture
The use of instrument/s
and the combination of
instruments within a piece
of music.
The thin/thickness of
sound.
117.
118.
119.
120. Form & Structure
Form / Structure Limited to identification and supporting evidence of:
introduction
A–B / binary
A–B–A / ternary
verse–chorus
12-bar blues
bridge
outro / coda
128. In jazz and blues, a blue note (also "worried" note[1]) is a note
that—for expressive purposes—is sung or played at a slightly
different pitch than standard. Typically the alteration is between a
quartertone and a semitone, but this varies among performers and
genres.