Sam Levick presents
HSC Workshop
Yr 11 & 12
Sam Levick - HSC Workshop Yr11-12
Sam Levick presents
HSC Workshop (Yr 11-12)
Introduction:
SA
Sam is a session drummer from Newcastle, Australia. He completed his HSC in 2008
attending Lambton High School. Sam studied the Music 1 course focusing on
performance . He also composed two of his pieces and arranged the other two. In his
performance he designed a program that provided the markers the opportunity to see and
hear him play as many styles as he could fit into 20mins. Sam achieved a Band 6 mark of
94/100, scoring 40/40 for his practical.
In 2009/10 Sam toured the east coast of Australia with Newcastle folk/roots band benjalu.
Whilst touring they played over 80 shows in 9 months and had the opportunity to share the
stage with artists such as Jon Stevens, Ross Wilson and The Living End, as well as
performing at Peats Ridge Festival and Port Fairy Folk Festival.
Sams versatility has seen him perform with Australian Idol finalists, Rick-Lee and Marty
Worrall as well as touring with 2009's 3rd place James Johnston.
MP
Sam released his first EP in November 2010 titled "Choices". The EP was made up of 5 of
Sam's original tracks written and recorded throughout the year. The title track "Choices"
was in the top 5 of the National Youth Week Rock IT songwriting competition judged by
Marcia Hines.
As a composer Sam, has created many drum solos and percussion pieces with one being
selected for performance as a part of the 2008 Star Struck show at the Newcastle
Entertainment centre. Sam organised a group of drummers to create a drum line and
perform the piece along with the male dance group.
LE
!
© Sam Levick 2011 !
1
Sam Levick - HSC Workshop Yr11-12
Sam’s HSC program:
Autumn Leaves was Sam's first HSC piece which was performed by a jazz trio (double
bass, piano & drumkit). This tune is a jazz classic however this arrangement changed
things around. In collaboration with Nic Cecire, Sams drum teacher, they arranged the
piece to feature the drum kit and its many possibilities. The main change involved the
drums playing the melody around the kit. It was a rhythmic rather than tonal melody. The
people that know the song would be able to sing the melody in their head. The group
played the stabs and the B section.
SA
Emozione Reza Perplesta was Sam's second piece, the first of his compositions and first
of his solos. This solo was written early in the year at a performance night where Sam
tested some of his ideas and thoughts on an audience. This piece utilized every second of
the 5mins time limit coming in at 4min56sec (a little close for his teacher’s liking however it
wasn't over the time limit for a penalty). The piece explored the emotion that drums can
express. He used sticks, rods, brushes, mallets and even hands to portray the thoughts
and bring the drums to life. Sam used many different styles and expressive techniques to
keep the piece moving.
LE
MP
Explore Logic was something different, a composition, a solo. However he wasn't the only
instrument playing. Sam was very involved with technology and electronic composition.
Using Ableton LIVE and Logic Pro Sam composed a piece with melodies, change of key,
tempo changes and solo section. The piece was created to incorporate Sam’s
understanding and knowledge of the world of technology. He took it one step further and
used a "hybrid" drumkit. A "hybrid" drumkit consists of acoustic and electronic drums being
used on the same drumkit. Sam began by playing the piece on the electronic and then
moved to the acoustic. He also used percussion samples on the pads throughout the
piece.
I Wish was Sam's final piece. Sam arranged the piece and had a larger band accompany
him. He used trombone, saxophone, keyboard, bass and guitar to portray this classic
piece. The piece showed Sam's versatility, being able to adapt from jazz to solo to
electronic to groove. Sam performed this piece with confidence using groove to drive the
band and adding expressive techniques to show his ability to add colour to the piece.
!
© Sam Levick 2011 !
2
Sam Levick - HSC Workshop Yr11-12
Workshop:
This workshop is based around preparing for your HSC in regards to performance,
composition & viva voce’s. Picking the RIGHT combination is critical and only you can
decide. If you are lucky enough to be able to have a combination of all 3 of them, go with
your strengths.
Attached is material from The Board of Studies including marking criteria and Music 1
marking guidelines.
SA
Preparation Many students think "oh, I can decide my pieces in April or May of year 12" or "I'll pick a
couple now (yr11) then I'll finalize everything sometime next year".
A lot of my friends took on the above approaches. These may work for you however I am
going to go through with you how I approached the HSC and how it helped me and tell you
about a couple more stories of other students preparation.
The key to preparation is to decide your 1st piece and this doesn't have to be your core
piece. If you have chosen performance as your elective you will have the opportunity to
select 3 pieces from a list of styles, genres, periods and themes.
PL
M
Pre performance As the HSC Music practical examination are marked on the day and ONLY on the day you
have 1 chance at getting your piece perfect. Having performance practice is vital to
succeeding well in the HSC practical exam. Whether be in front of your friends, family, at
home, at school, at a gig, small or large it is ALL experience.
Video and Recording You are NOT allowed to record OR video the HSC exam however you CAN record the
TRIAL examination. This is great for students as they can analyze their performance with
teachers, family, friends, peers but most of all YOU get to see how and what you
performed and whether or not it meets your expectations. If you are using an ensemble try
record each rehearsal and analyze it after, or have someone there that can give an
objective opinion of how your playing, how the piece suits you, how the ensemble is
working and how the piece is working with the instrumentation you have decided on. Don't
be scared or nervous when you listen back to what you have played. It is THE best way of
improving. When you film a rehearsal or performance don't think "the camera’s on I have
to play perfect", rather think "the camera’s on I can't wait to watch me rip it up!"
E
Pieces Everyone performs ONE piece. If you choose performance as your elective you will
perform another THREE. You also have the choice of composition or musicology and can
do ONE to THREE of these. If you only choose ONE composition or musicology you will
need to perform another TWO pieces. This formula goes many ways but remember you
perform ONE piece, a CORE piece and you have THREE elective pieces.
When deciding pieces make sure you choose a few pieces and then think about how it will
work, talk to your teacher and show it to them and ask their opinion. Don't select only
FOUR pieces and say "Here's my four pieces". I assure you after 2 years of playing and
learning the pieces you will get over one and not see it the same anymore.
Pick contrasting styles of pieces, try and cover as much as you can keeping in mind you
own abilities. Try and pick at least ONE piece that will challenge you and make you really
!
© Sam Levick 2011 !
3
Sam Levick - HSC Workshop Yr11-12
work hard. By choosing that piece and working really hard, you will see the others pieces
form much easier, quicker and your playing will show how much it has benefited.
SA
Viva voce When it comes to the assessment you will have the choice of performance, composition or
viva voce. “The Musicology viva voce is a two-way discussion between examiner and
student in which the student must demonstrate an understanding of the concepts of music
in the topics studied. The viva voce must have a musical focus based on extensive
listening. Students may focus on a specific area of the topic studied, which they will outline
for the examiners on the ‘Viva Voce Outline Summary Sheet’.” If choosing to be marked on
a viva make sure you pick a subject that your passion about. Have examples to play, or
show throughout that link specifically with your topic. You don’t need to perform a piece,
just excerpts that prove your understanding of the subject you’ve chosen
MP
Composition No matter what you compose EVERYONE has their own method, however in the HSC you
will need to demonstrate a knowledge of compositional skills that relate to your topic of
choice. If you already compose you can work to your strengths as you are in control of
which topic you choose to compose for. You will need to communicate musical ideas with
increasing confidence, accuracy and discrimination. When composing don’t worry about
making mistakes as it’s your composition and you are the only one who can choose how it
sounds or what you might want to include. If you decided to compose you should prepare
yourself by:
• experimenting
• improvising
• arranging
• structuring
• notating
• using different types of technology.
LE
For pop songs I generally begin with chords and then progress to lyrics & melody, where
as when I'm composing an electronic piece I start with melody or bass line and then build
on that base. When composing for HSC, don't change your methods if you already have
them. The composition however must show application of the concepts and an
understanding of how to use the concepts in the correct manner.
It comes down to trial and error. Each and everyone one of us will have our own way in
which we create music that appeals to us. Remember to compose something YOU believe
in and enjoy listening to.
!
© Sam Levick 2011 !
4
Sam Levick - HSC Workshop Yr11-12
SA
The following topics are the contexts available for you to study (compose, perform,
viva voce);
An Instrument and its repertoire
Australian Music
Jazz
Baroque Music
Medieval music
Methods of notating music
Music and religion
Music and the related arts
Music for large ensembles
Music for radio, film, television and multimedia Music for small ensembles
Music in education
Music of a culture (Preliminary course)
Music of a culture (HSC course)
Music of the 18th century
Music of the 19th century
Music of the 20th and 21st centuries
Popular music
Renaissance music
Rock music
Technology and its influence on music Theatre music
LE
MP
Concepts of Music
The content of the syllabus is set out according to the musical concepts of:
•duration
•pitch
•dynamics and expressive techniques
•tone colour
•texture
•structure
Duration:
Duration refers to the lengths of sounds and silences in music and includes the
aspects of beat, rhythm, metre, tempo, pulse rates and absence of pulse.
• beat: the underlying pulse in music
• rhythm: patterns of long and short sounds and silences found in music
• tempo: the speed of the beat. Music may be relatively fast or slow and may become
faster or slower
• metre: the grouping of beats. Beats can be grouped in any combination including 2, 3, 4,
5, 6, 7 and so on.
• regular and irregular metres
• metric groupings
• tempo
• rhythmic devices such as syncopation, augmentation and diminution
• methods of notating duration, both traditional and graphic.
!
© Sam Levick 2011 !
5
Sam Levick - HSC Workshop Yr11-12
Pitch:
Pitch refers to the relative highness and lowness of sounds. Important aspects include
high, low, higher and lower pitches, direction of pitch movement, melody, harmony,
indefinite and definite pitch.
high/low: pitches can be comparatively high or low
direction of pitch movement: up, down, same level
melody: a horizontal succession of pitches
harmony: two or more pitches sounding together
indefinite pitch: untuned sounds, for example, the speaking voice
definite pitch: tuned sounds, for example, the singing voice.
definite and indefinite pitch
pitch direction and contour
pitch patterns
pitch range and register
harmony
methods of notating pitch, both traditional and graphic
various scales, modes and other ways of organising pitch
SA
•
•
•
•
•
•
•
•
•
•
•
•
•
Dynamics and expressive techniques:
•
•
•
•
L
MP
Dynamics refer to the volume of sound. Important aspects include the relative softness
and loudness of sound, change of loudness (contrast), and the emphasis on individual
sounds (accent).
Expressive techniques refers to the musical detail that articulates a style or interpretation
of a style.
a range of dynamics, including gradations
articulations
tempo, including gradations
stylistic indications.
Tone colour:
Tone colour refers to that aspect of sound that allows the listener to identify the sound
source or combinations of sound sources.
E
• sound source material, for example, wood, metal, string, skin, electronic and vocal
• method of sound production, for example, blowing, hitting, plucking, scraping and
shaking
• combination of sound sources, for example, single voice, multiple voices, voices
accompanied or unaccompanied by instruments.
• types of instruments and voices
• combinations of voices and instruments
• acoustic sounds
• electronic sounds
• synthesised sounds
• sound production methods
• traditional and non-traditional ways of using sound sources.
!
© Sam Levick 2011 !
6
Sam Levick - HSC Workshop Yr11-12
Texture:
Texture results from the way voices and/or instruments are combined in music.
• the layers of sound and their function
• the roles of instruments and/or voices.
SA
Structure:
MP
Structure refers to the idea of design or form in music. In organising sound the concepts of
duration, dynamics, pitch and tone colour are combined in some way for a particular
purpose. Structure relates to the ways in which music sounds the same (or similar) and/or
different.
• phrases
• motifs
• riffs/repetitive patterns
• techniques of call and response/question and answer
• traditional and non-traditional patterns of musical structure
• structures used in world music
• structures used in single pieces of music
• multi-movement structures (eg symphony).
Learning Experiences
The learning experiences through which students understand music are performance,
composition, musicology and aural.
Students develop musically through the integration of these learning experiences. These
may include:
Playing
Singing
Moving
Improvising
Discussing
Manipulating
Innovating
Organising
Listening
Evaluating
Recording
Analysing
Observing Creating
Discriminating
LE
Experimenting Responding
(Information about Topics to study and Concepts of Music adapted from the
Music 1 Stage 6 Syllabus written by Board of Studies NSW, 2009)
!
© Sam Levick 2011 !
7
Assessment and Reporting in Music 1 Stage 6
Music 1 HSC examination specifications
The examination will consist of a written aural skills paper worth 30 marks, a core
performance practical examination worth 20 marks and three elective examinations worth
60 marks. The marks for Core Performance and the Electives will be converted to a mark out
of 70, giving a total mark out of 100 for the examination.
Written Paper – Aural Skills
(30 marks)
Time allowed: Approximately 1 hour plus 5 minutes reading time.
• The paper will consist of four short-answer questions.
• Questions may contain parts.
• Questions will relate to musical excerpts reflecting the range of topics offered
for study.
Practical Examination – Core Performance
(20 marks)
Candidates will perform one piece on an instrument or voice.
Maximum performance time will be 5 minutes.
Electives
(60 marks)
Candidates may choose any combination of electives to the value of 60 marks.
Performance (20 marks)
Candidates will perform one piece on an instrument or voice for each Performance
elective.
Maximum performance time will be 5 minutes.
Composition (20 marks)
Candidates will compose and submit one original composition for each Composition
elective.
Maximum composition length will be 4 minutes.
Musicology (20 marks)
Candidates will prepare and present one viva voce for each Musicology elective.
Length of viva voce will be 10 minutes.
See Requirements for the practical examination and electives, below.
7
HSC
Music 1
Marking Guidelines — Practical tasks and submitted works
Practical tasks and submitted works
Task: Performance Core and Elective (20 marks)
Assessment criteria
Candidates will be assessed on their musical effectiveness through:
· Demonstration of technical skills
· Stylistic interpretation of the chosen repertoire
· Sense of musical expression and sensitivity to the chosen repertoire
· Demonstration of solo and/or ensemble techniques
Outcomes assessed: H1, H2, H7
MARKING GUIDELINES
Criteria
Marks
· Demonstrates highly-developed technical skills incorporating
technical fluency, technical facility, intonation and articulation
appropriate to the chosen repertoire
· Demonstrates perceptive stylistic understanding through performing
repertoire using articulation, dynamics and expressive techniques
· Performs with a well-developed sense of personal expression,
demonstrated by the use of appropriate expressive techniques and a
sensitivity to the chosen style
· Demonstrates a highly-developed understanding of solo/ensemble
techniques including understanding of the role of soloist/ensemble
member, communication with accompanist/ensemble and issues of
balance
17–20
· Demonstrates developed technical skills incorporating technical
fluency, technical facility, intonation and articulation appropriate to
the chosen repertoire
· Demonstrates stylistic understanding through performance of the
chosen repertoire using articulation, dynamics and expressive
techniques
· Performs with a sense of personal expression, demonstrated by the
use of expressive techniques and sensitivity to the chosen style
· Demonstrates a developed understanding of solo/ensemble
techniques including understanding of the role of soloist/ensemble
member, communication with accompanist/ensemble and issues of
balance
13–16
· Demonstrates competent technical skills. Some problems in
maintaining technical fluency and technical facility are evident as
are inconsistencies in intonation
· Demonstrates a sense of stylistic understanding through
performance of the chosen repertoire. The articulation and/or
9–12
–2–
HSC
Music 1
Marking Guidelines — Practical tasks and submitted works
Criteria
dynamics and/or expressive techniques may not be consistently
appropriate to the chosen style
· Performs the chosen repertoire with a sense of musical expression,
with an attempt to incorporate expressive techniques appropriate to
the chosen style
· Demonstrates a competent, although not consistent understanding of
solo/ensemble techniques including understanding of the role of
soloist/ensemble member, communication with
accompanist/ensemble and issues of balance
Marks
· Demonstrates some basic technical skill, although there are frequent
inconsistencies in technical fluency, technical facility, and
intonation
· Demonstrates a basic stylistic understanding. Articulation and/or
dynamics and/or expressive techniques are not consistently
appropriate to the chosen style
· Performs the chosen repertoire with little sense of musical
expression
· Demonstrates a limited awareness of the performer’s role as a
soloist/ensemble member, which may be evident through lack of
communication and balance in the ensemble or with the
accompanist
5–8
· Demonstrates very limited technical skills
· Demonstrates little evidence of stylistic understanding of the chosen
style
· Performs the chosen repertoire with little or no sense of musical
expression
· Demonstrates little or no awareness of the performer’s role as a
soloist/ensemble member
1–4
–3–
HSC
Music 1
Marking Guidelines — Practical tasks and submitted works
Task: Musicology Elective Viva Voce (20 marks)
Assessment criteria
Candidates will be assessed on how well it demonstrates:
· A musicological focus
· An understanding of the chosen topic
· An understanding of musical concepts and the relationship between them
· Relevant musical examples that support the discussion
Outcomes assessed: H2, H4, H5, H6, H7
MARKING GUIDELINES
Criteria
Marks
· Discussion has a clear and consistent musicological focus
· Demonstrates a perceptive understanding of the chosen topic
· Demonstrates high level aural awareness and understanding of musical
concepts and their relationship to the chosen topic
· Supports the discussion with relevant musical examples
17–20
· Discussion has a musicological focus
· Demonstrates a detailed understanding of the chosen topic
· Demonstrates thorough aural awareness and understanding of musical
concepts and their relationship to the chosen topic
· Supports the discussion with relevant musical examples
13–16
· Discussion has a musicological focus but may be inconsistent
· Demonstrates a generally sound understanding of the chosen topic
although there may be some inaccuracies
· Demonstrates some aural awareness and ability to discuss the use of
musical concepts in the chosen topic
· Presents relevant musical examples
9–12
· Makes an attempt to provide a musicological focus in the discussion
· Demonstrates basic understanding of the chosen topic
· Demonstrates basic aural awareness and skill in discussing the musical
concepts
· Presents some musical examples
5–8
· Discussion lacks a musicological focus
· Demonstrates limited understanding of the chosen topic
· Demonstrates limited aural awareness and skill in discussing the musical
concepts in the repertoire studied
· Uses irrelevant or inappropriate musical examples
1–4
–4–
HSC
Music 1
Marking Guidelines — Practical tasks and submitted works
Task: Composition Elective (20 marks)
Assessment criteria
Candidates will be assessed on how well they demonstrate:
· Stylistic understanding and topic representation
· Understanding of musical concepts and the relationships between them
· Knowledge of score conventions and performance directions
Outcomes assessed: H2, H3, H5, H7
MARKING GUIDELINES
Criteria
Marks
· Composes a work that successfully and coherently represents the chosen
topic, demonstrating perceptive and accomplished understanding of style,
the concepts of music, and the relationships between the concepts
· Demonstrates comprehensive knowledge and understanding of score
conventions and performance directions appropriate to the chosen topic
· Demonstrates high level skills in organising ideas into musical structures
17–20
· Composes a work that successfully and coherently represents the chosen
topic, demonstrating a thorough understanding of the style, the concepts of
music, and the relationships between the concepts
· Demonstrates a detailed knowledge and understanding of score
conventions and performance directions appropriate to the chosen topic
· Demonstrates proficient skills in organising ideas into musical structures
13–16
· Composes a work that represents the chosen topic, demonstrating an
understanding of the style, the concepts of music, and the relationships
between the concepts
· Demonstrates knowledge and understanding of score conventions and
provides clear performance directions appropriate to the chosen topic
· Demonstrates skills in organising ideas into musical structures
9–12
· Composes a work that is a basic representation of the chosen topic,
demonstrating some understanding of the style, the concepts of music, and
the relationships between the concepts
· Demonstrates basic knowledge and understanding of score conventions
and provides limited performance directions appropriate to the chosen
topic
· Demonstrates basic skills in organising ideas into musical structures
5–8
· Composes a work that is a limited representation of the chosen topic,
demonstrating little understanding of the style, the concepts of music, and
the relationships between the concepts
· Demonstrates limited knowledge and understanding of score conventions
and provides few performance directions appropriate to the chosen topic
· Demonstrates limited skills in organising ideas into coherent musical
structures
1–4
–5–