Music Teaching Resource

Book
Homegroup First Day

Performance Calender
Instruments – Who needs?
Email or Facebook?
Rehearsal Times
Ensemble Experience
Recruit / Decruit
Student Profiles
Watch Vide

Home Group Week 2

Decruit: Celeste Miencke, Bronte Freeman (Patrick Oakley Drama)

Email addresses: Olivia Cordwell, Jordan Glover, Georgia Harris-Love, Emily House, Claire Potter,
Thomas Francis

Tuba Bb or Eb?

Split rhythm section into groups

Dropping ‘Just a gigolo’ in favour of RESPECT

Homegroup week 3

Aerosols
UTAS wind ensemble EOI

Week 4
UTAS Wind
Vocal Group
Show Higher Ground Ending
Mona?
 Performance
Individual Practicing
General
 People can always improve
 Noticing aspects for improvement,
not just accuracy of mastering notes Self-evaluate and articulate musical goals
 Thinking of musicianship, groove, and technical flaws
fluency, improvisation, sight -Where do you want to get to?
reading, aural exercises -What are your flaws?
 People learn things differently -How do you learn?
 Building up a toolbox of technical
skills / a facility to be flexible to Discuss people in the room, their goals and
perform a range of repertoire potential practice techniques
 There is a difference between
noodling/playing and practicing
Evaluating Research different practice techniques
 Analyse strengths and weaknesses
 Research and work out best way
forward Set individual practice routines
Instrumental Technique
 Technique explained
 Picking relevant technical exercises
Practice techniques
 Technical Scales and excercises
 Repeating phrases
 Slow repetition
 Muscle memory
 Working on 1-3 aspects at a time
 Using a metronome
 Use original recordings, or backing
tracks – aim to compliment
recording
 Dynamics - accenting
 Developing natural fluency
 Developing groove
 Record and listen back
 Sight reading exercises
 Ear transcriptions
 Ear call and response
  Learning lyrics
 Tone production
 Mental preparation
 Improvisation
 Articulations
Practice routine
 Repeated practice sessions that
work specifically on your goals
 Regular time, short bursts, long
practice sessions (take breaks)
Motivation
 Although some people are strict on
their practice routine, make sure
you have a routine that keeps you
motivated
 Use practical performances to
motivate you
Rehearsing
Rehearsal etiquette Simulated rehearsal
 Be on time
 Be punctual
 Work as a team Rearrange a new song
 Be organised / take notes
Rehearsal tips
 Balance your levels
 Listen to what others are playing
 Leading and following
 How can you compliment
 Start with one idea from one person
and develop as a group
 Be prepared to let go of ideas during
workshopping
 Think about the effect of making an
instrument sparse instead of busy
 Be creative with the structure of a
song (change layering, texture)
 Remember ideas can take on a
different shape with new groove,
pitches, dynamics or texture
 Rehearse with a click track
 Jam and record – listen back and
pick your ideas
Aural
 Transcriptions Song analysis
 Ear training
 Intervals Call and response
 Harmony
 Rhythmic Transcribe a solo

Work out a chord progression by ear

Theory
 Song elements
 Bass
 Structure
 Harmony
 Pitches (scales)
 Key Centres
 Improvising
 Rhythm and groove
Composition
 Harmonic progressions
 Melodic hooks
 Rhythm section synergy
 Vocal melodies and harmony
 Lyrics
 Awareness of soundscape and space
 Arranging for radio vs live
performance
Improvisation
 The art of matching scales with
harmonies
 Creating ideas out of a palette
 Building a toolbox
 Transcribing
 Good improvisation progressions
 Improvisation scales
Performance
 Stage presence / character Performance analysis
 Presenting songs
 Physical traits
 Mental traits Performance Class
 During the performance
 Eye contact
 Movement on stage Write cues for each song to perform
 Constructing a set / segues
 Dealing with nerves
Write a set – include cues and lighting
 Connecting and engaging an
audience
 Crowd participation
 Planning for problem solving
 Audio
Sound
 Science of sound
 Frequencies and measurements
 Characteristics of sound in different
environments
 Principles of sound reinforcement
 Principles of recording
General
Equipment
 Mixer
 Rack (EQ, Effects)
 Stage box
 Recording interface
 Headphones
 Power amplifiers
 Active and Passive speakers Using a graphic EQ show the different
Cabling frequencies
 XLR
 1/4 inch
 RCA to 1/8th inch Use EQ on each instrument and discuss
 Speaker leads
 Balanced cables
 Adapters Tune the PA system
 Extensions
 Rolling leads
Microphones
 Dynamics Explore effects live
 Condensers
 DI boxes
 Diaphram
 Brands
 Phantom power
Simulated PA setup (different contexts,
Front of House / Fold Back
Theatrette, Big Room, Dungeon)
Signal path
Impedance
Effects
 Reverb
 Delay
 Distortian
 Chorus
 Phaser
 Flanger
 Tremelo
  Vibrato
EQ
Sound reinforcement
Context
 Selecting the right equipment for
the job
 Considerations
 Mixing desk out front vs on stage
PA setup
 Connecting components
 Switching on and off
 Dealing with power and audio
 Tuning the system
 Feedback vs volume
Line Check
 Setting levels and gains
 Fold Back levels
Sound Check
 Balancing levels
 EQ
 Effects
 Process for mixing
Performance
 Dealing with different technical
requirements
 Dealing with issues
Evaluation
 Write up process
 How did you deal with mistakes
Recording
Analysing other recordings
 Identifying elements Analyse recordings
Recording Process
 PreProduction
 Set up
 First round Open an existing professional project
 Over dubs
 Mixing
 Mastering
 CD production
 Distribution / Online / in store Class mix
Contexts
 Selecting the proper gear and
process
 Radio Edit vs Live arrangement
 Demo recordings
Interface
Microphones
 What they are and what they are
best for
Using the software
 Setting up a project
 Checking gains
 Sending signal to headphones
 Microphone placement
 Recording
 Software editing
 Overdubs
 Mixing
 Mastering
 Bouncing
MIDI
 Software instruments
 MIDI controllers
 Editing MIDI data
EQ
 Manipulating EQ for a project
FX
 Choosing the right FX for the project

Industry
General
How the music industry works
 Audience
 Clients
 Venues
 Organisers
 Events
Music as a Trade / business / service
Impact of technology
Local
Pathways in Hobart Brainstorm venues in Hobart – and what
Jobs genres they cater for
Venues
Musicians
Finding work
Approaching venues

Goal setting
Defining your product / service
Strategy for development – Timelines
Problem solving
Diversification
Event planning
Event planning Apply for an event or festival
Timelines and deadlines
Breaking down to smaller tasks
Defining roles and responsibilities
Technical requirements
Event management
Implementing planning
Stage management
Promotion
Create a portfolio / Resume Analyse famous groups and see what their
Biographies promotion strategy is
Photos
Recordings
Videos
Internet
Social media
Branding
Graphic Design
Press release
Internet opportunities
Marketing / planning
Radio Stations
How they work
Approaching them
Preparing for interview
Sole Trader Business
The hobby form Create an Excel spreadsheet for a sole-
Setting up ABN trader business
Keeping financial records
-Profit loss
-Tax
-Superannuation
Contracts

Copyright
Royalties Copyright assignment (break down a song
Legislation into royalties)
Performing royalties
Look at royalty splits Sign up to APRA
Mechanical royalties
PPCA
APRA
 Record Companies
Technology impact on record sales Create a Hobart College record label
How a record company works
A & R reps
Label
Publisher
Distribution
Promotion
Tours
Corporate deals (advertising, sponsorship)

OHS
Generic Industry OHS practices
OHS act explained
Hazard
-What are they Look at case studies of prosecutions
-Identifying and reporting
Risk Fill out Hazard reports
-Reducing or eliminating risk
-Risk Management form Emergency drill
Systems
Duties of workers / employers
Scenarios
Music industry OHS
Sound Hazards Safe hearing worksheet
-Safe hearing levels
Trip Hazards
Heavy Lifting
-Manual Handling
Electrical Hazards
Stability

House Band
Tuning Listen to Big Bands
Articulations
Groove
Improvisation theory Improvisation excercises
-Pitches
-Groove
-Musicality statements / Climax Balance and build up jams
Improvisation practice
 Music 3
1 Intro Orientation of rooms and gear
 Teachers / Tutors
 Computers – Explain keychain Students fill
 PA Equipment / recording out profile
 Instruments / Music Stands / Mic Stands
 Repertoire
 Backing tracks
 Performance and recording requests Introduction
 Calender Performances
 Fronter

Overview of course
Questions
 Hand out log books
 Relationship between UTAS / Music 3 / Music studies
 Performance / Composition / Improvisation strands
 Talk through Criteria
Show and Tell
 Assessment – Mid year exams, end of year exams,
assignment list

Get to know you

 What instrument?
 What genre?
 Favourite performance / band
Practice to perform after Recess

Performance class / get to know you class

1 Fri News and what’s coming up Discussion

about
-Go Through formulae for working out / writing scales practicing
-Work Sheet
Ben Zander
-Start on glossary terms
-Score reading
-Perform next week Key Centres
-Mark work sheet

Summarising theory concepts

 Why key centres are important
 Key centres and circle of fifths Class Analysis
 Major scales
 Diatonic / Chromatic
 Explain relative minor, harmonic minor, melodic minor, Fill out
 chromatic glossary
 Extension Whole tone, major pentatonic, blues scale

BEN ZANDER

NEXT TIME Perform at start of class – Composer, genre, context of

why the piece was written, why you like it
Critical listening
 Listen to a performance and analyse:
 Duration.
Refers to rhythms, tempos, time signatures and everything else in
between. Think polyrhythms, backsbeats, syncopation, quavers,
minims, 7/8, 4/4 etc.

Pitch.
Pitch refers to the notes being played. Think octaves, key
signatures, tonality, notes, triads, intervals etc.

Dynamics.
Louds and softs. Think of instruments that create these
atmospheres - what type of playing creates the louds or the softs?
This is a good concept to link with others.

Tone Colour.
It refers to the sounds created by performing media and
encompasses how the sounds are made (i.e. expressive
techniques) and where they come from (i.e. The instrument that it
is played on).

Texture.
Texture is the amount of instruments playing at once, pretty much.
Polyphonic textures incorporate many instruments at once (I.e. a
rock band) and homophonic textures are usually smaller, such as a
piano and vocals or guitar and bass. These of course are not the
only 2 types of texture.

Structure.
Structure refers to the actual structure and placement of various
parts of the song. Example:
Intro/Verse/Chorus/Verse/Chorus/Bridge/Solo/Chorus/Chorus.
There can be binary structures, as well as things like ABCABCD
structures etc.

 Harmony
 Melody
 Compositional devices
 Glossary

After Recess:
 Practice for intro performance
 Performing
2 Wed News and what’s coming up (Assembly week 3) Answers on
 the board
Class review of circle of fifths, and scales

Intervals
 Why intervals are important, helpful to analyse, create,
improvise, sight read, perform
 Explain diatonic intervals
 Explain minor intervals
 Perfect intervals
 Diminished or augmented

Group Workshop Critical listening session

 Why critical listening is important
 How to critique / Performance class etiquette
 All to help individual journey, not to cause damaging
 comments or judgements
 Balancing levels
 Review performances – unpack fluency, accuracy,
atmosphere, mood creation, stage presence
 Defining technical terms Duration, pitch, tone colour,
texture, dynamics and structure terms
 Perform and balance

Assign a student to present favourite song

2 Fri News and what’s coming up (Assembly week 3) Interval
Worksheet
Student presentation

Intervals Interval aural

 Why intervals are important, helpful to analyse, create, spot test.
improvise, sight read, perform Self-
 Explain diatonic intervals assessment
 Explain minor intervals
 Perfect intervals
 Diminished or augmented Performance
 Identifying intervals aurally class

Picking repertoire
 10-15 minutes (approx. 4/5 songs)
 Range of styles
 Aim for grade 5 / 6 standard
 Skip repeats unless embellishing
 Improvised component 1 third
 Strongly recommend a transcription
 Follow the written music
  Repertoire cabinet
 Online repertoire

After Recess:
 Practice for intro performance
 Performing
3 Wed News and what’s coming up

Theatre Concert Spiel Review

intervals

Quick review on intervals Fill out

 Why intervals are important, helpful to analyse, create, listening
improvise, sight read, perform portfolio
 Explain diatonic intervals
 Explain minor intervals
 Perfect intervals
 Diminished or augmented
 Identifying intervals aurally
How do you
ShowTQA Website practice?

Listening session
 Start Listening portfolio
Hand out
Introduction to transposition practice plan
 How do we transpose for other instruments? assignment
 Bb Clarinet?
 Eb Alto sax?

Mixed workshop on how to practice

General
 People can always improve
 Noticing aspects for improvement, not just accuracy of
mastering notes
 Thinking of musicianship, groove, fluency, improvisation,
sight reading, aural exercises
 People learn things differently
 Building up a toolbox of technical skills / a facility to be
flexible to perform a range of repertoire
 There is a difference between noodling/playing and
practicing
Evaluating
 Analyse strengths and weaknesses
 Research and work out best way forward
Instrumental Technique
  Technique explained
 Picking relevant technical exercises
Practice techniques
 Technical Scales and excercises
 Repeating phrases
 Slow repetition
 Muscle memory
 Working on 1-3 aspects at a time
 Using a metronome
 Use original recordings, or backing tracks – aim to
compliment recording
 Dynamics - accenting
 Developing natural fluency
 Developing groove
 Record and listen back
 Sight reading exercises
 Ear transcriptions
 Ear call and response
 Learning lyrics
 Tone production
 Mental preparation
 Improvisation
 Articulations
Practice routine
 Repeated practice sessions that work specifically on your
goals
 Regular time, short bursts, long practice sessions (take
breaks)
Motivation
 Although some people are strict on their practice routine,
make sure you have a routine that keeps you motivated
Use practical performances to motivate you

3 Fri -Go Over all formulas for scales and intervals

-We need to be solid with scales/intervals otherwise we’ll get left
behind
-Worksheet time
-Terms and Definitions work through

Zander
-Listening forms
-Next Week rhythm
-Assignments
-Practical worksheet
News and what’s coming up
 Recap on practicing, show and tell
 Show my practice routines from the Conservatorium
 Show my practice journal
 Discussion
 Recap practice planning assessment

Transposition Worksheet
 Introduce alto / tenor clefs
 Go through what instruments transpose

Transposition examples on board

After Recess:
 Practice for intro performance
 Performing

4 Wed News and what’s coming up (Meet the parents eve)

Theatre Concert
-Friday we’ll kick off with a performance / Performance proforma

Introduce Duration
 Go through all note values including dotted
 Time signatures
 Beat
 Simple / Compound
 Aural recognition of time signatures (Play examples)

Benny Grebb Rhythms

Composition Assignment

4 Fri Go Over Theory Concepts (Test Next week) – 15 minute Recap Duration
Listening proforma Worksheet
Composition Assignment

News and what’s coming up

 Meet the parents eve
 Planning assignment due

Student Share time

Duration
 Triplets and duplets
 Ties and rests
  Time signatures
 Beat
 Simple / Compound
 Aural recognition of time signatures (Play examples)
 Note groupings
 Duration worksheet

Aural Rhythmic dictation intro

After Recess:
 Practice for intro performance
 Performing

5 Wed News and what’s coming up

10 minutes listening / definitions and terms

Compositions / Test revision

Revise
 Key centres
 Intervals
 Transposition
 Duration
 Aural intervals, rhythmic duration

Groove Workshop
 Feeling subdivision and beat
 Swing
 Locking in with other musicians
 Back beat
Prac

Tom
Singers to workshop
Auralia setup

5 Fri News and what’s coming up Revision

Worksheet
Student Share time Aural and
theory
Theory Test

Listening session (if time)

 After Recess:
 Practice for intro performance
 Performing
6 Wed Composition Assignments
6 Fri Performing / Harmony
7 Wed Performing / Harmony
7 Fri Performing
8 Wed Harmony
8 Fri Harmony
9 Wed Harmony Revision test / jamming improvising
Term 2
Wk3 Evaluation / UTAS Performance class
One week extension on assignment
Wk3 Compositional Devices
Assignment time
Practice
Wk4 UTAS Wind Ensemble
Exam Aural Questions (Rhythmic dictations)

Exam Theory (Question 10 Compositional devices)

Wk4 Aural Exam Questions

Exam Question (Question 9 Transposition)
Wk5 Talk through plan with Janelle

Set up Tutorial times

Go through self-assessment activity

Introduce composition assignment – Keep it simple, examiners want

to see you follow the rules, not break them!
Wk5

Wk6
Pippin
Wk6
Pippin
Wk7
Pippin
Wk7 Exam Performance Class Pippin
Wk8

Wk8
Olinda
Groove
Wk9

Wk9
Taste of
College
Wk10 Mid-Year Exams MYAP
Wk10

Wk11

Wk11

TERM 3
Wk1 Negotiated Study (Theory 5, Appraisal)
Transcription (Aural Theory)
Composition assignment (With picture)
Interventions
Class compositions
Applied theory (play on instruments)
Extension classes

Wk1
 Overview the term
 Listening research
 Set Critique assignment
Wk1
 Negotiated Study
 Applied Theory
 Goal setting for music studies
 Student interventions
Wk2
 Introduce Composition Assignment
 Listening Research (Music Timeline)
Wk2
 Applied theory
 Performance of compositions
Wk3

Wk3

Wk4

Wk4
 Composition assignment due
Wk5
 Negotiated study Part A due
Wk5
 Set Transcription assignment
Wk6

Wk6

Wk7

Wk7
 Transcription Due
Wk8

Wk8

Wk9

Wk9
 Negotiated Study Part B Due
Wk10

Wk10
 Critique Due

VET Music
1 Intro Orientation of rooms and gear
 Teachers / Tutors
 Computers – Explain keychain Students fill
 PA Equipment / recording out profile
 Instruments / Music Stands / Mic Stands
 Repertoire
 Backing tracks
 Performance and recording requests Introduction
 Calender Performances
 Fronter

Outdoor Concert
Questions
 Set up PA
 Sound check
 Perform
Show and Tell
Get to know you
 What instrument?
 What genre?
 Favourite performance / band

Overview of course
 Hand out log books
 Relationship between VET and Contemporary
 Performance / Audio / Industry strands
 Talk through Units
 Assessment – on the job
 Plans for the year – Record Label, Showcase performances,
Musical, Events, Festival, CD Launch, Keep Radio going

2 Tues SLOT 1 -
Welcome and what is coming up
  Plans for the year – Record Label, Showcase performances,
Musical, Events, Festival, CD Launch, Keep Radio going –
Show calender

Practice time – the brief is to perform something at the end of the

session

SLOT 2
Hand out log books
Discuss assessments for the year
Look at listening sheet
Listening show and tell
-Why you like this song
-On the spot analysis

-Chat about Industry

-What does making it in the music industry mean to you?
-Types of gigs that are out there
-The landscape in Hobart
-Original Music / Cover music
-Getting people to your shows
-Making Money
-Starting this Record Label

Don’t fill out sheets, just discuss

Mingle time with contemporary Music

SLOT 3
Performance class
2 Thurs SLOT 1
 Log Books
 Daily info Look at case
 Aural listening activity studies of
 PA induction / activity? prosecutions
 Practice planning
Fill out Hazard
 Practice for performances
reports
 Potential lunch time performance sooner rather than later?
Emergency
Next Week
drill
OHS assignments

Safe hearing
Defer!! worksheet
‘Student presentation’

What is happening

Generic Industry OHS practices

OHS act explained
Hazard
-What are they
-Identifying and reporting
Risk
-Reducing or eliminating risk
-Risk Management form
Systems
Duties of workers / employers
Scenarios
Sound Hazards
-Safe hearing levels
Trip Hazards
Heavy Lifting
-Manual Handling
Electrical Hazards
Stability

Set Assignment

SLOT 2
Practice to perform

SLOT 3
Performances / Practice (Mingle time)
3 Tues SLOT 1 Practice Time
Intro video / Science meets music
Daily info sheet
What is happening?

RECORD LABEL ACTION PLAN

-Look at year of performances and briefly plan the shows…
-Name -Deadline
-Logo / Branding - Deadline
-Facebook page
-My job / Legal requirements / what our boundaries are

Prac – BEX practice / Assembly / Twilight Market / Facebook page

Rhys – Piano theory / Radio Induction
Zena – Assembly
Ashley backing tracks
Helpers for assembly (2)

SLOT 2
PA Equipment orientation

Equipment
 Mixer
 Rack (EQ, Effects)
 Stage box
 Recording interface Using a
 Headphones graphic EQ
 Power amplifiers show the
 Active and Passive speakers different
Cabling frequencies
 XLR
 1/4 inch
 RCA to 1/8th inch Use EQ on
 Speaker leads each
 Balanced cables instrument
 Adapters and discuss
 Extensions
 Rolling leads
Microphones Tune the PA
 Dynamics system
 Condensers
 DI boxes
 Diaphram
Explore
 Brands
effects live
 Phantom power
Front of House / Fold Back
Signal path
Impedance
Effects
 Reverb Simulated PA
 Delay setup
 Distortian (different
 Chorus contexts,
 Phaser Theatrette,
 Flanger Big Room,
 Tremelo Dungeon)
 Vibrato
EQ

Head down to the theatre (take 1 item each) – talk through the
system
Sound reinforcement

Context
 Selecting the right equipment for the job
 Considerations
 Mixing desk out front vs on stage
PA setup
 Connecting components
 Switching on and off
 Dealing with power and audio
 Tuning the system
 Feedback vs volume
Line Check
 Setting levels and gains
 Fold Back levels
Sound Check
 Balancing levels
 EQ
 Effects
 Process for mixing
Performance
 Dealing with different technical requirements
 Dealing with issues
Evaluation
 Write up process
 How did you deal with mistakes
SLOT 3
Recap WHS assignment
Assignment time
3 Thurs SLOT 1
What is happening?
Log books now in classroom

-LITERACY AND NUMERACY

http://lln.safework.com.au/

-Come up with name

-Who is designing logo
-Who is setting up facebook page / Webpage
-How do we want to present our theatre show?
-Who is promoting

Planning Assignment

-Lunch time Concert in open area Next Thursday

-Audio Recap
DI Boxes
Graphic EQ
Effects (Show on Mac)

-NEXT WEEK – First assignment WHS

‘Student Presentation’

Recap WHS

Recap Sound Reinforcement

How To Practice

General
 People can always improve
 Noticing aspects for improvement, not just accuracy of
mastering notes
 Thinking of musicianship, groove, fluency, improvisation,
sight reading, aural exercises
 People learn things differently
 Building up a toolbox of technical skills / a facility to be
flexible to perform a range of repertoire
 There is a difference between noodling/playing and
practicing
Evaluating
 Analyse strengths and weaknesses
 Research and work out best way forward
 Instrumental Technique
 Technique explained
 Picking relevant technical exercises
Practice techniques
 Technical Scales and excercises
 Repeating phrases
 Slow repetition
 Muscle memory
 Working on 1-3 aspects at a time
 Using a metronome
 Use original recordings, or backing tracks – aim to
compliment recording
 Dynamics - accenting
 Developing natural fluency
 Developing groove
 Record and listen back
 Sight reading exercises
 Ear transcriptions
 Ear call and response
 Learning lyrics
 Tone production
 Mental preparation
 Improvisation
 Articulations
Practice routine
 Repeated practice sessions that work specifically on your
goals
 Regular time, short bursts, long practice sessions (take
breaks)
Motivation
 Although some people are strict on their practice routine,
make sure you have a routine that keeps you motivated
Use practical performances to motivate you

SLOT 2
Practice time – Give them an interesting brief

SLOT 3
Performance class
4 Tues SLOT 1
What is happening? – Thursday Lunch Time Concert
Certificate III
Performance Planning
Theatre Planning – Stage Plan
Facebook
Press Kit
 Other Band

Practice time – Working towards theatre concert – Slot 3

performance class

SLOT 2
OHS
Generic Industry OHS practices
OHS act explained – Navigating the website
Hazard
-What are they?
-Identifying and reporting
Risk
-Reducing or eliminating risk
-Risk Management form
Systems
Duties of workers / employers
Scenarios
Sound Hazards
-Safe hearing levels
http://www.gcaudio.com/resources/howtos/loudness.html
Trip Hazards
Heavy Lifting
-Manual Handling
https://www.youtube.com/watch?v=TS1EFK96fiI
Electrical Hazards
https://www.youtube.com/watch?v=As6e9MDm3EM
Stability

Set Assignment

Equipment orientation Recording

SLOT 3
Performance Class
4 Thurs SLOT 1
Olinda Groove
Equipment orientation continued
Listening session
Certificate III
Facebook
Logo after lunch

SLOT 2
Set up
 SLOT 3
Practical time
WHS assignment due

5 Slot 1
Tuesday
Shhorr Videos
Lunchtime concert de-brief
Another one this week
Olinda Groove Update
-Logo almost complete
-Likes are rolling in
-We need bio embellished – Talk about language / target audience
Dungeon show
Session band for Siobhan
Cert III
Meet Parent evening PA setup

Recording orientation
Recording Process
 PreProduction
 Set up
 First round
 Over dubs
 Mixing
 Mastering
 CD production
 Distribution / Online / in store
Contexts
 Selecting the proper gear and process
 Radio Edit vs Live arrangement
 Demo recordings
Interface
Microphones
 What they are and what they are best for
Using the software
 Setting up a project
 Checking gains
 Sending signal to headphones
 Microphone placement
 Recording
 Software editing
 Overdubs
 Mixing
 Mastering
 Bouncing
MIDI
  Software instruments
 MIDI controllers
 Editing MIDI data
EQ
 Manipulating EQ for a project
FX
Choosing the right FX for the project

Slot 2
Siobhan O’Rourke talk

Slot 3
Prac loose ends
-Zen Bio
-Cert III Oscar, Finn, Alex, Bri, Emily
-Dungeon show
-Rhys Dance Staff room
-Devlin (Pippin, Almost Like Being in Love)
-Sam Lilley and Bronte
-Reply to Callum

5 1. Press Release Olinda Groove / Photo

Thursday

2. Lunchtime concert today

3. Dungeon

4. Line-up Mixing for Concert

Recording orientation
Recording Process
 PreProduction
 Set up
 First round
 Over dubs
 Mixing
 Mastering
 CD production
 Distribution / Online / in store
Contexts
 Selecting the proper gear and process
 Radio Edit vs Live arrangement
 Demo recordings
Interface
 Microphones
 What they are and what they are best for
Using the software
 Setting up a project
 Checking gains
 Sending signal to headphones
 Microphone placement
 Recording
 Software editing
 Overdubs
 Mixing
 Mastering
 Bouncing
MIDI
 Software instruments
 MIDI controllers
 Editing MIDI data
EQ
 Manipulating EQ for a project
FX
Choosing the right FX for the project

TERM 2
Wk3 Gig stories – ONYX / look after your group

Press Kits – What have you learnt? / Progress?

Who hasn’t got an assignment?
Due Next Thursday

Olinda Groove Records Meeting

-Lock in date for gig/venue (currently Sunday 14th)
-How many recordings do we have currently?
-Can we start releasing through the facebook page?
-Compilation CD / How do we approach target audience, Do we
take on 2 releases?
-Producing, we’d like to produce groups from Contemporary music
and High Schools
-What local bands could we approach for recordings?

Recording
Avoid the settings on the back

Show and tell Rob Longs recording / Alistair Campbell

Pre-Production what is involved
 -Working out tempo
-Working out method / overdubs
-Pre-empting issues
-Practicing with click track
-Do a room recording and evaluate

Recording
-Guide tracks and capturing drum tracks

FX SHOW AND TELL

-Delay, Reverb, Compression, EQ, Modulation Effects
Post Production
-Overdubs
-MIDI
-FX
-EQ
-‘Comping’

Prepare for recording next lesson

Wk3

Lunch time concert

Release something on Olinda Groove
Press Kits are due next week
Book in people for recording
Pippin back stage Jack / Cal
Wk4 Listening Analysis

Pippin Bump In
Wk4 Press Kit Due

Wk5 Recording Simulated Session

Drums / Bass / Electric / Guitar / Vocals Recording

Song writing from a recording point of view and Production topics

Wk5 COPYRIGHT

Wk6
Pippin
Wk6
Pippin

Wk7 Live arrangements (The Mornings) Pippin

Wk7
Pippin

Wk8 WHS ASSIGNMENT

Wk8
Olinda
Groove

Wk9

Wk9
Taste of
College

Wk10
MYAP

Wk10

Wk11

Wk11

TERM 3
 Performance projects
Gig planning (shows)
Update Log Sheet
Certificate III tasks
Wk1
 Planning assignment (Set assignment for Cert III)
 Plan for CD release
 Workplace evaluations / Negotiated Projects /
Interventions
 Line up someone for Crystal recording
 Line up someone for Felicia recording
 Assembly set up
 USI

Wk1
 Business Assignment

Wk2
 WHS Assignment
 Production Group A
 USI
Wk2
 Production Group B
 Business Assignment

Wk3
 Production Group B
 WHS assignment
 USI
Wk3
 Aural analysis
 Production Group A

Wk4
 I8 Research Assignment (Part A)
 USI

Wk4

Wk5
 Industry Tour
 USI

Wk5
 Industry Tour
Wk6
 Aural Analysis
 USI

Wk6
 Research assignment due

Wk7
 Audio revision
 USI

Wk7
 Audio Test

Wk8
 USI

Wk8
 I8 Negotiated Study Due

Wk9
 Theatre Gigs
 USI

Wk9
 Theatre Gigs

Wk10
 All tracks finalised for CD
 Audiotest
 USI
Wk10
 Olinda Groove / Mall

Music Terms and Composition Techniques Glossary

Term Definition Examples

General

Miles Davis Kind of Blue

Improvisation
Metronome
BPM
marking

https://www.youtube.com/watch?v
=PhRa3REdozw Bach fugue in
Polyphony is a property of Gminor
musical instruments, meaning
they can play multiple notes
simultaneously. Instruments
Polyphony
featuring polyphony are said to
be polyphonic. Instruments that
are not capable of polyphony are
monophonic

https://www.youtube.com/watch?v
=3xW-9Uv1R1A Bartok
Polytonality Two keys at once
Mikrokosmos Vol. 5 No. 125

Structure

Binary Form AB

Ternary Form ABA

Rondo ABACA

http://www.jacmuse.com/artisticconc
epts/newpage23.htm

Theme and
Establish a theme, then
Variation https://www.youtube.com/watch?v=GoXh
repeat and vary!
JViohzo – Franz Schubert Impromptu op. 142
No.3 B flat major

Call and https://www.youtube.com/watch?v=A

Response nQTGdEHpIM

Route 66

https://www.youtube.com/watch?v=A
nQTGdEHpIM
12-Bar Blues

Dal Segno DS

Da Capo al
Fine
DS al Fine

Bar Repeat

Compositional Devices

Riff

A short melody or pattern that is

Ostinato constantly repeated, usually in
the same part at the same pitch.

It is a constantly repeated short

Rhythmic
rhythmic pattern. A looped
Ostinato sample perhaps

Augmentation
Repeating phrase and
 increasing note value

Repeating phrase and

Diminution
decreasing note value

Repeating the phrase on a

Sequence
higher or lower pitch

Retrograde
Repeating it backwards

Inversion Inverting pitches

Ground Bass

Syncopation

Modulation

Whole Tone
Tonality
Chromaticism

Canon/Imitatio
n

Drone / Pedal
Point

Dynamics

Crescendo

Diminuendo /
Decrescendo

Sforzando

Poco

Poco a Poco

Molto
Staccato

Legato

Tenuto

Marcato
Accent

Martellato
accent

Fortissimo

Forte

Mezzo forte

Mezzo piano

Piano

Pianissimo

Instrumental Techniques
Pizzicato

Tremolo

Melodic
Decoration

Arco

8va

8vb

Glissando

Scoop

Trill

Mordent
Turn

Pitch bend

Hammer on /
Pull off

Drop Note

Grace note

Flam

Ripple Chord /
Arpeggio

Rim Click

Rim shot
 Rhythm and Tempo

Accelerando

Rallentando

Ritardando

Meter Change

PolyRhythm

Irregular Time
Signature

Tempo
Change

Adagio

Adante
Allegro

Moderato

Presto

Vivace

Accelarando

Meno Mosso

Piu Mosso

A tempo

Rubato