HSC Stuff > HSC Music
AA Club - Week 1
DalvinT:
--- Quote from: jamonwindeyer on September 19, 2017, 12:53:54 am ---You are welcome! Love your response - You picked up on some tricky little things! Great work on describing the shape of the melody - But you could go further, what about the melodic range? Was it all steps? Don't forget you can draw melodic contours in exam scenarios ;D
I'd say the melody is played in the middle register of the instrument too - And to address the difference in yours and Katie's responses in terms of tonality, the piece is in C minor (so, minor, you obviously aren't expected to know it's in C), but there are accidentals. So definitely some major tonality in there too. So you are both correct ;D
My biggest feedback for you Caitlin would be staying on topic - You had stuff in here on structure, dynamics, expressive techniques - Keep it all focused on Pitch!! My suggestion would be to draw mind maps for your concepts with every possible thing you could discuss (so Pitch would have a branch on melody, and harmony, and tonality, and then sub branches and sub-sub branches from those), and plaster them around while you practice to help you remember the cues ;D
--- End quote ---
Mmmm welllll, I guess you can add other concepts in to support what you're saying about the pitch.
For example
- In section B when the drums are being played, the guitar plays a melody line that is moving in a conjunct manner at mf. Immediately, the melody from section A, which is the accompaniment, plays in an arpeggio-like style in a minor tonality, rather than the osciliation between major and minor, as seen earlier. Therefore, it is a variation of that melodic line. It is also playing at a p/mp volume. This establishes the call-response phrasing.
So basically you can see that I have mentioned dynamics as well. This is so that I can reinforce the "call-response" phrasing.
- Becuase of the variation of the melody (now the accompaniment) creates contrast between the two sections.
Addedd contrast too! This is due to that variation with the pitch that creates that contrast.
--> so my main focus was still on pitch, but I added some other concepts in which I think is fine to do.
I was told by my music teacher (pretty sure I mentioned that he is a senior marker in the other forum haha) that it actually enriches the responses when students do this...
These concepts do overlap in some way. For example, certain expressive techniques can change the pitch. Like when you do a guitar glide (not sure what's it called lol) it creates a glissando effect which then alters the pitch.
So I guess, what I'm trying to say is that... YES, you can meniton other concepts but only when relevant and making sure that the concept that the question is asking is the main focus!
jamonwindeyer:
--- Quote from: georgiia on September 23, 2017, 06:17:09 pm ---Sorry about my writing! I did exam conditions
(Image removed from quote.)
(Image removed from quote.)
--- End quote ---
Like your response Georgia!
- Great work trying to notate the melodic shape - Not all your note values were correct, but of course that is okay in a Pitch response. Note that to make it easier for you, you can just use lines to show shape of the melody and rough length of each note - Exact notation of rhythm isn't necessary if you don't want to :)
- I like how you've structured the response by the three main areas. However, it does create some confusion as to how you've defined Intro/Section A/Section B, could be worth adding a phrase that specifies, or even length of each section in bars?
- Great job identifying that distinct descending fifth interval, nice brownie points there. Ditto with noticing the tonal shift in the introduction. Very specific observations, very nicely done!
I think my biggest piece of advice for you would just be organisation of your ideas - I think you are spotting all the right things, but they aren't communicated quite as clearly as they could be :)
jamonwindeyer:
--- Quote from: DalvinT on September 23, 2017, 11:30:00 pm ---
Mmmm welllll, I guess you can add other concepts in to support what you're saying about the pitch.
...
These concepts do overlap in some way. For example, certain expressive techniques can change the pitch. Like when you do a guitar glide (not sure what's it called lol) it creates a glissando effect which then alters the pitch.
So I guess, what I'm trying to say is that... YES, you can meniton other concepts but only when relevant and making sure that the concept that the question is asking is the main focus!
--- End quote ---
Yep you're absolutely right, would definitely expect overlap (the use of an ascending glissando, for example, yep definitely relevant to how the melody is constructed) :)
I suppose the key is balance - And also that this is a 6 mark question and so only the first thing in the paper. You probably wouldn't want to crowd the fairly limited space you have with more than throwaway references to other concepts - Like, additional analysis of melody/harmony/tonality is always going to be more likely to earn more marks than analysing other concepts, so you want to strike that balance ;D
Awesome to see so many people involved guys! I'll be uploading the next question very soon, but feel free to keep discussing this excerpt too :)
georgiia:
--- Quote from: jamonwindeyer on September 25, 2017, 11:08:32 am ---Like your response Georgia!
- Great work trying to notate the melodic shape - Not all your note values were correct, but of course that is okay in a Pitch response. Note that to make it easier for you, you can just use lines to show shape of the melody and rough length of each note - Exact notation of rhythm isn't necessary if you don't want to :)
- I like how you've structured the response by the three main areas. However, it does create some confusion as to how you've defined Intro/Section A/Section B, could be worth adding a phrase that specifies, or even length of each section in bars?
- Great job identifying that distinct descending fifth interval, nice brownie points there. Ditto with noticing the tonal shift in the introduction. Very specific observations, very nicely done!
I think my biggest piece of advice for you would just be organisation of your ideas - I think you are spotting all the right things, but they aren't communicated quite as clearly as they could be :)
--- End quote ---
Thanks for the great feedback! I've always had trouble with structuring my answers unless the question is "discuss texture" or "...with reference to performing media" because I find it hard to do things chronologically and sometimes its not suitable to separate things by layers of sound ect. I've done HEAPS of practise but still don't seem to improve on structuring side of things... :(
jamonwindeyer:
--- Quote from: georgiia on September 25, 2017, 01:50:36 pm ---Thanks for the great feedback! I've always had trouble with structuring my answers unless the question is "discuss texture" or "...with reference to performing media" because I find it hard to do things chronologically and sometimes its not suitable to separate things by layers of sound ect. I've done HEAPS of practise but still don't seem to improve on structuring side of things... :(
--- End quote ---
Your structure absolutely works, but you need to specify where those section identifiers at the top sit. Even just a quick phrase saying "with chord accompaniment and percussion," for Section B for example, would do wonders to give the markers more clarity in your response.
Ultimately, I do think the chronological structure is going to be the method that gives you the most clarity. You can always still approach it your way, doing the melody observations first then the harmony then the tonality. Just draw lines on your page marking the different sections, and then put your observations into the relevant section as you make them ;D
Navigation
[0] Message Index
[*] Previous page
Go to full version