AS91092 v1 Compose two original pieces of music 6 Credits Internal

Manurewa High School

Music Department

2015

Level 1
Composition
Booklet
Name_____________________ Class_______
Ingoa Rōpō
AS91092 v1 Compose two original pieces of music 6 Credits Internal

Achievement Standard

Subject Reference Music 1.3

Title Compose two original pieces of music
Level 1 Credits 6 Assessment Internal
Subfield Music
Domain Making Music
Status Registered Status date 17 December 2010
Planned review date 31 December 2014 Date version published 17 December 2010

This achievement standard involves the individual and/or collaborative composition

of two original pieces of music.

Achievement Criteria

Achievement Achievement with Merit Achievement with

Excellence

 Compose two original  Compose two  Compose two

pieces of music. effective original convincing original
pieces of music. pieces of music.

Explanatory Notes

1 This achievement standard is derived from The New Zealand Curriculum,

Learning Media, Ministry of Education, 2007; Level 6 strand, Developing Ideas
in Music - Sound Arts, and is related to the material in the Teaching and
Learning Guide for Music - Sound Arts, Ministry of Education, 2010 at
http://seniorsecondary.tki.org.nz.

2 Compose involves the individual and/or collaborative generation, development,

structuring, and representation of original musical ideas to create music. A
student may compose either two compositions as an individual, or two
compositions as a member of a group(s), or one of each.

Compose effective pieces of music means that the musical ideas are
developed, structured and represented coherently, and the music demonstrates
stylistic control.

Compose convincing pieces of music means that the musical ideas are
developed, structured and represented skilfully, and the music is stylistically
assured.
AS91092 v1 Compose two original pieces of music 6 Credits Internal

3 Generation refers to the creation of musical ideas eg riffs, motifs, chords,

ostinato, use of tonal centre(s).

Development refers to the way that musical ideas are manipulated using
timbre, textures, and compositional devices eg repetition, sequence, layering,
te mita o te reo Māori.

Structure refers to the ways in which musical ideas are organised eg

verse/chorus, ABA, whakapapa (genealogical narrative).

4 Representation must convey compositional intent as appropriate to the

style/genre. Representation must include both audio and visual representation.

Representation of a composition must comprise:

 an audio or audio visual file playable on a CD player or computer without
specialised music software
 a visual representation that is appropriate to the style/genre and conveys
compositional intent eg standard music notation, lyric and chord chart, lead
sheet, tab, graphic notation, narrative description, or a combination of these.

5 Collaborative composition must involve 2–5 students, working in a group. Each

student’s creative contribution to the group composition must be individually
assessed.

6 For improvisation sufficient detail must be supplied in the visual representation

to give a clear indication of the composer’s intentions.

7 The assessment criteria must be applied to provide an overall judgment based

on the weight of evidence across both compositions.

8 Conditions of Assessment related to this achievement standard can be found at

www.tki.org.nz/e/community/ncea/conditions-assessment.php.
AS91092 v1 Compose two original pieces of music 6 Credits Internal

Notes to Learners
This is a special set of instructions containing your composition tasks. You will be
also be shown some examples of typical work which might be presented for this
achievement standard. These can be seen and heard on the NZQA website.
Composition requires time spent after school and at weekend workshops.

1. You are to compose two original pieces of music- selecting two tasks from
the list on the next page.

2. The completed first composition is due Term 2 week 10 and the second
composition is due in Term 3 week 10.

3. Your music must be represented visually (written down in some way) and
aurally. ( Able to be heard – on recording or computer) The way your music is
written down may depend on its style and genre.

4. The teacher must see and hear you working on your compositions during the
year. If you are working on a computer your work must be correctly saved on
the school intranet so your teacher can help you progress.

5. Your compositions must show structuring and development of your musical

ideas.

6. Your compositions must have a title and appropriate performance and

dynamic markings.

7. Think about the technical capabilities of the instrument/s for which you are
writing and the range and registers of the instrument/s.

8. You are to sign an authenticity form to say that it is all your own work.

9. Two compositions must be submitted in order for your work to be marked.

You must hand in printed/hard copies of both pieces of work and provide
access to sound recordings of your music.
AS91092 v1 Compose two original pieces of music 6 Credits Internal

OPTIONS FOR COMPOSITION TASKS

You may choose from the following tasks:

1. Compose a piece of minimalist music: Compose a piece for your own solo
instrument that is based on the following theme using mainly, but not strictly, the
techniques of minimalism.

2. Compose music for a specific occasion/purpose: Compose a short theme

for a Quiz Show. The producer’s instructions are that the music must convey
mounting tension and a sense of urgency – like a time bomb ticking towards its
explosion. The prize money is one million dollars or – ‘Nothing’.

3. Compose a piece for your own solo instrument: This should show a clear
understanding of the writing demands of your Solo Instrument (including but not
limited to: Range, Technique, Articulation, Timbre…)

4. Compose a Song or Word Setting: Compose a Song for the Lion Songwriting
Competition or Set an existing text such as:

. On the Tombs in Westminster Abbey- F. Beaumont

MORTALITY, behold and fear

What a change of flesh is here!
Think how many royal bones
Sleep within these heaps of stones;
5
Here they lie, had realms and lands,
Who now want strength to stir their hands,
Where from their pulpits seal'd with dust
Here's an acre sown indeed
With the richest royallest seed
That the earth did e'er suck in
Since the first man died for sin:
Here the bones of birth have cried,
"Though gods they were, as men they died!"
Here are sands, ignoble things,
Dropt from the ruin'd sides of kings:
Here's a world of pomp and state
Buried in dust, once dead by fate.

Tasks continue next page

AS91092 v1 Compose two original pieces of music 6 Credits Internal

5. Compose music that is culturally significant: This could be a Maori Waiata,

a Samon Igi or a Taonga Pouru. This could lead on to entries in Smokefree
Pacifica Beats

6. Compose your own piece of music: Compose your own piece of music using
elements from the categories of music styles above, first obtaining approval
from your teacher. You can use as many instruments as you wish, although be
careful of overcrowding your song.

7. Wrestler theme music: Create a pro wrestling character and write theme and
entrance music for them.

8. Own choice, with Teacher consultation: Create your own task in consultation
with your teacher.

When you have completed 2 compositions, check the following:

Have I completed ….

 Two pieces of composition saved as Your name + Comp1 + name of

composition and Your name + Comp2 + name of composition in my music
folder under Scores
 Two planning sheets (in this booklet)
 Have I read through the self-evaluation guidelines, understood and aimed to use
the described techniques to meet the highest standard I can achieve in my
compositions
 Have I checked my compositions using the Score Checklist
 Have I asked the teacher to check my compositions before printing the final
version and handing in my work
 Have I signed an Authenticity Statement with my composition print outs
attached/stapled to it
AS91092 v1 Compose two original pieces of music 6 Credits Internal

Self-Evaluation Guidelines

 Tempo: The speed which you choose for your composition sets the background for your
music (like the scene of the story you are telling). Experiment with different metronome
markings and speed, such as Allegro, Andante, Lento and etc.

 Range and Timbre: Each instrument has its special tone quality or timbre. Find out what
the range is for your instrument (from the lowest to the highest possible pitch) and use
the full range. With an un-tuned instrument, different media (mallets, stick, hand, etc.) or
playing on different parts of your instrument can also produce different tone colours. Aim
to use a variety of sound colours and put them together in a structural way.

 Rhythmical Varieties: Notes can be short or long. You may combine short and long
notes to form a pattern which can be used repetitively. Your composition should show
planned/structured rhythmic pattern(s).

 Dynamic contrast: Music can be played loudly or softly. Each instrumentalist who you
will be writing for needs to know how loud or soft you want your music to be played right
from the start and throughout the piece. Use conventional notation such as p, ff, cresc.,
dim. Etc. or explain what you want. Play or sing through each instrumental/vocal part to
experiment with how loud or soft you would like each note to sound.

 Articulation: Articulation can make the note groups of your choice sound totally different.
A staccato note (short and detached) lightens your music while a tenuto (held to full
value) note gives it weight. A legato (smooth) passage adds lyricism and an accented
passage implies brutality.

 Form and Structure: Music has sections, just like paragraphs in an article. The
beginning and end of your music should act like the introduction and conclusion of an
article. The introduction is like a statement of your musical ideas where conclusion
makes your music more memorable to the listeners. The middle section is often
contrasting in style or tempo.

 Harmony: When writing for more than one instrument, the notes you choose to be played
at the same time make harmony. Traditional harmony is made of triads (1st, 3rd, 5th and
sometimes 7th notes of a scale). Modern harmony can be made of structured
progressions of notes. In both cases, planned chord progressions will be required to
bring coherence to your composition.

 Development of ideas: Most music consists of simple ideas which are developed by
using different compositional devices/techniques, such as repetition, sequence,
transposition, variation, decoration …etc. The way you choose to develop your ideas
makes it YOUR composition. The more unique your way of development is (in a
constructive way), the more memorable and valued it is to your listener.
AS91092 v1 Compose two original pieces of music 6 Credits Internal

WRITING AN EFFECTIVE MELODY

The most commonly overlooked, yet most important aspect involved in writing any
modern pop/hip hop/rock song is to have a strong melody. The melody is the catchy
part of a tune that gets stuck in your head. When you hear people whistling a tune, it
is highly unlikely they are whistling the guitar riff, the bass line or the drums. They will
be whistling the melody sung by the vocalist (or played by an instrument if there is no
singer).

“If your melodies are well-written and catchy, people will remember and enjoy your
music. If the melodies you write are carelessly written and bland, they won't. It's that
simple.” (Dan Cross)

Tools:

Here are some easy and effective devices that you can use to write a great melody.
Keep in mind that these are just guidelines, and that the best melodies will come
from in your head – the hard part is writing them down!

Repetition: of a melodic phrase. If the opening melodic line is strong and catchy,
then why not repeat it to hammer in the sound to the listener

Extension: Once the listener understands and knows the melodic phrase, repeat it a
third time. However, this time extend it, whether by adding another bar or changing
the last few notes and creating a new melody at the end. This will give the listener a
sense of journey inside the melody.

Elaboration: The listener is now on a journey inside your melody, and where they
go is completely up to you. Elaboration is when you may decide to take the melody
all the way up an octave, or it may travel like a roller coaster, going up and down
between a series of three or four notes. Try not to stray too far away from the original
melody as a listener likes to have some form of ‘home’.

Sequence: When you sequence a melody, you are taking an idea (which may be
two notes, two beats, two bars, etc) and repeating it in such a way that it forms a
pattern. Ideally the pattern is often repeated more than once. When used skilfully,
sequencing can take a melody into a new realm of momentum.
AS91092 v1 Compose two original pieces of music 6 Credits Internal

NCEA - COMPOSITION ASSIGNMENT #___

Task ___________________________ Composition Title ____________________

Instrument and Accompaniment

Form Key / Modulation

Chord Progression

Melodic Ideas
AS91092 v1 Compose two original pieces of music 6 Credits Internal

NCEA - COMPOSITION ASSIGNMENT #___

Task ___________________________ Composition Title ____________________

Instrument and Accompaniment

Form Key / Modulation

Chord Progression

Melodic Ideas