Australian Air Force Cadets
MUSICIANSHIP
BASIC
606 Flight (6WING) BAND
Cadet Notes
2nd Edition, December 2016
MUSICIANSHIP BASIC
MUSB1 AUDITION
1 Period
See AMIEB Syllabus for repertoire listings and technical requirements..
There Are No Notes For This Subject.
Everything is Assumed Knowledge, And the Audition Must Be Passed Before
MUSB can be undertaken.
Musicianship (MUSB)
(6 Months Supervised Practical +2 Periods Theory)
MUSB 1 Audition
a. Perform an audition considered satisfactory to a panel of two music instructors.
(1) One piece of at least AMEB Grade 2 or equivalent. See AMEB syllabus for repertoire
(2) One piece of sight reading.
(3) Scales and Arpeggios - 4 flats / Sharps
MUSB 2 Practical Band Component
a. 6 months minimum of participating in rehearsals and performances with the 6 WING Band.
(1) Assessed as a Pass I Fail mark by two music instructors.
MUSB 3 Basic Music Theory and Notation
Periods: 2
a. Complete a test on Basic Music Theory and Notation.
(1) Explain Note and Rest types and values.
(2) Recognise and write notes in both treble and bass.
(3) Explain ties and slurs.
(4). Recognise and explain time signatures.
(5) Construct and recognize scales - C major, G major and F major.
(6) Recognise and write intervals - All Diatonic.
(7) Explain and write basic triadic chords.
(8) Complete basic transposition.
(9) Recognise and explain basic music terms - Italian/Latin terms only.
b. Be able to read music at a proficient level.
MUSICIANSHIP BASIC
MUSB2 - PRACTICAL COMPONENT
Duration —6 Months.
Ensemble Experience 2001
From 6 months of practical participation within a band, a band member houkl gain many important
skills that will assist him or her as a musician not only in a band situation but as a solo performer.
Self-discipline
On stand discipline
Self-motivation
Team work
Intonation skills
The ability to sight read at an adequate rate
Understand the basic instrumental groups in a band.
Follow a conductor
Ensemble experience is a vital part of any musician’s life, and should be treated as such. The majority
of musicians will never perform outside of an ensemble, and there are few professional musicians that
can make a career outside of ensembles. The aim of 606 Flight (WING) Band is to give young musicians
the opportunity to perform in ensembles outside of a school environment, thus increasing their
musical knowledge and skills at the same time providing Ceremonial accompaniment to the AAFC on
AAFC Activities and Promoting the AAFC in the Public arena.
Military Bands 2002
TheAPdRTC squ Id ba4-is-at up in
idardliilitary concert band3hese
t-.e-bmds have been the foundation of Western Band Music for the last 300 years. All three branches
of the ADF have a band division, set up in much the same way an! 4im. 6 Fhght..
Military Band Structure 2003
Although each band have local variationas, there are basic position in any military band that are
standard. Their roles are as follow, in no particular order:
a. Bandmaster - In charge of the general day to day running of the band. Selecting and organizing
performances and. rehearsals. Also in auditions and recruiting new members. Bandmasters are
generally of the rank of at least. Sergeant/Petty Officer, and usually Warrant Officers! Chief Petty
Officers.
b. Conductor - Sometimes undertaken concurrently with the position of Bandmaster, the
conductor rehearses and conducts the band in performance. Is generally a musician of high regard
and with years of training. In the military band world it is unlikely to find a conductor below the
rank of Corporal/Leading Seaman.
c. Drum Major - In charge of all aspects of drill and ceremonial duties. Will lead the band in parades
and marches. Responsibilities include teaching of drill and dress and bearing. Drum Majors are
generally of the rank of Sergeant/Petty Officer or above. Drum Majors do not necessarily have any
musical ability, however, the better ones do.
d. Librarian - In charge of copies of music.
e. Drum Leader - In charge of Drum Corps.
f. Section Leaders In charge of a section of the band, eg. Flutes, Saxophones.
The section leader position does not necessarily rely on rank, but more upon ability.
g. Drum Corps - The drum section (including side, tenor, bass, and cymbals) when on parade.
h. Musicians - the rest of the band who play musical instruments.
There are other positions in some band, including 21C, Quartermaster, Admin, Director of Music.
However, these are optional.
Military Bands in South Australia at Present 2004
Although the military band history of Adelaide goes back more than 150 years, at present there are 4
standard type military bands running in South Australia. 3 of these are Reserve Units, and the other is
a Full Time section of the South Australian Police Force.
a. The SA Police Band - Stationed at Thebarton Barracks, this is now the only wind band in SA that a
musician can gain Full Time employment. A very highly regarded band, it has performed at both the
prestigious Edinburgh Tattoo in Scotland and the Royal Tournament in London. Highly versatile and
sought after, they are one of the most popular bands in Australia. Its director as of 2001 is Snr Sgt
Doug Drysdale.
b. The Australian Army Band - Adelaide - Stationed at Warradale Army Barracks, this band is made up
of reserves and is part of the Army's Band Corps. It is set up as a standard concert band, but also has
small wind quintets, a rock group, and other smaller ensembles. The Army's Band Corps contains not
only reserve bands, but also, Full Time Bands in Canberra, Sydney, Wagga Wagga, and other locations.
Its director as of 2001 is Cpt Geoff Cox.
c. 10/27th RSAR Battalion Band - Stationed at Keswick Tri.-Service Barracks, this is also a band made
up of Army Reservists. Unlike the other Army Band, this band is not attached to the Army's Band Corps,
rather it is the regimental band of the 10127th Battalion. Their duties therefore include a lot of
regimental ceremonial duties, as well as standard concert band performances. As the 10/27th
Regiment is the local Infantry regiment in SA, the band members also have to participate in general
soldiering duties. The band requires that the men be trained not only as musicians, but are completely
Infantry qualified. Its director as of 2001 is W02 Mike Noice. Their chief conductor as of 2001 is Sgt Al
Kidney.
d. The Royal Australian Navy Band - Adelaide. (SANB). - :The most unique of the military bands in SA,
SANB is not set up as a standard concert band. Instead it is set up as a 25 piece Dance Band. In order
to perform ceremonial duties the band members are encouraged to play more than one instrument,
meaning a sax section of 6 people can turn into a woodwind section of Alto, Tenor, Baritone, and 3
Clarinets in parade situations. The Band., also has a successful 12 piece Rock Band, a small 8 piece Jazz
Group, and a Brass Quintet. All members are part of the: Royal Australian Navy Reserves, and are
attached to the RAN's Musicians Branch, which has full time bands in Sydney and Melbourne. It's
bandmaster, as of 2001, is CPOMUSN Doug Antonoff.
There is also a Military Pipes and Drum Band attached to the Army's Adelaide University Regiment,
but as they do not fall under our area, they are inconsequential.
SAAIRTC Band - No. 6 FIight.
2005
The SAAIRTC Band, in its current form, began in 1995. It is set up as a standard military concert band,
with Flutes, oboe, Clarinets, Bassoon, Saxophones (AATB), Trumpets, Trombones, Low Brass, and
Percussion. Although it's numbers have fluctuated over the years since it's reformation, starting at a
mere 4 cadets in 1995, then blossoming out to 40 in Mid 1997, it has a maximum establishment of 45.
The bands duties include:
a. Ceremonial Duties, including marches and parades.
b. Civic performances of popular band music.
c. RAAF functions, including mess dinners etc.
d. Public concerts, performing challenging wind band repertoire.
Members of the band are a part of the SAAIRTC, and come under the command structure of No.6
Flight, currently stationed at Keswick Tr-Service Barracks.
THIS SUBJECT IS A PRACTICAL COMPONENT, THAT INCOLVES
PERFORMING WITH A MILITARY BAND FOR 6 MONTHS
MUSICIANSHIP BASIC
MUSB3 - Basic Music Theory and Notation
Periods 2
SEE ATTACHMENT MUSBAT1
NOTES
N.B. These notes do not pretend to be a comprehensive course of instruction. They are intended, to
draw attention to points which students are apt to overlook, and to give some help in tackling some
of the types of questions.
I. Neat writing is most important. Remember:—
a) Stems must be joined to their notes and should be upright not sloping.
(b) Tails must be joined to stems, and are always on the right of the stems.
(c) Up stems go on the right hand side of their notes; down stems on the left hand side.
(d) Note heads should be round and large enough to fill the required space.
(e) A note ma space should not overlap the lines on each side, and a note on a link should not spread
right across an adjoining space. You can't tell whether this is meant to be F or G:—
(f) Stems should be thin, tails should be thick, as in printed music.
(g) In writing a scale or a tune, allow yourself plenty of space - don't cramp the notes. If you have a
whole line in which to write a one-octave scale, there is no sense in trying to squeeze it into only half
the line.
2. Clefs must be accurately drawn and on the proper part of the stave. Never forget the two dots which
are part of the bass clef, one on each side of the 4th line. The bass clef may be drawn as
or
—either is correct.
3. Sharps, flats and naturals should be upright, not sloping, and should not be cramped. They must be
written on the same line or space as the notes to which they belong. If the notei is on a line' then the
harp, flat or natural must have that line passing through it; if the note is in a space, the' sharp, flat or
natural must fill that space. (a), (b) and (c) are correct, (d), (e) and (F) are wrong.
4. Read each question very carefully and try to make sure that you know exactly what is wanted. Fo
example:(a) "Write the scale degree numbers under the notes of this tune".
Write the numbers under the notes, not over them.
(b) "Write a semibreve above each note to make the interval named".
Write semibreves not crotchets or minims
Such points as these ought not to give any trouble, but many candidates lose marks through not paying
attention to them.
Take special note of words printed in CAPITALS.
5. Writing scales ask yourself
(a) Which clef is given or named?
(b) What note-values are to be used?
(c) Is the scale to be written upwards or downwards?
H
(d) Is a key-signature required, or are accidentals to be used?
(e) Are semitones to be marked?
(There is no harm in marking semitones even though you are not asked to do so).
N.B. In a downward 'scale remember to count scale-degrees from the bottom upwards. Too often
candidates count them from the top downwards so that semitones are marked in the wrong places.
Scale-degrees are always counted from the bottom upwards.
Watch For any variation of the usual kind of question. For example, you may be asked to mark the
tones not the semitones,
6 Naming notes watch the clefs
7. Don't confuse the slur with the tie. Slurs cover two or more notes of different pitch, ties join two
next-door notes of the same pitch in this: -
the curved line begins and ends over a B, but it cannot be a tie since the first B does not last until the
second one is due - there are the C and D in between The two B's are not "adjacent" (ie next-door
to each other) and so cannot be tied.
8. Completing bars with notes or rests. Remember that if the question says something like "finish the
bar by adding one note", then that note must be written after the last given note or rest. It must finish
the br. for example:"Add one note to finish this bar of time"
The added note must be written after the crotchet D not before it
9. Intervals
(a) Be careful to count up correctly, including both the bottom note and the top one.
For example
is a 6th since it covers altogether six letter-names
(b) Similarly if you have to write an interval above a given note, count up letter-names one by one. For
example, write a 7th above;
Count up seven letter-names from D, which is number 1.
123 4567
DEFGABC
Answer (c) When writing a 2nd the two notes must be side by side, not one on top of each other. (i) is cléàr to
reãd'(ii) is not. (ii)
10. Triads
The lowest note is bound to be the tonic of the Key, ie the first note of the scale
11. Terms and Signs
(a) In giving the English for an Italian word, always use the exact definition given in the Syllabus
(b) If asked to give a sign, don't give a word. For example: "Give the sign for getting gradually louder,"
the answer should be
not cresc.
(c) Keep answers
"Explain this
short,
within the
sign
space
allowed
on
the
paper.
For
example:-
Some candidates might write
“It is a sign which means gradually getting softer. The Italian word is decrescendo or diminuendo".
The proper answer is "gradually getting softer" -: three words instead of sixteen.
EXTRA EXCECISES FOR MASTER YOUR THEORY – G
RADE 1
Lesson I
1.
Write one of each of the following kinds of notes;
Crotchet
2
semibreve
quaver
minim
Which of those notes is also called a whole note
And which a quarter note?
3
What is a minim also called?
4
Beside each of these notes write in figures the number of quavers it contains:
=
quavers
=
quavers
=
quavers
Lesson 2
1
Turn the first four notes into crotchets and the last four into quavers with separate tails
2
What kind of note has no stem ?
3
On the stave given, write
(i)
a semibreve on the first line,
(ii)
a minim in the third space
(iii)
a crotchet on the fifth line
(iv)
a quaver in the second space.
Lesson 3
1
Name these notes in the treble
2. Write these notes using semibreves on the treble stave.
A
G
B
D
C
F
Lesson 4
1 Name these notes in the bass
2. Write these notes using minims on the bass stave.
F
C
D
B
G
E
A
Lesson 5
1 Write beside eadh group of notes, one note equalling it in value
(I)
(ii)
(iii)
(iv)
(v)
(vi)
2. In this melody, how many ties are here? .............. and how many slurs?
3.
How can we tell the difference between a tie and slur? .......................................
Lesson 6
1. Beside each of these rests, write the note which corresponds to it In value.
2. Name the following notes. (Watch the cleft)
3. Using leger lines write these notes:—
(I)
E below the bass stave, (ii)
B below the treble stave
(ii)
C In the bass,
D above the treble stave
(iv)
Lesson 7
1. Name these notes:
-
2.
Beside the first three notes given, write the note
Beside the last three notes given, write the note a tone below.
a
semitone
above.
Lesson 8
1. Write the following:
(I)
if the time signature for three crotchets in a bar...........................................
(ii)
A time, signature which ls simple duple ...........:……......................................
(iii)
One note which would fill a bar of 3/4 time..................................................
2. Write four bars of notes and rests in 2/4 time. Let each bar be different
Lesson 9
1. Give two sign S to show that there are four crotchets In a bar, (I) ............(ii) .............
2. Write the correct time Signature at the beginning of each of the following bars
3. Wherein a piece of music would one expect to find an anacrusis?
4. Add bar lines to the following according to the time signaure;
Lesson 10
• 1. Fill these bars with quavers properly grouped.
Add rests to these bars;
3. Add bar lines to make four bars of simple quadruple time
Lesson 11
1. Write the Ietter names of the notes which are a semitone apart in C major scale.
2. Write in crotchets one octave of C major descending from middle C in the bass.
3 Write the scale degree numbers under the notes of this C major melody.
Lesson 12
1. Name the notes which are a semitone apart in the scale of
(I)
G major.....................
(ii)
F major.....................
2. On the treble stave, write the key signature of G major and then in minims the notes represented
by these degree numbers.
3
6
2
1
7
4
Lesson 13
1. Name these intervals above C;
2. Write these intervals above G in the treble;
a third a fifth a second
a seventh
a fourth
a sixth
3. Name the intervals made by the notes under the brackets in this tune;
Lesson 14
1. What ls a triad? ....................................................................................................................
2. Write In the treble the tonic triad of each key named. Give each Its proper key signature.
F major
G major
G major
Lesson 15
1. Transpose this tune up into G major. Use the correct key signature.
2. Transpose the same tune down to C major
C major,
Lesson 16
1. Give an Italian word for each of the following:—
(i)
Fast.............................................................................
(ii)
Smoothly..................................................................
(iii)
Gradually becoming softer.......................................
(iv)
Very fast ………………………………………………………………..
(v)
Soft ……………………………………………………………………….
(vi)
Detached, short.......................................................
(vii)
Slowly …………………………………………………………………...
(viii)
Gradually becoming slower ………………………………….
606 Flight Band Music Training Program.
Audition.
2 contrasting pieces.
I piece of sight reading.
Scales I arpeggio. —2 flats/sharps.
CDT
To be eligible to become proficient as a musician, Cadets must pass a basic theory test.
(70% pass grade)
(This test is based on Master Your Theory Grade One - Dulcie Holland.)
Proficiency - CPL
Practical (Pass or Fail mark)
2 contrasting pieces - Grade 3 or above
1 study - Grade 3 or above
Sight Reading
Band excerpt
Memory piece (Folk song - march)
Aural (70% pass mark)
Rhythm (clap a played rhythm)
Melody (sing, hum or whistle a played melody)
Chords (sing the notes of a chord)
Intervals (sing the higher or lower of 2 notes and state the interval)
Theory (75% pass mark)
Written theory test (open book)
(based on Dulcie Holland Grade 3 Master your theory) Drums (Pass or Fail mark)
Practical
Advanced - SGT
Practical (Pass or Fail mark)
2 Contrasting Pieces - Grade 5 or above I Study — Grade 5orabove
I Band Excerpt
Sight Reading
Memory Piece (March or Solo Piece)
As of 1/12/00
Aural - Written (60% pass mark)
Pitch
Intervals Triads
Rhythm
Melody
Theory (50% pass mark)
Advanced transposition - E flat, B fiat, F Cadences - recognition
Chords - styles and types
Chord - recognition
Knowledge of orchestra and Hand instruments