Unit 3
Unit 4
Key skills
These skills include the ability to:
Key skills
These skills include the ability to:
• identify the size and quality of isolated intervals
that are presented either aurally or in writing in
both treble and bass clefs
• identify the size and quality of isolated intervals
that are presented either aurally or in writing in
both treble and bass clefs
• identify ascending and descending major,
natural minor, harmonic minor, melodic minor,
major (do) and minor (la) pentatonic and blues
(minor pentatonic plus flat 5) scales, and dorian
and mixolydian modes that are presented either
aurally or in writing in both treble and bass clef
• identify ascending and descending major,
natural minor, harmonic minor, melodic minor,
major (do) and minor (la) pentatonic and blues
(minor pentatonic plus flat 5) scales, and dorian
and mixolydian modes, presented either aurally
or in writing in both treble and bass clef
• recognise and identify the tonality of a melody
that is based on a major, melodic minor, major
pentatonic or minor pentatonic scale, or a dorian
or mixolydian mode presented aurally
• recognise, and identify, the tonality of a melody
that is based on a major, melodic minor, major
pentatonic or minor pentatonic scale, or a dorian
or mixolydian mode, presented aurally
• identify the size and quality of the opening and
closing intervals of a melody that is based on a
major, melodic minor, major pentatonic or minor
pentatonic scale, or a dorian or mixolydian mode,
presented either aurally or in writing in either
treble or bass clef
• identify the size and quality of the opening and
closing intervals of a melody that is based on a
major, melodic minor, major pentatonic or minor
pentatonic scale, or a dorian or mixolydian mode,
presented either aurally or in writing in either
treble or bass clef
• use conventional music notation to write
intervals, scales, modes and chords in treble and
bass clef
• use music notation conventions to clearly and
unambiguously write intervals, scales, modes and
chords in treble and bass clef
• use a system to sing intervals, scales, short
melodic phrases and chord-tone arpeggios
• use a system to sing intervals, scales, short
melodic phrases and chord-tone arpeggios
• use a process to improvise on three- to fournote melodic motifs by singing, humming or
playing
• use a process to improvise on five- to six-note
melodic motifs by singing, humming or playing
• use a process to imitate by singing, humming or
playing, a two-bar diatonic or modal melodic
phrase that is presented as either a recording or as
a live performance, accurately reproducing
intervallic and rhythmic characteristics
• use a process to imitate by singing, humming or
playing, a two-bar diatonic or modal melodic
phrase that is presented as either a recording or as
a live performance, accurately reproducing
intervallic and rhythmic characteristics
• use a process to improvise on two- or threebar rhythmic patterns by clapping, tapping or
playing
• use a process to improvise on three or four bar
rhythmic patterns by clapping, tapping or playing
• use a process to imitate by clapping, tapping or
playing, regular and syncopated rhythm patterns
of two- to four-bars in simple, compound and/or
asymmetric meters
• use a process to imitate by clapping, tapping or
playing regular and syncopated rhythm patterns
of four bars in simple, compound and/or
asymmetric meters
• aurally recognise and identify from a series of
written alternatives, two bars from a four-bar
melody in treble clef presented without a key
signature, with an accompanying bass line and
where the melody is based on a major, melodic
minor, major pentatonic or minor pentatonic
scale, or a dorian or mixolydian mode
• aurally recognise and identify from a series of
written alternatives four bars from an eight-bar
melody in treble clef, presented without a key
signature, with an accompanying bass line and
where
the melody is based on a major, melodic minor,
major pentatonic or minor pentatonic scale, or a
dorian or mixolydian mode
• use conventional music notation to transcribe, in
the treble clef, up to two bars of a four-bar
diatonic melody based on a major or melodic
minor scale, in keys that use up to three sharps or
three flats, in simple duple, simple triple, simple
quadruple or compound duple meter, where the
pitch of the first note and the rhythm of the
melody are given and which is presented with a
bass line and a chordal and/or rhythmic
accompaniment
• use conventional music notation to transcribe, in
the treble clef, a diatonic melody of no more
than four bars, based on a major or melodic
minor scale, in keys that use up to three sharps or
three flats, in simple duple, simple triple, simple
quadruple or compound duple meter, where the
pitch of the first note and the rhythm of the
melody are given and which is presented with a
bass line and a chordal and/or rhythmic
accompaniment
• identify major, minor, augmented and
diminished triads, suspended 4th and 7th chord
types presented aurally in block harmony and as
arpeggios, and in writing in both treble and bass
clef
• identify major, minor, augmented and
diminished triads, suspended 4ths and 7th chord
types presented aurally and in writing as block
harmony and as arpeggios, in both treble and bass
clef
• aurally recognise and identify from a series of
written alternatives, up to three chords from a
four- chord, diatonic progression that is in a
major key or a minor key where the basis for
chord building is the harmonic minor scale, uses
up to three sharps or three flats, is presented
homophonically,
uses combinations of root position triads and 7th
chords and begins on the tonic chord
• aurally recognise, and identify, from a series of
written alternatives, up to four chords from an
eight-chord diatonic progression that is in a
major key or a minor key where the basis for
chord building is the harmonic minor scale, that
is in a key that uses up to three sharps or three
flats, that
is presented homophonically, that uses
combinations of root position triads and 7th
chords and that begins on the tonic chord
• identify in writing, diatonic progressions of
up to four chords in major keys or minor keys
where the basis for chord building is the
harmonic minor scale, that are in keys that use up
to three sharps or three flats, that are presented
homophonically using combinations of root
position triads and 7th
chords, beginning on the tonic chord and
concluding with common cadences that end on
either the tonic, dominant or submediant chords
• identify in writing, diatonic progressions of
up to six chords in major keys or minor keys
where the basis for chord building is the
harmonic minor scale, that are in keys that use up
to three sharps or three flats, that are presented
homophonically, using combinations of root
position triads and 7th
chords, that begin on the tonic chord and
conclude with common cadences ending on either
the tonic, dominant or submediant chords
• aurally recognise and identify from a series of
written alternatives, two bars of rhythm from a
two-part eight bar phrase presented by nonpitched percussion instruments, in simple or
compound duple, triple and quadruple meters
• transcribe rhythms of up to two bars from an
excerpt that is no longer than eight bars,
presented with up to four single-line parts in
simple duple, simple triple, simple quadruple or
compound duple meter
• listen analytically to pre-recorded performances
by Australians of works that were created after
1910 by Australian composers/songwriters, and
identify and discuss ways in which expressive
elements of music, including tone colour, blend
of instrumental voices, balance of music
parts/lines, articulation, tempo choices,
ornamentation/embellishment, dynamic range
and shape and phrasing, have been interpreted to
achieve expressive outcomes and create character
in performance
• use appropriate music terminology and
language to discuss interpretive decisions that
are evident in pre-recorded excerpts of music
performances.
• aurally recognise and identify, from a series of
written alternatives, four bars of rhythm from a
two-part eight-bar phrase presented by nonpitched percussion instruments in simple or
compound duple, triple and quadruple meter
• transcribe rhythms of up to four bars from an
excerpt that is no longer than eight bars,
presented with up to four single-line parts in
simple duple, simple triple, simple quadruple or
compound duple meter
• listen to pre-recorded performances by
Australians of works that were created after 1910
by Australian composers/songwriters and analyse
ways in which expressive elements of music,
including tone colour, blend of instrumental
voices, balance of music parts/lines, articulation,
tempo choices, ornamentation/embellishment,
dynamic range and shape and phrasing, have
been interpreted to achieve expressive outcomes
and create character in performance
• use appropriate music terminology and
language to analyse interpretive decisions that
are evident in pre-recorded excerpts of music
performances, and discuss ways in which these
contribute to the character of the performance.