Flipped Classroom - a complete resource

Introduction
for level 2 Score Reading 91276

How to use this resource

This resource has been designed around the idea of Flipped Classroom Learning. Using this workbook and the
accompanying YouTube videos students should be able to learn all they need for gaining Excellence in NZQA Achievement
Standard 91276 - 2.6 Score Reading.

It is very important that students spread this out over 20 weeks and do not use it for cramming for the exam in term 4. It is
also very important that in each week the work is spread out over two sessions.

I suggest that students and teachers look at the first part of each week on a Monday or Tuesday and then do each week’s
“Review” on a Thursday or Friday, maybe for homework.

This is because research has shown that for knowledge to really stick students need have no more than four days between
learning new information and revision. They need to do it in small chunks and in different contexts. If this is all done in late
term three and term four then students may do well in the exam, but they will not retain the information as they move into
level 2.

You will find that the Reviews regularly recap material from previous weeks. This will assist with students learning material
thoroughly and allowing the knowledge to really stick.

Teachers, while this is designed for students to work through this themselves (hopefully freeing up class time for doing other
topics such as Music Technology) all students are unique and no one method will work for all students. I encourage you to
use this resource as another tool in your teaching - please don’t let it completely substitute your teaching. For some
students this resource will be perfect, but for others they’ll need extra work and extra attention.

This resource has been designed around this document from NZQA:
http://www.nzqa.govt.nz/assets/qualifications-and-standards/qualifications/ncea/NCEA-subject-resources/Music/
Conventions-Levels-1-2.docx

Therefore, completing this resource over 20 weeks (maybe starting in term two and going through to the exam) should see
the majority of your students gain Achievement with Excellence, but more importantly, give them the musical knowledge that
will assist with composition, performance and collaboration with other musicians.

If you have any comments please don’t hesitate to email me at sales@learningideas.co.nz. And teachers, please check out
my blog for tips www.learningideasnz.com

Many thanks,
Duncan Ferguson

Copyright disclaimer: This resource is only to be used by teachers and students from the school that purchased it.

© Learning Ideas Ltd, 2017

1
 Flipped Classroom - a complete resource

Week 1
for level 2 Score Reading 91276

Intervals
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week1

You may recognise the chart of intervals below. This was what I introduced you to in level 1. At level 1 you were
required to know all major, minor and perfect intervals within an octave. Now at level 2, you are also required to
know about the augmented 4th/diminished 5th interval. The lower note must always be the root note of the major
keys that you are expected to know for level 2 (keys up to four #’s or flats).

Interval Semi-tones Example in C

between Major

Perfect Unison 0 C-C

Minor 2nd 1 C-Db

Major 2nd 2 C-D

Minor 3rd 3 C-Eb

Major 3rd 4 C-E

Perfect 4th 5 C-F

Aug4th/Dim 5th 6 C-F#/Gb

Perfect 5th 7 C-G

Minor 6th 8 C-Ab

Major 6th 9 C-A

Minor 7th 10 C-Bb

Major 7th 11 C-B Using the keyboard above, and the chart to the left, calculate
the distance between the two notes on the stave below. Write
Perfect Octave 12 C-C
the interval below the notes

1
Week 1
Intervals continued
Now that you know many of your major scales it may actually be better to not use the ‘counting semi-tones’
method on the previous page. Below we see the C major scales with all the ‘major’ and ‘perfect’ intervals. For
each degree of the scale we can see the interval above the root.

So, for the key of C major (plus any other major scales you know) you’re able to quickly work out the intervals just
by going up the scale. However, for the ‘minor’, ‘augmented’ and ‘diminished’ intervals, we can see that each
interval just has an accidental in front of it.

For the intervals below, try to work out what they are not by counting semi-tones, but rather by using the major
scale associated with the bottom note. To make it easier for now I’ll provide three major scales for you to
reference and I’ll limit the bottom note of the interval to these three scales.

D major

F major

G major

Complete the intervals below by adding the top note:

2
Week 1
Clefs
In level one you learned about the treble, bass and alto clefs. You also learned about a variation of the treble clef
in the vocal tenor clef. For level 2 you also need to know about the tenor clef and guitar TAB.

Below you can see ‘middle C’ written out for each of these clefs. The tenor clef, while looking very similar to the
alto clef, does have a slight difference. Look carefully where ‘middle C’ is written.

And here is a melody being played at the same pitch but written on staves with different clefs:

Below are melodies written out for treble and bass clef. Rewrite them for tenor clef.

3
Week 1
Clefs - Guitar TAB
Often guitarists never learn to read music with treble or bass clefs because they rely upon reading TAB. In TAB
there are staves, but probably with a different number of lines. Each line represents a string on the guitar or bass.
The numbers on each line of the stave represents which fret of the guitar or bass the musician is to put their
fingers down upon as they pluck or strum.

E
B
G
D
A
E

Each line represents a guitar string, and each ‘open’ string is tuned to a different note. From the lowest to the
highest strings it is E, A, D, G, B & E. The four-string bass is the first four: E, A, D, G.
A number on a string indicates which fret to play the note on. As a fret=a semi-tone, or half-step; whatever the
number is will be the semi-tones above the ‘open’ note the string is tuned to.
For instance, a ‘1’ on the E-string would be an ‘F’ note as it is one fret, or semi-tone, above ‘E’. A ‘2’ on the D-
string would be an ‘E’, as it’s two semi-tones above the open ‘D’.

Here is an example of how “Twinkle, Twinkle” would be played on a guitar with the guitarist reading TAB.

You try it. Have a go at taking the melody below and writing it out for TAB. On guitars there are multiple places
you can play the same pitch (unlike on a piano). Therefore, you’ve got several options for some notes and several
possible answers. However, guitarists will usually write it out or play it in the way that makes the most sense for
their fingering. But we won’t worry about that. Just make sure you write the correct fret numbers on the correct
strings.

4
Week 1 - Review
Complete the following intervals by adding the top note.

Identify the following intervals.

Rewrite the following melody for alto clef.

Rewrite the following melody for tenor clef.

Rewrite the following melody for guitar TAB (there are many possible answers so check with your teacher).

5
 Flipped Classroom - a complete resource

Week 2
for level 2 Score Reading 91276

Time Signatures
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week2

Back in level one Score Reading you learned about the time signatures of 2/4, 3/4, 4/4 and 6/8. For level 2, you
now need to learn about 2/2 (or cut time), 5/4, 5/8 and 7/8.

The top number of each time signature refers to the number of beats in a bar, and the bottom number refers to
the type of beat. So, 4/4 time consists of four crotchet beats per bar. 2/4 is two crotchet beats per bar.

2/2, or cut time, is two minim beats per bar. It may look the same as 4/4 time, but it’s often at a very quick tempo
(often used in show music) and is ‘felt’ by the musicians as being ‘in two’.
This means that there are: This means that there are:

2 5
Minim beats per bar Crotchet beats per bar

This means that there are: This means that there are:

5 7
Quaver beats per bar Quaver beats per bar

Just as 4/4 time is sometimes written as a ‘C’ (representing “common” time), 2/2 can also be written as a ‘C’ with
a line through it to represent “cut” time.

All the notes in a bar of music, must add up to that indicated by the time signature. So, in 5/4 time, the
combinations of minims, crotchets, quavers, semi-quavers, etc must add up to the equivalent of 5 crotchet
beats.

1
Week 2
Intervals continued
Fill in the missing time signature for the melodies below.

Add in bar lines to make sure each bar adds up to the correct number of beats determined by the time signature.

2
Week 2 - Review
Find music with ‘odd’ time signatures, such as “Take Five” by Paul Desmond, “I Hung My Head” (the Sting version
from the “Mercury Falling” album) and “Blue Rondo ala Turk” by Dave Brubeck. See if you can count out the beat
as the music plays, and have a go at transcribing the rhythm of one of the instruments or melody.

Add in the missing bar lines for the piece of music below:

Add in time signatures for the music below.

3
 Flipped Classroom - a complete resource

Week 3
for level 2 Score Reading 91276

Dynamic markings
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week3-2

Last year I introduced you to this scale for representing musical volume:

Very, very quiet Very, very loud

This year, you are also required to know about “ppp” and “fff” in addition to the “pp” (or pianissimo) to “ff” (or
fortissimo) dynamic markings.

ppp is known as pianississimo. fff is known as fortississimo.

You also need to know about sf and fz. These are basically the same thing and both mean Sforzando. This
means to play a forceful accent, the loudness of which is to be determined by the performer.

Expression markings
Expression markings are indications the composer writes on the score telling the performer how to play a
passage. It’s what provides life, and the correct emotions to a series of pitches and rhythms. It makes something
‘musical’. These are what you need to know for level 2 Score Reading:
• espressivo play expressively (this allows the performer to take slight liberties with articulation
and dynamics
• grazioso graciously or gracefully
• cantabile in a singing style
• tranquillo calm
• poco a poco little by little (such as, “cresc poco a poco” which means “get louder little by
little”)
• molto very; much (such as allegro molto = very fast)
• piu more (such as “piu forte” = louder)
• meno less (such as “meno forte” = less loud)

1
Week 3
Metronome and tempo markings
You learned quite a few metronome markings and terms for changes in tempo in level 1. It is a good idea to go
back to your level 1 resource and review these now before continuing.

In level 2, these are the tempo markings that have been added to the requirements:

• andantino slightly faster than andante

• vivace vivacious/lively
• allegretto fairly quick - faster than Andante but usually slower than Allegro (a little bit joyful)
• allargando slowing and broadening, becoming more stately and majestic

Testing time…
Read through all your notes one more time. Silently say each term, and ask yourself a question about it. Such
as: In what kind of music would I find this term, or; what kind of instrument or group of instruments would this
sound good on. Imagine adding these terms to music you’ve already written. Recall the last piece of music you
performed in public and visualise playing it again, but super imposing these directions over your performance.
How would it sound different?

Once you have done that, and without looking at your notes, provide the English meaning of the Italian terms
below.

grazioso

poco a poco

meno

allegro

presto

molto

largo

allargando

2
Week 3 - Review
When was the last time you tested yourself on note recognition with Staff Wars? If you don’t have it, do a Google
search and download it to your Mac or PC. Test yourself for 10 minutes, 2-3 times per week and improve your
best score for Treble, Bass and Alto clefs. The better you can identify pitches the easier it will be to do
transposition, analysing harmony and identifying tonality.

Complete the table below by adding the missing English or Italian names.

Italian terms English translation

cantabile

slow and stately

vivace

tranquillo

walking pace

andantino

fairly quick

in a singing style

moderato

slowly and broadening

largo

more

slightly faster than andante

presto

getting faster

allargando

molto

return to original tempo

moderately

3
 Flipped Classroom - a complete resource

Week 4
for level 2 Score Reading 91276

Key signatures and scales

Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week4

For level 2 Score Reading you need to know major and minor keys up to four sharps and four flats. As you
learned up to three sharps and flats last year, you only have two more to learn! If you consult the circle of fifths
below, you can see that keys with four sharps are E major and C# minor, and four flats are Ab major and F minor.

By Just plain Bill

https://commons.wikimedia.org/w/index.php?curid=4463183

To remember what the sharps and flats represent, and where you are to write them remember this phrase:
Father Charles Goes Down And Ends Battle (for sharps), and
Battle Ends And Down Goes Charles’ Father (for flats)

To tell whether or not a key is major or minor, look for a raised 7th. For instance, four flats could be A flat major, or
F minor. If the key is Ab major then you will see up to four flats in the music. If the key is F minor then you’ll see a
raised 7th note, in this case E naturals rather than E flats as indicated in the key signature.

1
Week 4
The following melodies are missing their key signature. Identify the key.

When the key changes, when it modulates, you need to identify the relationship between the two keys. Last year
you learned to identify key changes from tonic to subdominant, dominant, relative minor and relative major. For
level 2 you also need to identify key changes to the tonic minor and the supertonic.

Tonic minor - this is when a key modulates from (for example) C major to C minor.
Supertonic - this is when the key modulates from (for example) C major to D minor. In the C major scale, the 2nd
degree is known as the supertonic. When you build up a chord in thirds upon this D, it is a D minor chord.

Here is an example of a melody modulating from C major to D minor:

2
Week 4
Chromatic and Natural minor scales
The chromatic scale is made up of all notes semi-tones apart.

In level 1 you learned about the harmonic and melodic minor scales. For level 2 we will add the natural minor
scale. The natural minor scale shares the same key signature as it’s relative minor, and unlike the harmonic and
melodic minors scales, has no altered notes (such as raised 7ths).

Below is the C major scale with the A Natural Minor scale.

And here is the ‘A’ natural minor, harmonic minor and melodic minor scales (ascending and decending). Notice
how the 6th and/or 7th degress of the scale are altered for the harmonic and melodic minor scales.

3
Week 4 - Review
Complete the scales below, both ascending and descending. You need to include the appropriate key signature.

4
 Flipped Classroom - a complete resource

Week 5
for level 2 Score Reading 91276

Testing time!
Even though we are early on in our study of the requirements of theory and Level 2 Score Reading it is really
important that you take a test. Many studies have shown that people that are tested on a subject at the
beginning of their course of study do much better in the tests they sit at the end of their study.

Making you take an end of year test at this stage may sound unreasonable, but it has been proven many times to
be a factor in raising achievement.

So, what you need to do is get access to last year’s NZQA exam. You can find it at this webpage:

http://www.nzqa.govt.nz/ncea/assessment/search.do?query=Music&view=exams&level=02

If the exam is missing some material due to containing copyrighted content then get your teacher to access the
secure part of the NZQA website, they have all the codes. If you still have trouble accessing them then please
email me at sales@learningideas.co.nz and I’ll help you out.

Set aside two hours this week and have a go at the exam. Without consulting notes or using the internet!

There will be lots you may not know but you may also be surprised at how much you already know how to do.
The parts that are too tough… try and wrestle with them. The very act of trying hard at something slightly beyond
you will make you smarter and more diligent in your work. It will translate into deeper learning and a better grade
in this Achievement Standard at the end of the year.

1
 Flipped Classroom - a complete resource

Week 6
for level 2 Score Reading 91276

Texture
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week6

In level one you learned about the textures of Monophonic, Homophonic and Polyphonic. We also discussed
layering, melody and accompaniment and textural density (which is often a better way of discussing texture in
non-classical pieces of music).

In level two you need to know about the following textural terms:

Heterophonic - this is when the same melody is played with variation simultaneously in different parts. Here is
an example from Mozart’s Piano Concerto in C minor (First movement, bars 211-214):

You can listen to this here:

https://www.youtube.com/watch?v=PftH8FVzIRY&t=4m52s

Countermelody - this is when you have two melodies playing at once, but one it perceived to be more
dominant than the other. Here is a video of songs with countermelodies from the 80’s:
https://www.youtube.com/watch?v=278BPXmsDyk
Part of your work this week is to find more recent examples!

Antiphonal - An Antiphon in Christian music is when a choir or congregation responds to a text or musical work.
Here is a good explanation: https://youtu.be/2PDDGzsNe58 and here is a recording: https://www.youtube.com/
watch?v=6KEjRFxBCzk
However, it is also known as “Call and Response”. Here is an example of it being using in contemporary music:
https://youtu.be/H-kA3UtBj4M?t=1m13s
Response

Call

1
Week 6 - Review
Below are pictures in which each line represents an instrumental part. Describe the texture illustrated.

Texture: Texture:

Reason why: Reason why:

Texture:

Reason why:
Texture:

Reason why:

Identify the key of these melodies (the key signature has not been written in):

Key:

Key:

Key:

2
 Flipped Classroom - a complete resource

Week 7
for level 2 Score Reading 91276

Score layout
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week7

For level 2 Score layout the main thing you need to learn is the Italian names for the instruments in orchestral
scores. In level 1 you learned the order in which instruments appear in classical and jazz Big Band scores. Here
we will learn about how rock ensembles are typically arranged in scores along with Italian translations.

As Jazz Big Band scores don’t use Italian names it’s safe to say you’ll only need to learn Italian names of
orchestral instruments. Here is a translation for you:

Woodwind

English Italian

Piccolo Flauto piccolo

Flute Flauto

Oboe Oboe

Cor anglais (the French name is commonly used) or English Corno inglese
Horn

Clarinet Clarinetto

Bassoon Fagotto

Brass

Horn Corno

Cornet Cornetta

Trumpet Tromba

Trombone Trombone

Tuba Tuba

1
Week 7
Percussion

English Italian

Kettledrums Timpani

Triangle Triangolo

Cymbals Platti

Bass drum Gran cassa

Snare drum Tamburo piccolo

Harp Arpa

Strings

Violin Violino

Viola Viola

Violoncello or Cello Violoncello

Double bass Contrabasso

2
Week 7 - Review
Below is an orchestral score with instrument names missing. Add in the instruments using their Italian name.

3
 Flipped Classroom - a complete resource

Week 8
for level 2 Score Reading 91276

Performance Directions
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week8

In addition to knowing the performance directions for pizz, arco, ped, arpeggio, slide, hammer-on, pull-off and 8ve
(the level one requirements) you now also need to learn the meaning and symbols of the words in the table
below. Note, you also need to be able to describe the timbral effect.

Performance Direction Symbol Description and Timbral Effect

Up-bow When playing in the arco style the string player is instructed
to play with the bow going upwards, providing a lighter
sound.

Down-bow When playing in the arco style the string player is instructed
to play with the bow going downwards, providing a stronger,
more forceful sound.

Harmonics This is when a string player (including guitarists and bass

players) lightly touch the string with their left hand while
plucking, strumming or using the bow with their right hand.

Con sordini - “with the mute” This instructs the musician to use a mute. This makes the
sound of the instrument quieter but also changes it’s tone,
making it more of a ‘choked’ sound.
FYI, if you want the musician to take the mute away write
“senza sord”

Tremolo Here a musician is instructed to play a repeated note very

fast. Alternatively they may also play two alternating notes
very quickly. See the YouTube link for a demonstration.

Una corda This is the ‘soft’ pedal on a piano (usually the left pedal).
This shifts the action of the piano to the right so that
hammers which normally strike three strings will only strike
two of them. This makes the piano quieter and have a more
gentle tone.

1
Week 8
Drum kit techniques
As the drum kit is a set of untuned percussion instruments they use the Percussion clef, rather than treble or bass
clefs. This means the lines and spaces on the stave don’t mean pitches, or notes, but rather they represent
different parts of the drum kit that are to be hit with notated rhythms.

Your typical simple rock beat is notated like this (see the YouTube video for a demomstration):

In many jazz Big Band charts the drummer is often given a lot of freedom to play within a certain feel or groove but
make up a lot of their own hits. In fact, it is rare to find a fully notated drum chart, and this would usually only be
for beginning jazz drummers. Often a type of feel is notated for one or two bars and then you’ll see slashes in the
bars afterwards instructing the drummer to keep time. If there are any ‘hits’ the drummer needs to highlight, these
will be notated before returning to slashes.

This all sounds complicated until you see it in action. Click on the YouTube link below to see an example of this in
action on a jazz chart.

https://youtu.be/Zejy2P68ga8

For the full version of this video if you’d like to hear the full arrangement please click this link:
https://www.youtube.com/watch?v=J1JeOb4cU_0

2
Week 8
Structural markings
When scores have repeating music you will see symbols like repeat bar lines, 1st & 2nd time bars and so on.
You learned about these last year. However, if the music jumps back to an earlier section, and then needs to
jump to a section further on (such as an Outro) then we use the terms DC/DC al Fine and DS/DS al Coda.

DS (or dal segno) means “from the sign”. When you see this instruction in a score it means you jump back to
reading music at the DS sign:

When the instruction is DS al Fine it means to jump back to the sign and then keep playing the music until you
see a “fine” instruction, which means to end the piece.

DC al Coda (or Da Capo al Coda) means “from the head [beginning] to the coda”. This instructs you to jump
back to the very beginning of the score and to then jump to the coda section when you see the coda sign:

Here is a video demonstrating how to navigate through a score with these signs:

https://www.youtube.com/watch?v=p4tlFmd2-iw&feature=youtu.be

3
Week 8 - Review
Look at the score below and answer the questions.

1. Describe the tempo of this piece

2. Describe the texture and/or compositional technique in bars 1-6.

3. Describe the texture and/or compositional technique in bars 7-9.

4. Describe the playing techniques of the viola in bars 1 and 4.

5. How is the violin II part to be performed in bars 2 and 3.

6. Identify the two keys in this piece and the bar a modulation occurs.

7. What is the texture of the final bar.

8. Identify the chords using roman numerals at: Bar 3 beat 2 ______ Bar 7 beat 2 ______ Bar 8 beat 4 ______

4
 Flipped Classroom - a complete resource

Week 9
for level 2 Score Reading 91276

Form/Structure
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week9

Last year you learned about Binary, Ternary, Song structure and 12-bar blues. While the directives for level 2
Score Reading is that there are no constraints on the types of forms they can ask you about, I think it’s safe to say
they won’t be bringing up Sonata Form. But ask your teacher about it anyway, it’s fascinating. :-)

Some possible forms that you may be asked to identify and provide some analytical description are:

Rondo - If binary is AB, and ternary is ABA. Then Rondo is ABACA. Simple as that. :-)

Through composed - here the music is relatively continuous, non-sectional and/or non-repetitive. If a song has
different music for each verse or stanza of the lyrics then it is through composed. Many examples of this form
can be found in Schubert's "Lieder", where the words of a poem are set to music and each line is different. For
example, in his Lied "Der Erlkönig" (https://www.youtube.com/watch?v=JS91p-vmSf0), the setting proceeds to a
different musical arrangement for each new stanza, and whenever the piece comes to each character, the
character portrays its own voice register and tonality*.

Strophic - This is different to through composed in that each verse or stanza of lyrics is set to the same music.
You could think of the sections being AAAAA… Therefore most 12-bar blues pieces could be considered
Strophic.

Theme & Variations - this is when a section of music is played and then repeated with some of the original
elements changed. For instance there may be an altered harmony, melody, counterpoint, timbre, rhythm, etc
Check this out: https://www.youtube.com/watch?v=u79OnKLgtkY (it’s the Jurassic Park theme).

*https://en.wikipedia.org/wiki/Through-composed

1
Week 9
Identify the structure of the following melodies and state the bar numbers of the different sections.

Structure: _______________ Section bar numbers: _____________________________________________

Structure: _______________ Section bar numbers: _____________________________________________

2
Week 9 - Review

1. Identify the form of this piece and write letters on the score at the start of each section (eg. A, B, C…)

2. Identify the articulation of the flute and oboe in bars 13-15. Describe how this section contrasts with other
sections.

3. Using roman numerals identify the chords in bars: 2 ______ 6 ______ 13 ______ 16 _____ 20_____

4. Describe the compositional technique in bars 5-8.

3
 Flipped Classroom - a complete resource

Week 10
for level 2 Score Reading 91276

Transcription

Now that you know what a Tenor clef is, you are also required to write music to and from the tenor clef to the
other clefs, such as treble, bass and alto clefs.

Just remember, where the two half circles in the clef intersect is middle ‘C’. To give you an example, here is a
melody that is written in treble clef. You’re required to write it out in tenor clef (I’ve done the first couple of notes
for you to get you going).

Now try going the other way. Here is a melody in tenor clef which you need to transpose to bass clef.

And now try going between alto and tenor clefs.

1
Week 10
At level two you’re required to transpose between written pitch and sounding pitch for guitar and bass guitar
However, bass guitar is the same as double bass so you’ve already learned how to do that last year in week 21.
And you have also learned about how to do guitar.

So, go back to week 21 of the level 1 resource if you need a refresher and then complete the exercises below.

2
Week 10 - Review
You’re now halfway through this course. Now it’s time to test yourself again in exam conditions. You’ve already
had a go at last year’s exam in week five, now it’s time to download and try the exam from two years ago.

You can get it from here:

http://www.nzqa.govt.nz/ncea/assessment/search.do?query=Music&view=exams&level=02

However, some of the material may be under copyright so you may need your teacher to download it for you.

Don’t use notes and allow yourself around two hours in a quiet space to complete the exam. It is very important
that you do this at this stage of the course. It’s one of the best things you can do to improve your end of year
mark in the external exam.

Also… don’t forget to keep trying to beat your high score in Staff Wars!

3
 Flipped Classroom - a complete resource

Week 11
for level 2 Score Reading 91276

Cadences
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week11

A cadence is a pair of chords, usually at the end of a phrase. The sorts of cadences we look at will involve
chords of four notes. In the treble clef the notes can be known as Soprano & Alto, and in the bass clef they are
Tenor & Bass.

Soprano

Alto
Tenor

Bass
Above is a C major chord. We see that the root of the chord, the C note, is in the bass. This is important
because if the Bass part had a different note, then it would be some other chord (possibly an inversion of C
major).

A C major triad would usually only have three notes, but we have four ‘voices’. Therefore I’ve decided to double
the C note. Usually the melody of the music will determine the note the soprano part has, and the harmony will
determine the note the bass part has. Therefore, the hardest part is often which notes of the chord you could be
giving to the alto & tenor parts.

Let’s start with a few basic chord completion exercises. Below the soprano part is given. You need to assign
notes to the A, T & B. The bass part will be which ever is the root note of the chord being asked. See below for
an indication of what to do.

1. Determine the notes of the D major triad = D, F#, A

2. Give the bass part the root note of the chord (D).
3. Give the alto and tenor parts which ever notes are left. You may have to double one of the notes. Usually the
best notes to double in a chord are root or the 5th of the chord. Sometimes it’s ok to leave out the 5th in the
chord altogether (but never leave out the root or the 3rd).

1
Week 11
Complete the missing notes in these chords below (the soprano part is provided):

Complete the missing notes in these chords below (the bass part is provided):

Complete the missing notes in these chords below (the alto part is provided):

The first cadence, or pair of chords, we’re going to learn about is the Perfect cadence. This is when you go
from chords V to I (five to one) in a key. In the key of C, it would mean you’ve got a G major chord followed by a
C major chord. G = V, C = I.

Notating pairs of chords, or cadences, can be tricky as you need to make sure each part is good to play (or sing)
and that the overall transition between chords sounds smooth. You need to have good voice leading. Therefore,
there are a whole bunch of guidelines for each cadence about how to make it sound good. Here are a few of
them for Perfect cadences:

1) For the S, A & T parts, keep their movement as smooth as possible (a part may even stay on the same
note). The bass will move by whichever distance is specified by the names of the chords.
2) Avoid doubling the 3rd of the chord.
3) Complete the bass or soprano parts first, then add in the remaining notes.
4) Avoid moving the bass and soprano/melody parts in consecutive 5ths or octaves (in fact, try avoiding
consecutive 5ths or octaves between any parts).
5) Aim for contrary motion between the soprano and bass parts (try to have them moving in different
directions).
6) The Leading Note (which will be the 3rd of chord V) should rise to the tonic (but can fall to the 5th).

2
Week 11
Here is a guide to completing a Perfect cadence with a given melody or soprano part.

The melody or soprano Add in the bass part Find a missing note of V, I’ve focused Now add in missing notes. The
part is provided. as dictated by the chords. on the 3rd (B). This is the Leading 5th of chord V (D), and the 3rd
Note of the scale so needs to rise to of chord I (E). The rising T & A
the tonic. parts provide nice contrary
motion to the falling bass part.

Please complete these Perfect cadences with a given soprano or melody part.

Now complete these Perfect cadences with the bass provided.

3
Week 11 - Review
Please complete these Perfect cadences with a given soprano or melody part. These cadences are all in major
keys.

Please complete these Perfect cadences with a given soprano or melody part. These cadences are all in minor
keys.

Fill in the missing English translation or meaning of the following words and symbols

grazioso

meno

andantino

DC al Coda

molto

con sord.

4
 Flipped Classroom - a complete resource

Week 12
for level 2 Score Reading 91276

Chords
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week12

In addition to recognising chords I, IV, V, V7 and vi in major and minor keys, you are now required to also
recognise the Isus, ii and Vsus chords.

In this harmonised C major scale we see chords I, IV, V and vi that you know from level 1. However, we also see
chord ii. As there are three semi-tones, or a minor 3rd, between the bottom two notes of chord ii, it is a minor
chord, just like chord vi.

Simple enough? Maybe for a major key. In a minor key chord ii becomes something which may be new to you.

Chord ii in a minor key is now a different type of chord. It is a diminished chord - notated with “dim” or a circle. A
normal minor chord has a minor 3rd between the bottom two notes and a major 3rd between the top two notes.
For instance, in the Am chord there is a minor 3rd between A & C, but there is a major 3rd interval (four semi-
tones) between the C and E. However, in a diminished chord there are only minor 3rd intervals between all the
notes (chord vii in a major key is also a diminished chord).

Write out these chords - they are all chord ii in the given key.

Write out these chords - they are all chord VI in the given key.

1
Week 12
‘Sus’ chords
The ‘sus’ or suspended chord, is when the 3rd note of the chord (i.e. the middle note of a 1-3-5 triad) is moved
up a step to the 4th degree of the scale. Here is a I and a Isus chord in the key of C major:

Sometimes the ‘sus’ chord takes the 3rd of the chord down a step. In this case it will be notated as a ‘sus 2’
chord.

In level 2 music the only sus chords you’re required to know about are the Isus and Vsus chord. Have a go at
writing these ‘sus’ chords. The first one has been done for you.

Inversions
So far, all the times we’ve looked at chords we have been looking at them in ‘root’ position. That means, with a C
chord, C is always the bottom note. However, it is often a great idea to use a different note from the chord on the
bottom, creating an inversion. So a C chord may have the middle note of it’s triad on the bottom and would be
known as a C/E (“C over E”) chord. In the key of C major it would be known as a Ib chord.

For root position chords you don’t need to write Ia - the ‘a’ is assumed. Only write letters for 1st, 2nd or 3rd
inversion chords. Note, you’ll only need to use the 3rd inversion if there are four notes in the chord, like with V7.

When identifying chords in a score, it is critical that you use the correct inversion. Remember, if the tonic of the
chord is not the lowest note then it is some sort of inversion.

2
Week 12
In the score below, for each empty box identify the chord. Please use roman numerals and jazz/rock chords. A
few have been done for you. Remember to use the correct inversions. The key is G major.

3
Week 12 - Review
Look at the score below and complete the questions.

1. Identify the form/compositional device used in this piece.

2. Identify the chords using roman numerals and correct inversions.

3. What is the cadence of the last two chords?

4. What does Largo mean in English?

5. Describe the volume of this piece

6. What is the predominant texture of this piece?

4
 Flipped Classroom - a complete resource

Week 13
for level 2 Score Reading 91276

Compositional Devices
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week13

When you’re studying the works of other composers, it’s often helpful to break their writing down into chunks. To
identify the specific techniques they’re employing to develop their themes and melodies. You’ll see some
techniques over and over (such as repetition, sequence and imitation that you learned about last year) but
you will also come across inversion, augmentation and diminution.

Inversion - this is when the contour of a melodic fragment or idea is repeated upside down. Like this:

Augmentation - this is when a melodic idea is repeated with longer note values.

Diminution - is the opposite or augmentation; it is when the notes values are shortened in the repeated musical
idea. Debussy uses this to great effect in “Prelude to the Afternoon of a Faun”.

1
Week 13
Phrases - most modern pop music has regular phrases. Usually of even numbers of bars (such as four or
eight). Some very clever songwriters, like Sting, Burt Bacharach or Bob Dylan manage to create songs with
irregular phrases. This may be something you need to comment on when analysing a score. Count the number
of bars of each phrase. The composer will choose to keep the phrases regular, to create a sense of consistency
and predictability; or they may choose to have phrases of irregular length, creating a sense of surprise and
originality.

Motifs/Riffs - we looked at motifs and riffs in week 19 last year. Remember the “Millennial Whoop”? When a
composer develops a riff or motif, they may use any of the compositional devices you’ve looked at this week and
last year. It could be repetition, sequence, imitation, inversion, augmentation, diminution, changing the length of
the phrase and so. When writing in the exam the key thing you need to do is to identify the motif, describe the
nature of it (eg. how large is the melodic range or contour of it, or how quick the rhythms are), describe how the
motif or riff is altered, and comment on why the composer may have done this, evaluating the effectiveness of it.

Textural features
We discussed textural features back in week 6. Heterophonic, countermelody and antiphonal. Another textural
feature composers use to develop melodic ideas is to use imitation (which you already know about) but also
fugue.

Fugue - most fugues begin with a melodic theme which is then played successively in different voices/parts.
After the first part is finished stating the melody, a second part repeats the melody at a different pitch, with other
voices repeating in the same way. So, when you’re analysing a score look for imitation of a melodic phrase or
idea between parts. If the same idea is repeated between different parts then it might be a fugue.
An excellent YouTube video that explains the Fugue (and other aspects of theory) that you need to watch is:
˚https://www.youtube.com/watch?v=vAFETgpt9PA

Textural density - all this talk of antiphony and fugues is not much use to you if you’re analysing a piece of rock
or pop or other type of contemporary music. With these genres you’ll most likely be commenting on the density
of the texture, how it changes over time, and evaluating the reasons and effectiveness of it.

2
Week 13 - Review
Identify the compositional devices used in these pieces of music. Circle and write on the melodies any devices
you see.

3
 Flipped Classroom - a complete resource

Week 14
for level 2 Score Reading 91276

Transposition
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week14

Last year you learned to transpose from concert pitch upwards to written pitch for instruments in Bb (such as
clarinet in Bb and trumpet) and F (such as Horn in F).

This year you need to also transpose instruments that are in Eb (such as alto and baritone saxophone). You will
also need to transpose both directions and be determining the key of the written and transposed part.

Transpose the violin part below up a major 2nd so it can be played by a clarinet in Bb. You will need to fill in the
key signature.

Now let’s try and go the other direction. Transpose the clarinet in Bb part below down a major 2nd so it can be
played by a violin. Don’t forget the key signature.

Now take this flute part and transpose it up a 5th for the Horn (I’m telling you how far you need to transpose, but
in the exam you won’t be told this, you’ll just have to remember that transposing instruments in ‘F’ go up a perfect
5th from concert pitch). Include the key signature.

1
Week 14
Now let’s add in Eb instruments. These need to be transposed a major 6th up from concert pitch. Examples of
Eb instruments are the alto sax and the baritone sax. However, the baritone sax goes up a 6th plus an octave (a
major 13th). This is why it’s a bass instrument but reads treble clef (this makes it easier for sax players to switch
between instruments, they don’t need to learn how to read bass clef).

Transpose this flute part up a major 6th so an alto sax player can play it. I have put in the key signature for you
and done the first note to get you going.

Here is an alto sax part. You need to transpose it down a major 6th so the oboe can play it. You also need to
work out the key signature.

This is a difficult one. Transpose this cello part up a major 13th (a major 6th plus an octave) for Baritone sax.
Cello is in bass clef, but the bari sax is in treble clef. I’ve done the first note for you but I haven’t done the key
signature. You will need to do it.

2
Week 14 - Review
Please transpose this part for clarinet in Bb for violin. Be sure to always include the key signature plus any
performance indications.

Please transpose this piano part for Alto Sax in Eb.

Please transpose this Horn in F part for Oboe.

Complete these Perfect cadences with the given soprano/melody part.

3
 Flipped Classroom - a complete resource

Week 15
for level 2 Score Reading 91276

Exam practise
For this week you need to download the NZQA exam that was done three years ago.

You can get it from here:

http://www.nzqa.govt.nz/ncea/assessment/search.do?query=Music&view=exams&level=02

However, some of the material may be under copyright so you may need your teacher to download it for you.

Don’t use notes and allow yourself around two hours in a quiet space.

You only have five more weeks to complete this course and regular testing under exam conditions is vital.

1
 Flipped Classroom - a complete resource

Week 16
for level 2 Score Reading 91276

Modulation
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week16

Last year we looked at modulation, or changing key, to the subdominant, dominant, relative major and relative
minor keys. This year you may also have to identify modulation to the tonic minor key (and probably vice versa,
although the L2 Score Reading specifications doesn’t mention modulating to the tonic major).

What this means is that if you’re in the key of A major, the music may change key to A minor. And if you’re in G
minor for example, you may modulate to G major.

In these simple melodies identify the start key and any keys the melody modulates to. Underneath state the
relationship of the modulated key to the starting key.

The melody at the start will most likely be the major or minor key associated with the key signature. Look for a
raised 7th to indicate a minor key. If no accidentals are present in the first couple of bars then it is probably the
major key associated with the key signature.

Then look for the presence of accidentals to indicate a change of key. When working out the new key don’t
forget to include the original key signature in your calculations as that is still relevant. The first exercise has been
done for you.

1
Week 16
When identifying cadences at level 2 you now also need to look for the Imperfect II-V cadence. Last year you
learned that an Imperfect cadence is I-V and IV-V. However, it is also II-V.

Bar Key Evidence for key Relationship to opening

key

1 A major *Three sharps in key sig Tonic

*A maj chord to start
*No raised 7th for rel. min.

5-8

9-10

Identify the chords labelled 1-9 using roman numerals (you will need to be sure of the key to correctly determine correct numeral)

1.______ 2. ______ 3. ______ 4. ______ 5. ______ 6. ______ 7. ______ 8. ______ 9. ______

Identify the cadence made up by chords: 4. & 5. _______________ 6. & 7. ______________ 8. & 9. _______________

2
Week 16 - Review
Identify the opening key and any modulations these in these melodies. Write the keys across the top and the
relationship to the opening key underneath. The first has been done for you.

Fill in the missing English translation or meaning of the following words.

piu

cantabile

poco a poco

molto

meno

3
 Flipped Classroom - a complete resource

Week 17
for level 2 Score Reading 91276

Cadences
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week17

Please fill in the missing parts to complete these Perfect (V to I) cadences. Don’t forget all the guidelines for
correct writing on page two of week eleven.

When writing cadences there won’t be only one correct answer so if what you’ve written differs from my answers
please check with your teacher to see if you’ve made any mistakes, or if it’s all ok.

At level 2 there are two more types of cadences that you need to be able write for. These are the Plagal
cadence (IV-I) and the Imperfect cadence (I-V only). We will not be writing for the Interrupted cadence of other
types of Imperfect cadences.

The good news is that most of the rules you have already learned from week eleven still apply here. Some
general guidelines are:

• Make sure there isn’t more than an octave between adjacent parts S/A & A/T. It’s ok for tenor to be
more than an octave above the bass.
• Emphasise contrary or oblique motion between S & B.
• A & T should mainly move in a stepwise motion. Any leaps of a 3rd or more should resolve by step in
the opposite direction. There should be no leaps of more than a perfect 5th.
• The leading note (the 3rd in chord V) should rise to the tonic. However, it is acceptable for it to fall to
the 5th.
• Try and keep part movement as smooth as possible. Retain common notes between chords in the
same part if possible.
• If a note has to be left out leave the 5th out, the tonic (root) and 3rd of the chords are crucial (however,
avoid doubling the 3rd).

1
Week 17
Complete these plagal cadences. When the melody/soprano part is given put in the bass first (remember to aim
for contrary motion). Then fill in the A & T parts, looking for common notes that can remain the same between the
chords and stay in a part.

The melody or soprano Add in the bass part Look for common note Now add in missing tenor part. The
part is provided. as dictated by the chords. between chords (D). Best 3rd was missing from chord I (F#) so I
Have bass moving in different place for this is in the alto part. started there and found the closest
direction to soprano. option to lead to it in chord IV (G).

Complete these plagal cadence in minor keys.

Complete these imperfect I-V cadences.

Complete these imperfect I-V cadences in minor keys (don’t forget to raise the leading note).

2
Week 17 - Review
Transpose the Alto Sax part for a violin.

Transpose the oboe part for a trumpet in Bb.

Complete these Plagal IV-I cadences.

Complete these Imperfect I-V cadences.

3
 Flipped Classroom - a complete resource

Week 18
for level 2 Score Reading 91276

Compositional devices

Back in week 13 we discussed some compositional devices and techniques. When analysing scores for the
level 2 exam there is a little more you need to be aware of.

Canon/fugato - You’ve already learned about the fugue as a textural feature (see week 13). However you can
also comment on it as a compositional device in the way that it develops melody. A canon is the same sort of
thing. A melody is played, and it is then repeated (exactly the same or with variations) after a given duration (such
as a bar) in another part/instrument. This then continues in other parts. An example of a canon in which all
voices are musically identical is “Row, row, row your boat”.

Theme & variations - we discussed this back in week 9 when looking at form. This is an example of when a
certain technique can be discussed in two elements or sections. It is a structural technique, but it is also a
compositional device. A way of developing a melody to advance a composition.

Melodic range & contour - If you’re asked to comment on a melody you now have a whole bunch of things to
look for (eg. augmentation, irregular phrases, fugato, inversion, etc). However, one of the first things you could
comment on is the range of the melody (what is the interval between the lowest and highest notes?) and the
contour of the melody (where does it rise and fall?). Also look to talk about how suitable the melody is for the
instrument playing it, i.e. is it idiomatic? Listen to “Carnival of the Animals” for an example of idiomatic melodies.

1
Week 18
Cadences
Here is some further practise at completing cadences.

Perfect cadences (mixture of major and minor keys):

Plagal cadences (mixture of major and minor keys):

Imperfect (I-V) cadences:

2
Week 18 - Review
Reduce this wind and string ensemble to a close score for piano. Write three notes in the right hand of the piano
and one note in the left hand. Pay careful attention to the clefs used by the viola and bassoon.

3
 Flipped Classroom - a complete resource

Week 19
for level 2 Score Reading 91276

Articulation
Please watch this YouTube video for an overview of this lesson: http://tinyurl.com/91276week19

Last year in week 10 you learned about slurs, ties, staccato, legato and accents as ways of providing character to
musical phrases. Here are a few more for you to learn:

Staccatissimo - this is an exaggerated form of staccato. The notes are to be extremely separated and distinct.
See a demo here: https://www.youtube.com/watch?v=JhYAaA-iHf4

Semi-staccato - this is also known as Portato. It can be confusing at first as the notes have both slurs and
staccato. The musician is to play the notes with a smooth pulsing articulation. String players will play a passage
with a single bow but will gently articulate each new note Demo: https://www.youtube.com/watch?
v=whXj4-60SR0

Tenuto - this means to hold a note for it’s full length (or slightly longer) or to play it slightly louder. It depends on
context. However, a note with this line above or below it should be played with emphasis. In Jazz Big Bands the
horns would play tenuto notes louder than normal notes but not as loud as an accent.

Phrase marks - a phrase mark looks just the same as a slur, but it is used to indicate where a phrase of music
starts and stops. It does not indicate that is should be played legato, as a slur does.

1
Week 19
Transposition
Transpose this trumpet part so it could be played by a flute. Include the key signature.

Transpose this violin part so it could be played by an alto sax. Include the key signature.

Transpose this clarinet part so it could be played by an oboe. Include the key signature.

Transpose this Horn part so it could be played by a violin. Include the key signature.

2
Week 19 - Review

1. Give the English meaning of the tempo.

2. What kind of saxophone is being used? Provide evidence from the score for your answer.

3. Describe what is to happen in bars 3-4 of the drum part.

4. Describe what the drummer is to do in bar 5.

5. Notate the bass guitar TAB part from bars 3-6 (highlighted on the score).

(continued over page)

3
Week 19 - Review
6. Identify three types of articulation and describe how they are to be played. Provide bar numbers as evidence.

7. Identify any compositional devices used in the score. Provide evidence.

4
 Flipped Classroom - a complete resource

Week 20
for level 2 Score Reading 91276

Summary
Below is a checklist of all the things you need to know for level 2 NCEA Score Reading. It should be used in-
conjunction with the level 1 end of course summary as you need to know everything from both years.

From here until the end of year exam you need to be doing one NZQA exam per week. I also encourage you to
purchase the excellent Level 2 Score Reading revision resource from Ross Gerritsen (St Kentigern’s College - ask
your teacher to look him up). If you need to source this, email sales@learningideas.co.nz for contact details.

Checklist

Skills/Knowledge Complete?

Terms and signs / Performance markings

Articulation markings (including phrase marks, tenuto, staccatissimo, semi-staccato)

Dynamic markings including Italian terms: sf, fz, ppp, fff

Metronome and tempo markings: andantino, vivace, allegretto, allargando

Expression markings: espressivo, grazioso, cantabile, tranquillo, poco a poco, molto, piu, meno

Performance directions (words and symbols) including description of timbral effect: up-bow, down-bow,
harmonics, con sordini, tremolo, una corda

Common drum kit techniques

Structural markings (e.g. “DC / DC al Coda, DS/DS al fine”)

Rhythm / Metre - limited to “commonly used” simple, compound and irregular time” [including ₵, and 5/4, 5/8, 7/8]

As for L1, but including all time signatures above

As for level 1 but including duplets/triplets/quintuplets, anacrusis

1
Week 20
Skills/Knowledge Complete?

Pitch / Tonality - Limited to major and minor keys, up to 4 sharps and 4 flats

Clefs – as for L1, plus tenor C-clef, guitar TAB

Key signatures and scales- as for L1 plus natural minor, and chromatic

Key relationships (scale degrees) – as for L1, plus tonic minor and supertonic

Intervals – as for L1, plus augmented 4th/diminished 5th; same limitation on lower note (but range of
possibilities is greater)

Transposition – transposition upwards or downwards, sounding pitch written pitch, limited to instruments in
B-flat, E-flat, and F

Transcription – as for L1, plus from tenor clef other clefs, written pitch → sounding pitch (guitar/bass guitar)

Harmony - Limited to chords I, Isus4, II, IV, V, V7,Vsus4 and VI, in major and minor keys, in root, first, and second
inversion

Chords – as for L1, with a wider range of chords and inversions

Chord progressions – add imperfect cadence II-V, and no restriction on inversions

Chord progressions – notation of cadences in root position (perfect [V–I only, no V7], plagal, imperfect [I–V
only]); no interrupted cadence

Modulation – as for L1, plus tonic minor

Instrumentation - Scores of varying levels of complexity including common symphonic, chamber, choral and jazz /
rock ensembles

Score layout – add Italian names

Form / Structure - Identification, and some analytical description required.

No constraints on types of forms - e.g. rondo, theme and variations, strophic

2
Week 20
Skills/Knowledge Complete?

Compositional devices - As for L1, plus:

Motifs/riffs and their development

Phrases - regular and irregular

Augmentation and diminution

Inversion

Canon / fugato

Variation and thematic development

Melodic range and contour

Texture - textural features e.g.

Heterophonic

Countermelody

Antiphonal

Imitation, fugue

Textural density