1. Music A level preparation

2. What you need to know before the start of the course
The next few slides will outline some aspects of theory that you will need to be familiar with before the start of the course. There are lots of internet sites that can talk you through and give you exercises on these things so do use them to help you too. Musictheory.net is a good one. ABRSM theory workbooks are also really useful, as is the AB Guide to Music Theory by Eric Taylor.
Also feel free to pop in before the end of term to speak to me if you are unsure about anything or the depth of your understanding.

3. Key Signatures
You need to be familiar with how many sharps and flats are in each key signature.
As a rough guide, you should know the key of any key signature up to 4 sharps or flats by sight, and be able to work out it beyond that! You can learn this by rote or there are various methods for working it out. Use musictheory.net for some revision/explanations if you need them.
You should definitely know the order of sharps and flats
(F#, C#, G#, D#, A#)
(Bb, Eb, Ab, Db, Gb, Cb)

4. The degrees of the scaleI C II D
III E IV F V G VI A
VII B
Each note of a scale can be numbered (see the example of C major above). We use roman numerals to identify each degree of the scale.

5. The degrees of the scaleI 1
TONIC II 2
SUPERTONIC
III 3
MEDIANT IV 4
SUBDOMINANT V 5
DOMINANT VI 6
SUBMEDIANT
VII 7
LEADING NOTE
Each degree of the scale also has a name. You will be familiar with Tonic, dominant and subdominant from GCSE Music. It is worth learning the names of the other notes as we will use them more at A level.
Probably more important and useful, however, is being able to work out the tonic, subdominant and dominant note in any scale, quickly.
Test yourself! Choose a key, say D major, and work out the tonic (D), subdominant (G) and dominant (A).

6. The degrees of the scaleI 1
TONIC II 2
SUPERTONIC
III 3
MEDIANT IV 4
SUBDOMINANT V 5
DOMINANT VI 6
SUBMEDIANT
VII 7
LEADING NOTE
The main thing we use these names for is to identify chords on each degree of the scale.
Make sure you are familiar with which chords are used in each of these cadences we have used at GCSE level.
CADENCES: ‘A pair of chords signalling the end of a phrase of music’
Perfect
V - I
Strong, complete sounding
Imperfect
I - V
Unfinished sounding
Plagal
IV – I
Sounds complete and ‘finished’ but is weaker than perfect. Peaceful, religious sounding.

7. Chords (triads) built on each level of the scale, and the relationship between chords to form cadences I 1
TONIC
(e.g C)
Home note / chord! II 2
(D)
III 3
(E) IV 4
SUBDOMINANT
(F)
Weaker than dominant, sounds peaceful when it resolves to chord I V 5
DOMINANT
(G)
Strong sounding - wants to go back to home (Tonic) chord (I) VI 6
(A)
VII 7
(B)

8. Notation
You must be able to fluently read notes in the treble clef (up to about 2 ledger lines above and below the staves). You will also need to be able to recognise notes in the bass clef. This might be new to you and it is ok to need to work these out. Again, there are lots of methods online.

9. PERFORMANCE
Component 2: Performance (Assessment objective AO1) Performance is externally marked by AQA out of 50 and constitutes 35% of the total marks for the qualification.
The performance must meet the specified duration of ten minutes.
The student can perform through a combination instrumental/vocal solo and/or in an ensemble.
The minimum credit given for difficulty is grade 5 (or equivalent). You must be able to perform pieces of at least Grade 5 standard.

10. COMPOSITION
In the first year of A level we will be studying 4 part harmony in the style of the Bach chorale. This will give you both a grounding in harmony and composition which will help with the listening unit and later with free composition.
The best preparation for this aspect of the course is revising key signatures and the names of triads (chords) on each degree of the scale (tonic, dominant, subdominant) etc.

11. LISTENING
Listen to some of the set works we will be studying. The following pieces fall under the first (compulsory) unit: Area of study 1: Western classical tradition 1650–1910 (compulsory) The main two to focus on are Strands B & C, which we will also be doing analysis on. I’ll explain this in greater depth in September, worth having a listen through to all of them over the summer though!

12. Popular Music and Music for Theatre
The following topics are the two other Areas of Study you will follow.
The following slides outline what you need to listen to over the summer and a few short tasks.
Enjoy!

13. Listen to… Stevie Wonder
For Once in my Life, from For Once in my Life (1968)
Signed, Sealed, Delivered, from Signed, Sealed, Delivered (1970)
Superstition, from Talking Book (1972)
You Are the Sunshine of My Life, from Talking Book (1972)
Sir Duke, from Songs in the Key of Life
Make notes of what instruments are used and any influences you can hear from other genres of music.

14. Listen to… Joni Mitchell
Big Yellow Taxi, from Ladies of the Canyon (1970)
River, from Blue (1971)
Carey, from Blue (1971)
A Case of You, from Blue (1971)
Help Me, from Court and Spark (1974)
Make notes of what instruments are used and any influences you can hear from other genres of music.

15. Listen to… Muse Stockholm Syndrome from Absolution (2003)
Supermassive Black Hole, from Black Holes and Revelations (2006)
Uprising, from The Resistance (2009)
Supremacy, from The 2nd Law (2012)
Make notes of what instruments are used and any influences you can hear from other genres of music.

16. Listen to… Beyoncé Crazy in Love, from Dangerously in Love (2003)
Listen, from B'day (2006)
Singles Ladies, from I Am…Sasha Fierce (2008)
Best Thing I Never Had, from 4 (2011)
Make notes of what instruments are used and any influences you can hear from other genres of music.

17. For each artist, create a small bio about them, including their musical influences, impact on popular music and their career.

18. Musical Theatre

19. Listen to Claude-Michel Schönberg
I'd Give my Life for You, from Miss Saigon
Bui Doi, from Miss Saigon
I Still Believe, from Miss Saigon
One Day More from Les Miserables
Bring him Home from Les Miserables

20. Listen to Stephen Sondheim Prelude, from Sweeney Todd
Green Finch and Linnet Bird, from Sweeney Todd 
A Little Priest, from Sweeney Todd
My Friends, from Sweeney Todd 
On The Steps of the Palace, from Into The Woods
 Agony, from Into The Woods
Giants in the Sky, from Into The Woods
Last Midnight, from Into The Woods

21. Listen to Richard Rodgers Oh, What a Beautiful Mornin', from Oklahoma!
Lonely Room, from Oklahoma!
Oklahoma!, from Oklahoma!
Louise's Ballet: Pas de deux, from Carousel
What's The Use of Wond'rin?, from Carousel