Unit Contents for HND Units

Unit 11 Composition In Context

1. Be able to compose in different styles

Styles: periods eg classical, baroque; schools eg impressionism, minimalism; genres eg
lieder, reggae, drum and bass; places eg Spanish flamenco, African drumming
Musical characteristics: stylistic elements eg tonality, instrumentation, structure, rhythmic,
melodic and harmonic devices
2. Be able to compose for different combinations of sounds
Instrumentation: instruments; voices; electro-acoustic or other media; capabilities and
range of different instruments and voices
Timbre and texture: characteristics of instruments; playing techniques; number of parts;
density; layers; counterpoint; accompaniments; doublings; backings; imitation; drum
patterns
3. Be able to create a piece of music according to a commission
Commission: type of composition; length of composition; instrumental forces; title;
purpose eg occasion, incidental music; venue; interim review meetings with the
commissioner; delivery dates
Meeting the brief: following guidelines; making revisions; meeting deadlines; providing
materials; producing score and extracting parts; communicating musical intentions clearly;
attending rehearsals; understanding the medium, occasion and venue
4. Be able to create a portfolio of compositions
Portfolio: contrasting pieces; range of styles/genres; range of instrumental and vocal
examples
Presentation: conventions of particular styles and genres; CD and DVD; MIDI and audio
files; scores appropriate format eg full score or short score; lead sheet; chord chart; guitar
tablature; graphic scores; relevant computer software eg Sibelius, Finale, Logic; editing

Unit Contents for HND Units

Unit 16 Critical Music Listening

1.
Understand individual musical characteristics in a performance or
recording
Pitch: elements eg intonation, frequency pulsing, independent musical lines, melody, bass
line, inner harmonies, octave
Harmony: elements eg temperament, dissonance, false harmonics, consonance, scales,
modes, series
Timbre: elements eg breadth of audio spectrum, brightness, EQ, dynamic processing,
identifying instruments, combinations, tone colour, orchestrating musical lines, sound
synthesis, waveform types, hi-pass and lo-pass filters
2.
Understand essential musical ingredients that contribute to a
performance or production
Homogenous: soundfield eg suitable ambient environment, mix, balance, blend, clarity,
position in depth of soundfield, slow and fast release compression, psycho-acoustic issues
Disparate: characteristics eg solo, panning, placement in stereo (or surround) field, depth
of the field, contrast between sounds, clarity, boosts and cuts, amplitude change
Groupings: placement eg placement in stereo field (panning), depth of field, alternative
balance for different musical styles, analysis of sound in nature and urban environments,
focus
3. Understand sonic problems that may have a negative effect upon music
performance or production
Musical: accuracy eg incorrect notes, sharp, flat, keeping time, variations in tempo and
pitch
Balance and timbre: characteristics eg audio spectrum, acoustic environments, blend,
intelligibility, volume and compression considerations, reverb issues, EQ, effect of the
listening environment, stereophony anomalies, normalisation
Extraneous problems: errors eg pops and clicks, clips, signal-to-noise ratio, excessive low
frequency content, hums, balance, editing, phase problems, cross-talk, microphone and
headphone spill, feedback and howl-round, slapback and echo problems, drop-outs,
analogue and digital distortion, sibilance, loudness, reverse image, polarity reversal
4. Be able to accurately balance combinations of musical and other sonic
elements in a performance or production
Timbral corrections: errors eg creative and corrective EQ, digital editing, aural treatments,
extraneous problems
Balance/placement: musical eg positions in stereo (or other) field, monitoring and
metering problems, speaker types and monitoring environments, relative loudness,
compression and perceived loudness, sound stage, reverb parameters
Use of effects: sonic eg multi-effects (chorus, phase, flange delay etc), reverb, digital
enhancements, context considerations, processors and enhancers
Quality: resolution eg demo master, bit resolution, sampling frequencies, intelligibility,
sound reinforcement or amplification, balance of acoustic and amplified sound,
soundchecks in empty or full performance spaces, signal-to-noise ratio

Unit Contents for HND Units

Unit 21 Keyboard Skills

1. Be able to perform a repertoire of short solo keyboard works

Repertoire: appropriate selection of a range of works; stylistic variety; historical and
current stylistic conventions; notation analysis eg phrasing, dynamics performance
attributes; modulation and chromaticism; harmonic and modal progressions
Performance: accuracy in practice eg rhythm and pitch; theory and research in practice;
acknowledgement of score conventions eg dynamics, markings, music language;
communication; continuity
Techniques: fingering; dynamics and phrasing; touch; use of pedals; interpretation eg
metre, feel, tempo
2. Be able to develop keyboard skills using sustained rehearsal schedules
Development of skills: hand coordination; melody and accompaniment; rhythmic pulse and
metre; accuracy to score; stylistic accuracy
Practice routine: action plan; schedule; theory into practice; reflection and review;
feedback; working to targets
3. Be able to perform keyboard works using creative practical techniques
Improvisation: interpretation of chord symbols and patterns; scales, modes and underlying
chords; prepared and unprepared music; performing with accompaniment; elaborations on
a given melody/rhythmic pattern; stylistic interpretation eg historical, jazz and blues,
popular music; creativity and adaptation
Playing by ear: aural recognition; notation and chord symbols; standard chord
progressions; chord voicing, bass patterns and the coordination of LH/RH; scales and
modes; intervals; melodic devices eg sequential repetition, syncopation, rhythm and pitch;
harmonic techniques eg chord progressions, transposition; modulation; listening into
practice
4. 4 Be able to demonstrate keyboard applications in creative music
technology Idiomatic conventions: imitation of instrument performance characteristics
eg drum kit,
trumpet, guitar, string section
Performance using technology: sequencing eg drum map, real-time input, playing to click;
recording a score using the keyboard; multi-tracking; layering of parts; arrangement;
selection of sampled voices/MIDI; virtual performance

Unit Contents for HND Units

Unit 42 Preparation, Process and Production

1.

1 Understand own and others process, production and planning roles in creating a work
Management and administration: the remit and responsibilities of key personnel eg producer, executive director,
personal assistant, recording studio manager, venue or company manager, the promotion team including
marketing, press, publicity and public relations, agent or personal manager, casting director, house manager,
studio manager, education officer
Performance team: the remit and responsibilities of key personnel eg director, artistic director, record producer,
writer, composer, choreographer, musical director, session musicians, session performers
Design team: the remit and responsibilities of key personnel eg set designer, costume designer, lighting
designer, sound designer, graphic designer
Production and technical team: the remit and responsibilities of key personnel eg production manager, sound
engineer, stage manager, lighting and sound technicians, assistant director, voice, movement/fight coach

2.

2 Be able to plan using production processes

Initial brief: considerations eg analysis, project requirements, deadlines, human and
physical resources
Budget and resource: constraints eg establishing budgets, financial methods and procedures, available versus
ideal resources
Planning and organisation: elements eg timescale, pre-production, production, post- production, team goals,
marketing
Preparation: materials selected for performance; materials used for performance
Cultural: how artists respond in reference to their own and other cultures in their preparation
of work for performance
Structure: planning eg time management, aesthetic, considerations, ethical considerations, drafts, demos
Rehearsals: type eg rehearsal plans, production meetings, technical rehearsals, dress rehearsals, previews
Reflection: review work eg progress meetings and reports, self-assessment, peer assessment

3.

3 Be able to work safely in a role that the individual has clearly defined within the negotiated
project
Agreed deadline: considerations eg time management, problem solving, team goals, individual goals, resource
management, financial forecasting
Safe working: requirements eg current legislation, legal requirements, performance licensing and fire legislation
Local legislation: considerations eg safety certificates, seating capacity, access and escape, public address
installation, staging arrangements, sight lines, production details, barriers and fencing, evacuation plan, mixers,
delay towers and temporary towers, policing and security, stewarding and emergency services
Industrial legislation appropriate to sector eg Employment Law, Health and Safety, Equality, Diversity and
Disability Access, Copyright and Royalties
Industrial practices: appropriate to sector eg Equity, Musicians Union, Sector Skills Council, BECTA, MCPS, PRS
for Music, casting directors, agents, management, administration and production staff

4.

4 Be able to prepare and produce work to deadline

Content: format eg concerts, gigs, events, recordings, dance, theatrical shows
Communicate: instructions eg through performance, production, workshop lecture demonstration, recording
Deadlines: eg technical rehearsal, dress rehearsal, soundcheck, financial, logistical, sub- contractors, contractors,
suppliers, equipment hire, fire inspections, venue availability
Management: monitoring; measuring; motivation; realistic targets; SMART; correspondence with description;
fitness for purpose; schedule v deadline; project management

5.

5 Be able to evaluate the effectiveness of contributions to the preparation, process and

production of the project
Personal development: eg working with others, specialist learning and access needs, analysis, reflection,
management skills
Evaluation: review eg personal evaluation, team evaluation, feedback, new and existing skills and techniques