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Leaf

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    Nov 2014
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  1. Hi, I did IB Music HL and achieved a 7. You're fundamentally misunderstanding the selection of the works criterion. There's no bar set by the IB for the level of the pieces required. The main purpose of criterion A (selection) is twofold: How contrasting the works chosen are (i.e. from different genres and eras)How appropriate the works chosen are to the student's technical proficiency This tells us something about what works should be chosen. The 'good enough' level for the performance is simply dependant on how proficient you are at your instrument. If you believe you are good enough to perform the piece, then it is a good piece to choose. You will score lowly on criterion A if you choose pieces that are too hard for your current skill level. You will know better than anyone else if you're good enough to learn Moonlight Sonata at a performance level. The contrasting bit of the criterion is the most important. You will score a 0 on Criterion A if you have no contrasting elements in your CD. This means selecting works from different genres or eras. For instance, if I only recorded music from the Romantic period, I would score a 0 on Criterion A, no matter how well I played the pieces. Instead, I'd make sure I play a lot of contrasting pieces. The goal is to prove yourself to the IB that you are a diverse musician. So I'd pick maybe a Romantic period piece, a Classical period piece, throw in some jazz or ragtime, some renaissance period stuff, maybe even some world music, or even 20th century serialist music...! The idea is to pick pieces from lots of different eras, and make sure you're not picking pieces above your skill level. That's the first criterion in a nutshell. The remaining 3 criteria mainly concern how well you actually play.
  2. Leaf

    IB Music 2014

    To answer the specific questions: First of all, uppercase is major, lowercase is minor. Diminished usually has a little circle as a diacritic. Typically I will be the root position of the scale (so if the piece is in C major, I is C major, and if the piece is in C minor, i is C minor). If it's a major piece, you know that the only minors in there are ii, iii, and vi, the only diminished is vii(dim), and the rest are major. If it's a minor piece, you know the majors are III, VI, and VII, and the minors are i, iv, v, and the diminished are ii, and vii. Most likely you won't need roman numeral analysis unless you get rock/pop in your final, which in that case you can identify the progression. I'd recommend familiarising yourself with the basic progressions and how they sound (I V vi IV, I IV V, etc.) If you recognise one you can just write down what the progression is. I've heard good things about the book Music: An Appreciation by Roger Kamien. Other then that, I don't know about any other online resources.
  3. Leaf

    IB Music 2014

    Alright, so I did Music (HL, which is both composition and performance) and did fairly well (most likely a 7). Here is what I suggest for each section: Composition (if you're doing it): Write to the markscheme. For instance, add bowing marks appropriately to violin parts, stacatto on piano, and appropriate techniques for all other instruments. The composition is, to some extent, showing off how well you know how all the instruments are used.I recommend using Finale or Sibelius for non-electronic music. Your school should be able to provide you with a copy of one of those two. If not, MuseScore and Finale Notepad are good alternatives. Don't pay for Finale or Sibelius if you can't get a copy, they're not massively better than the free alternatives.For electronic music, FL Studio, Cubase, Reaper (with Anvil as a midi editor), Reason, etc. are all good choices. You will have to pay for them; there are very little good free DAW's out there (or so I hear -- I don't actually do electronic music myself, I just asked a friend of mine).If you have spare time, remake your sheet music using Lilypond. If you do this, you'll definitely get 100% on the notation part of the markscheme. For electronic music, don't stick to presets. The reflection is massively important here - you'll want to talk about the specific sounds you made and what settings (ADSR envelope, resonance, etc.) you used to achieve those effects; and what purpose that particular sound serves in your composition.For standard compositions, I'd recommend sticking to one of the traditional forms (sonata, etc.) as a framework for your composition. Particularly if you're using a string quartet or something, it's easier just following one of the preexisting structures. For the reflection, I like making the music programmatic because it's easier to write a reflection with programmatic music (e.g. "I used arpeggios in the bass to represent the flowing water). For arrangements, if it's a piece with very little instruments, expand the piece to a full orchestra or some other large ensemble. If it's a piece with a lot of instruments, reduce the piece to a smaller set. Expanding it is more impressive, and I'd recommend expanding. If you're doing this, it's extremely helpful finding some experienced musicians who play the (violin, cello, viola, trumpet), etc. and ask them about their instrument and what kind of things they play in an orchestra. The arrangement is testing your knowledge of how to use the instruments.For improvisation, it's more of a thing that you can do already if you're experienced enough. I wouldn't recommend doing this if you're not already confident you can. If you're set on doing it though, please don't stick to the same chords for the whole thing. At the very least, put a minor section in the middle or something. For stylistic techniques, don't do it. Stylistic techniques will suck out your soul.Don't half-ass the reflection, it's a fifth of the mark. The reflection should include: your aim for the composition, what musical techniques you used in that aim, evaluation of those musical techniques, and what the experience of writing a composition has developed in you musically. Performance (if you're doing it): Keep the type of music you play varied. Try to explore a variety of genres (ancient, renaissance, baroque, classical, romantic, 20th century, jazz, swing, bebop, rock, pop, avant-garde, etc.) in your music. You will get marked down if you play almost entirely baroque, for instance.You get to choose the order the examiner will listen to your pieces in. I recommend placing your best pieces last (to make a lasting impression on the examiner), and try to hide the weaker ones in the middle.It's more important to play something slightly simpler with no mistakes then to play something complex with mistakes.If possible, get a good recording environment. It'll make the timbre of your instrument sound nicer in the recording.Do not use prerecorded accompaniment, it should be live. Even no accompaniment is sometimes better than a prerecorded one.Stick to your best instrument. The IB won't mark you down for only using one instrument. Of course, if you're equally good in multiple instruments, then you change it up. Exam Portion: Immediately get a copy of the sheet music of both set works and get them binded. Then get a recording of both set works as well. Then do a score read. You do not get a recording of the music in the exam, so you should score read regularly to develop a 'visual ear' -- being able to realise what a part of the sheet music sounds like exactly even without the recording.Annotate your copy with various musical devices you find. If it's a programmatic piece (e.g. An American in Paris) you will definitely try to see what aspect of Paris the musical device might be trying to invoke. Finding scholarly articles on these types of things may be a good idea. If it's a programmatic piece, they will usually ask a question revolving around the programmatic nature of the piece. So focus on that a lot - what parts of An American in Paris represent what parts of Paris. Maybe repetition of some motif is the walk of people on the streets, or a sudden burst of trumpets is the call of a stall owner trying to sell his wares (note: I have not listened to An American in Paris, so this is just speculation). But definitely look up the 'story' of An American in Paris and see what parts of the music correspond to what parts of the story.They will also often ask questions revolving around the context of the set works. For instance, the Petite messe solennelle is a sacred work set on sacred text. It is a mass. I find it likely the IB would ask a question about how the Petite messe solennelle is a mass (or more specifically, they may ask a question on a specific aspect of a mass, e.g. the sacred text dictating the form of the movement). The Section B (unseen) cannot be prepared for so easily. However, there are some common things that the IB often do. Typically, they will have a vocal piece (often sacred), so you should familiarise yourself with the Gregorian Chant, Madrigal, Mass, art song, etc., the features of each of these things (e.g. Gregoriant Chant often has a drone harmony, art song usually consists of piano and voice that are both equally important, etc.). They will also have either world music, or rock/jazz. World music is difficult to prepare for. I'd recommend getting familiar with some Chinese / Japanese / Korean music (in particular, note the pentatonic scale), and Celtic music (instruments, melody). For rock/jazz, you can look at swing, bebop, big bands, scat, etc. More recently, the IB have been giving fusion pieces (In the 2014 Novemember exam, a fusion of Indian folk music and rock). You'll have to be prepared for this -- I made reference to the traditional Indian singing style and use of the traditional Indian instruments, but also noted the 4/4 time signature and use of electric guitar and synthesiser. In general, for the context marks (what is this piece?) you need to identify relevant musical devices and explain why that indicates that the piece is from this era or this culture.Also try to familiarise yourself with some musical terms. You should be able to find lists of them online.The important distinction between a music essay and a literature essay is that you are not required to interpret beyond a context sense. In a literature essay, you have to argue the purpose of the work. You do not need to do this in a music essay - in a music essay you can simply say that there is repetition of a motif in e minor with arpeggios in the bass and a drone accompaniment (or whatever the piece actually is), without having to argue about why the composer would do this. The only exception is the context - you cannot simply say a piece is a bebop piece (for instance), you'd have to point out the musical devices used (e.g. "at 0:24 you can hear a 'bomb' in the snare drum - a sudden, unexpected hit - which is indicative of bebop music") that show that it is bebop.Musical Investigation: The hardest part of this is finding the pieces in the first place. Two strong musical links from two distinct cultures isn't the easiest thing to do.Once you find the two strong musical links it should be easier to write the actual investigation. I recommend not bothering about format at this point of the investigation; you will format it properly after you have finished writing it.When picking pieces, you cannot use a piece that is in itself a fusion of two different cultures. For instance, you cannot compare some of the Beatles' Indian-inspired works and actual Indian music.In general, by listening to lots of different types of music when preparing for Section B, you should be able to draw on that knowledge of what you have listened to to find the two pieces for the Musical Investigation.After you have finished, I highly recommend formatting it in a magazine article. To do this, I used the free trial of Adobe Indesign. Other options include a web page or a radio interview
  4. It is okay. The IB will not mark you down (all the IB hears is the audio recording).
  5. Leaf

    Music MLI

    Hmm... melodic variation, syncopation, and a repeated bass ostinato makes me think of jazz, swing, or bebop as a possible comparison. Do you mind posting the exact piece for your first culture (preferably with a youtube link)?
  6. Sorry, missed this question. Unfortunately there is not many pieces of music that has electric bass as a lead instrument. You are allowed to submit one group performance - that is, a group performance where you are playing the bass - but this will not suffice for 20 minutes. You will need to adapt existing pieces of music to the electric bass. Perhaps looking for some music with a cello or double bass, or some other lower pitched instrument, and trying to see if you can adapt it to electric bass would be a good approach.
  7. It depends on your CAS coordinator. There's no set rules for what counts as action or not. It's all dependent on how strict your CAS coordinator wants to be. For instance, my CAS coordinator would definitely allow teaching dancing as an action activity, but a different school's CAS coordinator might not. Just ask your CAS coordinator, because it is ultimately them who have the final say.
  8. IMSLP.org is your best friend here. It's a repository of public domain sheet music - depending on what your pieces are you might find it there.
  9. They must arrive to the IBO by the 20th of April for May exams, or the 20th of October for November exams. Therefore it is recommended that everything is sent of to the IBO two to three weeks in advance. You need to send: A CD with the audio files of your creations A filled out and signed music creating formThe scores for your creations (if applicable)The reflections for your creationsA CD with your performanceA filled out a signed music performance formA musical investigationA signed musical investigation form Your teacher should have access to the required forms.
  10. Two links is enough. Cite specific examples and analyse in depth and you'll have enough to talk about for the two thousand words.
  11. Your set works are the Classical Symphony and the Yellow River Piano Concerto. Here are some practice questions. Yellow River Piano Concerto Outline the structure of the fourth movement of the Yellow River Piano Concerto with specific reference to the score.In what ways can the Yellow River Piano Concerto be considered a fusion of traditional Chinese music and Western art music?The Yellow River contains many programmatic elements. Examine at least three examples from two movements of programmtic elements.Classical Symphony Melody writing in the classical period (1750–1820) has been described as concise,balanced, organized, elegant and perfectly shaped. Which of these characteristics would apply to Prokofiev’s melodies in his “Classical†symphony, and which would not? Make clear reference to the score in your answer.Examine the use of 20th century techniques in the first movement of the Classical Symphony.What elements from the gavotte appear in the third movement of the Classical Symphony?Comparison Compare and contrast the form/structure in the first movements of the two prescribed works, emphasizing the presence of any significant musical links. Make clear reference to both scores in your answer.Investigate significant musical links between these two pieces by analysing and comparing and contrasting their timbre/tone colour and melody.One thing that you can do is look up the IB specimen paper for Music. They publish them freely when they make a new syllabus. I can't find it right now though because IB's website designers are completely incompentent.
  12. Hi, to answer your questions in turn: The performance may be in voice or instrument, or a combination of the two. It can be any instrument, but obviously you'll want to record pieces with whatever instrument you're best at. It is total fifteen minutes long in SL and twenty minutes long in HL. The performances must be in front of the teacher. The teacher may also choose to have classmates serve as an audience while you record, although this is not strictly required. In SL Music, you may choose to do the composition instead of the performance. If you choose this route, you will not be required to record a performance, but instead must create two different compositions. These may be any combination of music technology pieces (i.e. made with a computer), traditional compositions, arrangements of a existing piece, or an improvisation. You may only do one arrangement or improvisation though. There's also a 'stylistic techniques' option, but I recommend against doing stylistic techniques. The assessement tasks in SL Music are: either the performance or the compositions, the musical links investigation, and the final exam. No, an extra grade in AMEB won't give you extra points in the music course.
  13. Leaf

    Music Paper I

    Each question is worth 20 marks. You'll get four pieces to listen to (on a CD player), and you'll have to analyse each piece. They mark you out of 5 in 4 sections, resulting in a total of 20. Two of them were context and structure, but I forgot the other two criteria. For example, if I were given Lullaby of Birdland (IB LOVE old jazz or rock songs), I might get some marks for context by mentioning that it is 1950's jazz song. I would mention that some musical features (eg. plucked double bass) of the song (give specific timings) are typical of jazz songs at the time. I would mention that it takes a verse/chorus/verse/chorus form. I probably would mention that the instrumentation is brass, piano, double bass, drums, and vocals. The style is important as well - I would say that the piano ad libs in an improvisational way throughout the piece while the double bass is plucked rather than bowed. Musical features are very important as well. Describing the harmony might be good - is it a single line melody? Is it a drone? Is it polyphonic?
  14. I have a lab report which is related to refraction and Snell's Law. Part of it involves measuring angle of the incident ray and refracted ray with respect to the normal. This is simple enough, and I have found the uncertainty of the angle to be 0.5 degrees. I must calculate the sine of the two angles and the uncertainty of the sine. I couldn't figure out how to do it the calculus way (Taylor), so I just evaluated the sine function at max and min values and calculated the difference between them divided by two. Δ=∣∣sin(θ+Δθ)−sin(θ−Δθ)2∣∣Δ=∣∣sin(θ+Δθ)−sin(θ−Δθ)2∣∣ What would be the significant figures of the resulting uncertainty? EDIT: LaTeX is weird, I'll try to fix it up
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