ELEMENT

PERFORMANCE CRITERIA

1. Set professional development goals

1.1 In consultation with appropriate personnel, listen to recordings of own music arrangements in the context of setting professional development goals

1.2 Discuss factors that contribute to excellence in arranging music and incorporate them into professional development goals as appropriate

1.3 Listen to the work of master composers and arrangers and consider techniques that could be applied to own practice

1.4 Establish criteria for monitoring and evaluating the success of own skill development

1.5 Develop a practice plan that incorporates realistic goals as a basis for refining music-arranging techniques

1.6 Implement networking strategies to develop relationships that will assist in the process of enhancing own professional practice

2. Use personal practice time to refine techniques

2.1 Seek feedback on and critically review a sample of own arrangements in terms of how well they fulfilled their respective briefs

2.2 Experiment with ways of enhancing those arrangements to produce better outcomes

2.3 Use opportunities to discuss revised arrangements with peers and/or mentors and incorporate their critical feedback into continuous improvement strategies

3. Arrange music

3.1 Seek music arranging work that extends the range of own practice and helps to build confidence in own ability to respond to creative challenges

3.2 In response to briefs, generate a range of musical ideas or starting points and experiment with options for realising them

3.3 Discuss options with appropriate personnel and refine ideas as required

3.4 Apply a full range of techniques to organise musical elements into working versions of musical pieces

3.5 Obtain copyright clearances and address issues regarding intellectual property rights as required

3.6 Listen to work in progress with appropriate personnel and seek feedback on how well arrangements meet creative and technical requirements

3.7 Incorporate ideas and suggestions into final arrangements

3.8 As required, attend rehearsals or performance workshops where arrangements are being played and make any necessary adjustments

3.9 Present all arrangements in required format by agreed deadline

4. Evaluate own skill development

4.1 Compare work against previous arrangements to assess development of techniques and ideas

4.2 Evaluate level of improvement in own music-arranging techniques against agreed criteria

4.3 Seek feedback on arrangements from appropriate personnel and incorporate their suggestions and ideas into own continuous improvement strategies

Required skills

communication and teamwork skills sufficient to:

discuss music arranging requirements in a collaborative manner

respond positively to constructive feedback on own arrangements

actively participate in industry and community networks as a way of extending own professional practice

listening skills in the context of:

using aural imagination when manipulating musical elements

analysing music instrumentation

applying aural-perception skills to enhance the sound of original compositions

initiative and enterprise skills in the context of:

phrasing and shaping music appropriately

giving the finished work a stylistically convincing sound

demonstrating originality and innovative approaches in the use and organisation of musical elements

incorporating melodic and harmonic components to give arrangements a musically distinctive sound

arranging music appropriately for the context of venues and perceived audience taste

self-management and learning skills in the context of:

setting professional development goals

monitoring and evaluating effectiveness of own arrangements

improving music-arranging techniques through experimentation and practice

planning and organisational skills sufficient to:

prioritise work tasks

meet deadlines

plan the arrangement of musical pieces in a logical sequence

work within established budgets and timeframes

demonstrate reliability in all agreed work commitments

technology skills in the context of using music composition and arranging software at a working level of proficiency

Required knowledge

well-developed understanding of musicianship issues, including:

repertoire and music history relevant to area of specialisation

instrumentation and orchestration

musical protocols and customs for setting down music

genres and styles, and their musical forms and conventions in written notation

interpretation of chords, scales, melodies, forms, textures or other conventions found within music notation

options for using computer applications to notate music

copyright law and permissions

reading and writing music using written music notation, such as acoustic and electronic scores, sheet music and chord charts

techniques for writing directions for:

instrumentation

voicing

expression

timbre

attack

pitch

tempi

dynamics

issues and challenges that typically arise in the context of extending techniques for arranging music

The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.

Overview of assessment

Critical aspects for assessment and evidence required to demonstrate competency in this unit

Evidence of the ability to:

plan and monitor progress in own skill development

arrange, in response to at least two briefs, a selection of musical pieces that demonstrate an advanced understanding of music-arranging techniques

apply well-developed aural skills to the music arrangement process

work collaboratively with others involved in creating or performing the music arrangements

respond positively to constructive feedback on own arrangements.

Context of and specific resources for assessment

Assessment must ensure:

access to an environment where music arranging skills can be applied

access to industry-current software, hardware and audio equipment for composing, arranging, orchestrating and setting down music

access to scores relevant to the candidate's selected musical styles

use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of the candidate and the work being performed.

Method of assessment

The following assessment methods are appropriate for this unit:

direct observation of the candidate arrangingmusical pieces

process diary detailing practice planning, goals and strategies

written or oral questioning on professional development strategies, planning and career goals

relevant samples of artistic work with candidate's evaluation

authenticated details of relevant artistic and/or commercial achievements

written or oral questioning to assess candidate's understanding of musical elements and music-arranging techniques

case studies and scenarios as a basis for discussing issues about refining techniques for arranging music.

Guidance information for assessment

Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended.

The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.

Appropriate personnel may include:

composer

songwriter

music publisher

mentor

coach

peer

performer

client.

Factors may include:

aural imagination

aural-perception skills

specialising in a particular style of music and establishing a niche for oneself

specialising in arranging music for particular performance, composition or recording contexts, such as:

classical music ensemble

jazz ensemble

opera

solo artist

songwriter

defence force band

electronic dance music

ability to write lyrics

level of expertise in composing and arranging music using electronic media

ability to arrange music in a range of styles to suit different purposes, such as:

screen music

community music

dance theatre

musical theatre

interactive multimedia

advertising music

library music.

Techniques may include:

transforming songs from their basic form into authentic-sounding performances or recordings

designing melodic development

sweetening rhythm tracks by writing parts for different instruments

generating harmony vocals

creative use of countermelodic devices specific to different styles of music

writing material that fits comfortably with the standard technique of a particular instrument or voice

adding original music

simplifying music for specific target markets

rounding off rhythms and pitches

applying guide tones

using counterpoint

composing heads as starting points for jazz improvisation

instrumentation

writing note combinations that sound good to the ear

contrary motion

writing parts

creating introductions and endings

using countermelodies

re-harmonising chord progressions

developing musical themes or motifs.

Criteria may include:

application of advanced harmonic, melodic and rhythmic concepts

increased level of expertise in arranging music using electronic media

increased range of music arrangement techniques used

increased level of confidence in arranging music for different purposes

audience response

increased positive feedback from clients, mentors and peers.

Networking strategies may include:

membership of industry and/or professional associations

participating in conferences or seminars

distributing personal marketing material to potential clients

maintaining regular contact with other composers and arrangers

participating in online discussion groups.

Musical elements may include:

acoustics

aesthetic qualities

articulation

attack

beat

cultural context

duration

dynamics

expression

form

harmony/chords

instrumentation

interpretation

intonation

melody

notation

nuance

orchestration

ornamentation

phrasing

pitch

relationship to song lyrics

rhythm

scales

shape

sound production

suspensions

tempo

texture

timbre/tone colour

time signatures

tonality

transposition

unity and contrast

voicing

volume.

Format may be:

computer-based

paper-based.