Unit of competency Outline
Date retreived
22/07/2026 10:19 PM AWST
22/07/2026 10:19 PM AWST
Whilst all efforts are made to provide accurate and timely information from the relevant source/documentation, please be aware that the information supplied may not be the most current version. The accuracy of the detail has not been confirmed by the Department and therefore should not be relied upon without first confirming the contents.
Extend techniques for arranging music
Extend techniques for arranging music
Unit of competency
National Code
CUSMCP602A
CUSMCP602A
State Code
D2898
D2898
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
09/10/2013
Field of Education
100101 - Music
Original Release Date
09/10/2013
Nominal Hours
60
Description
This unit describes the performance outcomes, skills and knowledge required to develop high-level skills in arranging music.
Notes
Elements and 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
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.
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.
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.
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.
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWI46 | CUAMCP601 | Extend techniques for arranging music | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| D363 | CUS60109 | Advanced Diploma of Music | Qualification |