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The Levett School MUSIC Scheme of Work KS3KS3 National CurriculumYear 7Term: AutumnAn Introduction to Simple Melodies and Folk MusicContentARE objectives.ActivitiesUseful ResourcesWk 1 and 2 – Variations within a melodyYear 7Perform simple music, (one line of melody with one hand) with fluency and accuracy.Year 8Will perform music with some fluency and control of the resources used. Year 9Explain the concept of variation by exploring a simple melody, then examining how it can be developed. Res.1 is a simple version of ‘Frère Jacques’ and will introduce a familiar tune (only need to watch to 1:50); compare with Res.2, which is the same melody with additional variations (watch as much as is needed to demonstrate variations – there is a breakdown of each section in the comments under the Youtube video).Melody Project: Practice playing ‘Frère Jacques’ on the keyboard – begin with the simple melody – use Res.1 and Res.3 to demonstrate and teach. When students are confident with the simple melody, develop by adding chords (see Res.1 for positioning). Students could also play the same tune at the same time as a partner, but using an octave higher or lower, or play the same melody but with a delay, as when performed in rounds (see Res.4 to demonstrate rounds).Students could also sing to add variation (words in Res.3, p.2) – Res.3 also includes the words to ‘London’s Burning’ if students would like to try a different round or variation (see Res.5 for an example of ‘London’s Burning’ sung in rounds). Students may also choose to introduce their own words, rhythm or sound effects for variation. This will be an ongoing project over the half-term; Wk 1 is an introduction to it, allowing opportunities to experiment.LA – identify a simple melody and explore how this can be changed, using a single technique based on the original melody.MA – use a combination of techniques to introduce variation to a simple melody.HA - create variations on a simple melody of their own creation, or a round of their own composition.Res.1 – ‘How to Play ~ Frere Jacques key of F ~ Lesson for Beginners ~ LetterNotePlayer ?’ (2:22) - - ‘Variations on Frère Jacques’ (22:20) - - frere jacques letter notation - 2xa5.docx (in HT5 Resources folder)Res.4 – ‘A&H frere jacques round’ (0:34)Res.5 – ‘Londons Burning Sing A Long’ (2:14) - 3 and 4 - Answering Phrases – Call and ResponseYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music. Year 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Year 9Introduce call and response (C&R)/question and answer (Q&A) phrases – see Res.1 for explanations and suggested examples. Revisit Cycle 1, HT2, Wks.1-3 for clapping rhythms and examples of C&R. Experiment with clapped conversations – students improvise to speak/sing about a topic of choice and clap along to provide a rhythm; they may work with a partner to provide a response to the first section. Res.2 provides other examples of C&R and ‘echo’ songs.Melody Project: Familiarise students with layout of keyboard notes (Res.3) – it may help to use a whiteboard marker or sticky labels to annotate the keys initially. Try playing simple melodies – see Res.4 for examples.For the project, students should now begin to plan and compose their own melody (LA may benefit from using an assigned melody, possibly from Res.4 or teacher’s choice). Students should begin by composing their own lyrics – this should be kept simple initially, with variations added later. Students may benefit from the teacher showing examples of a folk song of their choice, or from other examples of C&R songs (Res.6 contains links to examples of song lyrics; videos/performances of these can be found on Youtube or through Amazon Music (Amazon Music requires a paid subscription – a 30-day free trial is usually available though). Teacher should remind students of the importance of repetition or Q&A phrases when students are composing their own lyrics.LA – perform a clapping rhythm along to a spoken stimulus.MA – improvise and perform a spoken call and response phrase, working with a partner to perform both ‘call’ and ‘response’.HA - improvise and perform a sung call and response phrase, working with a partner to perform both ‘call’ and ‘response’.Res.1 - (music)Res.2 - - keyboard notation.docx (in HT5 Resources folder)Res.4 - simple keyboard songs - letter notation (in HT5 Resources folder)Res.5 - music staves – blank.docx (in HT5 Resources folder)Res.6 - 5 and 6 - Melody 3 – Performing a keyboard melodyYear 7Will play a part in a group performance and be able to re-join a performance (with support) if mistakes are made.Year 8Attempts will be made at more challenging pieces but these may lack fluency and/or accuracyYear 9Melody project:Students should use their lyrics from the last lesson and begin to compose a melody around them. Teacher may wish to revisit previous resources as reminder of possible techniques and styles – other useful resources might include graphic score sheets and a refresher on notation (Cycle 1, Wks 2.4 – Polyrhythmic Quartets, 2.5 – Notation 1, and 2.6 – Notation 2). Notation for melodies can be recorded in graphic notation form (LA), letter form or on music staves (for more advanced students, or those who are familiar with them). Students should aim for a simple melody initially – they may develop variations later on skills develop.LA – Compose a simple melody using a keyboard, by listening to the notes.MA – Use letter form or graphical notation format to compose a simple melody.HA – Select and use an appropriate notation format to compose a simple melody and accompanying lyrics.POSSIBLE RESOURCES:Graphic Score Powerpoint (in HT2 Resources folder - includes graphic score template)Graphic Score template (in HT2 Resources folder - editable Word doc.) Worksheet 1 (in HT2 Resources folder)‘Learn to sing music notes in 5 minutes with this single song’ (5:36) Rhythmic Notation Introduction ppt (in HT2 Resources folder)Wk 7 and 8 – Melody 4 – Performing a compositionYear 7Can give simple reflections on music they have performed (self- assessment).Can give simple reflections on music that others have performed (peer assessment)Year 8Can identify what was successful and give some simple ideas for improvement when peer assessing.Respond to and demonstrate peer assessment suggestionsYear 9Students to record final performance, then peer-assess. Areas for assessment might include use of melody, complexity of melody, instruments used for melody, use of lyrics, complexity of lyrics, style of lyric delivery and/or notation formats used.When the performances have been peer-assessed, students could swap melodies/notations and see if another student/group could perform the composition, reading the music for themselves.LA – Perform and record a simple melody using a keyboard.MA – Enhance a simple keyboard melody with lyrics, and record the performance.HA – Use an appropriate notation format to read/perform a simple melody with lyrics, and record the composition being performed.Wk 9 and 10 - Folk MelodiesYear 7Listens attentively to pieces and describes features.Year 8Listens attentively to pieces and can identify features of music whilst listening, using some correct musical vocabulary.Year 9Introduction to folk music – play selected folk music extracts of teacher’s choice. Suggestions might be something by Bob Dylan, The Pogues, The Mamas and the Papas, Clannad, The Proclaimers, Nick Drake etc. (see Res.1 (American folk artists) and Res.2 (British folk artists) for further ideas). Brainstorm ideas about folk music and its role in society (Res.3, p.2).Research task – key terminology. Use Res.3, p.3 and ask students to find or write a definition for each of the key terms. Use Google or another search engine to display correct definitions on the interactive whiteboard and ask students to put into their own words.Reinforce terminology by selecting two of the extracts played earlier. Use Res.3, p.4 to analyse and compare the two extracts. LA – understand key features of, and terminology which applies to, folk music.MA – identify two or three examples of key features or terminology which applies to folk music.HA – identify a range of key features or terminology which applies to folk music, and suggest reasons why folk music might be written.Res.1 – ‘50 Best Folk Music Artists of All Time’ - Res.2 – ‘The 100 Greatest English and Celtic Folk Artists’ – – folk music booklet.docx (in HT5 Resources folder)Wk 11 and 12 - Preparing a performanceYear 7Will play a part in a group performance and be able to re-join a performance (with support) if mistakes are made.Year 8Develop my skills rapidly demonstrating some technical ability on an instrument of my choice.Year 9Study of ‘The Drunken Sailor’ (Res.1) – examine origins as a work song (Res.2). Discuss the mood and tempo of the song. Compare with ‘Skye Boat Song’ (Res.3) and ‘Auld Lang Syne’ (Res.4) – comparison sheets on pp.4/5, Res.5.Work in pairs to play ‘The Drunken Sailor’ on the keyboard – step-by-step instructions on pp.9-11, Res.5. Add voices and experiment with changes to rhythm/tempo etc.Perform pieces either in the working groups, or put together as a class. Peer and self-assess – suggested assessment focus on p.13, Res.5.LA – identify features of folk music from a range of examples.MA – play a piece of folk music on a keyboard, demonstrating features of rhythm/tempo etc. typical of folk music.HA – experiment with rhythm/tempo etc. to adapt a piece of folk music.Res.1 – ‘Drunken Sailer - Irish Rovers’ (2:39) - – ‘Drunken Sailor’ - – ‘The Corries - The Skye boat song with lyrics’ (3:14) - – ‘Auld Lang Syne (with lyrics)’ (2:34) - – folk music booklet.docx (in HT5 Resources folder)Term: SpringJingles and AdvertisementsContentARE objectives.ActivitiesUseful ResourcesWk 1 and 2 - Creating a JingleYear 7Listens attentively to pieces and describes featuresYear 8Listens attentively to pieces and can identify features of music whilst listening, using some correct musical vocabularyYearListen to/explore jingles – what are they for? What makes them catchy? Play some examples of simple jingles – can students recognise them?Ask students to write a radio advertisement. Begin with writing a slogan for a given product or theme – teacher may wish to link to termly theme (homelessness), or another theme of choice. Examine effective language – consider musical language techniques such as repetition, rule of three, alliteration, rhyme, rhythm etc.Using a set number of pitches, compose a jingle melody for your slogan and record; ensure the composition is saved for later development.LA – Create a slogan using musical language techniques.MA – Create an effective jingle to attract audience attention.HA – Compose and perform simple melodic hooks using notes within an octave.Wk 3 and 4 - Radio Advertisement including UnderscoreYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music. Year 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Year 9Write the voiceover text for the product or theme explored last lesson. Record the voiceover.Explain an underscore – listen to some examples and analyse. What is the purpose of an underscore? Compose an underscore to accompany the jingle from last lessons – use elements from the jingle to complement the plete the advertisement by combining the jingle, voiceover and underscore. Listen to the finished piece – is it effective at making an audience aware of the product/theme? What features are most effective, how and why?LA – Compose functional jingles and complementing music for an audience.MA – Compose effectively to a target audience.HA – Compose a melody demonstrating style and character appropriate to the brief.Wk 5 and 6 - Gameshow Theme Part 1Year 7Understand the key words: pitch and rhythm Year 8Demonstrate an understanding of the elements of music Year 9Listen to gameshow themes and identify key features – driving rhythms, repetitive motifs, repeated chord patterns etc. Students should select one of the given shows to compose for. Brief is to compose a number of melodic motifs suitable for their show. Instruments may be used, or simple rhythm devices, i.e. handclapping, beating, simple tones etc. Students should then evaluate the motifs and select the most effective; this will be developed into a theme next lesson. Ensure motifs are saved for later development.LA – Use a simple rhythmic pattern to compose a repeating motif.MA – Use a combination of rhythmic patterns to compose a repeating motif. HA – Use a range of interesting rhythmic patterns to compose a repeating motif.Wk 7 and 8 - Gameshow Theme Part 2Year 7Will play a part in a group performance and be able to re-join a performance (with support) if mistakes are made.Year 8Will perform music with some fluency and control of the resources used. Year 9Use motif from last lesson to develop a game show theme to match video track (see examples selected from last lesson). Explore techniques for building tension/excitement – increasing harmonic rhythm, heartbeat techniques, diminution of motifs, repetition, dynamics etc. Demonstrate examples of these techniques in the selected gameshow theme clips.Students should complete, show and evaluate their gameshow themes. After showing, ask other students if they can remember the theme – they could perhaps beat out the rhythm/motif etc. If it is a catchy, effective gameshow theme, at least some of the class should be able to recreate parts of it.LA – Compose and perform a melody which has basic shape and conveys purpose.MA – Demonstrate rhythmic development across a piece.HA – Accurately perform imaginative melodies which are well-shaped and phrased.Wk 9 and 10 - Advertising Montage Part 1Year 7Will play a part in a group performance and be able to re-join a performance (with support) if mistakes are made.Year 8Develop my skills rapidly demonstrating some technical ability on an instrument of my choice.Year 9Study montages used to advertise shows – analyse key features, e.g. graphics, video, music tracks, motifs etc. for impact. How do they make the audience want to engage with the show?Using given video clips from a musical or show of teacher choice, plan a montage advertisement - use a planning sheet to cover main music theme, motifs, sound effects, volume and editing techniques. Garageband can be used for editing – effective techniques to introduce an be adding, splicing or editing video clips, fade ins/fade outs etc.LA – Differentiate between loud and soft whilst composing, considering the effect of each.MA – Use sound effects and instruments imaginatively for effect.HA – Use a range of dynamics and gradation to add texture and effect.Wk 11 and 12 - Advertising Montage Part 2Year 7Can give simple reflections on music they have performed (self- assessment). Can give simple reflections on music that others have performed (peer assessment)Year 8Can identify what was successful and give some simple ideas for improvement when peer assessing.Respond to and demonstrate peer assessment suggestionsYear 9Recap montage task and give clear time limits for completion – this should be by the end of this lesson. Students should work on putting together their montage advertisement – if time allows, other embellishments such as a voiceover may be added. When the montage is complete, students should share examples with the class – which features can be recognised? What is their effect? Is it appealing to an audience, and if not, what could be done to improve this?LA – Use functional instrumentation to promote audience engagement.MA – Make appropriate choices of instrumentation for broadcast media.HA – Compose using standard industry conventions to a specified brief.Term: SummerRadio BroadcastingContentARE objectives.ActivitiesUseful ResourcesWk 1 and 2 – What is Radio?Year 7Can demonstrate some understanding of the contextual influences of music with some prompting.Year 8Has some understanding of the contextual influences on music.Year 9Consider examples of radio broadcasts – listen to samples from current radio stations. Try to cover a range of genres and interests, i.e. local (Trax FM, Hallam FM), national (BBC Radio 1), spoken word (BBC Radio 4), global (BBC World Service) and so on. What do these broadcasts have in common? Students should be able to identify presenter, features of interest (music, news etc.), and may be able to identify programme, schedule, theme etc. Teacher could also discuss the differences between commercial/non-commercial stations and how this might influence the content.Audience research: Class survey – which radio station(s) do people listen to? Analyse results – is there a preference for a particular station/type?What is it that makes that station popular? Produce a mind map or list of features which might attract an audience, or reasons for listening, e.g. popular presenter, like the music, news/weather/traffic updates etc.NOTE: Res.1 has a range of resources/activities which may be useful when teaching this topic. Additionally, local radio stations (i.e. Trax FM) welcome visitors and may be able to arrange a studio tour or visit.LA – Know what a radio broadcast is.MA – Identify reasons why radio has been a popular form of media.HA – Explain why the popularity of radio as a media form is in decline.Res.1 - 3 and 4 – Radio PlaysYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music.Can demonstrate some understanding of the contextual influences of music with some prompting.Perform simple music, (one line of melody with one hand) with fluency and accuracy. Sing assorted songs as part of the class choirYear 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Has some understanding of the contextual influences on music.Will perform music with some fluency and control of the resources used. Sing assorted songs confidently as part of the class choirYear 9Examine radio plays – a good example might be ‘War of the Worlds’ by HG Wells (Res.1) or other example of teacher choice. Why were radio plays popular? Link with context, i.e. accessibility, technology, etc. Examine historical context and links with popular culture, i.e. the supposed mass hysteria following the original broadcast. Consider how music is used in radio plays (theme tune, sound effects etc.)Work in groups to plan a short radio play – story should be considered (may be scripted or storyboarded) and sound effects, theme tune etc. Music can be kept simple (rhythm/percussion/vocal) or more complex (instruments) as the teacher feels appropriate. These groups should be selected with a view to completing a radio broadcast project, so will stay the same for future group work during this topic.Record and save the radio play for future development.LA – Show understanding of the purpose of a radio play.MA – Create an original radio play.HA – Create an original radio play, adding music or sound for effect.Res.1 – ‘Orson Welles - War Of The Worlds - Radio Broadcast 1938 - Complete Broadcast.’ (57:02) - 5 and 6 – Radio Project 1 – Creating a BrandYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music.Can demonstrate some understanding of the contextual influences of music with some prompting.Perform simple music, (one line of melody with one hand) with fluency and accuracy. Sing assorted songs as part of the class choirYear 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Has some understanding of the contextual influences on music.Will perform music with some fluency and control of the resources used. Sing assorted songs confidently as part of the class choirYear 9Consider the features a radio station needs to identify itself, i.e. jingles/melodies/voiceovers. Work in the groups set up last lesson and create a radio station identity, e.g. School Radio FM, or station name of group choice. Students should work to create a set of branding melodies to identify their radio station. Record any melodies/effects/jingles etc. and save for future development.LA – Recognise examples of brand identity from existing radio stations.MA – Make use of existing examples of radio station branding to create a new radio station brand identity.HA – Independently design and create a brand identity for a new radio station.Wk 7 and 8– Radio Project 2 – Creating Programme ContentYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music.Can demonstrate some understanding of the contextual influences of music with some prompting.Perform simple music, (one line of melody with one hand) with fluency and accuracy. Sing assorted songs as part of the class choirYear 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Has some understanding of the contextual influences on music.Will perform music with some fluency and control of the resources used. Sing assorted songs confidently as part of the class choirYear 9Students will work in their radio project groups. What else does a radio programme need to make a full show? Examine examples of radio programmes, i.e. breakfast shows. Features identified might include news/weather/traffic reports, music, chat, interviews, competitions, advertisements etc. Students should select a number of features – how many may be decided by the teacher as appropriate. The radio project will involve planning and creating the selected features, including any music and/or sound effects. Each segment should be recorded individually and saved for future development. Students should begin planning and creating their chosen/allocated feature segments, ready to process into a single programme in Wk 1.6.LA – Know how feature segments are used in a radio programme.MA – Identify a range of feature segments for inclusion in a radio broadcast.HA – Plan a linked, coherent sequence of feature segments for a radio broadcast.Wk 9 and 10 – Radio Project 3 – Editing Programme ContentYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music.Can demonstrate some understanding of the contextual influences of music with some prompting.Perform simple music, (one line of melody with one hand) with fluency and accuracy. Sing assorted songs as part of the class choirYear 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Has some understanding of the contextual influences on music.Will perform music with some fluency and control of the resources used. Sing assorted songs confidently as part of the class choirYear 9Continue radio project work. By the end of this lesson, all the segments should have been created/composed/recorded and be ready for sequencing into the final programme next lesson.LA – Create at least one feature segment to contribute to a group radio broadcast.MA – Develop and edit a range of feature segments to contribute to a group radio broadcast.HA – Plan, develop and implement a coherent sequence of feature segments to contribute to a group radio broadcast.Wk 11 and 12 – Radio Project 4 – The Final ProgrammeYear 7Can give simple reflections on music they have performed (self- assessment).Can give simple reflections on music that others have performed (peer assessment)Year 8Can identify what was successful and give some simple ideas for improvement when peer assessing.Respond to and demonstrate peer assessment suggestionsYear 9Students should sequence all of their radio programme segments into a single sequence, as if they were going to broadcast it. This can be done manually, by playing one after the other, or by using media software if available. The finished programme should be around 30-45 minutes long, depending on ability. Groups should share examples of their work – this could be clips of the single sequence programme, or specific segments which they are particularly pleased with. Class to peer-assess, using suitability for radio broadcast as one of the assessment criteria.LA – Evaluate the radio project, assessing its suitability for broadcast.MA – Evaluate the radio project and explain the reasons for the choices made.HA – Evaluate the radio project, identifying areas for improvement and being able to suggest possible developments.KS3 National CurriculumYear 8 Term: AutumnFilm MusicContentARE objectives.ActivitiesUseful ResourcesWk 1 and 2 - Genre ExplorationYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music. Year 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Year 9Introduce and discuss how changes in technology have led to the development of the role of music. Make vocabulary cards showing key terms and their meaning – consider terms used in Cycle 1 and 2. A focus on genre will be helpful. Give a brief background/history to support the key terms and discuss possible genres of film that exist. Examine a specific genre – silent films are a good example with many distinctive features. Discuss development of silent films looking at the role the music played in these. Watch silent films clips of teacher choice - discuss. Investigate other genres – why might a film be a certain genre? Show genre clips featuring appropriate examples of music.Choose a film genre and compose a short piece of music to represent this.LA – Understand the role of music in a film.MA – Suggest a film genre from auditory clues in a music clip.HA – Compare features of music clips in different genres, and suggest how they fit those genres.Wk 3 and 4 - Composition for Silent FilmYear 7Listens attentively to pieces and describes featuresYear 8Listens attentively to pieces and can identify features of music whilst listening, using some correct musical vocabulary.Year 9Ask students to think of as many film/art genres as they can. Can they think of any music which might have made them memorable? Examples might be horror (Jaws), sci-fi (Star Wars) etc. Select two clips (of teacher choice, or allow student choice) and discuss how music can reflect a scene: how can different instruments have different effects? Use a software application such as Garageband and load on the interactive whiteboard. Teacher to choose three different actions from the film clips and imitate using instruments on Garageband – can students guess the title of the film? Discuss with class – consider how elements are changing for each action. Teacher should prepare a silent video clip and share with students (stored on shared area/student drive); students should begin to compose music for this silent film by deciding on a genre for the clip. NOTE: Any practical composition work started should be saved ready for the next lesson.LA – Describe a piece of music.MA – Describe a piece of music using appropriate musical vocabulary.HA – Describe music that would fit an action using technical language to give appropriate justification.Wk 5 and 6 - Assessment of Silent Film CompositionYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music. Year 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Year 9Think of a sentence that describes a chosen genre - recap on music for a film and its purpose. Students should continue to work on their composition, thinking about the effects an instrument can produce. Before the piece is finalised, students should ask a partner to peer-assess: partners should listen to the composition and give a brief critique as to whether or not it reflects the scene in a suitable way.When compositions are complete, share with the class. Students should be able to explain their musical choices, using musical terminology where appropriate. Peers may wish to comment on their NOTE: If final compositions include any digital work, ensure this is saved before the end of the lesson in case it is needed for future development.LA – Compose a piece of music to accompany a film clip.MA – Compose a piece of music that is suitable for a film clip and helps identify an appropriate genre.HA – Combine a range of techniques to compose a piece of music for a film clip which elicits an appropriate reaction from the listener.Wk 7 and 8 - Exploring Features of a GenreYear 7Can demonstrate some understanding of the contextual influences of music with some prompting.Year 8Has some understanding of the contextual influences on musicYear 9Watch a film clip featuring the Jaws theme – which genre might we identify with this film? In keeping with the identified genre, how does music create tension and atmosphere? Listen to examples from action/romance/comedy genres – LA may benefit from video clips only, MA/HA may be able to identify genres from sound clips as well (soundtracks/sound effects). Create a resource bank for the sounds from each genre – this could be a simple list, actual sounds, digital clips or effects etc. depending on the needs of the students.Discuss using the same scene/clip and altering the sounds - how does this affect the mood of the scene? Students should choose a genre and devise small melodic ideas that could be used for this genre. By the end of the lesson they should be able to explain the effect of their ideas.LA – Recognise musical features in a scene and indicate a possible genre suggested by them.MA – Describe scenes which might match given music or sounds, in line with a given genre.HA – Select or create appropriate sounds/music to match a selection of genres.Wk 9 and 10 - Composing for a GenreYear 7Understand the key words: pitch and rhythm Year 8Demonstrate an understanding of the elements of music Year 9Students should watch a muted film clip selected by the teacher, which includes, but is not necessarily limited to including, music; the clip should be long enough to show a scene. Watch the scene and think about how music can reflect an atmosphere, and how if the music changes, this will affect the pare this to a film trailer – show an example of teacher’s choice. Students should be able to use musical terminology to identify how prior learning on genre can be applied to the trailer, thinking of it as a mini-film designed to engage and hold the interest of the audience.Students should select a film trailer to compose music for, using Garageband or a similar music software application; the teacher may wish to select this for LA students, or allow students to choose from a limited range of options.Using the selected trailer as a stimulus, students should compose music or sounds to match the trailer. As an extension, they may wish to experiment with altering the tone/mood of the trailer by changing the music – a new piece could be composed to set a new tone/mood, or rhythm/pitch/instruments etc. could be changed.LA – Understand the role of music in genre.MA – Know how to change the tone or mood of a genre through music.HA – Manipulate audience response by understanding how music affects genre and how it can be changed.Wk 11 and 12 Storyboarding Mood and ToneYear 7Listens attentively to pieces and describes featuresYear 8Listens attentively to pieces and can identify features of music whilst listening, using some correct musical vocabularyYear 9Examine stills from a range of films – LA students may identify music which could be added for specific effects, MA/HA may discuss how music can alter the mood/emotion in the stills; all students to use appropriate musical terminology. Could be completed as a card match/sort activity.Give pupils a sequence of stills from a film clip (4-8, depending on ability). Ask them to arrange the stills in order – this does not have to be the ‘correct’ order, but they should be able to explain story progression. Use the stills to storyboard music for each one, progressing the story each time.Peer assess – show storyboards and ask students to identify the mood/effect of each, being able to explain their reasoning using relevant musical terminology.LA – Use a storyboard to structure a sequence of film stills.MA – Structure a sequence of film stills and select appropriate music for effect to progress the story.HA – Use detailed, accurate musical vocabulary to give reasons for choice of music, considering the effect on mood/tone, when sequencing a film stills storyboard.Term: SpringAfrican Music and RhythmContentARE objectives.ActivitiesUseful ResourcesWk 1 and 2 - Introducing African Music – performing polyrhythms. Year 7Listens attentively to pieces and describes featuresYear 8Listens attentively to pieces and can identify features of music whilst listening, using some correct musical vocabulary.Year 9Introduce classroom routines and expectations, particularly re. noise levels. Introduction to African Music – exploration of soundscape (music as a whole piece). Examine examples – possibly use ‘Lion King’ intro (Res 1), if using traditional video (Res 2), select clips (music changes every 5-10 minutes approx.) Rhythm games establishing a strong 4/4 metre, e.g. clapping rhythms – teacher to model, then students to construct own. Develop by using rounds (combination of different rhythms or same one in counterpoint). Could also knock on tables/surfaces, use hands/feet etc. Use vocalisation to teach rhythm patterns and build up a polyrhythmic texture – possibly singing/reciting in rounds (e.g. simple nursery rhymes, London’s Burning (Res 4) – one half of class to start, second half to join in when teacher says – extend by splitting into 3 or 4 groups and starting at different times).LA – recognise differences in soundscape, copy simple 4/4 rhythm provided.MA – identify an individual instrument or specific rhythm pattern, reproduce or create 4/4 rhythm using examples demonstrated.HA – identify a range of tones/instruments in a soundscape, create own rhythm/vocalisation and teach to others to create a round harmony.Soundscape – what can we hear? What individual sounds/instruments/rhythms can we recognise/identify?Res 1: ‘The Lion King Intro’ (3:08) 2: ‘Traditional African Music Folk Music Instrumental for Relaxing Studying & Ambience’ (2:00:20) 3: ‘Rhythm Practice – 4/4 time signature’ (3:20) 4: ‘London’s Burning Sing A Long’ (2:14) 3 and 4 - Performing Djembe Rhythms – composing cyclic patterns. Year 7Can demonstrate some understanding of the contextual influences of music with some prompting.Year 8Has some understanding of the contextual influences on music.Year 9Recap beat warm ups. Introduce djembe drums – drumming circle. Show proper stance for holding (Res 1), and how to strike the drum (Res 2). Ensure knowledge of tone, bass and slap - teach the 3 drum strokes and practice as a class. Build up polyrhythmic texture (based on Djole – see Res 3/4) using vocalisations to remember. Simple vocalisations might be ‘I-like-fish,-I -like-chips’, ‘Cook-ies-are-good-to-eat’ or ‘Have-you-seen-the-dog,-the-great-big-dog’. LA – understand term ‘cyclic rhythm’. Be able to hold djembe correctly in a seated position, and show awareness of different types of stroke. Follow simple vocalisations.MA – consistently use at least one type of stroke and know what it is called; recognise this when used by others. Follow more complex vocalisations and be able to change rhythm of these.HA – recognise and use three strokes to play complex vocalisations. Create own vocalisations and combine with others, being able to follow own rhythm.Res 1: ‘How to Prepare to Play the Djembe | African Drums’ (2:09) 2: ‘How to Play Basic Sounds on Djembe | African Drums’ (1:38) 3: ‘Mamady Ke?ta & Sewa Kan – Djole’ (5:40) 4: ‘Traditional Djembe Rhythms of West Africa (explanation and examples of Djole)’ 5 and 6 - Call and Response Structure. Year 7Understand the key words: pitch and rhythm .Year 8Demonstrate an understanding of the elements of music Year 9Introduce call and response through singing – use terms solo, leader (Res 1), unison, ensemble (Res 2). Discuss terms – pitch and rhythm (link rhythm with previous djembe work). Game - ask students to model pitch (high/low – how high/low can you go?). Recap djembe drum strokes with vocalisations – work in some call and responses sections. Groups compose their own 4 beat call and 4 beat response – nominate Master Drummer to lead rhythm for each group. Groups to demonstrate to class.LA – understand difference between solo/unison singing, and the role of the leader. Be able to follow a lead rhythm, and recognise difference between high/low pitch.MA – Use pitch to vary call and response. Contribute to composition of group beat and call – be able to follow composition.HA – Make a significant contribution to composition of call and response and group beat, using pitch to offer variation. Lead group rhythm and demonstrate/teach to own or other groups. Maintain lead role consistently throughout performance.Res 1: ‘A lone wolf howling on the central coast of British Columbia’ (0:40) 2: ‘Basenji dogs singing in unison’ (0:15) 7 and 8 - Polyrhythmic Quartets. Year 7Understand the key words: pitch and rhythm .Year 8Demonstrate an understanding of the elements of music Year 9Introduce to graphic score sheet (see Res 1: Graphic Score ppt in resource folder). Complete graphic score sheet (Res 1, Res 2 is editable) for group composition – Set Task*.*Set Task – compose a polyrhythmic quartet using own rhythmic vocalisations. Groups to select topic and choose 1, 2, 3 and 4 syllable words – reminder to use pitch and rhythm for variation.Rehearse and perform vocally with or without instruments. LA – Complete graphic score sheet working as part of a group.MA – Make a significant individual contribution to group composition.HA – Add a call and response to the group composition.Res 1: Graphic Score Powerpoint in Resources folder (includes graphic score template)Res 2: Graphic Score template in Resources folder (editable Word doc.)Wk 9 and 10 - Rhythmic Notation 1. Year 7Sing assorted songs as part of the class choirYear 8Sing assorted songs confidently as part of the class choirYear 9Introduction to notation (Res 1 – online glossary, Res 2). Explore ways to fill a beat – show how their words from last lesson can be replaced with notes/groups of notes. Practice clapping rhythms from notation as a class. Compose and notate own rhythms – perform as pairs. Singing – can use Res 3 (notes, no words) or video of teacher choice – simple nursery rhymes work well.LA – Know and recognise key terms such as staff, treble/bass clef and recognise that the position of a note will change its sound.MA – Be able to maintain a simple clapping rhythm reading from given notation.HA – Sing notes reading from notation, taking note of sound changes.Res 1: 2: Music Worksheet 1 (in Resources folder)Res 3: ‘Learn to sing music notes in 5 minutes with this single song’ (5:36) 11 and 12 - Rhythmic Notation 2. Year 7Can give simple reflections on music they have performed (self- assessment).Can give simple reflections on music that others have performed (peer assessment)Year 8Can identify what was successful and give some simple ideas for improvement when peer assessing.Respond to and demonstrate peer assessment suggestionsYear 9Recap notation – basic rhythmic dictation – use Res 1 if desired. Final task – give each group 2-4 notated rhythm patterns (can use Res 2, slides 7-8, or teacher to create own). Students to create their own performance using those patterns – should demonstrate in some way solo, ensemble, unison, polyrhythmic texture, cyclic rhythms, use of dynamics (can link to compositions from previous lessons). Perform, record and evaluate.LA – Create simple rhythmic notation and perform (use combination of pre-printed flashcards if needed – Res 2, slide 9). Peer-assess performance of others using one or two musical terms.MA – Create composition using two or three different rhythm patterns; perform and peer assess using a range of musical terms.HA – Create composition using four different rhythm patterns; perform and peer-assess using a range of musical terms; evaluate own composition to self-assess.Res 1: Recap Game (NB: an account will be needed to access this resource, but it’s free to create and use) 2: Rhythmic Notation Introduction ppt (in Resources folder)Term: SummerSongs With PurposeContentARE objectives.ActivitiesUseful ResourcesWk 1 and 2 – Evoking emotion through songYear 7Listens attentively to pieces and describes featuresYear 8Listens attentively to pieces and can identify features of music whilst listening, using some correct musical vocabulary.Year 9Study songs written for a purpose – war/war-time/martial songs. Play examples and show lyrics – students should think about the meaning of the songs. Why were they written? What is the desired effect on the audience? What effect does the music have? Does the melody match the tone of the lyrics?Work in small groups – each group should have a song assigned. Task is to change the effect of the song through vocal intonation – they may choose to change the tune, tempo, add a beat, accompany themselves with an instrument, use a different vocal tone or range etc. Students should think about the effect of lyrics and vocal interpretation on the meaning and effect of a song.LA – Identify key phrases or themes which define war, or war-time, songs.MA – Recognise that songs can be written for a purpose and attempt to identify the purpose from lyrics or melodies.HA – Manipulate songs to change their meaning or impact using melodic or vocal techniques.Music from the war years resourcesWk 3 and 4 – Protest songs – key featuresYear 7Can demonstrate some understanding of the contextual influences of music with some prompting.Year 8Has some understanding of the contextual influences on musicYear 9Examine examples of protest songs – look for similarities in techniques used in lyrics and melodies. Discuss some key examples in context – historical, sociological etc. Why were these songs created? Who was their intended audience? Show examples of lyrics so students can examine the structure of the songs, i.e. how many verses, is there a chorus, any repetition etc.Students should identify an issue that is important to them, i.e. one that they may wish to draw attention to and protest about. Teacher may wish to make them aware that the next learning task will be to write a protest song about their issue, as this may influence their decision.Students should decide on a structure for their own protest song – at this stage, it should include a rough plan of how many verses, where the chorus will come (if there is a chorus) and ideas for possible instruments they may wish to use to provide a melody.LA – Identify melodic or lyrical features commonly found in protest songs, and produce a rough plan for their own protest song.MA – Understand the impact of melodic or lyrical features commonly found in protest songs, and produce a rough plan for their own protest song which includes more than one of these.HA – Explain the impact of melodic or lyrical features commonly found in protest songs, and produce a rough plan for their own protest song which includes several of these. songs lesson packProtest songs lesson packWriting civil rights songs resourcesWk 5 and 6 – Writing a protest songYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music. Year 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Year 9Students should use the rough plan produced last lesson to draft their own protest song. They should consider the language used and how the song is structured. When their song is complete, they should begin to consider the musical accompaniment to the song: students may find it helpful to start with a backing track, bass line, motif or similar, possibly using Garageband or similar music applications to create and experiment with beats, notes and instruments.LA – Write a protest song and plan how it could be set to music.MA – Write a protest song and begin setting it to music by creating a motif or beat.HA – Write a protest song and begin setting it to music by adding notation to Garageband.Wk 7 and 8 – Setting a song to musicYear 7Perform simple music, (one line of melody with one hand) with fluency and accuracy. Year 8Will perform music with some fluency and control of the resources used. Year 9Students should use instruments of their choice to compose a melody to set their protest song to. Instruments may be whatever is available, or teacher may assign to differentiate and increase or decrease the level of challenge as appropriate. Students could use a graphic score sheet (Cycle 2, Autumn) to plan their music, or HA students may choose to use music notation on a stave. If digital methods of composition are used, ensure melodies are recorded or saved for future use.LA – Set a song to a simple repetitive melody.MA – Set a song to a melody, considering or using a range of techniques such as mood, tone, rhythm and beat.HA – Set a song to a melody, considering or using a range of advanced techniques such as counterpoint, ostinato or echo.Song writing teacher resource bookletWk 9 and 10 – Being in a bandYear 7Will play a part in a group performance and be able to re-join a performance (with support) if mistakes are made.Year 8Develop my skills rapidly demonstrating some technical ability on an instrument of my choice.Year 9Examine individual roles in a band – consider the instruments that might be played, or how a song might be sung or performed. Show examples of how different bands approach performances and how band members may perform more than one role.Students should work in small groups (no more than three or four ideally) and form their own band. They should select a protest song to perform from one of the options available from the band members, with the aim of performing this as an assessment piece during a band concert in the final session.Students should decide which instruments they will use, and who will perform which roles. They should have the flexibility to improvise and adapt if needed, but be able to explain any changes they make. The remainder of this session should be used to practice and prepare the band performance. Each band will also need a name.LA – Identify the roles that band members might take.MA – Allocate roles in a band performance, according to the strengths of each performer.HA – Dynamically adapt band roles according to performance requirements, demonstrating an understanding of each role.Performing in a band resourcesWk 11 and 12 – Band concertYear 7Can give simple reflections on music they have performed (self- assessment). Can give simple reflections on music that others have performed (peer assessment)Year 8Can identify what was successful and give some simple ideas for improvement when peer assessing.Respond to and demonstrate peer assessment suggestionsYear 9Students to perform their protest song as a band. The teacher can make this more engaging by preparing a stage space, possibly a programme, and inviting an audience (if students are able to cope with this). It could also be run as an ‘X Factor’ style competition, with invited guests as judges – students can be questioned about their performance/song choices by the judges, and perform self-assessment by being able to justify and explain their reasoning.The activity could be recorded and saved to aid self/peer assessment at a later date, as there may not be time to do this depending on how the event is structured.LA – Take part in a group/band performance.MA – Take part in a group/band performance, following a rehearsed plan.HA – Take part in a group/band performance, improvising and adapting from a rehearsed plan if required, to demonstrate an understanding of the needs of the different roles.KS3 National CurriculumYear 9Term: AutumnVariations on a ThemeContentARE objectives.ActivitiesUseful ResourcesWk 1 and 2 – Exploring variationsYear 7Listens attentively to pieces and describes features.Year 8Listens attentively to pieces and can identify features of music whilst listening, using some correct musical vocabulary.Year 9Explore the concept of variation through a range of techniques. Start by examining different genres – students can brainstorm as many different genres as they can think of. Quick Genre Quiz (Res.7) may help refresh/explore genre knowledge. Discuss possible definitions and examples (artist/song), depending on genres chosen – good examples might be Rap (Eminem, Dr Dre, Tupac Shakur), Pop (Shawn Mendez, Bruno Mars, Ariana Grande), Romance (Lewis Capaldi, Ellie Goulding, Whitney Houston).Examine different versions of the same song (Res.1/2, Res.3/4, or songs of teacher choice); also consider songs with the same melody but different lyrics (known as ‘contrafactum’ - Res.5/6).Discussion: why might a song/lyric be changed? Consider social/historic cultural influences. Work in pairs/small groups to select a song of choice. Students may either alter the lyrics and keep the same melody, change the melody/genre to perform the piece differently, or HA may like to try both. Students should create initial ideas as a draft piece, to be developed next lesson. It may be useful to record these for next lesson, to aid comparison and development of variation.LA – Recognise and describe in basic terms how a piece of music has been varied.MA – Describe in basic terms how a piece of music has been varied, and suggest some reasons why.HA – Suggest reasons why a piece of music may be varied, and give some examples of variation from own knowledge or experience.Res.1 – ‘Tainted Love Soft Cell Lyrics’ (2:44) - – ‘Tainted Love-Marilyn Manson Lyrics’ (3:20) - – ‘Pink Floyd - Comfortably Numb With Lyrics’ (6:24) - – ‘Scissor Sisters - Comfortably Numb’ (3:23) - – ‘Greensleeves lyrics Original’ (3:43) - – ‘What Child Is This (with lyrics)’ (2:54) - – Genre Quiz - 3 and 4 - Melodic and rhythmic variationsYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music. Year 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Year 9Recap ways of varying a theme from last lesson, or teacher may wish to revisit Cycle 1, HT5, Wk5.1 (Frere Jacques/rounds) for a practical example.Develop the piece of music with variations from last lesson. Students may wish to experiment with rhythm, pitch, lyrics or rounds, or other techniques of their choice. Perform the piece: students to peer-assess, aiming to recognise variation. It may be helpful for students to play their original piece as a comparison, either before or after the variation – a suggestion would be to record the original piece (see possible recordings from last lesson, if it was decided to do this). Students should aim to recognise variations and the impact of the changes.Variation Challenge – select a piece of music or a song (teacher/student choice, shorter would be better). Ask students to choose a mood then challenge small teams to perform the piece to fit the chosen mood.LA – Make a simple variation to a piece of music.MA – Make variations to a piece of music and identify the changes.HA – Make variations to a piece of music and explain the impact of the variations.Wk 5 and 6 – Types of variationYear 7Will play a part in a group performance and be able to re-join a performance (with support) if mistakes are made.Year 8Develop my skills rapidly demonstrating some technical ability on an instrument of my choice.Year 9Explore different types of variation – use Res.1 to introduce definitions for a range of technical terminology (inversion, counter-melody, retrograde, echo effect, ornamentation, ostinato, minor, drone, round/canon). Ask students to research definitions and an example for each term (blank recording sheet on Slide 5, sample definitions on Slide 6). Teacher may wish to assign terms – simpler variations are counter-melody, echo, ornamentation, ostinato or round/canon.To develop, students could use the keyboard guides (Slides 7/8) or experiment with an instrument of choice – encourage exploration of tonality, sonority, texture (add chords, ostinato, drone, canon etc.)LA – Understand there is more than one form of variation.MA – Explain the meaning of one form of variation.HA – Explain the meaning of a range of variation forms and recognise examples of these.Res.1 – Theme and Variation - form definitions.ppt (in HT6 Resources folder)Wk 7 and 8 - Sequencing basics – Mattachin themeYear 7Perform simple music, (one line of melody with one hand) with fluency and accuracy.Year 8Will perform music with some fluency and control of the resources used. Year 9NOTE: The following three lessons will require use of sequencing software and the hardware to run it. The suggested application is Garageband for iPad (available for free from the Apple App Store at the time of writing in May 2019), but if this is not suitable, or iPads/Macs are not available, the teacher will need to source a suitable alternative that can be used for producing sequenced music.Introduction to sequencing on Garageband – what is it? What does it allow us to do? (Res.1). Teacher to demonstrate on board sequencing techniques including copy/paste, drag, edit etc. on interactive whiteboard – this may need an adapter to connect to the screen if using an iPad to access Garageband. Introduce the Mattachin theme – task is to sequence this using Garageband (if Mattachin is not suitable, teacher should select any other short piece with minimal notes in a repeating sequence, as an introductory piece). Students sequence Mattachin (or chosen piece) from notation or aural memory – edit and listen back. Teacher may wish to recap graphic notation (see graphic score sheets and a refresher on notation from Cycle 1, Wks 2.4 – Polyrhythmic Quartets, 2.5 – Notation 1, and 2.6 – Notation 2). Ensure sequences are saved for later lessons.LA – Recognise a repeated sequence pattern and attempt to create a basic sequence.MA – Understand the term ‘sequencing’ and create a piece of music using sequences.HA – Understand the term ‘sequencing’ and recreate a piece of music using sequences so that it sounds broadly similar to the original piece.Res.1 – ‘GarageBand Tutorial For Beginners iPad and iPhone’ (7:51) - – ‘Mattachin (2018 Remaster)’ (1:08) - 9 and 10 - Varying a sequenceYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music. Year 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Year 9Load Mattachin sequences (or created pieces from last lesson). Set tasks – to create a series of variations based on the theme. Recap different ideas for variations (Cycle 1, Wks 6.1-6.3 as necessary). Teacher to demonstrate how to copy/paste the theme and then alter/edit it to create variations. Encourage students to think musically about how they are varying particular elements of music – listen critically, does it sound good? How can it be adapted if needed? Ensure work is saved for development next lesson.LA – Select and input a variation to introduce into a sequenced piece of music.MA – Select and input a variation to introduce into a sequenced piece of music, beginning to consider the impact of this.HA – Select and input variations to introduce into a sequenced piece of music, beginning to consider the impact of these.NOTE: STUDENTS WILL NEED TO LOAD AND ACCESS SAVED PIECES FROM LAST LESSON.Wk 11 and 12 - Creating a set of variationsYear 7Understand the key words: pitch and rhythm Year 8Demonstrate an understanding of the elements of music Year 9Create final sequenced variations. Students should aim for three separate pieces, based on the original melody (Mattachin or selected piece), each showing a distinct variation. Each variation should demonstrate change in a different element of music. Students should consider the impact of the variations in elements such as tone, mood, rhythm, tempo, audience etc.If further challenge is required, introduce retrograde, inversion, augmentation and diminution as advanced variation techniques as appropriate – teacher to support with selecting appropriate examples of these.Students to save their completed theme and variations (at least four pieces, including the original piece), then self-evaluate. Work may be assessed for variations used, how the piece was sequenced to implement variations, reasons they were selected, impact of the variations, contrast/similarities between the pieces, problems encountered and how they were overcome. Peer-evaluation may be appropriate if students are secure in self-evaluation of their work.LA – Create at least two variations using the sequencing software which demonstrate changes in different elements of music.MA – Discuss about how variations are created using a detailed musical vocabulary and referring accurately to the elements of music.HA – Create a series of carefully planned and constructed variations which may demonstrate more advanced techniques such as retrograde, inversion, decoration and changes in harmony.NOTE: STUDENTS WILL NEED TO LOAD AND ACCESS SAVED PIECES FROM LAST LESSON.Term: Spring12-Bar Blues – exploring the BluesContentARE objectives.ActivitiesUseful ResourcesWk 1 and 2 - Exploring blues – swung quavers and improvisationYear 7Can demonstrate some understanding of the contextual influences of music with some prompting.Year 8Has some understanding of the contextual influences on music.Year 9Listen to examples of traditional blues – identify key features, e.g. ‘sad’ lyrics, 12 bar pattern, AAB melody structure, instrumentation etc. (Res.2/3).Examine origin of blues (Res.1-Wk.1, includes typical notation). Introduce swing/swung quavers (Res.4). Listen again to examples of blues – identify where swung quavers can be heard.Improvise a rhythm with members of class using swung rhythms – clapping, speaking, possibly singing (Scat – Res.5/6). Can work in pairs/small groups.LA – identify examples of blues music and be able to tell them apart from examples of other musical genres.MA – improvise a rhythm using swung quavers/swing rhythm and sustain it when playing with other students.HA – create a rhythm which includes some vocals as well as rhythmic accompaniment.Res. 1 - 12-bar blues - combined.pptx (in HT4 Resources folder)Res.2 – ‘Negro Prison Songs / "Rosie"1947 [RARE]’ (2:45) - – ‘B. B. King - The Thrill Is Gone (Live at Montreux 1993)’ (6:45) - – ‘Music Theory Tutorial - Understanding Swing vs Straight Rhythm’ (2:53) - – ‘Scat singing’ - – ‘Scat, singing of nonsense words, performance by Ella Fitzgerald and Mel Torme’ (2:28) - 3 and 4 - Performing blues melodies with fillsYear 7Listens attentively to pieces and describes features.Year 8Listens attentively to pieces and can identify features of music whilst listening, using some correct musical vocabulary.Year 9True/False quiz – recap origins of blues music (Res.1-Wk.2).Introduce key features of blues genre music – keyword card sort activity (Res.2). Examine influential figures in blues (choice of subject to be decided by teacher – could use BB King (linked to Res.2 – letters on cards can be rearranged to spell ‘BB King’).Introduce AAB lyric structure (Res.3) – suggested videos (Res.4/5), other videos/links at end of article.Give students a choice of blues melodies to learn and play on an instrument of choice, or one provided by the teacher, or ask them to improvise their own melody – work in pairs, with one playing the melody, and one improvising fills. Record if time allows, using a given backing if desired.LA – know and understand key terminology of the blues genre.MA – play fills or a blues melody on an instrument (keyboard/guitar), following a set piece of music (working by sound, or reading music of able).HA – improvise a blues melody and/or fill to fit the AAB lyric structureRes. 1 - 12-bar blues - combined.pptx (in HT4 Resources folder)Res.2 – Keyword match.docx (in HT4 Resources folder)Res.3 – ‘A Guide To Song Forms – AAB Song Form’ - – ‘Sweet Home Chicago’ (3:05) - – ‘Stevie Ray Vaughan - Pride and Joy (Studio version)’ (3:40) - 5 and 6 – 12-bar blues chord sequence – keyboards and ukulelesYear 7Familiarity with pitch notationYear 8Demonstrate an understanding of rhythm notation in a piece of music including how it fits into barsYear 9Introduce 12-bar chord sequence, following on from AAB lyric structure (Res.1).Revise key terms and write own blues song (or create a class blues song) incorporating some of these features (Res.2-Wk 3). Perform song - volunteer students to improvise fills at end of lines using blues scale (recap lyrics in AAB structure if required).Listening recap – how many of the key features can they spot in traditional blues (songs of teacher choice – suggested resources: Res.3/4/5/6).Recap chord sequence using instruments – ukuleles and keyboards are a good combination, if available. Students may revisit compositions from last lesson if desired, or create a new piece – alternate between melodies and fills, working in different groupings to improvise.LA – help create lyrics for a blues song (individual or class composition).MA – create/demonstrate appropriate fills for melodies played by others.HA – accurately define at least three features of blues, and identify these in a selection of blues songs/music.Res.1 - ‘Learn Every Blues Song Ever in 8 Minutes’ (7:52) - - 12-bar blues - combined.pptx (in HT4 Resources folder)Res.3 – ‘Bo Diddley - I Am A Man’ (2:55) - – ‘Bessie Smith (Nobody Knows You When You're Down And Out, 1929) Jazz Legend’ (3:04) - – ‘The Allman Brothers Band - Statesboro Blues (Live)’ (4:20) - – ‘Blues Brothers - Sweet Home Chicago’ (7:51) - 7 and 8 - Creating a walking bass lineYear 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music. Year 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Year 9Quick quiz starter activity – name the instruments often associated with blues music (visual prompts in Res.1-Wk.4).Introduce walking bass line (definition – Res.2 (scroll down to see ‘Walking Bass’), Res.3 for a practical demonstration).Students to try creating a walking bass using a chord of their choice – use resource videos to refresh/teach (Res.4 – Piano/keyboard, Res.5 – Guitar, Res.6 – Ukelele).Begin to plan blues composition for assessment – students should consider blues-specific key techniques, choice of instruments, lyrics and fills, swung rhythms/beats etc.LA – recognise a walking bass line when heard.MA – create a walking bass line on an instrument of choice.HA – give a definition for the term ‘walking bass line’ and create a walking bass line on one or more instruments.Res.1 - 12-bar blues - combined.pptx (in HT4 Resources folder)Res.2 – ‘Bassline’ - – ‘Learn how to play walking bass lines... in less than 10 minutes!’ (12:19) - – ‘Piano chords for beginners: learn four chords to play hundreds of songs’ (16:01) - – ‘8 Guitar Chords You Must Know - Beginner Guitar Lessons’ (11:09) - – ‘How To Play Ukulele - Beginner Lesson 1 - Easy Chords, Strumming And Songs [UK-001]’ (12:02) - 9 and 10 – Create and compose blues musicYear 7Will play a part in a group performance and be able to re-join a performance (with support) if mistakes are made.Year 8Develop my skills rapidly demonstrating some technical ability on an instrument of my choice.Year 9Students to work in pairs/small groups to create/compose their own piece of blues music. This might include understanding and use of swung rhythms, a walking bass line and vocal accompaniment (lyrics/scat/fills etc.) Instruments should be provided, or students can use own if desired. Rehearse ready for performance next lesson. LA – take a clear role in a planned blues composition.MA – use instruments as part of a blues composition.HA – accompany themselves or others using instruments as part of a blues composition.Wk 11 and 12 – Perform and evaluate blues musicYear 7Will play a part in a group performance and be able to re-join a performance (with support) if mistakes are made.Year 8Develop my skills rapidly demonstrating some technical ability on an instrument of my choice.Year 9Perform composition and evaluate – self/peer assess as decided by teacher.Perform blues composition as part of a class ensemble, or create a class composition where everyone takes part – suggested structure: small groups leading individual sections (instrumental, lyric, fills) led by a conductor who co-ordinates the piece, or split class into two and have a mini-competition with judges. [NB: if appropriate, performances could be uploaded to school social media channels, or school website].Round-up quiz – musical general knowledge (Res.1-Wk.6 – Res.2 is a backup for Question 8)LA – demonstrate an awareness of technical terminology from the blues genre.MA – demonstrate use of one or two blues features in a solo or small group performance.HA – demonstrate good understanding and confident use of a range of blues features, in a solo and group performance.Res.1 - 12-bar blues - combined.pptx (in HT4 Resources folder)Res.2 - BBC Match of the Day Theme Music.mp3 (in HT4 Resources folder)Term: SummerTelling a story through musicContentARE objectives.ActivitiesUseful ResourcesWk 1 and 2 – ‘Peter and the Wolf’ – OrchestraYear 7Listens attentively to pieces and describes features.Year 8Listens attentively to pieces and can identify features of music whilst listening, using some correct musical vocabulary.Year 9Introduce ‘Programme Music’ - brief background/history. Explain that it is a piece/series of pieces of music, designed to tell a story; the narrative is told through the music (Res.1/2). Can students think of any famous stories told through music? A classic example might be ‘Fantasia’, or they may suggest a tune of their choice – emphasise there shouldn’t be words to tell the story though. Watch clip from ‘Fantasia’ (Res.3, or other piece of music of choice) – discuss how animation is matched to the music.Watch/listen to ‘Peter and the Wolf’ (Res.4 – orchestral performance with narration, Res.5 – animated instrumental, Res.6). Focus on use/choice of instruments – introduce motif (or leitmotif). Students to identify instruments used for specific characters/events – discuss why Prokofiev may have chosen these. [Teacher note: Instruments are:the bird = flutethe duck = oboethe cat = clarinet playing staccato in a low registerthe grandfather = bassoonthe wolf = three hornsPeter = string quartetthe shooting of the hunters = kettle drums and bass drum]LA – identify that specific instruments were used to represent specific characters/eventsMA – recognise the instrument(s) used for a given character(s)HA – Suggest why Prokofiev’s choice of instruments is appropriateRes.1 - ‘Program Music’ - – ‘Orchestral Programme Music’ - – ‘Fantasia 1940 The Sorcerer's Apprentice Walt Disney Cartoon Movie’ (3:49) - – ‘Sergei Prokofiev: Peter and the Wolf. Vancouver Symphony Orchestra’ (29:30) - – ‘PETER AND THE WOLF’ (32:23) - – Instruments and Programme Music.ppt (in HT3 resource folder)Wk 3 and 4 – ‘Carnival of the Animals’Year 7Listens attentively to pieces and describes features.Year 8Listens attentively to pieces and can identify features of music whilst listening, using some correct musical vocabulary.Year 9Introduce ‘Carnival of the Animals’ by Camille Saint-Sa?ns (Res.1, Res. 3, Res.4)Movements:00:00 1. Intro & Royal March of the Lion (Introduction et marche royale du lion)01:44 2. Hens and Roosters (Poules et Coqs)02:32 3. Wild Asses:Swift Animals (Hémiones:Animaux Véloces)03:07 4. Tortoises (Tortues)05:03 5. The Elephant (L'éléphant)06:33 6. Kangaroos (Kangourous)07:29 7. Aquarium (Aquarium)09:59 8. Personages with Long Ears (Personnages à Longues Oreilles)10:46 9. The Cuckoo in the Depths of the Woods (Le coucou au Fond des Bois)13:12 10. Aviary (Volière)14:20 11. Pianists (Pianistes)15:27 12. Fossils (Fossiles)16:43 13. The Swan (Le Cygne)19:20 14. Finale (Final)[NB: if the link for Res.1 is used, there is a clickable time menu in the comments, for ease of use].Listen to three or four animals – use card sort resource (Res.2) to identify/match which animal a movement might be.Model creating a class animal composition - think about how animal moves, behaves, looks, character etc. What kind of music might we use? Consider instruments/pitch/position task – in pairs, plan own composition to represent an animal (teacher may wish to guide students towards instruments which are available for their use). When composition is planned, use chosen instruments to create the piece. Use iPad or webcam to record. Play selected tracks back to the class - can they guess the animal?LA – demonstrate understanding of how music can be used to represent an animalMA – represent an animal, using rhythm to show animal characteristicsHA – represent an animal, using rhythm and pitch to show animal characteristicsRes.1 – ‘Carnival of The Animals Complete Full Version Le Carnaval des Animaux Complet Camille Saint-Sa?ns’ (21:31) - - Carnival of the Animals - Res2 - card sort.docx(in HT3 Resources folder)Res.3 - Instruments and Programme Music.ppt (in HT3 resource folder)Res.4 – Programme Music outlines.pptx (in HT3 Resources folder)Wk 5 and 6 – ‘Danse Macabre’ – Spooky TricksYear 7Understand basic rhythm notation: semibreve, minim, crotchet, quaverYear 8Demonstrate an understanding of rhythm notation in a piece of music including how it fits into barsYear 9Introduce minims, semibreves, crotchets (Res.1) and quavers (Res.2) – focus on length of note. Listen to ‘Danse Macabre’ (Res.3) – focus on use of rhythm – long notes and short notes – what effect does this have on the audience? Link to learning on note lengths/types.Class task: create a ‘spooky toolkit’ with techniques for creating scary music. Consider instruments which might be used, and how their sound can be varied (pitch/rhythm/tone). Anything can be used for this task – instruments if available, or anything to hand – encourage students to experiment with items, e.g. twanging rulers on the edge of a desk, hand clapping, foot tapping/stamping. Class could create a single composition piece if desired, possibly with a conductor to direct specific parts/volume of sections etc.Mini composition task – students to create own piece of music entitled ‘The Haunted House’ (or similar title of teacher/student choice).LA – understand how the length of a note can change the effect of the note (short/sharp/staccato as opposed to long/drawn-out/legato)MA – use a range of instruments/materials to create sounds/sound effects HA – use a range of instruments/materials to create sounds/sound effects for a specific purposeRes.1 – ‘The Semibreve, Minim and Crotchet’ (1:52) - – ‘Quavers!’ (3:23) - – ‘Danse Macabre 2010 (Saint-Sa?ns)’ (8:11, ends at 7:50) - 7 and 8 – ‘Pictures at an Exhibition’/’The Planets’Year 7Perform simple music, (one line of melody with one hand) with fluency and accuracy.Year 8Attempts will be made at more challenging pieces but these may lack fluency and/or accuracyYear 9Whole-class exploration of either ‘Pictures at an Exhibition’ (Res.1/2/5) by Modest Mussorgsky or ‘The Planets’ by Gustav Holst (Res.3/4/5)‘Pictures at an Exhibition’ – breakdown by movement:0:00 Promenade1:39 Gnomus4:07 Promenade5:07 The Old Castle9:47 Promenade10:20 Tuileries11:18 Bydlo13:58 Promenade14:46 Ballet of the Unhatched Chicks15:59 Two Jews - One Rich, the Other Poor18:16 The Market Place, Limoges19:37 The Catacombs22:04 With the Dead in a Dead Language23:46 The Hut on Hen's Legs27:09 The Great Gate of Kiev?‘The Planets’ – breakdown by movement:0:00 Mars7:27 Venus14:52 Mercury18:39 Jupiter26:11 Saturn35:26 Uranus41:12 Neptune[NB: if the link for Res.2/4 is used, there is a clickable time menu in the comments, for ease of use].Discuss features of a good melody/melodic theme – how does the music tell a story? Does it fit with what we know about the piece? Mindmap possible ideas/themes for a piece of programme music – ideas might be: SPACE, ANIMALS, WAR/CONFLICT, HORROR, LOVE etc. Experiment with ideas for playing one movement using instruments of choice – focus on simple melodies/rhythms at this point.LA – discuss a piece of music using some musical terminologyMA – understand how music is used to tell a story, using musical terminology and discussing the effects of the composer’s choicesHA – understand and plan to use musical techniques to transition between movements in a piece of programme musicRes.1 – ‘Pictures at an Exhibition’ - – ‘Mussorgsky - Pictures at an Exhibition’ (33:33) - – ‘Holst's 'The Planets': a guide’ - – ‘Gustav Holst- The Planets, Full Suite’ (49:14) - – Programme Music outlines.pptx (in HT3 Resources folder)Wk 9 and 10 – Composition - ‘Pictures at an Exhibition’/’The Planets’Year 7Will compose simple music that relates to a brief with some idea of expressive qualities of the elements of music. Year 8Will compose music that shows some ability to organise musical ideas and use appropriate resources in response to a brief.Year 9Use theme ideas from last lesson to compose a piece of programme music – students should aim for 2-5 movements. Stimulus images from Res.1 may be useful or teacher to provide own. Students should plan the instruments used and how they will be played for each movement, giving reasons.LA – compose a piece of programme music with at least two movements, using a planMA – compose a piece of programme music with at least three movements, using a plan which explains the choices for each instrument or movement linked to the desired effectHA – compose a piece of programme music with at least three/four movements, using a plan which explains the choices for each instrument or movement, using appropriate musical terminologyRes.1 – Programme Music outline.pptx (in HT3 Resources folder)Wk 11 and 12 - Completing, recording and evaluating compositionsYear 7Can give simple reflections on music they have performed (self- assessment).Can give simple reflections on music that others have performed (peer assessment)Year 8Can identify what was successful and give some simple ideas for improvement when peer assessing.Respond to and demonstrate peer assessment suggestionsYear 9Complete compositions and refine. Record compositions and play back for the class – evaluate how effective the pieces are against the plan.LA – evaluate own work against the planned brief (self-assess)MA – evaluate own work and that of peers against the planned brief (peer- and self-assess)HA – evaluate own work and that of others against the planned brief (peer- and self-assess) and respond to peer assessment. ................
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