AoS1 set works Handel: And the Glory of the Lord Mozart: 1 st movement (sonata) from Symphony No.40 in Gminor Chopin: Raindrop Prelude

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1 The KING S Medium Term Plan - Music Y10 LC4 Programme out-going GCSE Module Area of Study 1 Analysing three additional set works. Learners will be required to focus their skills on a more formal style of notated music and adapt to following much larger scores. Learners will learn about the characteristics of Western Classical Music and study the stylistic features of the Baroque, Classical and Romantic periods. Learners will use this knowledge and apply their knowledge of Western Classical structures to composition. AoS1 set works Handel: And the Glory of the Lord Mozart: 1 st movement (sonata) from Symphony No.40 in Gminor Chopin: Raindrop Prelude Building on prior learning Learners have now learnt how to follow reduced music scores and will now build upon this to follow larger orchestral and vocal scores. Their understanding of the Western classical traditions will be reaffirmed and extended. Learners will be introduced to a broad historical understanding of the historical Western periods will be learnt.

2 Key vocabulary Movement Diatonic Dissonance Terraced Dynamics Oratorio Harpsichord Falsetto System Alto Clef Tenor Clef Continuo Motif Sequence Phrase Texture Homophonic Monophonic Polyphonic Contrapuntal Perfect Cadence Imperfect Cadence Plagal (amen) Cadence Hemiola Imitation Modulation Rallentando Ritenuto Ritornello Ternary Binary Through composed General Pause Recitative Aria Hemiola Pedal Symphony Transpose Natural horn Legato Staccato Crescendo Diminuendo Trill Sonata Exposition Development Recapitulation Coda/Codetta Transition Bridge Anacrusis Chromatic Periodic Phrasing Circle of 5ths Diminished 7 th Syncopation Countermelody Imitation Dominant 7 th Dominant preparation Augmentation Diminution Sotto Voce Smozando Slentando Septuplet Cantabile Rubato Enharmonic Broken chords Tonic minor Virtuoso Soft pedal Una corda Arpeggio Acciacatura Pivot note Overarching Challenge question What are the features associated with Western Classical Music?

3 Lines of Enquiry Week 1: What is sonata form? The first and second subjects of the Exposition. Week 2: How do we analyse and follow an orchestral score? Week 3: What has been developed in the Development section? Week 4: How can we identify Mozart s modulations and harmonic choices? Week 5: What has been recapped in the Recapitulation? Week 6: Assessment Week 7: GAP week Exam board links: LC3 AND LC4: AOS3 In this unit students develop their listening and appraising skills through the study of music across a variety of styles and genres. In their responses to the questions in both sections, students will need to demonstrate an understanding of the following in relation to the set works within the Areas of Study: Topic Progress Statement the musical elements (pitch, duration, dynamics, tempo, timbre, texture, structure) identifying how resources are used in different combinations (identifying instruments and groups of instruments) identifying key musical features identifying musical and melodic devices (ornamentation, ostinati, riffs, use of imitation, pedal point and sequence) identifying rhythmic devices (syncopation, hemiola, tuplets) identifying and discriminating between major, minor, modal, tonalities and modulating relationships relating music to the Western Classical tradition identifying conventions used in different times and places using appropriate musical vocabulary

4 expressing and justifying opinions and preferences. Exam board links: LC3: AOS1 In this unit students develop their listening and appraising skills through the study of music across a variety of styles and genres. In their responses to the questions in both sections, students will need to demonstrate an understanding of the following in relation to the set works within the Areas of Study: Topic Progress Statement the musical elements (pitch, duration, dynamics, tempo, timbre, texture, structure) identifying how resources are used in different combinations (identifying instruments and groups of instruments) identifying key musical features identifying musical and melodic devices (ornamentation, ostinati, riffs, use of imitation, pedal point and sequence) identifying rhythmic devices identifying and discriminating between major, minor, modal, pentatonic, chromatic and atonal tonalities relating music to the context in which it was created identifying conventions used in different times and places using appropriate musical vocabulary expressing and justifying opinions and preferences.

5 A Candidates explore the expressive potential of musical resources and conventions used in selected genres, and traditions. They sing and/or play music with a sense of style, command of the resources used and making appropriate gradations of tempo, dynamics and balance. They compose music which shows a coherent and imaginative development of musical ideas and consistency of style and fulfils a brief. Examination board grade descriptors They make critical judgements about their own and others music using an accurate and extensive musical vocabulary. C Candidates sing and/or play music with control, making expressive use of phrase and dynamics appropriate to the style and mood of the music. They compose music which shows ability to develop musical ideas, use conventions, explore the potential of musical structures and resources and fulfils a brief. They make critical judgements about their own and others music using a musical vocabulary. F Candidates sing and/or play music with some fluency and control of the resources used. They compose music which shows some ability to organise musical ideas and use appropriate resources in response to a brief. They describe musical features using a simple musical vocabulary, make improvements to their own work and offer some justification of opinions expressed.

6 Knowledge and Skills LO1 - To learn compositional/arranging techniques and learn to apply these independently to complete Unit 5MU02 LO2 - To understand music theory and apply it showing knowledge and understanding for use in Unit 5MU02/03 LO3 - To perform in front of an audience with an increasing level of technical ability and perfection in regards to pitch and rhythm for Unit 5MU01 LO4 - To analyse performances using an increasing level of performance interpretation (technical and expressive control) 5MU01/03 LO5 - To understand structural devices within appraised music 5MU03 LO6 - To analyse music aurally/visually (using a score) and to demonstrate with increasing independence knowledge and understanding of: musical elements; structural devices; expressive features; contextual issues; resources and technology. 5MU03 LO7 - Understand features/characteristics belonging to different periods/genres of music. 5MU01/2/3

7 Week 1 3 hours of lessons plus 1 hour of home learning each week Lesson 1 Enquiry: Week 1: What is sonata form? The first and second subjects of the Exposition. (AoS 1) Mozart Symphony No. 40 in G minor Hour 1 & 2: Introduction to area of study one. Learners will listen to the exposition of the symphony. History of the Classical period. Setting understanding regarding context. Studying the evolution of music forms. The chamber orchestra Exploring and analysing the first subject. Introduction to orchestral score reading, including transposed score skills. Hour 3: Starting composition coursework in the WCM tradition: ternary form. Home Learning: Research Mozart and the Symphony No. 40 in G minor. Produce evidence of your research. Hypothesis: A child genius makes a lifelong genius. Success Criteria: KGP3: Learners understand the movements in the symphony and know where the sonata lies in its layout. Learners can identify the main melody (subject one).

8 KGP4: In addition to GP3, Learners will understand the different parts of the sonata. They will begin to use some musical vocabulary in the analysis of subject one. KGP5: In addition to GP3 & 4, Learners will identify subject one using musical vocabulary. KGP6: In addition to GP3, 4 & 5, Learners will identify how subject one goes on to be developed using musical devices. scores available in the Edexcel GCSE Anthology of Music ed. Julia Winterson (Pearson Education, 2009) Audio available on the Edexcel Anthology of Music CD (2009) CD2 Analysis of the set work and a selection of listening questions available in the Edexcel GCSE Music: Student Book by John Arkell and Jonny Martin (Pearson Education, 2009) Composition tasks available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) and Edexcel GCSE Music: Student Book Week 2 3 hours of lessons plus 1 hour of home learning each week Week 2 (AoS 1) Mozart. Symphony No. 40 G minor Line of enquiry: Week 2: How do we analyse and follow an orchestral score? Hour 1 & 2 Analysing the exposition: subject 1 & 2; voicing of melodies; cadences; modulations; WCM features. Hour 3 Composition coursework Home learning Draw out subject one and two and annotate the analysis points for each. Hypothesis The Western Classical Tradition was discarded by Mozart at the time of composing Symphony No. 40.

9 Success criteria KGP3: Learners can identify atypical WCM cadence points. KGP4: In addition to GP3, learners can identify how the timbre can cut the changing orchestral textures. KGP5: In addition to GP3 & 4, learners will be able to identify passages of modulation. KGP6: In addition to GP3, 4 & 5, learners will be able to transpose the transposed instrumental lines to concert pitch to make harmonic sense of the vertical harmonies. Week 3 3 hours of lessons plus 1 hour of home learning each week Week 3 (AoS 1) Mozart: Symphony No.40 in G minor Line of enquiry: Week 3: What has been developed in the Development section? Hour 1 & 2 Analysing the Development section Closer harmonic analysis of the harmonic relationships e.g. dominant preparation Examining how Mozart treats his subjects in this part of the sonata Hour 3 Composition coursework regular/periodic phrasing. Contrasting the A section and B section through tonality. Home Learning Writing the GCSE analysis essay for the exposition and development sections. Hypothesis

10 A sonata requires careful planning. Success criteria KGP3: Learners can aurally identify similarities to the exposition and new material. KGP4: In addition to GP3, learners will be able to identify the harmonic journey of subject one in the Development. KGP5: In addition to GP3 & 4, learners will be able to identify harmonic progressions e.g. circle of fifths. KGP6: In addition to GP3, 4 & 5, learners will make assessments of instrumental writing e.g. why the horn parts are so limited. REACH: Learners will be continuously making links to WCM features to join all analysis features together with greater understanding. Week 4 3 hours of lessons plus 1 hour of home learning each week Week 4 (AoS 1) Mozart Symphony No. 40 in Gminor Line of enquiry: Week 4: How can we identify Mozart s modulations and harmonic choices? Hour 1&2 Continuing with analysis Symphony No. 40 (Development). Answering listening questions for the appraising examination. Hour 3 Composition coursework Home Learning Complete an essay on the WCM features in The Glory of the Lord and Symphony No.40. You must comment on the historical period and evolution of WCM in your closing paragraph.

11 Success criteria KGP3: Learners can aurally identify similarities to the exposition and new material. Omissions will be significant. KGP4: In addition to GP3, learners will be able to identify the harmonic journey of subject one in the Development. KGP5: In addition to GP3 & 4, learners will be able to identify harmonic progressions e.g. circle of fifths. Omissions will be few. KGP6: In addition to GP3, 4 & 5, learners will make assessments of instrumental writing e.g. why the horn parts are so limited. Omissions will not be significant. REACH: Learners will be continuously making links to WCM features to join all analysis features together with greater understanding. Hypothesis You must have and use a harmonic plan when composing for it to be successful. Week 5 3 hours of lessons plus 1 hour of home learning each week Week 5 (AoS 1) Mozart Symphony No. 40 in G minor. Line of enquiry: Week 5: What has been recapped in the Recapitulation? Completing the analysis of the set work - Recapitulation How to write an extended answer for this set work learners will require their home work set in the previous week in order to collectively create a model answer. Marking example essays (top, middle, low examples) becoming familiar with the mark scheme. Answering aural questions on the set work

12 Hour 3 Composition coursework Home Learning Revision & completing the Mozart essay. Hypothesis A recapitulation is a lazy ending. Success criteria KGP3: Learners can recognise some key features, but there are significant omissions. KGP4: In addition to GP3, learners will make links to modulation. KGP5: In addition to GP3 & 4, learners will identify key features and analyse the relationships between devices. KGP6: In addition to GP3, 4 & 5, learners will analyse the melodic material retained throughout the sonata. REACH: Learners will make further in-depth links to the compositional reasons behind extended orchestral works and why this piece is successful. There will be no significant omissions in their analysis. Week 6 Week 6: Assessment week Questions on the set work, plus a solo performance and submission of their composition coursework. Week 7 Week 7 Gap teaching plus continuation of AoS1 (AoS 1) Mozart Gap teaching of the set work. Feedback of solo performances.

13 Assessed ensemble performance.

14 Extended learning opportunities Intervention will be given bi-weekly to underperforming students and to gifted and talented to allow a more personalised approach to help our students. Choir and band are also available to our students. Each student receives a lesson each week on their instrument/voice.

15 Examples of GCSE questions Handel What are the 4 voices? What type of cadence does it finish with? What is the key of the piece? Name 2 textures used Name a rhythmic feature used Name a melodic feature used Which period of musical history was the piece composed in? What year was this piece written in? What is the tempo of this piece? Give 2 musical features that make it joyful What is a pedal and where is one used? Give four features about Baroque music Name three other baroque composers What instruments does Handel use? What does Adagio mean? What is a basso continuo and what instruments play it? Which two features in the last bars make it sound finished? Motif 1 And the Glory of the Lord

Motif 2 Shall be revealed Motif 3 and all flesh shall see it together

piece in? What is the Italian tempo marking and what does it mean?

16 Motif 2 Shall be revealed Motif 3 and all flesh shall see it together Motif 4 for the mouth of the Lord hath spoken it _ Mozart What key is the piece in? What is the Italian tempo marking and what does it mean? Name two instruments not used in the orchestra? What structure does the piece use? How many subjects are used in the exposition? Give two ways the recapitulation is different to the exposition? What does the symbol sf mean? What is a coda?

What texture is the final few bars of the coda? When was this written? What is a sequence? From which period is this music? Give four features from that period?

17 What texture is the final few bars of the coda? When was this written? What is a sequence? From which period is this music? Give four features from that period? What is the key of the first subject? What is the key of the second subject? They must be able to notate the following as dictations: Subject 1 Subject 2 Chopin

What key is the piece in? What era is it from and what are four features from the era? What is the form or structure of the work? What is the main texture? What die smorzando mean?

18 What key is the piece in? What era is it from and what are four features from the era? What is the form or structure of the work? What is the main texture? What die smorzando mean? Name three other romantic composers What does rubato mean? What does cantabile mean? How do the dynamics change from A to B? They must be able to notate the following as dictations: Section A opening motif

19 Section B raindrop

AoS1 set works Bernstein: Something s Coming Reich: Electric Counterpoint Schoenberg: Peripetie

AoS1 set works Bernstein: Something s Coming Reich: Electric Counterpoint Schoenberg: Peripetie The KING S Medium Term Plan - Music Y11 LC1 Programme out-going GCSE Module Area of Study 2 Analysing three additional set works. Learners will be required to focus their skills on new styles of notated