Stratford School Academy Schemes of Work

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1 Number of weeks Content of the unit (overall.. what do they learn in this unit?) Assumed prior learning (tested at the beginning of the unit) 16 weeks Music theory the basics continued and set work analysis: Students will continue to learn about topics such as the development of the orchestra during baroque and classical periods, classical music structures e.g. sonata form. They will learn to analyse set works such as Handel s And the Glory of the Lord, Mozart s 40 th Symphony and Chopin Raindrop prelude. They will learn to answer exam questions (paper A, paper B type) based on these set works. Practical: students will start their controlled assessments in ensemble performances and learn how to develop them. Theory: students would have gained good understanding of musical elements, musical structures, harmony and tonality, texture and instrumentation. Practical: students know how to play (help of music score or through improvisation) simple to more complex pieces, playing one or two parts together on instruments best suited to their abilities. Assessment points and tasks (when are the students assessed? E.g. baseline assessment, final assessment) Controlled assessment ensemble performance (10 sessions) Ongoing tests (past paper questions) on set works covered at end of each half term. Written feedback points (self feedback, peer feedback, teacher feedback) Teacher feedback once every 3 weeks. Learning Outcomes (tested at the end and related to subject competences) I can sing a simple tune in an ensemble I can sing with some accuracy of pitch I can keep in time with others I can sing in tune and with expression I can demonstrate reasonable confidence in performances I know some notes on a musical stave and read fairly accurately from a score with note names I can keep my own part going in a group performance I can perform simple patterns on the keyboard and tuned percussion with reasonable fluency and accuracy I sing with expression and clear diction I can demonstrate a high level of confidence in performance I can maintain an appropriate role within a group (leading, solo part or support) I can show awareness of the needs of others in a group task I can perform longer parts from memory and/or from music notations, showing understanding of the notes on a stave I can perform longer parts with reasonable technical skill and expression, using tempo, timbre, dynamics and phrasing Page 1 of 17

2 I can show understanding of chords and melodies I can play from a musical score without the notes written on to assist me I can coordinate my part with the other performer(s), considering timing I am sensitive to my role in the group and can make appropriate adjustments to my part, taking the lead where appropriate I can recognise a variety of different instrument sounds, knowing instrument families I can recognise basic musical symboles (trebel clef, stave etc.) I know a range of musical elements I can make some improvements to my own work I know the musical elements and can recognise some in listening tasks I can recognise rhythmic musical symbols (crotchets, minims etc.) I have a basic understanding of notation I can suggest improvements to my own and others' work I can identify different genres of music and their features in a listening task I can evaluate how venue, occasion and purpose affect the way music is created, performed and heard I have a reasonable grasp of treble clef notation I can consider successful/non-successful outcomes and improve my own and others' work I can describe and compare musical features in listening tasks, using appropriate vocabulary I can explore the contexts, origins and traditions of different musical styles I have a good understanding of treble clef notation I can analyse music in detail, using key words and musical terms I can evaluate how different contexts are reflected in my own and others' work I can write accurate descriptions, using technical vocabulary to give detailed answers Page 2 of 17

3 I can discriminate between musical styles, genres and traditions, commenting on the relationship between the music and its culutal context, and justifying the conclusions that I have drawn I can demonstrate excellent score-reading skills and a clear understanding of music notation and symbols I can display excellent knowledge of key words for topics covered and musical terms, with detailed descriptions of musical features identified Page 3 of 17

4 Lesson 17 Introductio n to baroque music Clear learning intentions (learning objectives) Theory: To learn about key features of baroque and classical music. Practical: To learn how to improve GCSE solo or ensemble performances. Clear success criteria (levels of attainment in lesson - targets) D-E: to be able to name two composers from the classical. Baroque period. To recognise instruments used in the orchestra during these periods. Continue to work and develop their solo/ ensemble performances by focusing on one element of it e.g. timing. C: to be able to describe three key features of baroque and classical period. Learn how to improve their performances further in order to achieve a higher mark by focusing on two elements of it e.g. timing and dynamics. B-A: to be able to describe dynamics, tonality, instrumentation and melodic features from each period. To be able to add more than two musical elements to improve their performances. E.g. timing, tempo changes, dynamics. Hook (starter) Definitions sheet. Go through the answers, see slide Presentation of content (main) Hand out baroque and classical music worksheet (with tables). Go through the main key features of baroque and classical music. Ask more able students to explain key terms they have come across already such as ternary form, binary form, dynamics, orchestra. Explain new musical terms such as basso continuo. Listen to theme and variation by Pachelbel, v=jvnqlj1_hq0 Question students on the variation. Students to answer questions on baroque and classical music (worksheet). Give homework task. Hand out student feedback sheet. Students to read their written feedback from last lesson. Each student to practice their performances (solo / ensemble). Students should focus on adding dynamic contrasts in their performances. Guided practice Independent practice (homework) Revise the key points of baroque and classical music. Test next week. Similarities and differences baroque and classical music worksheet. Closure (plenary) Plenary: listen to some performances by students. Pick grades D, C, B and A performances. Discuss with students: why the performances are at that level? And what they need to do to get to the next grade? Pick students from the audience to explain the answers. Use the GCSE assessment criteria when giving feedback. Select few students to perform back to the class during rehearsals and at the end of the lesson so students can learn from each other s mistakes. Discuss: what is required to do to their piece to get a grade C? grade B? grade A? Go through the assessment criteria for solo / ensemble performances with the students. the practical sessions and during plenary performances. Go around the classroom and help students with the tasks. Page 4 of 17

5 18 Controlled assessment continued ensemble performances Starter: baroque music and classical music test Get students to peer mark each other s work. Students to correct their wrong answers. Page 5 of 17

6 19 bar oq ue an d cla ssic al me lod y pat ter n To learn about the features of different musical structures: binary form, ternary form, rondo form To be able to compose melodies in binary form or ternary form. Learning outcomes: D-E: to be able to describe the term trill ostinato sequencing and imitation C: to be able demonstrate examples of a trill, ostinato pattern, imitation. B-A: to be able to describe and demonstrate examples of a trill, ostinato pattern, imitation, and sequencing and use them as composition ideas. Demonstrations and examples will be shown throughout the lesson. Students will be tested on their learning outcomes. 1. Starter: Answer the following questions in your books: 2. Name three musical structures which were common in baroque and classical music? 3. The harpsichord was commonly used during the baroque or the classical period? 4. Name two classical composers 5. Which word describes the change in key between sections? 6. Write down three differences between the baroque and classical period. Hand out the class worksheets. Explain the terms trill, ornament, sequencing, imitation and show examples. Students to answer these following question: When was the Baroque period? Name a composer from the Classical period? What is another word for imitation? Describe an ostinato pattern? Here are a set of notes: C E F G if you are playing an ostinato pattern of these notes what are the next set of notes? Can you write a descending sequence for these notes? C E F G A D Homework D-E: find the definitions of these terms that describes texture: Polyphonic, monophonic, homophonic, heterophonic C-B+: listen to Mozart s 40 th symphony. Describe the texture of the violins at the start of the piece. Does the texture change throughout the piece? If yes, explain how? Plenary: listen to some performances by students. Pick grades D, C, B and A performances. Discuss with students: why the performances are at that level? And what they need to do to get to the next grade? Pick students from the audience to explain the answers. Use the GCSE assessment criteria when giving feedback. Give homework task. Practical: 2. Compose an eight bar melody with the notes of the pentatonic scale. 3. Include a trill, imitation, sequence and an ostinato pattern in your composition.. Select few students to perform back to the class during rehearsals and at the end of the lesson so students can learn from each other s mistakes. Pick students to perform back to the class. www? Ebi? (audience) Go around the classroom and help students with the tasks.. Students to continue developing their compositions with the feedback given to them by their peers. Page 6 of 17 Plenary: students to write down self-feedback in their books.

7 20 Baroque choral music To learn about the key features of baroque choral music. To learn the difference between sacred and secular music. To know what is an oratorio. D-E: to be able to describe and give an example of sacred and secular music. To know at least one feature of an oratorio. C+: to be able to describe in detail differences and give various examples of sacred and secular music. To be able to describe features of an oratorio and And the Glory of the Lord. Starter: Name the instrument family playing the theme at the start? A group of singers are called a When was this composed? What does S A T B stand for? Which voice is the highest? Which voice is the lowest? What is the difference between sacred and secular? Get students to share their answers. Main (see individual feedback sheets). Hand out the worksheets. Explain and go through each slide and demonstrate examples. Questions: What are the two types of choral music? What does SATB stand for? Can you name a type of secular music? Where would you see operas being performed? What is the name of the oratorio you have to study for your GCSE music exam? Hand out the tutorial for recording midi on cubes SL. Explain the practical task, Get students to carry on recording their composition ideas. 1. Compose a short chord sequence or a melody (use worksheets to help you) 2. Record a chord sequence or a melodic idea on Cubase SL / garage band. 3. Edit your melodic idea (use the edit grid) You can: copy / paste it, quantize it, change the instrument etc. 3. Playback your recorded idea in a cycle. 4. Record another part: melody, bass line and build up layers in between four bars. Extension: try recording your parts to a click track, at a slow tempo. Quantize your parts. Develop your composition beyond four bar loop e.g. add a different chord sequence, drum beat. Go around the classroom and help students with the tasks. D-E: read the baroque choral music worksheet and answer the questions. C-B+: what instruments were used in a baroque orchestra? Describe the instrumentation in And the Glory of the Lord. REVISE ALL THE NOTES ON BAROQUE CHORAL MUSIC, TEXTURE, AND MELODIC PATTERNS. TEST NEXT WEEK. Plenary: pick few students to play back their compositions. Audience: what can they add to the compositions? What is the next step? And how to do it? Students to write down their feedback in their books. Page 7 of 17

8 21 CO NT RO LL ED AS SE SS ME NT co mp osit ion s 1 st COMPOSITION To learn about the basic functions of a music software. To be able to record a simple idea on Cubase or Garage band. D-E: to be able to explain the main functions of a sequencing software. To be able to record a simple musical idea on a sequencer. C+: to be able to describe in detail the functions and tools of a sequencing software. To describe the terms MIDI, synthesizer, sequencer, Loop, quantizing and sampler. To be able to record more than two parts on a sequencer with quantized rhythms. Starter: Find the key term 1) two notes played very fast consecutively 2) a short, repetitive pattern 3) repeated phrase (melody) with slight changes 4) Repeating the same melodic pattern but starting on a different note. Students to discuss and share answers. GCSE music composition: what is required by the student? Briefly explain to the students. 2 compositions in two different styles. For example: ternary form composition, pop music with verse chorus structure. You will record the compositions using music software. You can write lyrics instead of melodies. Use the composition help sheets to start your composition. E.g. Chord sequence of your structure. Composition: 30% of the total grade. Performances: 30% Total coursework weighting: 60% of the GCSE grade. 40%: listening and appraising exam. Homework: Listen to Moby: why does my heart feel so bad? D-E: list three effects used in the track. C+ Describe in few sentences how Moby created (realised) this song? Plenary: pick few students to play back their compositions. Audience: what can they add to the compositions? What is the next step? And how to do it? Self feedback: What went well? E.g. I can record a simple idea on Cubase / Garage band. Even better if..? I can quantize the recorded parts on Edit grid. Students to write down their feedback in their books. Hand out the worksheets. Explain and go through each slide and demonstrate examples. Questions: Summarise in few words what is a music software? Where would you find the music sequencing software? What is quantizing? What is the difference between a keyboard and a synthesizer? What is a loop? What are the three main functions of a music sequencing software? Name three functions you can find on the project widow layout: Hand out the tutorial for recording midi on cubes SL. Get students to read the tutorial and show an example Explain the practical task, get students to explain back to the class. Page 8 of 17

9 22 To know the types of structures they can use in their compositions such as ternary form, binary form, verse / chorus structure. To be able to show development in their structures. COMPOSITIONS STRUCTURING D-E: to be able to structure the compositions in binary, ternary form. To change the chord sequence in each section. C: to be able to structure the composition in a simple verse chorus structure. To change the chord sequence in each section. B-A: to include at least three more sections such as an intro, outro, solo section to show development in the composition. Starter: TEST baroque choral music and melodic patterns Go through the rules before the test. Hand out the worksheets. Ask students to describe the word structure. Explain different types structures they can use in their compositions. Show different examples using YouTube (go through the slides). Questions: What is the musical term for key changes between sections? Here is a ternary form structure with chord sequence in part A. Can you rearrange the chords in part A for part B to show contrast? What is a chorus? What is a bridge? Name one feature of the 12 bar blues structure? How does a composer show contrast between sections? Can you list minimum two ways to show development in your composition? Homework: listen to Stand by me by Benny King. Write down the structure of this song. C-B+:What is the key of this song? Why would you have an instrumental section in this song? Plenary: pick few students to play back their compositions. Audience: what can they add to the compositions to show development? What is the next step? And how to do it? Explain the practical task, get students to explain back to the class. structure the compositions in binary, ternary form, verse chorus structure. To change the chord sequence in each section. Students who cannot access the computers to work on their intro, chorus, verse chords. Page 9 of 17

10 23 COMPOSI TIONS To know the meaning of layering in music sequencing. To be able to show variations in texture by layering parts in compositions. Layering D-E: to be able to describe layering in chosen music software. To be able to layer few ideas in between 4 bars. C+: to be able to describe in detail the process of layering using music software. To layer ideas and show build up and change in texture. A: To describe other processes used in sequencing e.g. Quantizing, time changes. To show more complex build up of texture and changes in structure. Starter: listen to the extract and answer the questions Why does my heart feel so bad? By Moby How did Moby record his ideas for this piece? Name a part that is looped in this piece: What is looping? How would you describe the structure of this piece? What is the musical word used to describe parts that are added one after another? Hand out the worksheets. Ask students to describe the word layering. Explain layering in music sequencing. Show different examples of layered tracks. Draw a diagram using blocks describing the idea of layering: How would you describe the texture in this piece? Does the structure look interesting? Explain your answer. How does the piece start? What happens after the intro? Do you find this piece more interesting than the first one? Explain your answer, Explain briefly what Minimalism is and its influences in popular music such as dance music. What is quantizing? What is minimalism? In which modern styles of music do the composers use minimalist techniques? Explain the practical task, Record your idea (drum beat, chords, riff) in between e.g 4 bars. make sure you have loop function on. Record few ideas on different tracks, between a 4 bar loop. Remember to quantize parts on edit grid. Copy and paste your ideas and slowly build a structure e.g. a build up for an intro. Show ideas where the structure and texture changes e.g. Intro building up to a chorus. Get students to explain back to the class. Homework: D-E: what are digital effects? Give examples of four digital effects used in sequencing. C-B+: imagine you are a producer working with a famous singer. Describe in brief the process of making the piece. E.g. First, I would work out the melody and chords to the song. Then I would record my ideas ion layers using a sequencing software. Plenary: pick few students to play back their compositions. Audience: what can they add to the compositions? What is the next step? And how to do it? Students to write down their feedback in their books. Page 10 of 17

11 24 Intr o HA DE L AN D TH E GL OR Y.. Theory: To learn some key features in the Messiah by Handel. E: to describe an oratorio and to know three facts about G.F Handel. To be able to finish at least one target in their compositions to a basic standard (see composition marking criteria) D: to be able to describe at least three key features of the Messiah / and the glory of the lord? To be able to finish at least two targets in their compositions to a competent standard (see composition marking criteria) C:. to be able to describe the terms: SATB, choir, basso continuo, chorus, oratorio. To be able to finish at least two targets in their compositions to a good standard (see composition marking criteria) B: to be able to describe in detail the terms: SATB, choir, basso continuo, chorus, oratorio, opera, libretto. To be able to finish at least two targets in their compositions to an excellent standard (see composition marking criteria) Starter: imitation: Get students in a circle and ask them to imitate improvised clapping rhythms. Get a student to come up with own rhythm and the class to imitate it. Theory: Hand out worksheets. Get students to read the worksheet and explain key points at the same time. Questions to ask: who was Handel? What is an oratorio? What was it written for? What are the three parts of the oratorio? What is the name of the chorus you have to study? Can you tell me three features about and the glory of the lord? Students to answer the questions and explain their answers. Give homework task. Practical: COMPOSITIONS: Handout composition briefs. Get students to read the briefs. Students should start their compositions and developing their ideas. Ask students to listen to each other s compositions in pairs and give feedback to each other using the GCSE criteria on development of ideas. Pick a student to play back their composition.. Audience to give feedback using composition criteria. Focus on accuracy / rhythm Test student understanding of the briefs by asking questions. PF: Hand out the GCSE composition marking criteria sheets. Revise the five points on And the glory of the lord. You should be able to explain them by next week. Answer all the questions. Plenary Select few students to play back their compositions. Pick students from the audience to give feedback using the solo performance criteria Page 11 of 17

12 25 HA ND EL, AN D TH E GL OR Y AN AL YI SS To learn about the key features of And the glory of the Lord E: to know four features of the piece. To be able to finish at least one target in their compositions to a basic standard (see composition marking criteria) D: to know up to six features of the piece. To be able to finish at least two targets in their compositions to a competent standard (see composition marking criteria) C:. to be able to describe the four motifs in And the Glory To be able to finish at least two targets in their compositions to a good standard (see composition marking criteria) B: to be able to describe the four motifs in and the glory of the lord and three other features. To be able to finish at least two targets in their compositions to an excellent standard (see composition marking criteria) Starter: listening task: answer the questions on the slide. 1. For which ensemble is this piece written for? Which vocal part sings the first motif (starts with the first idea)? What is the texture at the start of the piece? What type of choral work is this piece? What are the four vocal parts called in a choir? Share and correct the answers with students. Or starter 2: see slide for questions. Theory: Hand out the score and listen to the piece several times. Help students to follow the score. Hand out and the Glory of the Lord worksheet and Analysis summary worksheet. Get students to read the worksheet and explain key points at the same time. Students to write down the key points for each motif. When listening to motifs use examples in folder handel analysis ppnt tracks in handel worksheets folder. Listen to how the voices are introduced, imitates each other and how the texture alternates between homophonic to polyphonic. Get students to describe the texture. Students to answer questions on And the Glory of the lord. Get students to share answers. Give homework task and homework sheets. Practical: COMPOSITIONS: Read feedback from last session Carry on working and developing compositions Ask students to listen to each other s compositions in pairs and give feedback to each other using the GCSE criteria on development of ideas. TF: listen to each composition by students. Give feedback on how to get to the grade above their current grade, using the GCSE assessment criteria. Homework Students to read the worksheet on Handel and answer the questions. B: Listen to the piece on YouTube. Summarise 5 key features of And the Glory of the Lord. Plenary Select few students to play back their compositions. Pick students from the audience to give feedback using the solo performance criteria 26 Controlled assessment continued COMPOSITIONS Test on And the Glory of the Lord. Exam questions Peer mark each other s work. Answers on the slides. What is a Sonata form? Revise notes on Handel And the Glory of the Lord. Summarise 10 key features. Page 12 of 17

13 27 SO NA TA FO R M To learn some key features in the sonata form D-E: to be able to describe the three parts in the sonata form. Be able to tell three features of the sonata form. C+: to be able to describe in detail the features of the sonata form and give examples. : Handel and the glory exam question from Get students to share their answers. Theory: Hand out worksheets. Get students to read the worksheet and explain key points at the same time. Questions to ask: What are the three main parts of the Sonata form? In which movement is the sonata form structure of played? What the usual tempo of the sonata form? What happens to the themes in the exposition? To what key does the main key modulate to? What happens to the theme in the development? Write these keys in the boxes: main key, dominant key and development C major, G major (relative major), A minor Homework Read the worksheet and answer the questions on Sonata form (classical structures) Listen to 40 th symphony 1 st movement by Mozart. Complete the listening sheet: Mozart 40 th Symphony. Plenary Select few students to play back their compositions. Pick students from the audience to give feedback on WWW? EBI? e.g. are the chords too basic like 1 4 5? Does the structure change? Discuss: what is required for a grade C? grade B? grade A? Go through the assessment criteria for compositions. Students to answer the questions and explain their answers. Give homework task. Controlled assessment continued. Page 13 of 17

14 28 40 TH SYMPHO NY 1 ST MOV. MOZART To learn about the key features of Symphony n40 1 st moment D-E: to be able to describe at least two features of the from each part of the sonata form. C: to be able to describe three features from each part of the sonata form. B -A: to be able to describe five features from each part of the sonata form. Practical: to be able to Fill out the sonata form sheet Theory: Hand out the score and listen to the piece. Help students to follow the score. Hand out and the analysis worksheet. Explain key points. Students to answer the questions while going through key points. Give students 5 to 10 mins to recap and revise the notes.. : quick test: Ask students to put all the worksheets away. Write down 2 5 features of the 40 th symphony (See learning outcomes). Pick students to read out their answers. Controlled assessment continued. feedback and testing knowledge Homework Homework : preparing for the exam Mozart ad Handel questions. To complete using the class notes /revision worksheets and internet. Plenary: Feedback: Hand out the GCSE composition marking criteria sheets. Pick a student to play back their composition. Ask all students to give feedback on the development of the structure and form. Would you say the structure was limited, basic, competent, good or excellent? Explain your answer using the marking criteria? How can the structure be improved further to make it more interesting? Discuss answers. Self feedback: They should write down their feedback in their feedback sheets. Go around and check the written feedback. Page 14 of 17

15 30 Continue controlled assessment on compositions EXAM PREP 31 PPE exam Starter: exam preparation Get your folders 10 mins to revise notes on Handel s piece. Test each other. Answer past paper questions 2014 and mins to revise notes on Mozart s piece. Test each other. Answer past paper question: listening paper A. Peer mark answers. Paper b TYPE questions on HANDEL AND MOZART using the Set work booklet. Revise the key notes on Handel and the Glory of the Lord and Mozart 40 th symphony. Read notes on Chopin s raindrop prelude. Page 15 of 17

16 32 cho pin pre lud e intr odu ctio n Learn about the key features of the romantic era and the use of pedal note in Chopin s Prelude n15 in D flat Major E-D: to be able to describe at least two features of the romantic period and to de able to describe a pedal note. C: to know at least five features of the romantic period. To be able to describe two features of the prelude. B+: to be able to describe more than five the key features of the romantic period with key words. To be able to describe three features of the prelude learnt so far. Test at the end of the lesson. hand out the listening sheet (resource from Keynote inset) listen to prelude n15. Tick the correct box. What is the speed of the pulse? What are the dynamics of the music? Etc. Ask students to share their answers Theory: the romantic period. Hand out student class work sheet. Go through the power point slides and discuss the differences between classical and romantic period: Art: MORE EXPRESSIVE, FREE, Experimental with colours, CONTRAST, DRAMATIC during romantic 18 th early 19 th century. Explain the main key features of the romantic period. Ask students to describe some of the features. Listen to Chopin s ballade n1. Ask students to describe the dynamics, melody and mood at the start, middle and end of the piece. Look at how the piano evolved from the classical to romantic period and explain the use of the sustain pedal to show expressiveness. Listen to the raindrop prelude again. Why is this called raindrop? Discuss answers. look at the main themes in section A and B. What are the differences and similarities? Discuss answers. Practical: Get students to compose a piece in ternary form using the Db major scale. Explain the tasks according to the students levels. Low level students to focus on composing just the melody. ask students to perform back to the class. feedback and testing knowledge Q:. H. How does the composer show contrast? How is the instrument used to express emotions? M. Describe the mood in this piece? Does it change? L. what is contrast? What is mood? Pick students to explain. Also listen to Tchaikovsky: Piano Concerto No.1 for a different example. PF: focus on contrast: www? How did the piece show contrast? Did he she use a pedal note? Ebi? How can the piece show even more contrast? C-A: Read the worksheet and answer all the questions on romantic period. Listen to the piece. Write 2 sentences for each element Dynamics, mood, melody, texture, structure. (mind map) E-D: what is a pedal note? What does chromatic mean in music? ALL: Revise the notes on the Romantic period in your revision guides. Plenary: recap on what they have learnt so far: romantic period: contrast, expressiveness, virtuosic playing, mood change, technically difficult to play pieces, use of pedal... Give students 10 mins to revise what they have learnt so far. Test. Page 16 of 17

17 33 Th e Ro ma nti c per iod an d Ch opi n s Pre lud e n1 5 in D flat Ma jor. To learn about the main key features in the Raindrop Prelude e.g. structure, dynamics Learn about the ternary form structure Learning about the development in the romantic orchestra Learn about Ternary form structure Learning about pedal notes Learning to compose a prelude in ternary form CHOPIN ANALYSIS E-F: to be able to describe the ternary form structure. To know the meaning of some dynamic markings. C - D: to be able to describe at least three features: Dynamics Mood Structure Harmony and tonality Tempo or texture B: to be able to describe the differences between section A and Section B of the prelude. Students will be tested throughout the lesson. Demonstrations and examples will be shown and discussed in lessons. hand out the class worksheets Students to write down keywords describing the raindrop prelude. Share and discuss answers. Power point slides Go through the learning objectives. Talk about Chopin s background. How did the orchestra change from Classical to Romantic period? Ask students to share answers. Hand out the score. Go through the slides and get students to answer questions on their class worksheets explaining the Dynamics Structure Harmony and tonality Tempo texture and mood of the raindrop prelude. Get students to look at the score when looking at dynamics and tempo markings on the score. Test students to see if they understand the different features of the raindrop prelude e.g. What is a pedal note? What is the structure of the piece? What is a crescendo? What is forte? What is contrast? Give HOMEWORK TASK Carry on finishing ternary form compositions. D-E: Compose melodies using Db major scale for section A. add a pedal note in Ab when you are performing the composition. C:Make your B section sound different to A section :CONTRAST B A: Add dynamic changes to your performance e.g. rubato feedback and testing knowledge Homework Chopin s Prelude n15 in D flat Major. Listen to the piece. Write 2 sentences for each element Dynamics, mood, melody, texture, structure. (mind map) Revise all the notes on Chopin. Listen to the piece and try to follow the score. Visit BBC bitesize website and try the test bite questions on Chopin. Plenary Give students 5-10 mins to read through their notes. Q&A. Low: describe the ternary form structure and the meaning of some dynamic markings. Mid: describe at least three features: Dynamics Mood Structure Harmony and tonality Tempo or texture High: describe the differences between section A and Section B of the prelude. Page 17 of 17