The KING S Medium Term Plan - Music. Y10 LC1 Programme. Module Area of Study 3

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1 The KING S Medium Term Plan - Music Y10 LC1 Programme Module Area of Study 3 Introduction to analysing techniques. Learners will listen to the 3 set works for this Area of Study aurally first without the score, and then trying to follow the scores. Learners will begin to understand pop composition and music technology effects. Learners will practice listening and extended writing skills. Learners will begin to compose in a pop style showing awareness of structure, harmony and melodic line. This area of study will be completed over learning cycle 1 and 2. AoS3 set works M. Davis: All Blues (from the album Kind of Blue) J. Buckley: Grace (from the album Grace) Moby: Why does my heart feel so bad? (from the album Play). Building on prior learning During year 9, learners have studied contemporary, Western Classical and World music. They have also been introduced to simple composition techniques. They have studied Moby and Buckley in the previous learning cycle. Learners are comfortable analysing using skeleton scores and aural techniques and will now commence building upon this by analysing complete scores led by the teacher. They will now start exploring composition.

2 Key vocabulary Modal jazz Stereo Sextet Frontline Improvisation 12 bar blues Blue note Mixolydian mode Flattened 7th Transcription Waltz Swing Head Chord progression Riff Chorus Added 6th Modal Cadence Grace Note Parallel chord Keeping time Coda Tremolo Pizzicato Chromatic Comping Altered chord Folk Rock Rock ballad Pre-chorus Tab Frets Tonal ambiguity Word painting Primary triads Chromatic Col legno Anacrusis Interval Reverb Delay Slide EQ Flange Sample Loop Sequencer Layering Drum Machine Synthesiser Backbeat Sub-bass Harmonic Sequence Dorian Mode Accidental Hexatonic High pass filter Low pass filter Overarching Challenge question What does pop music in context mean?

3 Lines of enquiry Week 1: What is Blues music? Week 2: All Blues is characterised by what techniques? Week 3: What are extended techniques? Week 4: What harmonic sequence is required in blues music? Week 5: What are the effect of blues notes and the mixolydan mode in blues music? Week 6: Assessment Week 7: What is a head and solo arrangement? Exam board links: Topic Progress Statement LC2: 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: 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, swung rhythms, dotted rhythms and triplets) 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.

4 Examination board grade descriptors 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. 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.

5 Progress objectives AO1: Performing skills: performing/realising with technical control, expression and interpretation. 30% AO2: Composing skills: creating and developing musical ideas with technical control and coherence. 30% AO3: Listening and appraising skills: analysing and evaluating music using musical terminology. 40% 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

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7 Week 1: Week 1 Enquiry: What is Blues music? Miles Davis: All Blues Hour 1 & 2 Introduction to Blues music and its historical roots. Learning 12 bar blues pattern in C Playing blues scale Learning to play a Head in unison Hour 3 Improvising a melody over a 12 bar blues sequence in C Beginning to compose Home learning Writing own lyrics for a 12 bar blues song Hypotheses Blues music is racially motivated Blues music is an expression Success Criteria KGP 3: Learners understand the 12 bar blues structure and can apply it in at least 2 keys KGP 4: Learners understand the 12 bar blues structure, can apply it in 2 keys and can play the chord sequence in C. KGP 5: Learners understand the 12 bar blues structure, can apply it in 2 keys, can play the chord sequence in C and play a simple Head arrangement. KGP 6: Learners understand the 12 bar blues structure, can apply it in 2 keys, can play the chord sequence in, can play a simple Head arrangement and can improvise using the blues scale.

8 Week 2 3 hours of lessons plus 1 hour of home learning each week Week 2: What techniques characterize All Blues? Hour 1 & 2 Continuing to learn to play a Head arrangement. Beginning to explore more difficult written parts and improvising using the blues scale and the mixolydian in C. Starting to write their ideas down as notation on manuscript. Hour 3: Introduction to Sibelius. Tasks will include copying music in in order to learn how to use the software. Home learning Composing a 12 bar Head on manuscript. Hypotheses 12 bar blues is too repetitive to show contrast Success Criteria KGP 3: Performance will have slips. Improvising will be simple and unimaginative using mainly a couple of notes and simple rhythms. KGP 4: Performance will have some slips. Improvising will be simple but use appropriate notes. KGP 5: Performance will be mainly accurate. Improvising will be simple but use accurate notes and rhythms. Composing will show awareness of structure. KGP 6: Performance will be accurate. Improvising will be confident and use the appropriate notes. Composing will show awareness of contrast between the Head and solos.

9 Week 3 3 hours of lessons plus 1 hour of home learning each week Week 3: What are extended techniques? Hour 1 & 2 Sibelius tasks: tuplets, cross rhythms and syncopation Composing a 12 bar head for a blues ensemble Hour 3 Starting to analyse All Blues Home Learning Completing topic headings so far for All Blues Hypotheses There is no difference between composing and reordering ideas that you have heard elsewhere Pastiche is best Success criteria KGP 3: Composition will be simple but not stick exclusively to the notes of the blues scale. KGP 4: Composition will be simple but make good use of the structure to show some balance and contrast. KGP 5: Composition will use the structure effectively to show balance and contrast. The solos will incorporate cross rhythms. KGP 6: Composition will use the structure effectively to show balance and contrast. The solos will incorporate cross rhythms and show off tessituras.

10 Week 4 3 hours of lessons plus 1 hour of home learning each week Week 4: What harmonic sequence is required in blues music? Hour 1 & 2 Analysing the ending of All Blues to see how the chord sequence is manipulated. Examining the 12 bar blues sequence and how to compose a coda Continuing to compose contrasting and complimenting solos/choruses Hour 3 Continuing to analyse All Blues. Home Learning Essay on Blues music history, famous composers/performers and how All Blues fits in contextually. Hypothesis If music constantly evolves, can the same be said regarding musical structures? Success Criteria KGP 3: The composition will have clear sections within the structure. The coda may be misjudged. KGP 4: The composition will have a clear structure. The coda will be an extension of the piece. KGP 5: The composition will have a clear structure and singable melodies. The coda will be appropriate in length and conclude with a perfect cadence. KGP 6: The composition will have a clear structure, balance and contrast. Melodies will be singable. Coda will be well judged with a concluding perfect cadence. Harmony will show some extensions.

11 Week 5 3 hours of lessons plus 1 hour of home learning each week Week 5: What are the effect of blues notes and the mixolydan mode in blues music? Hour 1 & 2 Continuing with composition Ensuring the blues scale and/or the mixolydian mode is well executed in the composition Ensuring that the head and choruses show balance and contrast Hour 3 Continuing with the All Blues analysis Home Learning Revision for a test on All Blues Hypothesis A composer continuously analyses their work from a theoretical perspective Success criteria KGP 3: The composition will have clear sections within the structure. The coda may be misjudged. The rhythms and melodies will be very simple. KGP 4: The composition will have a clear structure. The coda will be an extension of the piece. The melodies will be simple. KGP 5: The composition will have a clear structure and singable melodies. The coda will be appropriate in length and conclude with a perfect cadence. There will be some instances of cross rhythms. KGP 6: The composition will have a clear structure, balance and contrast. Melodies will be singable. Coda will be well judged with a concluding perfect cadence. Harmony will show some extensions. There will be cross rhythms that enhance the composition.

12 Week 6: Assessment week Hour 1 & 2: Continuing with composition coursework Hour 3: Test on All Blues, plus Moby and Buckley Week 7: gap teaching Gap on All Blues assessment Summative assessment of area of study 3 Examination technique and feedback

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14 Examples of GCSE questions Miles Davis What instruments play the front line? What is the rhythm section? What era is this piece from and how does the style of the music reflect that of the era? Who plays the trumpet in this piece? Name the effects used on the instruments When was the piece composed? Which sections of the piece are improvised? Is the piece tonal or atonal? What chord sequence is the piece based around and what are the chords? The piece is described as a..waltz Learners must be able to notate the following as dictations: Riff Head 1

15 Chord pattern G7 (I7) G7 (I7) G7 (I7) G7 (I7) Gm7 (I7) Gm7 (I7) G7 (I7) G7 (I7) D7 (V7) E flat7 (flat VI7) F (flat VII) F (flat VII) D7 (V7) G (I) G6 (I6) Jeff Buckley What is makes the harmony un conventional of a rock song? What is the structure of Grace? How does Jeff Buckley convey emotion in the piece? What electronic effects does he use? What instruments are used in the piece? Is the piece tonal or atonal? What key is the piece in? What vocal effects does he use? The time signature of the piece is Introduction

16 Opening of verse 1

17 Chorus Moby What type of music is the piece?

18 What electronic devices does he use? What electronic effects does he use? Give 3 facts about the vocal sections in the piece What 2 chord patterns are used? There is a bar of silence in the piece, what is the name given to that? What is the time signature of the piece? What is the overall texture of the piece? Give 2 features of the rhythm in the piece

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