The Blues and Improvisation - Sonnymoon For Two
Key knowledge: Improvisation, head, solo, Blues scale, Primary chords, call and response, work song, slavery, blues notes, improvisation, lick, 12 bar blues (progression), swing
Key skills / concepts: Trad. 12 bar Blues chord progression, primary 3 note chords, min 7th blues scale, root, 3rd, 5th of a chord, maj/min review, roman numerals/degrees of scale, blues (flat)notes.
History of the blues, Jazz music, Work Songs, improvisation, C major scale w/crossover, improvising using min7 blues scale, swing feel on drums, chant/sing work songs.
Assessment: Baseline/End of Unit test,
Practical assessment (blues progression)
Practical assessment (Class performance of a Blues)
What does it mean to play the blues? What is a chord progression?
North Indian Classical Music and Bhangra – Raga Desh, Jindi Mahi, Ame Sau Vala
Key knowledge: Oral tradition, Tala, Korag (drone), Raga, Sam, Vibhaag, fusion, instruments popular/trad. from Bhangra, (tabla, sitar, dhal etc.), meditation, syncopation, microtones, introduction to tonality.
Key skills / concepts: Flat/ sharp/natural notes, semi-quavers, dotted rhythms, tone/semitone
Play a tala (with different tones on tabla), improvisation on raga, play bass line with dotted rhythm (keys/bass), structure of ICM.
Assessment: Practical assessment (Jind Mahi or a Raga)
End of unit test
What is the musical purpose of different instruments in traditional and popular Indian music? What does it mean to improvise a melody?
Musical Devices - Riffs, Loops and Ostinati - How to Save a Life, Feeling Good/Pachabel’s Canon, Raindrop Prelude
Key knowledge: Structural devices, riff, ostinato, canon, pedal point, countermelody, sequence, repetition, bass clef, ledger lines, verse, chorus, bridge, key signatures and notational theory playing from a score. Key skills / concepts: Explore roles of the bass (and devices) and the structural device of a ground bass. Exploring more sophisticated use of bass in jazz. Focus on the roles of the bass (and devices) as well as the structural device of a ground bass.
Assessment: Baseline and end of unit test, practical assessment.
Reggae and Music of the Caribbean: development of a genre - Jamaican Rumba, One Step Beyond, I Can See Clearly, Three Little Birds
Key knowledge: Off/on beat, skank, walking bass line, groove, Gospel, Rastafari movement, Bob Marley, Mento, Ska, Rock Steady, Reggae, Jamaica, slavery, 4 to the floor, work song, Development of Reggae from 1950’s to 1970’s, Musical influences on this music/ music influenced by Reggae, explore the music of the Caribbean in particular the development of Reggae with reference to history of Jamaica its effect on music and vice versa.
Key skills / concepts: RH/LH keyboard, guitar/bass guitar, learning to play off the beat. Writing a bass riff using chords given, rests (semiquaver to semibreve) off beat rhythms with crotchets or quavers.
Assessment: Teacher assessment of individual improvisations during group performances of unit test, practical assessment.
Western Classical Music & Structure - Bach’s Toccata, Mozart Symphony 40, Beethoven Symphony 5, BAGGAGE
Key knowledge: Binary, ternary, rondo, ritornello, instruments of orchestra, pentatonic scale, verse/chorus, improvisation, polyphony vs homophony.
Pentatonic scale, chords/harmony - major/minor, rhythmic notation, Baroque, Classical, Romantic periods.
Key skills / concepts: Pentatonic scale/improvisation, rhythm 2 with percussion. Listening to various songs used to highlight structure. Explore timbre/texture/structure/ improvisation in small group composition and performances.
Assessment: teacher assessment of individual improvisations during whole group/small group performances, peer analysis and assessment of performances.
Can you tell me about music from 1600 to 1900?
Can you tell me about the musical devices you have played?
Composition and Music Technology - Pjanoo, Star Wars
Key knowledge: Sample, sequence, copyright, copy/paste, break, introduction, verse, chorus, bridge, lyrics, hook, reverb, panning, equalize, word painting.
Key skills / concepts: In small groups or individually students compose their own songs, mix/arrange an existing piece, on Garageband or Musescore or lead sheets to consolidate learning. Create/Edit processes, chord inversions, 4 chord progressions, Pop song composition/performance/arrangement on instruments/iMacs.
Assessment: Teacher/self and peer assessment of compositions/performances.
African/ World Music combined with composition - Bayeza and Yiri
Key knowledge: Rhythmic ostinati, cross-rhythms, Interdependence, primary and secondary beat, Sub-Saharan African music, oral tradition, vocal focus, polyrhythm, heterophonic texture.
Key skills / concepts: Playing djembe (bass, slap, tone), 3 over 2 clapping, rhythmic independence between parts, singing in thirds and octaves (harmony). Whole class donno and djembe sessions.
Assessment: Group self-directed composition projects. Group recordings with whole class analysis/assessment, combined peer/tutor assessment of small group compositions & performances.
How does music from Africa sound and what makes it sound like this?
How can I apply rhythm in my own compositions?
Which chords can you play on the ukulele?
Elements of Music - Wing of a Condor Key knowledge Melody, harmony, rhythm, tempo, structure, texture, pitch, timbre, dynamics, treble clef, staves, bar, time signature, pitch names (treble clef), note values (semibreve to quaver). Key skills / concepts RH keys - play simple melodies, 3 triads (C, G, Amin-root), sing, clap simple rhythm, score reading, internalising rhythm, ensemble playing. various short works focusing on elements of music including: “Wing of A Condor” and current singalongs. Key assessment - Baseline and end of unit tests, practical performance. Can I play my part accurately and in time with others? Can I describe the music I have learnt about using correct terms? |
Samba/Bossa Nova and Composition – Magalenha, Axis of Awesome Key knowledge: Dotted rhythms, off-beats, polyrhythms, Samba instruments (agogo, timbal etc.), percussion, rhythmic ostinato, melody, major v pentatonic scale, stepwise (conjunct), leap and skipwise (disjunct), repetition, variation, contrast , theme, motive, phrase, tonic Key skills / concepts: Dotted rhythms, semi-quavers, Bossa “clave”, bass lines, quaver and crotchet rests, read a rhythmic score, Music of Brazil/Carnival, play various drums and percussion with syncopated and dotted rhythms. Compose a motif or theme using major or pentatonic scale. Melodies in Western popular music, play composed melodies on keyboard, piano, guitar, xylophone or other melodic instrument by ear or from score, 4 chord progression songs/writing Assessment: Practical assessment and end of unit test Can I play more complex Brazilian rhythms in time with others? Can I compose my own melodies? |
KEY STAGE 3 Music Curriculum Map
The Blues and Improvisation - Complete chord and blues scale sheets for class performances
Key knowledge: Improvisation,, solo, Blues scale,, call and response, work song, slavery, blues notes, improvisation, swing, 12 bar Blues chord progression, primary 3 note chords, min 7th blues scale, root, 3rd, 5th of a chord, maj/min review, roman numerals/degrees of scale, history of the blues, Jazz music, Work Songs,, C major scale w/crossover, improvising using min7 blues scale, swing feel on drums, chant/sing work songs.
Practical homework - Practice 12 bar Blues chord progression and C minor blues scale, and pieces on own instruments, (including orchestra, choir and band repertoire) and own instruments or band lab.
Revision - Prepare for the end of unit test and practical assessment (blues progression and or improvisation as above).
North Indian Classical Music and Bhangra – Complete introduction to North Indian Classical Music Preparation sheets
Key knowledge: Oral tradition, Tala, Korag (drone), Raga, Sam, Vibhaag, fusion, instruments popular/trad. from Bhangra, (tabla, sitar, dhal etc.), meditation, syncopation, microtones, introduction to tonality, Flat/ sharp/natural notes, semi-quavers, dotted rhythms, tone/semitone
Practical homework - play a tala (with different tones on tabla), improvisation on raga, play bass line with dotted rhythm (keys/bass), structure of ICM.
Revision - Prepare for the end of unit test and practical assessment Jindi Mahi or improvisation
Musical Devices - Riffs, Loops and Ostinati - Complete listening sheet
Key knowledge: Structural devices, riff, ostinato, canon, pedal point, countermelody, sequence, repetition, bass clef, ledger lines, verse, chorus, bridge, key signatures and notational theory playing from a score.
Practical homework - practice Magalenha and own pieces on own instruments, (including orchestra, choir and band repertoire) and own instruments or band lab.
Revision - Prepare for the end of unit test and practical assessment (treble and bass clef, simple and compound time, devices and listening).
Reggae and Music of the Caribbean: development of a genre - Complete research sheets
Key knowledge: Off/on beat, skank, walking bass line, groove, Gospel, Rastafari movement, Bob Marley, Mento, Ska, Rock Steady, Reggae, Jamaica, slavery, 4 to the floor, work song, Development of Reggae from 1950’s to 1970’s, Musical influences on this music/ music influenced by Reggae, explore the music of the Caribbean in particular the development of Reggae with reference to history of Jamaica its effect on music and vice versa.
Practical homework : practice RH/LH keyboard, guitar/bass guitar, learning to play off the beat.
Revision - Prepare for the end of unit test and practical assessment (teacher assessment of individual improvisations during group performances of unit test, practical assessment).
Western Classical Music & Structure - Western Classical Periods or orchestra sheets
Key knowledge: Binary, ternary, rondo, ritornello, instruments of orchestra, pentatonic scale, verse/chorus, improvisation, polyphony vs homophony.
Practical homework - Practice pentatonic scale, chords/harmony - major/minor scale, repertoire from class - Bach’s Toccata, Mozart Symphony 40, Beethoven Symphony 5, and/or own pieces and repertoire from the clubs
Revision - Prepare for the end of unit assessment: teacher assessment of individual improvisations during whole group/small group performances, and end of unit test revision sheets via mind map or posters
Composition and Music Technology - Compose own melodies for class composition on MuseScore or Band Lab
Key knowledge: Sample, sequence, copyright, copy/paste, break, introduction, verse, chorus, bridge, lyrics, hook, reverb, panning, equalize, word painting.
Practical homework : practice own instruments or chord progressions and melodic ostinati on instruments or band lab (including orchestra, choir and band repertoire).
Revision - Prepare for the end of unit test and practical assessment (teacher assessment of igroup compositions and summer practical project.
African - Design your own Djembe Sheet
Ukulele - complete anatomy of the Ukulele sheets
Key Knowledge: Rhythmic ostinati, cross-rhythms, Interdependence, primary and secondary beat, Sub-Saharan African music, oral tradition, vocal focus, polyrhythm, heterophonic texture, talking drum, african design, paying djembe (bass, slap, tone technique). Chords, strumming patterns, fret.
Practical homework - Home practice on instruments of instrumental classwork or own instrumental practice and repertoire from the clubs
Revision - Prepare for end of unit assessment using revision sheets via mind maps or posters
Elements of Music - Elements summary poster/mindmap Key knowledge - Melody, harmony, rhythm, tempo, structure, texture, pitch, timbre, dynamics, treble clef, staves, bar, time signature, pitch names (treble clef), note values (semibreve to quaver). Practical homework - Practice A minor and G minor chords on keyboards or own instruments, (including orchestra, choir and band repertoire) and own instruments or band lab. Revision - Prepare for the end of unit test by creating a mindmap of the Elements of Music, treble clef pitch and rhythm (semibreve crotchet, quaver) Extension task - graded papers |
Samba/Bossa Nova and Composition –Coplete Samba Sheets Key knowledge: Dotted rhythms, off-beats, polyrhythms, Samba instruments (agogo, timbal etc.), percussion, rhythmic ostinato, melody, major v pentatonic scale, stepwise (conjunct), leap and stepwise (disjunct), repetition, variation, contrast , theme, motive, phrase, tonic, dotted rhythms, semi-quavers, Bossa “clave”, bass lines, quaver and crotchet rests, read a rhythmic score, Music of Brazil/Carnival, play various drums and percussion with syncopated and dotted rhythms. Practical homework - practice Magalenha and own pieces on own instruments, (including orchestra, choir and band repertoire) and own instruments or band lab. Revision - Prepare for the end of unit test and practical assessment on own melody writing |
KEY STAGE 3 Homework Map
MUSIC Curriculum Map
Our KS3 curriculum map details the learning journey from year 7 to year 9 with a focus on performing, composing and listening/appraising through playing and singing (solo, in small groups and through whole class performances) and segues into the KS4 Eduqas Program of Study. It is a progressive plan that builds key knowledge, concepts and skills delivered through a range of case studies which are carefully chosen to enhance progress, enjoyment and engagement of the subject. With consideration for the varying musical skills and experiences of our students, our map seeks to challenge and support every student to develop their full potential.
The pathway is structured to ensure that students are prepared for further study at KS4 and beyond and to give them a meaningful appreciation for music in the wider world. Opportunities for students to immerse themselves in music are fully embedded in the classroom, extra-curricular and community musical events. For each project, delivered through a case study, the knowledge, skills and concepts are divided into 6 areas:
1) Key terms and vocabulary
2) Theory and notation
3) Context and history
4) Motor – instrumental and vocal techniques
5) Application – listening, appraising, performing and composing
6) Wider skills – teamwork, leadership, collaboration, social skills, independence
Students are guided to reflect on their work through a range of assessment methods which includes regular recordings of their work.
Music – Intent, Implementation and Impact
Intent: We have a clear intent in our curriculum and our program of study is coherently planned and follows a clear sequence. For example, to follow one strand: Sub Saharan African music is introduced at the end of Year 7 (understanding of the context and culture and oral tradition is introduced alongside rhythmic notation, melodic and rhythmic ostinati, call and response, poly rhythms etc). This leads on to learning about the link between African music and The Blues and Samba in Year 8 and Caribbean Music and the Development of Reggae in Year 9 (understanding the cultural context and how the development of these genres were influenced by the slave trade and the impact it had on the developments of the different genres in a range of countries, including the USA, Jamaica, Brazil, Spain and how these fed back into UK culture). We look at specific musical devices and link these across genres, for example motif studied in the Year 7 Western Classical project is extended in The Blues and Samba Year 8 project and explored in depth in the Musical Devices project in Year 9, where students study riffs, ostinato and loops in a wider context. This knowledge and understanding and musical application through the case studies ensure that students are able to use KS3 learning to inform their work at KS4, in analysis and composition of musical fusions and to support authentic compositions and performances of work in these areas. We specifically choose pieces that will enthuse, inspire and offer the greatest learning value.
Implementation: Teachers are both music specialists with a broad and deep musical experience and knowledge, encompassing Western Classical, Ethnomusicology with studies from Musicals to Africa, Jazz and Modern and Contemporary Music. Both are performers with a range of instrumental skills, with specialisms in piano and bassoon. They are able to lead learning and direct extra curricular activities soundly, identify and address misconceptions and differentiate for all levels from beginner, including the range of SEN up to advanced diploma levels students. Teachers approach assessment musically, using a mastery approach for practical work and can manage the complex practical environment and resources competently ensuing that a focus on disciplinary literacy and where appropriate, numeracy is embedded within every day teaching and learning.
Impact: Teachers work to create links across the curriculum where relevant. For example using geography and history to establish context to broaden understanding not only of the music but of how society operates as reflected in the music. This helps students develop a broader understanding of how things in the world fit together which will help to ready them for the wider world. We link often link music making to real life scenarios, using our own wider subject knowledge and understanding. The impact of music is felt both in and out of the classroom. Students build skills and knowledge over time, linking it to the wider world and we challenge students by introducing new topics, new technologies and new styles of music and the society underpinning them. Out of the classrooms roughly 15% of the student body at any one time take up the opportunities to participate in range of performances and enrichment; from singing Faure in 4 parts Chichester Cathedral and attending the Opera at Glyndebourne to performing contemporary and classical numbers at the Power of Music Festival and at our numerous concerts and assemblies at the college. Our curriculum extends beyond the academic and technical and behaviour in music is broadly very good and students engage positively and with independence. We actively try to build resilience and tenacity which students largely demonstrate on the whole. Music is one way for students who are experiencing difficulties with social interaction or mental health to find their way in the College. Well being is an important theme in our Department and we actively engage in conversations to help students build their character and consider development of non musical skills. For example working together as a team, leading others, standing up in front of an audience, conquering nerves, organisational skills, the importance of preparation – all vital life skills. Supporting the local community through charity events and performances, performing for elders in the community are all ways we help young people develop by engaging with the world outside school in a positive way. Working towards preparation for performances and events as well as deadlines for coursework help students to learn to manage their own time and workload, vital when more independence is needed at College, University and in the working world. Many of our students stay in touch and we are always delighted to hear of how many have successfully continued with studies at College and University and from those who visit with success stories of professional musicianship or how music impacted their development into other professional fields. We work closely with other schools in the area, leading on our secondary and primary orchestra days and the Big Sing. We also collaborate regularly i project style work with organisations like Ensemble Reza, West Sussex Music, Glyndebourne and the Rebetiko Carnival.
Disciplinary literacy
A focussed and enhanced approach to teaching subject specific vocabulary and the concepts they represent, that goes beyond basic forms of literacy teaching (Shanahan & Shanahan, 2012).
Dual coding
Combining verbal and visual materials during learning or the idea of using different types of stimuli to help learners encode information in their brains more effectively (Allan Paivio, 1971).
Morphology
Study of words, how they are formed, and their relationship to other words in the same language, developing cross curricular links and broader understanding of related concepts.
Etymology - the origin of a word and the historical development of its meaning.
Combining disciplinary literacy and dual coding to maximise understanding, retention and recall
Using physical stimuli to represent the concepts and meaning (elements of music, “T” for tune for melody, fast click/slow click for tempo, “M” for motif using both the “M” in a hand sign and a representation of tiny..musical..idea, ostinato represented by action for repeated, musical idea (point to head ) then link to melodic ostinato with sign for repeated and “T” preceded or followed by aural or practical examples to embed the concept.
Elements of music pictures (My Hamster Ran To Spain Twice Today Daringly).