The KING’S Medium Term Plan - Music

Y10 LC5 Programme

Module

Area of Study 1

AoS1 set works

Chopin: Raindrop Prelude

Area of Study 2

AoS2 set works

Bernstein: Something’s Coming

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.

Key

vocabulary

(for Chopin,

see

previous

LC)

Second Viennese School Atonal

Expressionism Hauptstimme

Nebenstimme

Divisi Pizzicato

Arco

Bell up Sextuplet

Tutti

Tremolo Hexachord

Interval

Semitone Motif

Dissonance

Rondo Diminution

Contrary Motion

Glissando

Imitation Counterpoint

Inversion Augmented chord

Whole tone scale

Octave displacement Canon

Retrograde

Inversion Prime

Tritone

Ad lib Marcato

Subito

Sempre Tenor

Syllabic

Syncopation Riff

Bridge

Tonal

Metre Cross rhythm

Harmonics Blue note

Neapolitan

Postmodernism Minimalism

Register

Ostinato Hexatonic

Note Addition

Metrical displacement Resultant Melody

Cells

Phasing Note subtraction

Loop

Modal Tonal ambiguity

Overarching

Challenge

question

‘How did music evolve in the 20th Century?

Lines of

Enquiry

Week 1: What are Romantic features?

Week 2: Why does Chopin’s prelude get the nickname “raindrop prelude”?

Week 3: Why are modulations important to structure? Why did musical theatre make such an impact in the 20th century?

Week 4: How is Romeo and Juliet told through music and set in a modern context?

Week 5: How can music be evil?

Week 6: How can we create music through predetermined grids?

Week 7: How can we create an effective opening in minimalist music?

Week 8: How can we develop a minimalist piece?

Week 9: How can we improve the structure of a minimalist piece?

Week 10: How can we make a minimalist piece more interesting?

Exam board

links:

Topic

Progress

Statement

LC4 AND LC5: AOS1/2

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, 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 expressing and justifying opinions and preferences.

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.

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

Week 1

3 hours of

lessons plus 1

hour of home

learning each

week

Lesson 1

Line of enquiry: What are Romantic features?

Lesson Hypothesis: Music is a form of romantic love expression

Hour 1 & 2

(AoS 1)

Chopin: ‘Prelude no. 15 from Op. 28’

Listen to the set work, placing it in context.

Studying the development of the piano and the virtuoso musician in the context of the romantic era.

Learning to recognise the use of romantic conventions within the set work.

Analysing the A section

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

Hour 3 Continuation of composition coursework Home Learning: Research the Romantic period of music. In your research, you must also research Chopin, Schumann and Schubert. List what romantic features are. Your conclusion should also state why the piano was so important to the development of this period.

Week 2

3 hours of

lessons plus 1

hour of home

learning each

week

Success criteria

KGP3: Learners can aurally identify the opening motif and repetitions. Omissions in its description will be significant.

KGP4: In addition to GP3, learners will be able to identify the melodic intervals and relate them to the home key.

KGP5: In addition to GP3 & 4, learners will be able to use musical language to describe the full opening motif.

KGP6: In addition to GP3, 4 & 5, learners will understand the harmonic relationships within the music. Omissions will not be significant.

REACH: Learners will be continuously making links to WCM features to join all analysis features together with greater understanding.

Week 2

Line of enquiry: Why does Chopin’s prelude get the nickname “raindrop prelude”?

Lesson Hypothesis: A symphonic poem/programme music is clear to every listener

Hour 1 & 2

(AoS 1)

Chopin: ‘Prelude no. 15 from Op. 28’

Analysis of the B section

Continuing analysis of the piece

Hour 3

Continuing with composition coursework

Home Learning

Week 3

3 hours of

lessons plus 1

hour of home

learning each

week

Complete a topic heading sheet for Raindrop Prelude. You must bring this to your next lesson for checking and completion.

Success criteria

KGP3: Learners can aurally identify the change to the B section and give basic reasons as to how this is new material. Omissions in its description will be significant.

KGP4: In addition to GP3, learners will be able to identify the melodic intervals and relate them to the home key. They will make some structural observations.

KGP5: In addition to GP3 & 4, learners will be able to use musical language to describe the change in the structure melodically. They will make links to the title of the work.

KGP6: In addition to GP3, 4 & 5, learners will understand the harmonic relationships within the music. Omissions will not be significant. They will be able to describe the modulation pivot point.

REACH: Learners will be continuously making links to WCM features to join all analysis features together with greater understanding. They will be able to justify the programmatic and Romantic elements of the piece.

Week 3

Line of enquiry:

1. Why are modulations important to structure?

2. Why did musical theatre make such an impact in the 20th century?

Lesson Hypothesis: Chopin’s modulation technique goes against Western Classical tradition rules.

Hour 1

Completing analysis of Chopin.

Hour 2

Week 4

AoS2: Music in the 20th century.

Discuss “Musical” culture (West End/Broadway).

Watch an extract of West Side Story – relate to Romeo and Julliet to understand the context of the song as part of a musical — the placement of the song within West Side Story as a whole and the meaning of the lyrics in the context of the plot including understanding the character of Tony.

Discuss the rhythmic interest in the song and the use of the orchestra to accompany the singer.

Hour 3

Continuing with composition coursework

Home Learning

Prepare for a mid-term listening test on Handel, Mozart and Chopin. Prepare for a mid-term performance assessment.

Success criteria

KGP3: Learners can remember that there are modulations between sections, but may confuse the tonality and key.

KGP4: In addition to GP3, learners will be able to identify the melodic intervals and relate them to the home key of each section.

KGP5: In addition to GP3 & 4, learners will be able to describe the tonality and key of each section and identify the point of modulation.

KGP6: In addition to GP3, 4 & 5, learners will identify the pivot chord and the key of the A and B sections.

REACH: Learners will justify why the modulation is conventional but not traditional in the WCM tradition.

Week 4

3 hours of

lessons plus 1

hour of home

learning each

week

Line of enquiry: How is Romeo and Juliet told through music and set in a modern context?

Lesson Hypothesis: Bernstein created a “modern” sound in West Side Story

Bernstein: ‘Something’s Coming’ (AoS 2).

Hour 1 & 2

Learners will sing “America”, “Maria”, “something’s coming” and “tonight” from West Side Story to reinforce their understanding of the musical and 20th Century music

Study of Leonard Bernstein and Stephen Sondheim.

Begin to analyse the set work by focusing on melody.

Hour 3

Composition coursework/performance/appraising tests

Home Learning

Research musical theatre in America and Britain from 1940-present day. You should produce one paragraph on what has changed, a second paragraph on one early musical, a third paragraph on a more contemporary musical (written in the last 30 years) and a concluding fourth paragraph as to why musicals became and remain popular.

Success criteria

KGP3: Learners can aurally identify awkward intervals, but will struggle to find the harmonic language to describe why they do not sound comfortable.

KGP4: In addition to GP3, learners will be able to describe the differences in the vocal line that define the structure.

KGP5: In addition to GP3 & 4, learners will begin to analyse the changes in time signature, but may not be able to identify what the time signatures are.

KGP6: In addition to GP3, 4 & 5, learners will make independent analysis about the modern musical features in comparison to previous set works.

REACH: Learners will verbalise opinions as to what may be painted in words.

Week 5

3 hours of

lessons plus 1

hour of home

learning each

week

Week 5

Line of enquiry: How can music be evil?

Hypothesis: “Il Diablo in Musica” is an outdated technique

Hour 1 & 2

Bernstein: ‘Something’s Coming’ (AoS 2).

Continue analysing the set work. Studying the harmony (tritones!), metre and rhythm.

Revision of terms associated with musicals and the set work.

Hour 3

Composition coursework – completing current piece.

Home Learning

Complete the harmony worksheet identifying where the presence of tritones where applicable. Revise for the test next week.

Success Criteria

KGP3: Learners can aurally identify awkward intervals, but will struggle independently apply the harmonic language to them.

KGP4: In addition to GP3, learners will be able to describe the intervals in numbers, but may require help in identifying the measurement i.e. major, minor, augmented, diminished, perfect, triton etc.

KGP5: In addition to GP3 & 4, learners will be able to identify a variety of intervals and the “push” rhythms.

Week 6

3 hours of

lessons plus 1

hour of home

learning each

week

KGP6: In addition to GP3, 4 & 5, learners will make independent analysis about the modern musical features in comparison to previous set works. They will be able to identify tritones and justify what the harmonic language is representing.

REACH: Learners will make suggestions as to what the music suggests in the wider story of the musical.

Week 6

Minimalism

Line of Enquiry: How can we create music through predetermined grids?

Lesson Hypothesis: You can create music by numbers

Hour 1 & 2

Learners will be introduced to the new concept of Minimalism and begin minimalist grids (using a framework) that can be used to create a composition in Sibelius.

Hour 3

Appraising assessment encompassing AoS1, AoS3 and Something’s Coming from AoS2.

Home Learning

Research Minimalistic music and art. What is the relationship between art and music in this movement? You should also explore why Minimalism became popular. Research Steve Reich.

Success criteria

Assessments will be marked using the 2015 grade boundaries and grids available from Edexcel.

Week 7

3 hours of

lessons plus 1

hour of home

learning each

week

Week 8

3 hours of

lessons

Week 7

GAP WEEK 1

Line of Enquiry: How can we create an effective opening in minimalist music?

Hypothesis: If you apply the stereotypical features and techniques, you must be doing it right

Hour 1 & 2

Minimalist composition

Hour 3

Going over the test paper

Home Learning

Complete retrospective corrected essays

Week 8

GAP week 2

Line of Enquiry: How can we develop a minimalist piece?

Hour 1 & 2

Continuing Minimalist composition

Hour 3

Ensuring best practice for home learning over the summer period. Ensuring that notes are up to date, folders complete and collaborative essays are all present.

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 1-2-1 lesson each week on their instrument/voice.

Examples of

GCSE

questions

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? 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

Section B – raindrop

Something’s coming What type of voice is used? What style is it from? When was it composed? Who is the composer? Comment on the orchestra in west side story What types of music are in musicals? What is the key of the song Name other musicals and their composers? What does diatonic mean? What is Tony singing about? What is the effect of the pianissimo at the beginning? What key is it in? What is a tritone? Theme A

Theme B

Theme C