2016 Annual Teacher Plan Pace Setter (1)

7/25/2019 2016 Annual Teacher Plan Pace Setter (1)

1/16

NORTH WEST MUSICANNUAL TEACHER PLAN / PACE SETTER

2016MUSIC: GRADE 10, TERM 1

Topic Description Date Completed Remarks

P e

r f o r m a n c e

& I m p r o v i s a

t i o n

Technical work

Solo work

Ensemble work

Improvisation

Sight-reading and sight-singing

! s

i c " i t e r a c #

Time signatures : 4/4, 3/4, 2/4

Note values : semibreve, minim, crotchet, quaver, semiquaver

Clefs and note names : treble and bass clefs, names in spaces, names onlines, singing solfegeSharps, flats, key signatures : whole and semi-tones, purpose of accidentals,key signaturesScales : construction of a ma or scale, tetrachords, !, " and # ma or, technicalnames: tonic, dominant, subdominantIntervals: writing and recognition of perfect and ma or intervals in !, " and #ma orComposition techniques : rhythmic motive, rhythmic sequence

Terminology : revisit definitions of music words such as accidentals, clefs,terms of note values, treble, bass, sharps, flats, scales, ma or, minor, intervals,key, key signature, tonic, dominant, subdominant

$

e n e r a

l m ! s

i c k n o w

l e d g e

a n

d a n a

l # s

i s

Introduction to music :$ definition of music$ elements of music: timbre, duration, pitch, volume, structure, te%ture,

mood and atmosphere$ the role of music in various societies$ musical style & listen to a wide variety of styles of music including folk,

military, rock, a'', (estern art music, )ndian music, *frican music+Classification of music instruments and sound production :chordophones, aerophones, membranophones, idiophones, electrophones,instruments of the orchestra, strings, woodwinds, brass, percussion, humanvoiceForm: techniques to create form: repetition, contrast, variation$ forms: * , * *, ** *$ basic forms of *frican music: solos, call and refrain, call and chorused

refrain, mi%ed structural form, overlapping, call and response

* . s

PAT 3: elodic or rh#thmic impro i!"#io$: Improvisation % &'()Improvisation ' &'() * + (,

PAT %: Written assignment : (1000 - 1500 words)Study of own performance instrument, build, sound


2/16

production, history = [50




P e r f o r m a n c e

& I m p r o v

i s a

t i o n

& e . a m Technical work

Solo work

Ensemble work

Improvisation


Technolog# of the instr!ment

! s

i c " i t e r a c #

Time: .ime signatures 2/4, 3/4, 4/4, rhythmic patterns, read, write and analyserhythms in note values from semibreve to semiquaver, grouping of rhythmic patterns, restsClefs and note names : treble and bass clefs, note names on above andbelow the stave using one ledger lineScales key signatures : !, ", , # and b ma or scales, natural minor

scales relative to these ma or scales, technical names of all scale degreesIntervals: writing and identification of intervals 0perfect, ma or1 in !, ", , #and b ma or, identification of minor intervals in natural minor scales!elodic construction : four-bar melodies in known scales on a given simplerhythmTranscription : from treble to bass and vice versaComposition techniques : melodic sequence, continuation of rhythmicsequenceTerminology : ynamics: fortissimo 0ff1, forte 0f1, me''o forte 0mf1, me''opiano 0mp1, piano 0p1, pianissimo 0pp1, crescendo 0cresc+1, decrescendo0decresc+1, diminuendo 0dim+1, fortepiano 0fp1.empo: allegro, allegretto, andante, moderato, ritardando 0rit1, adagio,andantino, presto, rallentando, 0rall+1, a tempo, allargando, langsam, larghetto,largo, lento, mosso, tempo primo*rticulation: legato, staccato, 0stacc+1, accent, me''o staccato, portato, tenutoI$#ro&'(#io$ #o /0 1frikaans m!sic0 2oerem!siek0 oppies and $oema0 Indian m!sic0 Rock and pop/ 3imi 4endri.5 Elvis Presle# and The 2eatlesI$#ro&'(#io$ #o:6estern art m!sic/historical timeline5 st#le periods

'


3/16

$ e n e r a

l m ! s

i c k n o

w -

l e d g e a n

d a n a

l # s

i s

*.s PAT 2: usic iteracy *ssignment: core analysis 0251, .heory test 0351 67859

E.am P"p)r 1 *120+, P"p)r 2 *30+ -1%0.





& I m p r o v i s a

t i o n

Technical work

Solo work

Ensemble work

Improvisation


! s i c

" i t e r a c #

Time: 2/4,3/4,4/4 and /;, simple and compound time, correct grouping+ , d, g and c

7


4/16

harmonic minorsTranscription from treble to bass and vice versa

"armony : .riads: ma or, minor, augmented+(rite and recognise primary chords 0), )? and ?1 in root position

!elodic construction : four -bar melodies in known scales on a given rhythmComposition techniques : melodic and rhythmic motives, melodic andrhythmic sequences, pedal point, find e%amples in e%isting music

Terminology : !haracter: cantabile, semplice, alla Marcia, espressivo,frhlich, grazioso, leggiero, lustig, ruhig, scherzando, tempo di minuetto@ther:con, ma non troppo, meno, mezzo, molto, senza, da capo (D.C.), fine,dal segno (D.S.), anacrusis, fermata, da capo al segno, da capo al fine, opus(op.), acciaccatura, appoggiatura,turn, mordent, trill, shake

" e n e r a

l m u s i c

k n o w -

l e d g e

A a n a

l y s i s

Baroque : !e"nition, leadin# composers, well-$nown wor$s,#enres, prominent formsWorks : %io#raphy of composer, use of $ey, te&tures,ornamentation, dynamics, harpsichord, basso continuo, the%aro'ue orchestra, purpose

*i+aldi - Four Seasons focusin# on the Primaveraandel: The Messiah focusin# on: For Unto Us a Child is Born

and Hallelujah ChorusClassical style : !e"nition, leadin# composers, well-$nowncompositions, compare characteristics of %aro'ue andclassical styles

* . s PAT 1: !oncert performance of one piece 0451, (ritten programme notes

0B51 6 7859

PAT : Elementar# (ompo!i#io$ or "rr"$ )m)$# * +(,


2016MUSIC: GRADE 10, TERM


e r f o r m a n c e

A

) m p r o v i s a t i o n

PRACTICAL E AMINATION.echnique: cales, arpeggios, e%ercises 20Piece % 8 soloPiece ' 8 soloPiece 7 8 solo

Piece 9 8 ensemble

2%2%2%

2%ight-reading 0unaccompanied1 1%

*ural .ests: sight-singing, clap a rhythm, sing triads 1%TOTAL 1%0

! s

i c " i t e r a c #

Notes and rhythm : Cote names of . / clefs, accidentals, twoled#er linesSemibre+e to semi'ua+er 23, 423, 323 and 26 #roupedcorrectly . rests

Scales key signatures :Scales 7, , !, 8, /, % b . 9 b ma a, e, b, f ; , d, # and c harm .mel min

9


5/16

art: (chamber music)Eine Kleine Nachtmusik

7omposer bio#raphy, form, $ey,te&tures: homophony .polyphony, dynamics, purpose .conte&t

%eetho+en: (Sonata)Pathti ue Sonata

7omposer bio#raphy, form, $ey,te&tures: homophony .polyphony, dynamics, purpose .conte&t

E.am P"p)r 1 *120+, P"p)r 2 *30+ -1%0.


2016MUSIC: GRADE 11, TERM 1Topic Description Date Completed Remarks


& I m p r o v

i s a

t i o n

Technical work

Solo work

Ensemble work

Improvisation


(


6/16

! s i c

" i t e r a c #

%itch &hythm *ll note names on the " and # clefs including ledger lines, all notevalues and rests, grouped correctly+ .ime signatures: simple and compound duple,triple, quadruple time, dotted rhythms, anacrusis, triplets in simple timeScales and keys cales: ma or, relative harmonic, melodic and natural 0*eolian1minors up to five sharps and flats, pentatonic scales up to four sharps and flats, wholetone, chromatic, the lues scale, orian, i%olydian and *eolian modes+ )dentificationof scales in e%isting music+ Dey signatures: up to five sharps and flats, )dentifying keyof e%isting musicIntervals and chords *ll perfect, ma or, minor, diminished and augmented intervals

within the octave of keys studied+ (rite A identify intervals and chords in musice%amplesTriads *ll triads in known keysE 7) )? ?, ii, iii, vi, viio9 7i, iv, ? ,)))F, iio, ?), viio9 rootposition A Bst inversion on B and 2 staves+ !reate four part chords by doubling theappropriate notes in root positions and first inversions"armony (rite perfect and imperfect cadences in four parts,)dentify cadences in e%isting music e+g+ e%cerpts of choralesTransposition and transcription@ctave for piccolo and double bassE b flat trumpet and clarinet in known keysCompositional techniques elodic and rhythmic motives and sequences, imitation,find e%amples of pedal points in e%isting musicClefs: treble, bass, alto and tenor

!elody 'riting: !reate an ;-bar melody using a given chord progression 0e+g+ )- )?-?- )E i-iv-?-iE i-iv-vi1 0*eolian mode1+

Terminology :


7/16

P e r f o r m

a n c e

& I m p r o v i s a

t i o n

Technical work

Solo work

Ensemble work

Improvisation


! s i c

" i t e r a c #

%itch &hythm*ll note names on the " A # clefs, adding the alto clef, includingledger lines, all note values and rests, grouped correctly+ .ime signatures: simple andcompound duple, triple, quadruple time, dotted rhythms, anacrusis, triplets in all timesignatures, adding syncopation A ties irregular time signatures: 8/4 and J/4Scales and keys cales: all ma or, relative harmonic, melodic and natural 0*eolian1minors, pentatonic scales, whole tone, chromatic, the lues scale, orian, i%olydianand *eolian modes, including modes of a harmonic minor scale+ )dentify of scales Akeys in e%isting music+ (rite scales within bar lines on a given rhythm*ll key signaturesIntervals and chords (rite A identify all perfect, ma or, minor, diminished andaugmented intervals+ (rite A identify intervals and chords in music e%amples

Triads *ll triads 7) )? ?, ii, iii, vi, viio

9 7i, iv, ? ,)))F, iio

, ?), viio

9 root position A Bst

inversionon B and 2 staves+ !reate four part chords by doubling the appropriate notes in rootpositions and first inversions"armony (rite perfect and imperfect cadences in four parts, aural identification ofcadences+ )dentify cadences in e%isting music e+g+ e%cerpts of choralesTransposition and transcription @ctave for piccolo and double bassE b flat trumpetand clarinet in known keysE clarinet in *Compositional techniques elodic and rhythmic motives and sequences, imitation,pedal points, adding augmentation A diminution!elody 'riting: !reate an ;-bar melody using a given chord progression 0e+g+ )- )?- ?-)E i-iv-?-iE i-iv-vi1 0*eolian mode1+ *dd a simple base line to the melody+Terminology :


8/16




& I m p r o v i s

a t i o n

Technical work

Solo workEnsemble work

Improvisation


! s

i c " i t e r a c #

%itch &hythm*ll note names on the " A # clefs, adding the alto clef, includingledger lines, all note values and rests, grouped correctly+ .ime signatures: simple andcompound duple, triple, quadruple time, dotted rhythms, anacrusis, syncopation, ties*dding duplets, triplets A quintuplets in all time signatures+)rregular time signatures:

8/4 and J/4Scales and keys cales on all degrees: ma or, relative harmonic, melodic and natural0*eolian1 minors, pentatonic scales, whole tone, chromatic, the lues scale, orian,

i%olydian and *eolian modes, including modes of a harmonic minor scale+ )dentify ofscales A keys in e%isting music+ (rite scales within bar lines on a given rhythm+*ll key signaturesIntervals and chords (rite A identify all perfect, ma or, minor, diminished andaugmented intervals+ (rite A identify intervals and chords in music e%amplesTriads *ll triads 7) )? ?, ii, iii, vi, viio9 7i, iv, ? ,)))F, iio, ?), viio9 root position A Bst inversionon B and 2 staves+ !reate four part chords by doubling the appropriate notes in rootpositions and first inversions"armony (rite perfect and imperfect cadences in four parts, aural identification ofcadences+ )dentify cadences in e%isting music e+g+ e%cerpts of choralesTransposition and transcription @ctave for piccolo and double bassE b trumpet andclarinetE clarinet in *E =b sa%ophoneCompositional techniques elodic and rhythmic motives and sequences, imitation,augmentation A diminution, adding inversion!elody 'riting: !reate an ;-bar melody using a given chord progression 0e+g+ )- )?-?- )E i-iv-?-iE i-iv-vi1 0*eolian mode1+ *dd a simple base line to the melody+ *dd thefollowing: approach notes, steps, skips and directionTerminology :*dd: presto, primo, quasi, risoluto, secco, sempre, sen'a, serioso, sfor'ando, simile+

" e n e r a

l m u s i c

k n o w

l e d g e a n

d a n a

l y s i s The T'entieth Century escribe the style regarding rhythm and metre, pitch and

melody, dynamics, te%ture A instruments&epresentative composers and 'orks: isten to the music and use scores+Claude e-ussy : 'oilesStravinsky : $ite of Spring.eorge .ersh'in : $hapsod in lueSouth (frican composers of art music: 0 elect two composers1

asic facts: e+g+ tyle characteristics, biographies, *frican features, musical elements+'ilika'i Dhumalo, eter ouis van i k, G Dho'a, yata'a, *rnold van (yk, eter

Dlat'ow, oerane, Iubert du lessis, ohapeloa

* . s PAT 1: !oncert performance of one piece 0451, (ritten programme notes 0B51 6 7859

PAT : Composition or arrangement : Iand written or typed score 0851


9/16




e r f o r m a n c e

A

) m p r o v

i s a t i o n PRACTICAL E AMINATION

.echnique: cales, arpeggios, e%ercises 20Piece % 8 soloPiece ' 8 soloPiece 7 8 soloPiece 9 8 ensemble

2%2%2%2%

ight-reading 0unaccompanied1 1%*ural .ests: sight-singing, clap a rhythm, sing triads 1%TOTAL 1%0

! s

i c " i t e r a c #

%itch &hythm *ll note names on the " A # A alto clefs, including ledger lines, allnote values and rests, grouped correctly+ .ime signatures: simple and compound duple,triple, quadruple time, dotted rhythms, anacrusis, syncopation, ties, duplets, triplets Aquintuplets in all time signatures+ *dding all irregular time signaturesScales and keys *ll scales, keys A modes, all key signatures

Intervals and chords *ll previous knowledge, including compound intervals, chords inmodes A various symbols of identification"armony Iarmonise a simple 0folk1 melody in four parts+ Hse mainly ), )?, ?+

o harmonic analysis+ )dentify chords used in e%isting music, e+g+ 0ma or, minor, blues1+Transposition and transcription @ctave for piccolo and double bassE b trumpet and

b clarinetE clarinet in *E =b sa%ophone, adding hornCompositional techniques )dentify known composition techniques in e%isting music+!reate a melody, using known compositional techniques, including variation+ Hseknown compositional techniques to create own melody+

!elody 'riting: (rite a melody using own chord structure in any known key and clef+*dd a base line to the melody+Terminology :


10/16

NORTH WEST MUSIC

ANNUAL TEACHER PLAN / PACE SETTER2016

MUSIC: GRADE 12, TERM 1


P e r f o r m a n c e &

I m p r o v i s a

t i o n

Technical work

Solo work

Ensemble work

Improvisation


! s

i c " i t e r a c #

Scales keys(rite A identify all ma or, all minor, whole tone, chromatic, lues, pentatonic, all keysignatures, all modes of ma or and minor scales"armonisation*dd alto, tenor and bass line to a given melody using primary A secondary chords inroot position and first inversion(nalysis of music scores)ntervals, key signatures, rhythm and metre, the use of scales and modes, cadences,

chord progressionsCreating a melody for voice or instrument* minimum of B2 bars long, giving a structure, using motives and sequences, adding asimple bass line or chords to accompany the melodyTransposition.ranspose melodies for all transposing instruments 0piccolo, double bass, clarinet,horn, alto sa%ophone, trumpet1+Compositional techniques)dentify motives, imitation, diminution, augmentation, variation, development of themes,dynamic levels, melodic repetition and rhythmic repetition in e%isting musicTerminology


11/16

* . s

PAT 3: )mprovisation: erformance 0451, (ritten e%planation ofstyle/techniques used 0B51 6 85

PAT %: (ritten assignment: B,555 & B,855 words K Che de+elopment of the SonataE for own instrument or FChe de+elopment of theBratorioE for sin#ers or Che de+elopment of opera (see G8C

013 for rubric) 6 85

%%


12/16





& I m p r o v i s a

t i o n

Technical work

Solo work

Ensemble work

Improvisation


! s i c

" i t e r a c #

"armonisation*dding alto, tenor and bass to a melody using primary and secondary chords in rootposition and first inversion, passing /4 chords, cadential /4 chords, passing notes,au%iliary notes*dding four-part harmony to the soprano melody of a song, utilising the te%t in a user-friendly wayCreating a melody for voice or instrument* minimum of B2 bars long, giving a structure, using motives and sequences,$ *dd a simple bass line or chords to accompany the melody+$ Hse marks of articulation suitable for the instrument/voice+(nalysis of music scores in a variety of styles, identifying and descri-ing:*ll intervals, key signatures, rhythm and metre, the use of scales and modes,cadences, chord progressions, question and answer, passing notes, au%iliary notesTransposition.ranspose melodies for all transposing instruments 0piccolo, double bass, clarinet,horn, sa%ophone, trumpet1Compositional techniques$ rhythm and pulse as a composition technique$ harmonic progression as a composition technique$ development of themes as a composition technique$ dynamic levels, timbre, instrumentation and orchestration as compositionaltechniques$ melodic and rhythmic repetition as compositional techniquesTerminology


13/16

E.am P"p)r 1 *120+, P"p)r 2 *30+ -1%0.





&

I m p r o v i s a

t i o n

.echnique: cales, arpeggios, e%ercises20

Piece % 8 soloPiece ' 8 soloPiece 7 8 soloPiece 9 8 ensemble

2%2%2%2%

ight-reading 0unaccompanied1 1%*ural .ests: sight-singing, clap a rhythm,sing triads

1%

TOTAL 1%0

! s

i c

" i t e r a c #

(nalysis of music scores in a variety of styles, identifying and descri-ingall intervals, key signatures, rhythm and metre, the use of scales and modes, cadences,chord progressions, repetition, question and answer, sequences, passing notes, au%iliarynotes, suspension, anticipation"armonisation*dding alto, tenor and bass to a melody, using:$ primary and secondary chords in root positions, and first and second inversions

$ dominant seventh in root position$ non-harmonic notes: passing notes, au%iliary notes, suspensions, anticipationsCreate a melody for voice or instrument$ minimum of B2 bars long$ giving a structure$ using motives and sequences$ adding a simple bass line or chords to accompany the melodyCompositional techniques$ #inal revision of all known compositional techniquesTerminology$ #inal revision of all known music terms

! s

i c

> n o w

l e d g e

South (frican music industry music industry value chain from the origin of a musical idea to the publishing and

performing of the work

recording companies in outh *frica music rights copyright how to register a new composition

* . s

PAT 1: !oncert performance: one performance-ready piece 0451, (rittenprogramme notes 0B51 6 85

PAT : !omposition or *rrangement::Iand-written or printed score 0851

%7

?inalpreparation forPR1CTIC1"E@1 IA1TIBAS


14/16

P r e p e . a m P"p)r 1 *120+, P"p)r 2 *30+ -1%0.




Practicale.ternale.amination

PRACTICAL E AMINATION.echnique: cales, arpeggios, e%ercises 20Piece % 8 soloPiece ' 8 soloPiece 7 8 soloPiece 9 8 ensemble

2%2%2%2%

ight-reading 0unaccompanied1 1%*ural .ests: sight-singing, clap a rhythm, sing triads 1%TOTAL 1%0

E.ternalwrittene.ternal

e.aminations

!sic Paper %/ !sic "iterac# and !sic >nowledge &%',)!sic Paper '/ !sic Comprehension with so!nd track &7,)

%9


15/16



Topic Description DateCompleted

Remarks


& I m p r o v i s a

t i o n

Technical work Each p!pil s own practical teacher has

Solo work his her own lesson report file wheredates are recordedEnsemble work

Improvisation


! s

i c " i t e r a c #

Time signatures : 4/4, 3/4, 2/4

Note values : semibreve, minim, crotchet, quaver, semiquaver

Clefs and note names : treble and bass clefs, names in spaces, names onlines, singing solfegeSharps, flats, key signatures : whole and semi-tones, purpose of accidentals,key signaturesScales : construction of a ma or scale, tetrachords, !, " and # ma or, technicalnames: tonic, dominant, subdominantIntervals: writing and recognition of perfect and ma or intervals in !, " and #ma orComposition techniques : rhythmic motive, rhythmic sequence

Terminology : revisit definitions of music words such as accidentals, clefs,terms of note values, treble, bass, sharps, flats, scales, ma or, minor, intervals,key, key signature, tonic, dominant, subdominantIntroduction to music :$ definition of music$ elements of music: timbre, duration, pitch, volume, structure, te%ture,

mood and atmosphere$ the role of music in various societies$ musical style & listen to a wide variety of styles of music including folk,

military, rock, a'', (estern art music, )ndian music, *frican music+Classification of music instruments and sound production :chordophones, aerophones, membranophones, idiophones, electrophones,instruments of the orchestra, strings, woodwinds, brass, percussion, human

%(


16/16

$ e n e r a

l m ! s

i c k n o w

l e d g e

a n

d a n a

l # s

i s

voiceForm: techniques to create form: repetition, contrast, variation$ forms: * , * *, ** *$ basic forms of *frican music: solos, call and refrain, call and chorused

refrain, mi%ed structural form, overlapping, call and response

* . s

PAT 3: elodic or rh#thmic impro i!"#io$: Improvisation % &'()Improvisation ' &'() * + (,

PAT %: Written assignment : (1000 - 1500 words)Study of own performance instrument, build, soundproduction, history = [50

%:

2016 Annual Teacher Plan Pace Setter (1)

Documents

Transcript of 2016 Annual Teacher Plan Pace Setter (1)