The KING’S Medium Term Plan - Music

Y10 LC3 Programme – out-going GCSE

Module

Area of Study 1

Analysing three additional set works. Learners will be required to focus their skills on a more formal style of

notated music and adapt to following much larger scores. Learners will learn about the characteristics of Western

Classical Music and study the stylistic features of the Baroque, Classical and Romantic periods. Learners will use

this knowledge and apply their knowledge of Western Classical structures to composition.

AoS1 set works

Handel: And the Glory of the Lord

Mozart: 1st movement (sonata) from Symphony No.40 in Gminor

Chopin: Raindrop Prelude

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

Movement Diatonic

Dissonance Terraced Dynamics

Oratorio

Harpsichord Falsetto

System

Alto Clef Tenor Clef

Continuo

Motif Sequence

Phrase

Texture Homophonic

Monophonic

Polyphonic Contrapuntal

Perfect Cadence

Imperfect Cadence Plagal (amen) Cadence

Hemiola

Imitation

Modulation

Rallentando

Ritenuto

Ritornello Ternary

Binary Through composed

General Pause

Recitative Aria

Hemiola

Pedal Symphony

Transpose

Natural horn Legato

Staccato

Crescendo Diminuendo

Trill

Sonata Exposition

Development

Recapitulation Coda/Codetta

Transition

Bridge

Anacrusis

Chromatic

Periodic Phrasing

Circle of 5ths Diminished 7th

Syncopation Countermelody

Imitation

Dominant 7th Dominant preparation

Augmentation

Diminution Sotto Voce

Smozando

Slentando Septuplet

Cantabile

Rubato Enharmonic

Broken chords

Tonic minor Virtuoso

Soft pedal

Una corda Arpeggio

Acciacatura

Pivot note

Overarching

Challenge

question

‘What are the features associated with Western Classical Music?

Lines of

Enquiry

Week 1: What is an oratorio and why is understanding a key signature important?

Week 2: What are hemiola, sequence, imitation, contrapuntal textures and general pauses?

Week 3: How do we identify cadence points?

Week 4: How does Handel link the Baroque orchestra and choir and paint the libretto?

Week 5: The progression of the Western Classical Music: What are the examiners looking for?

Week 6: Assessment

Week 7: GAP

Exam board

links:

Topic

Progress

Statement

LC3 AND LC4: 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, 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.

Exam board

links:

Topic

Progress

Statement

LC3: AOS1

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

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.

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 Enquiry: What is an oratorio and why is understanding a key signature important?

(AoS 1)

Handel: And the Glory of the Lord

Hour 1 & 2:

Introduction to area of study one. Learners will listen to the 3 set works for this AoS aurally first without the score, and then by following it.

History of the Baroque period. Setting understanding regarding context.

Studying the evolution of music and the Church/Christian religion.

Vocal preferences in the Baroque period – countertenors/castrati

Exploring and analysing the Messiah

Music theory: Revision of notation on treble, bass, alto and tenor clefs. Introduction to SATB score and reading pitches at the correct octave.

Hour 3:

Continuing with their composition coursework

Home Learning:

Research Handel and the Messiah. Produce evidence of your research.

Hypothesis:

The oratorio was pioneered as a money-making idea, rather than being an inspired piece of music.

Success Criteria:

Week 2

3 hours of

lessons plus 1

hour of home

learning each

week

KGP3: Learners understand the oratorio function and relationship to Biblical stories. Learners can identify clear motifs and explain descriptively how they differ.

KGP4: In addition to GP3, Learners will understand the circle of fifths up to 5 sharps

KGP5: In addition to GP3 & 4, Learners will identify the four motifs and analyse them using musical vocabulary.

KGP6: In addition to GP3, 4 & 5, Learners will show awareness of word painting.

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

Week 2

(AoS 1)

Handel: And the Glory of the Lord

Line of enquiry: What are hemiola, sequence, imitation, contrapuntal textures and general pauses?

Hour 1 & 2

Listen to the set work, placing it in context.

Students perform as much of the piece as is feasible with the available resources.

Class listens to the set work, focusing on various musical elements and answering questions on these

(including identifying the forces used, texture, dynamics, etc).

Learning about hemiola, sequence, imitation, contrapuntal and general pauses.

To understand the position and role of the set work in the overall oratorio.

To develop an understanding of the use of Baroque conventions within the set work. Hour 3 Composition coursework

Week 3

3 hours of

lessons plus 1

hour of home

learning each

week

Home learning Draw out motif 1 and 2 and annotate the analysis points for each motif. Hypothesis A time signature is meaningless Success criteria

KGP3: Learners can aurally identify changes in texture and describe them.

KGP4: In addition to GP3, learners will identify how the changes in texture are made.

KGP5: In addition to GP3 & 4, learners will be able to identify hemiola and reason how and why this has happened.

KGP6: In addition to GP3, 4 & 5, learners will identify melodic devices in the motifs.

Week 3

(AoS 1)

Handel: And the Glory of the Lord

Line of enquiry: How do we identify cadence points?

Hour 1 & 2

Continuing the analysis of the 4 motifs

Analysis of the doubling of parts

Learning how to compose our own motifs featuring the characteristics found in Handel. E.g. scale movement, diatonic harmony, periodic phrasing, arpeggios, word painting etc.

Hour 3

Composition coursework

Week 4

3 hours of

lessons plus 1

hour of home

learning each

week

Home Learning

Complete the analysis sheet of the 4 motifs

Hypothesis

Cadences are the product of careful planning.

Success criteria

KGP3: Learners can aurally identify perfect cadences.

KGP4: In addition to GP3, learners will make links to the tonic, dominant and subdominant chords.

KGP5: In addition to GP3 & 4, learners will be able to identify Roman numerals.

KGP6: In addition to GP3, 4 & 5, learners will identify Plagal cadences

REACH: Learners will be comfortable identifying perfect, imperfect, plagal and interrupted cadences and make further links as to why the cadence has been used.

Week 4

(AoS 1)

Handel: And the Glory of the Lord

Line of enquiry: How does Handel link the Baroque orchestra and choir and paint the libretto?

Hour 1&2

Continuing with analysis of And the Glory of the Lord and reflection on word painting and use of orchestra. Hour 3 Composition coursework Home Learning Complete an analysis essay on “And the Glory of the Lord” using the applicable topic headings.

Week 5

3 hours of

lessons plus 1

hour of home

learning each

week

Success criteria

KGP3: Learners can recognise some key features, but there are significant omissions.

KGP4: In addition to GP3, learners will make links to modulation.

KGP5: In addition to GP3 & 4, learners will identify key features and analyse the relationships between devices.

KGP6: In addition to GP3, 4 & 5, learners will analyse the word painting

REACH: Learners will make further in-depth links to the compositional reasons behind oratorios and why the Messiah was so successful. There will be no significant omissions in their analysis.

Hypothesis

The world of music is all about making money.

Week 5

(AoS 1)

Handel: And the Glory of the Lord

Line of enquiry: The progression of the Western Classical Music: What are the examiners looking for?

Completing the analysis of the set work

How to write an extended answer for this set work – learners will require their home work set in the previous week in order to collectively create a model answer.

Marking example essays (top, middle, low examples) – becoming familiar with the mark scheme.

Answering aural questions on the set work Hour 3 Composition coursework

Week 6

Week 7

Home Learning Revision Hypothesis You must enjoy Western Classical Music in order to do well in the examination. Success criteria

KGP3: Learners can recognise some key features, but there are significant omissions.

KGP4: In addition to GP3, learners will make links to modulation.

KGP5: In addition to GP3 & 4, learners will identify key features and analyse the relationships between devices.

KGP6: In addition to GP3, 4 & 5, learners will analyse the word painting

REACH: Learners will make further in-depth links to the compositional reasons behind oratorios and why the Messiah was so successful. There will be no significant omissions in their analysis.

Week 6: Assessment week Questions on the set work, plus a solo performance and submission of their composition coursework.

Week 7

Gap teaching plus continuation of AoS1

(AoS 1) Handel

Gap teaching of the set work. Feedback of solo performances. Assessed ensemble performance.

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

Handel What are the 4 voices? What type of cadence does it finish with? What is the key of the piece? Name 2 textures used Name a rhythmic feature used Name a melodic feature used Which period of musical history was the piece composed in? What year was this piece written in? What is the tempo of this piece? Give 2 musical features that make it joyful What is a pedal and where is one used? Give four features about Baroque music Name three other baroque composers What instruments does Handel use? What does Adagio mean? What is a basso continuo and what instruments play it? Which two features in the last bars make it sound finished? Motif 1 “And the Glory of the Lord”

Motif 2 “Shall be revealed”

Motif 3 “and all flesh shall see it together”

Motif 4 “for the mouth of the Lord hath spoken it”

_

Mozart What key is the piece in? What is the Italian tempo marking and what does it mean? Name two instruments not used in the orchestra? What structure does the piece use? How many subjects are used in the exposition? Give two ways the recapitulation is different to the exposition? What does the symbol sf mean? What is a coda?

What texture is the final few bars of the coda? When was this written? What is a sequence? From which period is this music? Give four features from that period? What is the key of the first subject? What is the key of the second subject?

They must be able to notate the following as dictations: Subject 1

Subject 2

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