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