Year 9 The Blues

Name: ……………………………………………………

GP target:……………………..

Learning cycle 5

You will learn about:

Blues and jazz

Ensemble performance

Compositional techniques

Some students will also:

Add an accompaniment to their composition

We will also:

Appraise blues, jazz and ragtime pieces

Perform blues

Compose a melody using the blues scale

We are doing this because:

It will improve your knowledge of music (theory, performance and appraising)

You are required to compose 2 pieces of coursework for your GCSE. We are building

your skills and experience in this area.

You are required to do 2 performances for your GCSE: one solo; one ensemble.

Assessed areas:

Performing: one on your own instrument (marked against GCSE criteria) and as an

ensemble.

Composing: blues melody

Appraising: blues and related genres

Theory (continuing with your theory workbook and identifying musical devices in

given music)

What you will need to revise for this module:

Notation, including blues scales

Chord structure of the 12 bar blues

General theory (see workbook)

Musical devices

Prepare for a solo performance in week 5

Careers that these skills support:

Performer

Composer

Editor

Music journalist

Music historian

KEY AREAS TO APPLY TO GCSE APPRAISING TASKS

1. Melody – Who is playing the melody? - Is the melody repetitive (ostinato)? If so, is it always played by the same

instrument(s)? What is the effect (sonority/timbre) if it is passed between instruments?

- Can you identify a melodic leap? Does it move mainly by step or leap? Is there a sequence?

- Is there a motif? - Is the melody mainly legato (smooth) or staccato (detached)?

2. Harmony and tonality – Is the piece major/minor/modal?

- Are the chords primary chords?

- Is there use of extended harmony?

- Is there a repetitive harmonic pattern throughout the piece?

- Is the bass line repetitive?

- Is there a drone or pedal note?

- Does the piece modulate (change keys)?

- What about the cadence points (perfect = sounds finished, imperfect =

sounds unfinished and wants to carry on)?

3. Rhythm and metre – What is the time signature? - Is it a simple (counting in crotchets) or compound (counting in quavers)

metre? - Is there a triplet? - If there a dotted rhythm? - Is there an interesting repetitive rhythmic “motif”? - How would you describe the tempo? Can you describe it in Italian?

Largo/Adagio = slowly. Moderato = moderately. Allegro = quick and lively. Presto = very fast.

4. Dynamics – How does the piece start? - What happens then? - How does the piece end? - Is the dynamic level relating to when the melody is played/a section of

the orchestra/group?

5. Texture – Is it homophonic (clear melody and accompaniment)? - Is it monophonic (single instrument/voice)? - Is it polyphonic (many melody lines all being performed at once and

sounds very busy)?

- Is there any unison (rhythm or melody)? - Does the texture gradually build up/get lighter?

6. Structure – What is the structure of the piece (verse and chorus; theme and variations; 12 bar blues; binary form; ternary form etc.)?

- What can you identify to tell you that this is the correct structure? - Is the structure linked to the melody (e.g. a song has one melody for a

chorus and another for the verses)?

7. Instrumentation and sonority (timbre) – Who is playing? - Why is this instrument/voice suited to what is being performed? - How would you describe the sonority? - Who plays the melody and who plays the accompaniment? - Is the instrument/voice using the middle range of the instrument/voice?

Or is the instrument/voice using an extreme range of notes i.e. very high and very low. N.B. the word for “range” is “tessitura” e.g. The tessitura of the singer is extreme as she sings very high.

8. Mood – How would you describe the mood of the piece? - What musical aspects (from the list above) create this mood?

NEVER MAKE A POINT WITHOUT GIVING A REASON/EVIDENCE!

Space to make your own notes/add key words/helpful reminders

Music Learning Cycle 5 Year 9

Week 1: Music begins in the heart

Lines of enquiry

How did blues music start? KGP success criteria KGP 2 – 3: Be able to play the three chords in a 12 bar blues. Able to play them in the correct order. The parts may be a little beyond your technical control. Sounds mechanical. Have some knowledge of the history of the Blues. KGP 4: Be able to play the extended chords in the correct order. Be able to play the blues scale. It sounds mechanical. You attempt to follow performance instructions. Have some knowledge of the history of the Blues. KGP 5: Be able to play extended chords and play them in the correct order showing understanding of the musical style. Be able to play the blues scale. Understand roman numeral chords and know what numbers relate to the chords. Have knowledge and understanding of the history of the Blues. Date: Work completed today WWW: BBB: Make a note of any advice given by the teacher to you individually today.

Response to the hypothesis ………………………………………………………………………………………………………… ………………………………………………………………………………………………………… ………………………………………………………………………………………………………… What have you learnt today that directed you to this conclusion? ………………………………………………………………………………………………………… …………………………………………………………………………………………………………

Home learning: Research the Blues and make your notes here. You may choose to use GCSE

bitesize website.

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Teacher feedback

Week 2: The Blues is designed to express joy as well as sadness

Line of enquiry

Are the blues only an art form for the expression of words?

KGP success criteria KGP 2 – 3: Be able to play the three chords in a 12 bar blues. Able to play them in the correct order. The parts may be a little beyond your technical control. Sounds mechanical. Improvisation lacks development and contrast. KGP 4: Be able to play the extended chords in the correct order. Be able to play the blues scale. It sounds mechanical. You attempt to follow performance instructions. Improvisation shows little development. KGP 5-6: Be able to play extended chords and play them in the correct order showing understanding of the musical style. Be able to play the blues scale. Understand roman numeral chords and know what numbers relate to the chords. Improvisation relies on repetition. REACH: Use added note chords in improvisation. Date: Work completed today WWW: BBB: Make a note of any advice given by the teacher to you individually today. Response to the hypothesis …………………………………………………………………………………………………………….......... …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… What have you learnt today that directed you to this conclusion? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… Which KGP do you think you achieved today and why? …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………

Home Learning Compose your own lyrics for a Blues song

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Teacher feedback

Week 3: Moody blues: it is impossible for a piece of Blues music to sound jolly. Line of enquiry What do you need to perform as a Blues ensemble? Learning to play 12 bar Blues for fun as an ensemble KGP success criteria. NB These descriptions are taken from the examination syllabus. Choose a part that is appropriate for your ability and instrument. KGP 2-3: Inconsistent tempo. KGP 3-4: tempo is inconsistent in difficult passages. KGP 5-6: Mostly well controlled. REACH: Compose your own line as a new “chorus” (solo).

Date: Work completed today WWW: BBB: Make a note of any advice given by the teacher to you individually today. Response to the hypothesis …………………………………………………………………………………………………………….......... …………………………………………………………………………………………………………………… What have you learnt today that directed you to this conclusion? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… Which KGP do you think you achieved today and why? …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………

Home Learning : Revise the blues for a mid-term listening test.

Week 4: Moody blues: it is impossible for a piece of Blues music to sound jolly. Line of enquiry How can we use a walking bass to perform a more complex piece? Learning to play “In the Mood” KGP success criteria. NB These descriptions are taken from the examination syllabus. Choose a part that is appropriate for your ability and instrument.

KGP 2-3: Inconsistent tempo. KGP 3-4: tempo is inconsistent in difficult passages. KGP 5-6: Mostly well controlled. REACH: Compose your own line as a new “chorus” (solo). Date: Work completed today WWW: BBB: Make a note of any advice given by the teacher to you individually today. Response to the hypothesis …………………………………………………………………………………………………………….......... …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… What have you learnt today that directed you to this conclusion? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… Which KGP do you think you achieved today and why? …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………

Week 5: Composing (performances)

Line of enquiry

Composing assessment – members of the class will play accompanying lines to your melody. KGP success criteria KGP 1-2: Compose and perform a simple melody. Your melody will use mainly notes taken from the chords. The melodic line will lack shape. KGP 2-3: Compose and perform a simple melody. Your melody will use mainly notes taken from the chords and passing notes. The melodic line will lack shape. KGP 3-4: Compose and perform a melody. It will show some sense of shape in places. The phrasing may be awkward at times. KGP 4-5: Compose and perform a melody. Your melody will show a sense of shape and phrasing. You may compose more than one chorus. KGP 6: Compose and perform a melody. Your melody will show a sense of shape and phrasing. It will show an awareness of blues notes and extended harmony. You may compose more than one chorus.

If you finish early, continue to learn your part for “In the Mood”. This will contribute as ensemble performance.

Date: WWW: BBB: ASSESSSMENT CRITERIA GP7-9: They compose music which show a coherent and imaginative development of musical ideas and consistency of style. GP5-6: They compose music which shows the ability to develop musical ideas, use conventions, explore the potential of musical structures and resources. GP3-4: They compose music which shows some ability to organise musical ideas and se appropriate resources. Response to the hypothesis …………………………………………………………………………………………………………….......... …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… What have you learnt today that directed you to this conclusion? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… Which KGP do you think you achieved today and why? ……………………………………………………………………………………………………………………

Teacher comments on performing and composing assessments.

Performance

Composing

Student response

Home Learning

Listen to the following piece of music.

https://www.youtube.com/watch?v=bDI8i_PFhDU Miles Davis All Blues. Comment on how

this is a piece of Blues music. Comment on the appraisal areas from the front of your book.

This work will contribute to your assessment as your extended piece of writing. Good SPaG is

expected.

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Week 6: Assessment week

Composition assessments (Monday lesson). You will be marked on your ability to compose a blues melody. Neatness when writing music is important and will be marked (treble clef only, tab will not be marked. This is because you are marked on your ability to write treble clef notation in your GCSE examination).

Solo assessments. This must be a complete piece. Riffs/part of a piece will receive ZERO marks (in line with the examination mark scheme).

Appraising (listening) and theory assessment (Thursday lesson)

Week 7 GAP WEEK

Tasks may include:

Completing the ensemble performance

Responding to feedback on the composition assessment

Researching blues, jazz and ragtime composers such as Joplin.

Revision of theory concepts and completing tasks that are individual to your own needs.

Listening to a piece and appraising the music as a class.

Week 7/8 GAP WEEK

Performing “All that Jazz”

Performing a piece that is related to jazz e.g. Uptown Funk