Term / Half-term

Main topics / units

Key knowledge & skills

Autumn 1

Building Bricks of Music

Building Bricks from Musical Contexts has been designed as a unit of work which can be used during the first term of Year 7 (although not exclusively and may be used or referred back to at any point within a Key Stage 3 Music Curriculum), to both allow pupils the opportunity to engage in active music making and teachers to “baseline assess” pupil’s prior skills, knowledge and understanding in terms of performing, composing, listening and evaluating and responding. 

Pupils learn about Pitch, Dynamics, Duration, Tempo, Texture, Timbre or Sonority, Articulation and Silence and are introduced to Graphic Notation and Graphic Scores.  It is hoped that this unit will develop pupil’s understanding of the Elements of Music and provide pupils with a foundation of musical vocabulary for use at Key Stage 3 which can be developed for GCSE Music. 

After a common two introductory lessons where pupils are introduced to the Elements of Music and Graphic Scores, there is an opportunity for composing and evaluating baseline assessment in response to Britten’s “Four Sea Interludes” from ‘Peter Grimes’. The final two lessons are given over allowing options to administer the Musical Contexts Year 7 Baseline Assessment Listening Tests over one or both lessons.

Autumn 2

Keyboard Skills

This unit is all about effective keyboard performance technique including basic treble clef staff notation. 

The unit begins with a general introduction and “Keyboard Treasure Hunt” around a standard classroom keyboard which is a good chance to navigate basic keyboard functions, establish good playing routines and rectify and troubleshoot any potential technical problems, before establishing the importance of correct playing position and posture and the importance of keyboard warm-ups.

Pupils move on to learn about using keyboard fingering for better playing skills, built through a range of exercises such as scales and simple right-hand melodies in the key of C Major.

Pupils explore the layout of the keyboard in terms of white and black keys and their note names; sharps and flats as enharmonic equivalents and explore how to “read music” in the form of simple melodies and melodies from popular songs from treble clef staff notation. Since this unit is primarily performance based, there are optional pathways to perform and compose.

The final lesson(s) have been left as “Independent Practice” where, it is hoped, that through their skills, knowledge and understanding of ‘good keyboard practice and playing technique’, pupils will take responsibility for their own learning of a either a solo, paired or small ensemble keyboard piece which can be performed at the end of the unit.  If the unit is being delivered prior to Christmas, then the final “Independent Practice” lesson(s) could be spent rehearsing and performing a keyboard arrangement of a Christmas song or arrangement.

Spring 1

I’ve Got Rhythm

A sense of pulse is fundamental, a prerequisite of almost all musical activity.  As such, it needs to be understood from the outset and then developed and strongly reinforced throughout Key Stage 3.  This unit introduces or reintroduces the concept of pulse through a variety of experiences which include pulse games and other rhythmic activities, the creation of patterns, including ostinato, and repetitive rhythmic textures – cyclic and polyrhythms, listening activities and the composition and performance of class and group rhythm pieces. 

Through composing and performing, pupils are introduced to rhythm grids and rhythm grid notation which can be extended to include single line rhythm notation using the note values of a semibreve, minim, crotchet, quaver and pair of quavers. 

Accents are introduced as an articulation marking providing variety to a regular pulse along with how pulse patterns can be grouped into two, three and four-beat patterns forming a basis of time signatures, bars and bar lines and conducting patterns in 2/4, 3/4 and 4/4 times.  The characteristic 2/4 pulse pattern can be explored in the genre of the March and the 3/4 pulse pattern in the Waltz.

Spring 2

Form and Structure

This unit begins by establishing what is “Form and Structure” in music and why Form and Structure is important.  Through performing, composing, improvising and listening and appraising, pupils then explore four different musical structures: Question and Answer Phrases, Binary Form, Ternary Form and Rondo Form. 

Pupils begin with an exploration into Question-and-Answer phrases as one of the simplest types of musical structures, relating this to Call and Response singing and how musical Question and Answer phrases balance with each other to form a complete structure.  Binary and Ternary Forms are then explored with an emphasis on how musical contrast is achieved between “A” and “B” sections revising the Elements of Music.  Rondo Form is explored as a type of recurring musical structure with pupils adding pentatonic improvisations as “Episodes” between a whole class “A” section. 

There is an option to end the unit with pupils creating a “free composition” in a style/genre of their choice to clearly illustrate and demonstrate either Binary, Ternary or Rondo Form to a Year 6 class audience. 

Throughout the unit, pupils listen to examples of music based on Binary, Ternary and Rondo Forms and emphasis is placed on revising treble clef staff notation.

Summer 1

The Orchestra

This unit develops pupils’ knowledge and understanding about orchestral instruments and families/sections of orchestral instruments.  Pupils learn about the construction, sound production and timbres/sonorities of different orchestral instruments, the layout, grouping and the instruments which belong to each section of a modern symphony orchestra.

Key to this unit is pupil’s understanding of the terms: TIMBRE AND SONORITY with a general introduction to the orchestra followed by exploring one orchestral section or family per lesson.  There is an optional lesson pathway to allow pupils to explore fanfares and the harmonic series when looking at brass and percussion instruments in more detail.

This unit is enhanced by pupil’s being able to explore and perform on traditional orchestral instruments “as a class orchestra”, but with an awareness of limitations on resources, suitable keyboard voices can be used or any pupils who play orchestral instruments could be encouraged to perform on these during lessons.

Summer 2

Folk Music

This unit investigates some of the different techniques of Musical Accompaniments through the exploration of Folk Songs.  The concept of Harmony, relating specifically to Intervals, is reinforced through progressively more complex Musical Accompaniments from a simple Pedal (octave), Drone and Ostinato (fifth), to Chords as Triads, Broken Chords, Arpeggios and Alberti Bass patterns (root, third, fifth).  The concept of Harmony is developed further in the exploration and addition of Counter Melodies (in fourths and fifths) in Folk Songs. 

The unit takes “The Wellerman” Sea Shanty as its case study where pupils sing and perform the melody and add different forms of Musical Accompaniment patterns and a Counter Melody using different intervals before creating their own Musical Arrangement.  Other Folk Songs are also given in Lead Sheet notation: “Drunken Sailor”, “Soldier Soldier”, “Scarborough Fair” and “Early One Morning”, although teachers may like to substitute these with regional or national Folk Songs from their own area/country.

During this unit, pupils will develop their knowledge and understanding of Folk Music as a “traditional” musical genre, explore the musical instruments, timbres and sonorities commonly associated with Folk Music performance, the texture and basic form and structure of Folk Songs and further their knowledge of performing Chords in different Accompaniment patterns on either keyboard/piano, guitar or ukulele.  

Type of assessment

Approx. frequency / when

What it is used for

Classwork

One session per week

To check the key musical facts and vocabulary, and correct misconceptions.

Composing Assignments

Once per 2/3 weeks

To reinforce learning via a practical musicianship task

Listening Assignments

About once per half-term

To reinforce learning through a listening task

Performing assessments

End of each unit / term

To give an overall picture of progress across the unit / term

Future Learning 

Pupils could go on to: 

·         Produce a poster (using ICT) to describe on of the elements of music to help a Year 6 student 

·         Create .wav files of their compositions based on artistic stimuli and present images with sound as a computer-based slide show of their own art and music work.  This could become an online exhibition as part of the school website. 

·         Research the views of various art works that correlate to the titles of Mussorgsky’s movements in his ‘Pictures at an Exhibition’ such as gardens, trumpets, promenades, castles, witches, gnomes etc.  

Enrichment 

Learning could be enriched through: 

·         Inviting instrumental teachers into the classroom to discuss the timbres of different orchestral instruments. 

·         Watching live performances of Mussorgsky’s “Pictures at an Exhibition”  

·         Pupils using their own artwork that they have created, in or out of school, as a starting point for composing, including pictures they may have created or taken. 

Future Learning 

Pupils could go on to: 

·         Further develop their keyboard skills and become confident performers. 

·         Perform in a variety of styles e.g. two-part pieces. 

·         Perform keyboard duets. 

·         Work towards a “Grade 1” piano exam piece. 

·         Creating an in-depth research project on one keyboard instrument (e.g. harpsichord, organ, piano, accordion, synthesiser, clavichord, celesta etc.) containing pictures, information and how the instrument works.  This could be presented to the rest of the class at the start of end of lessons.  

Enrichment 

Learning could be enriched through: 

·         Inviting a pianist to perform to the class/school 

·         Attending a recital of a variety of piano pieces in different styles. 

·         Inviting a composer of DJ who uses a keyboard or synthesiser as part of their music into school for a live performance. 

Future Learning 

Pupils could go on to: 

·         Explore and research other “junk percussion” artists and groups e.g. Donald Knaack aka “The Junkman”.  

Enrichment 

Learning could be enriched through: 

·         Attending a live performance of a junk percussion group/band such as STOMP! or Weapons of Sound or inviting a local junk percussion group into school to conduct a workshop with pupils. 

Future Learning 

Pupils could go on to: 

·         Find objects around their home e.g. mugs, socks, pens, shoes etc. that they could arrange to represent different musical structures: Binary (AB), Repeated Binary (AABB), Ternary (ABA) and Rondo (ABACADA..).  Photograph and label these and share them with the class during a lesson.  

·         Use a change in tonality major to minor/minor to major to show musical contrast between sections of a piece of music in Binary, Ternary or Rondo forms. 

·         Learn the steps of a Minuet and perform this listening out for the Trio section and the return of the Minuet as an example of Ternary form. 

·         Prepare their own listening quiz for homework choosing 3-4 pieces of music in different forms and structures and testing the class as to whether they can see if their chosen pieces are in Binary, Ternary or Rondo form. 

·         Analyse the structure of popular songs in terms of Intro-Verse-Chorus-Verse-Chorus-Bridge/Middle 8, Chorus-Coda or music with an AABA structure. 

·         Explore form and structure in relation to different art forms e.g. visual arts, new media, dance, poetry, drama etc. 

·         Analyse the form and structure of different songs e.g. My Bonnie Lies Over the Ocean, “Hosanna” from ‘Jesus Christ Superstar’. 

Enrichment 

Learning could be enriched through: 

·         Attending a concert (school or other) that includes music in different forms and structures – Binary, Ternary and Rondo forms. 

·         Visiting art galleries (real or virtual/online) to explore how artists have used form and structure within visual art. 

Future Learning 

Pupils could go on to: 

·         Draw illustrations showing the construction of different orchestral instruments labelling the materials that the parts are made from. 

·         Investigate, using real orchestral instruments, different or unusual ways and methods of producing different sounds, timbres and sonorities.   

·         Produce a “How to Beat Time” poster which could be given to a Year 6 pupil showing how an orchestral conductor beats 2/4, 3/4 and 4/4 time. 

·         Listen to further examples of orchestral music from different times and places e.g. from YouTube or Spotify and bring “favourite pieces” in to play for the rest of the class. 

Enrichment 

Learning could be enriched through: 

·         Attending a concert of orchestral music or watching a live orchestra “in action”. 

·         Inviting a conductor of a local orchestra into school to discuss their role. 

·         Inviting a peripatetic instrumental teaching into music lessons to explain the workings/origins of a particular orchestral instrument or to give a brief working demonstration on an orchestral instrument to the class.  

·         Watching and listening to live musical performances of fanfares performed in different places e.g. on Remembrance Day. 

Links to External Websites to Support “Sonority City” 

BBC Orchestras & Singers                   Classics for Kids                       SFS Kids Fun with Music 

Dallas Symphony Orchestra               Listening Adventures with Carnegie Hall 

Khan Academy Instruments of the Orchestra                                    DSO Learn by Instrument  

Future Learning 

Pupils could go on to: 

·         Make their own arrangements of different folk songs in groups. 

·         Identify arrangements they particularly enjoy, bring them to the lesson and say why they enjoy them. 

·         Relate the process of arrangement of music to other experiences, e.g., making the best of a given situation. 

·         Investigate which folk songs have been arranged the most times, e.g., ‘Oh Danny boy’ 

Enrichment 

Learning could be enriched through: 

·         Attending concerts which include arrangements of folk music. 

·         Making contact (through the internet) with composers or performers who specialise in folk music 

·         Working with a composer commissioned to make an arrangement for the school orchestra, choir, band, or a selected class. 

·         Visiting art galleries (or looking at art books) and comparing different artists’ ‘arrangements’ of familiar images, e.g., Madonna and Child, seascapes, battles, etc.