Music Curriculum Guide

Music gives soul to the universe, wings to the mind, flight to the imagination and life to everything.’ - Plato The Music department aims to provide all its students, regardless of ability, opportunities to explore the world of music and all its benefits in an inclusive and aspirational environment.

In curriculum music this is through the interrelated disciplines of performing, composing and listening and appraising. Students work independently, in small groups and as a class to explore a wide range of styles and historic periods of music. Students have opportunities to sing, learn to play instruments, learn how to read staff notation and how to create music using both instruments and music technology. No ceiling is set for achievement and all students are encouraged to explore and develop their skills and knowledge.

Co-curricular music at Holyport College is ambitious, inclusive and far-reaching. The timetable is amended from term to term to cater for both student interests and the normal calendar requirements of a busy boarding school. With a minimum of three choirs, a school musical, an orchestra, jazz band and countless student-led groups including rock bands and a ukulele club in addition to coursework support and repertoire coaching, there is something for everyone. Private instrumental and singing lessons are available for all and students frequently take ABRSM, LCM, Trinity and Rock School exams, with many gaining UCAS points for passes at Grade 6 and above prior to A level study.

Everything we do in the Music department at Holyport College is aimed at helping students to work with others, problem solve, develop independence and resilience and above all else, realise their potential whilst having a creative, emotive and hugely fun outlet.

Knowledge

Performing: Solos Composition 1 & 2

Performing: Ensembles Listening 10 Instrumental Music 1700–1820 set works Performing

9

8 7

Skills Unit Film Music Chords I, II, IV, V and VI

Listening and exam technique

Past papers and Revision

Instrumental Music 1700–1820 wider listening Vocal Music set works Performing

Jazz and Blues

Term 3

Revision

GCSE Exam

Music for Stage and Screen wider listening Free composition

Minimalism Group Projects

Song writing

Form and Structure Ground Bass Variations

Introduction to Logic

Elements of Music

Polyrhythms / STOMP!

Ukulele Starters

Recorder Players

Introduction to Sibelius

Ukulele Performers

Reggae

Composing

11

Term 2

Performing

Term 1

Skills

Students arrive at Holyport from a large number and varying types of feeder schools. It is inevitable that students will have experienced very different musical experiences, from occasional singing and the requisite year 6 play to a more comprehensive and specialist programme. Children from overseas may have experienced very little music. Therefore, the year 7 curriculum aims to build key musical skills very quickly to enable all students to access the key stage 3 curriculum.

The autumn term starts with the most fundamental of musical experiences - singing. Students learn a variety of songs to build their confidence and aural skills and solo opportunities are available from the very first lesson for anyone who would like to have a go. Students who show potential in singing are selected for the Junior Choir and booked for their first public engagement at Eton College Chapel for the Holyport College annual Carol Service! After singing, students follow an exciting programme of the elements of music, basic music theory and an introduction to keyboard skills, which culminates in their first performance and ternary form composition. The autumn term concludes with learning to play the recorder or developing skills for those who can already play and the autumn term trial consists of a solo performance of a Christmas carol.

The spring term of year 7 introduces music technology and the students learn more about rhythm. They work in groups to compose their own polyrhythms and then perform these with percussion instruments. Music theory is continued with students learning how to notate these correctly. In pairs, they then learn how to use Sibelius software and create a more complex percussion piece using the polyrhythms as a starting point.

Summer at Holyport for year 7 is all about learning to play the ukulele. We start with students learning the ‘four chord trick’ and students explore a wide variety of songs to sing and play. Great emphasis is given to developing multi-tasking and all students are encouraged to play and sing from the outset. Those students who demonstrate further potential are then encouraged to learn a wider range of more difficult chords and select their own song choices which use these more tricky chords. We play outside as much as possible and students love the freedom that this brings. Many students take advantage of being able to borrow a school ukulele at break times and the campus is filled with the joyous sounds of children playing and singing. The summer trial gives students the chance to perform their final chosen song complete with ukulele and singing and they have the option of performing a solo or with friends.

Term 1

Topic

Summary of Content

Assessment

Elements of Music Building blocks of music: Pitch, Pulse, Melody, Rhythm, Harmony, Tonality, Structure, Dynamics, Tempo, Articulation, Texture Introduction to Music Theory Keyboard Skills Singing Instruments of the Orchestra

Teacher Assessments

Term 2

Term 3

Recorder Players

Polyrhythms / STOMP!

Introduction to Sibelius

Ukulele Starters

Ukulele Performers

How to hold a recorder and where the notes are Simple 3 note melodies reading stave notation leading to 5 note and octave melodies in unison and then in two part harmony Using two hands and learning Bb and F# Group and solo performing and appraising

Introduction to rhythmic layering Revision of note lengths from semiquavers up to semibreves and using dots Group and class improvising using ‘junk’ instruments and scat singing African drumming listening Graphic scores Small group compositions using percussion and junk

Sibelius skills workbook in pairs on the iMacs Applying stave notation knowledge to transcribe a well known piece of music Paired composition using Sibelius

How to hold a ukulele, names of strings and strumming technique How to read chord symbols Chords C Am F G Perform a well known 4 chord song as a class

Chords Dm, G7, Bb, D, E7 Perform a harder song as a class and then in small groups Research and choose a song of own choice to perform in a small group

Group & Solo Performance

Teacher Assessments

Joint Composition

Teacher Assessments

Group Performance Theory Trial

Autumn of year 8 is when students translate their knowledge of chords to their keyboard playing.

Students learn both primary and secondary chords and they are encouraged to develop left hand and co-ordination between the hands. There are opportunities for improvisation and students also learn about how to play different styles of chords. We listen to rock and roll music and then relate how these chords are used into more modern music. Students then work in groups to write and perform a Christmas carol and are encouraged to include bass, chords, melody, harmonies and percussion parts, with all members of the group taking part in the final performance, which is their Christmas trial.

In the spring term, students learn about form and structure in music. They listen to a wide variety of music with an emphasis on the Baroque era. Students play and compose using keyboards and other instruments and develop knowledge of ternary, rondo and ground bass forms.

In the summer term of year 8, students explore the world of musical theatre. They explore different musical styles and perform some contrasting scenes in small groups and as a class. Students then have the opportunity to work in smaller groups and choose their favourite scene and song which can be from any show. They learn to rehearse and produce the performance of this themselves, taking responsibility for direction, props and costumes. Their final performance is their summer trial and this takes place in front of an invited audience.

Term 1

Term 2

Topic

Chords I, II, IV, V and VI

Summary of Content

Keyboard Skills revision Perform a song with 2 chords: The Importance of Being Idle (I and V) How to read and play chords I, II, IV, V and VI (in any key) Let’s Dance keyboard project in pairs 7th chords Rock and Roll Listening Earth Angel Performance

Chord patterns: focus on broken chords and divided chords and incorporating improvised left hand where possible O Holy Night listening Group composition project: Christmas Carols - to be performed and recorded at end of term assembly (free choice of instruments)

Assessment

Teacher Assessments

Group & Solo Performance

Song writing

Form and Structure Binary and ternary form Ternary compositions Rondo form Carillion Listening Carillion Class performance

Teacher Assessments

Ground Bass Variations Ground bass listening Pachelbel Canon class performance project Time Lapse listening Time Lapse performance Project

Joint Composition

Term 3 Reggae Origins of Reggae How chords are used in Reggae / syncopation ‘Yellow Bird’ performing Bass lines Hooks and Riffs ‘Three Little Birds’ performing Reggae listening Texture / Reggae composition

Teacher Assessments

Introduction to Logic Logic skills workbook in pairs on iMacs Devise own arrangement of favourite song using Logic in pairs OR Logic composition

Group Performance Theory Trial

The autumn term starts off with integrating the new 48 students to the year group by undertaking a short keyboard skills unit to ensure all students can access the year 9curriculum. We then embark on an exciting journey through film music, learning about the role of the leitmotif.

Students learn about different types of film music and learn to play and perform music from different genres. Students have opportunities to compose their own film soundtracks and can incorporate their own instruments and / or music technology if they wish.

The spring term of year 9 brings jazz music to Holyport. We start by looking at the impact of Blues on the development of jazz and students very quickly master the 12 bar blues, with most being able to develop improvisatory skills. We then look at ragtime with a focus on the works of Scott Joplin and students learn how to perform a version of ‘The Entertainer’, which is differentiated from a simple one line melody to the full version which is approximately grade 6 - for those who need a challenge! We then look at big band and swing music and students participate in a class performance of ‘In the Mood’. Those who play instruments play their own line and others play their chosen level of difficulty on the keyboard or ukulele if they prefer. Students work in small groups to compose their own jazz pieces and perform and record these.

In the summer term, students learn about the 20th century style of minimalism and explore and perform music by Glass, Reich and Oldfield. We discuss minimalist techniques and there are opportunities for students to compose in this style.

We finish key stage three music with an individual project where students are encouraged to explore an aspect of music which interests them the most. For some, this will involve a written project or presentation about their favourite music and for others, this will be a performance of their ABRSM pieces or a chance to do their own music technology piece.

Term 1 Topic

Summary of Content

Assessment

Skills Unit Elements of Music revision Keyboard Skills Theory revision (This is a catch up unit to enable the new year 9 intake access to our curriculum) Progression onto Film Music may occur before half term depending on progress.

Teacher Assessments

Term 2 Film Music

Leitmotifs (Jaws and James Bond performing) Themes (Goldfinger singing, James Bond developed) Action / Thriller soundtracks (Moby listening) Western themes (The Good, the Bad and The Ugly) Horror Music - Concords and dischords - Psycho listening - Storyboards and group compositions Film music listening Solo Performance Composing/ Listening Assessment

Jazz and Blues 12 bar blues / the Three Chord Trick Walking bass lines Boogie-woogie improvisation 7th chords and Honky Tonk Blues performing In the Mood performance project

Teacher Assessments

Ragtime listening The Entertainer performing project All That Jazz listening and singing All That Jazz keyboard performing Jazz improvisations in groups

Jazz Performing

Term 3 Minimalism

Group Projects

Clapping Music / Motifs Tubular Bells performing Minimalist techniques: phase shifting, polyrhythms, repetition and looping Minimalist composition in pairs using minimalist techniques using Logic or Sibelius

Students will be guided into choosing an appropriate option for them based on the following: 1. Group performance 2. Research project on own musical interests 3. Music Tech project 4. Future GCSE students or those working on an ABRSM exam will have coaching on repertoire / aural skills.

Teacher Assessments

Individual Evaluation

We follow the Edexcel GCSE Music course in years 10-11 as follows: Performing: One solo (15%) & One ensemble (15%) Composing: Free Choice (15%) & Set brief by Edexcel in year 11 (15%) Listening and appraising: Final written exam at the end of the course (40%)

Time is spent at the start of year 10 to ensure that all students have music theory knowledge to be able to cope with the course, which has elements equivalent to Grade 5 Music Theory (ABRSM) in it.

Term 1

Topic

Summary of Content

Assessment

Instrumental Music 1700–1820 set works Performing i. J.S. Bach: 3rd Movement from Brandenburg Concerto no. 5 in D major ii. L. van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor ‘Pathétique’ Performing Theory of Music

Teacher Assessments

Term 2

Term 3

Instrumental Music 1700–1820 wider listening Vocal Music set works Performing

Vocal Music wider Listening Performing

i. G F Handel: Concerto Grosso op 6 no. 5, second movement ii. A Vivaldi: ‘Winter’ from the Four Seasons concerti iii. W A Mozart: Piano Sonata in C major K.545, first movement iv. F J Haydn: Piano sonata in C major ‘English Sonata’ Hob 50, third movement Vocal Music setworks i. H. Purcell: ‘Music for a While’ ii. Queen: ‘Killer Queen’ (from Sheer Heart Attack)

i. G F Handel: ‘The Trumpet Shall Sound’ (bass), ‘Rejoice Greatly’ (soprano) and ‘Every Valley’ (tenor) from Messiah ii. J S Bach: ‘Weichet nur, betrubte Schatten’ and ‘Sehet in Zufriedenheit’ from wedding Cantata iii. Beach Boys: ‘God only Knows’ from Pet Sounds iv. Alicia Keys: ‘If I ain’t got you’ and ‘Dragon Days’ from The Diary of Alicia Keys

i. S. Schwartz: ‘Defying Gravity’ (from the album of the cast recording of Wicked) ii. J. Williams: ‘Main title/rebel blockade runner’ (from the soundtrack to Star Wars Episode IV: A New Hope)

i. Tim Minchin: ‘Naughty’ Matilda ii. Marc Shaiman: ‘Mama, I’m a Big Girl Now’ Hairspray iii. Deborah Lurie: ‘The Pier’, ‘Walk on the Beach’ and ‘Dear John Letter’, from Dear John iv. Howard Shore: ‘The Prophecy’, ‘Concerning Hobbits’, ‘The Bridge of Khazad-dum’ and ‘The Breaking of the Fellowship’ from The Lord of the Rings the Fellowship of the Ring

Theory & Performing Trials

Teacher Assessments

Theory & Performing Trials

Teacher Assessments

Music for Stage and Screen wider listening Free composition Performing Free composition

Summer Trials

The written paper is based upon the 8 set works which are: Theme from Star Wars by John Williams, Defying Gravity from Wicked by Stephen Schwartz, Third movement from Brandenburg Concerto No. 5 by Bach, First movement from Piano Sonata ‘Pathetique’ by Beethoven, Music For A While by Purcell, Killer Queen by Queen. Release by Afro Celt Sound System, Samba Em Preludo by Esperanza Spalding Term 1 Topic

Summary of Content

Assessment

Term 2

Term 3

Performing: Solos Composition 2 Listening

Performing: Ensembles Composition 1 Listening

Listening and exam technique

Composition 2 (20%)completed by half term Performing solos (20%) recorded at half term Listening Music for voices: i. Types of voices ii Madrigals iii. Lieder iv. Folk songs v. Opera and operetta Chamber Music Sonata i. Sonata and symphonies ii. Sonata Form Role of the Circle of Fifths in classical compositions

Composition 1 revision (20%) - completed by end of term Performing ensembles (20%) - recorded in December Listening: Strand 2: Popular Music i. Blues - structure / features / development ii. 1960s - The Swinging Sixties and Beatlemania iii. Rock iv. R’n’B v. HipHop

Musical Theatre: i. Solos songs ii. Ensembles iii. Large chorus numbers Film Music: iv. Programme music and the leitmotif v. Music and the narrative vi. Compositional devices for horror films vii. Compositional devices for thrillers and spy films Strand 3: World Music i. Caribbean Music: Steel bands, salsa / fusion, Calypso, Reggae ii. African Music: Polyrhythms and syncopation, instruments, cross-rhythms iii. Indian Music: Tala and Tintal, Raga 1, Raga 2,

GCSE Recordings

GCSE Recordings

Past papers and Revision

Listening tests

Past Papers

Revision for GCSE Exam

GCSE Exams

https://qualifications.pearson.com/content/dam/pdf/GCSE/Music/2016/specification/Specification_GCSE_L1-L2_in_Music.pdf

Alongside developing their knowledge base over time, students will be simultaneously acquiring the skills required to demonstrate this knowledge and further deepen their learning. The interplay between skills and knowledge is important, not just for examination success but also to allow students to develop as confident and independent learners. The following skills are developed within each student's journey through the Music curriculum and are assessed regularly throughout the academic year:

Performing 

FLLIGHT PATH TO BE ADDED HERE

Technique

Composing 

- Musical ideas are developed and extended successfully and with assurance, meeting the intended purpose and/or audience appropriately.

- Stylistic characteristics and conventions for the chosen genre/style have been selected appropriately and handled convincingly throughout.

- For brief-set composition only: imaginative response to the brief with a well-developed sense of audience and occasion.

- The performance demonstrates convincing technical control, as heard in convincing coordination, breath control, diction, and/or pedalling.

- The demands of the music are within the ability of the performer.

- The handling of sonority is convincing, as heard in very good tone quality across the pitch range (satisfying, interesting and even as the music demands), including, where appropriate, very good and sensitive tonal contrast throughout and/or very good intonation and/or very good use of filters and effects. 

Interpretation and Expression

- The use of tempo is appropriate and consistent throughout.

- Appropriate use of dynamics, phrasing and articulation to shape the performance.

- The performance communicates very well, with no more than one or two less successful moments.

- In ensemble performances there is excellent awareness of balance throughout. 

Accuracy and Fluency

- The performance is largely accurate with no more than one or two minor errors in pitch and/or rhythm. These errors have no impact on its success overall.

- The performance is coherent and fluent despite the occasional slight hesitation and/or omission - Improvised performances demonstrate an accurate performance of the stimulus, and produce an interesting realisation of the stimulus. The improvisation is coherent, well balanced and effective throughout.

Developing music ideas



Demonstrating Technical Control

- The control of appropriate musical elements is secure throughout, and any misjudgements are marginal and few, if any.

- The instrumental and/or vocal forces are handled idiomatically and exploited imaginatively.

- Textures are varied, complex, and/or clear as appropriate to the style.



Composing with Musical Coherence

- A sense of coherence and wholeness is achieved throughout.

- There is a consistent sense of fluency and contrast throughout.

- There is a convincing sense of direction overall.

Link to full A Level and GCSE Skills Assessment Grid for Music