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Curriculum Overview
- 1. MUSIC curriculum overview and mapping of progression This document has been created with the following in mind. Music departments should plan for pupils’ good musical progression through and across the curriculum by: − giving sufficient and regular curriculum time for the thorough and progressive development of pupils’ aural awareness and musical understanding − providing robust curriculum plans that identify the landmarks of musical understanding pupils are expected to achieve, in addition to the range of musical styles and traditions that they are to experience − ensuring that different initiatives, including whole-class instrumental and vocal programmes, are planned as part of an overall curriculum vision for music for the school. The first table below is taken from “Wider still, and wider” and is currently being used within the Cramlington partnership to review schemes of work at Primary level and to reassess the intentions and impact of wider opportunities.
- 2. Primary Music (Wider still, and wider) Year Key Stage 1 Lower Key Stage 2 Upper Key Stage 2 Pentatonic Pitch High/Low Steps/Leaps Major/minor Patterns Long/short Rhythmic Strong beats Metre 5,6,9 Duration 2,3,4 Steady Beat patterns Weak beats Crotchets/Quavers Dotted/ swung Accents & Dynamics Loud/quiet Gradation Strong contrasts articulation Tempo for Tempo Fast/slow Gradation Comparing tempi mood effects Wood, metal, Orchestral family Electronic Timbre Exploring strings timbres sounds One sound Melody Texture Layers Weaving parts Chords Several Sounds Accompaniment Beginnings Simple repeated Question & Structure Ostinato Rounds Ternary forms Endings patterns answer Secondary Music at CLV Year 7 Year 8 Year 9 Harmony Instrumental Aural Perfect/Imperfect Pitch Simple Intervals I IV V VI Ranges identification Cadences Minim, Duration Syncopation Regular/Irregular Rubato Semibreve Responding to Dynamics Subtle Contrasts Building Tension Sforzando conduction Responding to Tempo Building Tension Half time Italian terms conduction Consonance Non western Instrumental Timbre Synthesis Vocal techniques Dissonance instruments techniques Aural Homo/poly/mono Texture Building Tension Contrasts Vocal harmonies identification -phonic Structuring Structure Strophic Variation Middles phrases
- 3. Styles Genres Traditions Term 1 Term 2 Term 3 Transition Project/Classroom Workshop Landmarks CLV Hits (In at the shallow Landmarks Route 1 – Frozen Moments Landmarks Chords I, IV, V, VI Aural identification of parts within the Simple Intervals Ben E King/Sean Kingston Minim/semibreve end) texture Kwaidan – Japanese art film music Instrumental ranges Four chord trick Whole class Subtle dynamics Jessie J/Gotye/Lady Presque rien No.1 (1 of 3) Building tension Students now required to identify individual Consonance/dissonance composition Revisits transition unit from Primary Gaga/Carly Rae Jepson parts by ear and work out harmony using chords I, IV, V, VI Composing using student starting points, rather than adapting Large Ensembles Band rehearsals Multi-track Soundscapes existing material Increasingly expected to work Bands project Landmarks recording using Cubase SE Route 2 – Charlie & The Chocolate Factory Landmarks Y7 Ting Tings Syncopation independently in practice rooms. Songs from the above musical and Matilda Simple Intervals Strophic Form Instrumental ranges Band Carousel Small group Wagner’s Ring Cycle, John Williams Building tension New band instrumental skills, now composing in smaller Consonance/dissonance compositions groups Leitmotif/Programme Music Composing using student starting points, rather than adapting existing material Small Ensembles Route 3 – Radio play Popular Music Musical involvement: Use of sound to create atmosphere. Motivate a couch potato - Composing Landmarks Motivate a couch potato – Choreographing Motivate a couch potato – Editing Regular/irregular rhythms Needing You – David Morales Half time tempo Musical involvement: Using compositions and investigating the Musical involvement: Mixing down the tracks and editing into film footage. Various exemplars for each style Non-western instruments dance styles associated with each of the genres. Synthesis Whole class workshops Small group Y8 compositions Sequencing using Fruity Conducting Contrasts in texture Loops Structuring phrases R1 Variation of phrases Instrumental ranges Techno, Samba, Salsa, Hip hop, Bhangra, Students working in small groups paying attention to Country, Ambient, Eastern, Funky House, stylistic conventions. Chart Once upon a film set – Storyboard and filming Once upon a film set – Editing Once upon a film set – Underscoring Landmarks Regular/irregular rhythms Musical involvement: Decisions about where music should sit in the film Musical involvement: Decisions about where music should sit in Brothers Grimm soundtrack, Swan Lake, Hall Half time tempo the film of the mountain king, Non-western instruments Y8 Synthesis Conducting Classroom workshops Small group Contrasts in texture R2 compositions Underscoring using Cubase Structuring phrases Variation of phrases Music for film Instrumental ranges Text Hairspray Landmarks What would music look like? Landmarks Mash up a masterpiece Vocal techniques Regular/irregular rhythms Songs from the above musical, West Side Structuring phrases In C, Clapping music, Different Half time tempo Musical involvement: Students choose their final product. This year we will specify a choice of Story, Wicked Contrasts in texture trains Non-western instruments products but these are yet to be determined. Conducting Synthesis Performance working from a script. Using Y8 study of other musical to inform Students are paying particular attention to vocal skills, Whole class workshops Conducting Contrasts in texture R3 performance and any improvistation. with an emphasis on blend and sense of ensemble. small group composition Structuring phrases Variation of phrases sequencing using Fruity Loops Instrumental ranges Students working in mall groups paying Music Theatre Minimalism attention to stylistic conventions/t Superbands Horrible Music Histories Landmarks Conducting Musical involvement: The linking of music to identity. Student chosen repertoire Contrasts in texture Whole class workshops Structuring phrases Y8 Small group Variation of phrases Instrumental ranges performances/compositions R4 Students working in small groups paying particular attention to how stylistic conventions change across time. Western classical tradition In at the deep end Landmarks The live lounge project Landmarks The Hit Factory Landmarks Aural identification, instrumental techniques, Vocal techniques, aural identification, Middles, Rubato, Sforzando, Cadneces, Itialian Band work Performance of a track Homo/mono/polyphonic Band work Cover version in stylistic conventions for chosen styles Band work Performance of compositions terms, Vocal harmonies Aural learning/Popular musicians a new style. Y9 Modelling informal learning Students now working completely in the MF approach, by Students now not only replicate the track, Students use their learning from Year9 to compose ear and with music of their choice. Mistakes will be but are expected to make changes to the songs in any chosen style. Band work Performance of a track unpacked and techniques modelled in second half term. devices and elements such that the music is Aural learning/Popular musicians Student defined styles in a new style. Songwriting