music-sow

Editable scheme of work (Modular)

Edexcel GCSE 2009 MusicPractical support to help you deliver this Edexcel specification

Scheme of work

This scheme of work has been produced to help you implement this Edexcel specification. It is offered as an example of one possible model that you should feel free to adapt to meet your needs and is not intended to be in any way prescriptive. It is in editable word format to make adaptation as easy as possible.

Other course planning support

You will find other support for planning the course in the Teachers Guide. This is a free downloadable resource that you can access at www.edexcel.com/gcse2009

Teaching resource exemplars

The scheme of work contains suggestions for resources that you can use to support your teaching. These are suggestions only of material you may find useful and you are encouraged to use a wide range of resources that suit the needs of your students.

Other Edexcel teaching resources

Pearson Education produce a wide range their own teaching resources including:

Student books full colour textbooks matched to the specification.Youll find details of all of these at www.edexcel.com/gcse2009We are also working with a range of publishers to support you; textbooks have been produced to support this subject by:

Pearson

Heinemann.Edexcel additional support Ask the Expert puts you in direct email contact with over 200 of our senior subject experts Edexcels community these message boards are designed to enable you to access peer-to-peer support from fellow Edexcel teaching and delivery staff in schools and colleges.Edexcel GCSE MusicEdexcel scheme of work

As a subject, music can be more rewarding to teach when lesson ideas last longer than a single, hour-long session. It is noted that many centres have fortnightly timetables, sometimes with a different number of lessons each week, and that there are many different ways to organise a timetable in terms of lesson length and frequency. As such, this scheme of work has been arranged in blocks of lessons, to allow for more flexibility in how each section is delivered. The lesson ideas and week numbers in this scheme of work are calculated on the basis of 1.5 to 2 hours of teaching time in each week.

The set works have been ordered in such a way as to avoid excessive repetition or unnecessary revisiting of concepts (for example, the four songs are blocked together to avoid revisiting song structure, etc with the delivery of each set work). It is envisaged that teachers will be able to teach the set works as discrete entities or deliver the course in a more holistic fashion, as befits individual teaching styles. The scheme of work allows for teaching the set works through integrated composing and performing tasks or to separate lessons into the individual components. The time necessary for recording performances and compositions has been factored into the scheme, with some suggested opportunities for recording the practical work noted in the content coverage column.

Most set works have been performed by professional ensembles, sometimes many times and in many different forms. Performances will be available in DVD format from many different sources (eg amazon.co.uk or play.com) and Youtube is always a very useful visual resource. As these websites are frequently updated, links have not been provided for individual sessions and set works. A search for the title of the set work in the relevant website or a search engine will return many useful links.

It is highly recommended that, where resources allow, as much as possible of each set work is performed in some fashion in the classroom to allow students to access the work actively rather than passively listening to each piece.

Edexcel GCSE MusicEdexcel scheme of workY10 weekContent coverageLearning outcomesExemplar activitiesExemplar resources

1-2Introduction to GCSE Music

Melody and Harmony:

Group improvisation sessions using:1Voices

2Own instruments

3Unfamiliar instruments.Introduction to 12-bar blues form.

(Units 1 and 2) To explore the use of the pentatonic scale and/or dorian mode and simple methods of developing a 3 or 4 note motif.

To build confidence and trust with fellow musicians.

To develop an understanding of the harmonic structure of the 12-bar blues. Students are led in whole class improvisation sessions, using an appropriate song or backing sequence. They may continue to work as a whole class or split into smaller groups for further exploration.

3-7Melody and Harmony:

Miles Davis: All Blues (AoS 3)

Brief overview of the origins of jazz and the place of Miles Davis within the canon.

The use of the 12-bar blues structure within All Blues and development of the harmonic sequence.

Brief analysis of the track.

Relevant musical vocabulary including: ragtime, jazz styles (inc. swing, bebop etc), blue note, changes, head, frontline, comping, chromatic, turnaround.Unit 1: Record improvisations as Improvising as part of an ensemble.

Choose a solo performance piece to be recorded in the next 6-10 weeks. To develop students understanding of improvising techniques in the context of jazz and blues.

To understand the context of the set work as part of a genre-changing album.

To learn about the origins of jazz with its roots in the blues.

To be able to identify the main features of All Blues using appropriate musical vocabulary. Students continue improvising activities, using the dorian mode over the All Blues sequence.

They learn one or two riffs from the track and perform them as an ensemble.

Students compose a 12-bar blues pattern with some alterations to the basic sequence for other class members to improvise over.

For useful background on jazz, see The History of Jazz by Ted Gioia (Oxford, 1999).

For useful background on Miles Davis, see Kind of Blue by Ashley Kahn (Granta, 2002).

All Blues score available in the Edexcel GCSE Anthology of Music by John Arkell, Jonny Martin, and Julia Winterson (Pearson Education, 2009) (pages 80-87).

Audio available on the Edexcel Anthology of Music CD (2009) CD2, track 1.

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) (pages 91-95).

Composition tasks available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) (pages 39-42) and Edexcel GCSE Music: Student Book (page 120).

Y10 weekContent coverageLearning outcomesExemplar activitiesExemplar resources

8-12Melody and Harmony:

Indian Music: Rag Desh (AoS 4)

Listen to the performances of Rag Desh by Anoushka Shankar, Chiranji Lal Tanwar and Steve Gorn/Benjy Wertheimer.

Make connections between the performers use of the Rag and the use of modes by Davis et al.

Relevant musical vocabulary including: gharana, raga, rasa, alap, jhar, jhalla, gat, bandish, tala, bols, matras, sam, teental, meend, tan, bansuri, shehnai, esraj, tambura, tabla, sitar, sarangi, sarod, pakhawaj.Unit 1: Record improvisations as Improvising as part of an ensemble.

Begin recording solo performances.

Unit 2: Record composition tasks. To develop students understanding of improvising techniques in the context of Indian music.

To look at alternative approaches to the use of melody and harmony.

To understand the role of the drone, rag and rhythmic tala in Indian music.

To be able to compare the different realisations of the rag, understanding why the same rag can be interpreted so differently and expressing their findings using appropriate musical vocabulary. Students perform group improvisations using Rag Desh.

Students compose a short composition task using a drone, a tal (eg Keherwa Tal) and Rag Desh. Score of Rag Desh available in the Edexcel GCSE Anthology of Music by John Arkell, Jonny Martin, and Julia Winterson (Pearson Education, 2009) (pages 100-103).

Audio available on the Edexcel Anthology of Music CD (2009) CD2, tracks 5-9.

Analysis of the three performances and a selection of listening questions available in the Edexcel GCSE Music: Student Book by John Arkell and Jonny Martin (Pearson Education, 2009) (pages 140-142).

Composition tasks available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) (page 54) and Edexcel GCSE Music: Student Book (pages 152-153).

13-14Staff notation (Units 1, 2 and 3)

To understand the basics of staff notation including the main symbols used and how they relate to the students own instruments/voice. Students internalise the concept of rising/falling pitch by step and leap by singing extracts of melodies from any of the set works or from other songs. A selection of music theory worksheets (which may be photocopied for classroom use) is available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) (pages 66-92).

A chapter introducing the main concepts of music theory, harmony and the musical elements is available in the Edexcel GCSE Music: Student Book by John Arkell and Jonny Martin (Pearson Education, 2009) (pages 174-187).


15-18Introduction to the musical eras: Baroque, Classical and Romantic

(AoS 1)

Brief overview of the musical developments 1600-1899 including historical context. References will be made to elements of the notation to reinforce previous learning.

Unit 1: Continue recording solo performances.

Choose ensemble performances to be rehearsed and recorded over the next 8-12 weeks. To develop an understanding of the chronological development of western classical music from 1600-1899 (Area of Study 1).

To understand the historical context of the music. Class listens to Handel And the Glory of the Lord, Mozart 1st Movement of Symphony no. 40 and Chopin Prelude no. 15, Op. 28 as a starting point. Other related pieces may also be used. Students research the composers backgrounds and make presentations to each other. An introduction to the musical eras is available in the Edexcel GCSE Music: Student Book by John Arkell and Jonny Martin (Pearson Education, 2009) (pages 6-8, 17-22 and 34-36).

19-22Melody writing and harmonisation (Unit 2)

Unit 1: Rehearse ensemble performances.

Unit 2: Input harmonised melodies into a computer package and record as composing tasks. To write short melodic ideas in staff notation.

To be able to harmonise melodies using primary and secondary triads. Students may use some of the ideas they developed in the improvising sessions and notate these (possibly in a simplified fashion) or write completely fresh melodic motifs. They apply some development techniques to their melodic ideas and place them in a simple structure (such as 8 or 16-bar AABA). They harmonise their melodies using primary and secondary triads. A selection of music theory worksheets (which may be photocopied for classroom use) is available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) (pages 66-92).

A chapter introducing the main concepts of music theory, harmony and the musical elements is available in the Edexcel GCSE Music: Student Book by John Arkell and Jonny Martin (Pearson Education, 2009) (pages 174-187).


23-26Area of Study 1:

Handel: And the Glory of the LordListen to the set work, placing it in context.

Relevant musical vocabulary including: oratorio, libretto, recitative, aria, chorus, perfect cadence, plagal cadence, pedal point, imitation, monophonic, homophonic, modulation, tonic and dominant.

Unit 1: Rehearse and record ensemble performances. To understand the context of the set work as part of one of the most well known and loved of all oratorios.

To understand the position and role of the set work in the overall oratorio.

To develop an understanding of the use of Baroque conventions within the set work.

To recognise and be able to use relevant musical vocabulary.

To recognise the forces used in the recording including SATB choir. Students perform as much of the piece as is feasible with the available resources.

Class listens to the set work, focusing on various musical elements and answering questions on these (including identifying the forces used, texture, dynamics, etc).

Students form opinions on the set work, expressing this with valid, musical justification.

Class goes to see a performance of the full oratorio by a local choral society or watch a DVD of a performance. Backing tracks available as MIDI files or as an orchestral backing (eg on Spiritrax.com).

Score available in the Edexcel GCSE Anthology of Music by John Arkell, Jonny Martin, and Julia Winterson (Pearson Education, 2009) (pages 8-14).



Composition tasks available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) (pages 13, 14) and Edexcel GCSE Music: Student Book (pages 46, 47).



Mozart: 1st Movement from Symphony no. 40Listen to the set work, placing it in context.

Relevant musical vocabulary including: symphony, sonata form, exposition, development, recapitulation, 1st and 2nd subject, bridge passage, orchestra (and sections thereof), sequence, dynamic markings, chromatic, major and minor.

Unit 1: Rehearse and record ensemble performances.

Unit 2: Input ternary form piece into a computer package/ rehearse piece and record as a composition task. To understand the context of the set work and its place in the canon as a sonata from 1st movement of a classical symphony.

To learn about the importance of structure within classical works and of the role played by tonality and key structure.

To learn about sonata form and its main elements as evidenced in the set work.

To be able to identify the elements that make this an archetypal piece of music from the classical era.

To recognise and be able to use relevant musical vocabulary.

To be able to recognise the sound of all the instruments in the classical orchestra. Students learn the first and second subjects by performing them on their own instruments or voices.

Students compose a short piece in ternary form (where B uses elements of A, developing them) or compose two themes for solo instrument to be organised using a simple version of sonata form.

Class listens to the set work, focusing on various musical elements and answering questions on these (including identifying the forces used, texture, dynamics etc).

Students form opinions on the set work, expressing this with valid, musical justification. Score available in the Edexcel GCSE Anthology of Music by John Arkell, Jonny Martin, and Julia Winterson (Pearson Education, 2009) (pages 15-44).



Composition tasks available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) (page 15) and Edexcel GCSE Music: Student Book (page 48).



Chopin: Prelude no. 15 from Op. 28Listen to the set work, placing it in context.

Relevant musical vocabulary including: dynamic markings, key signatures, pedal point, sustain pedal (including score markings), sostenuto, legato, cantabile, acciaccatura and rubato.

Unit 1: Revisit recordings of performances and re-record if necessary.

Choose new performance pieces for recording after the summer holidays.

Unit 2: Record composing task. To understand the context of the set work as part of the romantic piano repertoire.

To learn about the development of the piano and the virtuoso musician in the context of the romantic era.

To recognise the use of romantic conventions within the set work. To recognise and be able to use relevant musical vocabulary. Teacher or a student might perform the piece, or students might go to see it performed/ watch a DVD of a performance.

Students compose a short piano piece (or a piece for playback on a computer) making use of a pedal note, exploring chords that work alongside the pedal.

Students listen to the set work, focusing on various musical elements and answering questions on these.

Students form opinions on the set work, expressing this with valid, musical justification.

Students perform self-assessment of performances and composition tasks using adapted versions of the mark schemes. Score available in the Edexcel GCSE Anthology of Music by John Arkell, Jonny Martin, and Julia Winterson (Pearson Education, 2009) (pages 45-47).



Composition tasks available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) (pages 16) and Edexcel GCSE Music: Student Book (pages 49).


1-4Rhythm:

Koko: Yiri (AoS 4)

Listen to the performance of Yiri by Koko.

Relevant musical vocabulary including: ostinato, improvisation, cross-rhythm, polyrhythm, syncopation, master drummer, balaphones, mbira, vocables, djembe, donno, dundun and oral tradition.

Unit 1: Record performances of Yiri. To explore the use of rhythmic motifs and ostinati.

To learn the set work through performing it.

To develop improvising skills through the exploration of rhythmic elements. Students learn some of the rhythmic ostinati and balafon parts.

Students perform the piece, creating a unique realisation based on the main ideas in the set work.

Students go to a rhythm workshop/invite a drum workshop into school. Score available in the Edexcel GCSE Anthology of Music by John Arkell, Jonny Martin, and Julia Winterson (Pearson Education, 2009) (pages 104-110).




5-16Songwriting (Unit 2):

Bernstein: Somethings Coming (AoS 2)

Buckley: Grace (AoS 3)

Moby: Why Does My Heart Feel So Bad (AoS 3)

Capercaillie: Skye Waulking Song (AoS 4)

Analysis of musical structures used in the songs.

Identifying the use of instrumentation, harmony, accompaniment and production features in the songs.

Relevant musical vocabulary including: choreography, production, melodic intervals, guitar chords, Drop-D tuning, blue notes, push rhythm, overdubs, sequencer, sampler, EQ, reverb, delay, flanger, slide, hammer-ons, pull-offs, string bending, uillean pipes, fiddle, accordion and bouzouki.

Unit 1: Rehearse and record solo and ensemble performances. Bernstein: 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.

To explore the rhythmic interest in the song and the use of the orchestra to accompany the singer.

Buckley: To understand the context of the song as a guitar-based track written in the early 1990s.

To recognise the harmonic implications of guitar chords (studying the harmony from the perspective of the guitar chord shapes rather than from a western harmony perspective).

To understand the importance of production elements in creating the overall texture.

To recognise the guitar techniques used. Students perform the songs insofar as resources allow.

For a larger scale composing activity students compose a song using the set works as a starting point for structural ideas and production tips etc.

Class listens to the set works, focusing on various musical elements and answering questions on these.

Students form opinions on each of the songs, expressing these with valid, musical justification. For useful background on musicals, see Musicals by Kurt Gnzl (Carlton, 2001).

For useful background on Buckley, see Dream Brother The Life and Times of Jeff and Tim Buckley by David Browne (Fourth Estate, 2001).

An interview with Moby can be found in the monthly publication Sound on Sound (February 2000).

Scores available in the Edexcel GCSE Anthology of Music by John Arkell, Jonny Martin, and Julia Winterson (Pearson Education, 2009) (Bernstein pages 59-64, Buckley pages 88-92, Moby pages 93-94, Capercaillie pages 95-99).

Audio available on the Edexcel Anthology of Music CD (2009) (Bernstein CD1, track 5, Buckley CD2, track 2, Moby CD2, track 3, Capercaillie CD2, track 4).

Analysis of the set works and a selection of listening questions available in the Edexcel GCSE Music: Student Book by John Arkell and Jonny Martin (Pearson Education, 2009) (Bernstein pages 66-73, Buckley pages 105-111, Moby pages 114-119, Capercaillie pages 131-134).

Composition tasks available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) (Bernstein pages 27-28, Buckley pages 43-44, Moby pages 45-46, Capercaillie pages 51-53) and Edexcel GCSE Music: Student Book (Bernstein pages 83-84, Buckley pages 122-123, Moby pages 124-125, Capercaillie pages 151-152).


5-16 (cont.)Unit 1: Rehearse parts to record performances of songs written by class members/input parts into a computer package to be used as a sequenced performance/record songs using a multi-track recorder as an ensemble performance using music technology.

Unit 2: Record compositions and prepare a score/commentary. Moby: To understand the context of the song as a chart-bound dance track.

To recognise the use of technology in the track including sequencing, sampling and use of studio effects.

To understand the importance of sampling and its treatment in the song, making the simple harmonies work in the context of the song.

Capercaillie: To understand the context of the song as a fusion of folk and western popular music. To learn some of the background to folk music and the introduction of electric instruments.

To put the lyrics into the context of a waulking song.

To recognise the instruments used in the set work.


17-26Timbre and texture:

Schoenberg: Peripetie

Reich: 3rd movement from Electric Counterpoint

Listen to the set works, placing them in context.

Relevant musical vocabulary including: chromaticism, atonal, klangfarbenmelodie, hexachord, principal voice, secondary voice, serialism, prime row, inversion, retrograde, retrograde inversion, enharmonic, verticalisation, repetition, ostinato, cells, loop, phasing, note addition/subtraction, augmentation, diminution, layering, metamorphosis, resultant melody, modal.

Units 1 and 2: Rehearse for a performance of the composition/input the piece into a computer package for use as a sequenced performance.

Unit 1: Re-record solo and ensemble performances as appropriate.

Unit 2: Redraft compositions as appropriate. To understand the very different approaches used by Schoenberg and Reich in their use of timbre and texture as evidenced in the set works.

To understand the use of atonality and modality in the pieces as well as the use of the other musical elements.

To learn about the context of the set works in the 20th Century repertoire and how they represent different strands in the diversity of western classical music in the 20th Century.

To explore composition techniques using hexachords (or serial techniques) and minimalist development techniques as a method of understanding the ethos of the two styles.

To identify the difference in performance requirements for the two pieces. For a larger scale composing activity Schoenberg: A composition using the concept of hexachords or serialist techniques.

Reich: A composition using the principles of minimalism to develop ostinati.

Class listens to the set works, focusing on various musical elements and answering questions on these.

Students form opinions on each of the set works, expressing these with valid, musical justification. For 20th Century compositions, see Music of the Twentieth Century Style and Structure by Bryan R. Simms (Schirmer, 1996).

Scores available in the Edexcel GCSE Anthology of Music by John Arkell, Jonny Martin, and Julia Winterson (Pearson Education, 2009) (Schoenberg pages 48-58, Reich pages 65-79).

Audio available on the Edexcel Anthology of Music CD (2009) (Schoenberg CD1, track 4, Reich CD1, track 6).

Analysis of the set works and a selection of listening questions available in the Edexcel GCSE Music: Student Book by John Arkell and Jonny Martin (Pearson Education, 2009) (Schoenberg pages 54-58, Reich pages 78-81).

Composition tasks available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) (Schoenberg pages 21-26, Reich pages 29-33) and Edexcel GCSE Music: Student Book (Schoenberg page 82, Reich pages 84-85).


27-32Revision and Exam Preparation: Practice papers and revision aids To revise the main features of the set works, revisiting the pieces in a much more condensed way, putting them into the context of the AoS.

To revise the relevant vocabulary for each set work in the context of its AoS.

To become familiar with questioning styles used in the examination paper.

To become familiar with the layout of the examination paper. Students complete blank vocabulary lists.

Students sing some of the important themes/melodies of the set works from memory.

Teacher asks questions on each of the set works, covering each of the following:

musical elements

spot the instrumentstating and justifying opinion

extended response

context of each set work

completing notation/ identifying correct notation from multiple choice

chord identification (eg in Moby/Capercaillie etc)

any other listening questions pertinent to specific set works. Students complete fact sheets on each set work.

Students take mock listening examinations under timed, examination conditions. A revision glossary and full glossary (which may be photocopied for classroom use) are available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) (pages 93-108).

A chapter introducing the examination and exam technique, revision tips etc is available in the Edexcel GCSE Music: Student Book by John Arkell and Jonny Martin (Pearson Education, 2009) (pages 166-173).

Edexcel GCSE Music Sample Assessment Material (specimen paper) is available in the specification folder (Edexcel, Publications code UG020528).

A set of three practice papers will be released by Edition Peters/Pearson Education Ltd. in April/May 2010.

3086rl161009S:\LT\PD\Scheme of work (Phase 2)\Music SOW.doc.115/0This grid is for you to create your own scheme of work if needed.WeekContent coverageLearning outcomesExemplar activitiesExemplar resources

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