| Ref. | Element | Feature | Skill | KS1 | KS2 | KS3 | KS4 | Example of a classroom activity which could allow practice of the skill |
| 20 | duration | contrast | Can sort sounds into long/short | * | * | Compare the sounds of a variety of untuned percussion instruments - sort into long sounds and shorter sounds - generate patterns and notate using graphic symbols | ||
| 22 | duration | lyrics | Can compose a rap | * | * | * | Set up a steady beat - devise a simple 'chorus' line of lyric - all chant over the steady beat - alternate with volunteer soloists performing their own line between the 'chorus' response | |
| 21 | duration | lyrics | Can set lyrics to music - one note per syllable | * | * | * | Choose an appropriate lyric - chant over a steady beat - determine the metre - set using simple rhythmic patterns - notate using grid or conventional notations | |
| 23 | duration | metre | Can use changing metre | * | * | * | Using untuned percussion instruments devise a short phrase in a metre of 4 - repeat the exercise using a metre of 3 - link the two phrases in binary form and then in ternary form: Repeat in a more complex texture: Repeat with melodic phrases using a mode | |
| 24 | duration | pattern | Can compose a simple rhythm pattern | * | * | * | Working in pairs with one instrument each, create simple duets with one performer playing a steady beat and the other performing simple rhythmic patterns using taa, ta-te. taa-aa - exchange role | |
| 19 | duration | patterns | Can create patterns of sounds using a variety of durations | * | * | * | Working with a partner invent patterns of long and short sounds using two instruments (e.g. claves and a cymbal) - perform, record on tape and notate using graphic symbols | |
| 25 | duration | rhythm | Can improvise short rhythmical ideas | * | * | * | Using untuned percussion, in small groups, perform a steady beat to an agree metre - in turn improvise short rhythmic patterns over the accompaniment of the steady beat - link with unison steady beat - repeat until all have played solo. | |
| 73 | duration - rhythm | metre | Can use a variety of metre | * | * | Revisit a range of activities covered earlier ( any related to rhythmic pattern) to ensure that experience is developed over a range of metre and time-signatures. | ||
| 75 | duration - rhythm | rhythm | Can create rhythmic patterns and notate appropriately using conventional notation | * | * | Revisit work using grid notations in other activities in the series and use to develop an understanding of conventional rhythmic notation | ||
| 26 | duration - rhythm | rhythm | Can create simple patterns of rhythm and notate appropriately using grid or conventional notations | * | * | * | Using conventional notation or 'rhythmic grids' (www.m4t.org - teaching materials) store creative work using notations | |
| 1 | duration - rhythm | rhythm | Can notate appropriate rhythmic patterns using grid notation | * | * | * | * | Invent short patterns of sound using simple rhythms and a specified metre - use simple grid notation templates (www.m4t.org) and notate. Use regularly to build confidence and at KS3 develop alongside conventional notations as patterns |
| 74 | duration - rhythm | rhythm | Can work with more complex rhythms | * | * | Explore a range of rhythmic patterns taken from repertoire - analyse the more difficult sections - perform - use these fragments as the basis of own rhythmic patterns - perform as a duet with a steady beat and later with a simple rhythmic pattern. | ||
| 76 | duration - rhythm, pitch | lyrics | Can set lyrics to music - using melisma | * | * | Take a simple single line of a song lyric which has been set with one sound per syllable - experiment with melisma by adding embellishments to notes - have due regard for the underlying harmony. | ||
| 77 | duration - rhythm, pitch | pattern | Can use imitation | * | * | Invent a short musical phrase of 1 or 2 bars length - invent a series of new phrases such that each new phrases uses a significant rhythmic or melodic idea from the first phrase. | ||
| 2 | duration - rhythm, pitch, texture | pattern | Can make patterns with sounds | * | * | * | * | On a regular basis work as a whole group aurally in the development of patterns with increasing length of pattern and textural complexity. E.g. From 'echo' , 'call and response' to multi-sectional work e.g. 'samba' with only the memory and ear as a guide. |
| 28 | dynamics | contrast | Can create short pieces of music which use accelerando and rallentando | * | * | * | Working in pairs or small groups prepare a short polyrhythmic composition (with 2 or 3 strands of texture and a leader maintaining a firm steady beat) - repeat and steadily increasing the tempo over a period of time - repeat with a rallentando | |
| 3 | dynamics | contrast | Can sort sounds into loud/quiet | * | * | As a class devise a musical pattern using the voice or instruments - all perform repeatedly as the leader uses appropriate hand-signs only to direct the dynamics. | ||
| 27 | dynamics | contrast | Can use dynamics appropriately to provide contrast | * | * | * | Devise a short composition using either untuned or tuned percussion, or own instruments about a vehicle approaching, passing and travelling into the distance | |
| 4 | pitch | contrast | Can sort sounds into higher/lower | * | * | * | * | Work with a range of instruments, performing patterns of sound and compare the pitch - KS1/2 with untuned percussion, later tuned percussion - KS3/4 begin to develop an awareness of the range of instruments and the effect of transposing a theme into other key |
| 29 | pitch | development | Can develop simple melodic ideas | * | * | * | Invent a simple pattern using a few notes from a specific mode - double the length of the melodic pattern using only elements of the initial pattern - inversion, retrograde, imitation, sequence etc.. | |
| 81 | pitch | harmony | Can improvise around simple chord progressions | * | * | Over a simple held chord (e.g. a major triad) devise simple melodies which use only the notes of the triad - use repetition and interesting rhythm to create variety - now repeat but allow the use of the occasional carefully selected note which is not part | ||
| 78 | pitch | harmony | Can modulate to the dominant | * | * | Invent simple melodic patterns related to the tonic chord of a key - invent similar simple patterns related to chord V and to Chord II7 (with a sharpened third - the new leading note); sequence the patterns so that the exercise runs from the tonic (say, C) | ||
| 79 | pitch | harmony | Can modulate to the relative major/minor | * | * | Repeat activity 78 above with an appropriate choice of chords relative to the key and modulation required - explore the use of the dominant of the new key being used as a vital lead into the new key. | ||
| 80 | pitch | harmony | Can modulate to the subdominant | * | * | Explore the use of the flattened 7th being used melodically to direct the melody into the subdominant key. | ||
| 102 | pitch | harmony | Can work with more remote modulations | * | Explore the use of a the dominant chord of the new key being used with the flattened 7th in the melody as a solid lead into a new key, however remote. Explore the use of any chord which is common to both the old and the new key as a way of preparing for the new dominant chord. | |||
| 30 | pitch | improvise | Can improvise melodic ideas | * | * | * | Using tuned percussion, in small groups, perform a rhythmic drone (open 5ths) within an agree mode - in turn improvise short melodic patterns over the accompaniment of the rhythmic drone - link with the rhythmic drone - repeat until all have played solo. | |
| 32 | pitch | intervals | Can create using leaps of pitch | * | * | * | Using a keyboard or tuned percussion instrument, select a scale or mode - beginning on the home note invent a short pattern moving by leaps only, either up or down - end on the 5th of the scale - repeat beginning on the 5th and ending on the home note. | |
| 31 | pitch | intervals | Can create using steps of pitch | * | * | * | Using a keyboard or tuned percussion instrument, select a scale or mode - beginning on the home note invent a short pattern moving by step only either up or down - end on the 5th of the scale - repeat beginning on the 5th and ending on the home note. | |
| 33 | pitch | intervals | Can use a mixture of steps and leaps | * | * | * | First work with activities 31 and 32. Combine elements of both to create patterns using leaps and stepwise movement. Repeat using other elements from the above activities to create a variety of different melodic patterns. | |
| 34 | pitch | intervals | Can use movement by step and repeated pitch | * | * | * | Using a keyboard or tuned percussion instrument, select a scale or mode - beginning on the home note invent a short pattern moving only by repeating sounds or moving by step. | |
| 35 | pitch | melodic shape | Can use a rising or falling contour | * | * | * | Using a keyboard or tuned percussion instrument, select a scale or mode - beginning on the home note invent a short pattern moving by repetition, step or leap upwards, eventually arriving on the upper home note - repeat for a similar descent. | |
| 83 | pitch | melody | Can create melodies from a chord pattern | * | * | Invent simple melodies related only to the notes of the triads of the underlying harmony - develop these concordant melodies with the use of passing notes from weak to stronger beats - develop the melodies with the use of dissonance on a strong beat which | ||
| 36 | pitch | melody | Can invent using a single musical line | * | * | * | Using the material created in activity 33, redraft the ideas to form a melody which begins and ends on a specified note (for example the home note). | |
| 82 | pitch | melody | Can use dissonance in a melodic context | * | * | Explore and experiment with the use of the suspended 4th resolving onto the 3rd; the 6th onto the 5th and the 9th onto the octave; use simple melodies as a starting point and explore the above ideas by elaborating the melodies - take elaborated melodies a | ||
| 103 | pitch | melody | Can use melodic decoration | * | explore the use of melodic decoration (e.g. trills, turns, melisma etc.) in music of an appropriate style (e.g. baroque, blues …); take an appriate simple melody and elaborate the melody using one of the decorative features. | |||
| 85 | pitch | modes | Can build a major scale | * | * | Explore the major scale as a pair of tetrachords; investigate the intervals between the four notes of each tetrachord and compare. | ||
| 86 | pitch | modes | Can build minor scales | * | * | Explore the nature of the pair of tetrachords which make the melodic minor scale; repeat and compare with the harmonic minor scale. | ||
| 37 | pitch | modes | Can create melodies from a specific scale or mode | * | * | * | Beginning with an ascending scale (either major, minor or a mode) create a short melody based on limited changes to the scale pattern - use silences and simple rhythm patterns - repeat with a descending scale. | |
| 104 | pitch | modes | Can work in a range of keys | * | Explore a range of simple melodies and by chromatic alteration of specific notes explore other modes and minor scales. | |||
| 38 | pitch | modes | Can work with modes | * | * | * | Create a polyphonic texture using the dorian mode on D using short ostinati - on a given signal move the ostinati patterns down one note (forming similar patterns in the scale of C) - on a given signal repeat the first section. | |
| 84 | pitch | modes | Can work with pentatonic scales | * | * | Create a polyphonic texture using a pentatonic scale using short ostinati; invent a new section using a new short ostinati; develop the composition using either set of ostinati in an appropriate structure. | ||
| 5 | pitch | mood or atmosphere | Can use dissonance appropriately in 'mood' music | * | * | * | * | Create a group composition related to a theme of a machine (e.g. a steam engine) - KS1/2 might work at on untuned percussion and rhythmic pattern and limited pitch while later students might use the full tuned range and variety of timbre to exploit 'harsh' sounds |
| 88 | pitch | pattern | Can create simple melodic patterns and notate appropriately using conventional notations | * | * | Explore the association between shape and duration and position and pitch within short melodies or themes; Input into a sequencing programme such as 'Cubasis' (or similar) and systematically make alterations to a single sound and observe the result aurally and visually. | ||
| 39 | pitch | pattern | Can create simple melodic patterns and notate appropriately using graphic or conventional notations | * | * | * | Working with simple melodic patterns, notate using simple short horizontal lines at different levels above the base line to indicate pitch - the length of the lines can represent duration - notate conventionally and compare. | |
| 7 | pitch | pattern | Can create simple patterns using a limited range of pitched notes | * | * | Create a new scale (or raga) with limited pitch (e.g. C, D, D#, E, G, A# only) - invent melodies using these notes - combine with partners using the same scale - combine with partners using different scales. | ||
| 87 | pitch | pattern | Can sequence sounds into a pattern | * | * | * | * | Using a number of performers as necessary, choose a limited range of sounds - listen to each sound in turn and perform in a specific order - change the order - change the duration of the various sounds - where appropriate, work with pitch in a similar way (perhaps with handchimes or within minimalist scales) - use Music software as an aid to the developing of more complex sequences (e.g. Cubasis, Music Explorer, or similar). |
| 6 | pitch | pattern | Can use limited pitch in the creation of patterns | * | * | * | * | Create a new scale with limited pitch (e.g. E.G.A only) invent simple patterns using these notes and simple rhythmic patterns. |
| 105 | pitch | pattern | Can use sequence | * | * | Invent a short musical phrase of 1 or 2 bars length - invent a series of new phrases such that each new phrase uses the same pattern of pitch but begins on a different pitch note - explore a simple melody and write a variation by creating a sequence within the melody. | ||
| 89 | pitch + | pattern | Can create melodic patterns within simple structures | * | * | Create a simple melody; Create a second simple melody building on the essential features of the first (i.e. maintaining a sense of uniformity of style); combine into a binary melody. Develop the two phrases further by adapting the first to ensure the end of the first phrase does not sound completely 'finished' and develop the second to ensure it does 'end': Analyse simple melodies in a binary structure to see who they 'work'. | ||
| 106 | pitch+ | instrumentation | Can create music for a specific instrument having regard for the capabilities of the instrument and players | * | Create a simple melody for any specific instrument; Find an opportunity to have this melody played on a different instrument without alteration, if possible. Discuss the changes that need to be made to allow the melody to suit the new instrument. Investigate the range of various instruments and the type of motif which can most easily be performed on the instrument - find out which keys are melody patterns are easiest for the instruments you will be using. | |||
| 40 | structure | contrast | Can create using contrasting sections (e.g. AB) | * | * | * | Devise a short composition using the pentatonic mode - create further contrasting sections - develop into a longer composition by structuring within binary, ternary or rondo form. | |
| 42 | structure | contrast | Can create within a ternary structure | * | * | * | Repeat activity 41 as a simple ternary form - e.g. leader, partner, leader. Change roles. | |
| 41 | structure | contrast | Can perform question and answer games with a partner | * | * | * | Using untuned percussion or clapping perform alternate patterns of rhythm - the leader performing a musical 'question' with the partner responding with an 'answering' pattern. Develop the activity with tuned instruments, at first with limited pitch. | |
| 90 | structure | development | Can develop a musical idea | * | * | Choose a simple melody - take the opening idea (this might be a short phrase or a shorter pattern of sounds) - rewrite the melody beginning with the original opening idea but then developing the melody with your own material. Use any strong features (rhythms, intervals etc) from the original opening idea to help to build a sense of unity in your 'development'. | ||
| 43 | structure | ending | Can structure a composition using a build up to the end | * | * | * | In a small group create a short polyrhythmic pattern - perform with each strand of the texture entering in canon - use a wide dynamic range - crescendo over the duration of the canon - repeat with a diminuendo as the canon increases in texture | |
| 44 | structure | ending | Can use a variety of endings | * | * | * | Using the material developed in activity 43 create a variety of ending - sudden stop (loud and quiet), changing dynamics to wards the end, changing texture, addition of new timbre towards the end etc.. | |
| 91 | structure | harmony | Can create a simple round (2 or more chords) | * | * | Choose a simple harmonic pattern (e.g. I,I,IV,V) and invent a short melody over the pattern of chords; Repeat, creating a number of new patterns, again built on the same harmonic pattern; sequence the patterns in a specific order adjusting the opening of each phrase as necessary to link to the end of the earlier phrase; perform all the patterns as a melody; Input into a sequencing software, cut and paste several times to different tracks with all melodies beginning in canon to perform as a round. | ||
| 45 | structure | harmony | Can create a simple round (single chord) | * | * | * | Choose a major or minor chord and invent a short melody over the chord; Repeat, creating a number of new patterns, again built on the same chord; sequence the patterns in a specific order adjusting the opening of each phrase as necessary to link to the end of the earlier phrase; perform all the patterns as a melody; Input into a sequencing software, cut and paste several times to different tracks with all melodies beginning in canon to perform as a simple 'one chord' round. | |
| 46 | structure | introduction | Can create an introduction | * | * | * | Choose a simple song - explore the rhythmic or pitch patterns of the opening to generate an idea for an introduction to the song; develop a rhythmic introduction using a number of simple instruments, each entering in turn with the vocal entering after, say, 4 bars; develop a melodic introduction by taking the opening pitch pattern and modifying it after say 2 bars to create an introduction for the song - ensure the melodic line of the introduction carefully leads toward the opening notes of the melody. | |
| 47 | structure | introduction | Can use a variety of beginnings | * | * | * | using a range of untuned percussion instruments develop a number of strategies for the beginning of a piece of music - explore a changing dynamic, a changing texture, a beginning built on a canon or a 'pedal'. | |
| 111 | structure | introduction | Can use a variety of endings | * | * | * | using a range of untuned percussion instruments develop a number of strategies for the ending of a piece of music - explore a gradually changing dynamic, a sudden change in dynamic, a changing texture, an ending featuring a specific solo sound, a ending 'in unison' etc.. | |
| 50 | structure | pattern | Can compose using a beginning and an end | * | * | * | Combine features from 47 with 111 to develop a specific simple structure to the music. | |
| 48 | structure | pattern | Can create balanced phrases | * | * | * | Explore simple melodies (e.g. folk melodies) and investigate the way the musical phrases are constructed; redesign the phrases using some of the original and some of your own material; experiment with changes in rhythmic pattern and metre - explore which features need to remain unchanged for the melody to remain well-balanced | |
| 52 | structure | pattern | Can create melodic ostinati | * | * | * | Explore a wide range of melodic material to see how fragments of melody are used to create longer phrases or sections; devise your own short melody and extend using some of the ideas you have found in this analysis | |
| 8 | structure | pattern | Can create simple ostinati | * | * | * | * | Learn a round appropriate to the ability of the students - take one line of the round and perform as an ostinato - for more experienced students use the harmonic framework as a guide to developing new ostinati to perform as an accompaniment to the song. |
| 49 | structure | pattern | Can create within a more complex structure (e.g. ABACA) | * | * | * | Revisit earlier compositions which uses a structure of binary or ternary form; develop new material to create an appropriate new section ( C ) ; perform as a rondo (ABACA) | |
| 9 | structure | pattern | Can invent patterns of body sounds | * | * | * | * | Play circles games or paired games based on 'echo' and 'call and response' using simple body sounds - e.g. clap, slap, stamp, clip, flick etc.. |
| 53 | structure | pattern | Can use ostinati in compositions | * | * | * | Build a simple composition using rhythmic ostinati (perhaps over a drone); perform in a small group with one instrument repeating the ostinati throughout; repeat with the ostinati being transferred to different instruments in the group in turn: repeat using a melodic ostinati | |
| 51 | structure | pattern | Can work within simple form | * | * | * | When sufficient experience of 'beginnings' and 'ending' has been gained, create short compositions which are related to each other in some characteristic or stylistic way but complement each other as sections within a simple musical structure. | |
| 54 | structure, texture | pattern | Can work with a cumulative texture | * | * | * | Create a composition which builds from a simple solo beginning; add a new instrument after a predetermined interval of time, then another, building up the texture; create an ending for the piece; repeat and explore further by performing without a change in dynamics and then with a change; explore an increasing texture with a decreasing dynamic and vice versa. | |
| 56 | texture | harmony | Can add chords to a melody | * | * | * | Choose a simple melody (perhaps a folk melody) in a simple metre which does not change key; using only chords I and V add a simple harmonisation; now repeat with the introduction of a third chord (this may be IV but need not be); repeat using only chord I and any other chords you choose; compare the versions; this may be easier using appropriate software (Cubasis or similar). | |
| 93 | texture | harmony | Can compose simple chord progressions | * | * | Explore simple sequences of chord I and V; expand the harmonic canvas with the introduction of another chord (perhaps II or VI or IV); Develop a chord progression using the structure AABA where each section of the structure is of 2 or 4 bars in length. | ||
| 94 | texture | harmony | Can create using parallel harmony | * | * | Invent a short melody; work with a colleague to perform the melody in unison; repeat with instruments beginning an octave apart (where possible); repeat with both instruments beginning at an interval of a 3rd; now a 4th; choose any other interval - discuss the effect of the various starting points - are there circumstances where one of the above would be more suitable than another? | ||
| 95 | texture | harmony | Can harmonise a simple melody | * | * | using only chords I, IV and V harmonise a simple melody; repeat the exercise adding another choice of chord where appropriate (perhaps II or VI). | ||
| 57 | texture | harmony | Can invent using a three part texture | * | * | * | Repeat exercise 55 adding a third melodic pattern into the texture; Develop a more complex piece using all three melodic ideas; develop a new phrase which all three instruments perform in unison; use this new phrase as a contrast to the three part texture, in a simple structure. | |
| 55 | texture | harmony | Can invent using a two part texture | * | * | * | In a small group, using a specific mode, invent a melodic pattern; create another melodic pattern; perform both patterns at the same time, ensuring a feel for the steady beat; after a number of repetitions stop for a short time and then restart so that the patterns do not always begin 'in phase'; keep one pattern unchanged while the second is played at twice the tempo; devise a suitable beginning and ending. | |
| 92 | texture | harmony | Can invent using many layers of texture | * | * | * | Repeat exercise 55 adding a large number of melodic fragments (and instrumental timbres) into the composition; use silence from individual performers for a short time (randomly) to create variety of texture; develop with a use of a drone based on the 'home note' and the note 5 notes higher (e.g. D and A if D is the home note); vary the texture over drone; develop the structure using a combination of one or more strands of the texture with the drone as seems appropriate; (while this will work well with many instruments of the same texture, e.g. glockenspiels, it is also very effective when a range of instrumental timbres are available). | |
| 10 | texture | harmony | Can use a drone | * | * | * | * | Learn a simple round which uses a mode or only one chord - sing/play using 1 or 2 note drone e.g. the home note + the note 5 higher (dominant) - try a range of different drones - do any other drones sound effective for the purpose you have in mind? |
| 58 | texture | harmony | Can use chords I and V | * | * | * | Analyse simple melodies which work well with just chords I and V; Create simple melodies which can be effectively harmonised by just two chords (perhaps I and V, though this is not essential). | |
| 96 | texture | harmony | Can use chords I, V and IV | * | * | Create a melody based on a pattern of chords I, IV and V; perform or input into sequencing software such as Cubasis or similar; Try to harmonise with another set of three chords; Compare the two versions. | ||
| 60 | texture | harmony | Can use simple harmony | * | * | * | Create harmonic accompaniments for a simple melody which does not change key - use a maximum of chords I,IV,V,II,VI: | |
| 97 | texture | harmony | Can use the main cadences appropriately | * | * | Create a simple melody which ends with a 'perfect' cadence (V,I); now make a slight alteration to the ending of the melody so that it can be harmonised by a plagal cadence (IV and I); compare the effect of both cadences; repeat with interrupted cadences (e.g. V,VI) or an imperfect cadence (e.g. II,V or I, V). | ||
| 98 | texture | harmony | Can work with chords in root position and inversion | * | * | Revisit an exercise which uses only the primary chords (I,IV,V); experiment with the subtle changes to the sound when the chords are used in inversion. | ||
| 59 | texture | harmony | Can work with triads | * | * | * | Experiment with simple triads as an accompaniment for a melody; rework with a different set of triads; compare the results; listen to music which uses basic triads as a feature of accompaniment, | |
| 11 | texture | pattern | Can accompany a song using a simple pattern | * | * | * | * | learn a song which has a steady regular metre - use instruments to develop patterns in that metre - thin texture or thick texture - a single timbre or many timbres - combine with the song as an accompaniment - one team sing - one team play - change roles. |
| 61 | texture | pattern | Can invent using changing layers of texture | * | * | * | repeat exercise 55 with many textural strands; vary the texture of the composition by asking a student director to determine the performers who should play at any one time, the rest remaining silent; devise an ending with impact. | |
| 99 | texture | pattern | Can work with layers of more complex rhythms | * | * | Working in a metre of 4 create a multi-strand texture of rhythms , remember these patterns; develop these individual rhythmic patterns to include more complex rhythmic cells and/or syncopation; perform both within a simple structure; Repeat using a variety of metre; develop a work which has different metres for different sections of the structure; Invent a piece with two teams or multi-strand textures, one team working in 3/4 time and one working in 6/8 time where the quaver beat is constant. | ||
| 62 | timbre | contrast | Can use a range of instrumental timbre | * | * | * | exploration - worksheet to encourage finding out about classroom instruments; instruments of the orchestra, world music; | |
| 107 | timbre | contrast | Can work with a variety of instrumental combinations | * | using different groups of friends, create short composition, which need be no longer than a few bars, just to 'get the feel' of working with a range of instrumental combinations'; study the range and peculiarities of the instruments and listen to how these instruments are used in recorded music; talk to the players. | |||
| 63 | timbre | mood or atmosphere | Can create short pieces of music which represent a character or mood | * | * | * | Listen to pieces of music designed to illustrate a character or atmosphere or mood; list what musical features are used to portray the subject; use these ideas to create a team composition on the same topic. | |
| 13 | timbre | pattern | Can add sound effects to a story (or other stimulus) | * | * | Using a story, develop a series of sound patterns representing events in the story - perform the story with added sound patterns to illustrate - perform the sequence of sound patterns without the story. | ||
| 12 | timbre | pattern | Can create a sound picture | * | * | * | Using a non-musical stimulus - a picture, a poem etc. Develop a composition with the aim of interpreting the mood of the stimulus - put into practice skills developed in other activities - talk about it to teacher (or team for older students) - listen t | |
| 15 | timbre, structure | pattern | Can create patterns of 'body percussion' to form accompaniments to songs | * | * | * | * | Learn a song which has a steady regular metre - use patterns of body sounds in that metre - thin texture or thick texture - combine with the song as an accompaniment - one team sing - one team play - change roles. |
| 14 | timbre, structure | pattern | Can create short patterns using body sounds in more complex structures | * | * | * | Play circles games or paired games based on 'echo' and 'call and response' using simple body sounds - e.g. clap, slap, stamp, clip, flick etc.. - invent a series of patterns and combine into a musical structure - repeat using untuned percussion and explore binary structure (AB) and ternary structure (ABA) | |
| 64 | whole | contrast | Can work with contrast | * | * | * | Rework earlier exercises in binary or ternary form and ensure that the sections of the structure provide a definite contrast with regard to one of the elements of music. | |
| 67 | whole | development | Can create music to a given stimulus | * | * | * | Listen to programme music (and film scores) and discuss what features are present in different music which is intended to portray a similar mood or atmosphere; using some of the features discussed create a short piece intended to portray a mood or atmosphere - work this exercise as a whole class, first, pooling ideas and agreeing which ideas will be incorporated in the finished work; save discarded ideas for a future work. | |
| 100 | whole | development | Can create using a minimal motif | * | * | Working in a small group develop a piece of music for untuned percussion based on a simple short rhythmic fragment; using any of the strategies developed so far, develop a piece of music which continues to hold our attention for at least 1 minute. | ||
| 101 | whole | development | Can develop a basic idea (e.g. Variations) | * | * | Take a simple melody and transform it in some way by varying the impact of one of the elements of music, so that the essence of the original is clearly there but that the detail is different; repeat with a focus on a different musical element. | ||
| 65 | whole | development | Can refine simple improvisations into compositions | * | * | * | Set up a steady rhythmic ostinato pattern, working within a small group; Take turns to improvise over the top of the group ostinati; When a particular pattern seem to work well, repeat it and input it into music sequencing software (or tape record it); Use this as a theme for a new composition. | |
| 66 | whole | development | Can refine simple melodic improvisations into compositions | * | * | * | Set up a steady ostinato pattern (rhythmic or later melodic), working within a small group; Take turns to improvise over the top of the group ostinati; When a particular pattern seem to work well, repeat it and input it into music sequencing software (or tape record it); Use this as a theme for a new composition. | |
| 17 | whole | mood or atmosphere | Can create a short 'picture' composition | * | * | * | * | From a stimulus of a painting or picture develop a musical idea using untuned or tuned instruments - imagine being in the role of a film director, ask what music might be appropriate if this image was a 'still' from a film? The choice of picture will need to be carefully selected in advance for less experience students. |
| 16 | whole | mood or atmosphere | Can use untuned percussion to represent a familiar atmosphere | * | * | * | Explore patterns of untuned percussion in combination to illustrate various atmospheres e.g. mysterious, humorous, tense, lively. | |
| 18 | whole | pattern | Can create simple patterns of sound and notate appropriately using graphic notations | * | * | * | * | Using a composition from earlier activities which has been saved on tape, revisit it and develop a graphic score (where appropriate) - when complete, perform to the score - develop a variation on the score by 'cutting and pasting' sections of the work fro |
| 69 | whole | pattern | Can set lyrics to music | * | * | * | Take a short line of poetry and working to a specified metre, generate a simple rhythm pattern based on the 'natural' rhythm of the line of poetry; place one sound for each syllable at this stage; When the rhythmic pattern is ready begin to set the rhythmic pattern to a simple melody, based perhaps on a rising scale or some other memorable feature; keep singing it to yourself (or playing it on an instrument while you sing it in your heard); Continue to build up subsequent lines in a similar way, but feeling free to break from these restrictions at any time if a 'good idea' strikes. Accidents and chance can be a useful part of composing. | |
| 68 | whole | pattern | Can use a motif in the development of a composition | * | * | * | Invent a short musical motif; build this motif into a longer phrase; explore the motif in inversion, in retrograde, in a variety of metres, with a variation in note duration etc..; create a short piece of music which uses material basically derived from the motif; use one of the more remote 'variations' as a contrast to prevent the music from getting monotonous. | |
| 109 | whole | style | Can maintain consistency in style | * | Compose a short music phrase 'in the same style as' a known piece of music; explore by ear exactly what is happening in the piece and what combination of elements of music, instruments, technical devises are being used to create the musical effect; copy these ideas in a work of you own. | |||
| 72 | whole | style | Can utilise ideas from world music in own composition | * | * | * | Use features from world music examples which have been studied to form the skeleton of a an original composition; | |
| 71 | whole | style | Can work with the essence of a 'world music' style | * | * | * | Using the elements of music as a guide, analyse the essence of a particular traditional world music style; use the resultant analysis to work in a similar style within a small group. | |
| 110 | whole | timbre | Can create music with an extended range of instruments | * | Begin to explore the way 'standard' combinations of instruments are used in a range of styles; Borrow the 'scores' from libraries and investigate exactly what is happening to the combinations of sounds at moments in the music which you particularly like or find interesting; Classical scores are widely available and more Pop scores are available now as Midi files to explore using sequencing software such as the Cubase family (or similar). |