Lessons 2+3 of Rock ‘n’ Roll KS3 Scheme of Work – 6 lessons (or a standalone double lesson) Objectives • To learn about the origins of rock ‘n’ roll in the 1950s • To sing and play several rock ‘n’ roll and rock songs • To recognise some typical instruments – keyboard, drums and double bass – and their functions • To play the chords of C, F, G and Am on the keyboard • To perform the 12-bar blues and I-vi-IV-V chord progressions on the keyboard • To arrange a rock ‘n’ roll song for a group performance Lesson Overview 1. The Origins of Rock ‘n’ Roll 2. The 12-Bar Blues 3. The Bass Line 4. The I-vi-IV-V Progression 5. Preparing Group Arrangement 6. Group Performances and Listening Exercise Subject-specific vocabulary • Performers: Bill Haley and the Comets, Elvis Presley • Instruments: double bass, drum kit, keyboard • Chords: C, F, G, Am • 12-bar blues and I-vi-IV-V chord progressions Assessments • Performing (keyboard) – 12-bar blues • Composing – group arrangement of a Rock ‘n’ Roll song • Listening – Hound Dog This topic can be followed up with the topic on The Beatles, which introduces more secondary triads and more complex song structures, reflecting the development of rock music in the 1960s.

Lesson 1 in Rock ‘n’ Roll KS3 Scheme of Work – 6 lessons (or standalone lesson) Objectives of scheme • To learn about the origins of rock ‘n’ roll in the 1950s • To sing and play several rock ‘n’ roll and rock songs • To recognise some typical instruments – keyboard, drums and double bass – and their functions • To play the chords of C, F, G and Am on the keyboard • To perform the 12-bar blues and I-vi-IV-V chord progressions on the keyboard • To arrange a rock ‘n’ roll song for a group performance Lesson Overview 1. The Origins of Rock ‘n’ Roll 2. The 12-Bar Blues 3. The Bass Line 4. The I-vi-IV-V Progression 5. Preparing Group Arrangement 6. Group Performances and Listening Exercise Subject-specific vocabulary • Performers: Bill Haley and the Comets, Elvis Presley • Instruments: double bass, drum kit, keyboard • Chords: C, F, G, Am • 12-bar blues and I-vi-IV-V chord progressions Assessments • Performing (keyboard) – 12-bar blues • Composing – group arrangement of a Rock ‘n’ Roll song • Listening – Hound Dog This topic can be followed up with the topic on The Beatles, which introduces more secondary triads and more complex song structures, reflecting the development of rock music in the 1960s.

Rock ‘n’ Roll KS3 Scheme of Work – 6 lessons Objectives • To learn about the origins of rock ‘n’ roll in the 1950s • To sing and play several rock ‘n’ roll and rock songs • To recognise some typical instruments – keyboard, drums and double bass – and their functions • To play the chords of C, F, G and Am on the keyboard • To perform the 12-bar blues and I-vi-IV-V chord progressions on the keyboard • To arrange a rock ‘n’ roll song for a group performance Lesson Overview 1. The Origins of Rock ‘n’ Roll 2. The 12-Bar Blues 3. The Bass Line 4. The I-vi-IV-V Progression 5. Preparing Group Arrangement 6. Group Performances and Listening Exercise Subject-specific vocabulary • Performers: Bill Haley and the Comets, Elvis Presley • Instruments: double bass, drum kit, keyboard • Chords: C, F, G, Am • 12-bar blues and I-vi-IV-V chord progressions Assessments • Performing (keyboard) – 12-bar blues • Composing – group arrangement of a Rock ‘n’ Roll song • Listening – Hound Dog This topic can be followed up with the topic on The Beatles, which introduces more secondary triads and more complex song structures, reflecting the development of rock music in the 1960s.

African Music KS3 scheme of work N.B. This is designed as a modular scheme of work with self-contained lessons linked by recurring themes. It works well in a short half of term and/or one interrupted by trips, exams, etc. Lessons 3 and 4 work best when taught consecutively. Objectives • Performing: to sing traditional African songs and to play African percussion • Composing: to create a layered, syncopated rhythmic ostinato within a group performance • Listening: to learn about, and to recognise, African musical styles and instruments Lesson overview • Lesson 1: Wimmoweh • Lesson 2: African instruments • Lesson 3: African rhythms • Lesson 4: Group composition • Lesson 5: Singing African Songs • Lesson 6: Listening to African Music • Research assignment (cover lesson/homework – no listening required) Vocabulary • African instruments: o CABASA large gourd with a handle covered with a network of stringed beads o KORA a harp with 21 strings, resounding in half a large gourd, covered with skin o TALKING DRUM A drum with two heads which are kept taut by strings o MARIMBA A set of wooden bars arranged in a row over a set of resonating gourds o DJEMBE A large single-headed drum o THUMB-PIANO A wooden board with thin metal strips attached to it • Polyrhythm and cross rhythm • Call-and-response • Ostinato • Layering • A capella • Close and parallel harmony Assessment • Performing: singing an African song (Lesson 5) • Composing: creating a rhythmic ostinato as part of a group composition/performance (Lessons 3 and 4) • Listening: ‘Listening to African Music’ (Lesson 6)

A complete scheme of work for KS3 Music Objectives • Performing: to play Indian ragas (melodic patterns) on the keyboard and to play talas (rhythmic cycles) on unpitched percussion • Composing: to compose a raga for keyboard using black and white notes, with two-note drone • Listening: to identify the following features of Indian classical music: o Timbre – Indian instruments: sitar, tabla and tambura o Melody – ragas (melodic patterns) o Rhythm – talas (rhythmic patterns) o Texture – layers of melody, drone and drum rhythm o Structure – sections of Indian classical piece: alap, jor and gat Lesson overview • Lesson 1: Instruments • Lesson 2: Ragas • Lesson 3: Composing your raga • Lesson 4: Playing your raga • Lesson 5: Talas • Lesson 6: Further listening Vocabulary • Indian instruments: o SITAR o TABLA o TAMBURA • Raga (melodic scale/pattern) • Flats and sharps • Tala (rhythmic cycle) vs. free rhythm (in alap) • Improvisation • Drone • Structure: Alap, Jor, Gat Assessment • Performing: playing given raga on keyboard • Composing: composing own raga on keyboard • Listening: written exercise on Indian classical music

A self-guided, step-by-step guide to composing a ternary form waltz or minuet for piano. An example waltz is included.

A self-guided, step-by-step GCSE composing project for the Blues. Includes sample accompaniments and other features such as riffs.

A self-guided step-by-step ground bass composing project for GCSE, typically lasting 5-10 hours.

A step-by-step self-guided process for GCSE students to compose a song in any style. Typically lasts for 5-10 hours. Four-page worksheet with lyric ideas (both in .doc and .pdf format) plus example song in .sib format.

34-page revision guide for the Edexcel Listening Exam, in Word and pdf formats All 12 set works, from Handel to Koko are analysed under each element of music, over a double page spread - everything your pupils need to know about the exam. At the back of the book is a GCSE Music vocabulary and advice about the exam. Also available on amazon.co.uk in paperback form - over 1000 copies sold.

An engaging, practical scheme of work of 6 hour-long music lessons for KS3 or KS4, with plenty of activities involving performing, composing and listening. Included in the downloads are everything you need to deliver this project (all of them editable): teacher's lesson plans and notes (including assessment sheet), pupils' worksheets, example composition and presentation, including audio/video links to YouTube. Tried-and-tested over several years as a Year 9 project, this would also work for Year 7 or 8, or even for Year 10, particularly as a way of getting pupils into composition. The project does not require knowledge of music notation, but there is an additional notation-based composition task for more advanced pupils. Objectives • To experience, through listening and performing, how a whole piece music can be created from one simple idea • To practise minimalist techniques through performing and composing • To listen to and analyse music by the minimalist composers John Adams, Steve Reich, Philip Glass, Michael Nyman and Terry Riley Lesson Overview • Lesson 1 – Motif and Ostinato • Lesson 2 – Note Addition and Note Subtraction • Lesson 3 – Canon and Layering • Lesson 4 – Augmentation and Diminution • Lesson 5 – Phasing and Phase-Shifting • Lesson 6 – Class Composition/Performance ‘in C’ Subject-specific vocabulary • MINIMALISM – a style of music which started in the USA in the 1960s. It is characterised by simple, repetitive patterns which are transformed throughout the piece, using various techniques, including: o Motif – a basic rhythmic or melodic pattern o Ostinato – a repeating pattern o Note Addition – gradually adding notes to a motif o Note Subtraction – gradually taking away notes from a motif o Canon – two or more parts performing the same motif but starting at different times o Layering – the process of adding or taking away parts (or layers) o Augmentation – the motif played in longer note values o Diminution – the motif played in shorter note values o Phasing – two or more parts gradually getting ‘out of sync’ with each other o Phase-shifting – two or more parts getting ‘out of sync’ by one beat at a time Assessments • Performing – Steve Reich’s Clapping Music • Composing – minimalist piece for two instruments, based on a simple one-bar motif • Listening – listening exercise on Steve Reich’s Electric Counterpoint

This book is a concise guide to the harmony of Bach’s chorales for advanced level music students, equipping them with the knowledge and understanding to complete their own chorale harmonisations with confidence and accuracy. Bach’s practice in harmonising chorales is explored throughout the book, from the basics of four-part writing to the complexities of chromatic harmony. With over 40 examples of complete Bach chorales and over 30 exercises, including 10 examination-style questions. Also included is the Breitkopf and Hartel edition of Bach's 371 Chorales.

A scheme of work lasting 8-9 weeks for KS3 (11-14) introducing pupils to the seven elements of music: pitch, rhythm, texture, structure, tempo, dynamics and instruments. This is particularly useful as a project at the beginning of Year 7. - Perform an arrangement of 'Ode to Joy' on the keyboard which demonstrates all the elements of music - Compose a piece for keyboard with contrasts in all of the elements of music - Listen to different examples of elements of music (all listening examples are provided as YouTube links) Includes a 16-page teacher's guide and 12-page pupil's workbook, which may be photocopied freely within the purchasing school. Also included are clear assessments for performing, composing and listening. Pdf and Word (.docx) formats included in the download. Pdf is ready to print at A4 size; Word format can be edited but the formatting and fonts may not match the pdf.

A scheme of work of 6-8 lessons for KS3 (ages 11-14; Years 7-9) including complete lesson plans, assessments and a 12-page pupil workbook - Listen to dances from Renaissance pavane to contemporary dubstep (all listening examples are provided as YouTube links) - Perform a disco song (solo and ensemble) using voices, keyboards and percussion - Compose an electronic dance track using online sequencer - Learn about time signatures, instruments and the 'circle progression' of chords