OCR A Level Music - improve your students' progress with this handy reminder that your pearls of wisdom should be duly noted.

Plenty of suggestions to help your students take responsibility for expanding their understanding of context and discover more wider listening for themselves.

A one-page document listing all of the resources available in my TES shop.

I have analysed the two specimen papers published by Edexcel, in conjunction with the Specification. By identifying and understanding the requirements of these specimen papers, I have been able to produce a set of resources which will prepare the students for the examination. By reading my analysis, I believe that you will be able to answer the perennial question, ‘will this be in the exam?’ with more confidence, leaving you freer to achieve your primary aim of instilling a love and appreciation of music in your students. What will you gain from the question paper analysis document? 1. Evidence of actual exam questions produced by Edexcel, broken down into sets 2. A clear sense of the style and type of question your student will receive 3. A confidence in knowing what your students need to know and the sort of questions they will answer to demonstrate their knowledge Question focus: naming instruments/instrument families 12% (8 marks) of SAMPE section A and 9% (6 marks) of ASAMPE section A requires students to name instruments. The question is always specific: name an accompanying instrument; name an instrument that plays at the start; name an instrument playing the melody; name an instrument found in both extracts.

I have analysed the two specimen papers published by Edexcel, in conjunction with the Specification. By identifying and understanding the requirements of these specimen papers, I have been able to produce a set of resources which will prepare the students for the examination. By reading my analysis, I believe that you will be able to answer the perennial question, ‘will this be in the exam?’ with more confidence, leaving you freer to achieve your primary aim of instilling a love and appreciation of music in your students. What will you gain from the question paper analysis document? 1. Evidence of actual exam questions produced by Edexcel, broken down into sets 2. A clear sense of the style and type of question your student will receive 3. A confidence in knowing what your students need to know and the sort of questions they will answer to demonstrate their knowledge

This three-page resource provides an accompaniment to the DVD about the making of the West Side Story film.

These West Side Story questions are about the final scenes of the film, from 'A boy like that' to the end. This is a one-page worksheet.

A one-page sheet consisting of questions, worth 10 marks, on 'America' from West Side Story.

‘The Classic FM Friendly Guide to Music’ omits all women apart from Hildegard of Bingen. A Friendly Insert addresses this omission. Created in the style of the original book, A Friendly Insert provides the reader with a sample of women composers throughout the ages and a must listen link to YouTube for each one. There is an introduction, 10 composer-portraits, and a ‘where to find out more’. There are 14, A5-sized pages in total (you will only be able to preview three of them).

Edexcel Music GCSE (9-1) Podcast 1 Bach Brandenburg Concerto No. 5 in D major Edexcel Music GCSE (9-1) Podcasts. Podcasts on the Edexcel Music GCSE Set Works. Podcast 1 (Bach) is free; the remaining Podcasts cost £2 each. You can buy them all as a bundle for £7.50 here: https://www.tes.com/teaching-resource/edexcel-music-gcse-9-1-podcasts-1-8-12108144

Alleluia by Caterina Assandra for SS and organ/piano. It is suitable for trebles or sopranos, and would work as a duet as well as sung by a choir. ‘Alleluia’ is part of a series of choral music ‘Choral Sheet Music by Historical Women’. If you would like to photocopy the download, please choose the ‘Add School Licence’ option. Thank you. About the composer Caterina Assandra (c.1590-c.1618) was a nun composing in Italy in the late sixteenth century. About the arranger Olivia Sparkhall studied composition at Durham University with Paul Archbold, composing for the Northern Sinfonietta and Flower Quartet as part of her studies. Since moving to South West England, she has focused primarily on writing vocal music, notably for BBC One’s Songs of Praise programme. Recent commissions have been for International Women’s Day services in 2018 (Lux Aeterna) and 2019 (Faith and Hope). She was short-listed in the Cappella Nova competition in 2018 for Dona Nobis Pacem. Both Dona Nobis Pacem and Lux Aeterna are published by Multitude of Voyces in their anthologies of sacred music, Volumes 1 and 2 respectively, available here: [https://stainer.co.uk]

Resonet in Laudibus Words from the Piae Cantiones, 1582; tune by Alice Nevin, with organ part added by Olivia Sparkhall. Alice Nevin (1837-1925), lived in Lancaster, Pennsylvania, for most of her adult life. Hymn tune composer and organist at the First Reformed Church, she edited a hymnbook which was published by the Philadelphia firm of J.B. Lippincott, Hymns and Carols for Church and Sunday School (1879). Part of the Sacred Music by Historical Women Composers Series.

‘Day of Days’ is an Easter anthem for SATB with organ accompaniment. It is part of a series - Choral Sheet Music by Historical Women. If you would like to photocopy the download, please choose the ‘Add School Licence’ for £9.97 making a total purchase price of £13.96. Thank you. About the arranger Olivia Sparkhall studied composition at school with Derek Bourgeois and at Durham University with Paul Archbold, and has since received critical acclaim for her vocal music. She was short-listed in the Cappella Nova competition in 2018 for Dona Nobis Pacem and has since received several commissions for choral compositions including for International Women’s Day services in 2018 (Lux Aeterna) and 2019 (Faith and Hope). Her choral music has been sung in the UK and abroad including on BBC One’s Songs of Praise programmes. Olivia is published by Chichester Music Press, Encore Publications, and within the Kassian Choral Series of Banks Music Publications both as composer, and as arranger and editor of choral music by women composers from the past. She is part of the series research and editorial team for the Multitude of Voyces CIC Sacred Music by Women Composers set of anthologies, as well as contributing original compositions and arrangements to each of the three volumes.

This resource practises identifying instruments and instrument families in the Area of Study One set work by Bach. It consists of three pages: two pages of questions and one answer-sheet. I have produced a set of resources based on the technique of ‘over-learning’ which is a method intended to strengthen and consolidate the mental models in long term memory as advocated by Bjork (2011). I have analysed the two specimen papers published by Edexcel, in conjunction with the Specification. By identifying and understanding the requirements of these specimen papers, I am able to be confident that these resources will prepare the students for the examination. Notes about the resources The resources can be used as formative assessments. The expectation is that students will get all of the questions right because the aim is for teachers to teach to mastery. If they do not score highly then the concept should be revisited immediately to address any misconceptions. This method helps a student to ‘build a firm long-term memory of the concept being taught’ (Christodoulou, 2016). Please read ‘The philosophy behind my resources’ for more information. Please see the file ‘List of Resources’ to establish what is available.

This resource practises identifying tonality and key in the Area of Study One set works (Bach and Beethoven.) It consists of six pages: four pages of questions and two answer-sheets. I have produced a set of resources based on the technique of ‘over-learning’ which is a method intended to strengthen and consolidate the mental models in long term memory as advocated by Bjork (2011). I have analysed the two specimen papers published by Edexcel, in conjunction with the Specification. By identifying and understanding the requirements of these specimen papers, I am able to be confident that these resources will prepare the students for the examination. Notes about the resources The resources can be used as formative assessments. The expectation is that students will get all of the questions right because the aim is for teachers to teach to mastery. If they do not score highly then the concept should be revisited immediately to address any misconceptions. This method helps a student to ‘build a firm long-term memory of the concept being taught’ (Christodoulou, 2016). Please read ‘The philosophy behind my resources’ for more information. Please see the file ‘List of Resources’ to establish what is available.

This is a ‘getting started’ activity for the Beethoven set work. The students need to watch a particular video on YouTube and answer some questions based on what they see and hear. The resources consists of five pages: three question pages and two answer sheets. Notes on resource: I created this resource as a ‘getting started’ activity for study of the Beethoven set work. It is a way of ensuring the students listen to the recording and, by watching the video, they can begin to understand the piece. This resource is linked to Edexcel specimen paper questions where a question was asked about the roles of the left and right hands, as well as about other elements of music including texture.

This resource is intended to be used alongside the Edexcel GCSE (9-1) Music Student Book. Students should read pages 2-19 and then define the key words (the words in bold) by filling in the gaps in the sentences. The resource consists of one worksheet (20 questions) and an answer sheet. The expectation is that students will get all of the questions right because the aim is for teachers to teach to mastery. If they do not score highly then the concept should be revisited immediately to address any misconceptions. This method helps a student to ‘build a firm long-term memory of the concept being taught’ (Christodoulou, 2016).

This is a Grade Three Music Theory worksheet. The student is asked to give the definition or meaning of the musical terms required for Grade Three ABRSM Music Theory. The list is taken from Taylor, Eric. 1999. First Steps in Music Theory. ABRSM. This resource consists of four pages. The answer sheets are provided.

End of topic tests on Wicked, based on the summary box on page 123 of the study guide. This resource consists of five pages: three question pages (Test A and Test B) and two answer pages.