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LESSON-BY-LESSON
DETAIL
(assessment
points
underlined, differentiated material in italics, literacy activities in bold)
Lesson
1
At some
point in the
lesson the following should occur:
Explanation
of the course
Pupils are given
a brief basic outline of what will
be expected of them throughout this year both in terms of intended
outcomes (in
and out of the classroom) and the department’s expectations regarding
behaviour
and treatment of equipment.
suggested
starter:
The whole class
clap a simple rhythm over three bars
(to a backing beat) then in the fourth bar pupils take it in turns to
clap their own rhythms. The
fourth bar could maybe be
non-improvised at first to get the group familiar with the structure.
This task
could utilise untuned percussion instruments?
main
body of lesson:
The
class will be taught a simple A minor melody by call and response. The
rhythms
of this could match that used above for speed of learning. Selected
pupils
could then improvise in the final bar.
The class should
then be given the complete notated A
minor piece (this is different to the one used above) and be given time
to try
to read the parts after a reminder of note value reading. These
parts are
cumulative and pupils should add notes to the point where they can
progress no
further then stick to this part. The class should attempt a number
of class
performances and volunteers for improvising should only improvise with
the
final two bars for now.
plenary
(if different from summary of learning and future plans):
The teacher
could perform several improvisations and
get the class to recognise what is good/bad practice within each. This
will
help to reflect some of the improvisations heard this lesson and
prepare the
class for lengthier improvisations next time.
HOMEWORK – Pupils to take
home copies of the
improvisation piece and practise in whatever capacity for next time.
Lesson 2
suggested
starter:
This question
could lead into pupils discussing
some of the points raised last time regarding good practice in
improvisations.
main
body of lesson:
Time should be
given to remind pupils of the parts
learned last time. The class should now embark upon a whole class
performance
with full eight-bar improvisations. These performances should be
assessed by
the teacher and a mark recorded. Pupils should discuss what
made
each improvisation work/not work. As extension work for those who
do not
find this work sufficiently challenging, a composing
task would be to compose a two-bar passage and notate it correctly
as per
the given worksheet. It is expected that practise time
would be
given before these assessments and as such, only a handful of
assessments would
take place within this lesson.
plenary
(if different from summary of learning and future plans):
A
brief discussion of the relative successes in today’s performances.
Lesson 3
suggested
starter:
Pupils should be
asked to remind the teacher of the
criteria which will be used throughout today’s assessments.
main
body of lesson:
The remaining
assessments should be tackled.
As
an illustration of how improvising stretches over most musical genres,
a wide
variety of extracts are to be played.
Pupils should simply try to identify the musical style and the
instrument
being used. How can we tell when a solo
is improvised or not? The extra
listening extracts can be the basis for a discussion on this
point. The
pupils work on this listening task could be oral only at this point.
plenary
(if different from summary of learning and future plans):
A
brief discussion of the relative successes in today’s performances.
Lesson 4
suggested
starter:
Several rhythms
could be displayed including some
which will be crucial to the next performance piece. Pupils can spend
the start
of the lesson trying to read the rhythms for class clapping. It is
important
that these should be in both simple and compound times to reinforce the
knowledge gained last time.
main
body of lesson:
Performing
various scales
The
teacher should introduce to the class the method of working out a
major/minor
scale from any given note by counting tones and semitone. Each pupil
should
select a starting note and prepare their scale for performance to the
class. Notes
given should allow for varying abilities and those less able could work
in
pairs to take four notes each. This will lead to a discussion and
demonstration of how modes vary from these two more common forms of
scale.
Learning/performance
of Irish folk piece
Pupils
should listen to the backing track first to understand how these parts
fit
together (these will differ in complexity to allow for varying
abilities).
The piece is designed to build up part-by-part and pupils should aim
for a
class performance in this way by the end of this lesson. More able
students
can tackle more than one part.
plenary
(if different from summary of learning and future plans):
The
pupils should discuss how the class performance could be
improved.
HOMEWORK – Pupils
to take home copies of the Irish folk piece and learn in whatever
capacity for
next time.
Lesson 5
suggested
starter:
An Irish folk
piece will serve as a reminder of points
raised last time re. rhythm and modes, which should be highlighted
through discussion.
main
body of lesson:
Performance
of Irish folk piece
The
piece should again give scope for short improvised passages within the
main
tune plus more extended improvisations which would cover a whole
section. The
class should first remind themselves of their parts for the main tune
and
perform this as a class but with individuals tackling the short
improvised
breaks, followed by more extended improvisations for the more able.
plenary
(if different from summary of learning and future plans):
The
pupils should discuss in particular which piece they
enjoyed/found most
difficult between this and the last.
ASSESSMENT
Whilst
grades are A to D, as this system is preferred by the department,
the numbers in brackets refer to the level that such grades
will lead to
in this block and assessment criteria is, as such, designed to match
end of Key
Stage 3 descriptors.
A (6) The improvisation
showed flair in both rhythmic and melodic innovation. It used a
wide variety of notes accurately and
employed some more advanced rhythmic parts.
B (5) The improvisation
was generally accurate but lacked real imagination. It was hindered
a little by melodic range and was
rhythmically fairly standard.
C (4) There were moments
where the pulse was lost and/or occasional wrong notes which
hindered the flow of the
improvisation.
D (3) The improvisation was only a very short phrase and/or showed very little coherence.
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