Headteacher - Mr Andy English
Our Lady's Catholic High School 6-16 Amhurst Park London N16 5AFAt Key Stage 3 students perform, listen to, review and evaluate music across a range of historical periods, genres, styles and traditions, including the works of the great composers and musicians. They also learn to sing and to use their voices, to create and compose music on their own and with others, have the opportunity to learn a musical instrument, use technology appropriately and have the opportunity to progress to the next level of musical excellence. Students understand and explore how music is created, produced and communicated.
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Autumn term |
Basic rhythmic skills such as: (a) recognition of beat/pulse (b) patterns of sound/silence matching pulse. |
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Spring term |
Compose own pentatonic song in groups on barred instruments utilising techniques previously discovered. Class performance of one group's composition |
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Summer term |
"Chime bar" class performance following a conductor Composition utilising conductor and displaying contrast in textural grouping of dynamic range, Notate composition graphically. |
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Autumn term |
Arrangement of "Didn't my Lord" —utilising melody/bass/countermelody - structure/dynamics vocally Notate music on manuscript and use of class singing. Listen/identify changes to melody/bass/countermelody. Singing aural work. |
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Spring term |
(a) Composition of rhythmic piece based on 16 beat Tintal Cycle/conductor (b) From Sa-Ga scale play melody given/after singing from worksheet. Emphasis on playing technique on barred instruments & texture (drone lst and 5th of scale). Use of drone as an accompaniment — vocal work intro. Of glissando singing. Introduction of Tamboura/Tabla drums - counting in sets of 16 beats/overlapping/awareness of pulse (recognise/identify these elements). (Raga scale learnt) Singing’ clapping and rhythm work. Singing Indian songs. Performance of pieces. Creating scale (raga) and played with drone based on their own raga scale using structure analysed (techniques of texture/atmosphere/motor skills). Listen to lndian music with analysis of its structure from scale used. Emphasis on atmosphere and mood of raga scale. Identifying lst/ 5th (Drone) in pupils' work and pieces. Singing games/songs — aural work. Performance/recording of pupils' compositions |
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Summer term |
(a) Playing "London's Burning" on barred instruments — class arrangement/group arrangement (b) Playing London's Burning in minor mode from notation (Introduction of flat signs) Notating melody and using notation to guide playing and singing. Identifying and recognising minor/major mode using various songs and pieces e.g. Hymn tunes and other familiar melodies Group and solo singing major/minor songs. Rounds Performing pieces in major - played and sung and in minor keys -moving from one mode to another. (a) Compose a piece of music for a scene from Romeo and Juliet or any other source using vocal/ instrumentation Watch video/listen to various arrangements of story – emphasis on dramatic techniques in music — analysis of dramatic elements within works. e.g. dissonance, timbre and instrumentation.- "Westside Story” Bernstein; Prokovief', Tchaikovsky etc. Prep. for exam - listening skills Singing from musicals / aural work performances Oliver, Les Miserables, Phantom, and Sondheim. Controlling a wide range of sound sources, making use of instruments and sounds. |
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Autumn term |
(a) Vocal arrangement of "Why do Fools" (5 part vocal: optional 10 parts available) ostinati/ground bass – improvised developments. - Emphasis on structure and dynamics. Identifying ground bass/ structure/ improved developed part. Identifying aspects of backing-vocal technique in Motown music echoes/repetition/ooh's etc. - Historical context. Potential to notate—score (graphic) Assess aurally own performance. Class arrangement vocally. Singing/aural skills – following conducting skills, singing in parts, potential singing in homophonic thirds. (a) Compose an a capella song using backing vocal techniques discussing different ways of accompaniment - encouragement of vocal improvisation and use of ostinato vocal riffs. Motown/a capella music (Bobby McFerrrin/ Sweet Honey 0n the Rock , plainsong and madrigals). Recognising and identifying techniques and elements of a capella writing Introduction to instruments/orchestral set-up Singing and aural work |
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Spring term |
(a) Revision of triad chords arrangement of song — chords and walking bass - using keyboards/barred instruments (b) Riff project - focus on improvising skills Identify chord changes and identify tonic/dom etc. -the uses of ostinati e.g. as suspense, climax etc. - recognise and describe improvisatory procedures in own and other's work Singing/aural work. Playing together as class. Solo group performances. - Solo and group improvisations. (a) Arrangement of song of pupil's choice - emphasis of using backing vocal techniques in an improvisatory style and transcribed onto instruments. Instrumental arrangement of songs - identifying the backing vocal techniques used instrumentally; for example echoing, repetition and countermelody Singing following a score, analysis performance of own work. Solo and group improvisation |
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Summer term |
(a) Playing "London's Burning" on barred instruments — class arrangement/group arrangement (b) Playing London's Burning in minor mode from notation (Introduction of flat signs) Notating melody and using notation to guide playing and singing. Identifying and recognising minor/major mode using various songs and pieces e.g. Hymn tunes and other familiar melodies Group and solo singing major/minor songs. Rounds Performing pieces in major - played and sung and in minor keys -moving from one mode to another. (a) Compose a piece of music for a scene from Romeo and Juliet or any other source using vocal/ instrumentation Watch video/listen to various arrangements of story – emphasis on dramatic techniques in music — analysis of dramatic elements within works. e.g. dissonance, timbre and instrumentation.- "Westside Story” Bernstein; Prokovief', Tchaikovsky etc. Prep. for exam - listening skills Singing from musicals / aural work performances Oliver, Les Miserables, Phantom, and Sondheim. Controlling a wide range of sound sources, making use of instruments and sounds. |
| Qualification Gained | GCSE |
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| Board | OCR (J536) |
| Potential Tiers of Entry | One Common Tier |
Music at GCSE consists of three separate components – performance, composition and listening, and appraising. Throughout the course, students cover various areas of study including music from a variety of traditions and cultures. Students will compose original material and perform it, on their own, or as part of an ensemble.
At this level, students must aim to be at least Grade 4 on their chosen instruments by Year 11. Students therefore have to be having instrumental lessons in or outside school and to have reached about Grade 2.
Students will study the history of ‘pop’ music from the Rock and Roll era to the present day including pop ballads, solo artists and the technology to create vocal effects. Students also study ‘Music from different cultures’ including African Music, Calypso, Samba, Bhangra and Indian classical music. This will include the different instruments used and the different sounds that each culture creates.
In Year 11, students will study Western Classical music with an emphasis on the development of the Concerto. They will study the role of the orchestra and the concert hall alongside Chamber Music and its emphasis on the smaller ensemble.
65% of the final grade comes from the coursework element of the course.
This entails two performances, two compositions and a written appraisal.
35% of the final grade will be taken from the Listening exam.
A love of music in all its forms and a willingness to learn about unfamiliar forms of music.
The ability to persevere and practise what you have learnt in order to improve performance.
The skills to develop ideas and try new arrangements.
To be able to work as part of a group to help others with their compositions.
It may be possible for students who have a very confident singing voice to cover this course, but they must first speak with the music staff to see if this is appropriate.
| Subject Teacher | Mr J Khwaja |