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Often it’s the students who are just ‘trying out’ Music who go on to be excellent members of future senior classes! Several people responded to this question on Musicnet with their great I divided my teaching plan up into the alphabet. I began each "letter" with a listening tape of examples of groups, soloists, instruments, styles, countries beginning with that letter - In "A" I have ABBA, Arabian music, alto voice, aria, Christina Aguilera, angklung, accordion ........... (Girls had to sort cards into the order the tape was playing.) I also gave them a homework task sheet, easy enough for anyone to research. It had questions such as "What is an aerophone?", "What is the Italian word for "playing with the bow?"; "what was the name of a big hit for the British group Pink Floyd which contains the line "We don't need no education"? We looked at A, B, C - the names of the notes. Simple sheets for the beginners and "bring your own" theory for those more advanced. Practicals were slotted in here, too. I used books of instrumental backing tapes, which are available for C, B flat and E flat instruments (try sheetmusicplus.com and musicroom.com) and arranged a harmony part for those who could play a bit and a 3 note masterpiece for glockenspiel for those who could play very little. I tried to show them a relevant DVD every term, such as Amadeus, Evita, La Bamba etc, depending on what we were studying. After showing them Grease I got them to perform Freddie My Love in character and pyjamas. The song is not shown in the movie, but is in the stage show (lots of groans!), but they really got into it and even posed for photos! For compositions we did firstly one with graphic notation - I gave them a subject and they had to write and perform for us all. I got them to write a drum rhythm accompaniment to a nursery rhyme (better kids get right into fills) and to compose a bugle call using just the bugle notes marked on the keyboards for them. Better kids can even manage repetition and sequence and write these down rather than just play it back from memory. You can manage well if you look for extension things that the better girls can do and, at the same time, expect that everyone will try everything to the best of their ability. Those who are not continuing to NCEA can still learn a lot and thoroughly enjoy what you do. Sue Donkin Some fancy differentiation techniques could come in handy (no, I'm not an expert in any way) e.g. I'm doing 'mini-studies' with my year 10 classes. Current one is J.S. Bach. - quick look at Toccata and Fugue, chords, textures, canon and actual assessment is: Play Minuet in G as a group: Someone plays treble clef part (guitarists need to TAB it if required) Someone plays bass clef part (bassists need to TAB it...) Groups need to work out what the chords are (choice of I,ii,IV,V) so someone can play 'rhythm' part on piano, guitar, ukulele Original Question: I have a [year 10] class of 20 students ranging in abilities from very able - played instruments for several years - to those who really have no interest. They just thought they would try Music to see what it was like. Most of these students do not even learn an instrument so they have no musical literacy skills and will not be able to go onto Level One. Does anybody have suggestions for programmes/ideas to motivate them for the rest of the year so the remaining students can continue next year?

Differentiated Learning Ideas for Year 10

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Often its the students who are just trying out Music who go on to be excellent members of future senior classes! Several people responded to this question on Musicnet with their great ideas. The edited versions of these are printed below.

I divided my teaching plan up into the alphabet. I began each "letter" with a listening tape of examples of groups, soloists, instruments, styles, countries beginning with that letter - In "A" I have ABBA, Arabian music, alto voice, aria, Christina Aguilera, angklung, accordion ...........(Girls had to sort cardsinto the order the tape was playing.) I also gave them a homework task sheet, easy enough for anyone to research. It had questions such as "What is an aerophone?", "What is the Italian word for "playing with the bow?"; "what was the name of a big hit for the British group Pink Floyd which contains the line "We don't need no education"? We looked at A, B, C - the names of the notes. Simple sheets for the beginners and "bring your own" theory for those more advanced. Practicals were slotted in here, too. I used books of instrumental backing tapes, which are available for C, B flat and E flat instruments (try sheetmusicplus.com and musicroom.com) and arranged a harmony part for those who could play a bit and a 3 note masterpiece for glockenspiel for those who could play very little.I tried to show them a relevant DVD every term, such as Amadeus, Evita, La Bamba etc, depending on what we were studying. After showing them Grease I got them to perform Freddie My Love in character and pyjamas. The song is not shown in the movie, but is in the stage show (lots of groans!), but they really got into it and even posed for photos! For compositions we did firstly one with graphic notation - I gave them a subject and they had to write and perform for us all. I got them to write a drum rhythm accompaniment to a nursery rhyme (better kids get right into fills) and to compose a bugle call using just the bugle notes marked on the keyboards for them. Better kids can even manage repetition and sequence and write these down rather than just play it back from memory. You can manage well if you look for extension things that the better girls can do and, at the same time, expect that everyone will try everything to the best of their ability. Those who are not continuing to NCEA can still learn a lot and thoroughly enjoy what you do.

Sue Donkin

Some fancy differentiation techniques could come in handy (no, I'm not an expert in any way) e.g. I'm doing 'mini-studies' with my year 10 classes. Current one is J.S. Bach. - quick look at Toccata and Fugue, chords, textures, canon and actual assessment is: Play Minuet in G as a group:

Someone plays treble clef part (guitarists need to TAB it if required)

Someone plays bass clef part (bassists need to TAB it...)

Groups need to work out what the chords are (choice of I,ii,IV,V) so someone can play 'rhythm' part on piano, guitar, ukulele

Drummers need to create a drum part using the treble clef rhythm (need to add flams, drags etc. to make it more interesting)

Singers need to sing treble clef part but create their own lyrics, if they're clever they can change the style (arranging!)The mini-studies seem to be working. I haven't done any studies of Music Works for several years, so this is a brave new start for me, and it is mostly working.

Robert Greenfield

Depending on what instruments you have available, playing the blues can be a good one. You look at structure etc first, and can even have the kids yell out when the chords change, maybe to a well-known blues piece, and then scaffold it from there. Your more able musicians will be able to solo - even it is really basic over the rest of the "band" and your less able students will be fine with a simple bass line - you would be amazed at how a student who does not play or learn music will rise to the occasion when offered 3 notes on an electric bass and simple one-strum-per-bar guitar chords which gives them a chance to move chords and keep up. If you have keyboards let them add in as much as they can, depending on ability levels, you can change keyboard voices here for variety. You can get some simple rhythm going (we teach our juniors drumming riffs using empty 10 litre paint buckets and proper drumsticks). Add in any other acoustic instruments which can solo. Then when they have all that sussed - change the key - to make it more challenging. You will need lots of good examples of existing pieces written in this pattern from rocknroll to Eric Clapton - whatever - so they always have models for their playing and listening. You can write your own lyrics as well and get some kids behind mics.

Lyn Dashper

This is a courseI developed back in 2000out of survival in a previous school where there was little motivation to do music by the majority and who thought it would be an easy option. I call itP.A.C.E (Perform, Achieve, Challenge, Enjoy). I have attached the overview of how it works. I update the resources each year to keep it current.

I found it to be very successful regardless of the groups background, abilities (mixed or otherwise) and motivation. The kids all really like the chance to work in groups on something they enjoy, which encourages them to learn new skills and help each other. Best of all they are making music, you are engaging them at their level, and after that you can lead them where you want them to go! One warning, it is a very practical based program that I describe as "Creative Chaos". If you don't like productive, noisy (in a good way)lessons, then this course isn't for you. PACE: Overview & Purpose

PACE is not a series of lesson plans. It is an approach that should be adapted and personalized to individual students' and classes needs.The aim is to make music learning as practical as possible, done by students, where the teacher becomes a mentor rather than the director of each lesson. The teacher must give over some trust to the students to self regulate and work together. It is aimed at a class of mixed ability with beginners and advanced students alike.Education Standards Addressed

Developing Practical Knowledge in Music

Developing Ideas in Music

Communicating and Interpreting in Music

Understanding Music in Context

Objectives

Students will learn skills on instruments, vocal, ensemble, individual study, technology and musicality.

Materials Needed

CD

Pencil

Workbook

Information

Students should be able to understand chords and a good sense of timing at the end of the unit.

Verification

Check the songs with the original version for correct notes and chords and timing.

Other Resources

Set of rock band instruments and amps

CD players

Computer access with a basic remix program on it like Dance E-Jay, Fruity Loops, Garage Band, LMMS

Activity

Students are divided into three groups Band, Vocal and Remixers. This can be individualised for the class. You can have 2 of the same type and one another; any combination that works for your class is ok.The groups are given a CD and workbook and go into separate spaces to work on recreating 1 song from the CD. They have 5 weeks to complete this task.

Summary

Students spend each lesson either in their group working together and helping each other learn a song. If they are remixing they can work on 2 pieces by themselves.The teacher acts as a mentor and does not dictate how each lesson is run. Teacher moves from group to group offering help when needed and encouragement.

Additional Notes

Andrew Stopps

I think almost everyone has this problem! I did a Hip Hop music unit that covered the PK, UC, CI strands and was pretty successful.Hip Hop Unit for Year 10

For UC:

I created a worksheet that the students completed while they used that great article in the Music Teach magazines (many years back). They read and then answer. We discussed and then watched a short film I found on beat boxing and hip hop culture. We all went to the computer lab, I made a question sheet about the history of hip hop and I gave them the websites that I got the info from and they answered questions.The assignment that gave them their final grade for UC in this topic was a research task. They had to choose a Rap artist and find all the things I asked and present in a poster format.

For PK:

Everyday we did a listening diary, where they listened and we did the Listen sheet or the Compare one in Sweet 2. That way I covered the elements and features. We played a game called Face the Music, where I played 10 songs (from old-school hip hop to current), 20 seconds of each, and they had to guess title and performer.

We listened to Coolio, See You When You Get There and I made the link into Pachelbels Canon. From here we attempted to follow the Pachelbel score (showed them techniques for score reading etc was good for those heading onto NCEA level 1) Then had 2 levels of theory worksheets for experts I gave them the very old school cert exam that compares Pachelbel's Canon and Coolios See You When You Get There For others I just used the See You When You Get There. They learnt time signature, bar lines, counting bars, what bs are, highest note/lowest note, guitar chord indications etc (simple score stuff).

For the final PK grade they had a listening and theory test. (It had harder questions that some had no hope of answering, but had to challenge the on-to-it ones) The test covered Elements and Features while they listened, and then they had score questions I used the song Beside You its in the Sweet book and also has the score.

For UC:

They had to perform a classroom arrangement (that I acquired many years ago) of See You When You Get There. They did this in groups if they had no singer in their group someone had to play the melody on an instrument. The arrangement has various levels and can be quite challenging to actually play together in time. They ended up being quite creative in their interpretations.

You could easily do a DI task. I went onto a NZ Music Unit after this with a focus on DI.

This whole unit took weeks. I tried to have variety and keep interest high. I always did a little of everything each class. I figured that if I could get the non musical ones to look at some written music and make a little sense of it I had achieved something.

Rose Loveridge

The SOUNZ Ears Wide Open: Taring Areare education resource from SOUNZ may have some good material for adapting to all sorts of classes and levels?Check it out here:http://sounz.org.nz/resources/show/289 The kit comes with Teachers book, Students book, worksheet masters and a 23 track CD of NZ music.

StephenGibbs

We start with a unit of work called Music for the Big Screen which enables students to participate even if they cant read music or play an instrument. It also aims to provide for our experienced musicians. The unit plan is on the Arts Online Teacher Resource Exchange, feel free to improve it: http://artsonline.tki.org.nz/resource-exchange/Music%20-%20Sound%20Arts%20-%20Years%200-10/

Shane Morrow

If you have another unit of work that you would be prepared to share, please upload it to the Teacher Resource Exchange on Arts Online:

http://artsonline.tki.org.nz/resource-exchange/upload_resource.php Original Question: I have a [year 10] class of 20 students ranging in abilities from very able - played instruments for several years - to those who really have no interest. They just thought they would try Music to see what it was like. Most of these students do not even learn an instrument so they have no musical literacy skills and will not be able to go onto Level One. Does anybody have suggestions for programmes/ideas to motivate them for the rest of the year so the remaining students can continue next year?