Download pdf - Year 34 A1B Music - Around the World and Poetry this Medium plan you will be using 2 of the New Music Express Units from the Year 4 book ... Year 34 A1B Music - Around the World and

Year 34 A1B Music - Around the World and Poetry

Key Skills to be covered:

Years 3 and 4 Performing Listening Creating Knowledge and Understanding

� Sing songs, speak chants and rhymes in unison

and two parts, with clear diction, control of

pitch, a sense of phrase and musical expression.

� Play tuned and untuned instruments with

control and rhythmic accuracy.

� Practise, rehearse and present performances

with an awareness of the audience.

� Listen with attention to a range of high quality

live and recorded music, to detail and to

internalise and recall sounds with increasing

aural memory.

� Experience how the combined musical elements

of pitch, duration, dynamics, tempo, timbre,

texture and silence can be organised within

musical structures (for example, ostinato) and

used to communicate different moods and

effects.

� Experience how music is produced in different

ways (for example, through the use of

different resources, including ICT) and

described through relevant established and

invented notations.

� Know how time and place can influence the way

music is created, performed and heard (for

example, the effect of occasion and venue).

� Improvise and develop rhythmic and melodic

material when performing.

� Explore, choose, combine and organise musical

ideas within musical structures.

� Analyse and compare sounds.

� Explore and explain their own ideas and feelings

about music using movement, dance, expressive

language and musical vocabulary.

� Improve their own and others' work in relation

to its intended effect.

� Use and understand staff and other musical

notations.

� Develop an understanding of the history of

music.

Pitch Duration Dynamics Tempo Timbre Texture Structure

� Determine upwards and

downwards direction in

listening, performing and

moving.

� Recognise and imitate

melody patterns in echoes.

� Show the overall contour

of melodies as moving

upwards, downwards or

staying the same.

� Determine movement by

step, by leaps or by

repeats.

� Perform simple melody

patterns.

� Indicate the steady beat

by movement, including

during a silence.

� Respond to changes in

the speed of the beat.

� Respond to the strong

beats whilst singing.

� Use instruments to keep

a steady beat.

� Hold a beat against

another part.

� Recognise differences in

dynamic levels.

� Identify the differences

between fast and slow

tempos.

� Identify the tempo of

music as fast, moderate,

slow, getting faster or

getting slower.

� Describe and aurally

identify the tone colours

of instruments.

� Compare instrumental

tone colour.

� Recognise the difference

between thick (many

sounds) and thin (few

sounds) textures.

� Recognise changes in

texture.

� Identify the melodic line

in a texture.

� Recognise rhythm on

rhythm in music.


between unison (one

same pitched sound) and

harmony (various pitched

sounds at the same

time).

� Recognise call and

response form.

� Differentiate between

the contrasting sections

of a song.


between the verse and

refrain of a song.

� Recognise binary (one

melody labeled ‘A’ is

followed by a new melody

labeled ‘B’ = AB melody

form) and ternary (one

melody labeled ‘A’ is

followed by a new melody

labeled ‘B’ which then goes

back to melody A = ABA

melody form) form.


National Curriculum Links: Pupils should be taught to:

• Play and perform in solo and ensemble contexts, using their voices and playing musical instruments with increasing accuracy, fluency, control and expression

• Improvise and compose music for a range of purposes using the interrelated dimensions of music

• Listen with attention to detail and recall sounds with increasing aural memory

• Use and understand staff and other musical notations

• Appreciate and understand a wide range of high-quality live and recorded music drawn from different traditions and from great composers and musicians

• Develop an understanding of the history of music

Cross-curricular links, especially opportunities for Literacy, Numeracy and ICT within teaching: Computing:

Literacy:

Writing Opportunities:

•

Numeracy:

Extended Opportunities including possible visits/visitors and local connections: Visits/Visitors:

Local information:


Key objectives as

questions

Key Skills that can be

covered

Possible activities including use of Computing

and Technology

Outcomes/Evidence that

teaching has taken place

Our composer for this term are: Claude Debussy For this Medium plan you will be using 2 of the New Music Express Units from the Year 4 book (Each is now 3 lessons long)

The Units covered in this Medium Term Plan are:

1. Around the world – Music focus: Pitch (Link to Geography)

2. Poetry – Music focus: Performance (Link to English)

1 WALT: Explore the pentatonic

scale

What you will need:

• Tuned percussion (eg chime

bars, boomwhackers,

handbells, xylophones etc)

notes C D E F G A

• Tuned percussion notes C D F

G A C’ D’

Key Vocabulary

• Round

• Pentatonic

• Spiritual

• Gospel music

• Harmony

• Graphic notation

• Pitch

Recognise differences in dynamic

levels.

Identify the melodic line in a texture.

Listen with attention to a range of

high quality live and recorded music,

to detail and to internalise and recall

sounds with increasing aural memory.

Me Tarzan, you Jane

Sing an action song as a round following a movie. The children:

• watch a movie to learn an action song;

• perform an action song in two groups as a round.

Pentatonic melodies

Listen to pentatonic melodies in songs. The children:

• understand the pentatonic scale;

• listen to pentatonic melodies in songs of different styles.

Swing low melody

Follow the pitch shape of a melody with audio and notation. The

children:

• follow notation of the pitch shape of a melody;

• learn to play a melody from pitch notation;

• combine playing with singing a melody.

L.A: Practise the Swing low melody without

the audio means that you can change the

tempo to suit the needs

M.A: Children understand what a pentatonic

scale is and write their own explanation. The

children learn the swing low melody in small

groups.

H.A: Add untuned percussion parts to your

performance of the song.

2 WALT: Compose and notating

pentatonic melodies

What you will need:

• Tuned percussion (eg

xylophone, glockenspiel etc)

notes C D E F G A C’ D’

Key Vocabulary

• Pentatonic

• Rhythm

• Tempo

• Improvisation

Improvise and develop rhythmic and

melodic material when performing.

Explore, choose, combine and organise

musical ideas within musical

structures.

Recognise the difference between

unison (one same pitched sound) and

harmony (various pitched sounds at

the same time).

Pentatonic planet

Listen to three pentatonic pieces, identifying the country of origin.

The Children:

• listen to pentatonic music from three parts of the world;

• match three pieces to their country of origin;

• identify and compare musical features of three pentatonic

pieces.

Pentatonic improvisations

Feel the mood of two pieces of music through improvising

pentatonic melodies. The Children:

• listen to two pieces of music

• improvise their own pentatonic melodies on tuned percussion;

• discuss the mood and style of their improvised pentatonic

accompaniments melodies.

LA: it may help some children to place a limit

on the number of notes when they compose

the Hex globe pentatonic melody, eg eight.

M.A: Once they have chosen their note trail,

they can concentrate on adding rhythm,

repetition, and deciding on mood.

H.A: Compose an accompaniment for one of

the improvised melodies using untuned

percussion.


Hex globe note trail

Compose pentatonic melodies using a note trail. The Children:

• compose pentatonic melodies using a note trail;

• create pentatonic melodies with awareness of the musical

dimensions and mood;

• perform pentatonic melody compositions with backing audio.

3 WALT: Playing a pentatonic

song with leaps

What you will need:

• Untuned percussion, eg wood

block, claves, cowbell

• Tuned percussion notes C D F

G A

Key Vocabulary

• Rhythm

• Off-beat

Use instruments to keep a steady

beat.

Hold a beat against another part.

Show the overall contour of melodies as

moving upwards, downwards or staying

the same.

Determine movement by step, by

leaps or by repeats.

Where is the beat?

Learn to perform off-beat vocal rhythms and identify them in a

song. The Children:

• learn chanted rhythms and identify them in a song;

• listen with focus to identify off-beat rhythms played on

different instruments.

Kwaheri rhythms

Perform rhythm patterns on untuned percussion to accompany a

song. The Children:

• play rhythm patterns on untuned percussion;

• sing a song and accompany it with off-beat rhythm patterns.

Kwaheri melody

Learn to play the Kwaheri melody on tuned percussion for a

performance. The Children:

• learn to play a melody line on tuned percussion;

• accompany a song by playing rhythms on untuned percussion

and the melody on tuned percussion;

• Perform the song to an audience.

L.A and M.A: TA helps children understand

off-beat rhythms, divide into two facing

groups. Group 1 claps the beat, while group 2

claps the off-beat Kwaheri rhythms. Notice

where the group 2 rhythm falls between the

main beats.

H.A: Practise the percussion and singing parts

to perform the song Kwaheri independently,

without an audio track.

4 WALT: Look at music notation

with reference to metre and

accent

What you will need

• Untuned percussion, eg

shakers, drums, tambours

Key Vocabulary

• Beat

• Rhythm

• Dynamics

• Ostinato/ostinati

• Canon

Experience how music is produced in

different ways (for example, through

the use of different resources,

including ICT) and described through

relevant established and invented

notations.

Explore and explain their own ideas

and feelings about music using

movement, dance, expressive language

and musical vocabulary

Use and understand staff and other

musical notations.

Hand on the bridge

Watch the performance of the poem Hand on the bridge. The

Children:

• watch a movie to learn a poem with actions;

• identify rhythms and dynamics in a performance of a poem.

Feel the rhythm of time

Learn an ostinato to accompany the poem. The Children:

• listen to a poem performance and describe the structure;

• learn a rhythmic vocal ostinato using notation, to accompany a

poem;

• add rhythms to a vocal ostinato on body percussion and

instruments.

Hand on the bridge performance

Perform the poem in canon and add an ostinato accompaniment. The

Children:

• listen to a poem performance and identify its structure;

• perform a poem in canon to a steady beat;

• accompany a poem with an ostinato that uses voices and

instruments;

• perform, evaluate and refine.

L.A: The percussion players should say the

word rhythms at the same time as playing

their instrumental ostinato in Feel the rhythm

of time.

M.A: Work in groups to make new

arrangements of the poem. Encourage the

groups to explore different combinations of

voices, e.g. solo/group.

H.A: Encourage them to explore using

different vocal tone qualities as they did with

the whispered ostinato.


5 WALT: Using beatbox

techniques to imitate the

sound of a drum kit

What you will need

• A tambour

Key Vocabulary

• Tempo

• Beat

• Rhythm

Identify the differences between

fast and slow tempos.

Explore and explain their own ideas

and feelings about music using

movement, dance, expressive language

and musical vocabulary

Improve their own and others' work

in relation to its intended effect.

Write-a-rap rap

Learn the poem Write-a-rap rap by Tony Mitton. The Children:

• listen to a performance of a poem and identify its structure;

• learn a poem with rhythmic body percussion.

Beatbox rhythms

Learn a beatbox accompaniment to a rap. The Children:

• listen and copy vocal beatbox rhythms;

• combine vocal beatbox rhythms in two groups;

• combine body percussion and vocal patterns in two groups.

Write-a-rap rap performance

• Record a complete performance of Write-a-rap rap. The

Children:

• organise a performance of a poem with accompanying vocal

beatbox

• rhythms in groups;

• add body percussion and as an accompaniment between verses

of a poem;

• record, evaluate and improve the performance.

L.A and M.A: When chanting the Write-a-rap

rap rhythmically, it will help the children to

stand physically close together in a block

rather than spread out or in long lines.

Encourage them to listen and be aware of the

sound of the whole group as they chant.

H.A: Explore beatbox rhythm accompaniments

to some of the other strongly rhythmic poems

the children are learning.

6 WALT: Perform a poem with

rhythmic accuracy (choral

speaking)

What you will need

• Untuned percussion

Vocabulary

• Ostinato/ostinati

Improve their own and others' work

in relation to its intended effect.

Sing songs, speak chants and rhymes

in unison and two parts, with clear

diction, control of pitch, a sense of

phrase and musical expression.

Play tuned and untuned instruments

with control and rhythmic accuracy.

Practise, rehearse and present

performances with an awareness of

the audience.

From a railway carriage

Read and discuss the poem From a railway carriage. The Children:

• listen to a performance of a poem and discuss the text;

• listen and copy the word rhythms of a poem;

• perform a poem rhythmically to a backing audio.

Train wheel rhythms

Learn a vocal ostinato accompaniment to the poem. The Children:

• describe the accompaniment of a poem and identify its

ostinato;

• read rhythm notation and copy vocal ostinati;

• combine two vocal ostinati in two groups.

From a railway carriage performance

Combine the poem and ostinati in a performance. The Children:

• listen to a performance of a poem and count vocal ostinati;

• select untuned percussion instruments to add to the vocal

ostinato accompaniments;

• perform a poem with vocal and instrumental accompaniment in

three groups.

L.A: Practise each group’s train wheels

ostinato separately to make sure they can

perform in time and with confidence, before

combining the two groups.

M.A and H.A: The performance of the poem

could be further extended by breaking it into

four stanzas of four lines each, and adding

two interludes using train-wheel rhythms

taken from the text (or other patterns

developed from sounds such as hissing or

whooshing).