Music

Year 3

Every Term Year 3 Will Have Opportunity To:

Singing, Playing and Performing:

• Sing songs in a variety of styles and traditions with more confidence, increasing the number sung from memory
• Understand that posture, breathing and diction are important.
• Chant or sing a round in two parts
• Use word-chants to understand how syllables link to notes
• Sing songs with a recognised structure e.g. verse, chorus
• Sing increasingly longer phrases
• Perform forte - loud and piano - soft, with control
• Perform actions songs and perform demonstrating an awareness of character or style
• Keep a steady beat on an instrument in a group or individually. React to changes of pulse
• Maintain a rhythmic or melodic ostinato simultaneously with a different ostinato and / or steady beat
• Combine musical sounds with narrative
• Combine musical sounds with movement
• Play using symbols including graphic and simple staff notation
• Follow simple hand directions from a leader
• Perform with an awareness of others

Listening, Appraising and Musicianship:

• Listen with concentration to longer pieces / extracts of music from different styles, eras and traditions
• Listen to live / recorded music extracts. Identify and discuss:
• a steady beat / a changing beat, a specific rhythm pattern or event, the tempo, dynamics and the melody of the music
• Walk, move or clap to a steady and a changing beat
• Recognise some familiar instrumental sounds in recorded music (piano, violin, guitar drums etc)
• Identify repetition in music i.e. a song with a chorus
• Recognise aurally wooden, metal, skin percussion instruments and begin to know their name
• Know and use musical terms (Duration, dynamics, structure, pitch, texture, tempo, timbre, ostinato, phrase, melody, notation, crotchets, quavers and crotchet rests)

Term 1

Term 2

Term 3

Term 4

Term 5

Term 6

Singing repertoire to include:

Concentration navigation HELLO, this is how we say hello (also in a round)

Ooh a lay lay

Samba drumming; Hip Hop groove, samba reggae

Learning of rhythm cards to recognise and write standard notation for crotchets, minims, semibreves and their equivalent rests

Use of Tchaikowsky’s “Russian Dance”, clap minims and crotchets. Don’t clap this one back – can children notate the forbidden rhythm?

Body Percussion Call and response

Compose:

Words and actions to go with songs About Foreign Lands, Schumann, ABRSM 100.

Listening

Pachelbel Canon –ostinato Ravel's Bolero – ostinato

Singing repertoire to include:

Concentration navigation Skip one window

Ooh a lay lay Algy met a Bear

Samba drumming; Samba Reggae groove, Class composition groove

Learning of rhythm cards to recognise and write standard notation for crotchets, minims, semibreves, paired quavers and their equivalent rests. Introduce stave lines and clef (look at notation for concentration navigation) Body Percussion Call and response (children start to lead)

Compose:

A simple rhythmic accompaniment to go with a song, using ostinato patterns Skip one window Listen to their own compositions and use musical language to describe what happens in them Composition of class Christmas groove

Compose music that has a recognisable structure; repetition/echo/beginning, middle and end/question and answer phrases/verse

and chorus

Composition of class Christmas groove

Singing repertoire to include:

Skip one window Bungalow

Algy met a bear

What shall we do with the drunken sailor?

Djembe drumming;

• identification of tones,
• hungry crocodiles,
• plug the gap,
• What's for tea tonight?
• Humpty Dickory groove,
• class composition

Body percussion "knee, click, clap, shh"

Improvise:

Using longer, shorter/ faster, slower/higher, lower/louder, softer sounds on tuned and untuned percussion and voices.

• During body percussion warm-ups
• On djembe, call and response

Singing repertoire to include:

Bungalow

Senua de dende

What shall we do with the drunken sailor? (in parts)

Taiko drumming;

• background setting
• establish rules & stance
• establish ji-uchi
• Taiko tune

Body percussion "knee, click, clap, shh” (in canon)

Using tuned and untuned instruments to explore how they can represent and enhance pictures/ stories/ moods

Invent short responses using a limited note-range Listen to their own compositions and use musical language to describe what happens in them

Music that tells a story, paints a picture or creates a mood

Response to BBC 10 pieces Mussoursky Night on a Bare Mountain, leading to composition of mood music Exploring the timbre (different sounds) that one instrument can make.

Using symbols to represent sound graphic scores/known rhythms and durations of traditional notation

To use different elements in composition 

To improve work, explaining how it has been improved

Class composition based on A Boa A Qu by Mason Bates, BBC 10 pieces, palindromic as the original

Singing repertoire to include:

Senua de Dende Dr Knickerbocker

Samba drumming; Samba Reggae groove, Class composition groove (Batucada?)

Body percussion "knee, click, clap, shh” (in canon)

Combining rhythmic notation labelled with small range of note names such as CEG

Recognise and order short, pitched phrases shown in dots

Show increasing accuracy of pitch and awareness of the

shape of a melody.

Play tuned percussion or a melodic instrument with increasing confidence Copy a short melodic phrase by ear on a pitched instrument Improvise:

With pitched notes moving by step (notes adjacent to each other) and by leap (notes with gaps between them) Through glockenspiel composition work.

Singing repertoire to include:

Dr Knickerbocker BBQ blues

Here comes Sally

Samba drumming; Recap all grooves covered ready for performance/conce rt to parents

Listening

John Adams Ride in a Fast Machine from BBC 10 pieces and associated activities

Perform pieces, including compositions, to a friendly audience, as a

member of a group or class

Revision of previous grooves for Summer Fayre performance

End of year concert

body percussion

phrase

melody

notation

drone

ostinato

orchestra

strings

woodwind

brass

percussion

conductor

texture

structure

lyrics

accompaniment

round

unison

stave

clef

score

call and response

leap movement

step movement

pitch

rhythm

timbre

rhythm

rest

musical elements

dynamics

tempo

duration

beat

quaver

crotchet

untuned percussion

tuned percussion

improvise

compose

forte (f)

piano (p)

Year 4

Every Term Year 4 Will Have Opportunity To:

Singing, Playing and Performing:

• Develop basic instrumental skills over a sustained period e.g., whole-class or small group learning
• Sing songs from a variety of styles, eras, and traditions with an increasing awareness of the tone of their voices and the shape of the melody
• Sing songs in different time signatures
• Further develop good posture and clear diction
• Sing songs showing musical expression i.e., phrasing, changes of tempi, crescendo, diminuendo
• Sing two and three-part rounds and partner songs with more confidence and increasing accuracy of pitch
• Sing with accurate pitch over larger leaps, confidently as part of a small group or solo
• Copy short phrases and be able to sing up and down in step, independently
• Perform in two or more parts
• Follow a leader, stopping/starting, playing faster/slower and louder/quieter with a sense of ensemble
• Play music in a metre of 2,3 and 4, discussing the time signature
• Combine playing with narrative and/or movement

Listening, Appraising and Musicianship:

• Recognise and talk about contrasting styles and traditions of music in broad terms, using musical vocabulary
• Recognise aurally the range of percussion and some individual orchestral instruments used and taught in school
• Recognise music from different times and countries, identifying key elements that give it its unique sound
• Identify repeated rhythmic or melodic phrases in live or recorded music
• Identify moving and static parts in the music
• Identify verse and chorus or call and response structures and the use of metre in 2,3, and 4, discuss the time signature
• Recognise the combined effect of layers of sound by listening to their own arrangements, compositions, and recordings
• Know and use musical terms (duration, dynamics, pitch, structure, texture, tempo, timbre, ostinato, melody, ensemble, minims, crotchets, quavers, crotchet, and rests

Improvising and Composing:

• Combine and control different timbre to create particular effects
• Rhythm patterns in music from different times and places
• Music that describes feeling or moods such as tense or calm sounds using dynamics, different tempi, different timbres etc
• Music that incorporates effective silences – rests
• With different groupings of beats (metres of 2,3 or 4)
• Capture creative ideas using any of the following: rhythm notation, time signatures, staff notation, graphic scores and/or technology

Term 1

Term 2

Term 3

Term 4

Term 5

Term 6

Singing repertoire to include:

Concentration Navigation HELLO, this is how we say hello

Singing repertoire to include:

Bungalow

Down in the Jungle

Maintain a drone or one of multiple ostinato patterns in a small, group against a steady beat

Djembe drumming;

• revision of tones,
• plug the gap,
• What's for tea tonight?
• Jabba Jabba Djembe groove
• class Christmas composition

Compose a simple rhythmic accompaniment to a song using ostinato and drones to Bungalow

Compose music that has a recognisable structure BBC 10 pieces Mozart Horn concerto, Rondo form games and composition

Singing repertoire to include:

First you make your fingers click

Have you got a cheque? Maintain a drone or one of multiple ostinato patterns in a small group against a steady beat

Compose music that has a recognisable structure Djembe drumming;

• plug the gap,
• What's for tea tonight?
• Possibly “Mayan” composition as a class
• call and response improvisation

Compose a piece of music that reflects images and atmosphere, that has a clearly defined plan, making subtle adjustments to achieve the intended effect Based on Holst Planets Suite and create own graphic score based on this.

Singing repertoire to include:

Baby 1, 2, 3

Maintain a drone or one of multiple ostinato patterns in a small, instrumental group against a steady beat Taiko drumming;

• background setting
• establish rules & stance
• establish ji-uchi
• Taiko tune in canon this year. Also add tune 3

To identify the character in a piece of music and use musical language

Listening to Stravinsky’s Firebird Suite

San Saen’s Carnival of the Animals

Learning of rhythm cards to recognise and write standard notation for crotchets, minims, semibreves, joined quavers and their equivalent rests

Children to arrange, create and perform sequences of rhythms to represent different time signatures

Singing repertoire to include:

A Young Austrian

Once a man Fell in a Well Play by ear – find known phrases or short melodies using tuned instruments on Glocks, esp. Once a Man…

Read and play from simple staff notation including rests Glocks, Once a Man

Recognise and play C to G from a stave Glocks

Play a simple melody from a selected group of notes (pentatonic scale) Glocks

Play with a limited range of pitched notes that move by steps and leaps to make short melodies Glocks

Introduce major and minor chords for exploration Glocks

Call and response chord games

Listen to Eleanor Rigby for minor

Mozart Ah, vous dirai-je Maman leading to Ternary Form composition on glocks

Singing repertoire to include:

John Kanakanaka

Demonstrate legato and staccato playing

. Duke Ellington Orchestra playing Take the A Train. The legato saxophones and the staccato trumpets

Revise the Ukulele; working through “Ukulele Rocks” website, up to and including the chord of C.

Arrange a song using tuned and untuned accompaniment developed from the song and perform to a friendly audience Row, row, row your boat

Revision of previous grooves for Summer Fayre performance

End of year concert

Listening to Anna Meredith and do associated workshops.

Play the Ukulele; working through “Ukulele Rocks” website, up to and including the chord of C.

Maintain a drone or one of multiple ostinato patterns in a small, instrumental group against a steady beat Row, row, row your boat on ukulele.

Body Percussion Chest, chest, hand rhythm pattern

Learning of rhythm cards to recognise and write standard notation for crotchets, minims, semibreves, joined quavers and their equivalent rests

Use of Tchaikowsky’s “Russian Dance”, clap quavers, minims and crotchets.

melody

accompaniment

round

crescendo

decrescendo

Allegro-fast

ensemble

posture

phrase

score

drone

Adagio-slow

duration

pentatonic scale

interval

legato

staccato

major/minor

improvise

compose

scale

octave

rest

solo

structure

body percussion

call and response

lyrics

timbre

motif

conductor

duet

duration

musical elements

staff notation

ostinato

dynamics

tempo

texture

rhythm

pitch

pulse/ beat

minim

crotchet

quaver

paired quavers

rest

time signature

Year 5

Every Term Year 5 Will Have Opportunity To:

Singing, Playing and Performing:

• Sing in a wide variety of styles from a broad range of traditions and eras with expression, accuracy and a sense of ensemble
• Communicate the meaning and mood of the song
• Maintain a part of two and three-part songs, rounds and partner songs with confidence and increasing accuracy
• Perform songs from memory with attention to phrasing, dynamics and accuracy of pitch, for an assembly or special occasion
• Read and play rhythms with confidence from graphic and known staff notation.
• Perform with sensitivity to different dynamics, tempi
• Use technology to keep a record of work in progress and record performances

Listening, Appraising and Musicianship:

• Use musical vocabulary and knowledge to talk about music from a variety of styles, traditions and cultures, including performances of their own and others’ compositions
• Distinguish differences in timbre between a variety of instruments
• Recognise and identify features of expression (phrasing, melody, harmony, different dynamics, metre and tempo) in an extract of live or recorded music
• Know and use musical terms (duration, dynamics, harmony, pitch, structure, texture, accompaniment, tempo/tempi, timbre, melody, notation, time signatures, semi-breves, minims, crotchets, quavers, and their rests

Improvising and Composing:

• Exploring characteristics of various styles, and traditions, (following on from listening)
• Refine own compositions after discussion
• Use a range of graphic symbols, note names, known rhythm and staff notation to record compositions

Term 1

Term 2

Term 3

Term 4

Term 5

Term 6

Singing repertoire to include: “Here Comes Sally” “Banuwa” in parts

Play the Ukulele; working through “Ukulele Rocks” website, from Row, row, row.

Singing repertoire to include:

“Obwisana” – sing and create passing patterns “Hey Ungua”

Develop instrumental skills over a sustained period

Singing repertoire to include:

“Bassez Down”

Continue to play by ear on pitched instruments, extending the length of phrases, melodies played

Singing repertoire to include:

“Swing low, sweet chariot”, “Oh when the Saints”, Continue to play by ear on pitched instruments,

Singing repertoire to include:

“I’m gonna sing”

Maintain a rhythmic or melodic accompaniment to a song such as a

Singing repertoire to include:

“Yonder Come Day” Perform on a range of instruments in mixed groups to an audience, with

Maintain a rhythmic or melodic accompaniment to a song such as a drone, ostinato or simple sequence of notes Move onto repertoire with chord accompaniments. Explain and show how chords are made.

Body percussion "knee, click, clap, shh" with “stamp, stamp, clap” Experimenting with a wider range of musical dimensions, such as broader dynamics and richer textures

Compose a piece with

chords that reflects given intentions, eg descriptive music, a melody with accompaniment (this

could be the piece in a ternary structure)

Look at common chord progressions and together write a song with chords I, IV and V… C, F and G

Learning of rhythm cards to recognise and write standard notation for crotchets, minims, quavers, semibreves and semiquavers

Play the recorder; working through “Razzamajazz”, “Recorder from the Beginning” and own material Continue to play by ear on pitched instruments, extending the length of phrases, melodies played Transfer “Once a Man” (see Year 4) onto recorder Maintain own part on a pitched instrument in a small ensemble

Through repertoire covered.

Use musical vocabulary and knowledge to help identify areas for development or refinement when composing. Read and notate on stave, using notes G to D for composition.

Improvise over a drone, chords or harmony developing a sense of shape Use notes G to D

Notation: Play within C to C from a stave, as a group.

Most will work within G to D

Compose melodies over chords such as C major and A minor Notate on stave

Play the recorder; working through “Razzamajazz”, “Recorder from the Beginning” and own material

Play melodies, increasing in independence, on tuned percussion or melodic instruments, written on one stave, C to C Using Glocks and recorders Create a melody over a simple groove (usually a rhythm and chord combination giving an effect or feel) Using Glocks and recorders Improvise using scales, such as pentatonic, C major or A minor

Use Chopin’s Etude in Gb major as introduction to pentatonic composition. Improvise developing ideas, using musical devices such as

texture created by layering rhythmic and /or melodic ostinato.

Develop ideas explored, always considering the musical elements Composition based on “Harry Potter’s Mysterious Ticking Machine”

extending the length of phrases, melodies played Through Glocks

Play melodies, increasing in independence, on tuned percussion or melodic instruments, written on one stave, C to C Through repertoire covered

Create a melody over a simple groove (usually a rhythm and chord combination giving an effect or feel) Use of “At the Movies” content from Music Express scheme (focus on composition), to link with History.

Improvise, working in a structure such as ternary (ABA form) on glocks REVISIT - Mozart Ah, vous dirai-je Maman Ternary Form composition, and extend.

Use of Life Cycle content from Music Express scheme (focus on structure)

drone,ostinato or simple sequence of notes

Play the Boomwhackers; working through prepared powerpoints, Lion Sleeps Tonight. In doing so…

Explore how triads are formed and play them as a simple accompaniment

Maintain own part on a pitched instrument in a small ensemble

Create a melody over a simple groove (usually a rhythm and chord combination giving an effect or feel) This could be a pentatonic glock pattern over B/W chords Compose lyrics to match a melody

Arrange a song as a class with voices and instruments To the tune of “Frere Jaques”, played on B/W

confidence and a sense of ensemble

Perform own compositions to an audience

Revision of previous grooves for Summer Fayre performance

End of year concert Use technology to capture, sample, sequence, loop and manipulate sound to create soundscapes

/ composition Garage band and Music Maker JAM

chord

harmony

crochet

quaver

minim

time signature

paired quavers

semibreve

semiquavers

semibreve

duration

rest

crescendo

diminuendo

mezzo piano

fortissimo

pianissimo

mezzo forte

pitch

step/leap

triad

major

minor

scale

dynamics

tempo

timbre

playing by ear

improvisation

pentatonic scale

texture

structure

lyrics

staff notation

communication

tuned percussion

untuned percussion

ostinato

drone

ensemble

groove

ternary

melody

accompaniment

arrange

round

Year 6

Every Term Year 6 Will Have Opportunity To:

Singing, Playing and Performing:

• Sing confidently in a wide variety of styles from a broad range of traditions and eras with greater accuracy, expression, and a sense of ensemble
• Sing longer phrases with greater control
• Communicate the meaning and mood of the song
• Perform songs from memory with attention to phrasing, dynamics, and accuracy of pitch, for an assembly or special occasion
• Perform with sensitivity to different tempi and a fuller range of dynamics
• Use technology to keep a record of work in progress and record performances

Listening, Appraising and Musicianship:

• Use musical vocabulary and knowledge to discuss features of music from a variety of styles, traditions, and cultures, including performances of their own and others’ compositions
• Distinguish differences in timbre between a variety of instruments and combinations of instruments and sounds
• Recognise, identify features of expression (phrasing, melody, harmony, dynamics, metre, and tempi) in an extract of live or recorded music
• Use and understand musical terms (duration, dynamics, harmony, pitch, rhythm, syncopation, structure, texture, tempo, timbre, groove, ensemble, arrange)

Term 1

Term 2

Term 3

Term 4

Term 5

Term 6

Singing repertoire to include:

“John Kanakanaka” and “Concentration Navigation” as a round

Read and play known notation confidently from rhythm notation cards/scores, up to four parts

Reading notated rhythms and performing these in groups with up to four parts

Singing repertoire to include:

“Swing Low, Sweet Chariot”

Maintain an accompaniment to a melody using block chords, or a bassline Explored through singing repertoire, with the use of drone notes

Developing ideas considering the musical elements

Performance of the cup rhythms will involve

Singing repertoire to include:

“Bump Up Tomato”

Sing songs with syncopated rhythms Sing “Bump Up Tomato” as an ensemble

Maintain a part of three or four-part songs, rounds and partner songs with accuracy and increasing confidence, e.g., parts mixed within each group

Singing repertoire to include:

Continue to play by ear on pitched instruments, extending the length of phrases or melodies played Listening to short melodic phrases using notes C,D and E and repeating these on the clarinets/recorders

Maintain own part on a pitched instrument, engaging with others, in a small ensemble or larger

ensemble

Singing repertoire to include:

Extending melodies beyond 8 beats, creating a satisfying shape, over a fixed groove

Exploring characteristics of various styles, and traditions

Through listening starter activities – focus on Romantic era

Experiment with a wider range of musical

Singing repertoire to include:

Perform on a range of instruments in mixed groups to an audience, with confidence and a sense of ensemble

Perform own compositions to an audience

End of year concert

– perform clarinet/recorder

compositions

Creating music with multiple sections

Work in groups to create a four part body percussion piece

Developing ideas using musical devices, including both repetition and contrast

Explain and understanding how a canon works, and to incorporate this within their body percussion piece

exploring dynamics and changes in tempo

Longer melodies (8-16 beat) using a pentatonic scale (Glocks for 2 weeks) Learn to play the pentatonic melody of “Swing Low, Sweet Chariot” on the Glocks.

Add another part into the two-part round of “John Kanakanaka” and “Concentration Navigation” to create a three-part song that can be sung in smaller groups with parts in harmony

Melodies with pairs of phrases (question and answer) using scales G major and E minor Explain the keys of G major and E minor through chords on the ukulele. Then introduce the scales from this, composing 2 bar question and answer phrases using tab

Enhance either melody above with rhythmic or chordal accompaniment In small groups, a chordal accompaniment part will be played with rhythmic strumming, and the 2 bar question and answer phrases will be played on top of this to create a melody

Small group composition task – clarinets/recorders

Play melodies on tuned percussion or melodic instruments, written on one stave, C to C with dynamics Through clarinets/recorders and improvised melodies

Recognise, play more confidently C to C from a stave.

Through clarinets/recorders

Know time signatures 2/4, 3/4, 4/4 semi-breves, minims, crotchets, quavers, crotchet, and their rests

dimensions, such as broader dynamics and richer textures Composition success criteria will include the effective use of the musical dimensions in their clarinet/recorder compositions/performanc es

Use musical vocabulary and knowledge to help identify areas for development or refinement when composing

Students will keep a log of their composition process, using their musical vocabulary and knowledge

Use musical vocabulary to discuss the success or effectiveness of the composer’s choices for a piece of music

Through listening starter activities

Compose using technology in ternary structure Music Maker JAM

Refine own compositions after discussion

Using their composition log and feedback given, refinements can be made to their compositions

Use a range of graphic symbols, note names, known rhythm and staff notation to record compositions

Arrange a song as a class with voices and instruments Arrangement of “Swing Low, Sweet Chariot” including voices, ukuleles, clarinet/recorders

minim

semibreve

chord sequence

triad

gospel

folk

gamelan

samba

djembe

reggae

tradition

culture

musical devices

baroque

classical

syncopation

choral

instrumental

staccato

legato

piano (dynamics)

forte

articulation

diction

enunciate

ensemble

bass/ treble clef

block

12-bar Blues

Bop/ Scat

harmony

harmonise

improvisation

dynamics

tempo

timbre

loop

the “off-beat”

syncopation

rhythm

pitch

structure

spotting

Sound maker

swing

drum machine

effects processor

film score

Folk [music]

editing

splicing

special effects

theme

motif

choreograph

beat/pulse

recording studio