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Edexcel GCSE 2009 Music
Linear Scheme of work designed for teaching over two years

ractical su!!ort to hel! you deliver this Edexcel s!ecification
Scheme of work
This scheme of work has been produced to help you to implement this Edexcel specification. It is offered as an example of one possible
model that you should feel free to adapt to meet your needs and is not intended to be in any way prescriptive. It is in an editable word
format to make adaptation as easy as possible.
"ther course !lanning su!!ort
You will find other support for planning the course in the original Teachers uide. This is a free downloadable resource that you can access at
http://www.edexcel.com/quals/gcse/gcse!/music/"ages/de#ault.aspx
#eaching resource exem!lars
The scheme of work contains suggestions for resources that you can use to support your teaching. These are suggestions only of material
you may find useful and you are encouraged to use a wide range of resources that suit the needs of your students.
"ther Edexcel teaching resources
!earson Education produces of wide range their own teaching resources" including#
Student Book" by $onny %artin and $ohn &rkell
Teacher Guide" by $onny %artin and $ohn &rkell
Anthology of Music (Print)" by $onny %artin and $ohn &rkell
Anthology audio CD set
Music Listening Papers and Teachers Book !ith CD"#o$
You can find out more about all of the above resources at http#''www.edexcel.com'(uals'gcse'gcse)*'music'!ages'resources.aspx
We are also working with a range of publishers to support you+ textbooks have been produced to support this sub,ect by#
-einemann
.hinegold
Edexcel additional su!!ort
&sk the Expert / puts you in direct email contact with our senior sub,ect experts.
Edexcels community / message boards designed to enable you to access peer0to0peer support from fellow Edexcel teaching and
delivery staff in schools and colleges.
Edexcel GCSE Music
Edexcel linear scheme of work$ designed for teaching over two years%
&s a sub,ect" music can be more rewarding to teach when lesson ideas last longer than a single" hour0long session. It is noted that many
centres have fortnightly timetables" sometimes with a different number of lessons each week" and that there are many different ways to
organise a timetable in terms of lesson length and fre(uency. &s such" this scheme of work has been arranged in blocks of lessons" to allow
for more flexibility in how each section is delivered. The lesson ideas and week numbers in this scheme of work are calculated on the basis of
1.2 to 3 hours of teaching time in each week.
The set works have been ordered in such a way as to avoid excessive repetition or unnecessary revisiting of concepts 4for example" the four
songs are blocked together to avoid revisiting song structure" etc with the delivery of each set work5. It is envisaged that teachers will be
able to teach the set works as discrete entities or deliver the course in a more holistic fashion" as befits individual teaching styles. The
scheme of work allows for teaching the set works through integrated composing and performing tasks or to separate lessons into the
individual components. The time necessary for recording performances and compositions has been factored into the scheme" with some
suggested opportunities for recording the practical work noted in the 6content coverage column.
%ost set works have been performed by professional ensembles" sometimes many times and in many different forms. !erformances will be
available in 787 format from many different sources 4e.g. ama9on.co.uk or play.com5 and YouTube is always a very useful visual resource.
&s these websites are fre(uently updated" links have not been provided for individual sessions and set works. & search for the title of the set
work in the relevant website or a search engine will return many useful links.
It is highly recommended that" where resources allow" as much as possible of each set work is performed in some fashion in the classroom to
allow students to access the work actively" rather than passively listening to each piece.
Edexcel GCSE Music
Linear scheme of work for teaching over two years
&ear '0
week
Content coverage
Learning
outcomes
Exem!lar activities Exem!lar resources
(eeks
')2
*ntroduction to GCSE Music
Melody and +armony,
roup improvisation sessions using#
1 8oices
3 :wn instruments
; <nfamiliar instruments.
Introduction to 130bar blues form.
-.nits ' and 2/
To explore the use of
the pentatonic scale
and'or dorian mode
and simple methods of
developing a ; or =
note motif
To build confidence and
trust with fellow
musicians
To develop an
understanding of the
harmonic structure of
the 130bar blues.
>tudents are led in whole class
improvisation sessions" using an
appropriate song or backing se(uence.
They may continue to work as a whole
class or split into smaller groups for
further exploration.
(eeks
0)1
Melody and +armony,
Miles 2avis, 34ll 5lues6 -4oS 0/
?rief overview of the origins of ,a99
and the place of %iles 7avis within
the genre.
The use of the 130bar blues structure
within 6&ll ?lues and development of
the harmonic se(uence.
?rief analysis of the track.
.elevant musical vocabulary
including# ragtime" ,a99 styles 4inc.
swing" bebop etc5" blue note"
changes" head" frontline" comping"
chromatic" turnaround.
.nit ', 7ecord im!rovisations as
3*m!rovising as !art of an
ensem8le6%
Choose a solo !erformance !iece
to 8e recorded in the next 9)'0
weeks%
To develop students
understanding of
improvising techni(ues
in the context of ,a99
and blues
To understand the
context of the set work
as part of a genre0
changing album
To learn about the
origins of ,a99 with its
roots in the blues
To be able to identify
the main features of
6&ll ?lues using
appropriate musical
vocabulary.
>tudents continue improvising
activities" using the dorian mode over
the 6&ll ?lues se(uence
They learn one or two riffs from the
track and perform them as an
ensemble
>tudents compose a 130bar blues
pattern with some alterations to the
basic se(uence for other class
members to improvise over.
@or useful background on ,a99" see The
History of Jazz by Ted ioia 4:xford" 1***5
@or useful background on %iles 7avis" see
Kind of Blue by &shley Aahn 4ranta" 3))35
6&ll ?lues score available in the Edexcel GCSE
Anthology of Music ed. $ulia Winterson
4!earson Education" 3))*5 4pages B)0BC5
&udio available on the Edexcel Anthology of
Music CD 43))*5 / D73" track 1
&nalysis of the set work and a selection of
listening (uestions available in the Edexcel
GCSE Music Student Boo! by $ohn &rkell and
$onny %artin 4!earson Education" 3))*5
4pages *10*25
Domposition tasks available in Edexcel GCSE
Music Teacher "esource #ac! by $ohn &rkell
and $onny %artin 4Edexcel" 3))*5 4pages ;*0
=35 and Edexcel GCSE Music Student Boo!
4page 13)5
(eeks
:)'2
Melody and +armony,
*ndian Music, 37ag 2esh6 -4oS ;/
Eisten to the performances of 6.ag
7esh by &noushka >hankar" Dhiran,i
Eal Tanwar and >teve orn'?en,y
Wertheimer.
%ake connections between the
performers use of the .ag and the
use of modes by 7avis et al.
.elevant musical vocabulary
including# gharana" raga" rasa" alap"
,har" ,halla" gat" bandish" tala" bols"
matras" sam" teental" meend" tan"
bansuri" shehnai" esra," tambura"
tabla" sitar" sarangi" sarod"
pakhawa,.
.nit ', 7ecord im!rovisations as
3*m!rovising as !art of an
ensem8le6%
5egin recording solo
!erformances%
.nit 2, 7ecord com!osition
tasks%
To develop students
understanding of
improvising techni(ues
in the context of Indian
music
To look at alternative
approaches to the use
of melody and harmony
To understand the role
of the drone" rag and
rhythmic tala in Indian
music
To be able to compare
the different
realisations of the rag"
understanding why the
same rag can be
interpreted so
differently and
expressing their
findings using
appropriate musical
vocabulary.
>tudents perform group improvisations
using .ag 7esh
>tudents compose a short composition
task using a drone" a tal 4e.g. Aeherwa
Tal5 and .ag 7esh.
>core of .ag 7esh available in the Edexcel
GCSE Anthology of Music ed. $ulia Winterson
4!earson Education" 3))*5 4pages 1))01);5
&udio available on the Edexcel Anthology of
Music CD 43))*5 / D73" tracks 20*
&nalysis of the three performances and a
selection of listening (uestions available in the
Edexcel GCSE Music Student Boo! by $ohn
&rkell and $onny %artin 4!earson Education"
3))*5 4pages 1=)01=35
Domposition tasks available in Edexcel GCSE
Music Teacher "esource #ac! by $ohn &rkell
and $onny %artin 4Edexcel" 3))*5 4page 2=5
and Edexcel GCSE Music Student Boo!
4pages 123012;5.
(eeks
'0)';
Staff notation -.nits '$ 2 and 0/
To understand the
basics of staff notation
including the main
symbols used and how
they relate to the
students own
instruments'voice.
>tudents internalise the concept of
rising'falling pitch by step and leap by
singing extracts of melodies from any
of the set works or from other songs.
& selection of music theory worksheets 4which
may be photocopied for classroom use5 is
available in Edexcel GCSE Music Teacher
"esource #ac! by $ohn &rkell and $onny
%artin 4Edexcel" 3))*5
4pages FF0*35
& chapter introducing the main concepts of
music theory" harmony and the musical
elements is available in the Edexcel GCSE
Music Student Boo! by $ohn &rkell and $onny
%artin 4!earson Education" 3))*5 4pages 1C=0
1BC5.
(eeks
'<)':
*ntroduction to the musical eras,
5aro=ue$ Classical and 7omantic
-4oS '/
?rief overview of the musical
developments 1F))01B** including
historical context. .eferences will be
made to elements of the notation to
reinforce previous learning.
.nit ', Continue recording solo
!erformances%
Choose ensem8le !erformances
to 8e rehearsed and recorded
over the next :)'2 weeks%
To develop an
understanding of the
chronological development
of western classical music
from 1F))01B** 4&rea of
>tudy 15
To understand the historical
context of the music.
Dlass listens to#
0 -andel 6&nd the lory of the
Eord
0 %o9art 61st %ovement of
>ymphony no. =)
0 Dhopin 6!relude no. 12" :p. 3B
as a starting point.
:ther related pieces may also be
used. >tudents research the
composers backgrounds and make
presentations to each other.
&n introduction to the musical eras is
available in the Edexcel GCSE Music Student
Boo! by $ohn &rkell and $onny %artin
4!earson Education" 3))*5
4pages F0B" 1C033 and ;=0;F5.
(eeks
'9)22
Melody writing and
harmonisation -.nit 2/
.nit ', 7ehearse ensem8le
!erformances%
.nit 2, *n!ut harmonised
melodies into a com!uter
!ackage and record as
com!osing tasks%
To write short melodic ideas
in staff notation
To be able to harmonise
melodies using primary and
secondary triads.
>tudents may use some of the
ideas they developed in the
improvising sessions and notate
these 4possibly in a simplified
fashion5 or write completely fresh
melodic motifs. They apply some
development techni(ues to their
melodic ideas and place them in a
simple structure 4such as B or
1F0bar &&?&5. They harmonise
their melodies using primary and
secondary triads.
& selection of music theory worksheets 4which
may be photocopied for classroom use5 is
available in Edexcel GCSE Music Teacher
"esource #ac! by $ohn &rkell and $onny
%artin 4Edexcel" 3))*5 4pages FF0*35
& chapter introducing the main concepts of
music theory" harmony and the musical
elements is available in the Edexcel GCSE
Music Student Boo! by $ohn &rkell and $onny
%artin 4!earson Education" 3))*5 4pages 1C=0
1BC5.
(eeks
20)29
4rea of Study ',
+andel, 34nd the Glory of the
Lord6
Eisten to the set work" placing it in
context.
.elevant musical vocabulary
including# oratorio" libretto"
recitative" aria" chorus" perfect
cadence" plagal cadence" pedal
point" imitation" monophonic"
homophonic" modulation" tonic and
dominant.
.nit ', 7ehearse and record
ensem8le !erformances%
To understand the context
of the set work as part of
one of the most well0known
and loved of all oratorios
To understand the position
and role of the set work in
the overall oratorio
To develop an
understanding of the use of
?aro(ue conventions within
the set work
To recognise and be able to
use relevant musical
vocabulary
To recognise the forces
used in the recording
including >&T? choir.
>tudents perform as much of the
piece as is feasible with the
available resources
Dlass listens to the set work"
focusing on various musical
elements and answering (uestions
on these 4including identifying the
forces used" texture" dynamics"
etc5
>tudents form opinions on the set
work" expressing this with valid"
musical ,ustification
Dlass goes to see a performance of
the full oratorio by a local choral
society or watch a 787 of a
performance.
?acking tracks available as %I7I files or as an
orchestral backing 4eg on >piritrax.com5
>core available in the Edexcel GCSE
Anthology of Music ed. $ulia Winterson
4!earson Education" 3))*5 4pages B01=5.
&udio available on the Edexcel Anthology of
Music CD 43))*5 / D71" track 1.
&nalysis of the set work and a selection of
listening (uestions available in the Edexcel
GCSE Music Student Boo! by $ohn &rkell and
$onny %artin 4!earson Education" 3))*5
4pages 201F5.
Domposition tasks available in Edexcel GCSE
Music Teacher "esource #ac! by $ohn &rkell
and $onny %artin 4Edexcel" 3))*5 4pages 1;"
1=5 and Edexcel GCSE Music Student Boo!
4pages =F" =C5.
(eeks
21)00
4rea of Study ',
Mo>art, 3'st Movement from
Sym!hony no% ;06
Eisten to the set work" placing it in
context.
.elevant musical vocabulary
including# symphony" sonata form"
exposition" development"
recapitulation" 1st and 3nd sub,ect"
bridge passage" orchestra 4and
sections thereof5" se(uence" dynamic
markings" chromatic" ma,or and
minor.
.nit ', 7ehearse and record
ensem8le !erformances%
.nit 2, *n!ut ternary form !iece
into a com!uter !ackage?
rehearse !iece and record as a
com!osition task%
To understand the context
of the set work and its place
in the genre as a sonata
from 1st movement of a
classical symphony
To learn about the
importance of structure
within classical works and of
the role played by tonality
and key structure
To learn about sonata form
and its main elements as
evidenced in the set work
To be able to identify the
elements that make this an
archetypal piece of music
from the classical era
To recognise and be able to
use relevant musical
vocabulary.
To be able to recognise the
sound of all the instruments
in the classical orchestra.
>tudents learn the first and second
sub,ects by performing them on
their own instruments or voices.
>tudents compose a short piece in
ternary form 4where ? uses
elements of &" developing them5
or compose two themes for solo
instrument to be organised using a
simple version of sonata form
Dlass listens to the set work"
focusing on various musical
elements and answering (uestions
on these 4including identifying the
forces used" texture" dynamics
etc5
>tudents form opinions on the set
work" expressing this with valid"
musical ,ustification.
>core available in the Edexcel GCSE
Anthology of Music ed. $ulia Winterson
4!earson Education" 3))*5 4pages 120==5
&udio available on the Edexcel Anthology of
Music CD 43))*5 / D71" track 3
&nalysis of the set work and a selection of
listening (uestions available in the Edexcel
GCSE Music Student Boo! by $ohn &rkell and
$onny %artin 4!earson Education" 3))*5
4pages 3)0;;5
Domposition tasks available in Edexcel GCSE
Music Teacher "esource #ac! by $ohn &rkell
and $onny %artin 4Edexcel" 3))*5 4page 125
and Edexcel GCSE Music Student Boo! 4page
=B5.
(eeks
0')0;
4rea of Study ',
Cho!in, 3relude no% '< from "!%
2:6
Eisten to the set work" placing it in
context.
.elevant musical vocabulary
including# dynamic markings" key
signatures" pedal point" sustain pedal
4including score markings5"
sostenuto" legato" cantabile"
acciaccatura and rubato.
.nit ', 7evisit recordings of
!erformances and re)record if
necessary%
Choose new !erformance !ieces
for recording after the summer
holidays%
.nit 2, 7ecord com!osing task%
To understand the context
of the set work as part of
the romantic piano
repertoire
To learn about the
development of the piano
and the virtuoso musician in
the context of the romantic
era
To recognise the use of
romantic conventions within
the set work. To recognise
and be able to use relevant
musical vocabulary.
Teacher or a student might
perform the piece" or students
might go to see it performed'
watch a 787 of a performance
>tudents compose a short piano
piece 4or a piece for playback on a
computer5 making use of a pedal
note" exploring chords that work
alongside the pedal
>tudents listen to the set work"
focusing on various musical
elements and answering (uestions
on these
>tudents form opinions on the set
work" expressing this with valid"
musical ,ustification
>tudents perform self0assessment
of performances and composition
tasks using adapted versions of
the mark schemes.
>core available in the Edexcel GCSE
Anthology of Music ed. $ulia Winterson
4!earson Education" 3))*5 4pages =20=C5
&udio available on the Edexcel Anthology of
Music CD 43))*5 / D71" track ;
&nalysis of the set work and a selection of
listening (uestions available in the Edexcel
GCSE Music Student Boo! by $ohn &rkell and
$onny %artin 4!earson Education" 3))*5
4pages ;C0=25
Domposition tasks available in Edexcel GCSE
Music Teacher "esource #ac! by $ohn &rkell
and $onny %artin 4Edexcel" 3))*5 4pages 1F5
and Edexcel GCSE Music Student Boo!
4pages =*5.
&ear ''
week
Content coverage Learning outcomes Exem!lar activities Exem!lar resources
(eeks
');
7hythm,
@oko, 3&iri6 -4oS ;/
Eisten to the performance of 6Yiri by
Aoko.
.elevant musical vocabulary
including# ostinato" improvisation"
cross0rhythm" polyrhythm"
syncopation" master drummer"
balaphones" mbira" vocables"
d,embe" donno" dundun and oral
tradition.
.nit ', 7ecord !erformances of
&iri%
To explore the use of
rhythmic motifs and ostinati
To learn the set work
through performing it
To develop improvising
skills through the
exploration of rhythmic
elements.
>tudents learn some of the
rhythmic ostinati and balafon parts
>tudents perform the piece"
creating a uni(ue realisation based
on the main ideas in the set work
>tudents go to a rhythm
workshop'invite a drum workshop
into school.
>core available in the Edexcel GCSE Anthology
of Music ed. $ulia Winterson 4!earson Education"
3))*5 4pages 1)=011)5
&udio available on the Edexcel Anthology of
Music CD 43))*5 / D73" track 1)
&nalysis of the set work and a selection of
listening (uestions available in the Edexcel
GCSE Music Student Boo! by $ohn &rkell and
$onny %artin 4!earson Education" 3))*5 4pages
1=B012)5.
(eeks
<)'9
Songwriting -.nit 2/,
5ernstein, 3Something6s Coming6
-4oS 2/
5uckley, 3Grace6 -4oS 0/
Mo8y, 3(hy 2oes My +eart Aeel
So 5ad6 -4oS 0/
Ca!ercaillie, 3Skye (aulking
Song6 -4oS ;/
&nalysis of musical structures used
in the songs.
Identifying the use of
instrumentation" harmony"
accompaniment and production
features in the songs.
.elevant musical vocabulary
including# dance" production"
melodic intervals" guitar chords"
67rop07 tuning" blue notes" push
rhythm" overdubs" se(uencer"
sampler" EG" reverb" delay" flanger"
slide" hammer0ons" pull0offs" string
bending" uillean pipes" fiddle"
accordion and bou9ouki.
.nit ', 7ehearse and record solo
and ensem8le !erformances%
?ernstein# To understand
the context of the song as
part of a musical / the
placement of the song
within West >ide >tory as a
whole and the meaning of
the lyrics in the context of
the plot including
understanding the character
of Tony
To explore the rhythmic
interest in the song and the
use of the orchestra to
accompany the singer
?uckley# To understand the
context of the song as a
guitar0based track written in
the early 1**)s
To recognise the harmonic
implications of guitar chords
4studying the harmony from
the perspective of the guitar
chord shapes rather than
from a western harmony
perspective5
To understand the
>tudents perform the songs
insofar as resources allow
@or a larger scale composing
activity students compose a song
using the set works as a starting
point for structural ideas and
production tips etc
Dlass listens to the set works"
focusing on various musical
elements and answering (uestions
on these
>tudents form opinions on each of
the songs" expressing these with
valid" musical ,ustification.
@or useful background on musicals" see Musicals
by Aurt Hn9l 4Darlton" 3))15
@or useful background on ?uckley" see Drea$
Brother % The &ife and Ti$es of Jeff and Ti$
Buc!ley by 7avid ?rowne 4@ourth Estate" 3))15
&n interview with %oby can be found in the
monthly publication Sound on Sound 4@ebruary
3)))5
>cores available in the Edexcel GCSE Anthology
of Music ed. $ulia Winterson 4!earson Education"
3))*5 4?ernstein / pages 2*0F=" ?uckley /
pages BB0*3" %oby / pages *;0*=" Dapercaillie
/ pages *20**5
&udio available on the Edexcel Anthology of
Music CD 43))*5 / 4?ernstein / D71" track 2"
?uckley / D73" track 3" %oby / D73" track ;"
Dapercaillie / D73" track =5
&nalysis of the set works and a selection of
listening (uestions available in the Edexcel
GCSE Music Student Boo! by $ohn &rkell and
$onny %artin 4!earson Education" 3))*5
4?ernstein / pages FF0C;" ?uckley / pages
1)20111" %oby / pages 11=011*" Dapercaillie
/ pages 1;101;=5
Domposition tasks available in Edexcel GCSE
importance of production
elements in creating the
overall texture
To recognise the guitar
techni(ues used
Music Teacher "esource #ac! by $ohn &rkell
and $onny %artin 4Edexcel" 3))*5 4?ernstein /
pages 3C03B" ?uckley / pages =;0==" %oby /
pages =20=F" Dapercaillie / pages 2102;5 and
Edexcel GCSE Music Student Boo! 4?ernstein
/ pages B;0B=" ?uckley / pages 133013;"
%oby / pages 13=0132" Dapercaillie / pages
12101235.
(eeks
<)'9
-cont%/
.nit ', 7ehearse !arts to record
!erformances of songs written
8y class mem8ers?in!ut !arts
into a com!uter !ackage to 8e
used as a se=uenced
!erformance?record songs using
a multi)track recorder as an
ensem8le !erformance using
music technology%
.nit 2, 7ecord com!ositions and
!re!are a score?commentary%
%oby# To understand the
context of the song as a
chart0bound dance track
To recognise the use of
technology in the track
including se(uencing"
sampling and use of studio
effects
To understand the
importance of sampling and
its treatment in the song"
making the simple
harmonies work in the
context of the song
Dapercaillie# To understand
the context of the song as a
fusion of folk and western
popular music. To learn
some of the background to
folk music and the
introduction of electric
instruments
To put the lyrics into the
context of a waulking song
To recognise the
instruments used in the set
work.
(eeks
'1)29
#im8re and texture,
Schoen8erg, eri!etie
7eich, 0rd movement from
Electric Counter!oint
Eisten to the set works" placing them
in context.
.elevant musical vocabulary
including# chromaticism" atonal"
klangfarbenmelodie" hexachord"
principal voice" secondary voice"
serialism" prime row" inversion"
retrograde" retrograde inversion"
enharmonic" verticalisation"
repetition" ostinato" cells" loop"
phasing" note addition'subtraction"
augmentation" diminution" layering"
metamorphosis" resultant melody"
modal.
.nits ' and 2, 7ehearse for a
!erformance of the
com!osition?in!ut the !iece into
a com!uter !ackage for use as a
se=uenced !erformance%
.nit ', 7e)record solo and
ensem8le !erformances as
a!!ro!riate%
.nit 2, 7edraft com!ositions as
a!!ro!riate%
To understand the very
different approaches used
by >choenberg and .eich in
their use of timbre and
texture as evidenced in the
set works
To understand the use of
atonality and modality in
the pieces as well as the
use of the other musical
elements
To learn about the context
of the set works in the 3)th
Dentury repertoire and how
they represent different
strands in the diversity of
western classical music in
the 3)th Dentury
To explore composition
techni(ues using
hexachords 4or serial
techni(ues5 and minimalist
development techni(ues as
a method of understanding
the ethos of the two styles
To identify the difference in
performance re(uirements
for the two pieces.
@or a larger scale composing
activity / >choenberg# &
composition using the concept of
hexachords or serialist techni(ues
.eich# & composition using the
principles of minimalism to
develop ostinati
Dlass listens to the set works"
focusing on various musical
elements and answering (uestions
on these
>tudents form opinions on each of
the set works" expressing these
with valid" musical ,ustification.
@or 3)th Dentury compositions" see Music of
the T'entieth Century % Style and Structure
by ?ryan .. >imms 4>chirmer" 1**F5
>cores available in the Edexcel GCSE
Anthology of Music ed. $ulia Winterson
4!earson Education" 3))*5 4>choenberg
pages =B02B" .eich pages F20C*5
&udio available on the Edexcel Anthology of
Music CD 43))*5 / 4>choenberg D71" track
=" .eich D71" track F5
&nalysis of the set works and a selection of
listening (uestions available in the Edexcel
GCSE Music Student Boo! by $ohn &rkell and
$onny %artin 4!earson Education" 3))*5
4>choenberg pages 2=02B" .eich pages CB0
B15
Domposition tasks available in Edexcel GCSE
Music Teacher "esource #ac! by $ohn &rkell
and $onny %artin 4Edexcel" 3))*5
4>choenberg pages 3103F" .eich pages 3*0
;;5 and Edexcel GCSE Music Student Boo!
4>choenberg page B3" .eich pages B=0B25.
#his grid is for you to create your own scheme of work if needed%
(eek Content coverage
Learning
outcomes
Exem!lar activities Exem!lar resources
(eeks
21)02
7evision and Exam re!aration,
ractice !a!ers and revision aids
To revise the main
features of the set
works" revisiting the
pieces in a much more
condensed way" putting
them into the context
of the &o>
To revise the relevant
vocabulary for each set
work in the context of
its &o>
To become familiar with
(uestioning styles used
in the examination
paper
To become familiar with
the layout of the
examination paper.
>tudents complete blank vocabulary
lists
>tudents sing some of the important
themes'melodies of the set works from
memory
Teacher asks (uestions on each of the
set works" covering each of the
following#
musical elements
6spot the instrument
stating and ,ustifying opinion
extended response
context of each set work
completing notation' identifying
correct notation from multiple choice
chord identification 4eg in
%oby'Dapercaillie etc5
any other listening (uestions
pertinent to specific set works.
>tudents complete fact sheets on each
set work
>tudents take mock listening
examinations under timed"
examination conditions.
& revision glossary and full glossary 4which
may be photocopied for classroom use5 are
available in Edexcel GCSE Music Teacher
"esource #ac! by $ohn &rkell and $onny
%artin 4Edexcel" 3))*5 4pages *;01)B5
& chapter introducing the examination and
exam techni(ue" revision tips etc is available
in the Edexcel GCSE Music Student Boo! by
$ohn &rkell and $onny %artin 4!earson
Education" 3))*5 4pages 1FF01C;5
Edexcel D>E %usic >ample &ssessment
%aterial 4specimen paper5 is available in the
specification folder 4Edexcel" !ublications code
<)3)23B5
; individual practice papers are available
within a pack# Teacher ?ook" D7 and !ractice
Eistening !apers &" ? and D by $ohn &rkell
and $onny %artin 4!earson Education Etd."
3)115
(eek Content coverage
Learning
outcomes
Exem!lar activities Exem!lar resources

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