GCSE Music

Scheme of work: Texture
This resource is a scheme of work to help you teach our GCSE Music specification (8271). The subject content of the four areas of study focuses strongly on the musical elements. We recommend that the three components (understanding music, performing and composing) are taught holistically. This scheme of work is designed to strengthen the connection between listening, performing and composing. It highlights how many of the musical elements are universal and can be applied across different genres and styles of music. You can adapt this scheme of work to suit a variety of circumstances. It covers:
 all four areas of study
 how to integrate listening, performing and composing to support progression through the activities
 the relationship between the area of study and the musical elements to demonstrate universality
 musical elements taken from the area of study musical elements tables in the specification.
Focus: Texture
Area of study 1(AoS)
Melody: scalic, arpeggio, passing notes, diatonic, sustained
Harmony: diatonic, perfect, imperfect, plagal
Tonality: major,
Structure: Anthem
Sonority: Baroque orchestra, arco, continuo, timpani
Texture: homophonic
Tempo, Metre, Rhythm: andante maestoso, common time, regular rhythms
Dynamics/Articulation: piano, forte, crescendo, diminuendo, subito forte
Phrasing: legato
Area of study 2 (AoS2)
Melody: guitar riff, piano riff, hook, imitation,
Harmony: major/minor, broken chords, modulation
Tonality: major
Structure: popular song structure
Sonority: recorder, vibraphone, ‘cello, viola, guitar, synth
Texture: homophonic, accompanied melody, contrapuntal (vocal), unison, octaves,
Tempo, Metre, Rhythm: changing metre, syncopation, 4/4 time
Dynamics/Articulation: fortissimo, crescendo, piano, legato, accent
Area of study 3 (AoS3)
Melody: stepwise
Harmony: major, perfect, imperfect
Tonality: major
Structure: 16 bar melody
Sonority: guitar, solo voice, vocal harmony, mandolin, double bass, ukulele, fiddle, xylophone
Texture: accompanied melody, contrapuntal movement in instruments
Tempo, Metre, Rhythm: andante, 3/4,
Dynamics/Articulation: legato, piano, vocal ornamentation
Area of study 4 (AoS4)
Melody: chromatic, motifs, ornamentation
Harmony: consonance, dissonance
Tonality: minor, modal
Sonority: orchestral timbres
Texture: imitative, fugal, contrapuntal
Structure: sonata allegro
Tempo, Metre, Rhythm: syncopation, allegro, changing metre
Duration of scheme of work: 5 weeks
Week 1: Homophonic Texture in the Baroque (AoS1)
 Listen to and evaluate the opening choral (homophonic) section in Handel’s Zadok the Priest.
 Performance – class performance of the same section either by ear or teacher arrangement.
 Composing – vocal/instrumental chordal/homophonic writing.
Week 2: Accompanied Melody texture in Folk. (AoS 3)
 Listen to and evaluate Kate Rusby’s Who will sing me Lullabies.
 Class performance of the song, teacher/student accompaniment.
 Composing – Live or tech instrumental/vocal melodic composition. 16 bar melodic writing, balanced phrases, ¾ time.
Week 3: Accompanied Melody texture in Pop. (AoS 2)
 Listen to and evaluate Coldplay’s Clocks.
 Performing – technology performance of Clocks.
 Composing task. Vocal and or melodic writing above a 2/3 chord pattern of broken chords.
Week 4: Contrapuntal Texture in Rock. (AoS2)
 Listen to and evaluate the On Reflection by Gentle Giant (Progressive Rock)….preferably YouTube version live 1978, reflecting on contrasting homophonic/contrapuntal textures.
 Performance – students to improvise instrumental/vocal homophonic textures to a given chord sequence.
 Composing tasks – vocal/instrumental melodic canonic writing.
Week 5: Contrapuntal Texture in 2Oth century orchestral (AoS4)
 Listen to and evaluate the finale from Bartok’s Concerto for Orchestra (fugal sections).
 Whole class/small group melodic performance of teacher prepared chromatic/non-diatonic melodies.
 Composing – vocal/instrumental imitative wring either diatonic or non-diatonic.