YEAR 9 MUSIC
Course Overview
Half Term 1
TOPIC
Theme & Variation: Caprice op. 1 (Paganini); Composing Variations
Theme & Variations
 What is a theme and how do variations work?
 Reading and understanding of the historical context, key terminology of the Theme &
Variation technique and how in particular it is used in Paganini’s Caprice
 Listening to Caprice op. 1.; watching a clip from a documentary on Paganini
Caprice op. 1 (Paganini); Composing Variations
 Learning and reading 2/4 time signature
 Learning and reading semi-quaver and their dotted rhythms
 Learning the melodic minor scale in A
 Learning to read, rehearse, and play the melody line to Caprice op. 1 on tuned percussion
and other student instruments (string, wind, brass, piano)
 Learning how to improvise/compose a variation to line 1 of the Caprice
 Learning accompaniment textures including ostinati, the broken chord and/or chord
progression to the Caprice within the class/group rehearsal/performance
 Working collaboratively in groups to play the Caprice op.1 (Paganini) with ostinato
introduction and solo improvisation/composition to line 1 from all students within the group
Common Assessments
1) Performance (Group of 4/5): Caprice op.1 (Paganini)
2) Listening Test: Theme & Variations
Half Term 2
TOPIC
Dance & Hip-Hop: Electronic/Dance/Ambient Hip-Hop Composition
Dance & Hip-Hop
 Reading and understanding of the historical context, key terminology of Dance & Hip-Hop
Music from the 1980’s –present day, focusing on the various sub-style, writing/sequencing
/studio effects and techniques
 Listening to several key tracks which define those sub-styles (e.g. House, Ambient, HipHop)
Electronic/Dance/Ambient Hip-Hop Composition
 Working collaboratively in pairs to compose a stylistic electronic dance, ambient or hip-hop
composition utilising the techniques learned and following the composition steps W.S.
Common Assessments
1) Composition (Partners 2): Dance/Electronic/Hip-Hop track
2) Listening Test: Dance & Hip-Hop Music
Half Term 3
TOPIC
Folk Music of England: Scarborough Fair, Jolly Bold Robber (English trad.)
Folk Music of England
 Reading and understanding of the historical context, key terminology of Folk Music of
England.
 Listening to Scarborough Fair, Jolly Bold Robber (English trad.)
 What is a mode? How is the Dorian mode used in Scarborough Fair (English trad.)
Scarborough Fair (English trad.)



Learning and reading the Dorian mode, comparing it to the D minor melodic scale
Learning and reading the melody to Scarborough Fair (English trad.)
Learning the melodic minor scale in A
Common Assessments
1) Performance (Group 4/5): Scarborough Fair (English trad.)
2) Listening Test: Theme & Variations
Half Term 4
TOPIC
32-bar (ternary form) Modal Jazz: So What (Davis); Dorian Composition
Modal Jazz: So What (Davis)
 Reading and understanding of the historical context, key terminology of 32-bar (ternary
form) jazz song structure, 1950’s modal jazz and the techniques associated with the style
 Listening to So What (Davis)
 What is a mode? How is the Dorian mode used in Scarborough Fair (English trad.)
Dorian Composition
 Working collaboratively in pairs to compose a stylistic 32-bar Dorian Composition, utilising
the techniques learned and following the composition steps W.S.
Common Assessments
1) Composition (Partners): 32-bar Dorian Composition
2) Listening Test: 32-bar Song Structure/Modal Jazz
Half Term 5
TOPIC
Jamaican Popular Music: I Shot the Sheriff (Marley)
Jamaican Popular Music
 Reading and understanding of the historical context, key terminology of Jamaican Popular
Music, specifically the styles of Jamaican R&B, Ska, Rock-Steady, and Reggae.
 Listening to I Shot the Sheriff (Marley)
I Shot the Sheriff (Marley)
 Learning to sing I Shot the Sheriff (Marley) as a class
 Learning the notation, rehearsing, and performing I Shot the Sheriff (Marley) on tuned
percussion and student instruments and vocals (piano/keyboard, guitar, brass, etc.)
Common Assessments
1) Performance (Class OR Group of 4/5) I Shot the Sheriff (Marley)
2) Listening Test: Jamaican Popular Music
Half Term 6
TOPIC
Music For Motion Picture: Motion Picture Composition


Reading and understanding the historical context, key terminology and stylistic features of
Music For Motion Picture from the 1930’s–present day, focusing on the various composition
techniques used
Listening/Watching several key motion picture scores which define the picture that they are
accompanying
Motion Picture Composition
 Working collaboratively in pairs to compose a stylistic composition for Motion Picture
utilising the techniques learned and following the composition steps W.S.
Common Assessments
1) Composition (Partners 2): Motion Picture Composition
2) Listening Test: Music For Motion Picture
ICHS MUSIC DEPARTMENT
We aim to provide a challenging and enriching music curriculum for all
students, regardless of their previous musical experience or current
ability. Students will study music through an integrated programme of
performing, composing, and listening & understanding.
These disciplines are covered in carefully designed modules lasting half
a term each. They are studied through the medium of instruments and
music computer technology. The modules are aimed to develop
instrumental and vocal skills, theoretical awareness, compositional
techniques, as well as an understanding of a variety of musical styles
from various periods and traditions.
Recommended Preparation Class Lessons
Access to music recordings at home would be an advantage. Students
should listen to a variety of music from different styles and genres. This
could be as simple as taking time out to listen to recordings or the
radio, or by attending live music concerts.
Recommended Preparation for Extra-Curricular
Ensembles/Clubs
Studying an instrument or singing is a wonderful opportunity to learn a
new skill and to work collaboratively with others by rehearsing and
performing together. Joining a School Ensemble is strongly
recommended for any instrumental player or singer.