Correcting an error

‘Good try, but can you hear that slide? So actually it’s a trombone not a French horn.’

Watch and listen to video extract of instrumentalists playing both French horns and trombones.

Why don’t you spend some time on the musical instruments CDROM? It will help you with the identification of the instrumental sounds.

Providing information

‘Yes, what you’re talking about is called a dissonance. What you have identified is that this is where you hear several sounds that seem to clash: it’s useful for creating tension in music.’

Listen to extracts of film music or create dissonance by playing on a keyboard to exemplify the musical device.

Playing clusters of notes in a very close position to each other can often produce dissonance. Try making note clusters at different pitch levels (different octaves) on the keyboard and selecting different sounds.

Appraising and giving praise

‘That would make sense, good thinking. Has anyone else tried to add another percussion part in the chorus?'

Share the pupil’s MIDI file with the rest of the class allowing them to hear and learn from the good work.

Well done, Liam, excellent thinking. The chorus does work better with an alternative rhythmic pattern.

Improving quality

‘Try that again. This time include an improvised keyboard part using the pentatonic scale.’

Demonstrate the possible styles of improvisation that would suit the arrangement using a prepared MIDI sequence.

When you are developing improvisations using the pentatonic scale remember to use simple repetitive sequences.

Focusing and redirecting learning

'That's a complex percussion track for the introduction. Move on to developing one for the verse, now, as that is also important.'

Play a selection of percussion styles or starting points to support the generation of new material for a new section of the piece.

If you get stuck for ideas in the future, Carl, go on to the school network and listen to some interesting percussion or drum patterns that could help you move forward.

Confirmation and moving learning on

‘Yes, that’s right; now you can see how the phrasing helps you sing through the last phrase.’

Demonstrate, by singing through the last section of the piece, how the accurate use of phrasing supports the fluent performance of the melodic line.

Always remember to acknowledge the phrasing, whether you are singing or playing an instrumental part. It helps to make sense of the music.

Crystallising steps

‘Let’s think about what we’ve learned so far… Now spend a few minutes deciding on two changes you will make to your bass line.’

Play the bass line through in its current form. Then play one or two examples of suitable changes that will allow the pupil to acknowledge that changes would improve it.

Make one or two suggested alterations or comments at strategic positions on the manuscript paper. Annotate the bass line to acknowledge and give credit to the work already done.

Encouraging pupils to reflect

‘Let’s just think about what we’ve discussed; is there anything else you might do to further develop the ending of your piece? Do you think the melody sounds finished?’

Play or sing alternative endings to the pupil’s piece using different melodic shapes.

Always listen carefully to the way you construct your music, Emily. Ask others to listen and tell you what they like or what they think you could further develop.