Singing

• Sing a broad range of songs, including those that involve syncopated rhythms. This should include observing rhythm, phrasing, accurate pitching and appropriate style.
• Continue to sing three- and four-part rounds or partner songs, and experiment with positioning singers randomly within the group.
• Perform a range of songs as a choir in school assemblies, school performance opportunities and to a wider audience.

Listening

The following styles of music will be introduced as well as recapping on styles that have been taught in previous years. 

Western Classical Tradition and Film:

• Romantic- Tchaikovsky
• 21st Century – Anna Meredith

Popular Music:

• 90s RnB- Destiny’s Child

Musical Traditions:

• Middle East- Folk- Reem Kelani
• England- Folk- Sea Shanties
• Poland- Folk- Chopin
• Argentina- Tango- Piazzolla

Improvise

• Create music with multiple sections that include repetition and contrast.
• Use chord changes as part of an improvised sequence.
• Extend improvised melodies beyond 8 beats over a fixed groove, creating a satisfying melodic shape.

Compose

• Plan and compose an 8- or 16-beat melodic phrase using the pentatonic scale (e.g. C, D, E, G, A) and incorporate rhythmic variety and interest. Play this melody on available tuned percussion and/or orchestral instruments. Notate this melody.
• Compose melodies made from pairs of phrases in either G major or E minor or a key suitable for the instrument chosen.
• Either of these melodies can be enhanced with rhythmic or chordal accompaniment.
• Compose a ternary piece; use available music software/apps to create and record it, discussing how musical contrasts are achieved.

Performing

• Play a melody following staff notation written on one stave and using notes within an octave range (do–do); make decisions about dynamic range
• Accompany this same melody, and others, using block chords or a bass line. This could be done using keyboards, tuned percussion or tablets, or demonstrated at the board using an online keyboard.
• Engage with others through ensemble playing (e.g. school orchestra, band, mixed ensemble) with pupils taking on melody or accompaniment roles. The accompaniment, if instrumental, could be chords or a single-note bass line

Reading Notation

• Further understand the differences between semibreves, minims, crotchets, quavers and semiquavers, and their equivalent rests.
• Further develop the skills to read and perform pitch notation within an octave (e.g. C–C/ do–do).
• Read and play confidently from rhythm notation cards and rhythmic scores in up to 4 parts that contain known rhythms and note durations.
• Read and play from notation a four-bar phrase, confidently identifying note names and durations.