The Story of “Performing Arts Leaders”

In the summer of 2018 we surveyed many groups of people across our community to gauge opinion on a range of factors relating to Manor Performing Arts. One aspect was the summer production.

The challenge is how we can have a summer performance event that has a positive impact on the learning and experience of the 672 students who currently study performing arts at Manor for 2 hours every week as well as the 100 or so others who no longer study music, dance or drama, but who love to take part in our events.

A single full production is a great project to do together, but there is always a restrictive limit in the number of parts available or indeed the space available to safely perform on the stage.

Many people in our survey wanted an opportunity for everybody to be involved, but equally many also wanted a single full musical theatre production. Therefore a decision was taken to produce a single full production every 2 years and an ‘Ultimate Summer Showcase’ every year in between, which would feature many performances from different productions.

For this year, we chose to present Disney’s High School Musical, involving 40 of our young people. As the number is such a low percentage of our performing arts population, we began to consider how those 40 could share their experience with the wider community and this was the start of ‘Performing Arts Leaders’. For this to be successful, we needed to find young people who are passionate about development in Performing Arts.

Students applied for this opportunity in the autumn term, initially in writing and then through 3 stages of music, dance and drama auditions. Students were applying to be a Performing Arts Leader, which in this academic year would also give them a role in High School Musical.

This was the criteria we challenged students to consider. We were looking for young people who:

– are ambitious about their learning in performing arts

– want to achieve at the highest level possible

– are ready to share what they learn with others

– are determined to find a solution, even when it seems impossible

– want to learn at every opportunity from specialists in performing arts

– are always looking for opportunities to encourage others

– want to be part of a team

– have 100% commitment to a project, attending all meetings, rehearsals and events with exceptional organisation and punctuality

Our Performing Arts Leaders are an incredible, inspiring, encouraging group of people. They go above and beyond in everything they do. They make a genuine positive difference to the people they work with. They are like a family.

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What’s next…

Summer 2020’s production will be an ‘Ultimate Showcase’ featuring:

Manor young Musician of the Year

Manor young Dancer of the Year

Manor young Actor of the Year

12-15 full production performances of ultimate performance choices from our community. These could be from: musical theatre, pop music, film, dance or anything else

Collaborations between dance, drama and music

Specific performances for KS3 and Ks4 students

Performing Arts Leaders’ Performance

Live music tech performance

Live multi-art performance

There will be 3 identical performance nights at Manor as well as a performance in the centre of York as part of the York HubFest 2020 Festival.

Performing Arts Leaders 2018/19 will be invited to continue as leaders for 2019/20, however the responsibility will be greater in 19/20 to include:

– Taking co-responsibility with staff for the design and delivery of performances

– Leading rehearsals and encouraging peers and younger students

– Taking a leading solo role in the showcase as part of a larger company

Students not wishing to continue as leaders may still partake in the showcase not as a leader, but they must confirm their plans to the PA staff by the end of the summer term.

In the autumn term students will have the opportunity to apply to be a performing arts leader if not in the 2018/19 cohort.

The planning and development team for Showcase 2020 will be led by a team consisting of performing arts staff and selected performing arts student leaders.

The impact of Performing Arts Leaders through High School Musical has been significant. Many of the 40 young people have had a life-changing experience. These 40 have already begun to disseminate ‘best practice’ across the academy. The ambition for 2020 is to give as many young people as possible the opportunity to experience a public performance in performing arts as well as then taking our show into the city to encourage many young people across the city.

Timescales

July 2019 – students, teachers, parents and friends reflect on, and share their ultimate performance art performance through an online survey.

September – December 2019 – new Performing Arts Leaders recruited. Leaders team confirm the show items. Whole student community given opportunity to sign up for specific items – no audition required. The commitment for rehearsals will not be year-long. Each item will come with a 10-12 week commitment.

Before January 2020, the focus will very much be on the York Minster Carol and autumn performances, as well as GCSE coursework development.

January to June 2020 – rehearsals, preparations for each item.

June 2020 – showcase at manor and in York

Building the ‘Ultimate Extra’

The ‘Extra’ is always a choice. I aspire to creating ‘Ultimate Extra’, which ensures every minute of every day is filled with opportunity. It is not contractual, however the difference it makes to every student and their wider community is so significant, it’s a choice worth making. The students are always my first thought, but it is greatly inspiring to me too and creates many more opportunities for me to develop in my own learning. It creates a richness in what we do together every day and develops strong, trusting relationships.

Yesterday was a remarkable day. Completely exhausting, but filled with so much joyful ‘Extra’ that any sense of weariness just disappeared to leave a sense of great encouragement for all.

My ‘Friday 5th April’

0815 Prayers with Archbishop of York John Sentamu and 30+ Manor staff

0840 House Assembly with my form 9DL

0915 Meeting and warm-up with Manor ‘Voices’ choir

0930 Open rehearsal with the Archbishop, his team and leaders of Hope Learning Trust (watch here)

Read the story of “I am free” here

1000 Year 8 – Final ‘Production’ lesson about Mastering

1100 Break – Student opportunity to share iPad Music Production work with the Archbishop’s team

1120 Year 7 – Final ‘Performance’ assessment lesson

1220 Lunch – GCSE Performance Exam Recordings & Composition Workshop

1320 Year 9 GCSE Music lesson. Looking over recent mock results in context, initial questions from students and reflective discussion about specific questions

1420 Year 11 Enrichment lesson, including setting up for studio recording

1520 Studio recording with Year 8 Songwriting winner Isaac and guest vocalist Maggie Wakeling

1830 Home time

The ‘Extra’ things from yesterday are shown in Italics.

The ‘Extra’ is always a choice. I aspire to creating ‘Ultimate Extra’, which ensures every minute of every day is filled with opportunity. It is not contractual, however the difference it makes to every student and their wider community is so significant, it’s a choice worth making. The students are always my first thought, but it is greatly inspiring to me too and creates many more opportunities for me to develop in my own learning. It creates a richness in what we do together every day and develops strong, trusting relationships.

It creates school-wide impact, variety, opportunity, enjoyment, fulfilment, encouragement and more. It creates a culture of great exploration and experience, which encourages students to study more deeply and independently. Every ‘Extra’ is different but relevant.

As a teacher, ‘Ultimate Extra’ creates a unique, positive mindset. Without it, the natural ‘thinking about the job’ time becomes focused only on the classroom, the data, seating plans etc… The different mindset means all those things that have to happen, just happen. And instead, you get to imagine the next exciting opportunity.

If I’ve learned one thing from designing the ‘Extra’ at Manor in the last 9 years, it’s flexibility! In a school with so much going on, we have to be flexible and others have to do the same. For example, I used to get so frustrated when asked to use a lunchtime for detention duty as I’d have to cancel a choir rehearsal, but these days we just take those times as an extra challenge. If it is a choir, students will begin the rehearsal themselves and I’ll come in later. This shares great responsibility with them, especially if we have an event coming up.

Another example of flexibility is seasonal ensembles. Often visitors ask how it’s possible to do all that we do as I’m a one-man-music-department. The truth is, I may be the only full-time member of staff at Manor, but I have a fantastic team of instrumental specialists and we develop the music provision together. This in itself, creates a great sense of richness as there is such a variety of expertise in the team. I really enjoy leading many activities every week, but really my role is very much as ‘chief encourager’. The seasonal ensembles programme works as follows:

Term 1 – September to December

Students of all ages and abilities. Opportunities for all to grow and make music together. Additional ensembles for advanced students are designed for anyone, but are for those who want to explore music more deeply. Advanced ensembles are accessed through invitation or audition and younger students are encouraged to work towards these. Repertoire is designed towards a performing arts festival in October and Nine Lessons and Carols at York Minster in December. Also a parents, staff and friends community choir. Often there are 8-10 performances in term 1 including for example: York Food Festival, BBC Radio performances, awards evening, seniors’ Christmas party etc… Term 1 also includes the audition process for our Performing Arts Leaders’ programme.

Term 2 – January to April

A major focus on final recordings and composition workshops for Year 11 GCSE Music students. Also early collaborative dance, drama and music rehearsals for our biannual summer musical production. Student production band begins. Other instrumental tutor-led ensembles continue.

Term 3 – April to July

Manor Concert Orchestra and Band78 groups combine to focus on pushing our technical skills, exploring more complex music but in a way accessible to all ages and abilities. Choirs and worship band are combining this year to lead a huge event for York Diocese at Selby Abbey on 5th July. Final rehearsals and production development for our major summer production, this year is Disney’s High School Musical 26-28th June. Tickets here.

The summer production is biannual as a result of student and parent voice. The consensus at the last discussion was that students and their families really wanted to have the full west-end type experience, but the challenge is how to make that a possibility to the 652 students who study performing arts with us for 2 hours every week. (And the other 100 or so who don’t, but still want to be involved). Hence, we launched our Performing Arts Leaders’ Programme, to select 40 students who would not only become the company for High School Musical, but would learn leadership skills to be able to disseminate their experiences and skills across the community. We’ve decided to have this style of production biannually, so that in ‘the other year’ everybody who wants to be part of a mahoosive ultimate summer showcase can be involved. Summer 2020 will be particularly exciting as we’re also planning to contribute to the YorkHub summer festival.

In additional to the vast programme of tuition, rehearsals, workshops, recordings and performances, another hugely important ‘Extra’ is competitions. There are many competitions throughout the year, some for specific groups of people and some open to anyone. Competitions inspire creativity and invention as students aspire to developing something unique and of exceptional quality. Last night’s recording was for Isaac’s song “The Fight”. The song was one of 97 original songs written last year by Year 8 students at Manor. Isaac’s winning song was chosen by a panel of songwriting and production experts. Isaac’s prize is for the song to be produced and released worldwide to platforms such as Spotify, Apple Music & iTunes. All proceeds from the song will go to Isaac’s choice of charity, which is Scope.

Photo (below): Great collaboration in song production yesterday between Isaac (Manor CE Academy) and Maggie Wakeling (Archbishop Holgate School)

Other popular competitions this month have been Theta Revision and MusicIn60. Theta Revision is an online league table encouraging students to develop their aural understanding in preparation for the GCSE listening exam. This competition was for year 9s as they prepare for their first full mock paper. The highest scoring students received Easter eggs!

As I hope to encourage people more widely to get into iPad music creation, the international competition is still open. Deadline for entries is now a few weeks away. Full details here.

ORASingers #PerfectInspiration

Last night I was fortunate to be at LSO St Luke’s in London to listen to ORASingers. It was the second time I’ve experienced the choir live, the first being at Manchester Cathedral with 40 or so of our students (aged 13-15) in February 2018.

After last night’s performance I tweeted:

Why #perfectinspiration?

For me, ORASingers symbolise a perfect solution in music.

1. Always something new

“ORA Singers was established with the aim of commissioning 100 new works by 100 different composers in 10 years.” (www.orasingers.co.uk)

It’s very easy as a music teacher to ‘stick to what you know’. Often the challenges in recent years have been to adapt what we do to changes in policy or assessment – in practice, not a particularly musical process. This creates a real risk of us becoming disinterested in our passion, the music itself. As creatives, there should always be an aspect of ‘finding the new’ in music as well as keeping hold of the opportunities that repeatedly inspire us. ORASingers’ aspiration encourages composers to reflect on the much loved works of Renaissance music and we should do the same. For me, a new model for music education must encourage space and time for teachers to reflect on all aspects of their teaching and to discover the music most impactful for their unique culture of students, but with flexibility to encourage constant development in what and how we learn together.

2. Flawless Performance

If asked to pinpoint why I’m most inspired by ORASingers, it’s the seemingly effortless precision of vocal performance. It is flawless. Every note is purposely placed, with truest timbre, exact articulation – perfectly consistent with all similarly articulated notes, perfectly tuned, and each note tonally and dynamically shaped with control of expression from beginning to end. When every voice is so perfectly placed, the richness in overall timbre is incredible. This sense of quality is there in each of the individual voices before combining together with the others, with no one voice standing out as superior in quality or importance. This example for young people beginning to sing and communicate in music together is unmatched. It therefore should be our focus in the classroom too. Why not challenge our young people to aspire to flawless perfection. In previous blogs I’ve described how counterproductive target grades based on KS2 Maths and English are. Even though as we consider each individual student’s potential in music, aiming for full marks is restrictive. Aim beyond, teach beyond. Who knows what can be unlocked.

Reflecting on the GCSE Music performance mark scheme, it is relatively straightforward to find ‘the right notes in the the right order’. It is also relatively straightforward to understand and play a rhythm correctly. Students with determined aspirations, should be able to understand pitch and rhythmic aspects easily. The second aspect of assessment, ‘expression & interpretation’, is far more challenging as it requires the young person to engage with the music, and it’s only through a deeper, spiritual understanding of the music that they’re able to deliver the performance, and fully bring it to life. The ‘accuracy’ is the only aspect of the performance that could be (vaguely) related to the KS2 Maths. Since enjoying the last concert with ORASingers at Manchester Cathedral, the difference in how our students have approached their performance work is vast. We are incredibly grateful to the choir who organised for our students to attend for free.

3. #youngpeopleareawesome

“Our young people have much imagination, curiosity and creativity already inside them. The role of the music teacher is to help them to unlock what’s already inside”. Julian Watson

I wonder how many of us would truthfully consider this when planning a new unit of work. Martin Fautley helpfully talks about how important it is to focus on the learning in curriculum design, rather than the assessment. Julian’s comment, challenges us to go even further to consider the individual young person. From recent experiences of teaching composition using technology and having a particular focus on how to make GCSE Music accessible to those who love music, as opposed to those who happen to already play an instrument or sing, I can completely relate to the importance of designing a flexible approach that encourages ALL students to explore their own unique musical gift.

This year ORASingers have run an amazing Composers Competition aimed at high school aged students. I can’t wait to hear what the chosen 10 young people have designed to be performed by ORASingers.

4. The importance of us all being different together.

Absolute inclusion. Music is for everybody.

Just before last night’s concert an audience member arrived who was occasionally very loud before the concert began. I have to admit that, during Suzi Digby’s spoken introduction, it crossed my mind as to whether or not the choir may be distracted by the sudden sounds coming from the audience. However, from the moment the choir began to sing last night, I can’t remember a single moment when I felt distracted by the wonderful sound in front of me. It was perfect and inspiring from beginning to end.

Sometimes we really have to work to recognise that everyone is different and to not become transfixed by things contrary to our personal expectations. A musical product of the highest quality requires everyone working together to ‘make it work’, just as the voices in ORASingers do, fitting perfectly together. Each stakeholder has a responsibility in the performance. Each must maintain their own ‘quality’, no matter the circumstances, while constantly working to find new ways to work together. Just in the same way that conflict is necessary to see resolve, a balance of dissonance and consonance in musical harmony is important in creating a sense of contrast in the development of musical ideas. In a faculty team, it’s ok (and healthy) that people don’t agree as long as they leave opportunity to listen to each other, leading (hopefully) to a point of collective resolve.

Another wonderful experience providing new thoughts, perspectives and ideas to share. Thank you again to Suzi and the team at ORASingers.

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Blog Post title photo from: https://www.barbican.org.uk/whats-on/2018/event/ora-singers-renaissance-maria

No part of this article has been written with the permission of ORASingers. I am equally not affiliated with the group. I’m just a very fortunate audience member.

A Real-World Solution To Create Impact In Music Progression

This is specifically written for school leaders, for heads of music and for the parents of my GCSE music students.

We’ll shortly be going into Year 9 mocks. Historically in a 3-year KS4, it has always felt too early to be awarding an attainment grade as the GCSE Music qualification requires much applied development of knowledge to allow students the opportunity to access the full range of marks.

However since becoming an examiner, I’ve learned that my perceived ‘full range of marks’ is not necessary to grade work in an earlier part of the course. I will never meet the students I’m examining for, but it is clear from the evidence I’ve seen and reports I’ve heard that there are many challenges students around the country face in helping them to maintain a sense of progress in what they do. Some students do not have the same teacher all the way through their course, in some cases illness prevents subject leaders from being present at key times and then there are many individual changes of circumstances for the students themselves.

In most situations there isn’t an ideal setting, however just as described in my “real-world knowledge” post, if we Know the students, we can inspire them to be ambitious about their GCSE outcome over 3 years of study.

When examining I often find myself reflecting to try and imagine the circumstances each student has worked in when composing their music. In a range of 0-36, I’ve experienced work across the full available range of marks, including some that is far beyond GCSE standard. This is therefore helpful to consider. Imagine a year 9 student who has an inspirational teacher. Due to ill health the teacher is away for their year 10 and most of year 11 and although the school does what it can to cover the subject specialist, the year 9 student struggles to independently make progress. The greatest progress has therefore been made in year 9 and their musical understanding has mostly come from that year. So the progress in year 9, however simplistic it feels, is crucial. I wonder if they’d have had the opportunity to write a complete piece of original music in year 9, whether it would be of a comparable standard to what was submitted for coursework in year 11?

A flexibility in mind-set is required, that doesn’t require students to have learned all one perceives necessary to succeed before testing. As soon as a composition is written, immediately then analysis, evaluation, discussion and marking can take place.

This year, I’ve encouraged our Y9 and 10 GCSE students to self-assess their work as they look to be more independent. To support this, I’ve simplified the mark scheme as below. Students are not trying to give a specific mark – they’re trying to fit the music they create into a category.

Complex & Inventive (8/9) – 32-36

Developing with devices (6/7) – 25-31

Music makes sense (4/5) – 20-24

Works but repetitive (3/4) – 16-19

Clashes (2/3) – 12-15

Not in control (1/2) – 0-11

I still continue to teacher-assess work to ensure students understand what each category means in practice. However this extra interaction helps to encourage conversation about quality and development of product.

How to really know our music students.

In my earlier blog about measuring students’ ability in music, I described how every student is completely unique and therefore un-definable. Every student has a different musical experience profile. Using the KS2 Maths & English data to ‘know where a student started in music’ is nonsensical. However I still consider that measure as an indicator of ‘academic ability’. It’s not necessary to argue what ‘academic’ means in relation to this, but it does provide our first comparative measure that categorises students (very) generally as top, middle and lower ability. If we consider their ‘academic ability’, alongside the following categories it is possible to create a range of Year 9 GCSE Music starting points.

Thus I’ve developed 6 discrete musical starting points, each beginning a coloured line, for students to advance from. The KS3 grades below can be understood more here. At the start of Year 9 I meet with each individual student and we decide together, which of these best describes their experience so far. This best-fit is only temporary as the system encourages students to far exceed their potential.

The 6 Music Lines of Development

Lower B – Purple Line – expected grade at end with good progression 3, with outstanding 4

– No instrument on entry

– Basic aural ability

– No extra-curricular experience

– No awareness of music theory

– KS3 result in music D (developing) or S- (nearly securing)

– “Lower” academic ability

Lower A – Red Line – expected grade at end with good progression 4, with outstanding 5

– No instrument on entry

– Basic aural ability

– Some extra curricular experience

– Minimal awareness of music theory

– KS3 result in music S (securing) or S-

– “Middle” academic ability

Middle B – Orange Line – expected grade at end with good progression 5, with outstanding 6

– May or may not have grades 1-2, but some instrumental experience

– Regular extra curricular involvement

– Secure aural ability

– Awareness of functional theory (understanding of how music works)

– KS3 result in music S

– “Middle” academic ability

Middle A – Yellow – expected grade at end with good progression 6, with outstanding 7

– May or may not have grades 1-2, but some instrumental experience

– Regular extra curricular involvement

– Secure aural ability

– Awareness of functional theory (understanding of how music works)

– KS3 result in music M (mastering) or S+ (nearly mastering)

– “High” academic ability

Upper B – Green – expected grade at end with good progression 7, with outstanding 8

– Grade 3-4 Instrument/Voice already achieved on entry

– Regular extra curricular involvement

– Strong aural ability

– Grade 2-4 Music Theory Understanding

– KS3 result in music M

– “High” academic ability

Upper A – Blue – expected grade at end with good progression 8, with outstanding 9

– Grade 5 Instrument/Voice already achieved on entry

– Regular extra curricular involvement

– Strong aural ability

– Grade 5 Music Theory already achieved on entry

– KS3 result in music M

– “High” academic ability

Progress in music is never linear. The most common rate of progress is little-by-little until the spring of year 11, when there is significant increase as things all come together. This rate of progress makes data managers nervous though. So I began to think about whether students could push their ambition much earlier in the course. With “The Wheel of Music Ambition” as it’s now apparently called, we can certainly make sure everything is in place to support them.

When I first developed the 6 starting points, it was to try to define a close-as-possible ‘musical start and end point’. Manor principal, Simon Barber asked in the development of this new system whether it was possible for students to move between the coloured lines. I initially responded ‘no’ as I’d set out specifically to try to prove a specific start and end point in music, but Simon was absolutely right and from this development we’ve created a real-world success, inspiring real ambition amongst the students.

On the first occasion of discussion with the students, they instantly made a visual connection to the London Underground map. They saw the lines as tube lines and the circles (points at which we’ve chosen to measure grades) as ‘main stations’. When at a ‘main station’, it’s possible to get onto another line. This has developed conversation amongst students about what it’s like to be on each line and the different things they’re having to think about. It’s also naturally created ambition in students wanting to discover what’s necessary to be at a higher level station when the next opportunity of grading happens. Students are also very aware of the possibility of going down to lines below, but as such no-one has ever moved down (yet).

For senior leaders, the system has created a method to ‘target-set’ based on musical experiences and musical outcomes. Ultimately this is the only information they’re really concerned with, as it gives a real-world outcome in a P8 hypothesis. Based on a starting point, it shows what should be achievable at the end of the course. It’s still not relevant to KS2 banding alone, as the calculations for progress 8 are related to, but it’s so much more helpful in our real world.

By each measuring point (3 times a year at Christmas, Easter and July), students complete the following:

– whole or part of a real GCSE Music exam paper – for AQA, section A only /68 in Y9 and 10

– Compose an original piece of music

– Perform a piece of music or create a Production Via Technology

None of these measures is ever an ‘easier version’. There’s no point. Students are graded in composition and performance as if it’s their final year 11 work. As much as targets are mentioned above as required by schools, in reality students are offered the opportunity to achieve 100% of the available marks. It is counterproductive to suggest students aim for anything less.

When I worked at Huntington School in York, headteacher John Tomsett challenged us to think like the British Cycling team had done in their preparations for the 2008 Olympic Games. They used the ‘Aggregation of Marginal Gains’ as a method to create the ultimate outcomes by constantly looking at how every detail of preparation could be improved. Inspired by this, every grading point on the GCSE course is immediately followed by an AMG point, although the AMG chart is available for students to look at whenever they like. Often AMG conversations help students to independently identity the aspect they would like to improve next. It also encourages students to plan and request specific help to advance. Students may also request a hypothesis at any time to see the impact each change will make.

AMG 1: Year 9 and 10

In the first 2 years of development, I consider the ‘long brushstrokes’ of the assessments, being careful not to over-measure and to make sure my focus is on their learning, rather than the numbers. Therefore just one number for each of composing, performance and exam each term. The far left-hand column shows their KS3 result (Developing, Securing or Mastering). Students without grades have joined the cohort from other schools at Y9. The red column of target grades based only on KS2 data is interesting to compare to the targets with good or outstanding progress created by the Musical starting points, but ultimately irrelevant. The “expected attainment December” column shows the ‘main station’ point they should reach. The column just before that shows their actual real-world GCSE grade based on grades that term. These grades are given based on the previous year’s grade boundaries and update automatically using a Lookup table (if you’re reading this and want to know how to programme that, let me know). To the left of that, the overall % is the easiest column for students to understand as ‘the bigger picture’ as they see their exam progress grow.

A great example of a real-world success already is with the student 7th down. He achieved an average of 24.2% in term one of Y10. We looked together to see that he’d particularly struggled with how to approach the listening questions and also how to retain element information contextually, so that helped to create a plan together for intervention. One half term later, he’s advanced to 43.8% and in real-life is significantly more encouraged and confident in the classroom.

Finally, the colours in the “expected attainment” column are as follow:

– Red – below the ‘main station’ point expected on that student’s coloured line

– Orange – on the ‘main station’ point

– Blue – above the ‘main station’ point

In the case of Red or Blue, the student has moved to another line.

Having completed the first term’s projects and seen how much many of the class were struggling to make the expected progress, we has some very open and honest discussions together. All students had worked hard in the first term, but something wasn’t fitting together. We realised that everyone struggled with harmony. So I put aside the scheme for this term and wrote the new harmony project described here. The impact in progress is already significant as many of the reds are now orange, and we’ve just finished for half term today. There’s still another 6 weeks of learning until Easter.

AMG 2: Y11

This version takes the mock grade as (hopefully) the worst case for the exam mark and considers the live overall result – in the gold box on the right – together with the ‘live and always improving’ coursework elements. The main focus in the last two half terms has been recordings of performance. Students can record their own performance work and securely upload using @Showbie to receive feedback. For it to count for their final exam though, it has to be recorded with me under exam conditions. The development of performance is most helpfully done on an individual basis, so we use the AMG to identify the aspects of performance students could improve. It was easier for students to calculate grades this year with the removal of UMS, so the Y11 AMG is now simpler too as it just adds up the weighted marks and compares them to the previous grade boundaries.

It is a further nonsense to compare specific individual grades in music year-on-year as no two students are comparable. But to give an indication of the impact of these AMGs and the implementation of ‘The Wheel’, grades for our centre have gone from being A*-C equiv. 67% to consistently 90%+ and A/A* from 10-30% to 40-70%. I will also say, I don’t think we’ve cracked it yet and there’s certainly lots more development to come. But this is working well for us so, if it helps, go ahead and try it at your centre.

Happy half term 🙂

Harmony & Control: Real-world curriculum design to inspire confidence and ambition in music

This term’s lessons for GCSE year 9 music are all about Harmony & Control. Control, though not an element of music, is one of the fundamental skills or levels of skill there is. Without it, the outcome is uncontrolled, messy or unintentional chaos. If we don’t model ‘control in music’, we should not be surprised when this is something our students struggle with later on.

We began 6 weeks ago by focusing on melody first, exploring how we can create a natural flow in our music, how we can split musical ideas into phrases and how a phrase usually sounds complete or incomplete at its end. From week 2, we used an ABAC melodic structure as a (Control) point of focus and decided on some other aspects of control, for example the B phrase sounding unfinished (imperfect) and C very definitely sounds finished (perfect), presenting an opportunity to discuss cadences and immediately showing connection between how melody and harmony have to be considered together.

Having composed a simple 8-bar melodic shape of the 4 phrases, we added a complementing bass line as described in my “Hot Chocolate” post.

In week 3 we discussed ‘texture’ as the layers that make up the harmony, and how we could change the relationship between how the layers worked together to vary the texture. It was also an opportunity to discuss instrumental timbre and range as we added a 2nd violin and viola to create the configuration of a string quartet. Having made these controlled (purposeful) decisions, and deciding for the moment to write diatonically in D Major and homophonically with the rhythm of the cello part, students found it very easy to ‘fill-in’ the inner voices, again using p244 of “How to Write Great Music” as below. Further interesting discussions could be heard around the class as to whether there were ‘better solutions’ of which notes to place in which instrument, which led them to independently discover how to control inner parts by making small (step-wise if possible) movements rather than larger leaps of unwanted intervals.

Still within that same lesson, about two thirds of the class continued to then create a development of their first 8 bars by incorporating scalic motifs and auxiliary and passing notes within their lower 3 parts. There was great excitement and beaming smiles around the room as students realised how straightforward it was to develop their own complex music by having a controlled consideration of melody, harmony and texture.

It is often difficult to comprehend the depth of musical understanding we can reach in any 11-16 lesson, but this new approach to harmony has this term, I feel, pushed the boundaries again. To have progressed from ‘not feeling confident about composing a simple melody’, to feeling confident enough about all of the above to independently compose beautiful music, is absolutely mind-blowing. Often our ‘high expectations’ is not enough. #youngpeopleareawesome

I decided for the moment however, that this level of depth was as far as was helpful to go in their exploration of harmony (for the moment!). Instead, from week 4, I presented a similar challenge but from a completely different angle, ensuring the task was new for everybody and completely out of their comfort zones. To succeed, they had to use the knowledge developed above and their experience of controlling music. They have to prove not only understanding, but ‘confident understanding’ to succeed in this new challenge.

In week 4 we were visited by the amazing Dr Kirsty Devaney (@KirstyDevaney) who has written a brilliant article about her time with us, including some very helpful thoughts on gender in music and technology. We are greatly appreciative of the time we were able to spend together and many of the students she met have been inspired by her time with us.

In that week, the new challenge began with a lead sheet for a song (above). Students had to study the chords in verse 2 and, using Sibelius, compose a 4-part string quartet arrangement for the 8 bars of the verse. This was to be a new timbre to be introduced in verse 2 as a development of texture in the overall production and students were encouraged to listen critically as they tried to develop a warm/rich ‘sound’ for their string parts. The second challenge was more practical, but of equal value in the composing process – they had to export the audio of their string arrangement (so now considering file format, sample rate and bit depth) and discover a secure method to transfer this into GarageBand on their iPad. I had specifically encouraged them to do this as ‘audio’ to challenge their critical listening of making sure the string parts worked before continuing. If they found there were clashes later on from not having control of the process, they would have to go through this extra part again to fix it.

Once into GarageBand, students now had to take a new risk. They had to maintain control of the harmony of their 8 bars, but compose and record parts for piano, bass guitar, acoustic guitar, drum kit and an extra drum kit track to use for fill-ins or cymbal crashes.

Some aspects of musical learning appear simpler to me, but I often learn that my understanding of simplicity or difficulty can be wrong. This was especially true in this situation – students had not realised that all instrumental parts follow the same harmony in the music. I’m not sure at which point in my own musical learning I first discovered this, but thinking about it, I’ve never taught this before. It was particularly poignant to see that even the most able seemed surprised. This discovery opened a door in their learning. It has especially given them more confidence in improvisation or recording when using unfamiliar instruments.

In her observations, Kirsty mentioned a student who had struggled with this task, becoming stuck on the development of the drum kit part. That student returned the next morning and after 3 or 4 minutes of intervention, she was creating music independently again and perhaps even more confidently than before. Often it’s so important to see moments when students ‘get stuck’ as positive. They’re opportunities for greater understanding.

Having now produced an arrangement of their verse including 4-part harmony strings, bass guitar, piano, acoustic guitar and drum kit, students this week were considering structure and texture. These are (with harmony) the most mis-understood elements of music at GCSE. The vocals for the song are still to be recorded and that will happen next half term. For now though students have to repeat the above for the chorus immediately following their ‘verse 2’.

At this point, I’m offering less controlled guidance. Students have to decide how the role of each instrument will remain consistent or develop as they go into the chorus. Which of the 8 instruments they will keep, how they will plan rhythmic changes in each part, will the energy of the music become greater or less? All of these decisions are now their own in these last two weeks. The harmonic progression is more complex in the chorus, with more changes of chord and the pattern or rate of harmonic change is also quite different. Due to an instrumental section after the chorus, that new section is also 11 bars instead of 8, so much more to consider. The video below shows my modelled example I made as they watched in yesterday’s lesson – the section you can hear took 10 minutes to model from blank screen including descriptions of where, why and how.

The song is “Oceans (Where Feet May Fall)” by Hillsong United.

Title Photo by Mike Giles on Unsplash

A Wall of 2 Sides – increasing students’ learning ambition in Music

One wall in the Manor music department is more important than any other.

Side A – The Wall of Fame

The Wall of Fame is a visual display to celebrate the achievements and progress of Music students choosing to study for graded exams. Students have a choice as to whether or not they would like to be included on the wall. On entering the academy, or completing their latest grade, exam students use a board in the music room to write down their details of instrument, grade and result. For GDPR reasons they must also sign and date to confirm they’re happy for this information to be displayed. A new coloured slip is then created and added to the Wall of Fame. The slips are in the three colours to show whether a student has received a pass, merit or distinction in their grade. This encourages discussion between students at all levels about the aspects of exams they struggle with.

A student must achieve at least a ‘grade 1 pass’ to be added to the board. When they achieve a higher grade, the previous slip is removed and they move up the wall, attempting to reach grade 8 by the time they leave us after year 11, which is usually achieved by 2 or 3 students each year. Through our tutor team, students are encouraged to develop technical competence and musical understanding, rather than focusing on taking back-to-back grades, but the most committed and passionate students can make an incredible amount of progress in a relatively short period and we are constantly challenged to create higher expectations.

Students walk past the ‘A side’ of the wall every day, whether they have a music lesson or not. Students are proud to have their achievements shown and they are encouraged to move up the wall during their time with us. Community is so important at Manor and students are encouraged to build good relationships with other musicians in the academy, no matter what year they’re in. Younger students see our higher grade students as role models and as they get older, or more advanced in their studies, they aspire to become leaders themselves.

As a leader in music it is great to celebrate with them in this way and so important that I keep track of where everybody is up to. It also helps when planning our extra-curricular programme.

Side B – The WordWall

I created the first version of the WordWall as a result of a piece of action research in my NQT year at Huntington School, York. The enquiry was looking at how we could help students to use appropriate vocabulary in their learning. The ‘wall’ began with around 200 words, but has evolved over time and its use has inspired students to be more ambitious in their studies. The latest version of the WordWall (shown above) has now developed to over 500 words. The terminology hasn’t changed in the last ten years, but the depth of understanding we are now seeking has increased greatly. This is incredibly exciting. It is not really creating more work for us, but a greater opportunity that allows us to understand more music and in more detail. The expansion challenges students to be more passionate and determined in their approach to the study of music than ever before.

How does it work?

The WordWall is fundamental in every lesson and makes musical language the starting point, reference point and focus. Towards the bottom of the wall, the ‘elements of music’ are printed in bold. These categories of musical words have a column each and are printed onto different colours of card. Elements that are closely related to each other are given a similar colour, for example ‘pulse’ and ‘tempo’. Students find it helpful to remember terminology in categories rather than individual words, just in the same way as they recognise foods as fruits, meats and breads etc. Above each element, there is a list of related ‘musical words’. The order of the words is important in each column. Dynamics, for example, are ordered from top to bottom as loud to soft. Below the elements in bold, there are words to remind students of their meaning, but these are not then used when students give answers. They just act as a safety net.

Lessons often focus on experiencing and discovering what a word means, before then having opportunity to explore how it feels to sing, perform or compose with that concept in mind. Students are encouraged to think of each term in its category or context and discuss an alternative or combination of words (or devices). This approach ensures that students are not just learning words, but understanding tools to use, which is great for composing.

The concept of printing key terminology to stick on a classroom wall has been around for years, but this is not a poster… it is an entire wall! It is very much an evolving resource as students discover more helpful ways to order the information too. The ultimate aim is to be able to describe any piece of music, from any year and from any culture or country.

I recently spoke at the Education Expo conference at Old Trafford, Manchester. During the panel discussion, a delegate asked how I even begin to plan to teach the increased depth of content in the newly reformed GCSE curriculum. I explained that, in the lesson time we have available, it is just not possible to teach every style and genre of the last 400 years. The students would also not be inspired to learn in that way. However, I can encourage my students of how to listen, how to analyse and crucially, how to discover the terminology that all of our music has in common to the point where they can confidently understand it and create their own.