The Contemporary Music Course has direct links to the following aims and attainment targets of the secondary school music curriculum of England.

Curriculum Aims

To explore how music is created, produced and communicated, including through the inter-related dimensions: pitch, duration, dynamics, tempo, timbre, texture, structure and appropriate musical notations.

Curriculum Attainment Targets

By the end of key stage 3, pupils are expected to know, apply and understand the matters, skills and processes specified in the programme of study.

The course supports these four extracts from the curriculum:

Subject content - Key stage 3

In the following lesson list the strands within which the lessons fit are identified as:

• A Pupils should develop their vocal and/or instrumental fluency, accuracy and expressiveness; and understand musical structures, styles, genres and traditions.
• B Use staff and other relevant notations appropriately and accurately in a range of musical styles, genres and traditions.
• C Identify and use the inter-related dimensions of music expressively and with increasing sophistication, including use of tonalities, different types of scales and other musical devices.
• D Develop a deepening understanding of the music that they perform and to which they listen, and its history.

Some lessons have links to sample video so you can get a feel for the presentation style of the courses content.

The Language of Music 1

• Rhythm 1/8th notes A B
• The notes on the keyboard A B
• From Keyboard to Stave A B
• Name the notes A B
• Rhythm and Pitch A B
• Triads (3 part chords) A B
• 'C' triad voicings and questions A B
• Scales - why we need to learn them A B
• What notes to make sharp (1) A B
• What notes to make sharp (2) A B
• Keyboard fingering sharp keys
• How to write the Sharp Key Signatures A B
• Relative Minors A B
• Rests A B
• Accidentals A B
• Sight Singing A B
• Sight Singing ex 1 A B
• Sight Singing ex 2a A B
• Sight Singing ex 2b A B
• Sight Singing ex 3a A B
• Sight Singing ex 3b A B
• Sight Reading 1 A B
• Sight Reading 2 A B
• Dotted Notes A B
• Stems A B
• Sight Reading 3 A B
• Sight Reading 4 A B
• Sight Reading 5 A B
• Sight Reading 6 A B
• Swing Time A B
• Swing time exercise A B
• Straight and Swing Rhythm exercises A B
• Repeat Signs A B
• Straight and Swing Sight Reading A B

The Language of Music 2

• Rhythm - 1/16th Notes (1) A B
• Rhythm - 1/16th Notes (2) A B
• Rhythm - 1/16th Notes (3) A B
• Shuffle Time A B
• 1/16th exercise 1 A B
• 1/16th exercise 2 A B
• 1/16th exercise 3 A B
• 1/16th exercise 4 A B
• The Flat Keys A B
• Relative Minors A B
• Flat Key Fingering
• Intervals A B
• Sight Reading ex C Major A B
• Sight Reading ex Bb Major A B
• Sight Reading ex D Minor A B
• Pickups A B
• Sight Reading ex G Minor A B
• F#, C# and Gb Major A B
• Articulation A B C
• Dynamics A B C
• Dynamics and Articulation sight reading A B C
• Transposition A B C
• Time Signatures A B C

Chords & Harmony 1

• Triads and key signatures (Q&A) A B C D
• How to transcribe chords A B C D
• Three part chords transcriptions A B C D
• Diatonic Triads and 4-5-1 A B C D
• Chord transcription 1 A B C D
• Chord transcription 2 A B C D
• Diatonic 4 part chords
• 2/5/1 and chord substitution A B C D
• Chord transcription 3 A B C D
• Chord transcription 4 A B C D
• Chord transcription 5 A B C D
• Common Tones 1 A B C D
• Descending Bass Lines A B C D
• Chord transcription 6/Slash Chords A B C D
• Use of Slash Chords, Descending
• Bass Lines, the Closest Inversion A B C D
• Chord transcription 6a A B C D
• Name these 2s and 5s,
• Double flats and double sharps A B C D
• Diminished/Augmented chords A B C D
• The Upper Extensions A B C D
• The 1 Chord A B C D
• The 5 chord A B C D
• Triads/Bass notes A B C D
• 1, 2 and 5 chord extensions and reductions A B C D
• More 5 chord options A B C D

Chords & Harmony 2

• Chord transcription 7 A B C D
• Chord transcription 8 A B C D
• Chord transcription 9 A B C D
• Power Chords A B C D
• Four-part chord transcriptions A B C D
• Common Tones 2 A B C D
• The Dominant 9^thin Jazz A B C D
• Diatonic Chords in Minor A B C D
• Three minor scales/2,5,1 in minor A B C D
• Chord Transcription 10/lead-sheets A B C D
• Jazz standards/Lead sheets/Root Movement A B C D
• Temporary Key Areas A B C D
• Key Areas Assignment A B C D
• The Dominant 13#11 A B C D
• Chord transcription 11 A B C D
• Block Harmony introduction A B C D
• Block Harmony demonstration A B C D
• Block Harmony assignment A B C D

The Kit Drummer

• Writing for Drums A B C D
• Drum Patterns and Grooves A B C D
• Swing Time A B C D
• Big Band Accents A B C D
• Shuffle Time A B C D
• Drums Pattern 1 A B C D
• Drums Patterns 2 A B C D
• Drums Patterns 3 A B C D
• Drums Transcription 1 A B C D
• Drums Transcription 2 A B C D
• Drums Transcription 3 A B C D
• Drums Transcription 4 A B C D
• Toms and Fills. A B C D
• 'Live' or programmed drummer A B C D

Rhythm Section and Horns

• The Electric Guitar A B C D
• Guitar and Keyboard Session Parts 1 A B C D
• Guitar and Keyboard Session Parts 2 A B C D
• Jazz/Rock Horns 1 A B C D
• Jazz/Rock Horns analysis 1 A B C D
• Jazz/Rock Horns analysis 2 A B C D
• Dance Track 1 A B C D
• Dance Track 2 A B C D
• Dance Track 3 A B C D
• Dance Track 4 A B C D

Orchestral Harmony

• Chorale Voicings 1 A B C D
• Chorale Voicings 2 A B C D
• Chorale voicings 3 A B C D
• Chorale Voicings 4 A B C D
• Orchestral Voicings intro A B C D
• The Violin A B C D
• The Viola A B C D
• The Cello A B C D
• Voicing the Strings 1 A B C D
• Balancing the Strings A B C D
• Voicing the Strings 2 A B C D
• Voicing the Strings 3 A B C D
• Brass Section example A B C D
• Voicing the Brass 1 A B C D
• Voicing the Brass 2 A B C D
• Voicing the Brass 3 A B C D
• French Horns example A B C D
• Voicing the French Horns 1 A B C D
• Voicing the French Horns 2 A B C D
• The Woodwinds example A B C D
• Voicing the Woodwinds A B C D
• The Saxophone Section A B C D
• Voicing the Saxophones A B C D
• The Big Band A B C D

Two Part Harmony and Counterpoint

• Thirds and Things A B C D
• Parallel Motion A B C D
• Two Part Contrary Motion A B C D
• Contrary Motion Exercise A B C D
• Two Part Counterpoint 1 A B C D
• Two Part Counterpoint 2 A B C D

Arranging Notes

• Anticipations/Dynamics/Arco A B C D
• Pizzicato/Doubling the 1^stviolins
• Harmonics/Listesso A B C D
• /Writing Strings Rhythmically
• Double Stops/Playing A B C D
• Techniques/Articulation
• Background Lines A B C D
• Concert and Transposed Score A B C D
• Sketch and Score A B C D
• Orchestral Score Analysis 1 A B C D
• Orchestral Score Analysis 2 A B C D

Rock Musicians - Session Project

• The 'making of' the original recording D
• Libretto A B C D
• Master Score A B C D
• Lead sheet A B C D
• Singer/actress A B C D
• Keyboards A B C D
• Guitar A B C D
• Bass Guitar A B C D
• Drums A B C D