DURHAM JOHNSTON SCHOOL MUSIC DEPARTMENT
KS3 SCHEME OF WORK
Year 9
Title Understanding the conventions of Theme and Variation form
Stage and Discriminate and Develop (Level 7)
Objective of Pupils will learn to develop musical ideas within the structure of Theme and Variation
Understanding form
Pupils will explore the conventions of Theme and Variation form, developing their
understanding of compositional techniques through listening and composing
Context Learn how a theme can be varied/developed through the application of different musical
techniques.
Convention, Learning how variations use;
Processes and Melodic techniques of variation
Procedures Different sections each using a different variation technique
Focus of Composing – producing a set of melodic variations on the French folk tune ‘Freres Jacques’.
Practical
Experience
Features of Pitch: Learning to alter/vary/develop a given melodic theme
Musical Rhythm: Learning to control/manipulate basic staff notation
Elements
Development of Composition – learning to manipulate, alter and vary a given theme to create a set of successful
Skills variations.
Expected Pupils will show their understanding of theme and variation form by producing a short set of
Outcome of variations on the theme ‘Freres Jacques’. These variations will be melodic and use simple devices
Understanding such as augmentation/diminution of note values. All pupils will be secure in the understanding of
this basic process. Some pupils will explore further melodic devices and a few pupils will explore
harmonic devices.
Expected Elements
Outcome of All pupils will understand the basic melodic variation techniques of augmentation and
Knowledge and diminution.
Skills Some pupils will understand more subtle and complex melodic variation techniques such
as the use of dotted rhythms and decoration.
A few pupils will understand harmonic variations techniques such as a change in tonality
and the harmonisation of a theme.
Skills
All pupils will be able to create two simple melodic variations by augmentation and
diminution of a given theme.
Some pupils will create one or more further melodic variations using techniques such as
dotted rhythms and decoration.
A few pupils will harmonise the theme and create variety in harmony, texture or tonality.
SEQUENCE OF LEARNING OVERVIEW
Learning Objective Core Activity(s) Learning Outcome National
Curriculum
PLTS
Pupils will develop their: Introduction to Variations Pupils will understand the general IE CT RL TW SM EP
concept of musical form, and, more Key Concepts
Integration of Practice
Understanding: of the concept of What is form in music? specifically the structure of theme Cultural Understanding
Critical Understanding
form in music generally, and of What is theme and variation and variation form. They will have Creativity
variation for specifically. form? begun to explore the different Communication
musical devices used to vary a Cross-Curricular
Identity/Diversity
Knowledge: of the characteristics Initial listening – how has the theme. Health
Community
of theme and variation form. composer varied the theme, Enterprise
Sustainability
and how has it remained Technology/Media
recognisable? Creativity/Critical Thinking
PLTS
Pupils will develop their: Notation Revision Pupils will now have a more secure IE CT RL TW SM EP
knowledge and understanding of Key Concepts
Integration of Practice
Knowledge: of the names and Recapping the main note the basics of staff notation and be Cultural Understanding
Critical Understanding
values of musical notes within the values to prepare for Sibelius able to construct simple rhythms Creativity
staff notation system. work. and melodies. Communication
Cross-Curricular
Identity/Diversity
Skills: in using and controlling Covering note values, beats in Health
Community
staff notation in preparation for a bar, pitch, etc. Enterprise
Sustainability
composition Technology/Media
Creativity/Critical Thinking
PLTS
Pupils will develop their: Listening to Variations Pupils will have a bank of ideas to IE CT RL TW SM EP
refer to in future listening lessons Key Concepts
Integration of Practice
Understanding: of the different Building up an ideas bank of and in the composition activity to Cultural Understanding
Critical Understanding
musical techniques used by ways in which a theme can be provide inspiration for varying a Creativity
composers to vary a theme successfully varied. (‘Young theme. Communication
effectively. Persons Guide…’, ‘Paganinni’, Cross-Curricular
Identity/Diversity
‘Mozart’) Health
Community
Enterprise
Sustainability
Technology/Media
Creativity/Critical Thinking
PLTS
Pupils will develop their: Variations Practical Pupils will have experimented, IE CT RL TW SM EP
through improvisation, with Key Concepts
Integration of Practice
Skills: in improvising variations Pupils are given a short tune varying a given theme. This Cultural Understanding
Critical Understanding
to a simple given theme at the (e.g. opening of ‘Twinkle experience will be built upon in the Creativity
keyboard Twinkle’) which they play at composition assessment task. Communication
the keyboard and experiment Cross-Curricular
Identity/Diversity
with varying it (improvising). Health
Community
Teacher could possibly give Enterprise
Sustainability
each pupil a different method. Technology/Media
Creativity/Critical Thinking
PLTS
Pupils will develop their: Composition Task (Basic) Pupils will create a simple set of IE CT RL TW SM EP
variations on the theme ‘Freres Key Concepts
Integration of Practice
Skills: in using staff notation, Pupils follow the step by step Jacques’ which use the technique of Cultural Understanding
Critical Understanding
through Sibelius software, to instructions on the sheet to varying note lengths. Creativity
create simple, formulaic melodic complete two basic melodic Communication
variations. variations on the theme ‘Freres Cross-Curricular
Identity/Diversity
Jacques’ Health
Community
Pupils will create one or more Enterprise
Sustainability
Understanding: of more subtle Composition Task additional variations which explore Technology/Media
and effective ways of varying a (Extension) further melodic and/or harmonic Creativity/Critical Thinking
musical theme. techniques of variation.
Able pupils who are confident
with notation can compose
further melodic variations and
could also harmonise the
theme.
Name……………………………………………………. Music Group……………….
YEAR 9 MUSIC: VARIATIONS
A – A1 – A2 – A3 –
A4…
Building up a whole composition by repeating a tune several times, but each time
altering, varying or disguising it in different ways, is known as variation form or
theme and variations. This is one of the oldest musical forms, which has been
used by composers since the Renaissance, right through to the 21st century.
Spot the differences!
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Now imagine two pieces of music which have the same theme or
subject. How could the second one be varied or altered?
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2. ………………………………………………………………………………………………………..
3. ………………………………………………………………………………………………………..
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6. ………………………………………………………………………………………………………..
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8. ………………………………………………………………………………………………………..
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10. ………………………………………………………………………………………………………..
Composing a Set of Variations
on Freres Jacques
STEP 1
Play the following melody on the keyboard:
STEP 2
Create a Sibelius document, choosing a single melody instrument, selecting a 4/4
time signature and a G major key signature. Give your document a title and save
it before going any further! Enter the melody of ‘Freres Jacques’ into the first 8 bars.
STEP 3
Now think about we are going to think of ways to vary this melody.
Create your 1st variation by doubling the note values. Remember to always refer
back to the original melody to check the notes and rhythms required. This should
fill from bar 9 to bar 24. Notice that it takes twice the number of bars, because the
notes are twice as long.
STEP 4
Create your 2nd variation by shortening the note values. Remember to always refer
back to the original melody to check the notes and rhythms required. This should
fill bars 25 – 28. Notice that it takes half the number of bars, because the notes are
half as long.
STEP 5
Experiment with writing a variation of your melody using a different method of
variation. Ask your teacher for help if you need to. You can write down your
ideas first on the lines below.
NC Levels
5b A mainly accurate completion of the basic stages on the ‘Composing a Set
of Variations…’ task sheet.
5a An accurate completion of the basic stages of the ‘Composing a Set of
Variations…’ task sheet.
6c An reasonably effective attempt at an original melodic variation of the
‘Freres Jacques’ melody using on the techniques examined in previous
lessons.
6b An effective and original melodic variation of the ‘Freres Jacques’ melody
using on the techniques examined in previous lessons.
6a An effective and original variation including a harmonisation of the
‘Freres Jacques’ melody.
Young Person’s Guide to the Orchestra
Benjamin Britten (1913-1976)
Benjamin Britten wrote this piece of music to teach children about the
instruments of the orchestra and demonstrate the sounds they are capable
of making.
The piece is a set of variations based on a simple theme, where each of the
variations is played by a different family of orchestral instruments.
The piece is narrated by the famous conductor Yan Pascal Tortelier. Listen to it
and answer the questions below.
THEME
1. What are the four families of orchestral instruments?
2. Which family has the greatest number of players in an orchestra?
3. Is the theme in a major or minor key?
4. Describe what the theme sounds like.
WIND
5. Which particular woodwind instruments can you hear playing in this
variation?
6. How do all woodwind instruments produce their sound?
7. Describe how this variation sounds different to the theme?
BRASS
8. What brass instruments can you hear playing in this variation?
9. Describe this variation, comparing it to the theme and the woodwind variation?
STRINGS
10. What are the two ways that sound is produced from a stringed instrument?
11. Compare this variation to the brass variation you have just heard.
PERCUSSION
12. This variation is very different to the others. Why is this?
Variazioni di Bravura
Nicolo Paganini (1782-1840)
This dramatic set of variations was originally written for violin but in this
arrangement is played by flute with a harp accompaniment.
The theme itself is fairly complex but each of the variations demonstrates other
aspects of the instrumentalist’s technical skill.
Referring to the list you have made, write down the main way in which the
theme is varied in each of the following variations. Your teacher will indicate
when each of the variations begins.
Variation How has it been varied?
Which of the ways of varying a theme are not used in Paganini’s variations?
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THEME
VARIATION FORM
INVERSION
COUNTER-MELODY
INSTRUMENTATION
DECORATION
CHORD
TRIAD
PRIMARY CHORDS
How can you vary the theme?
Change the rhythm
Change the metre (number of beats per bar)
Change the tempo
Decorate the theme (add extra notes)
Change the accompaniment (e.g. chords)
Change from minor to major or vice versa
Add a counter-melody (extra tune)
Take away some of the notes (e.g. every other note)
Change the pitch (e.g. make it lower or higher)
Change the timbre (instrument/sound)