Original Question: I have a [year 10] class of 20 students ranging in abilities from very able - played

instruments for several years - to those who really have no interest. They just thought they would try Music
to see what it was like. Most of these students do not even learn an instrument so they have no musical
literacy skills and will not be able to go onto Level One. Does anybody have suggestions for
programmes/ideas to motivate them for the rest of the year so the remaining students can continue next
year?

Often its the students who are just trying out Music who go on to be excellent members of future
senior classes! Several people responded to this question on Musicnet with their great ideas. The
edited versions of these are printed below.

I divided my teaching plan up into the alphabet. I began each "letter" with a listening tape of examples of groups, soloists,
instruments, styles, countries beginning with that letter - In "A" I have ABBA, Arabian music, alto voice, aria, Christina
Aguilera, angklung, accordion ........... (Girls had to sort cards into the order the tape was playing.) I also gave them a
homework task sheet, easy enough for anyone to research. It had questions such as "What is an aerophone?", "What is the
Italian word for "playing with the bow?"; "what was the name of a big hit for the British group Pink Floyd which contains the
line "We don't need no education"? We looked at A, B, C - the names of the notes. Simple sheets for the beginners and
"bring your own" theory for those more advanced. Practicals were slotted in here, too. I used books of instrumental backing
tapes, which are available for C, B flat and E flat instruments (try sheetmusicplus.com and musicroom.com) and arranged a
harmony part for those who could play a bit and a 3 note masterpiece for glockenspiel for those who could play very little. I
tried to show them a relevant DVD every term, such as Amadeus, Evita, La Bamba etc, depending on what we were
studying. After showing them Grease I got them to perform Freddie My Love in character and pyjamas. The song is not
shown in the movie, but is in the stage show (lots of groans!), but they really got into it and even posed for photos! For
compositions we did firstly one with graphic notation - I gave them a subject and they had to write and perform for us all. I
got them to write a drum rhythm accompaniment to a nursery rhyme (better kids get right into fills) and to compose a bugle
call using just the bugle notes marked on the keyboards for them. Better kids can even manage repetition and sequence
and write these down rather than just play it back from memory.
You can manage well if you look for extension things that the better girls can do and, at the same time, expect that everyone
will try everything to the best of their ability. Those who are not continuing to NCEA can still learn a lot and thoroughly enjoy
what you do.
Sue Donkin
Some fancy differentiation techniques could come in handy (no, I'm not an expert in any way) e.g. I'm doing 'mini-studies'
with my year 10 classes. Current one is J.S. Bach. - quick look at Toccata and Fugue, chords, textures, canon and actual
assessment is: Play Minuet in G as a group:
Someone plays treble clef part (guitarists need to TAB it if required)
Someone plays bass clef part (bassists need to TAB it...)
Groups need to work out what the chords are (choice of I,ii,IV,V) so someone can play 'rhythm' part on piano,
guitar, ukulele
Drummers need to create a drum part using the treble clef rhythm (need to add flams, drags etc. to make it more
interesting)
Singers need to sing treble clef part but create their own lyrics, if they're clever they can change the style
(arranging!)
The mini-studies seem to be working. I haven't done any studies of Music Works for several years, so this is a brave new
start for me, and it is mostly working.
Robert Greenfield
Depending on what instruments you have available, playing the blues can be a good one. You look at structure etc first, and
can even have the kids yell out when the chords change, maybe to a well-known blues piece, and then scaffold it from there.
Your more able musicians will be able to solo - even it is really basic over the rest of the "band" and your less able students
will be fine with a simple bass line - you would be amazed at how a student who does not play or learn music will rise to the
occasion when offered 3 notes on an electric bass and simple one-strum-per-bar guitar chords which gives them a chance to
move chords and keep up. If you have keyboards let them add in as much as they can, depending on ability levels, you can
change keyboard voices here for variety. You can get some simple rhythm going (we teach our juniors drumming riffs using
empty 10 litre paint buckets and proper drumsticks). Add in any other acoustic instruments which can solo. Then when they
have all that sussed - change the key - to make it more challenging. You will need lots of good examples of existing pieces
written in this pattern from rocknroll to Eric Clapton - whatever - so they always have models for their playing and listening.
You can write your own lyrics as well and get some kids behind mics.
Lyn Dashper

This is a course I developed back in 2000 out of survival in a previous school where there was little motivation to do music
by the majority and who thought it would be an easy option. I call it P.A.C.E (Perform, Achieve, Challenge, Enjoy). I have
attached the overview of how it works. I update the resources each year to keep it current.
I found it to be very successful regardless of the groups background, abilities (mixed or otherwise) and motivation. The kids
all really like the chance to work in groups on something they enjoy, which encourages them to learn new skills and help
each other. Best of all they are making music, you are engaging them at their level, and after that you can lead them where
you want them to go! One warning, it is a very practical based program that I describe as "Creative Chaos". If you don't like
productive, noisy (in a good way) lessons, then this course isn't for you.
PACE: Overview & Purpose
PACE is not a series of lesson plans. It is an approach that should be adapted and
personalized to individual students' and classes needs. The aim is to make music
learning as practical as possible, done by students, where the teacher becomes a
mentor rather than the director of each lesson. The teacher must give over some trust
to the students to self regulate and work together. It is aimed at a class of mixed ability
with beginners and advanced students alike.

Education Standards Addressed

Developing Practical Knowledge in Music
Developing Ideas in Music
Communicating and Interpreting in Music
Understanding Music in Context

Objectives

Students will learn skills on instruments, vocal, ensemble, individual study, technology and
musicality.

Materials Needed
CD

Information

Students should be able to understand chords and a good sense of timing at the end of the unit.

Verification

Check the songs with the original version for correct notes and chords and timing.

Activity

Students are divided into three groups Band, Vocal and Remixers. This can be individualised
for the class. You can have 2 of the same type and one another; any combination that works for
your class is ok.
The groups are given a CD and workbook and go into separate spaces to work on recreating 1
song from the CD. They have 5 weeks to complete this task.

Summary

Students spend each lesson either in their group working together and helping each other learn
a song. If they are remixing they can work on 2 pieces by themselves.
The teacher acts as a mentor and does not dictate how each lesson is run. Teacher moves from
group to group offering help when needed and encouragement.

Pencil
Workbook

Other Resources
Set of rock band
instruments and amps
CD players

Computer access with a

basic remix program on it
like Dance E-Jay, Fruity
Loops, Garage Band,
LMMS

Additional Notes

Andrew Stopps
I think almost everyone has this problem! I did a Hip Hop music unit that covered the PK, UC, CI strands and was pretty
successful.
Hip Hop Unit for Year 10
For UC:
I created a worksheet that the students completed while they used that great article in the Music Teach magazines
(many years back). They read and then answer.
We discussed and then watched a short film I found on beat boxing and hip hop culture.
We all went to the computer lab, I made a question sheet about the history of hip hop and I gave them the
websites that I got the info from and they answered questions.
The assignment that gave them their final grade for UC in this topic was a research task. They had to choose a Rap
artist and find all the things I asked and present in a poster format.
For PK:
Everyday we did a listening diary, where they listened and we did the Listen sheet or the Compare one in
Sweet 2. That way I covered the elements and features.
We played a game called Face the Music, where I played 10 songs (from old-school hip hop to current), 20
seconds of each, and they had to guess title and performer.
We listened to Coolio, See You When You Get There and I made the link into Pachelbels Canon. From here we

attempted to follow the Pachelbel score (showed them techniques for score reading etc was good for those
heading onto NCEA level 1)
Then had 2 levels of theory worksheets for experts I gave them the very old school cert exam that compares
Pachelbel's Canon and Coolios See You When You Get There For others I just used the See You When You Get
There. They learnt time signature, bar lines, counting bars, what bs are, highest note/lowest note, guitar chord
indications etc (simple score stuff).
For the final PK grade they had a listening and theory test. (It had harder questions that some had no hope of answering,
but had to challenge the on-to-it ones) The test covered Elements and Features while they listened, and then they had score
questions I used the song Beside You its in the Sweet book and also has the score.
For UC:
They had to perform a classroom arrangement (that I acquired many years ago) of See You When You Get There.
They did this in groups if they had no singer in their group someone had to play the melody on an instrument.
The arrangement has various levels and can be quite challenging to actually play together in time. They ended up
being quite creative in their interpretations.
You could easily do a DI task. I went onto a NZ Music Unit after this with a focus on DI.
This whole unit took weeks. I tried to have variety and keep interest high. I always did a little of everything each class. I
figured that if I could get the non musical ones to look at some written music and make a little sense of it I had achieved
something.
Rose Loveridge
The SOUNZ Ears Wide Open: Taring Areare education resource from SOUNZ may have some good material for adapting to
all sorts of classes and levels? Check it out here: http://sounz.org.nz/resources/show/289 The kit comes with Teachers book,
Students book, worksheet masters and a 23 track CD of NZ music.
Stephen Gibbs
We start with a unit of work called Music for the Big Screen which enables students to participate even if they cant read
music or play an instrument. It also aims to provide for our experienced musicians. The unit plan is on the Arts Online
Teacher Resource Exchange, feel free to improve it: http://artsonline.tki.org.nz/resource-exchange/Music%20-%20Sound
%20Arts%20-%20Years%200-10/
Shane Morrow

If you have another unit of work that you would be prepared to share, please upload it to the Teacher
Resource Exchange on Arts Online:
http://artsonline.tki.org.nz/resource-exchange/upload_resource.php