Wednesday 10 February 2021
Wednesday 10 June 2021

Code: 8206

ABOUT THIS WEBINAR

The AQA GCSE music Study Pieces are changing – and getting your head around the new pieces can be a real challenge!  This webinar will focus on the new compulsory Study Piece for Area of Study 1: Western Classical Tradition (1650-1910): Mozart Clarinet Concerto, 3rd Movement, that replaces the Haydn Clock Symphony, 2nd Movement (first teaching from September 2020, first examinations from summer 2022).

This webinar is designed to provide teachers with the skills to teach confidently and accurately those aspects of the piece that are of relevance to the types of question found in the examination.  Rather than providing a bar-by-bar analysis, the webinar will consider the work from the point of view of Mozart’s style, with clear focus on how he exploits different musical elements and writes idiomatically for the instruments at his disposal.

Focus Points:

  • Gain a sound, clear analytical overview and contextual perspective of the new compulsory study piece without having to spend hours analysing it yourself
  • Review the different demands of the two types of question (2-mark answers and the essay)
  • Explore the movement in terms of the use of musical elements, as appropriate to the sorts of questions found in the AQA GCSE music examination
  • Take away approaches that excite students, cultivate a deeper music appreciation and raise grades in exams
  • Equip yourself to set appropriate practice questions around this study piece

PROGRAMME

4.00-4.05pm: Welcome and Introduction

4.05pm: The work in context and analytical overview

  • Putting the work in context as a ‘typical’ late C18th concerto movement and an example of ‘late’ Mozart
  • Analytical overview: helping students understand why this is a Rondo
  • Deeper analytical overview : helping more able students give deeper essay responses though understanding the Sonata-Rondo Structure
  • Key features likely to come up in Question 8 (the 2-mark questions)

4.20pm: Key features of Mozart’s approach to instrumentation and textures                    

  • Characteristic approaches to orchestration in this movement including the different ways Mozart uses the strings, woodwind and horns
  • Mozart’s exploitation of the potential of the clarinet
  • A survey of the textures and how Mozart creates textural variety/contrast such as melody + accompaniment, question + answer, more contrapuntal writing
  • How Mozart ‘colours’ the music through instrumental doubling

4.40pm: Strategies and insights in work with students to answer questions relating to melody and rhythm/metre

  • Understanding why Mozart sounds like Mozart – identifying and locating characteristic melodic devices such as appoggiaturas, grace-notes, ‘feminine’ endings, chromatic notes and subtle variation
  • When is a melody not a melody? – identifying and locating characteristic features of passage-work
  • Helping students recognise important rhythmic features such as anacrusis, off-beats and hemiola
  • Exploring Mozart’s use of periodic phrasing and the variety he creates through the use of irregular phrasing

5.00pm: Strategies and insights in work with students to answer questions relating to tonality and harmony    

  • Helping students understand the basic tonal plan of this movement so that they can write about it clearly in essays
  • How to enable more able students to present more developed responses regarding Mozart’s handling of tonality to create a sense of musical balance
  • Demystifying the harmony so that less able students understand and can make the main points in essays
  • Exploring the harmony more deeply and identifying the ‘special’ chords (such the augmented 6ths and dominant minor 9ths) to enable more able students give fuller answers essays that identify how harmony can be used expressively

5.20pm: Looking into the crystal ball: ideas for the sorts of essay questions that might be set

5.30: end

Dr Chris Maxim

Dr Chris Maxim began his career lecturing in higher education before moving into the secondary sector.  As an NQT (and Head of Music), he transformed the Music Department of a large inner-London secondary school, going on to create a thriving Performing Arts faculty and teaching KS3, GCSE and A-level.  Following many years in senior leadership, including as Acting Principal and Headteacher, he now works as a freelance musician (composer, conductor and organist) and education consultant, specialising in school leadership and music.  To find out more about him, please visit his website: www.christophermaxim.co.uk