Grayna Bacewicz Overture Primary / KS2 / 2nd

Grayna Bacewicz Overture Primary / KS2 / 2nd

Grayna Bacewicz Overture Primary / KS2 / 2nd Level Classroom Lesson Plan Written by Rachel Leach

Trailblazer Polish composer, Grayna Bacewicz, wrote music at a time when being a female composer was very unusual, during the Second World War.

Lesson outcomes After this lesson, pupils will be able to: listen and reflect on a piece of orchestral music invent their own musical motifs and structure them into a piece perform as an ensemble learn musical language appropriate to the task

Curriculum checklist Learners will: play and perform in ensemble contexts, using voices and playing musical instruments improvise and compose music for a range of purposes using the interrelated dimensions of music

listen with attention to detail and recall sounds with increasing aural memory Glossary of music terms Term Definition

Coda the ending Crescendo

gradually getting louder Fanfare a short, often loud, flourish of music Graphic score

a visual, often diagrammatic, representation of music. There are no rules for graphic choose which instruments perform which parts of the music Orchestrate Overture

Pitched percussion Unpitched percussion an, often exciting, opening piece in a concert, an opera or a play percussion instruments that can play different pitches xylophones, glockenspiels, chime bars, etc.

percussion instruments that can only make a limited number of sounds drums, shakers woodblocks, tambourine etc. Lesson 1 Watching and listening Background the composer

Grayna BACEWICZ (19091969) Polish composer and violinist One of the first Polish female composers to achieve international recognition

Background the music Overture

Written in 1943, during World War 2. Bacewicz was writing her music in secret at this point and giving underground concerts Bacewicz had to wait until the war was over to hear this piece An overture is a short, often exciting piece that

acts as an opener to a concert or an opera This overture begins with secret messages in Morse Code and then becomes an exciting burst of energy Watch the orchestral performance

Think about what exciting story this music might be describing. You could think about these things: Character/s Place/s

Scenes: what happens? Ending Lesson 2

Exciting beginning Clap these simple rhythms Choose which instruments might play these rhythms

? ? ? ?

Lesson 3 Hidden messages Warm up! Music can be written with secret messages, using Morse

code. A long note for a dash and a short note for a dot. Turn a short word into a Morse code pattern and play it! Lesson 4 Morse code music

Do you remember the Morse code patterns? Clap your patterns to each other to remind you Lets make music! Choose a pattern

Beat a pulse Choose which instruments

to play Lesson 5 Sad solo Listen to the flute solo in the music how does this make you feel?

Create a graphic score! Choose a colour that matches the mood of the music Draw the shape of the flute solo Lesson 6

Performance time! Recap Introduction Morse code music

Sad flute solo Practise and perform! Taking it further cross-curricular activities

MUSIC: Many other composers used codes within their music to pass on secret messages. Bach and Shostakovich wrote their names within their pieces. Alban Berg used numerology in his music particularly his Violin Concerto, and Edward Elgars whole Enigma Variations features a mysterious puzzle that is still unsolved. Bach, Shostakovich and Elgar are all composers featured in BBC Ten Pieces. RESEARCH: Bacewicz was writing during World War 2 in Nazi occupied Poland. Research what day-to-day life must have been like for her and her friends and family at this time.

LITERACY: Write and perform the story you invented in lesson 1 inspired by Bacewiczs overture or write a story about her fascinating life. When she wasnt composing, she was travelling the world as a very, very famous violinist. UPLOAD: Show us what youve created! Submit your creative responses using our Uploader for a chance to be featured on the Ten Pieces website.

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