Key Stage 3 is delivered over three years at Huntington. Students are taught for one hour per week by a Music specialist. The purpose of the course is to develop students' understanding of  how music works. What happens in the classroom? In each unit we take

Admit it - you've got one. We've all got a Pachelbel scheme of work tucked away somewhere. There's got to be a good reason for that.   Could it be that we keep coming back to it because it's a great vehicle for the teaching

We currently use this scheme of work in the first half of year 9. In it we explore the enduring popularity of  'reworking' an existing piece of music. The 'cover version' is nothing new. The work for this unit is based on 'Ain't Nobody'

We currently use this scheme of work in the middle of year 9. The 'hands-on' aspect is centred around two commonly found musical devices: ostinato and sequence. The ostinato section is a helpful 'settler' allowing students working in an ensemble to find their feet

We currently use this scheme of work at the start of year 8. It's based on ideas around musical memory, recall, and things that we misremember and piece together from fragments. It's the kind of thing you can use as a starting point for

How do you know if students are making musical progress? Not simply going through the motions of completing tasks, collecting a bunch of marks, and being no better off for it? How do you create Music pathways at KS3 for everyone, regardless of students' starting points?

At the Music Teacher Magazine conference in November 2021, I presented some ideas on how we use Music Technology to develop students' musicianship at KS3 at Huntington School. A number of conference delegates have been in touch asking to see the slides I used in my

The following resources are the fifth in a series of materials we have devised to provide students with meaningful musical tasks (using Soundtrap) when they have to work remotely. This way of working is based on our classwork approach to sequencing (using Cubase). The

In addition to the listening  and analysis training students receive in their weekly class lessons, we work through a series of additional top tips in the run up to summative assessments. What we aim to provide is focused training that will enable students to

The following resources are the fourth in a series of materials we have devised to provide students with meaningful musical tasks (using Soundtrap) when they have to work remotely. This way of working is based on our classwork approach to sequencing (using Cubase). The

The following resources are the third in a series of materials we have devised to provide students with meaningful musical tasks (using Soundtrap) when they have to work remotely. This way of working is based on our classwork approach to sequencing (using Cubase). The

The following resources are the second in a series of materials we have devised to provide students with meaningful musical tasks (using Soundtrap) when they have to work remotely. This way of working is based on our classwork approach to sequencing (using Cubase). The

The following resources are the first in a series of materials we have devised to provide students with meaningful musical tasks (using Soundtrap) when they have to work remotely. This way of working is based on our classwork approach to sequencing (using Cubase). The