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Reggae Music Year 9 SoW.

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by

A McCarthy

on 12 April 2012

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Transcript of Reggae Music Year 9 SoW.

Reggae Music Lesson One Objectives.

To understand some of the key musical conventions of Reggae music.

To be able to utilise these musical conventions successfully within a performance. Al Anderson Guitar Guitar tends to punctuate the 2nd and 4th beats of the bar. Known
as a 'skank'
rhythm. Keyboard/Synthesizer Tends to support or add to the skank
rhythm of the guitar. May also play riffs (repeating
patterns) or take on a solo role. Drums Snare drum is often tighted
giving it an almost 'thin' timbre. Lots of different rhythmic patterns.

Two examples:

One Drop (Stress on the third beat only).

Steppers, 'four to the floor' (Kick drum stresses each beat).
Example: Exodus Time to develop your performance,
make it REGGAE! Think about:

Guitar, skank rhythm (play on 2 and 4)




Whether the keyboard will simply support
or add riffs and fills to the guitar part.

Which drum pattern you are going to use:

One drop (stress on the third beat)
Steppers/'Four to the floor' (Kick drum stresses each beat).

Guitar Chords: http://www.chordbook.com/
Keyboard chords: www.keychord.com Behaviour Targets.

To remain silent when the teacher is talking.
To stay on task.
To speak to other students in a pleasant way.
To not touch another student.

Some behaviour will put you 'on call':

Swearing
Not doing as you have been asked first time.
Refusing to start a task.
Speaking to a member of staff inappropriately. BFL Lesson Two Objective

To develop our understanding of
the context and musical conventions of reggae music.

To be able to further develop an authentic performance of Three Little Birds. Lessons Lesson Two Lessons ➢
All – Will develop their performances (in groups) and be able to develop the security of the skank rhythm/chords.

Most – Will be able to incorporate a backline rhythm that is authentic of the stylistic characteristics of Reggae music.

Some – Will be able to successfully bring these components together (with security) during the lesson
To develop our understanding of the context and musical conventions of reggae music.➢

To be able to further develop an authentic performance of Three Little Birds. Lesson Three

To develop a deeper understanding of the musical conventions/context of Reggae music.

To be able to control such musical conventions to further develop an authentic performance of Bob Marley’s ‘Three Little Birds’.

To understand how to refine and improve your performance.
All - Will be able to incorporate a backline rhythm that is authentic and stylistic of Reggae music.

Most – Will now be able to select and make expressive use of tempo, timbre and dynamics (applicable to reggae) giving the song a much more ‘musical’ quality in terms of performance.

Some – Will develop a well-defined leadership role within their group, making significant contribution to their groups work and be able to suggest (without prompting) how to make improvements to their work.

Tempo: Tends to be relatively slow and steady.

Timbre: 'High pitched' snare, Organ - Rhodes/Hammond.

'Skank Rhythm' (Beats 2 and 4) - Piano.

Drums beats
One drop (stress on the third beat)

Steppers/'Four to the floor' (Kick drum stresses each beat).

Songs are often built from just 3 or 4 chords. Reggae -
Key Conventions. Listening Activity
Lesson 3 Performance Peer Feedback

Challenge – Can you find a way?

Reflection – I noticed that...

Enquiry – I am interested in...

Support – I like the...

Suggestion – You could change... CRESS ➢To be able to incorporate an effective bassline into your performance.

➢To be able to effectively refine and improve your performance and be able to perform Three Little Birds .
'Riddim'
All – Will gain an understanding of the role of the bass within Reggae music and be able/understand how to develop an effective bass line. All to be able to refine and improve their group’s work/individual part.

Most – Will be able to make valid points as to why their performance is distinctly reggae and how the songs lyrics differ from others of Marley’s.

Some – Will be able to adapt and justify (in light of style) timbre, tempo and dynamics with clarity/utilise them effectively in performance.
Lesson Four Robbie Shakespeare 'Sly' Dunbar A D E
Full transcript