Traditional folk music from the British
Isles, its links with ancient Celtic culture
and its development as an aural tradition
To entertain
through
dance and
song: ceilidh
& twmpath
To capture,
communicate
and preserve:
stories,
events, life
views, and
feelings in
song
To relieve
boredom in
the work
place &
provide
exercise on
boats
To enhance
local
Festivals,
rituals and
celebrations
Aural
learning
Compound
& simple
times
Modes
Pentatonic
scale
Traditional
instruments
Drones
Arranging
AABA & AB
structures
What is this music you
want to explore with
the pupils? Where is it
from, when was it written,
who is it important to?
Dancing: A jig and a reel
Performing: Folk song/dance melody, shanty
Arranging: A folk song or dance (from different
regions of the British Isles – perform them as a
sequence – link to Fritz Spiegel’s Radio 4
theme tune. See creativity)
Listening and appraising:
Ballad – card sort (identifying musical
ingredients), Comparing two arrangements,
Odd one out – 3 traditional pieces – one an
orchestral arrangement by VW and/or 3 songs
of oppression – one a blues
Bringing it all together: end of unit class or
year group ceilidh / twmpath
1.2 Cultural
understanding
What is this music for?
What is its purpose, its
context, what
does it try to achieve?
What do you want
pupils to learn about
this music (and
develop personal views
about as
they work through the
unit)?
What are the musical
conventions,
processes, devices and
aspects of musical
elements that make it
unique?
What sort of learning do
you want the pupils to
engage in: closed,
guided, open or
informal?
How will you bring in
references to or
chances to explore other,
related music?
Assembly performance
by a local folk band /
musician (could be a
parent, pupil or
member of staff)
How will we develop
knowledge and
understanding through
performing, composing
and listening? e.g.?
1.1 Integration
of practice
British Folk tradition
Example of a unit of work
planning mind map
1.3 Critical
understanding
Open learning (exploring
the broad conventions of a
musical tradition)
Folk revival & Folk –rock,
Impact on classical tradition
(VW, Holst, Delius, Grainger,
Britten, Maxwell Davies, Berio,
Bartok)
Pop/modern ‘cover’ versions
Blues (linking with songs of
oppression)
Performing: identifying appropriate
places for, working out and holding a
vocal harmony part with others in a
group
Arranging a folk song or dance for the
instrumental and vocal resources of a
particular performing group
Is there one key
skill that is
required to
access the music
practically?
1.5
Communication
1.4 Creativity
Are there places
where we can
focus within the
unit on creativity?
Plan a piece of music that will be
played on Radio 4 every morning
at 5am i.e. the beginning of
broadcasting. The piece must
include songs or music from each
region of the British Isles
Are there requirements
/ opportunities to
make the key learning
come alive, be in the
'real' world and be
'holistic' by working
with other subjects?
Are there places
where we can
focus within the
unit on how
thoughts,
feelings, ideas and
emotions can be
expressed through
the music?
How does the melody of a
traditional song reflect the
meaning of the words?
How does a particular
arrangement or performer
enhance the meaning of a
song?
What does e.g. Fritz
Spiegels Radio 4 theme
tune tell us about the
British character?
Dance:
Ceilidh & twmpath,
jigs and reels, Molly, Morris, Irish fling, country
dancing, ‘Riverdance’
History:
Shanties - The Spanish Armada / Nelson
Citizenship & Community cohesion:
Local festivals / celebrations
Sequence of learning
Key question & Learning
objective:
Core processes and activities
Learning outcome:
What is British Folk song and
dance, how is it preserved and
what does it communicate?
Pupils develop their:
By:
As an outcome pupils:
Skills by learning how to aurally
learn a traditional song and perform
it in unison and in parts
Singing (learning by ear)
A traditional British love song, ballad & song of oppression considering
for each how the melody a traditional song reflects the meaning of the
words.
Discuss the lyrics of each. Can we relate to them today? What do they
tell us about the past? Are they a true record of events of the past?
Sing in unison and in simple parts, explain
the meaning and the way in which the
melody and rhythms reflect the meaning of
the lyrics
Knowledge by learning about
pentatonic scales and modes
Features of elements
Point out the use of pentatonic scales and modes in each song and
consolidate with learning about their construction
Identify patterns of tones and semi-tones in
the pentatonic scale and modes and
describe their character
Skills and Understanding by
learning how to listen and identify
features of a traditional ballad
Listening and appraising:
Ballad – card sort (identifying musical ingredients), and a consideration
of how a particular arrangement or performer enhances the meaning of
a song
Identify key musical elements of a
traditional ballad and explain how they
enhance the meaning of the ballad
Knowledge by learning about
regional songs and melodies from
the different regions of the British
Isles
Research / Listening
Plan a piece of music that will be played on Radio 4 every morning at
5am i.e. the beginning of broadcasting. The piece must include songs or
music from England, Wales, Scotland and N. Ireland.
Research and identify songs from different
regions of the British Isles
Awareness and values by
learning how traditional melodies
are used to represent national
identity
Listen to Fritz Spiegels Radio 4 theme tune. How does the piece get
across the idea of a union of regions?
What does the music imply / express about the British character?
Explain what they think the Radio 4 theme
tune expresses about Britain and the
British character
Knowledge by learning about
AABA & AAB melodic structures
Features of elements
Analyse the melodies of songs taken from Fritz Spiegels Radio 4 theme
tune. Point out the melodic structure of each
Recognise AABA and AAB structures in
different folk songs
Awareness and values by
considering the purpose and value
of these songs
Why are folk songs and dances
used in the work place?
Skills by learning how to aurally
learn a traditional work song and
perform it in unison and in parts
Singing, performing (learning by ear)
Sea shanty - look at musical ingredients and purpose
Listen to other work songs
Sing in unison and in simple parts and
explain how singing helps with work
Understanding by learning about
the characteristics of a Hornpipe
Dance: a hornpipe and learn about its rhythmic characteristics
Dance a hornpipe and identify
characteristic Hornpipe rhythms
Skills by learning how to make a
simple arrangement of a traditional
sea shanty for voices and
instruments
Creativity and thinking by finding
solutions to ‘what if’ questions
Arranging: Model a class arrangement of drunken sailor (encouraging
‘what if?’ questions from the class)
Next ask groups of pupils to arrange different folk songs or dances from
different regions of the British Isles. Extension – perform the group
arrangements as a sequence (link to Fritz Spiegel’s Radio 4 theme tune.
See above)
Arrange a folk song for the performing
resources of a particular group and
perform it to the class
Understanding by learning how
folk music is traditionally arranged
for the performing resources and
stylistic interests of different
performers or composers
Listening and appraising:
Comparing two arrangements
(Folk revival, Folk –rock & Pop/modern ‘cover’ versions)
Odd one out – 3 traditional pieces – one an orchestral arrangement by
VW or H. Woods Fantasy on Sea Songs
(Impact on classical tradition (VW, Holst, Delius, Grainger, Britten,
Maxwell Davies)
Why do we rarely hear traditional British Folk music on the radio or TV.
Is this true and if so why?
Explain how the musical ingredients of folk
song arrangements reflect the stylistic
interests or intentions of a performing
group
Skills by learning the steps of
traditional folk dances
Attitudes and values by
considering issues of gender and
race reflected in cultural practice
Dancing
A Jig and a reel. Where do these and other traditional dances take place
(e.g. Molly Dance, Morris, Sword & Maypole?).
Why a) there are no women in Morris Dance groups and b) do some
Morris dancers have painted black faces.
Dance a traditional jig and reel and
describe how the dance steps of each
feels different
Knowledge by learning about and
discriminating between rhythmic
groupings in simple and compound
Elements – take learning about jigs and reels forward by learning about
and discriminating between simple and compound time signatures
Mark the pulse of and discriminate
between and name simple and compound
time signatures
What sorts of folk music are used
in local festivals, rituals and
celebrations?
times
Knowledge by learning about the
sounds and capabilities of
traditional British folk instruments
Listening
Introduce a range of British folk instruments. Consider their capabilities
and identify them in extracts from 3 folk dances. Should we use
tambourines in traditional performances as they are not British traditional
instruments (they originate from the middle east). Research the origin of
some other traditional instruments
Skills by learning how to aurally
learn a traditional ritual song and
perform it in unison and in parts
Singing (learning by ear)
e.g. Wassail or other ritual songs
Sing a ritual song in unison and in simple
parts
What are ceilidhs and twmpaths
and what is their purpose?
Bringing it all together:
Pupils research ceilidh / twmpath, plan and stage their own end of unit
entertainment that includes singing, playing, dancing and story telling
using material performed and arranged by the class.
Plan and stage a ceilidh / twmpath,
incorporating pieces performed or listened
to in class
Planning might also consideration any of the following questions:
Should Molly Dancing be included – what moral questions would its
inclusion raise?
One of the songs chosen i.e. ‘Scarborough fair’ was performed by Simon
& Garfunkel in the 1970’s. What are the copyright implications of using
the song here?
Should the participants be provided with the words of songs that are
sung? (i.e. it is an aural tradition)
A crucial percussionist has been taken sick. There is no time to replace
him/her and no one has the necessary skills of confidence to take over.
What other solutions could be explored? (e.g. possible use of a looped
percussion backing track as part of the performance?)
Identify and explain the origin of different
British folk instruments