sound/silence, long/short, fast/slow, beat and rhythm, rest, ostinato, tempo, crotchet, crotchet rest, quavers in pairs, experience of duple and triple metres e.g. 2/4 and 3/4

high/low, pitch direction (going up or down), pitch matching, unison

loud (forte) f and soft (piano) p

same/different, patterns, repetition, echo, introduction, verse, chorus, round

every voice and instrument has its own distinct sound; how sound is produced including hit, blown, plucked and shaken

unison, melody and accompaniment, round, drone

simple metres, crotchet , crotchet rest, quaver, semiquaver, dotted crotchet, quavers in groups of 3 & identical rests in repertoire studied, ostinato, tempo changes (faster & slower)

pentatonic patterns, melodic shape, recognising steps and leaps, treble clef, staff

very soft (pianissimo) pp and very loud (fortissimo) ff, gradually getting louder (crescendo), gradually getting softer (decrescendo), smoothly, short and detached

question and answer (call and response), repeat signs, binary (AB) & ternary (ABA) forms

recognising familiar instrumental timbres in isolation and combination

combining two or more rhythmic or melodic patterns which occur simultaneously in different voices

simple metres and time signatures (2/4, 3/4, 4/4) , bars and barlines
semibreve, minim, crotchet, crotchet rest, quaver, and associated rests, semiquaver
compound metre (6/8), dotted crotchet, crotchet, quaver, quavers in groups of 3
semiquaver, dotted crotchet rest

pentatonic and major scales
recognising pitch sequences such as an arpeggio or riff; treble and bass clef

smoothly (legato), detached (staccato), accent

theme/motif, phrase, rondo (ABACA), riff, ostinato

acoustic, electronic sounds; voice and instrument types

contrast within layers of sound

time signature, semiquaver subdivisions, dotted notes, minim and semibreve rests, quaver rest, dotted crotchet rest
rhythmic devices such as anacrusis, syncopation, ties and pause

melodic sequences based upon pentatonic, major and minor scales; key and key signatures; major and minor chords and primary triads (I, IV, V) in simple chord progressions; reading treble and bass clefs and ledger lines

dynamic gradations including mp and mf; articulations relevant to style, for example, glissando, slide, slap, melismatic phrasing

repetition and contrast; call and response; digital sequences; theme and variation; 12 bar blues; popular song structures including verse, chorus, bridge, middle 8, intro and outro

recognising instrumental types and groups; voice types; acoustic and electronic sound

identifying layers of sound and their role (accompaniment and melody); unison, homophonic (melody with chords), polyphonic (two or more independent layers played simultaneously)

regular and irregular time signature and beat subdivisions; triplets and duplets; further time signature
complex metres, required note groupings: 5/4, 7/8, 9/8
rhythmic devices including syncopation, rhythmic motif, rhythmic augmentation and diminution

melodies and chords based on major, minor and modal scales; tonal centres; modulation; consonance and dissonance; chromaticism; pitch devices including riff, ostinato and pedal note

dynamic gradations; expressive devices and articulations relevant to style such as rubato, ornamentation, terraced dynamics, pitch bending, vibrato, oscillation, filters and pedals

structures appropriate to styles and repertoire studied including theme, hook, motivic development, head, sonata form, interlude and improvisation

identifying instruments and voice types by name and method of sound production; use of mutes, pedals, harmonics, digitally manipulated sound, distortion, and techniques appropriate to style

horizontal and vertical layers appropriate to styles and repertoire studied; homophonic and polyphonic writing, countermelody and white noise

regular and irregular metres, metric groupings, tempo, rhythmic devices such as syncopation, augmentation and diminution, methods of notating duration, both traditional and graphic.

high/low: pitches can be comparatively high or low, direction of pitch movement: up, down, same level, melody: a horizontal succession of pitches, harmony: two or more pitches sounding together, indefinite pitch: untuned sounds, for example, the speaking voice, definite pitch: tuned sounds, for example, the singing voice.

a range of dynamics, including gradations, articulations, tempo, including gradations, stylistic indications.

phrases, motifs, riffs/repetitive patterns, techniques of call and response/question and answer, traditional and non-traditional patterns of musical structure, structures used in world music, structures used in single pieces of music, multi-movement structures (eg symphony).

sound source material, for example, wood, metal, string, skin, electronic and vocal, method of sound production, for example, blowing, hitting, plucking, scraping and shaking, combination of sound sources, for example, single voice, multiple voices, voices accompanied or unaccompanied by instruments.

the layers of sound and their function, the roles of instruments and/or voices.