Music: Secondary: Key Stage 3

Music
Secondary: Key Stage 3

Curriculum plan 2020-21

1. Curriculum Principles

Our curricula build on the National Curriculum for Music and specifically aims to equip pupils with the knowledge
and skills that will enable them to:
● Be inducted into the powerful cultural knowledge associated with music.
● Discover and develop their performing skills to a level of proficiency that enables them to participate in social
music making activities.
● Use improvisation to unlock creative potential and musical identity/individuality.
● Gain a deeper understanding and appreciation of the music they engage with through systematic analysis
and reflection.
Coherence and flexibility

Our approach to teaching in the EYFS integrates formal and free-flow understanding to unlock imagination and
creativity. From Key Stage 1 onwards, activities that stimulate more conscious understanding are phased in,
introducing pupils to the building blocks of music that shape the world around them. In the KS3 curriculum, units
are considered and connected, and primarily last for a term to allow knowledge to be secured. A number of these
units can be taught out-of-sequence to allow them to complement schools’ existing curricula.
2 Version 2.0, 24 August 2020 Oak National Academy

Knowledge organisation
We offer a cumulative and knowledge-rich curriculum that is designed to introduce and secure key musical
learning in a sequential and connected manner.
As such we have created a pathway that progressively builds pupils’ m

usical understanding, through the
development of knowledge (music thinking: knowing ‘about’) and s
kills (music making: knowing ‘how to’) in
context. Knowledge is broken down into elements that anticipate the language used by exam boards: structure,
pitch and melody, harmony and tonality, texture, tempo, metre and rhythm, dynamics and articulation, and sonority
(performing forces and playing techniques). Skills are broken down into performing, composing and critical
listening. In addition, pupils will grow their knowledge of the context in which the music with which they engage
was created and performed. It is this development of knowledge, skills and an awareness of context combined
which drives musical understanding, a deep, personal and internalised understanding of how music ‘works’ and
how it enables meaning.


Knowledge selection
The core knowledge covered in our secondary units is set out in the table below:
Phase Structure Organisation of pitch Texture Tempo, metre Dynamics and Sonority
and rhythm articulation (performing
Melody Harmony and forces and
tonality playing
techniques)
Put Repetition + High + low Pleasant + Full and sparse Fast + slow Loud + quiet Instruments
simply contrast clashing Long + short Smooth +
detached
Year 7 Repetition, riff, Step, leap, Pentatonic, Solo, unison, Pulse, tempo, Loud (forte), Voice
ostinato, groove, balanced major keys, two-part, layers, bar, bar line, quiet (piano), (vocalising,
bar, phrase, phrase, question major and minor full, sparse, simple time mezzo piano, singing,
balanced and answer, triads, chord polyrhythmic, signatures, mezzo forte, beatboxing),
phrase, sections, treble clef, scale relationships, melody and semibreve, fortissimo, body percussion,
intro, verse, degrees, stave, tonic, dominant, accompaniment minim, crotchet, pianissimo, gumboot
chorus, outro, semitone, staff primary and , harmony, call quaver, crescendo, dancing,
addition, notation, secondary and response semiquaver, diminuendo, keyboard,
subtraction, improvisation, chords, root rest, rhythm, staccato, legato, ukulele, acoustic
song, call and ostinato note, 3rd, 5th, polyrhythms, accent guitar, drumkit,
response inversions, chord syncopation, strumming, stab
charts, chord sustained,
symbols on-the-beat,
off-beat, dotted
crotchet, tie,
count-in, upbeat

Year 8 Ground bass, Bass clef, Major keys (D), Contrapuntal, Triplet, Slurs, detached Basso continuo,
signal, strophic, intervals, octave, root position, canon, entry, compound time harpsichord,
12 bar blues, lyric scale, passing key signatures, voice, walking signatures, spread chord,
structure aab note, ornament, blues scale, bass, broken swung quavers, cello, violin, bow,
trill, ascending, seventh chords, chords, block shuffle bowed, master
descending, blues scale, chords, drummer,
sharps, flats, bassline, chord monophonic, djembe, strokes,
blue notes progression polyphonic bass, tone, slap,
flam, tremolo,
slide, bottle
necking,
picking, double
bass, bass guitar,
brushes
(drum-kit)
Year 9 Head, solos, Hook, Extended Backing vocals, Clave, quantise, Fade in, Synthesized
loops, mix-in, A melismatic/ chords, minor counter melody, 120bpm, crescendo, fade sound, reverb,
section, syllabic text keys (D homophony, habanera, out, panning, filter,
breakdown, setting, harmonic doubling, mix-in, repetition, tal – diminuendo, FX, automation,
build, drop, arch-shape, minor), key breakdown, sam, theka, free balance post-production,
pre-chorus, conjunct, relationships, drop, chordal, tempo, trimming, zoom,
chorus, middle disjunct, sus chords, arpeggio interlocking, stinger, drum
eight, chromatic drone, rag, moderato, fills, picking
instrumental, passing notes, extended allegro Afrobeat: ‘horns’,
alap, jhalla sargam – sa, re, chords, Aeolian percussion—clav
pa, tihai, grace mode on C, es, maracas,
notes, upper chord shekere, conga
mordents, relationships, Neotango:
development, bitonality, bandoneon
motif atonality, note North Indian
cluster classical: sitar;
bansuri; tabla;
tanpura
Afro Celt Sound
System:
bodhran,
whistle,

tambourine,
shaker, talking
drum, extended
techniques
Inclusive and ambitious

We recognise that our curriculum needs to meet the needs of pupils coming from a variety of cultures and
backgrounds with different levels of experience and prior knowledge. The music curriculum aims to ensure that all
pupils:
● Have access to high quality musical experiences that deliver life-enhancing benefits through curriculum, and
adopt habits and behaviours that foster a respectful and joyful community
● Experience a knowledge-led curriculum where pupils gain new musical learning and the ability to retain it.


2. Subject structure overview

Year Unit Title Unit emphasis Length Useful prior knowledge

Group of Unit
7 Stomp and Sing Rhythm 13 None
7 The Power of the Pentatonic Melody 13 None
7 Band Musicianship 1: The Harmony (popular) 13 Keyboard performance

four-chord trick
8 West African Music Rhythm, texture and structure 13 None

(West African)
8 The Beauty of the Baroque Melody, harmony and texture 13 Keyboard performance; staff
(classical) notation (treble clef)
8 Band Musicianship 2: The Blues Melody and harmony (popular) 13 Instrumental performance
9 Fusions Melody, harmony and rhythm 10 Instrumental performance;

(non-Western/jazz) staff notation
9 Using technology musically: Harmony, texture and sonority 9 Keyboard; how to manipulate
EDM (popular) musical elements
9 Using technology musically: Tonality, texture and orchestral 9 Keyboard; how to manipulate
Film Music sonority (music for stage and musical elements
screen)
9 Band Musicianship 3: Songs for Melody, harmony and rhythm 9 Instrumental performance;
a better world (popular) composition

3. Suggested sequence

Year 7 Unit 1 - Stomp and Sing Unit 2 - The Power of the Unit 3 - Band Musicianship 1:
Pentatonic The four-chord trick
Purpose In this unit, pupils will be Pupils are introduced to Pupils develop an
performing (using their bodies pentatonic scales and learn the understanding of harmony,
and voices as instruments), secrets of effective melody chords and chord relationships,
composing and notating a writing. They begin to navigate whilst developing basic
‘Stomp’ inspired piece. Pupils staff notation in the treble clef. instrumental or tech skills. They
will also explore how the voice develop ensemble skills that
can be fully utilised in support connected playing and
performance and composition.  are introduced to chord charts
Pupils will compose within a and rhythm grids.
given structure using 4 beat
rhythmic patterns as their
building blocks. Pupils will learn
how to notate their rhythmic
patterns using staff notation. 
Outcome Pupils understand how rhythm Pupils understand how Pupils understand how different
is what gives music its energy balanced melodies are musical styles employ different
and movement. They structured. They understand kinds of accompaniment and
understand that much music is that the pentatonic scale is used that many pop songs are made
made up of a series of patterns in a variety of music including up of just 4 chords. They
and how these patterns can fit folk, jazz and classical. understand how harmony
together to create a larger supports melody.
structure.

Year 8 Unit 4 - West African Music Unit 5 - The Beauty of the Unit 6 - Band Musicianship 2:
Baroque The Blues
Purpose Pupils work with increasingly Pupils develop their ability to Pupils look to progress their
complex rhythms, textures and play an independent line within ensemble skills as they perform
structures. They drive forward a polyphonic/contrapuntal and improvise within a band.
their ability to improvise, texture by playing Baroque They consolidate and extend
perform independent parts and music. They deepen their their knowledge of harmony
create new music that understanding of the and improve their musical
embraces the traditions of relationship between melody literacy as they work from staff
djembe drumming and more and harmony by composing notation, chord charts, and
contemporary music from short original melodies to fit a tablature.
across West Africa. given ground bass.
Outcome Pupils understand that rhythm is Pupils understand how Pupils understand how layers
an essential element in all music combining ideas which stay the and parts work in a 12-bar blues
and that it can be used to add same and those which are ever structure. They understand the
energy, build excitement, or changing builds interest in music devices inherent in this
communicate stillness and calm. music. They are familiar with style and can include these in
They understand the status that performance practices of the their own practical work.
music in West Africa has and late 18th century and learn to
how this music is learnt and led. recognise some musical devices
of the Baroque period.
Year 9 Unit 7 - Fusions Unit 8 - Using technology Unit 9 - Band Musicianship 3:
musically: EDM and Film Music Songs for a better world
Purpose Pupils explore the characteristic Pupils apply their knowledge of Pupils approach this unit with a
ideas of different musical styles melody, rhythm and harmony rounded sense of musical
and traditions through to the world of Electronic Dance understanding and
performance and analysis, and Music, learning how to performance technique. They
critical listening. manipulate texture and exploit can apply that understanding
technology. across a number of contexts

Pupils engage with complex In Film Music, pupils explore and compose an original song
melodic, rhythmic and extended instrumental which demonstrates this.
harmonic material by fusing techniques, tonality, harmony
two contrasting musical and tempo to compose music
styles/traditions. that reflects different images
and characters.
Outcome Pupils understand the purpose Pupils understand how the Pupils understand how, for
of musical devices found in careful structuring of ideas is centuries, music has been used
music from a range of cultures vital to successful composition, to draw attention to political
and traditions, such as tango, regardless of the genre, style or issues and draw attention to
bhangra and afrobeat, Students tradition. They understand how social change in pursuit of a
understand how fusion music music can communicate and better world.
relates to its origins. enhance mood, character and
setting.

Which units could be taught out of sequence?

These units are designed to meet a range of starting points and teaching needs. That said, we suggest the strong
foundational knowledge built through units 1 and 4 are a good jumping off point for pupils in years 7 and 8. Units 7,
8 and 9 could stand alone and be taught out of context.
Each unit of learning lasts approximately one term. This is so pupils have the opportunity to develop and consolidate
their musical understanding at each stage before moving onto the next. We recognise that in this context, teachers
may need to set smaller selections of work, therefore each unit is broken down into a number of shorter 'cycles' of
learning with knowledge checks and assessment tasks built in.

4. Unit specifics

Stomp and Sing, Year 7

Lesson Number Core Content
1 Performing pulse and rhythms

Performing a structured piece
2 Exploring basic beatboxing sonorities

Performing a structured piece
3 Exploring the ability of the voice

Inspiration from ‘Bring Me Little Water, Sylvie’
4 Communicating the meaning of a song effectively
5 Exploring more advanced body percussion techniques
6 Exploring how the composer Anna Meredith uses body percussion
7 Pause Lesson - for review
8 Inspiration from ‘Elefantea Nun Da’
9 Singing in two-part harmony
10 Exploring gumboot dancing
11 Creating a structured rhythm-focused composition

Exploring repetition and contrast
12 Developing rhythmic ideas
13 Layering rhythmic ideas

Exploring metre


The Power of the Pentatonic, Year 7
Lesson Number Core content that develops musical understanding
1 Understanding how pitch is organised

Feeling beat 1 in simple triple time
Improvising pentatonic phrases
2 Understanding treble clef notation

Performing the first two phrases of ‘Amazing Grace’
3 Performing the final two phrases of ‘Amazing Grace’

Creating a simple accompaniment
4 Performing ‘Amazing Grace’ in a manner that c

ommunicates the meaning of the song
6 Improvising a pentatonic answer phrase

Singing ‘Fly Peacock Fly’
Exploring how folk music uses pentatonic scales
7 Composing balanced pentatonic question and answer phrases

Understanding the role of the tonic and dominant scale degrees
8 Understanding how adding dynamics shapes a melody
9 Creating a simple accompaniment
10 Exploring how classical music uses pentatonic scales

Performing pentatonic melodies by Bartok and Debussy
11 Exploring other time signatures

Exploring other phrase lengths
12 Composing a longer balanced melody
13 Creating a countermelody


Band Musicianship 1: The four-chord trick, Year 7
1 Understanding the role of chords in a musical texture

Understanding how chords are constructed
Performing sustained chords (Am and Em)
2 Performing off-beat chords (G)

Exploring how reggae uses off-beat chords
3 Performing chords in rhythmic patterns (C and F)

Understanding the primary chords in a major scale
4 Performing syncopated chords

Understanding the secondary (minor) triads in a major scale
Understanding how contrast is achieved in a song structure
6 Performing contemporary pop songs
7 Performing popular music drum patterns
8 Exploring how popular music drum patterns communicate a style

Understanding how and why the band set-up has changed
9 Identifying musical contrast in a song

Understanding how a musical group communicates and balances
10 Understanding chord inversions

Composing a successful 4-chord chord progression

11 Understand how to add interest and contrast to a chord sequence
12 Understanding how word are set to music

Exploring how to compose lyrics in a structure
13 Understanding how to compose a rap


West African Music, Year 8
1 Performing rhythms of the song “Kuku” from Guinea

Understanding how the djembe is played
2 Performing the unison response of “Kuku”

Understanding how to lead and follow signals
Composing signals and a call and response
3 Improvising creative rhythms
4 Understanding that there are many types of drums in West Africa

Exploring the textures in “Kuku”
Creating polyrhythms and hemiolas
5 Exploring percussion of West African countries

Composing with rhythm, texture and sonority
6 Singing the melody of “Kuku”

Understanding the structure of “Kuku”
Exploring melody in West African musics
8 Composing in a structure
9 Understanding what a griot and an oral tradition are, and the role of music in West African
society
10 Performing melodies and rhythms from Ghanaian music

11 Exploring the afrobeats music of Yemi Alade
12 Comparing and exploring West African musics through performance and composition
13 Comparing and exploring West African musics through performance and composition


The Beauty of the Baroque, Year 8
1 Understanding how a D major scale is built

Performing “Pachelbel’s Canon”
Knowing when the Baroque period was, and where
2 Performing countermelodies in “Pachelbel’s Canon”

Responding to staccato and legato articulation markings
3 Performing more countermelodies in “Pachelbel’s Canon”

Exploring Baroque ornamentation
4 Understanding more about Baroque instruments and ensembles

Performing Pachelbel’s melodies in canon
5 Arranging Pachelbel’s melodies into a 4-phrase melody
7 Exploring Baroque ground basses

Performing Pachelbel’s ground bass
Understanding bass clef notation
8 Exploring the relationship between a bassline and chords
9 Composing a bassline
10 Composing a simple melody using notes from accompanying chords
11 Composing a more elaborate melody that uses passing notes, Baroque rhythms and
staccato/legato articulation

12 Exploring other Baroque structures
13 Arranging melodies into a Baroque structure


Band Musicianship 2: The Blues, Year 8
1 Performing and transposing a 12-bar blues bass line
2 Understanding building primary chords from a bass/root note

Understanding the function of a turnaround chord
Performing a 12 bar blues chord sequence
3 Performing blues rhythms

Explore walking basslines
4 Performing a jazz head
5 Exploring a blues scale

Improvising a successful and stylish answer to a jazz head
7 Understanding how to improvise longer phrases
8 Understanding how blues singers communicate emotion

Understanding how blues lyrics are structured
9 Inspiration from “All Blues”
10 Creating a blues accompaniment
11 Composing a structured blues melody
12 Learning about instrument playing techniques in order to communicate the blues genre
13 Understanding how improvisers communicate when performing in a band

Fusions, Year 9
1 Understanding how and why fusion music is created

Composing and performing rhythmic ideas influenced by "Water No Get Enemy"
2 Performing harmonic ideas influenced by “Water No Get Enemy”
3 Exploring the musical ideas in tango and neotango
4 Understanding the role of the musical layers in tango

Understanding the function of chromatic passing notes
5 Improvising an alap on a rag

Improvising on a rag above a drone
6 Performing and improvising around a chaal
7 Performing melodic, harmonic and rhythmic ideas in ‘Release’

Exploring the Aeolian mode
8 Developing melodic, harmonic and rhythmic ideas from the styles or traditions of music
studied
9 Fusing melodic, harmonic and rhythmic ideas from the styles or traditions of music studied
10 Fusing melodic, harmonic and rhythmic ideas from the styles or traditions of music studied


Using technology musically 1: EDM, Year 9
1 Understanding the role of a DAW in music creation

Creating drum beats
Understanding rhythmic displacement
2 Composing chord sequences
3 Adding interest to chord sequences
4 Exploring basslines
5 Harmonising melodic riffs
6 Integrating and manipulating samples in a dance track
7 Understanding the purpose of a mix-in
8 Understanding the purpose of a breakdown, build and drop
9 How balance, FX, panning and dynamics can musically enhance a dance track


Using technology musically 2: Film Music, Year 9
1 Understanding how and why film music has changed from mickey-mousing
2 Exploring timing and sonority in live film music
3 Understanding the role of a DAW in music creation

Understanding the difference between foley and sound effects
4 Understanding the difference between diegetic and non-diegetic sound
5 Exploring how an underscore can communicate a mood or setting

Understanding what extended instrumental techniques are, and how and why composers
exploit them
6 Developing musical elements in an underscore to reflect the mood or setting in a film clip
7 Exploring tonality and harmony in an underscore to reflect the mood or setting in a film clip
8 How to exploit sonority, dynamics, pitch, rhythm and tempo to compose successful leitmotifs
9 Developing leitmotifs further to reflect changes in a character’s mood or situation


Band Musicianship 3: Songs for a better world, Year 9
1 Understanding how John Lennon employed melody to communicate the lyrics of his protest
song ‘Imagine’
2 Understanding how and why tempo, metre and rhythm choices help to communicate the
message of a song
3 Exploring how artists cover songs

Understanding how John Lennon employed texture, tonality and harmony in his protest song
‘Imagine’
4 Understanding song structure and roles in a band

Exploring contemporary protest songs
5 Understanding how drum patterns communicate different song styles
6 or 7 * Exploring voicing and accompaniment style of chords
6 or 7 * Exploring how to write lyrics and melody
8 Understanding the purpose of hooks
9 Exploring fluency, contrast and a sense of direction within a song
10 Beginning to compose your own ‘song for a better world’
11 Completing your own ‘song for a better world’


*Students will have different starting points, and this will be narrated at the start of both lessons.


Appendix: Musical Understanding – some background
observations

Musical Understanding is a distinct and unique form of musical knowledge, which many have long considered the
most important aspect of learning for curriculum music*. It acts as the driver for all practical activity in the
classroom, with each unit of work designed to develop learning at a particular stage of musical understanding.
Practical skills, and knowledge about theoretical concepts, are therefore important not simply because they are
useful in themselves, but primarily because they enable progression in musical understanding.
At its simplest, musical understanding has been described as knowledge ‘of’ music: a deep, personal and
internalised understanding of how music ‘works’ and how it enables meaning. This usefully distinguishes it from
other forms of musical knowledge: knowledge of ‘how to do’ music (i.e. the musical skills of performing, composing,
etc) and knowledge ‘about’ music (i.e. concepts such as the elements or dimensions of music, and information
about composers, notation, styles of music, etc).
It has been defined clearly over the years by both significant music educators and by various bodies connected with
the National Curriculum for music. The most recent of these include the original Level statements for music in the
National Curriculum, the Secondary Strategy KS3 programme, the Assessing Pupil Progress project, and the
Exemplification of Standards materials. Although not all of these offered a single, overarching definition, they each
provided a set of written statements defining progression in musical understanding, and in some cases also
provided examples of pupils’ music making and thinking which reflected the different stages of progression.

There are two key consequences of using musical understanding to define progression in musical learning:
1. Each unit is designed to develop a particular stage of understanding, with all the units for at least one year’s
set of units addressing a similar stage. This is because progression through the stages is a long-term process,
and requires careful introduction, consolidation and development across a range of musical contexts before
moving on to the next stage. This provides a very clear rationale as to why certain units and their associated
activities / learning are placed where they are. It also enables teachers to be explicit with pupils as to why
certain activities or music are being studied: ‘this will help you understand how music is created in layers,
instead of in sequences of single sounds’; or ‘this will help you understand how music from this tradition / part
of the world uses a different process for making music than we’ve seen in other sorts of music we have
explored’ .
2. The creative challenges which can be offered to pupils are both more sophisticated and more targeted: rather
than just asking pupils to make a contrasting section for their ‘stomp’ parts for instance, teachers can ask
pupils to find out how many different combinations they can make from the parts or layers of sounds they
have already created – solos, two parts in different pairings, three layers of sound, etc; or rather than just
asking pupils to ‘create a blues’, teachers might ask pupils to find their own way of ‘walking’ the bass line from
one chord root to another. The consequence is that there is potential for pupils to be given lots of short,
focused creative challenges rather than long, broad tasks.
*Teachers may wish to explore the new resources on the ISM web site, which describe and explain the history of
musical understanding over the course of the past 50 years, including its importance within the National Curriculum
in England.

Music: Secondary: Key Stage 3

Uploaded by

Copyright:

Available Formats

Music: Secondary: Key Stage 3

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Music: Secondary: Key Stage 3

Uploaded by

Copyright:

Available Formats

What are the main principles of the music curriculum?

What are the main principles of the music curriculum?

What knowledge is the curriculum designed to build in pupils?

What knowledge is the curriculum designed to build in pupils?

● Be inducted into the powerful cultural knowledge associated with music.

● Use improvisation to unlock creative potential and musical identity/individuality.

Coherence and flexibility

2 Version 2.0, 24 August 2020 Oak National Academy

As such we have created a pathway that progressively builds pupils’ m

3 Version 2.0, 24 August 2020 Oak National Academy

4 Version 2.0, 24 August 2020 Oak National Academy

5 Version 2.0, 24 August 2020 Oak National Academy

Inclusive and ambitious

6 Version 2.0, 24 August 2020 Oak National Academy

Year Unit Title Unit emphasis Length Useful prior knowledge

7 Stomp and Sing Rhythm 13 None

7 The Power of the Pentatonic Melody 13 None

7 Band Musicianship 1: The Harmony (popular) 13 Keyboard performance

8 West African Music Rhythm, texture and structure 13 None

9 Fusions Melody, harmony and rhythm 10 Instrumental performance;

7 Version 2.0, 24 August 2020 Oak National Academy

8 Version 2.0, 24 August 2020 Oak National Academy

9 Version 2.0, 24 August 2020 Oak National Academy

Which units could be taught out of sequence?

10 Version 2.0, 24 August 2020 Oak National Academy

Stomp and Sing, Year 7

1 Performing pulse and rhythms

2 Exploring basic beatboxing sonorities

3 Exploring the ability of the voice

4 Communicating the meaning of a song effectively

5 Exploring more advanced body percussion techniques

6 Exploring how the composer Anna Meredith uses body percussion

7 Pause Lesson - for review

8 Inspiration from ‘Elefantea Nun Da’

9 Singing in two-part harmony

10 Exploring gumboot dancing

11 Creating a structured rhythm-focused composition

11 Version 2.0, 24 August 2020 Oak National Academy

12 Developing rhythmic ideas

13 Layering rhythmic ideas

12 Version 2.0, 24 August 2020 Oak National Academy

1 Understanding how pitch is organised

2 Understanding treble clef notation

3 Performing the final two phrases of ‘Amazing Grace’

4 Performing ‘Amazing Grace’ in a manner that c

5 Pause Lesson - for review

6 Improvising a pentatonic answer phrase

7 Composing balanced pentatonic question and answer phrases

8 Understanding how adding dynamics shapes a melody

9 Creating a simple accompaniment

10 Exploring how classical music uses pentatonic scales

11 Exploring other time signatures

13 Version 2.0, 24 August 2020 Oak National Academy

12 Composing a longer balanced melody

13 Creating a countermelody

14 Version 2.0, 24 August 2020 Oak National Academy

1 Understanding the role of chords in a musical texture

2 Performing off-beat chords (G)

3 Performing chords in rhythmic patterns (C and F)

6 Performing contemporary pop songs