Our Curriculum › Music › 7th Grade
Music 7
A full year of 7th-grade music: theme and variation form, writing music down, composing a piece with self and peer feedback, tempo and navigation symbols, comparing contrasting pieces and traditions, rehearsing, and a capstone composition with a written comparison.
180 lessons
One a day for a school year
9 units
Each opens to its lessons
4 ways to vary a theme
Rhythm, tempo, ornament, mode
Standards
National Core Arts Standards (music)
What's taught, unit by unit
Theme and variationDays 1–15
A new form beside AB and ABA. Four variation techniques (changing rhythm, tempo, ornamentation and major to minor), then writing an original four-measure theme, two variations, and phrases over a chord accompaniment.
- 1 · Welcome to Grade 7 Music: What Forms Do You Already Know?
- 2 · Meet Theme and Variation: A Melody That Keeps Coming Back Changed
- 3 · Comparing Forms: AB, ABA, and Theme and Variation Side by Side
- 4 · Varying the Rhythm: Same Melody, New Groove
- 5 · Varying the Tempo: Same Melody, Different Speed
- 6 · Varying with Ornamentation: Decorating a Melody
- 7 · Varying the Mode: Same Melody, Major to Minor
- 8 · Combining Variation Techniques: Layering Two Changes at Once
- 9 · Generating Your Own Theme: Writing a Simple 4-Measure Melody
- 10 · Generating Variation 1: Your Theme, Changed
- 11 · Generating Variation 2: Your Theme, Changed a Different Way
- 12 · What Is a Harmonic Accompaniment?
- 13 · Generating a Rhythmic Phrase Over an Accompaniment Pattern
- 14 · Generating a Melodic Phrase Over an Accompaniment Pattern
- 15 · Mini-Project Checkpoint: Theme, Variations, and Accompaniment Together
Writing music downDays 16–30
Notating rhythm, melody on the staff, and harmonic sequences (chord progressions), each in both standard and picture notation. They look at a real score and notate their full theme-and-variation piece.
- 16 · Notating Rhythm: Reading and Writing Note Values
- 17 · Notating a Rhythmic Phrase: From Idea to Page
- 18 · Iconic Notation for Rhythm: An Alternative Way to Write It Down
- 19 · Notating Your Theme's Rhythm Pattern
- 20 · Checkpoint: Rhythmic Notation Practice
- 21 · Notating Melody: Placing Notes on a Staff
- 22 · Notating a Melodic Phrase: From Idea to Page
- 23 · Iconic Notation for Melody: Contour Lines and Shapes
- 24 · Notating Your Theme's Melody
- 25 · Checkpoint: Melodic Notation Practice
- 26 · What Is a Harmonic Sequence? A Chord Progression, Step by Step
- 27 · Notating a Harmonic Sequence with Iconic Chord Blocks
- 28 · Notating a Harmonic Sequence with Standard Chord Labels
- 29 · Looking at Real Notation: A Famous Score Up Close
- 30 · Capstone: Notate Your Full Theme-and-Variation Piece
Composition project with feedbackDays 31–60
Composing in AB, ABA or theme-and-variation form, balancing unity and variety. They self-evaluate on style, form and sound sources, get written peer feedback, revise twice, write program notes and present.
- 31 · Kickoff: Choose Your Form for This Composition Project
- 32 · Unity and Variety — the Two Qualities That Make a Piece Work
- 33 · Choosing Your Sound Sources
- 34 · Planning Your Main Idea: Section A or Your Theme
- 35 · Building Variety: Planning Your Contrasting Material
- 36 · Documenting Your Musical Ideas So Far
- 37 · Organizing the Whole Form: Beginning, Middle, and End
- 38 · Draft Check: Does My Piece Have Unity and Variety?
- 39 · What Is a Rubric? Your Teacher-Provided Evaluation Criteria
- 40 · Self-Evaluating Your Draft: Style
- 41 · Self-Evaluating Your Draft: Form
- 42 · Self-Evaluating Your Draft: Use of Sound Sources
- 43 · Writing Your Self-Evaluation Rationale
- 44 · Revising Based on Your Own Evaluation
- 45 · New Skill: What Is Peer Feedback and Who Can Give It?
- 46 · Preparing Your Piece and Rubric for a Peer Reviewer
- 47 · Getting Written Peer Feedback
- 48 · Comparing Teacher Criteria, Self-Evaluation, and Peer Feedback
- 49 · Writing a Revision Rationale Based on Peer Feedback
- 50 · Revising Your Piece: Strengthening Unity
- 51 · Revising Your Piece: Strengthening Variety
- 52 · Final Check Before Presentation
- 53 · What Does "Craftsmanship" Mean in a Presentation?
- 54 · What Does "Originality" Mean in a Presentation?
- 55 · Presenting for Expressive Intent
- 56 · Preparing Your Final Presentation
- 57 · Writing Program Notes for Your Piece
- 58 · Presentation Day
- 59 · Reflecting on Your Composition Journey
- 60 · Unit 2 Capstone Wrap-Up and Portfolio Entry
Tempo and navigation symbolsDays 61–72
Italian tempo words (allegro to largo), ritardando and accelerando, then repeat signs, first and second endings, D.C. al Fine and D.S. al Coda. Children combine every symbol type on one page and read a real score.
- 61 · Tempo Symbols: Allegro, Andante, and Adagio
- 62 · More Tempo Terms: Moderato, Presto, and Largo
- 63 · Tempo Change Markings: Ritardando and Accelerando
- 64 · Symbol Review: Rhythm, Pitch, Articulation, and Dynamics
- 65 · Putting All the Symbols Together
- 66 · Form Symbols: Repeat Signs
- 67 · Form Symbols: First and Second Endings
- 68 · Form Symbols: D.C. al Fine
- 69 · Form Symbols: D.S. al Coda
- 70 · D.C. al Fine vs. D.S. al Coda: Comparing Two Road Maps
- 71 · Reading a Real Score's Form Road Map
- 72 · Notation Symbol Assessment
Comparing the structure of contrasting piecesDays 73–90
Explaining how an AB piece and a theme-and-variation piece differ in structure, dynamics, tempo, rhythm and melodic shape, then applying it to the first two movements of Beethoven's Fifth. Ends with reviews and an assessment.
- 73 · From One Piece to Two: Comparing Musical Structure
- 74 · Piece A: Structure of an AB (Binary) Form Piece
- 75 · Piece B: Structure of a Theme-and-Variation Piece
- 76 · AB vs. Theme-and-Variation: Comparing Overall Structure
- 77 · Comparing Dynamics Across Contrasting Pieces
- 78 · Comparing Tempo Across Contrasting Pieces
- 79 · Comparing Rhythm Across Contrasting Pieces
- 80 · Comparing Melodic Shape Across Contrasting Pieces
- 81 · How Combined Elements Create Contrasting Character
- 82 · Worksheet: Structure and Elements Comparison Chart
- 83 · A Famous Case Study: Beethoven's Symphony No. 5
- 84 · Symphony No. 5, Movement I: Contrasting Themes
- 85 · Symphony No. 5, Movement II: Theme and Variations
- 86 · Comparing Movement I and Movement II
- 87 · Symbols and Structure Together in a Real Score
- 88 · Unit Review: Notation Symbols
- 89 · Unit Review: Comparing Structure
- 90 · Unit 3 Final Assessment
Interpreting world traditions and rehearsingDays 91–120
Tango (rubato), samba (syncopation) and Scottish Highland pipes, then interpreting two contrasting pieces of their own. They build a rehearsal rubric with a family member, rehearse, and give a capstone performance.
- 91 · What Makes an Interpretation?
- 92 · Argentine Tango — History and Context
- 93 · Interpreting Tango — Rubato and Drama
- 94 · Brazilian Samba — History and Context
- 95 · Interpreting Samba — Syncopation and Ensemble Energy
- 96 · Scottish Highland Pipe Music — History and Context
- 97 · Interpreting Highland Music — Drone, Ornament, and Dance Rhythm
- 98 · Same Job, Different Answer — Comparing Four Traditions
- 99 · Choosing Your Contrasting Pieces
- 100 · Elements of Music — A Quick Refresher for Comparison
- 101 · Interpreting Piece A — Tempo and Rubato Choices
- 102 · Interpreting Piece A — Dynamics and Expressive Qualities
- 103 · Interpreting Piece B — Rhythm and Syncopation Choices
- 104 · Interpreting Piece B — Timbre and Tone Color Choices
- 105 · Comparing Your Two Interpretations
- 106 · Refining Your Interpretations
- 107 · Interpretation Planning Worksheet
- 108 · Checkpoint — Contrasting Pieces and Interpretation
- 109 · What Is a Collaboratively-Developed Rubric?
- 110 · Brainstorming Rehearsal Criteria Together
- 111 · Building the Rubric — Technical Accuracy
- 112 · Building the Rubric — Stylistic Expression
- 113 · Finalizing Your Rehearsal Rubric
- 114 · First Rehearsal Pass With Your Rubric
- 115 · Refining After Feedback
- 116 · Determining Readiness
- 117 · Capstone Prep — Technical Accuracy Check
- 118 · Capstone Prep — Matching Style to Tradition
- 119 · Performing for Family — Capstone Performance
- 120 · Reflecting on Your Interpretive Journey
Contrasting music: programs, connections, contextDays 121–150
Designing a concert program of contrasting styles with criteria, comparing how two pieces connect to their own feelings and experiences, and comparing context across samba, bossa nova, Aboriginal Australian music, and the Classical and Romantic eras.
- 121 · Introducing the Music Program: More Than One Piece
- 122 · What Makes Two Styles "Contrasting"?
- 123 · Building Criteria Together, Not Just Picking Favorites
- 124 · Program Purpose #1: A Family Gathering
- 125 · Program Purpose #2: A Themed Showcase
- 126 · Program Purpose #3: Setting a Mood or Occasion
- 127 · Balancing Contrast and Coherence
- 128 · Practice: Build a Program From a Piece Library
- 129 · Getting and Using Feedback on Your Criteria
- 130 · Final Project: Design Your Contrasting-Style Program
- 131 · From One Piece to Two: Comparing Personal Connections
- 132 · What "Contrasting" Means for This Comparison
- 133 · Choosing Your Two Pieces on Purpose
- 134 · Comparing Emotional Connections Across Two Pieces
- 135 · Comparing Connections to Specific Experiences
- 136 · Vocabulary for Describing Contrast in Your Response
- 137 · Guided Practice: Comparing Two Described Pieces
- 138 · Extension: Comparing Three or More Pieces
- 139 · Interviewing Someone Else's Contrasting Connections
- 140 · Final Project: Your Contrasting Connections Comparison
- 141 · From Identifying to Comparing: A New Responding Skill
- 142 · Brazilian Samba: Genre, Culture, and Period
- 143 · Bossa Nova: A Different Brazilian Sound
- 144 · Comparing Samba and Bossa Nova
- 145 · Australian Aboriginal Music Traditions
- 146 · The Classical Era, Revisited: Beethoven's Context
- 147 · The Romantic Era: A New Context Emerges
- 148 · Three Traditions, Three Contexts: A Big Comparison
- 149 · Practice: Comparing Context Across Traditions
- 150 · Unit Review: Selecting, Comparing, and Connecting Across Contrasting Music
Comparing works and choosing criteriaDays 151–164
Comparing two contrasting works by elements, expressive qualities and context (Beethoven's Fifth against Debussy's Clair de Lune, two vocal traditions), then choosing the right criteria for a technical or expressive piece.
- 151 · New Skill: Comparing Two Contrasting Works
- 152 · Comparing the Elements of Music
- 153 · Comparing Expressive Qualities
- 154 · Comparing Genre and Cultural/Historical Context
- 155 · Full Synthesis: Beethoven's Fifth vs. Debussy's Clair de Lune
- 156 · Comparing Ensemble Size and Instrumental Texture
- 157 · Comparing Two Vocal Traditions
- 158 · Mastery Check: Comparative Interpretation (Re8.1.7a)
- 159 · New Skill: Selecting From a Bigger Menu of Criteria
- 160 · Practice: Selecting Criteria for a Technical Piece
- 161 · Practice: Selecting Criteria for an Expressive Piece
- 162 · Selecting Criteria to Fairly Compare Two Contrasting Works
- 163 · Selecting Criteria for Your Own Work-in-Progress
- 164 · Mastery Check: Comparative Interpretation & Criteria Selection
Capstone composition and comparisonDays 165–180
Composing an original piece in theme-and-variation or another form, with self-evaluation and peer feedback. They write a comparison with a professional piece, then rehearse, perform with a program note, and reflect on the year.
- 165 · Capstone Kickoff: Your Final Project
- 166 · Capstone: Draft Your Theme
- 167 · Capstone: Build Your Variation or Contrasting Section
- 168 · Capstone: Self-Evaluate Your Draft
- 169 · Capstone: Peer Feedback
- 170 · Capstone: Revise Your Composition
- 171 · Capstone: Finalize Your Score
- 172 · Capstone: Choose Your Professional Comparison Piece
- 173 · Capstone Comparison: Elements of Music
- 174 · Capstone Comparison: Expressive Qualities
- 175 · Capstone Comparison: Context and Full Synthesis
- 176 · Capstone: Plan Your Rehearsal
- 177 · Capstone: Rehearse and Refine
- 178 · Capstone: Performance Day
- 179 · Reflecting on Your Year in Music
- 180 · Capstone Showcase: Completing Music 7
By the end of the year, your child can
- Write a theme and vary it by rhythm, tempo, ornament and mode
- Compose a piece in AB, ABA or theme-and-variation form and revise it
- Read tempo words, repeat signs, D.C. al Fine and D.S. al Coda
- Compare two contrasting pieces by structure, elements and context
- Interpret and perform pieces from several traditions with expression
- Give and use feedback to improve their own music