Formative assessment – freeing ourselves from the stress to assess

A really quick post (I’ve got moderation to do…) just to offload some of the thoughts in my head about assessment…

  1. Sometimes – or even a lot of the time – we need to assess things that don’t look like the final outcome.

formative assessment may 2017

If you are a rugby coach, you use drills to teach the skills you need for a match. If you are musician, you practise scales and studies to build up the skills you need for a performance.

We can’t just assess performances all the time.

Today with my Year 7s I was assessing how well they could play major and minor chords on the keyboard. There are different parts to this: knowing where the notes are, knowing what a semitone is, which way is ‘up’, remembering ‘4 then 3’ and ‘3 then 4’ rule for major and minor, and getting your fingers organised on the keys. That’s quite enough for one assessment!

Getting round them all, though, is a lengthy job. Life’s too short!

So I said that if they showed skills that were good enough to be an assessor, I would give them a hat. (Hats as motivators – never fails for some reason) Then they could help me work round and assess the rest of the class.

It worked brilliantly. Here they are in their hats (left over from a production of Cabaret):

Year 7 hats

2. Taking away ANY kind of numbers reduces the stress to assess.

We have moved from this:

Screen Shot 2015-08-14 at 19.37.54

To this:


It used to result in a mark out of 60 (12 x marks out of 5). Now it doesn’t – it just goes on a spreadsheet to show who has demonstrated what skills, and whether they’ve done it really well or not.

So if you don’t assess all 12 things on the radar, no sweat. They just do the ones they can.

And relax!


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What’s going on in my classroom: spring 2017… quite a lot on assessment but other stuff too

In case you’re at all interested, I thought it might be good to return to the ‘what I’m up to at the moment’ theme – because so many music teachers are so isolated in their work, it’s always nice to have a chance to be nosey about what other people are doing. So here’s what I’m doing right now.

I know I promised more on the dark art of shitistics – scroll down for the meaty assessment stuff!

Numbers for EVERYTHING

Well, pitch and rhythm. This has developed out of a SingUp warmup called ‘1-121’ – essentially it involves playing around with pitches within a scale, using numbers. Sounds boring, right? WRONG! It is brilliant. There are so many permutations! You can:

  • do rounds
  • build up chords
  • talk endlessly about major/minor, adding 7ths, dissonance, consonance
  • do inversions (one group sings from 1, the other from 8)
  • move about in parallel triads (three groups, one starts on 1, one on 3, one on 5, sing up to 8 and back down to 1, and then back to where you started – leave out all the 7s for a really great effect that is complex enough to keep everyone concentrating)
  • practise holding a harmony line
  • learn about creating your own harmonies for whatever melody you like, because you know about 3rds and 6ths…
  • learn about key changes (the ‘1’ moves to a different pitch – bang)
  • use it when you’re teaching a song – this is so useful! You can learn the whole thing with numbers first, including harmony parts. You can even then translate this to instruments – particularly handy if you have transposing instruments… as long as you know where ‘your’ 1 is, away you go!

Also, you can combine numbers 1-4 (pitch) with beats of the bar – hold up 4 fingers and students need to sing note 4 on the 4th beat, etc. (use a backing track – that’s another thing – there are now so many useful backing tracks, in every key, tempo, and conceivable style, on YouTube – you are very likely to find something that is perfect for what you want to do)

Rhythm: my new favourite way to start a lesson is to put on a piece of music (anything, but perhaps related to what we’re doing) and get them to ‘find the 1’ and clap on it. This develops into finding other beats, doing different sounds on different beats, incorporating the ‘ands’ (the second half of each beat). I have some classes that clap on 2 and 4 no matter what number you ask for! So focussing on this at the start of the lesson is a great way to get them tuned in and thinking actively about the music, before we move on to other things.

Musical Futures: Just Play, and how you might build in assessment

Yes, I mentioned this in my last post, but feel I must come back to it here. I cannot tell you just how much I love this! Just Play is a set of whole-class performing resources from Musical Futures that involves students playing any combination of keyboards, guitars, ukuleles, bass, chair drums, and vocals, all with playalong videos. We are currently using it with year 7, 8 AND 9, because it is so good we didn’t want anyone to miss out!  If you haven’t seen it, you can download some sample materials from the MF website here.

Why do I love this so much? It is really musical. It engages students in improving their instrumental skills, their ability to play in time and respond to visual cues, and moves them on quickly in a way that they find satisfying. It is super-differentiatable (I’ll come back to this in a moment). The resources are great, and although you have to pay for them, they are very much worth it for the return that you get. Plus, the kids LOVE it! So, let’s say we’re working on Uptown Funk. This only has two chords, but there are many changes in texture that you need to watch for. Students are arranged around the room on all the instruments, following the video and playing along. I can differentiate for individuals by:

  • getting them just to play on beat 1 of each bar if they need time for chord changes
  • getting them to strip back to just root notes
  • use a sponge under the 4th, 5th, and 6th strings of the guitar to simplify chords: you only have to worry about strings 1, 2 and 3 because the others are muted by the sponge
  • get them to play a more ‘authentic’ strumming pattern if they can
  • taking out the sponge and asking them to try ‘full’ guitar chords
  • on keys, ask them to try putting in a root note in the left hand while playing chords in the right hand
  • ask them them to try singing and playing at the same time
  • getting them to try different instruments

I have been doing some great video assessment of Just Play lessons. I don’t want stress to assess, but it’s nice to chart progress sometimes, plus students do find it motivating. So I video a Just Play performance, making sure I get everyone in. I don’t have to try to make notes while they’re playing, I can watch it back later (it doesn’t take long). Then I can create a chart that looks like this:


The numbers here are only a shortcut to the colours – it’s these that are the important bits. Red means ‘not yet’. Amber is ‘can do this’ and green is ‘can do this really well’ (there’s more on this below). Generally there are fewer reds by the third week, so if I wanted to ‘prove’ progress (which I really hate doing, but I know a lot of teachers have to) you could put that in your pipe and smoke it.

I can track what they’re up to and give them personalised objectives, like this:


Moving upwards and onwards with assessment

If you want to know all the ins and outs of where I’m at with KS3 ‘life after levels’, then it is outlined in the webinar above, that I did in conjunction with Music Excellence London  and the ISM Trust in January. If you’ve read about radar diagrams and the way that I’ve been using them in previous posts, it’s all about how that is evolving. If you are a fan of the idea of shitistics then watch the last 10 mins or so. I couldn’t say ‘shitistics’ itself in the webinar but you’ll get the idea!

In case you don’t have time to watch the vid, here are the highlights:

  1. Moving to a 3-point system. Before, everything was marked on a 1-5 scale (where 5 is great and 1 is terrible). I’ve changed this now, to a 3-point scale: 3-point-radar-2017

There are still 12 things round the edge – we need 12, our projects are a whole term long. I don’t ever attempt to assess all 12 at once! The main difference is the 3-point scale: ‘not yet’, ‘can do’ and ‘can do really well’. I really like using this. Taking numbers out of the whole thing is good. I like that ‘not yet’ is the lowest one. It all makes sense to everyone and is really simple.

2. All the things round the outside are selected from a list that I’ve now compiled – one of the things I’ve had to do to fit in with the way that we’re moving towards doing KS3 assessment at my school is to create a PLC (personalised learning checklist – although they’re not really personalised – this whole idea is a PiXL thing, for better or worse): this is essentially a list of the skills, knowledge, and concepts that we want KS3 to be all about. Each department had to fill in a jigsaw – here is ours:

music-ks3-jigsaw-revisedI also used the ISM framework for curriculum design and assessment at KS3 (it’s here) which is brilliant – as a process to work through, with its ‘big questions’, I can’t recommend it highly enough.

So, after all that, I came up with a list of all the things that are important enough that we want to assess them. The things round the outside of the radars are selected from these, appropriate to the content of the topic. Over time, we’ll cover all of them, and a picture builds up of where each student is with their skills – can they do each thing at all, do it really well, or not yet? So much more musical, human and real than saying ‘you’re a 3b’.

Bob Marlead


Kids cannot coil jack leads properly, and my attempts to teach them to do so were causing me great frustration. The solution – Bob Marlead. Like all the best ideas, I stole this one, but it has revolutionised lead storage in my classroom. Just stick it on Bob! Made for us out by our fab caretaker Kevin out of a laminated Google Images pic of Bob stuck to a board with two bits of dowel sticking out to hang the leads on. A sequel featuring Alice Cooper will be coming to the classroom next door very soon!

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What’s going on in my classroom right now

One of the problems with music teaching is that we so often work in very small departments that we rarely see other music teachers teach. So we plough on, reinventing our wheels on a weekly basis.

In the spirit of glasnost I just thought I’d share what I’m doing in my classroom right now, in case you’re interested, or just plain nosey. Nothing here is remotely my own idea, but I’ve magpied stuff from all over (there’s nothing I like more than stealing a good idea).

Musical Futures Just Play

Yes, yes, yes! Get some of this. Head on over to the MF website and have a look at the sample resources if you haven’t come across it before (you can create a free account so you can access everything on the website). Basically what it’s about is getting students playing chords on keyboards, ukuleles and guitars, and beginning to play bass guitar too, by just doing it. Along the way students learn about chords, bass notes, major and minor, rhythm notation and reading chord boxes, all by showing/doing rather than talking about it. It’s the ultimate musical music lesson. There are special cards you can print and laminate to help students play major and minor chords with any root note. To access all of the resources you’ll need to go on a MF training course, but if you can squeeze some training money out of your school it’ll be the best thing you go to this year.

Chair drumming

This is an offshoot of Just Play. Each student has a pair of drumsticks. They stand in front of a standard plastic classroom chair and practise all the rhythm skills and coordination they need for playing a real kit. Along the way it’s all about beats of the bar, layers of sound and drumming along to some classic rock tracks (which need to be turned up really loud to be heard over the chair drumming). Some of the best times you can have in a classroom. If you buy drumsticks in bulk they work out really reasonable. There is nothing not to like about this. Unless you have a headache.

Iconic rhythm notation

I had not come across this term before (perhaps it’s an American thing), but it’s part of a goldmine of resources I discovered on the Little Kids Rock website. All it is is rhythms represented using numbers, like this:


So with this one, you would clap/drum/click/jump/whatever on the first beat of the bar. You quickly get to syncopated rhythms:


It’s also easy to set up multi-part polyrhythms, just by having several on the board at once. There is enough stuff on the LKR website to keep you going for years.

Learning riff-based pieces by ear

Hear, Listen, Play! by Lucy Green is one of the books I wish I’d written. Why didn’t I think of creating riff-based pieces, with individual audio tracks (all easily differentiatable, if that’s a real word – it is now), to get students working simple stuff out by ear! Once I’d got over an overwhelming feeling of DOH! That’s so obvious! it is blindingly brilliant. The book includes all the audio. You have to order it from OUP in America, slightly weirdly, but it’s well worth the expense (and the wait for it to arrive). There are some classical pieces in there as well, which I’m going to use with GCSE classes.

Video help desks

There are so many great tutorial videos on YouTube, so I thought I’d make my own for the pieces we’re doing in class. I use Explain Everything on my iPad to combine video footage (made on my phone or iPad) with notation. Here’s an example:

I use this for the initial modelling of whatever we’re playing, but then make it available via two iPads for students to have in front of them while they practise, should they need this (they often do).

I’ve also found the Acapella iPad app is great for creating visual playalong vids: here’s the one for all parts of Toca Bonito:

Body Percussion

Since going to a fantastic CPD session led by Ollie from Beat Goes On,  we have been body-percussion-tastic in many of our lessons. Co-ordination, imagination, ensemble awareness, improvisation, it’s all there. No resources required, no expenditure – again, there is absolutely nothing not to like!

Top purchase – a plectrum cutter

One of the best fifteen quids I’ve ever spent has been a plectrum cutter. Credit/gift cards and sturdy bottles recycled into guitar picks, plastic milk bottles into softer picks for ukuleles. Doesn’t matter if they get lost. Also quite therapeutic!

Knowledge organisers

This is a KS4/5 thing. There are some things they just have to learn – factual stuff, terminology – and rather than waste time on any ‘discovery learning’ type activities (sorry, there just isn’t time) – I present this to my students in the form of a knowledge organiser. There is a great blog describing exactly how they work here. Here is a knowledge organiser I’ve just made for OCR GCSE (‘old’ spec) for the tango topic:


This forms the basis for explanations, listening questions, read/cover/write learning activities, frequent low-stakes testing (just give them the organiser with half the boxes blank as a quick test). Memory is the residue of thought, as someone once said, so thinking about this stuff, often, is what is going to make it stick. Once it’s there, you can hone exam technique and aural recognition of musical features.

Shitistics and progress in music

I have been very heartened by the enthusiasm for the concept of shitistics. Shitistics fans, you will not be disappointed for long – I will return to this in my next post.

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Assessment, reporting and shitistics

Hmmm. This topic slooshes in and out of my consciousness on a regular basis, and I have been prompted to write a post on it today by some questions from my venerable friend John Kelleher and re-reading of this blog post by the colossus that is Dr Fautley. Plus a few people asking me how I get from what gets put on my radar diagrams (described here and here) to the what gets put into SIMS for reports/reviews.

Screen Shot 2016-06-20 at 21.33.24

Martin very usefully separates out for us various ways that are/can be used to mark students’ work. When I fill in my radar diagrams (see above – the different coloured blobs are done on different days) I have come to the conclusion that my decisions are mostly comparative, based on what I have seen and heard from the students in all my classes. It’s sort of holistic, based on my guild knowledge of music and experience as a musician – ‘trust me, I’m a musician – I know quality when I see it’ – that might sound like bull but there’s something in it, I think. But then again it’s not at all holistic because I’m doing this in twelve different categories.

Aside from all of that, though, and this is where Martin identifies a problem, is how we get from this rather (in my opinion) beautifully-crafted mark out of 60 to something that my school – the ‘system’ – requires me to enter onto a spreadsheet. This is where shitistics come in.

My school – sadly, but hopefully not for much longer – has gone down the ‘let’s give everything a 9-1 grade’ route. So every student has a 9-1 grade as a benchmark for GCSE, and also for the end of each year. So mark out of 60 has to become a 9-1 fine grade. In this process of translation pretty much all idea of validity is lost, Chinese whispers style. Ask me for a number and I’ll give you one (a number that is). And I’ll make damned sure, by the power of shitistics, that it is the kind of number that you want. That is, one that shows progress from the last time you asked.

So, I’ll look at the kids’ results and set some grade boundaries so at least, for what it’s worth, there is consistency between teachers and from student to student. I’m not actually pulling a number completely out of thin air. But I’ll make sure that, for the majority of students, the number is what the ‘system’ wants. I’ll see what the average mark out of 60 is, have a look to see what the average current grade is ‘supposed’ to be, and work from there. At its best, it is a very blunt tool that might tell you who has done well and not-so-well this term. But not about why. If someone has done badly, it might be because they’re lazy, because I’m a crap teacher, or because they’ve missed 10 lessons this term for whatever reason. If only I had the opportunity just to say, they got 18/60 this term, but they were only in 2 of the lessons so that’s actually pretty good…

The other problem with translating marks into grades for reporting is that the grades themselves need explaining. ‘Dad, I got a 3a in music!’ ‘Oh, is that good?’ Surely ‘Dad, I got 56/60 this term in music’ is much easier all round?

Cut the shitistics, give ’em raw data.



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My classroom revisited

I have previously written here about the layout of my classroom.

I have recently reorganised my classroom, to make better use of the space. Here is a mini-tour of the improvements:

Building the platform has been a revelation – more storage, more space to move about… and to cram students in for rehearsals! Here we have 80+ students in for Choir.

choir crammed in

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Welcome to my classroom

Following Jackie Schneider’s post yesterday in which she shows us her rather lovely classroom, I thought I would jump right in and show you mine. Here it is – welcome to my world:

As a bonus feature I thought I’d show you my office as well…

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So many ways of thinking about music

I can’t think of any other subject where there is so much variation in the way that people think about it.

This video from Adam Neely, my current favourite musical YouTuber, has formalised something that I’ve been thinking about for a while.

A little while ago I said, during the course of a lesson with my Year 12s, ‘think of a G major chord’. Many of them had a physical reaction to this instruction. Some played piano on the table, one made a guitar chord shape on his ruler, and one shut his eyes and played an imaginary saxophone.

A couple of years ago I began playing in a covers band. There are eight of us in the band: two with music degrees, one ex-Junior Academy student, and the other five the products of informal learning. Sometimes we tie ourselves in knots over what we’re playing. I say ‘it’s on the fourth beat of the bar!’ or ‘no, that’s not a pause – it’s just a longer note’ and get blank responses. The way that I’m thinking about the music just doesn’t always tie in with the way my bandmates are thinking.

The knowledge and experience that we have gives us ways of creating mental constructs that allow us to make sense of the world around us. This is – of course – as true in music as in any other area. But there are just so many different ways of thinking about music. Some musicians think harmonically, others melodically, others predominantly rhythmically. Some (or maybe a lot) of your musical thinking won’t involve words.

Is this why it’s so bloody hard to teach? But so brilliant?



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