1. Arrange students into groups. Each group needs at least ONE person who has a mobile device.
2. If their phone camera doesn't automatically detect and decode QR codes, ask students to
4. Cut them out and place them around your class / school.
1. Give each group a clipboard and a piece of paper so they can write down the decoded questions and their answers to them.
2. Explain to the students that the codes are hidden around the school. Each team will get ONE point for each question they correctly decode and copy down onto their sheet, and a further TWO points if they can then provide the correct answer and write this down underneath the question.
3. Away they go! The winner is the first team to return with the most correct answers in the time available. This could be within a lesson, or during a lunchbreak, or even over several days!
4. A detailed case study in how to set up a successful QR Scavenger Hunt using this tool can be found here.
Question | Answer |
| 1. Which intervals were frequently used in Nationalist compositions? | Open 4th and 5ths, to mimic the drones of bagpipes | 2. What type of scale was frequently used in Nationalist compositions? | Pentatonic Scale | 3. Which style of music most influenced the orchestration choice for Nationalist composers? | Folk Music | 4. How does the metre change in Nationalist music? | Frequently; bar to bar in fast and lively music | 5. What does superimposition mean? | A compositional technique where one melody or motif is placed and played simultaneously with another | 6. What structure does the first movement, of Ravel’s piano concerto follow? | Sonata Form | 7. What is the overall tonality of the 1st movement of Ravel’s Piano Concerto? | G major | 8. In Ravel’s Piano Concerto, movement one, which subject do we hear at Figure seven? | Second Subject | 9. Note one particular feature of interest regarding the time signature of the piece in relation to the piano, in Ravel’s Piano Concerto movement one | Although the time signature is 2/2 the piano feels as though it is in 6/8 | 10. In the second movement of Ravel’s piano concerto, which note does the piano play as a trill in figure ten? | Dominant | 11. At which figure, in movement two of Ravel’s piano concerto do the string stop playing for the remainder of the section? | Figure 9 | 12. What is meant by subsidiary section? | A theme that is secondary to a main theme or subject | 13. What is meant by polytonality? | The use of multiple key at once | 14. Name two composers who influenced Ravel’s work | Mozart, Gershwin, Chopin, Saint Saens | 15. What is the overall structure of the second movement of Ravel’s piano concerto? | ABA – Ternary Form | 16. Where in Ravel’s Piano Concerto, movement two, do we hear a tierce de Picardie? | End of Section A Figure Two, going in to D Major. | 17. Who influenced Ravel in his piano writing in movement three of his Piano Concerto? | Bartok, he made similar use of the piano in his own concerto | 18. In movement three of Ravel’s piano concerto, how would you describe the relationship between the left and right hand of the piano? (Bars 1-56) | Constantly alternate, both hands are voiced with open parallel 4ths/5ths | 19. Offer a comparison of tonality between bars 245-56 and bars 79-89 in movement three of Ravel’s piano concerto | Bar 245 begins in G rather than E major. First chord of G is now the tonic; but at Fig. 7 the B chord was the dominant and only moved to an E chord in Bar 85 in second inversion | 20. What characteristic does Subject 1b have in movement three of Ravel’s piano concerto? | Folk-like, syncopated melody – Lydian Mode/ C major |
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