3 Performing and composing (AT1 )

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1 3 Performing and composing (AT1 ) We aim to encourage children to listen, concentrate and to explore sound. Games are a good springboard in all areas of the curriculum. They dispel any fear of exposure or of making a fool of yourself and they are fun - an all-important ingredient of music. 3.1 Circle games, Sitting in a circle either on the floor or on chairs creates a sharing atmosphere and allows eye contact and equality. Most games are based on listening, copying, guessing and creating. Some are variations on other well tried games like 'Simon says'. A seftling-down game 1 Start a regular pulse with a tambour (a small hand drum), or use a metronome. 2 Ask the circle to breathe in for eight beats; hold the breath for four; expel for six; hold for four, and then start again.

2 3 After a while, stop the drum beat and continue the activity using an internal beat. This simple exercise (Ellis, P. 1993) calms and concentrates. It also introduces silence, which is a fundamental part of music. Extend the exercise by varying the instrument used for the beat. Children may take turns to provide the beat and select the instrument, which may be a sound-maker brought from home, e.g. a piece of wood or metal or a made instrument. Games can be mod.ified and evolved into new games. For example, the beat can be vocalised with a word or a name: John, John, Mary, Mary, etc. The pulse can be expressed with body sounds: 1 :z 3 4 thigh hand lap clap thigh hand tap clap floor shhh! rap floor shhh! rap Most published music schemes, text books and course books include games, e.g. Dr: Knickerbocker, Thompson and Winfield, 1984 (see Figure 1). 3.2 Music collage A collage is a work of art in which various materials are arranged and glued to a backing - a collection of loosely related objects. In musical terms, it is an opportunity to collect together and arrange a variety of sounds. It will be possible to describe these basic materials in the terms used for the musical elements on pages 106 and 108 in the national curriculum document: (a) pitch (b) duration (c) dynamics (dl tempo (e) timbre (f) texture, and the use of these within (g) structure. The collage can be started as a whole-class activity. For example: 1 In a circle, ask the class to think of a sound they can make with their bodies or voices. 2 Devise a system of signals. For example, the hand is raised from the side to start the sound very quietly. As the hand rises higher the volume increases, as it lowers the volume decreases. Drop the hand to the side to stop the improvisation. 3 Record the sounds created so that the class can hear the fascinating music they are making.

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6 So far our composition has been totally free: a choice of sounds moulded into a structure. Now let's look at using scales - a collection of pitched notes - to create tunes or motifs. This can be approached by simply giving the child an instrument and letting them have a go. However, there are certain scales which will give a more encouraging quick result and will also be easier to provide with an accompaniment. The pentatonic scde This is the traditional pentatonic (five-note) scale starting on the note C: C D E G A C D E C;A... etc. Tuned percussion instruments in schools are all marked clearly with letter names. You do not need to be able to read traditional notation. A C T I V I T Y 3 Take a tuned percussion instrument like a xylophone, a metallophone, a glockenspiel or a set of chime bars and remove the bars which do not form part of the scale, i.e. all the Bs and Fs (see Figure 3). Then invent tunes using the notes of the scale. It is a good policy to begin and end on the first note of the scale, C. FIGURE 3 A xylophone: for the pentatonic scale remove F and B The fascinating property of this scale is that all the notes sound well together, so a tapestry of sound can be built up repeating short motifs. This effect can then be used as an accompaniment for the tune. Use the circle idea to get this going because space is an important medium in music and allows the performers to hear more clearly. The following example is an illustration using word rhythms from colours to start the process.

7 3 PERFORMING AND COMPOSING /AT 1 I 13 Sitting in a circle, start a pulse with tambour or metronome and devise some word rhythms, e.g. Red, green Yellow, purple Blue. Get the whole class to whisper the words to establish that 'Red, green' is a walking rhythm, 'Yellow, purple' is a running rhythm and 'Blue' is a long note. Divide the class into three groups: each has one line each and answers one another. Replace some of the whisperers with untuned percussion: drums, claves, guiro, vibra-slap etc. Finally, get a few to select some notes from the pentatonic scale to go with the rhythm, e.g. Red, green Yellow, purple Blue AD EGAG C (see Figure 4). When this pattern is established, make it as quiet as possible so that the added tune can be heard. A useful tip is to use the piano. Arrange for the notes to be labelled as they are on the tuned percussion. It is an enormous thrill for a child to be playing the 'big' piano! Your classroom should have a music table or comer on which can be found interesting sound-makers. Develop the pentatonic session by leaving one prepared, tuned instrument on the music table for children in pairs or individually to invent their tunes during a mixed-activity session or at another suitable time. Not only will this give every child a chance to compose, but it opens up possibilities for them to share their new found expertise. An example of children's first attempt at this activity is given in the section on cross-curricular projects (see Figures 12 and 13). (In this case, some of the year 2 children felt they were ready for notation and surprised me by expressing their tunes in a simple notation.) FIGURE 4 Word rhythms in traditional notation

8 The wholetone scale All the notes of this scale work well together and create a more 'magical' sound than the pentatonic scale. There is not so much variety but, as a change, it is fascinating. You will need to use some of the 'black' notes for this scale: C D E F sharp (#) G sharp (#) B flat (b) C (see Figure 5). The raga Indian music uses many hundreds of scales or ragas, all of which have special meanings and expression. For our purposes, they are a stimulating way to explore another type of musical language. This is one example: c c sharp (#) E G G sharp (#) C (see Figure 5). For the raga add a drone accompaniment, just Cs and Gs with some small cymbals or triangles and a drum beat or two. A C T I V I T Y 4 Use your percussion instrument to compose a tune with the notes of the whole tone scale and/or the raga. Add untuned percussion and words. 3.4 Singing All our lives are saturated with singing: in the bath, at church, at the football stadium, in the pub, at the local choral society. Singing permeates all styles of music: from popular to classical, through jazz, musicals, opera, folk music etc. It is, like all music, therapeutic, sociable, and challenging. Singing is cheap. It must form a major part of school music-making. (We have already considered vocal music earlier in this section.) Everyone can sing. Never tell anyone they cannot sing. How many sad people have you met who were told by a thoughtless teacher that they were unable to sing, and for evermore considered themselves unmusical! FIGURE 5 Xylophone:for the wholetone scale remove C#, D# F, G, A and B; for the raga remove D, D#, F, F#, A, A# and B

9 3 PERFORMING AND COMPOSING PI] 15 The fact is that most people are capable singers and everyone can get an enormous amount of pleasure from singing. In her excellent chapter on singing, Janet Mills quotes from Arnold Bentley (1968) who '...in a substantial questionnaire survey of British schools, found that roughly 25% of 7 year old boys and 11% of 7 year old girls were reported by their teachers to lack "co-incidence at the unison" (that is, could not sing the same note in tune at the same time as others). By the age of 12, the figures for boys and girls had reduced to about 7% and 1% respectively' (Mills, 1991, p. 63). This reinforces the importance of encouragement, regular practice and experience and also reminds us of the spiral nature of musical development. It has already been suggested that we use our voices as part of composing in the collage, but the scales can be used as the basis for early singing exercises. In the pentatonic scale, take the notes G and E and sing them as a question A C T I V I T Y 5 and answer. Use your hand to indicate the shape of the two notes, higher for G and lower for E. This can be the start for a whole series of signs for the scale. The Curwen system of hand signs uses this technique. (I use a series of larger arm signs which are enjoyed by year 1 and 2 children especially (see Figure 6).) Do not worry about the intricacies of the Curwen system at this stage. Enjoy singing the scale with the signs or simply use the signs for the notes G and E (Soh and Me). 1 doh c 2 ray D 3 me E 4 fah F 5 soh G 6 lah A 7 te B 8. doh c FIGURE 6 Hand signs for the pentatonic scale

10 , MUSIC I start sessions on singing with students, who maybe consider themselves in the 'generalist' music group, by asking them if they know a song. Very quickly we find one: that everybody knows. I then simply say, 'let's sing it'. And the extraordinaq thing is that, within a second, everybody is singing along at the same pitch and speed. There is no need for any 'specialist' intervention. The same approach can be taken with children. This should start to take the fear out of the activity, a fear that many teachers confess to feeling. The reception class will know songs as well as later years. Sing at all times with the early years. Try singing the register. Sing when there are a few spare moments instead of playing a game or telling a story. Use finger rhymes to develop rhythmic and language skills. The first song Let us suppose that the first song they all want to sing is 'London's burning'. How should you go about it? 1 Ensure the pitch of the song is comfortable for everyone. Generally, this means not pitching it too high. If you start as suggested previously, a comfortable pitch should automatically be set. 2 Improve the diction by whispering the words in time. Encourage the children to enjoy exaggerating their vowels and consonants by using their mouths more dramatically. 3 Remind them to smile before they start singing; to take full breaths without hunching the shoulders; to sit up straight. If sitting on a chair, they should feel their backs coming closer to the chair when they breath in. How can we add more to this performance? 4 Start by clapping the pulse while they sing. 5 Transfer this to a drum. 6 Add a rhythm taken from the words of the song. For example, add 'Fetch the engines', and repeat it as an ostinato on the wood block and the claves (some of the class could whisper the words with the wood block). 7 Add another rhythm, 'Fire, fire', on the triangle or the tambourine. The whole piece becomes a full scale composition and all the class are involved. Figure 7 shows the process so far. Note that it also includes some capital letters, which indicate the chords that the guitarist uses to accompany the song. Use the capital 1ett.ers to provide a simple bass line. Play and repeat G or D when indicated on any pitched instrument. (If some of the children are learning to play an instrument, maybe the recorder or the violin, ask them if they can play those notes and let them join in. It is important to include such skills to avoid these children seeing classroom music as something different from their weekly tuition on an instrument. Also, encourage them to contribute to the composing sessions on their instruments.)

11 3 PERFORMING AND COMPOSJNG /AT 1 l 17 FIGURE 7 London's burning So far, so good. We have a full accompaniment without any need for the ability to read traditional notation. 'London's burning' demonstrates that songs can lead to and develop from other curriculum areas. For example, subjects such as the Fire of London, the danger of fire, how fire is used, the fireman, myths about how fire touches on history (Tudors and Stuarts), science, PSE, the environment, and religious education. Always consider the words and subject of a song as carefully as the tune. 'London's burning' is a round, so it can be used as a beginning for part singing. A popular and creative way to use known songs is to adapt them by writing your own words. Examples of this can be found in an excellent series of books for children with special needs by Jan Holdstock (Earwiggo, 1986), and in Mills (1991, p. 66). Try inventing words to 'London's burning'. Instantly you have the song to fit the topic you are working on. The children can write their own words, or it can be a class activity similar to the class story. For example: Sunny weather, sunny weather. Let's go swimming, let's go swimming. Oh dear! Oh dear! Water's freezing, water's freezing.

12 Extending the accompaniment So far there has been little to confuse or frighten the newcomer. This next section should be eilsy to grasp but, if it causes any confusion, move on to the next heading. The capital letters aver the music in songs indicate the chords that the guitarist will play to provide the harmony for an accompaniment. We have already usedthe letter on its own to provide a simple bass line for 'London's burning'. It is possible to work out the other two notes required to convert it into a triad - namely, a three-note chord. A C T I V I T Y 6 As an example, use 'London's burning' and a tuned percussion instrument. Find the note written above the tune, in this case G. Call that number one and count to the right for five notes: Then delete the second and fourth note, leaving: Play them together, cind you have the chord of G maior. It is essential to look at the key signature to be certain you have selected the correct notes. In Figure 8, the key signature has one sharp (#). This is placed on the note F and indicates that all the Fs are F sharp in this piece. So for our next chord, using D as the first note, count to the right: D E F sharp (#) G A Delete the second and fourth notes, leaving D F sharp (#) A Play the three notes together, and you have the chord of D maior. Three children can group round the tuned instrument to play the chords, when indicated in the song, or use the chime bars to make up the chord, giving one each to the children. For the two chords in 'London's burning', you use six chi1dre:n. Again, ask the children with special instrumental skills if they are able to contribute by playing the notes for the accompaniment on. their instrument. It is good practice t.o space the performers out so that they can hear better and be directed more clearly (see the example in Figure 8).

13 3 PERFORMING AND COMPOSING (AT I J 19 rhythm A xylophone plays glockenspiel plays rhythm B 'fetch the en ines' G + D G+D 'fire fire' wood block~claves triangle/tambourine 12 instrument players leaving c. 23 singers FIGURE 8 Performance spacing Electric keyboards Information technology offers music many useful and creative opportunities (more about this later). At this stage, it is worth looking at the accompanying facility provided by most keyboards. Select the chord function and use the capital letters referred to previously to automatically create the chord. You will be able to vary the speed and the type of sound and also make a rhythmic beat, if you think it will fit the song. It is unwise to depend on this at the expense of the children playing their own instrumental parts. Think of the analogy of frozen or cook-chill food to good, old fashioned and creative home cooking! Try combining the two techniques. There are a great many keyboards of all shapes, sizes and cost from as many manufacturers. It is difficult to select or to recommend one keyboard, but to further illustrate the preceding paragraphs, the following procedure is based on a Yamaha PSR 150 (see Figure 9a). Turn the switch to STYLE (see Figure 9b). Select one of the forty-nine styles (listed above the keys) via the number pad to the right of the switch (see Figure 9b). Select the chord letter you require (on the left hand side of the keyboard) by depressing the appropriate key, i.e, for 'London's burning', G (see Figure 9c). The machine will automatically give you an accompaniment with full drum kit backing. As the chord symbols change, select the capital letters you need, i.e. for 'London's burning', G and D. If you need a minor chord, select the capital letter key and also depress the black key to the left of it. If desired, the tune can be played with the keys on the right hand side of the keyboard. The voice for this can be varied by selecting VOICE with the switch (see Figure 9b). Tempo (speed) and volume (loudness) can be adjusted using the labelled switch pads beneath the number pad (see Figure 9b).

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15 3 PERFORMING AND COMPOSING /AT 1 l 2 1 Song books and the BBC You may now be slightly worried by some of the things you've been reading. For example, you may be thinking that without the ability to read or hear music notation, there is no hope for you to learn new songs. The quick answer is to get a friend, colleague or the school music co-ordinator to teach them to you, or to record them on cassette. Many publishers include a tape with their song or course books. The BBC broadcast regular school music programmes which comprehensively cover the needs of the music curriculum. The song material can be used in other contexts from the programme itself and acts as a useful taped resource. Remember: nothing can replace the impact and enjoyment generated by live music, listened to or created. Therefore, vary the techniques to avoid music becoming just another part of the media that bombards young ears for most of their lives. Song repertoire Section 3 in the national curriculum programme of study states that: The repertoire chosen for Performing and Listening should extend pupils' musical experience and knowledge, and develop their appreciation of the richness of our diverse cultural heritage. It should include music in a variety of styles: (a) from different times and cultures, e.g. from the European 'classical' tradition; folk and popular music; the countries and regions of the British Isles; cultures across the world; (b) by well known composers and performers, past and present. A large number of song and course books covering these requirements is available (see 'Reading and resource books' and Appendix 4). The following categories, some of which overlap, will help to stimulate choices: songs from around the world and that celebrate festivals from different cultures; English, Irish, Welsh and Scottish folk songs; popular songs from 1900 to the present day, including music hall songs and musicals; work songs, including canal and railway songs and sea shanties; songs about everyday life and school, e.g. counting songs, songs about yourself and the family; religious songs and hymns. 3.5 Music and information technology The possibilities for musical creativity offered by the computer and its related hardware and software are difficult to exaggerate, but it would be true to say also that it is a field in which the quick fix is all too easy. It should not be used only to mimic the conventional sound-makers, but to sharpen and invigorate our whole conception of sound.

16 1 Start with a microphone plugged in to the school hi-fi system. Simple sounds are transformed; vocal sounds have much more variety; and the problem of audibility is overcome. 2 Record the sounds. 3 Play back, but add live sounds to the recorded material. This is the beginning of multi-track recording. Four-track recorders are much cheaper now and worth their weight in gold for music and drama sessions. But it is worth looking in the cupboard for an old reel-to-reel recorder with variable speeds. You can then record a s0un.d at one speed and play it back at a faster or slower speed to create astonishing results, or make a tape loop which will repeat a pattern over and over again. Sound processors, sequencers and keyboards do the same sort of thing using digital technology. Software is readily available to enable the computer to become a processor and sequencer, and it can be linked to a keyboard or synthesiser. Indeed all of this equipment can be linked together using MIDI (Musical Instrument Digital Interface). If you tell a story using a microphone through a sound processor and amplifier, it is easy to achieve all sorts of special effects: echo, delay, repeat, pitch variation, crescendo, diminuendo. Characterisation, atmosphere and drama can be heightened. Vocal and instrumental sounds can be given infinite variation. By using the same controls as described in the sub-section on music collage, structure can be added to create real musical composition. Keyboards like the PSR 150 can be used for composing traditional and electro-acoustic music. Some have specially prepared effects already programmed into them. For example, the PSR 150 has train, sea, animal and bird effects. There is a good variety of computer programmes designed to help children read music notation. But, more creative than these, are programmes that allow the pupils to explore the new sounds of electroacoustic music. Try the programme Designing Sound (Ellis, 1993) and its accompanying book. With a school computer and a keyboard, a whole world of new music technology can be explored without the need for traditional music training skills. The handbook is simple to understand and includes very useful suggestions for curriculum development.