CALDERDALE MUSIC EDUCATION HUB AN INTRODUCTORY GUIDE TO SINGING WITHIN A SCHOOL

Transcription

1 CALDERDALE MUSIC EDUCATION HUB AN INTRODUCTORY GUIDE TO SINGING WITHIN A SCHOOL 2018/2020 1

2 CONTENTS Introduction Page 3 Vision and Aims Page 4 The Benefits of Singing Page 5, 6 How We Teach Singing Page 7, 8 How to Choose a Song Page 9 Technique Basics Page 10 What Can CMEH Offer You? Page 11 A Classroom Singing Session Action Plan Page 12 Singing Warm Ups Page 13, 14. Resource Suggestions Page 15, 16, 17, 18, 19 National Curriculum Requirements Page 20 2 Year Aims of CMEH Page 21 Contact Details Page 22 2

3 INTRODUCTION This is an exciting time for singing in Calderdale with support available for vocal activities and the creation and further development of Calderdale Music Education Hub (CMEH) partnerships. The CMEH strategy aims to look at the bigger picture, linking existing activities and encouraging conversations and collaborations for future developments and is committed to the aims of the National Plan for Music Education. Resources will be used strategically to create maximum impact and legacy, being more reflective around specific requirements of schools and communities. The ethos of the strategy is a creative approach, building an environment where good practice can be shared, developed, sustained and celebrated. The development of a skilled and confident workforce is essential, as is the recognition and utilization of the excellent diverse practises which already exist in schools and other settings. Within this guide you will find useful information regarding the: aims and vision of Singing for Calderdale Music Education Hub, the effects of singing, guides on how we teach singing, technique basics, CMEH services, singing action plans, example songs, useful resources and information from the National Plan for Music Education. Singing should be at the heart of every classroom and no child should be left without the opportunity to explore what a wonderful instrument the voice really can be. In addition the voice is cheap, fun and very easy to use! I really hope you enjoy this booklet and I look forward to working with you and your school in future performances, workshops and singing activities. Kind regards, William Marshall Singing Leader at Calderdale Music Trust 3

4 OUR AIMS Calderdale Music Education Hub (CMEH) aims to enrich the lives of all children and young people helping to develop confidence and communication skills, team and social skills and support other areas of the school curriculum through high quality singing and CPD. CMEH will map current singing opportunities, and through regular network meetings and feedback from School Music Education Plan visits, devise a coordinated plan for further developments according to specific needs. The Hub will further develop and strengthen partnership links with key specialist partners and other professional individuals and organisations, to ensure the continuation of a high quality and inclusive singing programme. OUR VISION Calderdale Music Education Hub will work with partners to promote the sustained development of high quality vocal activity which supports progression in and beyond school. This strategy outlines the initiatives which will realise the vision. AIMS OF THIS SINGING STRATEGY Aim 1 Aim 2 Aim 3 Aim 4 Aim 5 Aim 6 Aim 7 Aim 8 Aim 9 Support all primary schools to develop appropriate singing Signpost all schools and vocal leaders to online singing resources such as Charanga and Sing Up. Provide high quality CPD for staff in primary schools. Continue to provide a range of opportunities for pupils to participate in high quality large scale vocal performances Develop choirs and vocal ensembles which are accessible for all pupils Work in partnership with key specialist partners to further develop an inclusive provision supporting specific groups where necessary. Facilitate regular cluster network meetings sustaining and developing relationships and partnership working with schools, ensuring strategic development of vocal opportunities across the Borough. Promote singing in the wider Calderdale community Promote pathways for progression that ensure quality of access to opportunities. 4 Singing should be at the heart of every school and accessible to all children and young people no matter what their background.

5 THE BENEFITS OF SINGING Singing can improve pupils learning, confidence, health and social development. It has the power to change lives and build stronger communities. - A National Plan for Music Education DfE Physical Benefits: Singing generates a powerful feel-good factor, increasing blood flow and lung capacity and combined with movement or dance, singing helps with balance, co ordination and an increase general physical well-being. It encourages correct posture aligning the chest, shoulders and back which over time this will help day-to-day posture. Singing has also been proven to boost the immune system increasing antibodies in the blood stream. Mental and Emotional Benefits: Singing is a natural anti-depressant as it releases endorphins that make people feel happy and uplifted. Simply, it can also take a student s mind off of the day s troubles resulting in a lifted mood. It releases muscle tension and decreases the stress hormone and due to the movement of oxygen singing is a natural wakeup call helping with a greater mental awareness. 5

6 Social Benefits: Singing promotes team work, confidence and self-esteem, enriching the lives of children and young people. This can lead directly to whole school improvement, particularly through creating a greater sense of community and increasing social cohesion within the school. Singing in school can help to foster individuality, develop social skills and generally create positive attitudes which then impact on other areas of the curriculum. Developmental Benefits: Singing can be used at the beginning of the day to settle children down or to signify the end of the school day. Singing songs can be used to reinforce subject development: Math s through counting games and songs; English through alphabet, grammar and spelling songs and biology with actions and movement are all examples of the vast range of songs used for cross curricular learning. Studies have shown that singing also benefits language and reading skills through repetition of new words and understanding how phrases and sentences are constructed. 6 WHY IS A CHILDS VOICE DIFFERENT? The voice of a child is different and should not be treated or expected to react the same way as an adults. - A child s voice as an instrument is physically smaller. - The lungs are smaller. - The voice box (larynx) is smaller and sits higher in the neck. - The texture of the vocal fold layers is different and still developing (and can continue until around the age of 27). Due to the instrument being smaller this means that: - The pitch range is smaller and more limited than an adults. - There is less vocal control over pitch in singing than in speaking. - Due to lung development there is less control over breath control, which makes singing long phrases and sustained notes harder. - The colouring of vowels is very limited. - The register changes in the voice are in a different place and sometimes no existent until a later age. This will continue to change until adolescence.

7 HOW WE TEACH SINGING Singing is primarily made up of melody, rhythm, words and self-expression. Our voices grow and change all the way from birth up until around the late 20 s. This means that focus should be on developing the singer rather than just learning songs. Development can be made through correct teaching materials and songs specially crafted for different age ranges. HOW TO CHOOSE A SONG Vocal range Some children are able to sing in tune (pitch match) whilst others find it more difficult. To help them develop this skill they need to sing songs that are within their natural vocal range which is approximately a range of 9 notes from Middle C to the D above. Anything centred around Middle C and below results in a growly almost speaking quality to their voice and it is very difficult to get a quality sound without it seeming like shouting. Similarly, there will only be a few children who are naturally able to reach top E s and F s and if those notes are required to be long and sustained (as they often are at the end of the song) it takes considerable vocal technique to maintain that sound. Melodies which move in small steps or regular repeated patterns are easier to learn and are more likely to be sung in tune as opposed to those with excessive leaps. 7 Lyrics (words) The ones that work best have lots of repetition rather than lengthy verses with complex vocabulary. Rhythm Choose songs with simple, steady, repeated rhythms before moving on to syncopated jumpy rhythms which are difficult to master. If a phrase is repeated, the singers will almost always repeat the rhythm that they heard the first time- it takes acute aural awareness to detect differences. Accompaniments and CD backing tracks It is much easier to learn and copy a melody (tune) when it is unaccompanied. However, we realise that teachers often like to use an accompaniment for a performance. The best backing tracks are ones where there is just an instrumental backing. Wherever possible, avoid singing along to accompaniments that have vocals on them- use these tracks to listen to as an idea of how the melody and accompaniment fit together and use the backing accompaniment only to perform the song.

8 Don t Always Teach Song They Know. Songs from the TV/radio/musicals are often chosen with the idea that they are easier to learn because the children know them or because the teachers themselves have heard them before. These songs are often more difficult to sing as they are invariably written for adult voices with a wide vocal range and have a lot of wordy verses that are often very similar and yet subtlety different. In addition, songs can be downloaded from the internet to listen to and learn. However, there are often lots of different versions of them which can result in every child in the class singing a different version of the same song and once something has been learned, it is very difficult to unlearn. If there is a particular song that is desired occasionally there is a version created for children on either Sing Up or YouTube. Pitch matching (Singing in Tune) Pitch-matching is a child friendly way to discuss and develop singing in tune. Pitch-matching can be learned and taught but requires auditory recognition from both teacher and learner. This can be shown from an early stage in a child s singing and a teacher needs to be able to recognise this. It is possible for a child to sing the right note but pitchmatching is more than this. Signs of development are: Awareness of the pitch contour (direction) of the pitch; Recognition and awareness of melodic patterns; Being able to identify the shape of phrasing; Knowing the mental process of finding a note rather than aimlessly singing; Being aware of registration and the changing of the vocal gears (high voice and low voice). The phases of pitch-matching: 1. Starting off with the words over the melody. Singing is more chant-like to restricted/ limited pitch range; melodies tend to descend rather than ascend. 2. Becoming aware and consciously thinking about pitch; following a larger melodic contour of songs; identifying that the music is key based; an increased pitch range within songs. 3. Increased accuracy with pitch jumping and the shape of the melody. Songs may change key and other keys may be explored. 4. No pitch or melodic errors whilst singing relatively simple songs. ( Four stages of development, adapted from Welch, 1998) Children (and some teachers) can be at any of the 4 stages above when learning to sing in tune. Classes may also involve children at different stages. Songs can be selected to make sure that children of all ages can be involved with whole class learning regardless of level. Songs in parts The next stage is to sing a very simple partner song i.e. one which fits together whilst another is being sung e.g. Pease Pudding Hot and London Bridge Is Falling Down.This develops the ability to hear two things going on whilst at the same time maintaining your own part. 8

9 A GUIDE FOR SONG SEARCHING Key Stage EYFS National Curriculum Requirements Pupils sing songs, make music and dance, and experiment with ways of changing them. Pupils can Sing familiar chants and rhymes in unison e.g. nursery rhymes, action songs, greetings/farewell songs, songs with repeated sections, cumulative songs, story songs and game songs. Did You Know About Our Youth Choirs? KS1 Pupils should be taught to use their voices expressively and creatively by singing songs and speaking chants and rhymes. Use spoken and sung voices. -Sing songs with greater accuracy using their voices expressively Sing with attention to dynamics Sing songs unaccompanied Little & Loud Ages 6-11 Thursdays 5-6pm Auditioned Entry Sing simple partner songs Sing simple rounds KS2 Pupils should be taught to sing musically with increasing confidence and expression. Sing songs with greater confidence Sing songs in parts Sing songs with greater accuracy Unity Sing songs unaccompanied Ages Use voice to compose melodies and explore effects Sing songs with attention to phrasing, breathing and clear diction Thursdays 6-7pm Auditioned Entry Essentials: Perform songs with attention to musical directions e.g. tempo, dynamics, phrasing, duration, timbre, texture and pitch. Sing in class and assembly. Have access to a choir. Perform regularly. Contact: William.marshall@calde rdalemusictrust.org.uk for an audition pack. 9

10 TECHNIQUE BASICS Teachers can often get caught up in perfect technique and lose what the true sense of children singing is about Having fun! Though technique is important to avoid any vocal injuries and for continual voice development, only some basics are needed when leading a classroom singing session/ school choir or whole school singing. POSTURE With posture, the back should be straight with shoulders positioned above the hips and the hips above the ankles. Make sure that the knees do not lock when standing. When standing tall the learners should imagine being hung up by the tops of their heads by a rope to keep the neck and spine long. When seated the learner should sit towards the edge of their seat with the back straight and knees positioned above their ankles. Throughout a singing session keep reminding the learners about correct posture and ask for correct demonstrations of how to stand. You could even employ the posture police to help keep an eye on correct posture. OPEN THROAT The term open throat is used to stop constriction with the throat. Maintaining an open throat will help avoid vocal damage and straining. Ask the learners to think of something funny and encourage them to laugh. After, get them to keep laughing but to keep a straight face (like they are hiding the laugh). They should feel the smile sensation in the back of their mouth/ throat. Ask them to keep this sensation when singing. BREATHING To set up correct breathing it is always best to use an exercise with children. - Ask the children to hiss until they have no more air left inside them. Ask what has happened to the belly when hissing out? (The answer is the belly pulls inwards over the duration of the hiss). - Ask the learners to repeat the exercise and to become aware of what is happening. - Once the hissing has finished, the learners should be encouraged to relax their stomachs on the inhale. As a result the stomach should pop back out. - The aim then is to replace the hiss with each phrase of the singing. Over exaggerate all of these actions at first until they become a little more natural. Keep the correct posture throughout all of the above steps. For me, Singing is a way of escaping. It s another world. I m no longer on earth. - Edith Piaf 10

11 WHAT CAN CMEH OFFER YOU? 45 Minute Consultation A discussion about music provision within your institution. Advice on how to meet the National Plan for Music Educations needs for singing provision. Information about up and coming singing performance opportunities for your institution/ choir. Information on easily accessible resources that CMEH can supply or, that are accessible for you and your colleagues. Sign post progression routes for learners within their institution. CPD Information on CPD sessions arranged by CMEH to create the confident singing leader. Examples are: - Primary Singing for the (Terrified) Non-Specialist Games, Singing and Resources. - Teaching KS2 Primary Singing for the (Terrified!) Non-Specialist Part 1: Delivering Singing and Resources. - Teaching KS2 Primary Singing for the (Terrified!) Non-Specialist Part 2: Singing Games. - What is Sing Up and how can I use it? - How to use your teaching voice safely. Tuition/ Group Sessions and Workshops We can also offer schools the opportunity to purchase sessions for their learners. These range from: - Individual singing lessons either 1:1 or 2:1 for 20 or 30 minutes (cost upheld by the school or parents/ carers). - Group singing sessions of up to 12 learners or a whole class. - One off workshops for whole class, multiple class, mixed age students or whole school. These workshops are created from the requirements of the school (cross curriculum, event preparation, inspiration, a one off treat etc.) Hand tailored CPD for your staff during team meetings or INSET days. Singing can be easily incorporated into any lesson and is a great way to help pupils retain information. 11

12 A CLASSROOM SINGING SESSION ACTION PLAN WARM UP Exercises, games or songs to warm up both the body and the voice. Something easy, fun and energising. LEARN THE SONG Learning the song is just a case of singing it over and over again. Does the song have any cross curriular links? Does it have a special meaning? Explain the song and the outcomes and then spend time learning the song with some call and response. EXTENSION ACTIVITY Can you modify the song at all that will push or engage the learner further? Can this involve the learners working in groups? PERFORMANCES Encourage the groups/ learners to perform to the rest of the class... maybe plan an assembly! SING A KNOWN SONG OR PLAY A GAME At the end of a session end with something that is known or play a fun game. Do not end half way through a song or on a song that hasn't gone so well. It isn't very good for confidence. As long as we live, there is never enough singing. ~Martin Luther 12

13 KS1 SINGING WARM UP Shake Your Sillies Out Teaching Notes Lyrics We're gonna shake, shake, shake our sillies out, Shake, shake, shake our sillies out, Shake, shake, shake our sillies out, And wiggle our waggles away. We're gonna clap, clap, clap, our crazies out, Clap, clap, clap our crazies out, Clap, clap, clap our crazies out, And wiggle our waggles away. We're Gonna jump, jump, jump our jiggles out, We're gonna jog, jog, jog our jitters out, We're gonna stretch, stretch, stretch our stretchies out, We're gonna yawn, yawn, yawn our yawnies out, Repeat all, And wiggle our waggles away. Play the song all the way through for the learners to have a listen. Some will start joining in. Go through the actions with the visual aid encouraging learners to put all their energy into it. Once the song and actions have been learnt then run through the whole piece. Allow the learners to make up different actions for the verbs. Extension Activity Allow the learners to come up with their own verbs and actions. Allow the class or individuals to perform their hard work in front of the class or in assembly. Singing improves mood and concentration and is a great way to focus the mind and body. Sing Up Use the link below to access the song with a visual demonstration. 13

14 KS2 SINGING WARM UP GAME EXAMPLE John Kanaka Teaching Notes Extension Activity Lyrics I heard, I heard the old man say: John Kanakanaka tooleeay. Today, today's a holiday. John Kanakanaka tooleeay. Tooleeay, tooleeay. John Kanakanaka tooleeay. Ask the learner to sing the word John (or any word you like) in their thinking voices (in their heads and non-verbal) whilst still performing the actions. Each time the song repeats, add a new word into the thinking voice. Use the link below to access the song with a visual demonstration. Learn the song through rote learning one line at a time until the learners can sing it comfortably all the way through. Create 2 concentric circles with the children facing each other and creating pairs. Perform the following actions: - I heard, I heard the old man say: children point to their ears and then wag their finger like they are being told off. - Today, today s a holiday: join opposite hands with their partner one at a time on today so arms are crossed over. Shake hands on holiday. - John: stamp a foot. - Kanakanaka: slap knees in rhythm to the syllables. - Toolee: clap hands twice. - Ay: clap the hands of your partner Once the verse has been sung then the children on the outer circle take a step to the right and stand in front of their new partner. Repeat the song and actions.

15 USEFUL RESOURCES Early Years and KS1 Singing Resources Singing Express Books 1 and 2 A & C Black - Singing Express is a complete scheme for singing in the primary years. It supplies everything that children and teacher need for singing together - brilliant, cross-curricular singing materials, which naturally and easily help grow confident voices and full guidance and help with using them Singing Sherlock Book 1 and 3 Boosey and Hawkes - A practical and easy to use resource for the music curriculum. It gives an enjoyable and structured way to teach musical concepts. CD included. Bobby Shaftoe, clap your hands - A & C Black - Brand new words to all the best known tunes without the need to read music. Michael Finnigan, tap your chinigin A & C Black - Words set to well-known melodies without the need to read music. Singing Games and Rhymes for Early Years National Youth Choir of Scotland - A progressive programme of singing games and rhymes suitable for specialist and nonspecialist teachers. Each game/rhyme has step by step instructions. CD included. Banana Splits- A&C Black - A wealth of fun, easy ways into part singing. There are echo songs, conversation songs, call and response, rounds, chants and much more. It includes helpful tips on teaching the songs and supporting games and activities Voiceplay OUP - 22 songs for young children which can be used by all practitioners whether or not they are music specialists. Each song is accompanied by concise notes which guide the leader through selecting a song and singing it. CD included. Pictures, Poems and Percussion Out of the Ark - All the poems included provide a starting point for a musical composition or improvisation including constructive suggestions. Funky Feet - Geraldine Gaunt and Phil Needham - Original songs and activities to encourage the development of language skills, improve speaking and listening and respect for other. CD included. 15

16 USEFUL RESOURCES KS2 Singing Resources Singing Express Books 3 & 4 A & C Black - Singing Express is a complete scheme for singing in the primary years. It supplies everything that children and teacher need for singing together - brilliant, cross-curricular singing materials, which naturally and easily help grow confident voices and full guidance and help with using them Singing Sherlock Book 2 and 4 Boosey and Hawkes - A practical and easy to use resource for the music curriculum. It gives an enjoyable and structured way to teach musical concepts. CD included. Singing Games and Rhymes for Early Years National Youth Choir of Scotland - A progressive programme of singing games and rhymes suitable for specialist and nonspecialist teachers. Each game/rhyme has step by step instructions. CD included. Flying a Round A&C Black - A lively collection of rounds and partner songs from around the world. CD included. Singing Out - A & C Black - 12 new pop songs written to teach, inspire and bring people together. This book enables schools to integrate music with SMSC, PSHE, Citizenship and R.E. Classroom Pops Chester Music - A singing /musicianship resource to involve the whole class. Lesson plans and CD included. Junior Voiceworks 1 and 2 Oxford - A wide variety of songs including traditional songs from around the world, folk songs, jazz and contemporary. The songs are aimed at confident singers and choirs, ranging from unison to 2 and 3 parts. A CD with piano and guitar accompaniments is included. Singbook - Youth Music - A collection of songs of increasing difficulty and complexity, aimed at upper KS2 and beyond. It explores a wide range of musical styles and topics fully supported with learning strategies and warm ups. Piano accompaniment and CD included. History and Geography Songsheets A & C Black - Each song sheet in this series (of which there are 20) contains a piano/vocal score, photocopiable lyrics, teaching/performance guidance and a CD containing backing tracks. Free downloadable resources are available including whiteboard lyrics, tuned and untuned percussion parts and teaching notes. These cross curricular songs, The Tudors, The Ancient Greeks, The Vikings, to name just a few, are aimed at upper KS2 but can be used in lower KS2 if wanting to learn some of the song. Many include 2 and 3 part singing. 16

17 ONLINE RESOURCES No. Resource Brief Description 1 A comprehensive resource for primary teachers and secondary to access songs, warm-ups, singing games, lesson plans and webinars. (Subscription required) 2 A virtual platform for primary teachers with access to the Charanga music school. Singing courses, schemes of work and songs included. (contact Calderdale Music Hub for logon details) 3 Books and webinars counting as CPD training towards the voice and singing. 4 Lots of resources, lesson plans and videos to help aid singing and musical delivery. 5 An extensive resource bank of cross curricular songs and activities. 6 Playground games, rounds, warm ups (free downloads) 7 Voices Foundation- A UK based charity providing singing training for teachers. 8 The British Voice Association provides a unique network of support and provision for performers and professional voice users 9 Lots of free singing games for children The world s largest online music store. The only thing better than singing is more singing Ella Fitzgerald. 17

18 Sing Up makes transformative change happen in schools through the power of singing Research proves the positive connection between singing and wellbeing, and confirms that regular singing contributes to good mental and physical health. Singing has been shown to aid social development among children, and regular high-quality singing in school has a profoundly positive impact on learning outcomes across the curriculum. What is Sing Up? Sing Up places singing at the heart of every educational setting by providing a complete singing package through a digital music platform, our termly Magazine and various training. Membership includes access to over 850 fantastic songs, from pop to classical, specially arranged to promote good vocal health in young voices. Our wide range of resources and songs are designed to help you include singing as an aid to cross-curricular learning in the classroom or to act as a complete foundation for singing and music across the school. Sing Up's songs and resources have been created by experts. You can easily search to find songs for specific stages of learning, from early years to age 18 and beyond. Our age appropriate teaching resources offer a wealth of ideas and activities, and our video tutorials and teacher guides offer advice to support teachers or vocal leaders in their work, helping them to develop and grow. Our various Membership packages are flexible and well-loved by teachers and vocal leaders across the world. With over ten years experience at the forefront of music education, Sing Up is committed to respond to your needs and meet your priorities. Whether you are a teacher, a freelance music educator, a music service or a Music Education Hub, Sing Up has created a variety of packages that will help you create a culture of singing and support you every step of the way. Our Mission Sing Up Membership encourages and supports excellence in singing so that: Children and young people learn to sing well and develop their musical understanding Learning outcomes improve; children and young people become happy, confident and creative individuals School life is enhanced; access to our resources enables educators to create a culture of singing which fosters strong communities Sing Up is a limited company which operates on a mission-driven not-for-profit basis. Our core goal is to ensure that children and young people have opportunities to sing regularly and well for all the benefits research shows that brings. We have no shareholders or investors who are looking for a return on their investment, all profits after tax are reinvested in developing more songs and resources or gifted to our charity, the Sing Up Foundation. The Sing Up Foundation supports singing in 4 areas: For children with special educational needs and disabilities For teenagers with mental health issues For older people with dementia For people with respiratory problems 18

19 WHAT IS CHARANGA? Contemporary digital resources for music teachers and schools exciting online learning for children and young people THE CHARANGA MUSIC SCHOOL Charanga Musical School is the most significant new primary music resource for a decade. It s a living cloud-based resource that brings together great music, modern pedagogy and the latest educational technology. It supports all aspects of music in school including the new music curriculum, as well as providing children and their families with opportunities to continue learning and exploring music at home through Music World. A Musical School licence includes individual access for as many teachers in your school as you would like PLUS access for ALL children to Music World online learning. SINGING Musical School contains a substantial Song Centre with nursery rhymes, chants and action songs for younger children, and classical repertoire and well known favourites by Abba, Bon Jovi and Adele for older children. The songs are complemented by two Musitrax singing courses written for Early Years to KS1 with progressive interactive resources, extensive teacher guides plus some very useful vocal warm-up activities. All the songs are easy to use on a whiteboard with automated page turns and lyric highlighting and they also have with and without vocal versions. You can use them online or download as many as you like. COURSES Modern courses for recorder, ukulele and singing with progressive week-by-week lessons, whiteboard resources, print-outs and planning support, are complemented by online learning activities for children to use between lessons in school or at home. 19

20 MUSICAL BENCHMARKS AT DIFFERENT AGES - ACCORDING TO THE NATIONAL PLAN FOR MUSIC EDUCATION Early years / pre-school (in formal and informal settings) Key Stage 1 ages 5-7 (in and out of school) By the end of the Early Years Foundation Stage, pupils should: Express and communicate their ideas, thoughts and feelings by using a widening range of movement and a variety of songs and musical instruments. Recognise and explore how sounds can be changed, sing simple songs from memory, recognise repeated sounds and sound patterns, and match movements to music. Use their imagination in art and design, music, dance. This can be achieved through: Music for parents/carers and babies, which can be a key element of, and often the basis of, children s play. Music for children in pre-school settings. Performance/sharing opportunities. Schools make their own decisions about how they teach music, based on the statutory National Curriculum (subject to outcome of the National Curriculum review). The school music curriculum will provide all pupils with opportunities for singing and playing simple melodic instruments, tuned and un-tuned percussion; exploring sounds; and active and passive listening. Hubs provide opportunities for all pupils to learn instruments from specialist instrumental music teachers as part of a whole-class ensemble in and/or out of school. Performance/sharing opportunities available within individual schools (ideally at least once per term) and jointly for clusters of schools for all pupils (ideally at least once per year). Inspirational input from professional musicians available at Key Stage 1 and/or Key Stage 2 for all pupils. Curriculum advice and support to schools for the workforce including continuing professional development available from most hubs. Key Stage 2 ages 7-11 (in and out of school) Key Stage 3 ages (in and out of school) Schools make their own decisions about how they teach music, based on the statutory National Curriculum (subject to the outcome of the National Curriculum review). The school music curriculum will provide all pupils with opportunities for increasing their knowledge and understanding and developing their skills, confidence and expression in music through singing and playing simple melodic instruments, tuned and un-tuned percussion; exploring sounds; and active and passive listening. Hubs provide opportunities for all pupils to learn instruments from specialist instrumental music teachers as part of a wholeclass ensemble in and/or out of school. Hubs ensure that enhanced experiences are available through ensembles including, for example, wind and brass or other instruments that, physiologically, are more appropriate at KS2 while providing opportunities, for those who so wish, to continue with instruments learned in KS1. These opportunities and others are available through in school and strategically organised extended school activities, including those at local secondary schools or area music centres. Hubs draw on informal provision to complement school provision in identifying pathways for pupils. Schools and hubs work together in the identification of pathways for talented young musicians, some of whom have small group and individual tuition. Exceptionally talented young musicians join one of the Music and Dance Scheme schools or Centres for Advanced Training. Performance/sharing opportunities available within individual schools (ideally at least once per term) and jointly for clusters of schools for all pupils (ideally at least once per year). Performance/sharing opportunities available through out of school and/or informal routes. Accreditation routes available through instrumental/vocal examinations and Arts Award. Inspirational input from professional musicians will be available at Key Stage 1 and/or Key Stage 2 for all pupils. 7 Schools make their own decisions about how they teach music, based on statutory National Curriculum ( subject to the outcome of the NC review) The school music curriculum provides all pupils with opportunities for performing, composing, listening, participating, collaborating and working with others as musicians. Pupils will be taught staff notation and other relevant notation in a range of musical styles, genres and traditions. Pupils will be able to develop their cultural understanding of music; and they will improve their critical understanding through analysing music, developing views and justifying opinions drawing on a wide range of musical contexts and styles. Hubs provide enhanced experiences through ensembles and small group and individual tuition. Pupils are able to access opportunities that can only be offered on an area or regional basis. Opportunities continue to be provided for those who wish to continue with instruments learned in KS2. Schools and Hubs work together in identification of and pathways for talented young musicians, some of whom have small group and individual tuition. Exceptionally talented young musicians join one of the Music and Dance Scheme Schools or Centres for Advanced Training. Performance opportunities available within individual schools (ideally at least once per term) and jointly for clusters of schools for all pupils ( ideally at least once per year ) Performance/sharing opportunities available through out of school and /or informal routes. Accreditation routes available through instrumental /vocal examinations and Arts Award. Inspirational input from professional musicians available for all pupils. Curriculum advice and support for the workforce including CPD will be available from most Hubs. 20

21 2 YEAR AIMS OF THE CALDERDALE MUSIC EDUCATION HUB SINGING STRATEGY Singing Strategy Develop a singing strategy to ensure every pupil sings regularly and that choirs and other vocal ensembles are available in the area Objective Action Lead Officer Partners Timescale Success Criteria Support all schools to develop appropriate singing activities encouraging singing to be at the heart of every school day. Develop further relationships with schools; visit all schools in and again in Signpost schools to singing resources such as Sing Up and Charanga. Singing Leader Sing UP Charanga Schools January 2018 ongoing All schools able to access affordable resources To offer a wide range of relevant vocal CPD for teachers to encourage and develop singing in their schools. Continue to provide opportunities for pupils to participate in high quality large scale singing activities. Organise a wide range of vocal CPD sessions across Calderdale in collaboration with vocal partner organisations. CPD will also be encouraged as part of all vocal events taking place in schools. To work in partnership with MFY, Piece Hall, Victoria Theatre and Performing Art etc. to provide opportunities for massed choirs to perform in prestigious venues. Singing Leader Singing Leader Sing Up Charanga MFY Piece Hall Performing Arts Etc Victoria Theatre January 2018 ongoing March 2018 Ongoing Courses well attended by teachers/classroom assistant gaining skills and confidence to lead singing activities. Evaluation to establish future needs. Increased participation in 2 large scale diverse events every year in 2018/2019/2020. Develop choirs and ensembles which are accessible and progressive for all pupils Recruit members for county youth choir. Encourage and support schools to run choirs/vocal groups and to identify an individual responsible for singing in every school. Singing leader Schools designated singing leaders Halifax Young Singers January 2018 Ongoing Increase members in county choir to 60 by All schools to have a vocal group/choir and a list of individuals responsible. Facilitate regular cluster meetings sustaining and developing relationship and partnerships with schools. Signpost relevant CPD opportunities for singing leaders. Maximise the benefits of cluster partnership working and performance opportunities. Introduce recommendations from music coordinators. Singing Leader Schools January 2018 ongoing Music coordinators fully engaged with the Hub and attending regular meetings. Promote singing in the wider Calderdale community for people of all ages. Organise regular inclusive workshops advertised via website, schools and social media. Singing Leader Calderdale Singing Initiative Square Chapel Choir January 2018 Ongoing Increased participation. 21

22 THANK YOU Calderdale primary schools singing at: the BBC s Children In Need at The Piece Hall, Halifax, 17 th November, USEFUL CONTACT INFORMATION Address: Calderdale Music Trust at Heath Unit 5 Heath Campus Free School Lane Halifax HX1 2PS Tel william.marshall@calderdalemusictrust.org.uk Telephone: Mobile: