Engaging, interactive musical INSETS and workshops

Dr Robin Harrison PhD BMus (Hons)/GradRNCM FNCM ARCO LTCL DipLCM PGCE(QTS) MISM Specialist Vocal and Harmony Coach International Guild of Adjudicators, Festivals and Workshop Presenter for the ISM-SMA Member of the Education Council for the British Kodaly Academy Academy Teacher for the Royal College of Organists (one of nineteen nationally) Advisory Council Member to the National College of Music Musical Director, Gospel Shock Organist and Choir Director, Yarm Parish Church Chapel Organist and Director of Music, Barnard Castle Prep School Pianist, jazz and classical (as a jazz pianist reached no. 4 in the UK Oct 2014, "Dr Ivor E Keys") Musical Pedagogist and Educator with Inner Ear and Kodaly specialism Owner, The Old Mill House Cyprus, www.cyprusholidaystonecottage.com http://www.reverbnation.com/drivorekeys www.harrisons-music-academy.co.uk Engaging, interactive musical INSETS and workshops Dr Robin Harrison PhD BMus(Hons)/GradRNCM FNCM (composition) ARCO (organ) LTCL(piano performance) DipLCM (singing) PGCE(QTS) MISM Harrison s Music Academy The 35 Knaith Close Yarm TS15 9TL Phone: 07871085332 E-mail: robin.harrison@talk21.com Website: www.harrisons-music-academy.co.uk Www.reverbnation.com/DrIvorEKeys A selection of programmes on offer Harmony singing and movement games that inspire all Choral/Choir masterclasses Fun ways to engage with notation Meaningful class instrumental sessions, playing instruments musically and differentiating for all Clear levels of progression INSETS/CPD and ongoing staff support

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Page 14 Page 3 1/2 Day Workshops Can be broken down into separate sessions for different classes Booking of a second follow-up workshop later in the year to ensure progression results in discount. Price 90 Table of Contents VOCAL Large Movement Games 4 Rapid routes to singing in harmony 4 Singing and Choral Masterclasses 4 Full Day Workshops Can be broken down into separate sessions for different classes Booking of a second follow-up workshop later in the year to ensure progression results in discount. Performance to parents is possible depending on the specific workshop booked. Price 160 Plays, Productions and Christmas Events 4 KODALY METHODOLOGY An introduction to Kodaly technique 6 Introducing notation through the subconscious and via practical means 6 Progression as a core element of teaching 6 INSTRUMENTAL Improvisation 8 Staff Consultations 40 per hour, packages possible dependent on specific needs Meaningful, differentiated Wider Opportunities class instrumental lessons 8 Class Band 8 Orchestral Masterclasses 8 BESPOKE WORKSHOPS Every child matters 10 Tailor made/bespoke 10 Other Bespoke Projects Most projects are possible and charges will always be highly competitive. BESPOKE CPD/INSET AND CONSULTATION Staff CPD and ongoing consultation 10 National Curriculum 10 Dr Robin Harrison 12 Prices 14

Vocal Page 4 Page 13 Large Movement Games Large movement games often involve basket balls, running or other form of interactivity. They engage pupils that might be less interested in singing and rapidly create a whole class sense of enthusiasm. They incorporate the pulse as an integrated element and lead to significant repetition of a simple song, rapidly improving the ability to sing in tune and to internalise the melody These songs are then usually sung in a round, resulting in a rapid, effective introduction to harmony singing. Rapid Routes to singing in Harmony Large movement games are just one of many interactive, fun ways to engage children in singing and then to rapidly gain harmony singing, frequently via simple rounds to start with. The ability to pitch from given handsigns and for pupils to move their hands to indicate pitch relationships creates a visual kinaesthetic connection with the auditory element of music, thus helping to engage with all learning styles. NC KS1 Pupils should Use their voices expressively and creatively by singing songs and speaking chants and rhymes. NC KS2 Pupils should play and perform in solo and ensemble contexts, using their voices and playing instruments with increasing accuracy, fluency, control and expression NC KS2 Pupils should listen with attention to detail and recall sounds with increasing aural memory Singing and Choral Masterclasses These can either be to help a music coordinator, to improve a choir, or perhaps to prepare for an event, festival or competition. Masterclasses always include games that enhance ensemble as well as vocal technique activities that are fun and effective. Expression and attention to detail through dynamic means (such as the yoyo game) all enhance performance in an interactive way. Choral masterclasses can include conducting guidance, should a music coordinator require, Few teachers realise how their body language, when stood in front of a choir, can significantly effect how pupils breathe, whether or not they sing flat, the tone of their voices and the resulting levels of expression in their performance. Choirs can experiement with gestures along with the teacher, enhancing the effectiveness of their communication and understanding. Plays, Productions and Christmas Events Workshops and performance polish for all of your public events.

Page 12 Dr Robin Harrison Robin is an enthusiastic educator and performer who aims for experiences that leave a profound impression. He has studied with significant names as a classical pianist, composer, improviser, jazz pianist, singer, vocal coach, choral animateur and conductor, cathedral standard organist, went to the RNCM and then gained a PhD at University of Wales. He: is an enthusiastic and dynamic teacher with a track record of success with all pupils, irrelevant of perceived ability, age (his oldest pupils are 70), gender or social background, is a guild member for the International Guild of Adjudicators, Festival and Workshop Presenters, is a member of the Advisory Council to the National College of Music, is on the Education Committee of the British Kodaly Academy, is an Academy Teacher for the Royal College of Organists (one of nineteen nationally), has been a Director of Music in numerous settings including schools designated as being in challenging circumstances in areas of social deprivation, in international school, and UK independent schools, has regularly taught from Nursery to Second Year Undergraduate (RNCM), has taught flute/fife, trumpet, violin, recorder, class band and chime bars on a weekly basis to whole year groups with significant development of musicianship and differentiation, coaches choirs of all styles from Gospel, pop and rock to Classical including beginning to advanced technique, vocal tone, blend, harmony, improvisation, conducting and repertoire, is an experienced improviser and teacher of improvisation with an album that reached no. 4 in the UK jazz charts (158 in the world) in October 2014 (www.reverbnation.com/drivorekeys). His experience of teaching choral improvisation is evident not just in school teaching, but also through his Gospel influenced adult choir, Gospel Shock. has worked in theatres and trained the We Will Rock You cast for Sunderland Empire. Page 5 Robin has lived and studied with tribes in Gambia and South Africa. He taught in Egypt for four years and learned traditional Arabic songs and Arabic violin. He has also studied traditional music in Thailand with local people. Robin is a specialist vocal, singing and harmony coach in Jazz, Classical and Pop, with many pupils achieving national levels, and is involved with seven different choirs per week including church (to cathedral standard), gospel, classical, pop, rock and musical theatre. Robin is a musical pedagogist with an Inner Ear and Kodaly specialism. His pupils have won awards every year since 2007. Private pupils have won awards regionally and nationally every year since 2007. Choirs directed include school, adult gospel, rock-pop and musical theatre. Robin Harrison PhD BMus (Hons)/GradRNCM FNCM ARCO LTCL DipLCM PGCE(QTS) MISM 35 Knaith Close, Yarm, TS15 9TL Tel: 07871085332 Www.harrisons-music-academy.co.uk, www.reverbnation.com/drivorekeys

Page 6 Kodaly, notation and progression Page 11 Kodaly was a Hungarian composer who revolutionised the way music was taught in his country to such an extent that the Hungarian Government began to significantly back his methodology. The Kodaly method is taught worldwide and I am on the Education Committee for the British Kodaly Association. Kodaly s methodology includes: music taught through games in such a way that it enhances pupils musicianship, (in essence this is quality music making and understanding through play). introducing notation through the subconscious and through practical means so that all pupils understand reading music and so that the comprehension of notation evolves naturally rather than becoming an academic chore, routes of progression through an activity that enhance learning rather than simply singing or playing a line back /copying the teacher, getting every child involved whether instrumental or vocal, every child can make an excellent contribution without fear of embarrassing themselves or not succeeding, singing without the support of a piano or other instrument so that accurate tuning comes from within the person rather than copying a piano, singing solos over time every pupil develops the confidence to sing short unaccompnied solos in class, from sound to symbol - a child learns to speak by hearing his/her parents speaking, then by copying, then by creating their own sentences, next by reading and finally by writing. The musical process should be the same (too often in the UK music lessons focus on reading first, which clearly should be one of the last steps after understanding by ear), developing the inner ear the Kodaly method particularly focuses on developing the ability to hear music accurately in the mind and to analyse it internally. This benefits all musicians irrelevant of which instrument they play or if they sing. Workshops incorporate Kodaly methodology which always results in rapid, musical results. CPD training can also help teachers understand how to break tasks down and create a coherent step-by-step progression that begins with what we hear.

Page 10 BESPOKE Page 7 Every Child Matters At the core of workshops, is the spirit of getting every child involved whether instrumental or vocal. Every child can make an excellent contribution without fear of embarrassing themselves or not succeeding, Tailor Made/Bespoke In order for every child s needs to be met, workshops can be tailor made to your requirements and your school. Please state your school s needs and ask for support. Furthermore, a follow-up workshop at a later date could ensure progression rather than a one-off experience. Follow-up CPD training could lead to the same result Ongoing CPD Support can be provided to staff to create structured schemes of work that embody all of the principles set forward in this booklet. Support can be ongoing to ensure continuity and development and simultaneously responding to specific pupil/class needs. CPD can involve observation to ascertain where the pupils are currently at and where to take them next. National Curriculum Workshops and CPD not only fulfil the National Curriculum requirements, but will significantly exceed those requirements in a very short space of time. Relevant National Curriculum Links KS1 Pupils should be taught to: -use their voices expressively and creatively by singing songs and speaking chants and rhymes -play tuned and untuned instruments musically -experiment with, create, select and combine sounds using the inter-related dimensions of music. KS2 Pupils should be taught to sing and play musically with increasing confidence and control. They should develop an understanding of musical composition, organizing and manipulating ideas within musical structures and reproducing sounds from aural memory. Pupils should be taught to: -play and perform in solo and ensemble contexts, using their voices and playing instruments with increasing accuracy, fluency, control and expression -improvise and compose music for a range of purposes using the inter-related dimensions of music -listen with attention to detail and recall sounds with increasing aural memory -use and understand staff and other musical notations

Page 8 Instrumental A Government initiative that every child who wants to learn an instrument should have the opportunity to do so, led to many Wider Opportunities (WOPPS) schemes. Whole classes are taught the same instrument, but sadly this leads to a lack of differentiation, those who already learn the instrument in individual lessons being insufficiently challenged and those who don t readily succeed with that instrument feeling inadequate. Page 9 Effective Class Instrumental Teaching Workshops and CPD offered reveal how any whole class instrument teaching (such as chime bars, glockenspiels/xylophones, recorder, violin, trumpet or flute/fife) can be used to develop the musicianship of every child. Making WOPPS useful to every child s development irrelevant of their prior experience (even if they are Grade 4 and the rest are beginners) and therefore differentiating tasks according to the needs of all, not simply learning an instrument technically, From Sound to Symbol As per Vocal and Kodaly sessions, notation does not have to be a barrier to learning. Lessons commence with using the inner ear and understanding of the music such that comprehending notation naturally follows. Improvisation Improvisation skills develop quite quickly due to the fact that schemes commence with the ear. Improvisation can therefore become a progressive, taught skill. It s not true that this is something that people are born being able or not able to do! Jazz improvisation is another specialism on offer. I reached no. 4 in the UK jazz charts as a piano improviser. Class Band A natural evolution of all of the above is the Class Band. Sessions can readily be devised that lead pupils to play pop/rock songs along with recordings of renowned bands in a single session. They learn how pop musicians think and how to understand chords. With a microphone and amplifier, singers can then sing over a class band, BBC Big Band style, a most rewarding experience and concert pleaser! Orchestral Masterclasses Orchestral masterclasses can incorporate the class band. They also develop the ability of the players to comprehend the beat in a non-academic sense, but starting from an aural perspective. They teach players how to respond to a conductor and what various conducting gestures mean. They also enhance players ability to play one part whilst actively listening to other parts being played simultaneously. Relevant National Curriculum Links KS1 Pupils should be taught to: -play tuned and untuned instruments musically -experiment with, create, select and combine sounds using the inter-related dimensions of music. KS2 Pupils should be taught to sing and play musically with increasing confidence and control. They should develop an understanding of musical composition, organizing and manipulating ideas within musical structures and reproducing sounds from aural memory. Pupils should be taught to: -play and perform in solo and ensemble contexts, using their voices and playing instruments with increasing accuracy, fluency, control and expression -improvise and compose music for a range of purposes using the inter-related dimensions of music -listen with attention to detail and recall sounds with increasing aural memory -use and understand staff and other musical notations