Singing with Children

Parents who are looking for ideas to develop family singing will find the Sing Up website a positive treasure trove! Sing Up is a Music Manifesto project to get children singing. It is aimed at parents/carers, teachers and music-leaders – anyone who values singing and wants to share this joyful activity with children. There is a special section of the site devoted to families. Here, parents will find information about music for different age groups, singing activities and games. The Song Bank currently contains 300+  songs with lyrics, audio tracks, printable/interactive songsheets and activities.

So, what are you waiting for? Visit http://www.singup.org and have fun!

More Than Notation Software

This year, I think the best new software on the music education scene is PROTÉGÉ , From NOTION Music. This is a program with the emphasis on real music! The range of features and ease of use is quite remarkable for a product in this price range (under £50) and it makes a really useful set of tools available to beginner and expert alike.

PROTÉGÉ  is, first of all, score-writing software. In this respect, it has features one would normally only expect at the top end of the market and shows a real appreciation of composers’ needs. Yet, methods of inputting and playing music are easy to grasp, with the most common requirements conveniently to hand in the initial side-bar setting. Consequently, beginners are not confused by too many options, although these are available to the advanced user. A tutorial is available, designed to enable pupils, including those who have only a minimal aquaintance with standard notation, to learn to use the software when the need arises and they are, consequently, most motivated to do so. It introduces elements of notation, along with the ways in which they are entered into a score, in the order they are most likely to be required.

A big selling point is the set of onboard sounds -instruments played by members of the London Symphony Orchestra and recorded at Abbey Road Studios. For those who don’t have external studio equipment, the package is well worth the purchase price just to have access to sounds of this quality. Dynamics, articulations and performance techniques will play back with the utmost realism.

The NTempo performance feature allows pupils to have real-time control over tempo, including rubato, fermatas and breath marks. This also makes PROTÉGÉ a very useful resource for instrumental teachers, enabling them to provide an accompaniment without distraction from the pupil’s performance.

After my own company’s MIDIgrid and GridPlay software, I consider this to be the most creative music education resource around. Visit www.notionmusic.com to learn more.

Music Technology in the Classroom

Now that the UK Government’s Curriculum Online project has come to an end, most of the easily-located online material giving pointers to good practice in the use of ICT in the classroom, and how to get started, seems to have disappeared with it. Is it considered that the job is done and everyone is now integrating technology with their other resources and confident in its use? If so, it’s a mega case of wishful thinking!

 

When software products were listed on Curriculum Online’s database, for purchase with the electronic learning credits (making them free to schools) every product had to be tagged to make it clear which aspects of the music curriculum it addressed, so some principles of good usage were implicit in the information about resources made available to teachers. I believe that much of the information about types of resources and how they might be used in the curriculum will eventually be made available in other ways but, in the meantime, many teachers look in vain for appropriate support in terms of pedagogy.

 

Last year, in my forum, “Music Technology in Education”, I posted a link to a web-page that provided an excellent starting point for those who, for one reason or another, were just getting to grips with music technology. This link now redirects and I haven’t been able to find the information on the new site, even after receiving directions from the QCA helpline. If I, with all my experience of technology and online resources, am unable to locate the appropriate information then there is little hope for the beginner! I have, however, found the following pages on Becta’s site and recommend them to those who wish to consider the principles.

 

 

 

 

 

 

Inspire Me!   (Select “Music” from the left-hand “Curriculum” menu)

 How To Use ICT in Music
(the link is on Page 3 of the “Inspire Me!” examples)

 See also:
Music Technology and Curriculum Access

Failure, The Price of Success?

How often does the fear of failure prevent us from making the beautiful music of which we are capable? It seems that the more we worry about sounding good the less well we perform. Perhaps we should forget about ‘performing’ (just see what negative associations the dictionary throws up for that term!) and remember that music was mankind’s first means of communication.

I have been brought back, once again, to pondering this question by a young pianist who says she is giving up the piano because she has been told that she doesn’t have the ability to excel as a performer, or even to pass advanced grade exams. My response was that, if she plays the piano just to be better at it than other people, she should give it up and find some channel for competition outside of the arts. However, if she plays because she loves music and wants to share it with other people, she should just get on and do that and her love will communicate itself to others.

We often do not play well in auditions, competitions and exams because we are conscious of being judged. It’s not like taking a driving test or a maths test: communicating through music is much more personal and we find it hard to separate our innermost self from its physical expression. But we will never find joy in sincere music-making unless we have a sense of self-worth that is not dependent on an assessment of our musical skills. In other words, we have to accept that we may fail and make music anyway. Paradoxically, once we embrace the ‘death’ of failure, we can begin to live and grow as musicians.

I find it really hard to put all this into words but I recommended to the disappointed young pianist the book entitled “Effortless Mastery” by jazz musician, Kenny Werner, in which he explores the failure/success paradox and its implications for musicians. Many have found reading this deeply spiritual book a really life-changing experience and Kenny is ever generous in responding to his readers, encouraging them to put its principles into practice. In recent weeks, he has been running a series of tele-seminars on his website, answering readers’ questions and these are available for replay. See Effortless Mastery

 

Get Away, Get Creative!

In  the present economic climate many of you amateur musicians may be thinking twice about booking summer school courses next year. Perhaps you can be tempted, though, by the short courses offered by the Benslow Music Trust. These include weekend and mid-week courses in a wide and extremely imaginative range of musical knowledge and skills. In the 2008-2009 list, three creative music opportunities particularly took my eye:

“Fruit salad with Sambuca: Recorders, flutes, guitars, lutes…
Michael Copley, Peter Martin
9-11 January, 2009

Working with source music ranging from Balkan folk music to baroque sonatas and of various types, including chord symbols, keyboard scores and figured bass, you will go through the process of arranging new music from original score through to performance….”

 

“Composing for Amateurs
Stephen Montague
27 February -1 March

Composers young or old, interested in exploring the exciting world of contemporary music are invited to participate in this course. The programme will involve developing new skills using traditional notation as well as exploring various contemporary techniques and practices such as graphic notation. The course is open to instrumentalists and vocalists from a moderate standard upwards….”

 

“Compose a New Musical
Rebecca Applin
12-14 June

Compose a new musical from scratch and learn more about songwriting and composing for the theatre… After group songwriting workshops and individual composition and tutorial time, the course will culminate in a read and sing through of the resulting new musical….”

Each of the above courses costs less than £200. Resident. For further details visit www.benslow.org, or telephone 01462 459446.

Useful Machine for Teachers and Community Musicians

I recently purchased a Roland CD-2e recorder and it’s just the sort of kit I love – compact and versatile, it’s a real ‘instrumental teacher’s companion’.

 It’s primary function is as a portable 2-track (Stereo), direct-to-CD, recording device. There are two internal microphones, or external mics can be connected. It also has LINE input for keyboards, cassette-decks, etc.. You can record either to CD or to an SD card (up to 8GB). It comes with a 512MB card which will record up to 46 minutes of audio. The machine is powered by 6 x AA batteries or the supplied AC adaptor. Mains power is required for operation in CD mode.

For people, like me, who have fought a losing battle with microphones and soundcards to make recordings in lessons, it’s a real boon! Recording couldn’t be simpler and, while the purists can fiddle with placement of the unit or external microphones and settings, it produces excellent results when it’s simply plonked down near the players and Record and Play are pressed on the remote control. It automatically records in the next available slot. This will be great in a workshop situation, where I will be able to make recordings without interrupting the flow in order to fiddle with equipment. The Menu offers a number of “Convenient Functions for Recording”, including “Automatically Starting Recording When Audio Is Detected” and “Inserting a Count Before Recording Begins”.

In addition to accommodating transposing instruments, the option in much MIDI software to change the key of playback has proved a useful accessibilty tool in many other situations. Now, with the CD-2e, I can treat audio in the same way. In addition to changing key, pitch can be adjusted and the tempo slowed down. Other useful functions are a tuner and “Center Cancel”. The latter cancels the portion of the sound that is heard in the centre of the stereo image, such as the main vocal, making it less audible. In this way, the user can enjoy simple karaoke or practise singing or playing an instrument with a commercially-recorded backing.

Spring Music for Families and Friends

The uncommonly warm and sunny February weather in the UK has made the big outdoors the place to be and I’ve certainly not been tempted to spend extra time at the computer. Now, it seems, we are about to plunge back into winter again and exploring spring music and activities at the computer seems like a good idea.

The Spring Fun page on the Full Pitcher website has music playback, lyrics and activities for a selection of seasonal pieces to share with family and friends. There are lively activities for Cuckoo, a Tyrolean folk dance with a yodelling chorus, and Hot Cross Buns,  while Morning Has Broken and Winter, Goodbye provide gentler moments. Spring is the theme from the Vivaldi concerto, with lyrics added and ideas for improvisation.

Spring Fun

Pre-schoolers and Tonic Sol-fa

Someone commenting on my post, “Sol-fa, So Good” asked about materials for parents to learn sol-fa with their pre-schoolers.  I think a lot of people might be interested in my reply, so I’m putting it up as a new post and also posting it on my Family Music Forum. I’m figuring that more people will see it in these places than buried amongst the comments about sol-fa generally:

Any pre-school music group describing its sessions as based on “Kodaly” or “Colourstrings” principles will be using tonic sol-fa. Parents will usually be encouraged to learn with their little ones and to continue the fun at home.

Colourstrings Music Kindergartens began life as the pre-instrumental programme of the junior music school at the East Helsinki Music Institute. Everyone was astonished at the effect the programme had on the musical development of the young participants and the standards they went on to achieve in the Institute’s junior ensembles. There is now an excellent training programme for people who wish to teach the programme and classes are available in many different countries.

Songs in the “Singing Rascals” books and tapes have been selected from those which over the years have proved appealing and easy to learn. They are presented in child-size hardback books which are beautifully illustrated and children adore them!

Dr. Géza Szilvay, Head of East Helsinki Music Institute and Compiler of the “Singing Rascals” series says in his introduction:

 The “Singing Rascals” books are intended as a means of helping parents, grandparents, kindergarten and nursery school teachers, and all those who have children in their care, to create stimulating and purposeful moments with them…    …The series is supported by a parallel series of audio tapes on which infants sing and young children perform the melodies, but no cassette, however good, can replace the lap and guidance of the close relative or friend.

These same sentiments inform my own “GridPlay: Creative Explorations, Level 1” software resources, which owe much to my experience of using “Colourstrings” materials with pre-schoolers.

For more information about “Colourstrings”, visit www.colourstrings.co.uk. I would recommend starting with the “Pentatonic” book. The audio is now available in CD format from www.westcoastmedia.co.uk. I can’t recommend these resources too highly.

Jazz Improvisation For Beginners

Many instrumental teachers whose own background is in classical music find
themselves drawn into jazz in response to requests from pupils. The syllabus for most graded music exams now include ‘jazzy’ pieces and a visit to the average music shop will turn up numerous easy anthologies with ‘jazz’ in the title.

If I weren’t a teacher, I would never have touched jazz with a barge-pole – I
didn’t care for it at all! “Boring and cliché-ridden!” was my response to the ‘wallpaper’ jazz to which I had been exposed. As I offered ‘creative music tuition’, way back when this was unusual, I checked out materials that purported to teach jazz improvisation to beginners. My heart would sink as I opened yet another book stuffed with repetitive scale and and arpeggio exercises that engaged the intellect and the fingers but left the heart and imagination cold. It was only when I had the opportunity to ‘dip my toes’ in real improvisation with kindly jazz musicians that I understood how exciting and absorbing it could (should?) be. It’s obvious, really – just as one wouldn’t teach grammar to a child before encouraging them to speak, it makes better sense to engage the beginner improviser in a dialogue before worrying about chord sequences, etc..

In the UK, improvisation is now an established part of the curriculum and, in order to service the demand arising from this, the Associated Board of the Royal Schools  of Music, the biggest of the UK graded music examinations boards, introduced grade exams in Jazz Piano and, a couple of years later, exams for Flute, Clarinet, Sax, Trumpet and Trombone. For many, there’s something a bit distasteful about a jazz exam and the ABRSM acknowledges that many students using their resources will not be at all interested in doing an exam – each anthology is wisely described as being for ”Grade/Level” 1, 2, 3, 4 or 5. There are fifteen pieces at each level and each piece includes an improvised section. There are 5 “Blues”, 5 “Standards” and 5 “Contemporary” pieces in each anthology. All have been arranged by leading jazz educators. For each book, there is a CD of performances and, in the case of melody instruments, ‘minus-one’ backing tracks played by a small ensemble. It’s great to have a choice of fifteen pieces, all carefully graded at the same standard. Better still, there’s not a cliché in sight!  This repertoire is varied and fresh. A teachers’ manual, “Jazz Piano From Scratch”, is designed to help the classically-trained teacher get to grips with the jazz syllabus.

“Jazz Piano From Scratch” suggests several ways of approaching the solo sections but, because of the  way in which pitches are suggested in the right hand of solo bars, the focus is mainly on melody. Although chord symbols appear throughout, exam candidates at grades 1-3 are not expected to analyse chords. A melodic approach had already been adopted for graded jazz exams of the Guildhall School of Music, which board has since amalgamated with that of Trinity College London to form the Trinity Guildhall examination board. Jeffery Wilson’s “Progressive Guide To Melodic Jazz Improvisation” is still available and this book, with its accompanying CD, is an excellent resource, although it has only three pieces at each grade/level. Each of the improvisations is based on one of the scales set for the grade.

Over the years,  I have accumulated many beginner jazz improvisation resources but these are the ones I and my pupils enjoy most and we strongly recommend them to other beginners.

Functional Forums

I have long wanted to improve two-way communication with visitors to my sites and have been frustrated by the lack of feedback and by the very small amount of real communication that seems to take place online. That’s one reason why I set up this blog and I have been delighted to create new connections through it. I also wanted to further The Full Pitcher’s mission of helping those whose musical interests are not well-served in the, mainly commercially-focussed, music scene to locate the information and resources they require and to share their ideas.

I have been nervous of setting up the forums I wanted The Full Pitcher to provide because of the technical, financial and labour implications. I’m pleased to say that, after much thought and research, I have now found a, modestly-priced, hosted solution that seems to provide the features I require. I have set up my bulletin-board with several forums, matching the special interests identified by my visitors.

The forums will, of course, enable members to provide mutual support but I intend them also to be bulletin-boards in the traditional sense of a place where members can publicise their events and courses, etc. and where The Full Pitcher can post links to the specialist resources it makes available online. At present, forums are set up so that anyone can read them but only registered members of the board can post. Posts will be rigorously moderated, on a daily basis.

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