Music and Circle Time : Using Music, Rhythm, Rhyme and Song [1 ed.] 9781446265314, 9781412919081

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Music and Circle Time

A Lucky Duck Book

Music and Circle Time Using music, rhythm, rhyme and song

Margaret Collins and Claire Wilkinson POP Paul Chapman Publishing

© Margaret Collins and Claire Wilkinson 2006 First published 2006 Apart from any fair dealing for the purposes of research or private study or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publication may be reproduced, stored or transmitted in any form, or by any means, only with the prior permission in writing of the publishers, or in the case of reprographic reproduction, in accordance with the terms of licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside those terms should be sent to the publishers. Rights to copy pages marked as handouts, certificates or overhead foils are extended to the purchaser of the publication for his/her use. The right of the author to be identified as Author of this work has been asserted by him/her in accordance with the Copyright, Design and Patents Act 1988. Paul Chapman Publishing POP A SAGE Publications Company 1 Oliver's Yard 55 City Road London EC1Y ISP SAGE Publications Inc. 2455 Teller Road Thousand Oaks, California 91320 SAGE Publications India Pvt Ltd B-42, Panchsheel Enclave Post Box 4109 New Delhi 110 017 www.luckyduck.co.uk Commissioning Editor: George Robinson Editorial Team: Wendy Ogden, Mel Maines, Sarah Lynch Designer: Nick Shearn Illustrator: Philippa Drakeford A catalogue record for this book is available from the British Library Library of Congress Control Number 2 0 0 6 9 0 0 7 0 5 ISBN 10 1-4129-1908-8 ISBN 13 978-1-4129-1908-1 Printed on paper from sustainable resources Printed in Great Britain by The Cromwell Press Ltd, Trowbridge, Wiltshire

Contents

Introduction

1

S e c t i o n 1: Rhythm, jingles, r a p s and c h a n t s

5

S e c t i o n 2 : Songs

13

S e c t i o n 3 : Instruments

23

S e c t i o n 4 : Movement

31

S e c t i o n 5 : Ring g a m e s

37

S e c t i o n 6 : Music t o listen t o

47

S e c t i o n 7 : Music a n d art projects

53

S e c t i o n 8 : Story and m u s i c projects

61

A p p e n d i x 1 : Notes o n the lives o f s o m e well-known c o m p o s e r s

79

A p p e n d i x 2 : Ballet a n d o t h e r stories

84

A p p e n d i x 3 : Music notation

92

A p p e n d i x 4 : Resources

94

Introduction The importance of music The National Curriculum, Key Stage 1, Music, HMSO ( 1 9 9 9 ) s t a t e s that: •

Music is a powerful, unique form o f c o m m u n i c a t i o n that c a n c h a n g e the w a y pupils feel, think and act.

•

It brings t o g e t h e r intellect and feeling and enables p e r s o n a l expression, reflection and e m o t i o n a l development.

•

As a n integral part o f culture, past a n d present, it helps pupils u n d e r s t a n d themselves a n d relate to others, forging links b e t w e e n the h o m e , school, a n d the wider world.

The National Curriculum, Music, s t a t e s that: Teaching should

e n s u r e that listening,

a n d applying

knowledge

and

understanding, a r e developed through the interrelated skills o f performing, c o m p o s i n g and appraising. This is quite a tall o r d e r for Key Stage 1 t e a c h e r s w h o a r e already b u r d e n e d with the d e m a n d s o f the language, m a t h e m a t i c s a n d s c i e n c e curriculum. The National Curriculum, Music, a s k s t e a c h e r s to involve children in: •

listening to m u s i c and s o u n d

•

responding to a r a n g e o f musical a n d n o n - m u s i c a l starting points

•

performing

•

composing

•

appraising

•

developing skills a n d understanding through a r a n g e o f musical activities

•

working o n their own, in groups o f different sizes a n d a s a class.

Music should be a s o u r c e o f enjoyment and pleasure, that m e a n s fun, yet very y o u n g children a r e not able to listen for very long before b e c o m i n g b o r e d with inactivity. Can w e integrate listening to m u s i c into the s c h o o l day a n d u s e it to e n h a n c e o t h e r p a r t s o f the curriculum? There is n o r e a s o n w h y m u s i c should n o t be playing while children e n g a g e in creative activities; p e r h a p s a piece o f m u s i c could be playing while children c o m e into the c l a s s r o o m in the morning, w h e n they a r e getting ready for lunch o r getting ready t o g o h o m e . Teachers c a n vary the kind o f m u s i c from classical to popular a n d e n c o u r a g e children to bring in their favourite m u s i c tapes o r CDs.

1

Many s c h o o l s a r e using Circle Time a s a venue for helping children to e n g a g e in discussion a n d listen to o t h e r s . Circle Time for

the Very Young

(Collins,

2 0 0 1 ) suggests that Circle Time could have a 'fun ending with songs, jingles and g a m e s . ' This b o o k s e e k s to e n c o u r a g e t e a c h e r s to integrate m u s i c into the c l a s s r o o m by w a y o f Circle Time and is designed to give y o u ideas o f h o w to u s e music in the circle, both for fun endings and also a s stimulation for further work. Children need t o be e n c o u r a g e d to listen carefully to music. They h e a r s o m u c h b a c k g r o u n d m u s i c that n o o n e really listens to. Only by e n c o u r a g i n g them to really listen to a melody for a s h o r t spell will they begin to appreciate and develop a love for music. Just a s children love to h e a r their favourite rhymes and stories over a n d over again, they will r e s p o n d to pieces o f music if they a r e given the opportunity to listen to the s a m e piece several times and to learn its title, p e r h a p s its c o m p o s e r and s o m e interesting facts about the music. Those o f y o u w h o already u s e Circle Time will have laid down rules a n d strategies for ensuring that it runs smoothly. For t e a c h e r s new to the technique o f Circle Time, a list o f r e s o u r c e s is provided at the end o f this book. In this b o o k w e have tried to give y o u ideas for incorporating m u s i c into y o u r normal teaching day and have in s o m e c a s e s suggested that y o u could u s e other stories or m u s i c to develop y o u r o w n ideas. You will find that s o m e o f our suggestions lead y o u to think o f o t h e r picture story b o o k s o r pieces o f music that you c a n use, either in Circle Time, in the c l a s s r o o m o r in music lessons. It is only a starting point a s t e a c h e r s w h o a r e interested in allowing m u s i c into their c l a s s r o o m s will have m o r e innovative ideas. Perhaps, if y o u know any, y o u could invite musicians into y o u r c l a s s r o o m . There will be children in y o u r s c h o o l o r in y o u r follow-on junior or middle s c h o ol w h o a r e learning to play musical instruments. We s u g g e s t that y o u ask these budding musicians to play to the children in y o u r class and p e r h a p s they would be willing to talk a b o u t h o w they play their instruments. We also suggest and give e x a m p l e s o f w h e r e y o u c a n u s e m u s i c a s a t h e m e for art and craft work, for assemblies for o t h e r c l a s s e s and for visitors. The Qualifications a n d Curriculum Authority (QCA) m a k e s the point that silence is important. Silence is a very effective part o f making music. Children m u s t be helped to r e c o g n i s e that in music all s o u n d s a r e important a n d that silence helps to provide a clean sheet o f paper o n which the music c a n be c r e a t e d . www.standards.dfes.gov.uk/schemes2/music/mus07/07q5).

2

It is therefore very important that y o u help the children to a p p r e c i a t e silence

and encourage quiet before the music begins and after it ends. They also s a y that, 'Silence is a vital part o f any p e r f o r m a n c e and m a y be the h a r d e s t part o f achieve.' You will need to help children to learn to hold their i n s t r u m e n t s quietly o r to put t h e m down quietly in front o f t h e m w h e n they a r e n o t required to play and t o give lots o f praise to t h o s e w h o achieve this silence. There is considerable overlap a s s o m e o f the ideas in the b o o k could have b e e n placed in m o r e than o n e section; for example, in Section 1 s o m e o f the r h y m e s a r e also ring g a m e s and Peter and the Wolf h a s b e e n u s e d in two sections. S o m e o f the tunes have a l s o been used in m o r e t h a n o n e section. We h o p e that t e a c h e r s will w a n t to adapt s o m e o f the ideas in this b o o k t o o t h e r stories o r t h e m e s a n d that the format w e have used will help t h e m t o d o this. It is h o p e d that t e a c h e r s , especially n o n - m u s i c i a n s , will be inspired to bring their o w n knowledge o f stories and m u s i c t o g e t h e r to u s e in creative w a y s for the benefit o f the children in their class. Teachers will need to u n d e r s t a n d that s o m e children m a y not w a n t t o s h o w their w o r k a n d m a y need e n c o u r a g e m e n t while o t h e r s m a y prefer n o t to d e m o n s t r a t e to the w h o l e group w h a t they have been practising.

3

Section I: Rhythm, jingles, raps and chants

During Key Stage I pupils should be taught how to use their voices expressively by singing songs and speaking chants and rhymes... They explore and enjoy how sounds and silence can create different moods and effects. The National Curriculum, Music, Key Stage I.

In Circle Time, t e a c h e r s often e n g a g e the w h o l e group by asking t h e m t o finish the s e n t e n c e o r 'pass' the face o r feeling. You c a n extend this with rhythm a n d m u s i c by asking children to b e a t out their s e n t e n c e s o r singing their r e s p o n s e s a s in t h e s e activities.

Rhythm At the end o f a Circle Time s e s s i o n tell the children that y o u a r e going to clap a rhythm a n d a s k t h e m t o c o p y it back. Start with s o m e t h i n g simple s u c h a s three slow beats. Ask the children to repeat this. Then u s e three quick b e a t s a n d a s k t h e m to repeat it b a c k to you. Vary the b e a t s using s l o w a n d quick beats. Call it a 'follow my leader'; y o u beat the rhythm and they r e p e a t it b a c k to you.

5

Question and answer Ask children to think o f their o w n beating rhythm and b e a t this t o the next child in the circle. That child listens, r e p e a t s the rhythm, then turns to the next child to beat her own rhythm, and s o o n a r o u n d the circle.

Name rhythms Ask the children t o think o f the rhythm o f their n a m e and go a r o u n d the circle with a n a m e question and answer. Start by you yourself clapping out y o u r n a m e , for example, 'Mrs Brown' (quick, quick, slow). Ask the next child in the circle to repeat their n a m e and s o on until everyone h a s had a turn. Use the rhythm quick, slow, quick, slow a s preparation for the next part o f this activity. Clap out this s e n t e n c e using y o u r own n a m e , starting with a quick beat and alternating with a slow b e a t . . . 'My n a m e is Miss-es Brown.' (long beats underlined) Go a r o u n d the circle with e a c h child saying the s e n t e n c e with their own n a m e .

My family friend Ask the children t o think o f a friend in their family and to think h o w their n a m e would s o u n d if they u s e this quick beat, slow beat rhythm. Vary the clapping by using two fingers o f o n e h a n d beating into the o t h e r hand. Start by saying y o u r o w n friend - p e r h a p s u s e the n a m e o f y o u r c l a s s r o o m assistant. Do this twice with a s p a c e in between, for example, 'My friend is Miss-es l a m - i e - s o n (pause). My friend is Miss-es l a m - i e - s o n . ' Ask volunteers to b e a t o u t the n a m e of s o m e o n e in their family in this way.

Own rhythms In Circle Time finish the s e s s i o n by using the focus o f attention to make up a rhythm. For example, if you have b e e n talking about healthy foods a s k the children to think o f s o m e food they like to e a t that is healthy and to make up a rhythm about it. You c a n start by saying, for example, Ί like milk to drink. What do you like?' The next child says w h a t they like, for example, Ί like b e a n s to eat. W h a t do you like?' After using and practising s u c h rhythms you c a n a s k the children to add s o n g a s in the following activity.

I helped someone In Circle Time a s k the children to think a b o u t something they have already done today which helped s o m e o n e . Start by asking the children to join you in h u m m i n g a nursery rhyme tune y o u all know well, for example, Polly Put Kettle

6

On.

the

Then use the tune and start a jingle by singing, I helped someone today

Ί helped someone today when I

when I shared my book Finish this by adding, 'Got the painting things

with her.

out for you.' Ask the children if they c a n finish the jingle using o t h e r w o r d s . Go a r o u n d the circle, asking everyone for a r e s p o n s e - but allow children to 'pass'.

Someone helped me Ask the children t o c l o s e their eyes a n d think o f all the people w h o helped t h e m this morning. Ask t h e m t o h u m to / Had a Little Nut Tree. Think o f a child w h o h a s helped y o u already this m o r n i n g a n d start the jingle yourself by singing: 'Harry helped m e today w h e n h e . . . ' Ask the children to w o r k in pairs o r very small groups a n d t o c h o o s e the n a m e o f o n e p e r s o n w h o helped t h e m this m o r n i n g a n d t o try t o m a k e a jingle that will fit with the w o r d s . C o m e b a c k into the circle a n d s h a r e their jingles.

I can be a friend In Circle Time talk a b o u t the things y o u c a n do

to

be a g o o d friend. Ask the

I can be a friend when I play a game with them. I can be a friend when I share my things as well.

children to w o r k in pairs o r small groups a n d m a k e up

Playing well and sharing, helping them as well.

a jingle t o the tune o f Sing

Aren't these good ways to show you care for

a Song of Sixpence.

all your friends?

B a c k in

the circle a s k e a c h group to s t a n d and sing their jingle. At the end o f the s e s s i o n a s k the children t o think a b o u t the w o r d s in all the jingles. Can they c h o o s e

the

best

bits from e a c h a n d m a k e up a n o t h e r jingle

which

best

explains h o w y o u c a n be a

7

g o o d friend. Write this up and display it s o that everyone c a n r e m e m b e r it. Perhaps children c a n help you to illustrate it.

Class poem chant In the circle talk to the children about y o u r c l a s s and the activities they like to do in y o u r class. Ask t h e m to finish the sentence: 'In o u r class I like t o . . . ' Read them this c l a s s p o e m and help t h e m to learn it. In our class we work and play Learn a new thing every day Reading, writing, numbers too Learning things is good for you. Using four b e a t s to e a c h line, c h a n t and clap the p o e m with the children a n d a s k e a c h o f them to r e m e m b e r w h a t they said they like to do in your class. You could split the c l a s s into two and let o n e group beat four b e a t s to the line and the o t h e r group beat e a c h syllable. You could use instruments for a few children to play the four b e a t s while o t h e r s clap the syllables. At the end o f e a c h repetition a s k volunteers to m i m e w h a t they would like to d o and a s k o t h e r children to g u e s s the activity. If you w a n t t o make a display a s k the children to draw themselves doing w h a t they like t o do and display their drawings a r o u n d the p o e m .

Partner rhymes At the end o f a Circle Time talk through the rhyme Baa Baa Black

Sheep.

Divide the group into two halves with o n e half saying the first and alternate lines and the o t h e r half saying the s e c o n d a n d alternate lines. Ask the children to m o v e out o f the circle and w o r k in pairs facing e a c h other, repeating the Baa Baa Black Sheep

rhyme. In their pairs a s k t h e m t o u s e o t h e r r h y m e s s u c h

a s Three Blind Mice o r Cock a Doodle

Doo, My Dame has Lost her

Shoe.

Question and answer rhythm At the end o f Circle Time ask the children to think o f question and answer rhythms. Demonstrate this by finger beating and saying a question, for example, 'Is the sun shining today?' (You could use seven quick beats.) Tcilk about the answer, which will be either, 'Yes it is' or, 'No it isn't'. Go around the circle with e a c h child asking this s a m e question and the next child answering it. Ask the children to w o r k in pairs, choosing their own question and answer rhythm. Back in the circle ask volunteers to demonstrate their rhythm to the class.

8

Rounds W h e n the children a r e used to partner rhythms, m o v e o n to four part r o u n d s using s o n g s o r n u r s e r y r h y m e s they already know s u c h a s Baa Baa Sheep,

Haifa

Pound of Tuppenny

Rice, Frere Jacques.

Black

Stay in y o u r circle a n d

divide into four sections. You m a y need to have a 'leader' t o s t a n d inside the circle facing e a c h quarter to help children to keep to their parts. Enlist the children's help to m a k e a c l a s s round which is relevant to y o u r Circle Time t h e m e .

Raps Enlist the children's help in c o m p o s i n g raps. Start by c h o o s i n g a familiar s t o r y or p o e m , c h o o s e a b e a t rhythm a n d w o r k a s a c l a s s o r in pairs to c o m p o s e the rap. Here a r e three e x a m p l e s from well-known stories.

Princess rap You could u s e claps a n d later introduce beating instruments. Line five o f the first three v e r s e s starts at a n o r m a l v o l u m e but g e t s quieter until line six is a whisper. The final verse is the opposite, with line five starting quietly a n d getting gradually louder until the final 'yes' is a shout. There was a princess long ago W h o lived in a castle keep The wicked fairy cast a spell Which made her fall asleep. Asleep, asleep (start loud, going quieter) Which made her fall asleep. There was a king lived long ago Guard-ing the castle keep The wicked fairy cast a spell Which made him fall asleep Asleep, asleep (start loud, going quieter) Which made him fall asleep. There was a queen lived long ago She danced in the castle keep The wicked fairy cast a spell Which made her fall asleep Asleep, asleep (start loud, going quieter) Which made her fall asleep.

9

A handsome prince did then appear He knew the forest well He went into the castle near And broke the witch's spell The spell, the spell (start quiet and get louder) He broke the witch's spell. YES! Ask the children t o add m o r e v e r s e s in this style using o t h e r people w h o might be in the keep, for example, the cook, the c o a c h m a n and the servant.

Red hen rap When the children have learned this y o u could u s e claps o r beating instruments to e m p h a s i s e the rhythm. You could c h o o s e o n e group t o be h e n s a n d chicks, a n d the o t h e r t o be ducks and pigs. S o m e could have instruments. The little red hen said, 'Who will help? Said, 'Who, who? W h o will help?' The little red hen said, 'Who will help?' As she worked in the sun all day. The duck and the pig said, 'No not I,' Said, 'No, no, no not I,' The duck and the pig said, 'No not I.' As they sat in the sun all day. The little red hen said, 'Who will eat?' Said, 'Who, who? W h o will eat?' The little red hen said, 'Who will eat?' As she worked in the sun all day. The duck and the pig said, 'Yes we will, Said, 'Yes, yes. Yes we will.' The duck and the pig said, 'Yes we will.' As they sat in the sun all day. The little red hen said, 'No you won't,' Said, 'No, no. No you won't,' The little red hen said, 'No you won't.' As she worked in the sun all day. The little red hen said, 'Come on chicks,' Said, 'Come, come. C o m e on chicks.' The little red hen said, 'Come on chicks. Let's eat in the sun all day.'

10

The trip trap rap Teach the children the w o r d s of the r a p .

) ®

®

®

®

®

®

Who's that go-

ing

ov-

er?

Who's that go-

ing

ov-

er?

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ing

ov-

er?

Then

I'm going

to

eat

you

© ® ® © ® ® C X ) &

My Trip

Trap

Bridge

Then

®®®@@@®@ It's

li-

ttle

ba-

Li- ttle

ba-

Li-

ba-

ttle

by

bi-

by

by

lly goat

bi-

lly

on

eat

you

®®®@®®®® Then

lly goat

bi-

I'm going to

4

The

I'm going to

Trip

No,

I

Trap

eat you on

Bridge.

will fight and beat

you

©©©©©©©© ®®®@®@®® I Your Trip

Trap

Bridge

I

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bi-

lly

© ® Its great

@ ® big

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@

©

lly

will fight @

@

and beat you on ®

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goat Your Trip

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and beat

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R e p e a t with:

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will fight

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Add body sounds Ttoll - clap the rhythm a s they say it. Baby - tap the rhythm with o n e finger o n their palm. Middle - tap the floor with finger tips. Great big - tap their thighs with palms. Eat y o u - silence until 'eat you' w h e n they u s e palms to slap the floor. Fight y o u - knock with fists o n the floor.

Percussion C h o o s e a pair or small group o f children to play e a c h instrument. Use: Verse 1: Ttoll - drum. Verse 2: Baby - triangle. Verse 3: Middle - c h i m e bars. Verse 4: Great big - tambourine. Verse 5: Eat y o u - drum to play for these two words. Verse 6: Fight y o u - drum, with everyone playing for the w o r d s 'beat you'.

12

Section 2: Songs

During Key Stage I pupils... sing a variety of songs from memory, adding accompaniments and creating short compositions, with increasing confidence, imagination and control. The National Curriculum, Music, Key Stage I

We s u g g e s t that y o u end y o u r Circle Time s e s s i o n s with a 'fun ending'. The s o n g s in this s e c t i o n will help y o u t o d o that; they h a v e a t e a c h i n g p u r p o s e o f their o w n a s well a s being fun. However, if y o u c a n link a s o n g t o the t h e m e y o u a r e working on, s o m u c h the better. There is a list o f s o n g b o o k s in the appendix.

Many children will k n o w the following nursery r h y m e s which c a n form a fun ending to Circle Times. Baa Baa Black Sheep Boys and Girls C o m e Out to Play Goosey Goosey Gander The Grand Old Duke of York Hickory Dickory Dock Humpty Dumpty Little Bo Peep London Bridge Michael Finnigan Oh Dear What Can the Matter Be Old Macdonald had a Farm Oranges and Lemons Polly Put the Kettle On Pop Goes the Weasel Sing a Song of Sixpence. You can, o f c o u r s e , a c t t h e m out t o make it m o r e interesting. Here a r e s o m e suggestions for nursery r h y m e s and o t h e r s o n g s .

Baa Baa Black Sheep C h o o s e c h a r a c t e r s - sheep, master, maid, little boy. Ask the s h e e p t o kneel down and the rest t o s t a n d in the middle o f the circle. Line 1 - the m a s t e r a s k s the sheep. Line 2 - the s h e e p replies the s e c o n d line. Line 3 - sheep points to the m a s t e r and maid, w h o b o w o r curtsey. Line 4 - sheep points to the little boy, w h o runs around the inside o f the circle. You could also u s e p e r c u s s i o n for the c h a r a c t e r s a n d c h o o s e o t h e r children to play.

Boys and Girls Come Out to Play C h o o s e three or four boys and girls to form two lines facing e a c h o t h e r inside the circle. They a c t o u t the rhyme a s below while the rest o f the c l a s s clap o r beat the rhythm. Line 1 - boys and girls skip t o w a r d s e a c h o t h e r a n d back. Line 2 - boys and girls m a k e a circular m o v e m e n t with a r m s in air for m o o n . Line 3 - b o y s and girls m i m e leaving supper a n d sleep. Line 4 - join h a n d t o m a k e a circle a n d skip around.

14

The Grand Old Duke of York All children stand up in the circle. Line 1 - m a r c h o n the s p o t to the beat. Line 2 - hold up ten fingers t o r e p r e s e n t ten t h o u s a n d m e n . Line 3 - raise hands (fingers up) in jerks to the beat until h a n d s a r e high in air. Line 4 - lower fingers in jerks until at w a i s t level. Line 5 - fingers high, pointing to ceiling. Line 6 - fingers low, pointing to floor. Line 7 - fingers half-way. Line 8 - fingers high for 'up' and very low for 'down'.

Humpty Dumpty Line 1 - everyone sits up straight and tall (on the wall). Line 2 - everyone falls over, curled up o n the floor (a great fall). Line 3 - everyone s t a n d s up a n d gallops o n the spot (kings h o r s e s a n d m e n ) . Line 4 - everyone m i m e s trying t o put the egg t o g e t h e r again. You could a c t it o u t by splitting the c l a s s into three groups; eggs, king's h o r s e s and king's m e n . You could u s e instruments o r body s o u n d s t o s u g g e s t the a c t i o n s , s u c h as: •

slow claps o r beating sticks t o the rhythm o f the first t w o lines

•

jingle bells for line 3 (the king's h o r s e s )

•

everyone playing o r clapping for the last line.

Little Bo Peep Lines 1 and 2 - everyone m i m e s looking, with o n e h a n d a b o v e e y e s a s they look. Line 3 - everyone with p a l m s u p w a r d s o p e n s hands. Line 4 - everyone o n all fours a s they m i m e a waggling tail. You could c h o o s e a small group o f s h e e p a n d a B o Peep t o a c t o u t the r h y m e in the c e n t r e o f the circle.

London Bridge This is a l s o a g a m e which could be played by a few o f the children in the c e n t r e o f the circle, o r if the group is small played by the w h o l e group.

15

Oranges and Lemons The children c a n m i m e t o the a c t i o n s . Ask t h e m for their suggestions, o r y o u could play it a s a g a m e with a small group o f children in the c e n t r e o f the circle o r by the w h o l e group if small.

Polly Put the Kettle On Ask the children to w o r k in pairs and t o c h o o s e t o be Polly o r Sukey putting on and off the kettle a s they all m i m e a n d sing.

Elephant Song (see appendix for notation) Children stand up in their circle, c h o o s e o n e 'elephant' to g o in the c e n t r e while the rest o f the circle children turn into elephants by dangling o n e a r m to n o s e to m a k e trunk, the o t h e r a r m flopping behind to form a tail. Children walk a r o u n d in the circle, their trunk holding the tail o f the child in front. Directions: Children walk around in one direction for first line.

One elephant went out to play Turn and walk the other way.

On a sandy beach one day Turn and walk the other way.

S/he had such enormous fun Stand and fact centre, clap to rhythm.

That s/he called for another elephant to come. The first elephant in the c e n t r e c h o o s e s a n o t h e r elephant and the s o n g is repeated as, 'TWo elephants w e n t out to play'. The s e c o n d 'elephant' c h o o s e s a n o t h e r and s o on. Carry o n until you've had e n o u g h .

Variations •

If children keep c h o o s i n g the s a m e sex, alter last line t o 'she' called for a 'bo-oy' elephant t o c o m e , o r 'he' called for 'a gi-rl' elephant. W h e n a b o u t half o f the children a r e in the centre, c h a n g e last line to: 'They all called for a n o t h e r elephant t o c o m e . '

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If You're Happy and You Know It Most children will k n o w this traditional song. You c o u l d m a k e it into a t w o group song, with o n e group doing the singing a n d the o t h e r the clapping, beating o r playing a n instrument. The children could w o r k in pairs, with o n e doing the singing a n d the o t h e r the clapping. Ask t h e children t o s u g g e s t o t h e r v e r s e s t o add, s u c h as: If you're sad and you know it, try to smile, don't cry. If you're excited and you know it, share the fun, and smile. If you're hungry and you know it, rub your turn, turn, turn. If you're tired and you know it, go to bed.

Days of the Week (see appendix for notation) S h a r e this old r h y m e with the children. Explain that it's a b o u t spending all w e e k doing the laundry in days long a g o a n d talk a b o u t h o w w e u s e w a s h i n g m a c h i n e s t h e s e days. You could u s e this r h y m e w h e n doing w o r k o n Victorians or mechanization.

When I beheld my darling. She looked so sweet and charming In every high degree. She looked so neat and nimble-o A washing of her linen-o. Dashing away with the smoothing iron, Dashing away with the smoothing iron

Tuesday - a hanging out her linen-o Wednesday - a drying of her linen-o Thursday - an ironing of her linen-o Friday - an airing of her linen-o Saturday - a folding of her linen-o Sunday -a wearing of her linen-o.

She stole my heart away.

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Help the children to c o m p o s e a c l a s s s o n g t o this tune using the five days o f the s c h o o l week. Ask volunteers t o s u g g e s t the things they do a n d jot down their ideas. You could start with: It's on a Monday morning, I come to school all yawning. I want to tell the things I've done all over the weekend. I tell about the fo-ot-ball, I tell about the swi-im-ming. Kicking the ball in the back of the net, etc.

There's a Hole in my Bucket In Circle Time a s k the children t o think a b o u t w h a t a bucket is a n d t o u c h their e a r s if they c a n tell everyone. C h o o s e a volunteer. Ask the children t o finish this s e n t e n c e : 'You c a n u s e a bucket t o . . . ' T&lk with the children a b o u t m o d e r n plastic buckets that w e u s e today. Explain that in the old days buckets w e r e m a d e o f metal and not thrown a w a y w h e n they had a hole in them, but m e n d e d with m e t a l p a t c h e s , n o t straw! Tell t h e m that this is a fun s o n g a b o u t a bucket with a hole. Sing the s o n g through, letting the children join in with the repetition a s they s e e the pattern. When the children have l e a r n ed the p a t t e r n o f the song, either c h o o s e a group to be Liza a n d a n o t h e r group t o be Henry o r divide the c l a s s into t w o s e t s with o n e singing Henry's part and the o t h e r singing Liza's. You could a s k t h o s e n o t singing to b e a t the rhythm. There's a hole in my bucket, dear Liza, dear Liza. There's a hole in my bucket, dear Liza, a hole. Then mend it, dear Henry, dear Henry, dear Henry. Then mend it, dear Henry, dear Henry, mend it. With what shall I mend it, dear Liza?... With straw, dear Henry... But the straw is too long, dear Liza... Then cut it, dear Henry... With what shall I cut it, dear Liza?... With a knife, dear Henry... But the knife is too blunt, dear Liza... Then sharpen it, dear Henry... With what shall I sharpen it, dear Liza? With a stone, dear Henry...

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But the stone is too dry, dear Liza... Then wet it, dear Henry... With what shall I wet it, dear Liza?... With water, dear Henry... In what shall I fetch it, dear Liza?... In a bucket, dear Henry... There's a hole in my bucket, dear Liza...

Sing about yourself In Circle Time a s k the children to think o f s o m e t h i n g they would like

W e are small.

to tell the group a b o u t themselves.

W e like to play ball.

Explain that y o u w a n t t h e m t o put it

W e like to run and jump as well.

into a song.

W e like to skip and jump as well. W e are small, we like to play ball.

Ask t h e m to finish the s e n t e n c e : 'My s o n g will be about. Explain that they c a n give their s o n g a tune o r it could be a s o n g with rhythm a n d n o tune. Suggest s o n g tunes they could use, all o r part o f tunes s u c h a s Three Mice,

TWinkle Ttoinkle, Pop Goes

Weasel,

Sing a Song

of Sixpence,

Blind The to

m a k e the w o r d s fit. Send the children off in pairs o r very small groups a n d a s k t h e m t o think o f the w o r d s they will use, add the tune a n d then practise singing o r saying it. B a c k in the circle a s k for volunteers to sing their jingle. Ask the children to write their jingle down a n d illustrate it.

Love your pets (A variation o f this s o n g is in the instruments section.) In Circle Time talk to the children a b o u t their pets a n d a b o u t a n i m a l s they would like to have a s a pet. Tklk a b o u t caring for pets and w h a t pets need.

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Sing the first verse o f This Old Man u n a c c o m p a n i e d with the children. This old man, he played one, He played nick nack on my drum. With a nick nack paddywack, give a dog a bone This old man came singing home.

With a nick nack paddiwack, give your pet a stroke...

Ask the children t o s u g g e s t variations for Line 3 , s u c h a s •

give the bird s o m e s e e d

•

give y o u r pet a stroke

•

give y o u r c a t s o m e food.

Doe a Deer, a Female Deer You m a y have this s o n g from The of Music

Sound

in y o u r repertoire. It lends itself

beautifully t o w o r k with c h i m e bars. After singing the s o n g and helping the children t o learn the w o r d s (if they don't already know them), play for t h e m the eight n o t e s o n c h i m e bars, singing, 'Doh, ray, m e ' and s o o n a s y o u play e a c h n o t e . C h o o s e eight children t o s t a n d in a line in the c e n t r e o f the circle with o n e chime b a r e a c h in order. Ask t h e m t o play only the first n o t e o f e a c h line. Change children a n d a s k the s e c o n d group t o play the b e a t s o f e a c h line, four beats, while the o t h e r children sing. As well a s singing the w o r d s , the rest o f the c l a s s c a n m a k e a ring g a m e out o f the song, by skipping a r o u n d the circle o n e w a y for the first line, changing direction for the next line a n d s o on.

I Can Sing a Rainbow You will probably have this s o n g

in y o u r m u s i c

collection. Red and yellow and pink and green Purple and orange and blue. I can sing a rainbow, sing a rainbow, sing along with you. Listen with your eyes, listen with your ears And sing every song you see. I can sing a rainbow, sing a rainbow, sing along with me Red and yellow, etc.

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If y o u have children dressed in t h e s e colours, a s k t h e m t o m a k e a line in the middle o f the circle t o help o t h e r children r e m e m b e r the o r d e r o f the c o l o u r s . If not, y o u could provide c o l o u r e d p a p e r s for children to hold. Perhaps y o u could a s k children t o paint pictures in only o n e c o l o u r s o that t h e s e c a n be used. You could a s k only the children holding the c o l o u r s to sing their o w n c o l o u r while the o t h e r children listen a n d join in with 'and' a n d sing the c h o r u s altogether. You could m a k e up a ring skipping g a m e .

Five Little Fingers This traditional finger rhyme is a g o o d ending to a Circle Time s e s s i o n with the children suiting the finger a c t i o n to the rhyme. Five little fingers, long and thin (point both hands of fingers upwards) Wave them, wiggle them, tuck them in (wave and wiggle fingers). Five little fingers skipping around (fingers dancing on the floor or knees) O n e crept away without a sound (hide one finger away). Follow this with four, three, two, little fingers, with the last line o f the last verse thus: One little finger skipping around, can you guess what the finger found (all fingers come back)? Children c a n draw a r o u n d their h a n d with all the fingers showing.

Five little fingers, long and thin

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Section 3: Instruments

During Key Stage I pupils listen carefully and respond physically to a wide range of music. They play musical instruments and sing a variety of songs from memory, adding accompaniments and creating short compositions, with increasing confidence, imagination and control. They explore and enjoy how sounds and silence can create different moods and effects. The National Curriculum, Music, Key Stage I

Silence is a vital part o f w o r k with instruments. Children m u s t learn to hold their instruments quietly w h e n they a r e not required to play. Qualifications a n d Curriculum Authority (QCA) 2 0 0 0 , Unit 6, What's the Score? - Exploring

Instruments

and

Symbols.

All children enjoy using musical instruments, not only for the b e a t but a l s o for the quality o f sound. Use the end o f Circle Time t o give the children the opportunity to c r e a t e musical patterns, explore, c h o o s e a n d o r g a n i s e s o u n d s a n d musical ideas, to w o r k in pairs o r small groups to m a k e i m p r o v e m e n t s t o their o w n work.

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Using instruments These activities m a y take s o m e time for all the children to have their turn, s o you m a y need to limit e a c h s e s s i o n by asking o n e group at a time to participate. The children will need time to practise their instruments and will need to know y o u r rules a b o u t holding their instruments o r putting t h e m down in silence. You could a s k the children to write their n a m e s o n a list w h e n they have had their turn with e a c h instrument, making a running record.

Musical patterns At the end o f Circle Time, a s k the children to w o r k in pairs to beat out a simple rhythm, tapping their h a n d s o n their legs. Ask volunteers to s h o w their musical pattern to the circle. Have available a small selection o f instruments and ask these s a m e volunteers to u s e o n e o f the instruments to play their musical pattern. Ask the o t h e r children t o try to r e m e m b e r their musical pattern s o that they c a n have a turn with a n instrument next time.

Choose your style Using tuned and untuned musical instruments put one of e a c h kind of instrument into the centre o f the circle. Talk a b o u t the different qualities o f the instruments - the loud b a n g s o f d r u m s and t a m b o u r s , the s m o o t h s o u n d o f brush swirling o n drum, the melodic s o u n d o f a glockenspiel and s o on. Ask the children t o think which instrument is m o s t like t h e m a n d to m a k e o n e c h o i c e . Ask e a c h child in turn to finish the s e n t e n c e : Ί think t h e . . . is m o s t like m e . ' Ask volunteers t o g o to the c e n t r e o f the circle, c h o o s e their instrument and u s e it to repeat the s e n t e n c e (Ί think the ... is m o s t like me.'). You c a n extend this activity by asking children to say why, for example, Ί think the triangle is m o s t like m e b e c a u s e it is quiet and gentle.'

A beating colour game (Beat, beat, beat) Blue (Beat, beat, beat) Green

A beating game In Circle Time m a k e s u r e everyone h a s a n instrument and then a s k the children t o think o f a n animal they really like. Set up a gentle beating/ shaking/tapping

rhythm with

the

instruments. Introduce a s p a c e after e a c h third beat. Practise this rhythm

24

a n d w h e n the children have g o t it, g o a r o u n d the circle with e a c h child saying the animal they like the best. It will g o like this: (Beat, beat, beat) Dog, (Beat, beat, beat) Horse. On o t h e r o c c a s i o n s c h a n g e the children's contributions, for example, think o f a c o l o u r y o u like, a p e r s o n y o u like o r a g a m e y o u like t o play.

Music your name Again with only o n e o f e a c h o f y o u r instruments in the c e n t r e a s k children to think o f a rhythm for their n a m e . You c h o o s e o n e instrument and sing a n d play y o u r n a m e , for example, 'My n a m e is Mrs Wilkinson.' Ask e a c h child in turn to g o to the c e n t r e and beat o r play their n a m e with their c h o i c e o f instrument. S o m e will like to sing their n a m e a t the s a m e time.

Question and answer This activity n e e d s quite a lot o f s p a c e - y o u m a y prefer to u s e hall time o r g o outside in the playground o r garden. Put all the instruments y o u have in the c e n t r e o f the circle. Ask the children to w o r k in pairs and think o f which o n e instrument they w o u l d c h o o s e t o use. Before the children take their instruments a s k t h e m to think o f a question a n d a n s w e r they could perform with this o n e instrument. D e m o n s t r a t e this with a child by c h o o s i n g o n e instrument a n d singing a question using the instrument a s b a c k - u p . Ask y o u r child to answer. It m a y g o s o m e t h i n g like this: 'Which c o l o u r d o y o u like best?' Ί like purple best.' Ask pairs to c h o o s e their instrument a n d m o v e o u t o f the circle to p r a c t i s e this a s quietly a s they c a n . (You will n e e d t o o r g a n i s e this choosing, p e r h a p s g r o u p by group.) C o m e t o g e t h e r in a circle again a n d a s k e a c h pair in turn t o play a n d sing their question a n d answer.

Story, song or nursery rhyme characters You c a n u s e instruments to depict various c h a r a c t e r s from stories,

songs

or r h y m e s y o u know. Start by talking in y o u r circle a b o u t a s t o r y y o u have recently s h a r e d . Ask the children to think which instrument is m o s t like e a c h character, thinking o f h o w they move, their size o r the pitch o f the instrument. Ask for volunteers to be that c h a r a c t e r a n d play the instrument to s h o w h o w the c h a r a c t e r m o v e s a n d behaves. The following a r e e x a m p l e s a n d y o u will know o t h e r stories to use.

25

The Three Billy Goats Gruff In the circle remind the children o f the story, thinking about: •

h o w the troll could s o u n d a n d a c t

•

h o w e a c h o f the billy g o a t s would sound, m o v e a n d a c t .

Ask the children to w o r k in fours - with e a c h group c h o o s i n g which o f the c h a r a c t e r s t o be. Depending o n the size o f y o u r c l a s s y o u might need s o m e groups to be three o r five, with either a n extra billy g o a t o r o n e less.

W e chose: the drum for the troll the tambour for the big billy goat the tambourine for the middle sized one the chime bells for the little one.

Ask e a c h group to g o outside the circle to talk a b o u t which o f the instruments they would c h o o s e for e a c h animal, a n d a s k t h e m t o w o r k o u t a s e q u e n c e o f events and m o v e m e n t s . B a c k in the circle, a s k e a c h group in turn t o play out the story, using the instruments they have c h o s e n . Ask the children t o d r a w a n d write a b o u t this lesson.

Cinderella Ask the children to get into g r o u p s o f six and t o c h o o s e which o f t h e m will be e a c h o f the c h a r a c t e r s o f the Cinderella s t o r y - Cinderella, three ugly sisters, Buttons a n d the fairy godmother. Tell the e x t r a c t from the s t o r y w h e r e the three sisters won't let Cinders g o to the ball, w h e r e B u t t o n s tries to c h e e r up Cinderella and w h e r e the fairy g o d m o t h e r arrives. Ask the children t o think o f which i n s t r u m e n t s would best describe e a c h o f t h e s e c h a r a c t e r s a n d h o w they w o u l d play the instruments t o tell the story. Allow the children to practise their m o v e m e n t s both without a n d with the instruments. Ask e a c h group to perform their s t o r y in m i m e with only the instruments a n d their m o v e m e n t s telling the story.

26

Jack and Jill Ask the children to w o r k in pairs to be J a c k a n d Jill going up the hill for the water. Ask e a c h child to c h o o s e t w o instruments - o n e for J a c k a n d o n e for Jill. Ask e a c h pair to g o to a quiet a r e a and m a k e up a m o v e m e n t s e q u e n c e using the instruments. After they h a v e h a d time to practise, c o m e b a c k into the circle. Ask all the J a c k s to s t a n d and, in turn, to play their instrument. Ask the Jills. Ask volunteers to s h o w their mime. If the children a r e happy to do this y o u m a y n e e d to allow m o r e than o n e Circle Time session. (If y o u have m o r e boys than girls, o r if the children prefer t o pair up with a child o f the s a m e gender, y o u c a n c h a n g e the rhyme t o J a c k a n d Mick o r Kate a n d Jill.)

This Old Man Most children will know the w o r d s to this old traditional song, but y o u might like t o personalise it for y o u r children. Start with four b e a t s t o t h e bar, a n d clap o r b e a t the rhythm a s follows:

This old man,

he played one

He played nick nack

on

my drum

With a nick nack paddywack, give a dog a bone

@©©@ ©©©© This old man came sing-ing home.

27

When the children have m a s t e r e d the four beat rhythm, a s k e a c h child to c h o o s e an instrument, return to the circle a n d split the circle into four sets. Using the four lines o f this v e r s e a s k e a c h group to u s e their instruments while all children sing o r c h a n t the words, for example, for the first line the first group plays their instruments a n d the rest sing, for the s e c o n d line the s e c o n d group plays a n d the o t h e r s sing, and s o on. E x t e n s i o n o n e - a s k o n e group t o b e a t the syllables with their instruments while the rest keep to the four b e a t s . E x t e n s i o n t w o - introduce a rest b e a t by breaking line o n e into two lines to make five lines, including a rest at the end o f e a c h line, thus:

This

old man,

he played one

0ΘΘΟ He played nick nack on

my

drum

Θ©®©©®®· With a nick nack paddywack, give a dog a bone,

®©@®®@ ®o

This old

man came sing- ing home

©®@@@®®© Chick, Chick, Chick, Chick Chicken In Circle Time, p e r h a p s a t Easter, talk t o the children a b o u t chickens a n d eggs. Do the children realise that e g g s c o m e from chickens? Talk a b o u t w a y s w e u s e e g g s - boiled, fried, in cakes, c h o c o l a t e o n e s for Easter. Sing the s o n g t o the children: Chick, chick, chick, chick chicken, lay a little egg for me. Chick, chick, chick, chick chicken, I want one for my tea. I haven't had an egg since Easter, and now it's time for tea. Chick, chick, chick, chick chicken, lay a little egg for me.

28

Split the circle into two parts and a s k o n e part to sing the s o n g and the o t h e r to clap the rhythm - three b e a t s for e a c h part followed by a rest, thus: Chick, chick, chick, chick chicken

T) lay a little egg for me

Θ

© Θ

ο

ο

(repeat these 2 lines) I haven't had an egg since Easter 2 and now it's time for tea

0 0 0

(0 Ο

ο

(repeat the first 2 lines) E x t e n s i o n o n e - ask half the group to clap all the syllables a n d the rest t o b e a t the above rhythm E x t e n s i o n t w o - place e n o u g h instruments for o n e quarter o f the c l a s s in the c e n t r e o f the circle a n d split the c l a s s into four groups. Ask e a c h group in turn to c h o o s e a n instrument to play the v e r s e while the rest o f the children sing.

Wake up Father Bear (Silence is a vital part o f w o r k with instruments.) This is a g a m e using the c h a r a c t e r s from The Three

Bears.

Sit in the circle, with a tambourine in the centre. This is the t r e a s u r e . C h o o s e a child t o be Father B e a r w h o hides his eyes or is blindfolded. In silence, point to a child w h o h a s to take the t a m b o u r i n e and hide it behind herself. Ask all the children to put their h a n d s behind them. On y o u r signal all the children chant: 'Wake up Mr Bear, your treasure is not there.' Father B e a r h a s three g u e s s e s a s t o w h o h a s the t a m b o u r i n e hidden behind them. C h o o s e a n o t h e r Father B e a r and repeat. Ask for volunteers. You could either have o n e volunteer for e a c h c h a r a c t e r with their instrument o r several volunteers for e a c h c h a r a c t e r either sharing a n instrument or having o n e e a c h . They could also e n a c t part o f the story. You m a y need to n a r r a t e the story or c h o o s e a narrator.

29

Children's own stories After the children have h a d p r a c t i c e in the previous activities, a s k e a c h group o f children to think o f and make up a musical s t o r y with the s a m e n u m b e r o f c h a r a c t e r s a s there a r e in their working group, o r half their working group if y o u have large groups o f ten. Give the children a few minutes to w o r k this o u t a n d then c h o o s e

the

instruments they need. Give time for t h e m to practise it a n d don't be surprised if it is very similar to a story y o u all know! Older children could write their story.

Making use of hands Make a bed from a palm, u s e two fingers a s a b e a t e r and play a b o u t with rhythm. Start by all children beating a steady rhythm: 1, 2, 3 , 4 steady beats. Now clap the syllables o f y o u r school, for example, 'Radipole School' (quick, quick, quick, slow, p a u s e ) . Ask all children to b e a t this. Divide class into two halves and listen to o n e half beat the steady pulse, and listen to the rest beat the s c h o o l n a m e . Put the two together. It could be useful h e r e for e a c h half to have a 'leader', either the t e a c h e r and a c l a s s r o o m assistant o r two c o m p e t e n t children. Point out the two s o u n d s at the s a m e time - a s k t h e m w h a t helps t h e m to keep their pattern. (By saying w o r d s o r counting n u m b e r s in their heads?) Give all children (or e a c h group o f children) a drum, t a m b o u r o r o t h e r skin instrument. Explore w a y s o f using it, using h a n d s only, tap, patter with fingers, scrape, etc. Return to two p a t t e r n s previously learned (counting a n d s c h o o l n a m e ) . In two groups again, u s e the drums; listen to e a c h group and then put them together. Repeat for fun a n d to improve. C h a n g e over groups. Remain in the circle a n d allow the children to play any pattern they c h o o s e . Listen to o n e a t a time, allowing children t o 'pass'. (If y o u a r e s h o r t o f instruments y o u m a y need t o p a s s a drum a r o u n d the circle.) If all children have a n instrument, tell t h e m they a r e going t o play their o w n pattern together. Walk a r o u n d the circle and point to o n e child at a time, indicating that they join in until all the children a r e playing their o w n pattern. Move a r o u n d again, pointing; this time the child s t o p s playing until all a r e silent. Ask w h e n the m u s i c is loudest a n d w h e n it is quietest. Ask children t o raise a t h u m b if they enjoyed the drumming circle.

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Section 4: Movement

During Key Stage I, pupils should be taught how to explore and express their ideas and feelings about music using movement, dance and expressive and musical language. The National Curriculum, Music, Key Stage I

Using musical language You could introduce and use s o m e o f these musical t e r m s during Circle Time:

Accelerando

Ac-sela-rando

Getting faster

Adagio

Ad-adg-io

Slowly

Agitato

Adg-it-ar-to

Agitated

Allegro

Al-eg-ro

Fast (literally, 'cheerful')

Andante

An-dan-tay

Quite slow (literally, 'walking pace')

Dolce

Dol-chay

Sweet

Forte

For-tay

Loud (literally 'strong')

Lento

Len-to

Slow

Piano

Pi-ar-no

Quiet

Pizzicato

Pit-zi-car-to

Plucked (instruction to stringed-instrument players)

Presto

Pres-to

Quickly

Scherzando

Scher-zan-do

Jokingly

Staccato

Stac-ar-to

Detached, separated (i.e. each note is sounded separately rather than slurred together with the following one)

Tranquillo

Tran-qui-llo

Tranquil

Vivace

Viv-ar-chay

Lively

New language In Circle Time, explain to the children that there a r e special w o r d s for music, to help people to know h o w the m u s i c is t o be played. Tell the children that 'piano' m e a n s quietly and 'adagio' m e a n s slowly. Ask t h e m to s t a n d up 'adagio' and 'piano'. Ask t h e m t o sit down 'piano'. Use both these t e r m s in everyday w o r k in the c l a s s r o o m .

Pass the face Ask the children to 'pass the face' a r o u n d the circle in a 'piano' way. Introduce 'presto' and ask t h e m to p a s s the face in this way. Continue t o introduce m o r e musical t e r m s in a fun w a y a s the children r e c o g n i s e and r e m e m b e r them.

How will you move? Make o n e c a r d for e a c h o f the musical t e r m s y o u have been using with the children; write o n e w o r d o n e a c h card. At the end o f Circle Time, s h o w and read e a c h c a r d in turn to the children asking t h e m t o m o v e in this way.

32

Shuffle the c a r d s a n d place t h e m face dow n in the c e n t r e o f the circle. Ask a volunteer t o take the first card, r e a d it a n d m o v e in that way. C a n the r e s t o f the children g u e s s the w o r d o n the c a r d ?

Go to your place this way Make sufficient c a r d s for o n e per child a n d write o n e a c h c a r d o n e w o r d from the musical t e r m s they already know. For example, piano, lento, a d a g i o and presto. At the end o f Circle Time talk a b o u t the musical w o r d s they already k n o w a n d remind t h e m w h a t they m e a n . Shuffle the c a r d s a n d p a s s the set o f c a r d s , blank side up, a r o u n d the circle, asking e a c h child to take the top c a r d . Ask t h e m to r e a d their c a r d and think h o w they c a n m o v e in this way. Ask the children with the w o r d 'piano' to s t a n d a n d m o v e in this w a y b a c k to their c l a s s r o o m table, o n the w a y putting their c a r d in a pile o n y o u r table. Ask e a c h group o f children with a n o t h e r w o r d to m o v e in the w a y their c a r d s u g g e s t s t o their place until all the children a r e in

W e walk piano and andante at

their places.

assembly time when w e go in the hall.

Can you guess? Another fun ending to Circle Time is to u s e the c a r d s y o u m a d e for the above activity a n d p a s s t h e m a r o u n d the circle until e a c h child h a s a card. Ask the children to hold their c a r d face down, stand a n d m o v e a b o u t the c l a s s r o o m in the w a y the c a r d s u g g e s t s until they find o t h e r people moving in the s a m e way. Eventually the children will have formed g r o u p s moving in the s a m e way. You c a n then s t o p t h e m a n d a s k t h e m t o m o v e b a c k to their places, putting the c a r d s in a pile o n the way.

Move this way In Circle Time give e a c h pair o r small group a musical word, orally o r o n a card, a n d a s k t h e m to w o r k t o g e t h e r to m a k e up a m o v e m e n t s e q u e n c e using their w o r d . Give t h e m a few minutes t o practise their m o v e m e n t a n d then return

33

to the circle. Ask e a c h group in turn to s h o w their m o v e m e n t s e q u e n c e to the class. Can the rest o f the children g u e s s w h a t their w o r d is? Can they illustrate these musical t e r m s ?

How will Jack and Jill move? At the end o f Circle Time say o r sing the nursery rhyme Jack and Jill. Ask the children to think a b o u t the w a y s J a c k a n d Jill will m o v e . Ask all the girls in the circle t o stand up a n d s h o w h o w they think Jill would m o v e a s s h e w e n t up the hill. Can they give y o u a musical t e r m for this? Ask the boys t o s h o w h o w Jack would move. Can they give a musical t e r m for this? Remind t h e m o f the w a y J a c k c a m e down the hill and ask a volunteer to c o m e into the circle to s h o w y o u h o w he did this. Can the children tell y o u the musical term? Ask the girls t o think h o w Jill would have c o m e down the hill, carrying the pail o f water; a s k a volunteer to c o m e to the c e n t r e to s h o w the group. What would this musical t e r m be? Use this idea with o t h e r nursery r h y m e s o r with c h a r a c t e r s in the stories that you tell to the children.

High and low At the end o f Circle Time c h o o s e a n instrument s u c h a s a guitar, glockenspiel, chime bars or recorder. Explain t o the children that y o u a r e going to play a high o r a low n o t e and that y o u w a n t t h e m to listen to it carefully and put a hand up high if they think it is a high n o t e and a h a n d down low for a low note. Bring in the fun element by asking t h e m t o m a k e themselves tall for a high n o t e a n d low for a low n o t e .

What's your note? At the end o f Circle Time a s k the children to n u m b e r themselves, going a r o u n d the circle, either One' or 'two'. The first child s a y s 'one', the s e c o n d 'two' the third 'one' and s o on. Using the tuned instrument a s in the previous activity tell t h e m that children with odd n u m b e r s a r e the low n o t e s and the even n u m b e r s a r e the high notes. Start simply by playing a l t e r n a t e high and low notes, asking the children to m o v e into s t a r s h a p e s (feet astride, a r m s high a n d apart) w h e n they h e a r their note. Extend the activity by playing n o t e s in r a n d o m order, for example, One', 'one', 'two', 'two', 'two', 'one'.

More notes Extend the previous activity the following Circle Time by adding a n 'in b e t w e e n note', a n d ask the children t o listen to these a s y o u play the three n o t e s going

34

'upstairs' a n d then down. Ask the children to n u m b e r t h e m s e l v e s

around

the circle, 'one', 'two' o r 'three'. Tell the o n e s to s t a n d a n d turn a r o u n d a n d sit d o w n w h e n e v e r they h e a r their note. Tell the t w o s a n d t h r e e s t o d o the s a m e a c t i o n w h e n they h e a r their notes. Start simply by going up the s c a l e several times a n d then down the scale, giving plenty o f time for the children to r e c o g n i s e their n o t e and do the action. Make m o r e o f a g a m e o f it by playing n o t e s in r a n d o m order. Play a r o u n d with this idea by changing the a c t i o n s o r giving the three g r o u p s different a c t i o n s to perform w h e n they h e a r their note.

Weather In Circle Time talk a b o u t the w e a t h e r a n d a s k the children to think o f the different

sounds

that the w e a t h e r makes. Ask volunteers

I think the rain makes a pattering sound.

to

finish the s e n t e n c e : Ί think the wind makes a . . . sound.' Use different kinds o f weather, for example, rain, snow, hail, sun, sleet, breeze, storm, blizzard and thunder. Ask the children to m o v e a r o u n d the r o o m in a careful w a y being the wind. Can they add s o u n d to their m o v e m e n t ? Extend with other kinds of weather movements.

Moving like a drum In Circle Time a s k children to think a b o u t the musical i n s t r u m e n t s y o u have in school. Ask t h e m to think first a b o u t a drum and t o m a k e their bodies into the s h a p e o f a drum. Sitting up again, a s k t h e m to think a b o u t h o w the s o u n d o f a drum might m o v e a r o u n d the r o o m . Ask two o r three volunteers to c o m e into the circle a n d s h o w h o w they think the s o u n d o f a drum might move.

I think the shaking is red, like the sky at sunset.

Ask all the children to stay in their place, but m o v e a r o u n d in their body s p a c e a s if they w e r e the s o u n d o f drum.

Moving like a tambourine In Circle Time a s k the children to listen a s y o u u s e a t a m b o u r i n e in several w a y s

35

- shaking, tapping, drumming. Ask t h e m to c l o s e their eyes and tell y o u h o w e a c h kind o f s o u n d m a k e s t h e m feel. Ask t h e m to finish the s e n t e n c e : T h e shaking m a k e s m e feel like...' Allow children to pass; repeat with tapping a n d drumming. You could a s k volunteers, 'What c o l o u r d o y o u think this s o u n d s like?' Using tapping, shaking a n d drumming. You could a s k t h e m t o write and illustrate their feelings a b o u t the sounds.

36

Section 5: Ring games

Pupils should be taught how to use their voices expressively by singing songs and speaking chants and rhymes. The National Curriculum, Music, Key Stage I

It's fun t o finish off Circle Time with a ring g a m e a s these give the children plenty o f activity. Most children will be familiar with The Farmer's There was a Princess and Lemons,

Long Ago, Here we Go Round the Mulberry

Ring a Ring of

in his

Bush,

Den,

Oranges

Roses.

In this section there m a y be a few y o u do not know a n d ideas for making up y o u r own: Dusty Bluebells Big Bass Drum Looby Loo Grand Old Duke of York Get on Board Amy in the Ring Bingo Daisy Daisy.

37

In and Out the Dusty Bluebells Ask the children to s t a n d up in their circle a n d c h o o s e o n e child t o start the chain. The children hold h a n d s a n d raise their a r m s t o form a r c h e s . Then o n e child starts t o g o in a n d o u t o f the a r c h e s a n d a r o u n d the circle, while all the children sing the first t h r e e lines: In and out the dusty bluebells In and out the dusty bluebells In and out the dusty bluebells You shall be my partner! For the fourth line the child s t o p s behind the n e a r e s t child a n d taps t h e m on their shoulder three times, while the o t h e r s clap the b e a t o f the rest o f the song. Pitter, pitter, patter on my shoulder Pitter, pitter, patter on my shoulder Pitter, pitter, patter on my shoulder You shall be my partner! The child w h o h a s b e e n tapped o n the shoulder g o e s behind the tapper a n d puts their h a n d s a r o u n d that child's waist. The two o f t h e m g o in a n d o u t the 'bluebells' until it is time to c a p t u r e the next child t o join the chain. The g a m e e n d s w h e n the chain is t o o long to g o between the a r c h e s o f the remaining circle.

38

Big Bass Drum Practise in Circle Time with all the children sitting d o w n a n d miming playing various instruments. .

Put a selection o f i n s t r u m e n t s in the c e n t r e o f the circle a n d select o n e child to play the first instrument. The rest o f the children m a r c h , walk, skip o r d a n c e (according t o the kind o f instrument) a r o u n d the circle miming t o the instrument. After e a c h v e r s e the children p a u s e while the child playing the instrument c h o o s e s a n o t h e r child t o g o into the c e n t r e t o play the next instrument.

Oh we can play on the big bass drum And this is the way we do it. Boom, boom, boom goes the big bass drum And this is the way we do it. Oh, we can play on the violin And this is the way we do it. Fiddle-de dee goes the violin And this is the way we do it. Oh, we can play on the triangle And this is the way we do it. Ting, ting ting goes the triangle And this is the way we do it.

Ask the children t o select o t h e r instrument s t o m a k e up o t h e r v e r s e s .

39

Looby-Loo Children s t a n d in a circle a n d hold h a n d s . For the c h o r u s the children sideskip around in the circle holding h a n d s . They s t o p for the v e r s e and perform the actions. S o m e t e a c h e r s prefer t o omit the last v e r s e a s this c a n lead t o boisterous children causing a c c i d e n t s .

Chorus Here we go Looby-loo Here we go Looby light. Here we go Looby-loo All on a Saturday night.

Verses Put your right hand in Put your right hand out. Shake it a little, a little And turn yourself about.

Put your left hand in etc. Put your right foot in etc. Put your right foot out etc. Put your whole self in etc.

40

The Grand Old Duke of York This helps very y o u n g children t o u n d e r s t a n d 'up', 'down' a n d ' h a l f a s well a s 'high' a n d 'low'. T^lk a b o u t the m a r c h i n g rhythm a n d link this t o n o t a t i o n a s a s t e a d y beat. Explain the s t e a d y 'left, right' m a r c h i n g rhythm that s o m e children c a n play while o t h e r s c a n play the w h o l e song, with the 'twiddly bits' in it. Experiment by clapping the m a r c h i n g b e a t with rests, only o n the w o r d s : 'Grand', 'Duke', 'York' (rest), 'had', 'thou', 'men' (rest) 'marched', 'up', 'top' (rest), 'marched', 'down', 'gain' (rest). Then clap the w h o l e s o n g slowly, clapping o n e a c h w o r d .

Perform Children in a circle m a r c h round, keeping t o the circle with a r m s swinging. 'When they w e r e up' - children s t o p a n d stretch up a s high a s possible. 'When they w e r e down' - children s t o p a n d c r o u c h down a s low a s possible 'When they w e r e only half w a y ' - children s t o p a n d c r o u c h d o w n half way.

Oh the grand old Duke of York He had ten thousand men. He marched them up to the top of the hill And he marched them down again. And when they were up, they were up. And when they were down they were down. And when they were only halfway up They were neither up nor down.

Use instruments within the circle C h o o s e a 'Duke' to play the marching beat o n the drum for the first verse and a few o t h e r children with instruments, playing the rhythm for the s e c o n d verse.

41

Get on Board the Train This c a n fit in with a topic a b o u t t r a n s p o r t o r travel a n d would be particularly appropriate n e a r a s c h o o l holiday o r a s c h o o l outing. In Circle Time talk a b o u t train journeys - h o w m a n y children have been o n a train? Count up a s h o w o f h a n d s . Ask volunteers to talk a b o u t w h e r e they have been o n a train. Play the ring g a m e a s follows: Ask children to stand a n d widen the circle. The t e a c h e r c h o o s e s a train driver in the c e n t r e o f the circle. Begin by tapping a steady b e a t with two fingers o n a palm and step in time to it. Then add the c h a n t with e m p h a s i s o n the beats.

On the s e c o n d repetition, the children c h a n t softly while the train driver adds a name Get on board, Jan-

et.

Janet gets o n b o a r d (puts h a n d s a r o u n d the driver's waist). Then Janet adds a n a m e and s o o n until there is a train. To extend this, the beat c a n be altered - faster, slower or c h a n g e o f emphasis.

42

Amy in the Ring Use the o n c e popular tune Brown

Girl in the Ring (Boney M, 1 9 7 0 s ) a n d sing

or h u m it with the children. There a r e four lines.

CT\ fif^l

Amy in the ring, la la la la la Amy girl in the ring, la la la la la la Amy in the ring, la la la la la She looks for a boy with

Ask the children to help y o u to m a k e a ring g a m e out o f this tune. C h o o s e o n e girl t o g o in the middle o f the circle a n d u s e h e r n a m e for the song. Line 1 - children skip t o w a r d s the centre, s t o p for the 'la la la la la la'. Line 2 - skip back, stopping for the 'las'. Line 3 - a s line 1; all children wait while the c e n t r e girl c h o o s e s a boy a n d sings. Line 4 - 'She looks for a boy with...' a n d c h o o s e s s o m e attribute s u c h a s brown hair, blue eyes, white teeth, curly hair. All wait while the c e n t r e girl c h o o s e s a boy to replace her; everyone t u r n s a r o u n d a s they g o to m a k e their original circle again. The g a m e c o n t i n u e s with the boy in the centre, using his n a m e , for example, Abdul in the ring'. You m a y like to add a c t i o n s for the 'la la' bit, for example, pointing a finger o r swinging joined h a n d s a s in the 'hokey cokey'.

43

Bingo Teach the children the w o r d s o f the ring g a m e . There was a farmer had a dog and Bingo was his name-o. B, I, N G O Β, I, N G O Β, I, N G O and Bingo was his name-o. Ask the children to think o f o t h e r verses, for example, a c a t n a m e d Η, E, NRY, or a m o u s e n a m e d S, A, RAH. Ask the children to form a circle and c h o o s e o n e child to be the n a m e and to stand in the middle. Number the children. One' o r 'two', a n d play the ring g a m e like this: Line 1 - all children skip to the right. Line 2 - all children skip t o the left. Lines 3 , 4 , 5 - children join up in pairs - a o n e a n d a two - c r o s s h a n d s and swing e a c h o t h e r around. Line 6 - re-form the circle a n d clap the rhythm. C h o o s e a n o t h e r v e r s e and repeat. If very y o u n g children find it difficult t o join h a n d s in t w o s and swing e a c h other around, a s k t h e m t o stand still and clap lines 3 , 4 a n d 5. You could explore the children's o w n n a m e s a n d t h o s e with five letters. Change the lines t o r e a d 'There w a s a farmer h a d a boy (or girl)'. You could ask the children to make a list o f all the five letter n a m e s they know t o add v e r s e s to this ring g a m e .

44

Daisy, Daisy Sing to the tune o f Daisy, Daisy. (Amended version from o n e c o m p o s e d by Hiltingbury Infants School, S o u t h a m p t o n , w h o gave p e r m i s s i o n for u s t o u s e this). This s o n g c o n t a i n s a useful sunsafe m e s s a g e to u s e in the s u m m e r t i m e , before the children's s c h o o l holidays. ν

/

Daisy, Daisy, playing outside is fun. In the sum-mer it's lovely to be in the sun. BUT We mustn't forget our sun hats And put on some cream, slip slap. And if it's too hot, find a shady spot w Safe from the burning sun!

Line 1 - all children in the circle hold h a n d s a n d side skip a r o u n d the circle clockwise. Line 2 - children sideskip anticlockwise. Line 3 - children point into the centre. Line 4 - m i m e putting o n a sun hat. Line 5 - m i m e putting o n sun c r e a m . Line 6 - children turn a r o u n d in their s p a c e with o n e h a n d a b o v e eyes a s t h o u g h looking for a shady spot. Line 7 - children put o u t s t r e t c h e d fingers over h e a d a s t h o u g h making shade. You could u s e 'keeping safe in the sun' a s a t h e m e for Circle Time a n d extend the activity by asking the children t o draw a n d talk o r write a b o u t people playing safely in the sunshine. This activity would m a k e a g o o d t h e m e to s h a r e with o t h e r c l a s s e s o r families during a c l a s s assembly. You could m a k e a c l a s s b o o k o r wall picture showing children playing safely in the sunshine or shade.

45

Section 6: Music to listen to

During Key Stage I, pupils should be taught: to listen with concentration and to internalise and recall sounds with increasing aural memory.. .through a range of live and recorded music from different times and cultures. The National Curriculum, Music, Key Stage I

You c a n give opportunities for listening to m u s i c by: •

c h o o s i n g appropriate m u s i c for y o u r Circle Time s e s s i o n s a n d using Circle Time to talk a b o u t the composer, the composition, i n s t r u m e n t s a n d s u c h like

•

listening to a s h o r t piece o f m u s i c at the end o f Circle Time

•

playing m u s i c in the c l a s s r o o m a s children g o a b o u t their n o r m a l learning

•

organising p r e - a s s e m b l y m u s i c with pictures, p o s t e r s a n d information a b o u t the music, the composer, a n y s t o r y a b o u t the m u s i c a n d time o f composition.

In Circle Time There a r e m a n y suitable p i e c e s o f classical m u s i c with a strong m e m o r a b l e t h e m e that y o u c a n u s e a s well a s o c c a s i o n a l pieces o f m o d e r n music. S h a r e s o m e o f the classical c o m p o s e r s ' w o r k s a s well a s m u s i c y o u yourself love. Brief information a b o u t s o m e c o m p o s e r s c a n be found in the appendix. As well a s using music a s a fun ending to Circle Time you could use a piece o f music a s the focus. Listen to a small part o f the melody and

This music made me feel

talk about the music, the composer, the r e a s o n

happy and want to smile at

for the composition and the instruments used.

everybody.

Ask children to w o r k in pairs t o c o m p o s e a

short m o v e m e n t

sequence

and ask

for

volunteers to s h o w this t o the circle. Following Circle Time, a s k children to illustrate the t h e m e o f the m u s i c o r to u s e mixed media to p r o d u c e illustrations o f h o w the

music

makes t h e m feel. Extend the children's learning by displaying books

about

the

music,

composer

or

instruments. E n c o u r a g e children t o a s k their families to help t h e m to find out m o r e a b o u t the c o m p o s e r o r work. Ask t h e m t o bring their findings to the next Circle Time session. You could s h a r e this w o r k with o t h e r s in y o u r y e a r group o r in w h o l e - s c h o o l assemblies.

Assemblies Appreciation o f m u s i c c a n be s h a r e d with all the s c h o o l if daily assemblies use the s a m e music e a c h day w h e n the children c o m e in t o assembly a n d take their places. If y o u have a circle formation for assembly y o u c a n e n c o u r a g e the children to take part in the m u s i c part o f assembly by asking questions s u c h as: •

W h a t d o e s this m u s i c m a k e you think a b o u t ?

•

How d o e s this m u s i c m a k e y o u feel?

•

W h a t kind o f picture inside y o u r h e a d d o e s this music m a k e for y o u ?

•

W h a t describing w o r d s c a n y o u u s e a b o u t this m u s i c ?

48

You could c h o o s e a different piece o f m u s i c for e a c h week, introducing it o n Monday. You could m a k e a simple illustrated visual aid s h o w i n g the title, c o m p o s e r and a brief n o t e a b o u t the music, p e r h a p s using the r e c o r d sleeve, if it is a r e c o r d . E a c h morning the children's attention could be directed t o w a r d s the p o s t e r a n d music. You c a n u s e s o m e o f the Circle Time strategies a t the beginning o r end o f assembly, for example, by asking the children to: •

'pass the face' that best describes h o w the music m a k e s t h e m feel

•

'touch their n o s e ' if the music m a k e s t h e m feel happy

•

'touch their e a r s ' if they c a n n a m e o n e o f the i n s t r u m e n t s playing

•

'touch their elbows' if they have h e a r d the m u s i c before.

For example, if y o u used the music Pictures

at an Exhibition,

y o u m a y like t o

d o s o m e o f the following: •

u s e this music for the w h o l e t e r m a s the assembly music.

•

introduce e a c h piece o n a Monday a n d a s k children t o d r a w pictures t o display alongside the visual aid y o u have m a d e

• •

a s k e a c h c l a s s to take o n e o f the t h e m e s to further explore find

out a b o u t the composer. Modest Petrovich Mussorgsky.

Start by listening to the main recurring theme, the P r o m e n a d e . In assembly, a s k t h e s e questions: •

How d o e s this m u s i c m a k e y o u feel?

•

W h a t do y o u think is happening w h e n this m u s i c plays?

•

W h a t pictures d o e s this m u s i c m a k e in y o u r h e a d ?

Explain that the music tells the story o f the c o m p o s e r walking a r o u n d a n exhibition o f pictures in a n art gallery a n d stopping in front o f v a r i o u s pictures before walking o n t o view the next picture. In class Circle Time give children the opportunity t o talk about h o w the promenading music makes them feel by finishing the sentence: 'The p r o m e n a d e music makes m e feel...' Ask the children to walk around the r o o m a s though they w e r e walking around an exhibition o f pictures, stopping before e a c h one. Listen to a n d explain e a c h o f the 'picture' t h e m e s in turn, over a period o f several days, giving opportunity for discussion

and appreciation o f the

relevance o f the music to the picture.

49

After listening to the w h o l e o f the m u s i c a s k e a c h child to draw their impression o f o n e o f the pictures a n d m a k e a n exhibition o f y o u r own. Mussorgsky, Modest Petrovich ( 1 8 3 9 - 1 8 8 1 ) , o n e o f the m o s t original and influential o f the 1 9 t h - c e n t u r y Russian c o m p o s e r s , w a s a l m o s t self-taught. He c o m p o s e d the piano suite, Pictures

at an Exhibition

in 1 8 7 4 . For m o r e

information see: http://russia-in-us.com/Music/Opera/mussorgsky.html

The Clog Dance Use The Clog Dance

(1789)

the ballet La fille mal

from

Gardee

by

Ferdinand Herold. If possible, find a n d c o n c e a l : • •

a pair o f c l o g s a picture o f people wearing clogs.

(See appendix for story o f the ballet.) In Circle Time, listen t o the m u s i c o n c e through without

telling the

children the title. Ask the children to t o u c h their e a r s if they think they have h e a r d it before. Ask volunteers to tell the class a b o u t this. Ask them to finish the s e n t e n c e : T h i s m u s i c m a d e m e think of...' J o t down their r e s p o n s e s . Ask t h e m to finish the s e n t e n c e : T h i s m u s i c m a d e m e feel...' Show the children the clogs a n d y o u r picture o f c l o g s and talk about t h e m a s footwear w o r n by w o r k people y e a r s a g o a n d the s o u n d the c l o g s m a d e on the pavement stones. Tklk a b o u t c l o g s w o r n in Holland and h o w blue and white pottery clogs a r e often m a d e there a s a kind o f symbol o f that country. Ask the children t o w o r k in pairs t o m a k e a s h o r t m o v e m e n t s e q u e n c e relating to a piece o f the music. E n c o u r a g e children to s h o w their m o v e m e n t to the circle. Play the m u s i c again and a s k children to beat out the rhythm with their fingers o n the floor. Ask t h e m t o h u m the melody. Ask t h e m to c h o o s e a n d describe the bit they like the best. Teachers w h o don't k n o w this m u s i c c a n get help from the website www.ballet.co.uk/contexts

50

Coppelia Stories that c o m p o s e r s have u s e d t o c o m p o s e their ballets c o u l d be r e a d to the children in Circle Time (see r e s o u r c e s at the end o f the b o o k ) . Short selections from the m u s i c c a n be used in the c l a s s r o o m for children to listen t o a n d b e c o m e familiar with. You c a n isolate p a r t s o f the m u s i c a n d u s e t h e s e small pieces a s a stimulus for m o v e m e n t a s well a s asking children t o listen to the rhythm a n d u s e the b e a t in their o w n compositions. Read o r tell the s t o r y o f Coppelia,

using a s t o r y b o o k o r the synopsis o n p a g e

8 4 . Ask t h e children t o re-tell y o u the s t o r y from the beginning a n d m a k e a n o t e o f the important incidents in the story. Write down this precis. Identify five o r six s h o r t pieces o f m u s i c that tell t h e s e s c e n e s , for example: • •

the d a n c e sections, w h e n the c h o r u s o f villagers d a n c e the excited m u s i c w h e n the girls o f the village discover the dolls in Dr Coppelius' w o r k s h o p

•

the jerky m u s i c w h e n the c l o c k w o r k dolls begin to m o v e

•

the s c a r y m u s i c w h e n Dr Coppelius r e t u r n s

•

the happy ever after m u s i c at the end o f the story.

On the following days end Circle Time by playing o n e s h o r t piece a n d remind the children o f that part o f the story. Ask t h e m to think a b o u t h o w this piece o f m u s i c m a k e s t h e m feel. Ask t h e m to finish the s e n t e n c e : 'It m a k e s m e feel...' a n d give t h e m time t o m o v e t o the m u s i c before they g o o n t o their next activity. O n c e the children know the main musical t h e m e s y o u m a y like to u s e a w h o l e lesson period for t h e m to d a n c e the s t o r y to the s h o r t pieces y o u have selected. You could extend this by casting children a s c h a r a c t e r s in the s t o r y a n d telling the s t o r y a s the children d a n c e e a c h section. Ballet stories lend themselves to art w o r k a n d the making o f c l a s s r o o m collage pictures. You could u s e this w o r k a s preparation for a c l a s s p e r f o r m a n c e to o t h e r c l a s s e s o r a s part o f a n end o f t e r m c o n c e r t . See website http://www.radacadabra.org/coppelia.htm

51

Section 7: Music and art projects

Children should be taught the knowledge, skills and understanding through responding to a range of musical and non-musical starting points... The National Curriculum, Music, Key Stage I

After listening to and talking a b o u t m u s i c help children to e x p r e s s the m u s i c a n d h o w it m a k e s t h e m feel, using paint, c r a y o n s , collage o r pastels. Information and websites a b o u t the stories, m u s i c and c o m p o s e r s c a n be found in the appendix. Most s c h o o l s will have picture s t o r y b o o k s in their library o r t h e s e c a n be obtained from local lending libraries. In this section w e look at h o w m u s i c m a k e s u s feel and the kinds o f pictures it paints for the children. There a r e suggestions for using the following pieces o f music: Firework Music The Sorcerer's Apprentice R o m e o and Juliet Peter and the Wolf The Sleeping Beauty The Trout

JE^K

_

53

How does it make you feel? What picture does it paint? A g o o d starting point is t o c h o o s e a piece o f m u s i c that h a s a strong melody and storyline. After listening to the music and talking a b o u t it in Circle Time a sk the children t o think a b o u t h o w it m a k e s t h e m feel. Ask t h e m t o c l o s e their eyes a n d s e e w h a t kind o f picture it m a k e s inside their heads. Ask volunteers to a n s w e r o p e n - e n d e d questions s u c h as: •

W h a t kinds o f feelings d o e s it make y o u have?

This Carmen music is all red and fast and exciting. It makes me

•

What c o l o u r s d o e s this m u s i c make y o u think a b o u t ?

•

think of people being busy at Christmas time.

W h a t kind o f things could b e happening?

•

W h e r e is it happening?

•

W h a t kind o f picture d o e s it make inside y o u r h e a d ?

With the music playing ask the children to illustrate what they see or how it makes them feel. You may like to do this by setting up an art area for one group at a time or by having a whole class art session with all kinds o f media available. The following examples m a y give y o u m o r e ideas.

Firework Music (George Frederick Handel) This is appropriate for the a u t u m n t e r m with links t o 5th November. In Circle Time listen t o excerpts o f the music with the children. Introduce the project by making a starter visual in the form o f a n illustrated poster or small display using the r e c o r d sleeve o r a picture and any b o o k s y o u have in the s c h o o l library. Tell the children that Handel w r o t e this music for King George I t o celebrate a p e a c e treaty. On May 15th 1 7 4 9 the music w a s performed for the King o n the River T h a m e s in London. Ask the children t o c l o s e their eyes a n d m a k e a picture in their h e a d s o f m u s i c i a n s playing a s b o a t s p r o c e s s down the T h a m e s with all the p a g e a n t r y and c e r e m o n y this would have entailed. Ask volunteers to give y o u w o r d s t o describe h o w this m a k e s t h e m feel.

54

If y o u c a n , provide s o m e o f the instruments for the children t o e x a m i n e and p a s s these

This music made me feel

a r o u n d the circle. If not, u s e pictures t o

excited and 1 could see

help the children to u n d e r s t a n d h o w

pictures of the fireworks in

they

my head.

a r e played. Explain that y o u w a n t the children to help y o u to m a k e a large c l a s s picture o f the p r o c e s s i o n o f the b o a t s d o w n the river, with musicians

playing.

After Circle Time

ask

children to help y o u to m a k e a b a c k g r o u n d for the picture. Ask t h e m t o draw c o l o u r a n d cut o u t b o a t s , people a n d musicians to add. Help the children to include fireworks in their c l a s s picture.

The Sorcerer's Apprentice (Paul Abraham Dukas) Introduce the project by making a starter visual in the form o f a n illustrated p o s t e r o r small display using the r e c o r d sleeve o r picture a n d any b o o k s y o u have in the s c h o o l library. In Circle Time tell the children that this m u s i c is b a s e d o n a ballad by a G e r m a n p o e t a n d that Paul A b r a h a m Dukas w r o t e this m u s i c t o tell the s t o r y o f the s o r c e r e r a n d his helper. In Circle Time listen t o the m u s i c a n d tell the children the s t o r y o f the music. Explain w h a t s o r c e r e r s and apprentices a r e . Select appropriate e x c e r p t s a n d a s k the children to think a b o u t h o w they could tell the s t o r y through the m u s i c with m o v e m e n t . Ask the children to m o v e freely t o the m u s i c with all o f t h e m being the sorcerer, the apprentice, the b r o o m o r the m a g i c spells. Give children plenty o f opportunity to explore the different roles then c h o o s e several apprentices and b r o o m s but o n e sorcerer. Ask the rest o f the children to be the m a g i c m u s i c a s it swirls a n d c o m e s to a climax.

Artwork Prepare a large b a c k g r o u n d for a picture story, with several s e c t i o n s . If y o u c h o o s e three sections, y o u could have the first o n e showing the apprentice working with the s o r c e r e r and the spell book, the s e c o n d showing the devastation a s the apprentice invokes the m a g i c and the third showing the final e n t r a n c e o f the sorcerer. Ask the children to m a k e (with paint, paper and junk materials) the sorcerer, the apprentice, the b r o o m s , musical n o t e s a n d magical symbols. Help t h e m to a s s e m b l e the collage(s) o f figures a n d

55

b r o o m s , littering it with n o t e s and symbols. Ask the children to write: • •

a b o u t the m a g i c spell an a c c o u n t o f the event a s if they had been there

• •

the composing o f the music their o w n m o v e m e n t o r dance.

Celebrate the finale o f the project by sharing this w o r k with the w h o l e s c h o o l in an assembly, with p a r e n t s o r a n o t h e r c l a s s to s e e the picture, r e a d the writing and w a t c h y o u r m o v e m e n t interpretation o f the music.

Romeo and Juliet (Peter llyich Tchaikovsky) Introduce the project by making a starter visual in the form o f a n illustrated poster o r small display using the r e c o r d sleeve o r picture and any b o o k s you have in the s c h o o l library. The Romeo and Juliet Overture w a s c o m p o s e d by Tchaikovsky. His m u s i c is well-known for its richly melodic e v o c a t i o n of the m o o d s o f the stories o n which they a r e based. (See appendix for m o r e information a b o u t Tchaikovsky.) Tell the children a simplified version o f Shakespeare's tragic love s t o r y a b o u t two families w h o could n o t be friends. Ask the children to think w h a t could be d o n e to unite these families - w h a t would they s a y to the two 'houses'? Listen to the m u s i c - y o u could have a tape o r CD in the c l a s s r o o m that children could c h o o s e t o listen to w h e n doing other work. Pick out s h o r t s e c t i o n s for m o v e m e n t . Ask the children to tell the s t o r y in their o w n w o r d s and w o r k in groups to make pictures o f the various s c e n e s and display a s a strip picture. Mount children's writing a b o u t the m u s i c and s t o r y to put alongside the pictures they have drawn. Use t h e m to extend y o u r starter visual.

56

Shakespeare The tragedy Romeo

and Juliet ( c . 1 5 9 5 ) is f a m o u s for its poetic t r e a t m e n t o f

y o u n g love; it tells the story o f two lovers w h o w e r e victims o f the feuds a n d misunderstandings o f their families a n d by their o w n h a s t y t e m p e r a m e n t s . For the story a n d p h o t o s o f the ballet, s e e website:www.radacadabra.org/ romeojuliet.htm

Peter and the Wolf (Sergei Prokofiev) (See Section 8 for a n o t h e r project o n this theme.) In Circle Time, start by reading a version o f the story (see Appendix 2 ) . Explain h o w the c h a r a c t e r s a r e e a c h given a different instrument to r e p r e s e n t them. Listen to s h o r t e x t r a c t s o f the music. In several Circle Times select o n e c h a r a c t e r ' s music a n d a s k the children to m o v e t o it. W h e n the children c a n r e c o g n i s e the different p a r t s o f the music, select a n d play excerpts to help t h e m to 'tell the story' through m o v e m e n t . Class pictures You could: m a k e a large b a c k g r o u n d o f a w o o d l a n d and a s k the children t o draw, paint o r u s e fabrics t o m a k e the c h a r a c t e r s t o stick o n t o the background. The final part o f the s t o r y with the p r o c e s s i o n o f all the c h a r a c t e r s w o u l d m a k e a g o o d picture o r m a k e a b a c k g r o u n d with several sections, s u c h as: •

The c a t creeping up o n the duck.

•

Peter didn't listen to his Grandfather and w e n t o u t into the m e a d o w . He s a w the wolf a n d m a n a g e d to c a t c h him with a rope.

•

Grandfather telling Peter t o stay away.

•

The wolf appearing and c a t c h i n g the duck with the c a t up the tree.

•

The bird flying down t o a n g e r the wolf with Peter in the tree.

•

Peter pulling up the wolf by his tail.

•

The h u n t s m e n m a r c h i n g to the r e s c u e .

•

The final procession.

57

Label e a c h section o f the s t o r y a n d a s k the children to c r e a t e the c h a r a c t e r s to add to it. Ask the children to write their version o f the s t o r y to display a r o u n d the big picture. Find o u t a b o u t the c o m p o s e r and display this information n e a r the picture.

The Sleeping Beauty (Peter llyich Tchaikovsky) Introduce the project by making a starter visual in the form o f a n illustrated poster o r small display using the r e c o r d sleeve o r picture and any b o o k s y o u have in the s c h o o l library. In Circle Time, tell the children the story o f the sleeping beauty - y o u c a n finish Circle Time by playing the ring g a m e There was a Princess

Long

Ago.

In the following Circle Time, listen to parts o f Tchaikovsky's m u s i c - o r play it softly in the c l a s s r o o m while the children a r e doing their activities. Explore

excerpts o f the

music

in

m o v e m e n t sessions. Break up the s t o r y into sections, for example: the christening the bad fairy's arrival the 16th birthday party the spinning wheel

The sleeping princess pricked her finger and slept for 100 years.

the sleep the prince cutting down the hedge the awakening. Ask all the children t o c h o o s e to illustrate o n e o f the sections, using any media. Collect all the pictures for e a c h section o f the s t o r y and vote which picture o f e a c h s c e n e to display in o r d e r to put together and m a k e a long picture story. Ask children to write a. s e n t e n c e o r two to put under e a c h picture and c h o o s e a different p e r s o n ' s writing t o caption e a c h picture. Add written o r illustrated descriptions o f the m u s i c together with information a b o u t the c o m p o s e r .

58

The Trout (Franz Schubert) Schubert w r o t e this s o n g in 1 8 1 5 and in 1 8 1 9 c o m p o s e d the TTout Quintet.

Piano

It w a s n a m e d this b e c a u s e the slow m o v e m e n t is a s e t o f variations

o n the t h e m e o f the s o n g The TTout. Introduce the project by making a starter visual in the form o f a n illustrated poster o r small display using the r e c o r d sleeve o r picture a n d any b o o k s y o u have in the s c h o o l library. In Circle Time listen to the slow m o v e m e n t with the children and ask them to close their eyes and try t o m a k e pictures inside their head o f a trout swimming up river. Listen to the m u s i c again a n d ask

|

T

h

e

t r o u t

m u s i c

m

a

k

e

s

m

e

f

e

d

|

i k e

t h i S (

all dreamy and soft and slow.

the children to w o r k in pairs o r t h r e e s to m a k e up a m o v e m e n t s e q u e n c e that fits in with the main melody. Ask volunteers to s h o w their m o v e m e n t / d a n c e to the w h o l e class. Ask the children to close their eyes a n d again visualize the m o v e m e n t o f the trout before asking t h e m to u s e paint to express their feelings a b o u t the music. Ask the children to write a report o r caption a b o u t their paintings a n d display s o m e o f these together alongside y o u r starter visual.

59

Section 8: Story and music projects During Key Stage I children should be responding to a range of musical and nonmusical starting points. They should work on their own, in groups of different sizes and as a class. The National Curriculum, Music, Key Stage I

This section c o n t a i n s e x a m p l e s o f h o w stories and m u s i c c a n be u s e d to extend children's musical a w a r e n e s s . A list o f r e s o u r c e s is provided a t the b a c k o f this book.

Peter and the Wolf Gassire's Lute Handa T h e Wild S w a n s Going on a Lion Hunt Goldilocks The Gingerbread Man

61

Peter and the Wolf You could u s e four l e s s o n s for completion. (See also Section 7 for a n art project o n this theme.) You will need: •

a s t o r y b o o k o f Peter and the Wolf

•

a tape, CD or r e c o r d o f the story

•

various instruments

•

poster o f instruments for the children to refer to

•

large c a r d s for children to d r a w symbols.

Lesson I In Circle Time tell or r e a d the story to the children. Explain about the instruments that a r e used for the various c h a r a c t e r s :

Listen t o the m u s i c extracts, showing the pictures o f the i n s t r u m e n t s a s e a c h is played. If y o u have a c c e s s to older children (or adults) w h o play musical instruments invite t h e m to c o m e and play t o the children. Explain h o w instruments a r e grouped t o g e t h e r in an o r c h e s t r a .

Lesson 2 In Circle Time, remind the children a b o u t the previous l e s s o n a n d explain that today they a r e going to be various c h a r a c t e r s in the story. First a s k all children to turn themselves into a wolf a n d prowl a r o u n d the circle. Follow this with t h e m being a bird, then a duck and c a t . Ask children to sit d o w n again in the circle a n d to s u g g e s t a s c h o o l instrument to represent e a c h animal. Tell t h e m that y o u a r e going to be the w o l f a n d they will be the o t h e r animals. F o r m three groups, with e a c h group representing o n e animal (bird, duck, cat) with the c h o s e n instrument. Ask the children if this is h o w a n o r c h e s t r a would be a r r a n g e d .

63

Ask the children to think o f h o w they would play their c h o s e n instrument if they w e r e flying like a bird, swimming like a duck, creeping like the wolf o r climbing like a c a t . Ask e a c h group in turn t o practise playing their instrument a s though they w e r e e a c h animal moving in this way. You yourself u s e the drum to represent the wolf. Play it in different w a y s a n d ask the children to suggest h o w the wolf would be moving, for example, fast would suggest running a n d quietly a n d slowly would suggest stalking.

Lesson 3 Before the session, a s k the children to draw s o m e o f the c h a r a c t e r s . Label these c h a r a c t e r s and u s e a c l a s s instrument to represent e a c h character. In Circle Time listen to the extract w h e r e t h e b i r d a n d d u c k a r g u e . Remind the children of the s c h o o l instruments they used in L e s s o n 2 and a s k t h e m to w o r k in pairs, t o be a bird o r a duck and have a musical a r g u m e n t using those instruments. C h o o s e pairs to perform to the audience.

Lesson 4 This lesson will help children to u n d e r s t a n d h o w symbols a r e used to represent sound. You'll need a set o f seven A4 c a r d s to draw symbols t o represent the instruments the children will u s e for e a c h character. In Circle Time remind the children o f the previous s e s s i o n s and explain that they a r e going to play all the c h a r a c t e r s in the story. Divide the c l a s s into seven groups; e a c h group to have a different instrument, o n e for e a c h character, for example, the t a m b o u r r e p r e s e n t s the wolf. Give e a c h group a c a r d o n which to draw a symbol for their instrument and place this w h e r e all the children c a n see. You will n e e d to r e - m a k e the circle, perhaps with children two deep, with a small s p a c e between e a c h group and s p a c e for y o u t o stand, either inside the circle o r a t a central point w h e r e everyone c a n s e e you. As y o u tell the story, u s e the c a r d s to a s k the children t o 'play', for example, w h e n y o u say, 'Grandfather called out', point t o the grandfather c a r d with the symbol a n d children with t h o s e i n s t r u m e n t s will play their instruments. You will n e e d t o set a h a n d signal for the end o f their playing s o that y o u c a n get o n with the story!

64

Gassire's Lute See website

for pictures and information

about

lutes: www.vanedwards.co.uk/historyl .htm Use 'Encarta'; s e a r c h for lute, click 'multimedia' a n d listen to the s o u n d o f two different lutes. Music h a s a n important role in m a n y p a r t s o f Africa a s it o n c e w a s a n integral part o f the life o f Africans from birth. At a very early s t a g e in life the child used to take an active role in music, making musical instruments by the a g e o f three or four. Musical g a m e s played by children used to p r e p a r e t h e m t o participate in all a r e a s o f adult activity - including fishing, hunting, farming, grinding maize, attending weddings and funerals a n d d a n c e s . In Circle Time, read The First City ofWagudu

from Stories from

West Africa by

Robert Hall, o r tell this abridged version. Many y e a r s a g o a legendary tribe c a m e from the north a n d settled along the River Niger in West Africa w h e r e they built a g r e a t city called Wagudu. One day invaders c a m e and g r e a t and terrible battles raged a s the people o f Wagudu tried to protect their city and people. The King o f Wagudu h a d grown old and Prince Gassire a n d his s o n s w e r e fighting to save the city. Gassire w e nt to s e e the Wise Man to a s k w h a t would happen and the Wise Man said, 'You will never be King. The city will fall, but y o u r s o n g will live for e v e r ' Gassire thought a b o u t this s t r a n g e prophesy a n d called for the i n s t r u m e n t maker to bring him a lute but w h e n he fingered the strings the lute played n o tune. The instrument maker said that the lute w a s silent b e c a u s e it h a d n o heart o r experience a n d told Gassire to take it to battle with him. The battle raged a n d m a n y w a r r i o r s w e r e killed a n d their blood fell u p o n the lute. S o o n all Gassire's s o n s except for the y o u n g e s t h a d b e e n slain a n d the rest o f the people c a m e to Gassire a n d begged him to end the fighting a n d leave the city to the invaders s o that there would be p e a c e . Sadly Gassire and his son, with a few friends, left the city a n d w a n d e r e d into the countryside. The legend says that a s they s a t a r o u n d their campfire they h e a r d the lute begin to sing the story o f Wagudu. The s o n g told o f the g r e a t n e s s o f the old city a n d the battles w h e r e s o m a n y had fallen. It told o f s a n d covering the fallen s t o n e s o f the lost city o f W a g u d u . It a l so s a n g a b o u t the p e a c e o f the fields and the s o n g o f the birds.

65

Activities Explain to the children that a lute is a bit like a guitar with a long n e c k a n d a pear shaped body, with strings that c a n be plucked with the fingers o f o n e hand o r played with a plectrum. The lute w a s introduced to Europe in the tenth century a n d b e c a m e very popular during the R e n a i s s a n c e . Today lutes are usually used in folk music. Talk about legends, s o n g s and stories b e c o m i n g part o f the history o f a nation. Remind t h e m that before people could read, their history w a s carried through generations through song, p o e m s a n d stories. Ask the children t o finish the s e n t e n c e : T h e part o f the s t o r y I liked i s . . / Ask younger children to help y o u to write down the s o n g o f the legend, re-capping the essential p a r t s o f the story with a s h o r t s e n t e n c e . Ask older children to w o r k in pairs to c o m p o s e a s o n g about the feelings o f Gassire w h e n he had to leave

the city to

his enemies. Listen in Circle Time. If y o u c a n find a CD with lute m u s i c on, listen t o it, o r u s e the E n c a r t a multimedia s o u n d on your c l a s s r o o m computer. Perhaps you

could

make

a

of both the s o u n d s

tape

recording

to listen to in

Circle Time.

When I hear the sound of the lute it makes me feel all jerky and tingly inside me and my shoulders want to rock.

Ask the children to c l o s e their eyes a s they listen a n d then to tell y o u w h a t they felt a s they h e a r d the music, finishing the sentence: Ί felt...' Divide the c l a s s into four o r five groups a n d a s k t h e m t o practise acting o u t the part o f the s t o r y w h e r e the lute begins to play the song.

66

Handa Drums u s e d t o be the m o s t c o m m o n instrument throughout rural Africa; every village would have h a d o n e o r m o r e . E a c h village would have h a d a m a s t e r drummer. In m a n y African l a n g u a g e s the w o r d 'drum' m e a n s 'dance'. D r u m s w e r e used to m a k e c o n t a c t with the a n c e s t o r s , to c o m m u n i c a t e over long distances a n d to a c c o m p a n y every celebration. You will need: •

Handa's Surprise

o r Handa's Hen by Eileen B r o w n e o r o t h e r b o o k

a b o u t Africa •

d r u m s or o t h e r beating instruments.

Music to listen to: •

Master

Drummers

of Africa, Kopano, ARC Music Production UCD 1 6 3 1 .

In Circle Time put all d r u m s a n d t a m b o u r s in the c e n t r e o f the circle. Read the b o o k y o u have selected. Talk a b o u t the life a n d c e l e b r a t i o n s o f children w h o live in c o m m u n i t i e s s u c h a s this. Ask the children to finish the s e n t e n c e : Ί think living in Africa would b e . . . '

Drumming activity In Circle Time, start by asking the children to clap h a n d s a n d r e p e a t this rhythm; clap, clap, pause; keep going until all the children c a n hold the beat. Change to... Tap knees, clap hands, clap hands; pause; repeat. Tap floor, clap hands, clap hands; pause; repeat. Then alternate, clap floor, clap, clap, pause; clap knees clap clap. Improvise a n d c h a n g e the pattern, for example, floor, floor, knees, knees. I n c r e a s e a n d d e c r e a s e the t e m p o .

What is a drum? Ask children to close their eyes a n d think a b o u t the shape, w h a t it is m a d e from, h o w it is played and a s k t h e m to finish the sentence: Ά d r u m . Explain that w e should never put a d r u m flat o n a surface t o play b e c a u s e this will block the sound.

It should

always be tilted o r held

between

the knees.

67

Show the children h o w to play the drum with a flat h a n d using different

A drum,

parts o f the surface. Listen to the different s o u n d m a d e w h e n using a hand o n the centre, further o u t a n d the rim. Put all y o u r drums, t a m b o u r s e t c . in the centre o f the circle a n d give children time to collect a n d s h a r e t h e s e and experiment by using their flat h a n d s on drums.

is round is hollow has skin wood around you beat it use fingers use a drumstick makes different sounds

68

The Wild Swans Use The Swan from the Carnival of the Animals

by Saint-Saens.

Read the synopsis o f the story in the appendix o r read a picture s t o r y b o o k s u c h a s The Wild Swans

by Hans Christian Anderson.

Tell the s t o r y in o n e Circle Time and do the activities in another.

Set the scene In the circle a s k children to rub their p a l m s together and whisper: • •

flying

swans, flying s w a n s - repeat

beautiful swans, beautiful s w a n s - repeat

, C) Ν

m a g i c swans, m a g i c s w a n s . Listen to the m u s i c o f The

Swan.

Talk a b o u t the t e m p o and the feel o f the music. Listen again, this time asking the children t o c l o s e their eyes a n d draw in the air a s they listen.

Percussion Use c h i m e b a r s and xylophones and a s k e a c h child to c h o o s e a n instrument for flying music. Play - d o e s it s o u n d right? C h o o s e a n o t h e r instrument to represent the h u m a n princes. Play - d o e s it s o u n d right? Talk a b o u t a n d c o m p a r e the t w o kinds o f m u s i c they have c r e a t e d . Ask children t o w o r k in pairs, o n e t o be the s w a n prince a n d o n e t o b e h u m a n . Ask e a c h pair to select appropriate instruments and to practise together. Talk a b o u t the t o n e o f the two pieces o f m u s i c they a r e making. The s w a n prince m u s i c m u s t be gentle, piano/adagio. The prince m u s i c m u s t be lively, presto/allegro. Ask e a c h pair to join a n o t h e r pair and w o r k out a pattern o f m u s i c with n o w two s w a n princes and two h u m a n o n e s . Ask a volunteer group to s h o w the o t h e r children their music.

69

Conclusion Ask all the s w a n princes to sit t o g e t h e r in o n e half o f the circle and the h u m a n princes to sit in the other. Re-tell the section o f the s t o r y w h e r e the s w a n princes fly over the sea, stop o n the island and fly on, s o that the two groups play alternately. Allow e n o u g h time for t h e m to play their p a t t e r n s. Ask t h e m to play their m u s i c without y o u telling the story. This should be a repeated s e q u e n c e . You could end with fading out. Give y o u r m u s i c a n a m e and perform to a n o t h e r class.

Extension Make m u s i c a b o u t Elisa in various s t a g e s o f the s t o r y for example, w h e n s h e is c a s t out o f the castle, meeting the swans, marrying the king, c o n d e m n e d a s a witch or r e s c u e d by the princes. You m a y like to a s k the children to m a k e a c l a s s strip picture depicting the main s c e n e s o f the s t o r y

70

Going on a Lion Hunt Most s c h o o l s

have versions o f this s t o r y

( s o m e t i m e s it's a b e a r hunt by Michael Rosen). T h e s e activities u s e We're Going on a Lion Hunt by David Axtell. Read the s t o r y in a previous lesson. Use voice t o say the w o r d s a n d h a n d s o n p a r t s o f the body to m a k e sound.

Introduction In Circle Time a s k the children to establish a steady b e a t with h a n d s o n the floor t o r e p r e s e n t a n elephant plodding, 1,2,3,4. On h a n d s a n d knees chant, then p a u s e while beating: We're going on a lion hunt (beat with hands on floor 1, 2, 3, 4). We're going on a lion hunt (beat again 1, 2, 3, 4). Repeat until everyone joins in and is excitedly waiting for what's c o m i n g next. L e a r n the c h a n t s a s they a r e r e p e a t e d with different s o u n d s . We're going on a lion hunt (pause voice and beat 1, 2, 3, 4). We're going to catch a big one (pause voice and beat 1, 2, 3, 4). We're not scared (pause voice and beat 1, 2, 3, 4). Been there before (pause voice and beat 1, 2, 3, 4). Can't go over it (hands going over). Cant go under it (hands going under). Can't go around it (hands going around). Have to go through it (hands moving forwards). Remain in the circle, c h a n t a n d 'sound' the story.

Verse I We're going on a lion hunt... With t w o p a l m s t o g e t h e r d o a c t i o n s for the next s e c t i o n . . . Oh no! Long grass... Can't go over it... Swish, swash, swish, swash (make sounds by rubbing sleeves on front of jumper).

71

Verse 2 Repeat chant: We're going on a lion hunt... Oh no, A lake... Repeat: We can't go over it... Make s o u n d by rubbing h a n d s t o g e t h e r and making 'splish splash' vocal sounds.

Verse 3 Repeat chant: We're going on a lion hunt... Oh no, A swamp... We can't go over it... Repeat using voice - 'squish squelch, squish squelch'.

Verse 4 Repeat chant: We're going on a lion hunt... Oh no, a big dark cave... Repeat: We can't go over it... Have to go through it. In we go, tiptoe, tiptoe. Use fingers o f o n e h a n d to pitter patter o n the other.

Verse 5 But what's that?... One shiny wet nose O n e big shaggy make Four big furry paws It's a lion! S c r e a m (quietly).

72

B a c k out through the c a v e by moving b a c k a little to m a k e a larger circle, a n d reverse the a c t i o n s quickly a s the h u n t e r s return through the s w a m p , lake a n d long g r a s s until they a r e h o m e .

Extensions Use instruments. Give out e n o u g h instruments, o n e for e a c h child in the circle, to u s e for the 1, 2, 3, 4 instead o f beating the floor. Ask the children to think which i n s t r u m e n t s could r e p r e s e n t the long grass, lake, s w a m p and cave. Group the circle into four s e c t i o n s a n d give e a c h section a different type o f i n s t r u m e n t to play instead o f 1, 2, 3 , 4. While they a r e playing their verse, the o t h e r t h r e e g r o u p s whisper o r quietly tap 1, 2, 3 , 4. C o m e out o f the circle and start at o n e side o f the r o o m , moving slowly t o w a r d s the o t h e r side a s y o u m e e t t h e o b s t a c l e s . C h o o s e a small group o f children to play the instruments a s the o t h e r s g o o n the journey. In e a c h c a s e , o n c e the lion is spotted r e p e a t the v e r s e s quickly in r e v e r s e order, speeding up until everyone is safe h o m e again. This story would also lend itself to a c l a s s story book. Write up the s e c t i o n s y o u c h o o s e t o have illustrated and a s k e a c h group o r pair o f children t o c h o o s e o n e section a n d to illustrate this o n A3 paper. Make a c o v e r a n d staple t o g e t h e r t o m a k e a large c l a s s book.

73

Goldilocks (in two or more sessions) You will need: •

the n a m e s o f instruments to be used printed o n A4 c a r d s

•

various instruments o f y o u r c h o i c e

•

music for the s o n g When Goldilocks

went to the House of the

from the b o o k Oranges

o r o t h e r publications

•

and Lemons

Bears

activity s h e e t for e a c h child; a piece o f A4 ruled into two c o l u m n s with s p a c e s for c h a r a c t e r and instruments, s e e p a g e 7 5 .

Lesson I In Circle Time read o r tell the s t o r y o f The Three

Bears.

Get into the m u s i c m o o d by tapping o r clapping the following rhythm: Gold - i- locks - slap k n e e s o n 'Gold' and clap for the two o t h e r b e a t s . Reverse the p r o c e s s , clap for 'Gold' and slap k n e e s for the o t h e r two beats. Teach When Goldilocks

went to the House of the Bears t o the children adding

appropriate actions, for example, touching eyes for 'blue eyes', indicating size for the b e a r s . Ask the children to describe the c h a r a c t e r s in the song - to c h o o s e o n e c h a r a c t e r

Father Bear would be loud,

and finish o n e o f the sentences:

heavy, slow, Ί think Father Bear would b e . . . ' (or Mother Bear, Baby Bear o r Goldilocks). Look at the c l a s s r o o m i n s t r u m e n t s and ask the children to think a b o u t which instrument would

fit

character. How would For

itself

to

each

it be played?

example, bells a r e p e r h a p s n o t

suitable for Father Bear, but might suit

Father,

loud,

slow,

angry.

Could this be played o n a drum? Put o n e o f e a c h kind o f instrument in the c e n t r e o f the circle. Ask volunteers to

label the instruments, using

c a r d s provided.

74

could use a drum. Mother Bear would be soft, gentle, loving, you could use a tambourine.

Baby Bear. Describe

angry. You

the

Ask the children to c h o o s e which instrument they think is best for e a c h c h a r a c t e r a n d to c o m p l e t e the activity sheet by drawing a n d labelling e a c h c h a r a c t e r a n d instrument. They c a n d o this o n the floor in the circle o r at their table. In the circle, a s k volunteers t o s h o w their activity s h e e t s a n d t o say why they c h o s e e a c h instrument. Sing the Goldilocks song, with a c t i o n s a n d instruments.

Lesson 2 You will need: •

instruments

•

low s c r e e n to hide instruments behind

•

s o m e o f the c o m p l e t e d activity s h e e t s from the last s e s s i o n .

In Circle Time sing the Goldilocks s o n g with actions. L o o k again at, and talk about, o n e o r m o r e o f the activity s h e e t s from the previous s e s s i o n a n d v o t e o n which i n s t r u m e n t s the c l a s s will c h o o s e for e a c h character.

'Who's that? game You c h o o s e three instruments suitable for the bears, for e x a m p l e a d r u m for Father Bear, m a r a c a for Mother B e a r and triangle for Baby Bear. Ask the children to say why they think y o u have c h o s e n these instruments. Play e a c h instrument a n d a s k t h e m to r e m e m b e r which c h a r a c t e r it r e p r e s e n t s . Hide the instruments behind a s c r e e n and chant: Who's that walking in the woods today? W h o do we hear? You play o n e instrument and a s k children to call out the n a m e o f the b e a r it represents. O n c e the children have learned the g a m e , a s k a child to g o behind the s c r e e n a n d play o n e o f the instruments.

Another game From the previous lesson pick a few o f the best instrument selection activity s h e e t s a n d put children into groups o f four. Ask t h e m to find the i n s t r u m e n t s and,

using them, to practise walking (andante) in the w o o d s , creeping up

the stairs (adagio) a n d chasing Goldilocks (presto). Give e a c h group time to c o m p o s e a m o v e m e n t s e q u e n c e to their instruments and a s k volunteers to g o to the c e n t r e o f the circle to s h o w their s e q u e n c e to the w h o l e class.

75

Follow the story Give o n e o r two groups o f four children a set o f instruments. Ask t h e m to sit in the c e n t r e o f the circle a n d play at the appropriate time. The rest o f the children stand in the circle and m o v e a r o u n d in o n e direction only. Read out a brief story outline involving t h e s e three a s p e c t s s o that the children c a n play instruments during the story. One morning the three b e a r s w e n t out for a walk while their porridge cooled. (Groups play all the three b e a r instruments a s the rest walk a r o u n d circle.) On their return they realised that s o m e o n e h a d b e e n in their h o m e . They crept around. (Children play instruments at creeping t e m p o (adagio). The rest o f the children creep a r o u n d the circle.) Fast asleep w a s a little girl w h o woke suddenly and r a n from the h o u s e . (Children in the circle stand still a n d listen.) The b e a r s c h a s e d her a w a y (Group play all instruments (presto) a s the rest o f the children run a r o u n d the circle.) Beat a drum loudly twice for silence. B a c k in the circle all together, talk a b o u t the different w a y s they have played their instruments and moved a r o u n d the circle.

76

Draw the character

Goldilocks

Father Bear

Mother Bear

Baby Bear

Draw the instrument

The Gingerbread Man In Circle Time tell o r remind the children the s t o r y o f the Gingerbread Man. There a r e m a n y versions a n d this s t o r y will be in the s c h o o l if n o t the c l a s s library. A short synopsis is in the appendix. Help t h e m to learn the phrase: Run! Run! As fast as you can. You can't catch me I'm the Gingerbread Man! The lilt o f this is well known. Still in the circle, with the w h o l e class, beat this

rhythm using

adding as

percussion

claves

and

hand

claps

instruments

wood

blocks.

and such

Run, (rest), run, (rest), as fast as you can, (rest) you can't catch me,

When

this is established, m o v e o n to three

I'm the Gingerbread Man

parts, with: 1.

Group o n e beating o r clapping the w h o l e verse.

2.

S e c o n d group clapping o r beating 'Run! Run!' over and over again.

3.

Third group clapping o r beating 'Gingerbread Man' over and over again.

Once y o u have established this rhyme and rhythm introduce two c h i m e bars, C and G. Demonstrate: •

playing C for 'Run! Run!'

•

playing G for As fast a s y o u c a n . '

One child could play two c h i m e bars. Break into small groups and a s k children t o experiment with instruments a n d body m u s i c before rehearsing their favourite. Ask various groups to play the verse a s s o m e o n e tells or r e a d s the story again.

78

Appendix I: Notes on the lives of some well-known composers Ludwig van Beethoven 1770-1827 B e e t h o v e n w a s b o r n in Bonn, G e r m a n y in 1 7 7 0 - his birthday is t h o u g h t to be o n D e c e m b e r 16th. His father w a s a musician and he w a s very s t e r n with Ludwig, making him learn to play and c o m p o s e . W h e n h e w a s 19 the y o u n g B e e t h o v e n b e g a n supporting his family a s a c o u r t musician. It w a s planned that Beethoven should study in Vienna with Wolfgang A m a d e u s Mozart. Although Mozart's death ( 1 7 9 1 ) prevented this, B e e t h o v e n w e n t to Vienna in 1 7 9 2 a n d b e c a m e a pupil o f the Austrian c o m p o s e r J o s e p h Haydn w h e r e B e e t h o v e n dazzled the a r i s t o c r a c y with his piano improvisations; a t that time he w a s thought o f a s Vienna's finest pianist. W h e n he w a s 3 0 y e a r s old he realised he w a s beginning to lose his hearing a n d s o b e g a n t o c o m p o s e m u s i c instead o f playing it. In the Pastoral Symphony

Beethoven tried to c r e a t e i m a g e s o f the c o u n t r y s i d e

with s o u n d s o f w a t e r a n d birds. More information at: www.mfiles.co.uk/composers/Ludwig-van-Beethoven.htm

Frederic Chopin 1810-1849 Chopin w a s b o r n n e a r Zelazowa Wola, n e a r Warsaw, Poland. His father w a s French a n d his m o t h e r Polish. Chopin b e g a n to study the piano at the a g e o f four a n d c o m p o s e d pieces before h e knew h o w t o write t h e m down. Chopin w a s only eight y e a r s old w h e n he played at a private c o n c e r t in Warsaw. The piano, a t that time, w a s a n e w a n d m o d e r n instrument a n d beginning to replace the harpsichord. Chopin w a s an extraordinarily gifted pianist a n d preferred t o play in the h o m e s o f rich a n d important people r a t h e r t h a n in c o n c e r t halls. The m u s i c he w r o t e c o n t a i n s m a n y melodies from Polish folk music. In 1 8 3 1 , Chopin w e n t to live in Paris, w h e r e he b e c a m e n o t e d a s a pianist, t e a c h e r a n d c o m p o s e r but in 1 8 3 8 he b e g a n to suffer from tuberculosis a n d spent s o m e time in Majorca in the Balearic Islands. After 1 8 4 7 his musical activities w e r e limited to giving several c o n c e r t s in 1 8 4 8 in France, Scotland and England. He died in Paris o n O c t o b e r 17 1 8 4 9 , o f tuberculosis. More information at: www.mfiles.co.uk/composers/Frederic-Chopin.htm

79

Paul Abraham Dukas 1865-1935 Dukas w a s born in Paris. He c o m p o s e d The Sorcerer's Apprentice

in 1897, basing

the music on a ballad by the German poet J o h a n n Wolfgang von Goethe. Among other works by Dukas a r e the overture King Lear (1883), the ballet La Peri (The Genie, 1912) and the Sonnet de Ronsard

(1924) for voice and piano.

More information at: www.kontek.net/uc/music/Sorcerer.htm

George Frideric Handel (1685-1759) Though Handel w a s G e r m a n by birth, in 1 7 2 7 he b e c a m e a naturalized British subject. He c a m e to England in 1 7 1 0 , returned to Hanover a n d w a s granted permission for a second, s h o r t trip to London, from which he never returned. In 1 7 1 4 the Elector o f Hanover, his former employer, b e c a m e King George I o f England and he appointed Handel to be music m a s t e r to the king's children. He wrote music for the c h u r c h a n d for royal celebrations. His Music for

the

Royal Fireworks w a s c o m p o s e d to celebrate the p e a c e treaty in Aix-la-Chapelle in 1 7 4 9 . On the 2 7 t h April, 1 7 4 9 it w a s performed in Green Park, London, where it is said the fireworks failed to g o a c c o r d i n g to plan but the music w a s a great s u c c e s s . Another firework display w a s given o n 15th May 1 7 4 9 on the T h a m e s in p r e s e n c e o f the King. More information at: http://en.wikipedia.org/wiki/George_Frideric_Handel

Louis Joseph Ferdinand Herold (1791-1833) Herold w a s born in Paris o n the 2 8 t h o f J a n u a r y 1 7 9 1 . He studied at the Paris conservatoire. He then m o v e d to Italy w h e r e he c o m p o s e d music. His m o r e important w o r k s w e r e La Clochette

( 1 8 1 7 ) , Marie

ballets La Fille mal Garde ( 1 8 2 8 ) a n d La Belle au bois Dormant

( 1 8 2 6 ) , and the (1829).

Herold also w r o t e a lot of piano music, in spite o f his time being m u c h occupied by his duties a s a c c o m p a n i s t at the Italian o p e r a in Paris. In 1831 he produced two o p e r a s which s e c u r e d immortality for the n a m e o f the composer. He died o n the 18th o f J a n u a r y 1 8 3 3 o f the lung disease from which he had suffered for m a n y years, a n d the effects o f which he h a d a c c e l e r a t e d by i n c e s s a n t work. More information at: http://71.1911encyclopedia.Org/H/HE/HEROLD_LOUIS_ JOSEPH_FERDINAND.htm

Wolfgang Amadeus Mozart (1756-1791) Mozart w a s b o r n in Salzburg, Austria. It is said that playing Mozart's music

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for children to listen to a s they c o m e into assembly h a s a calming effect o n them. W h e n Mozart w a s three y e a r s old he b e g a n to try to play the pieces his seven y e a r old sister w a s learning to play o n the harpsichord (an instrument similar to the piano). W h e n he w a s four h e learned to play the violin perfectly a n d w h e n h e w a s six he w r o t e a c o n c e r t o . It w a s a t this time that Mozart's father decided it w a s time to s h o w off his talented children. He t o o k t h e m t o the g r e a t cities o f E u r o p e - Paris, L o n d o n , Prague a n d Vienna. They b e c a m e k n o w n a s the 'wonder children'. Mozart w r o t e m o r e than 8 0 0 pieces o f music, s o m e t i m e s playing from m e m o r y b e c a u s e he hadn't h a d time to write it down. He w a s always s h o r t o f m o n e y a s people gave him gifts instead o f paying him for his music. S o m e o f his g r e a t e s t o p e r a s w e r e The Marriage

of Figaro,

Don Giovanni

and

The Magic Flute (first p e r f o r m a n c e in 1 7 9 1 ) . He died that year, w h e n he w a s 3 5 y e a r s old. More information at:

www.mfiles.co.uk/composers/Wolfgang-Amadeus-

Mozart.htm

Modest Petrovich Mussorgsky (1839-1881) He is thought by s o m e to be o n e o f the m o s t original and influential o f the 1 9 t h - c e n t u r y Russian nationalist c o m p o s e r s . He w a s a l m o s t self-taught. The folk s o n g s he h e a r d a s a child inspired him to improvise at the piano even before his m o t h e r started teaching him. He w a s e d u c a t e d in Saint Petersburg a n d w a s a skilled performer and improviser. He entered the Imperial Guard Cadet S c h o o l in 1 8 5 2 . He died in Saint Petersburg o n M a r c h 2 8 t h 1 8 8 1 . He c o m p o s e d the piano suite Pictures

at an Exhibition

in 1 8 7 4 .

For p h o t o a n d m o r e information see: http://russia-in-us.com/Music/Opera/ mussorgsky.html

Sergei Prokofiev (1891-1953) This Ukrainian-born c o m p o s e r c o m p o s e d Peter and the Wolf for n a r r a t o r a n d o r c h e s t r a in 1 9 3 4 . Prokofiev lived outside his h o m e l a n d for several y e a r s , performing all over the world, but in 1 9 3 6 settled in Moscow. Very s o o n he experienced g o v e r n m e n t a l disfavour o f music that did not suit J o s e p h Stalin's political and social aims. Prokofiev c o m p o s e d music for Romeo and Juliet, which w a s to be performed a s a ballet in Russia. However, the aftermath o f the Great Purge led to the rejection

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of the c o m p o s e r ' s ballet. It w a s later (1938) taken up by the Bolshoi Theatre. More information at: www.bbc.co.uk/music/profiles/prokoflev.shtml

Franz Schubert (1797-1828) Franz Schubert w a s b o r n in Vienna a n d belonged t o a large family. He w a s the twelfth child, although m a n y o f his siblings died in infancy. W h e n h e w a s five y e a r s old he started m u s i c l e s s o n s with his older brother. His father w a s a s c h o o l m a s t e r w h o , together with a local teacher, taught him music. His ability w a s s o o n beyond them. He joined the Imperial Court Chapel Choir a s a boy s o p r a n o until his voice broke a n d h e himself trained to b e c a m e a teacher. In 1 8 1 5 , while working a s primary teacher, he c o m p o s e d a b o u t 1 5 0 s o n g s including Erlkonig,

symphonies

2 & 3, four o p e r a s , two m a s s e s a n d other

works. He then started t o c o m p o s e in earnest, eventually giving up teaching altogether s o that he could devote even m o r e time t o his music. Everything w e know a b o u t Schubert s u g g e s t s that h e w a s a quiet and private m a n . He w a s a skilled pianist and violinist but m a n y o f his o r c h e s t r a compositions w e r e never performed publicly, and only his c h a m b e r m u s i c a n d s o n g s w e r e able to be performed in smaller social gatherings. B e c a u s e o f this Schubert w a s quite poor. His m u s i c w a s not s o well known at the time. It w a s not until after his death that o t h e r s started to r e c o g n i s e his genius. S o m e o f his w o r k s w e r e then published a n d performed for the first time, a n d gradually his talents b e c a m e widely recognised. During his s h o r t lifetime the lack o f widespread public a w a r e n e s s didn't s e e m to b o t h e r him. He s e e m e d driven to spend his time composing, and he relied o n the feedback a n d support o f a small circle o f friends a n d a d m i r e r s instead o f public acclaim. Schubert's Piano Quintet is called The Ttout b e c a u s e the slow m o v e m e n t is a set o f variations o n the t h e m e o f the s o n g o f that n a m e . More

information

from

www.mfiles.co.uk/composers/Franz-Schubert.htm

and http://myweb.tiscali.co.uk/franzschubert/life/time.html

Peter llyich Tchaikovsky (1840-1893) He w a s b o r n in Russia. He w a s given piano l e s s o n s a t the a g e o f five and within a y e a r it is said he could play better than his teacher. W h e n he w a s 19 he worked in an office and studied m u s i c in his s p a r e time. Four y e a r s later he b e c a m e a student at the St Petersburg Conservatory, graduating with h o n o u r s and offered a post at the M o s c o w Conservatory. One o f his a d m i r e r s w a s a wealthy widow w h o , in 1 8 7 7 , gave him a pension (a yearly s u m o f money) s o that h e could w o r k without worrying a b o u t money; though they never m e t they e x c h a n g e d over 3 , 0 0 0 letters. She w a s his pen-friend for 14 y e a r s and

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their letters tell u s a g r e a t deal a b o u t his thoughts a n d feelings a b o u t his music. He c o m p o s e d the Romeo

and Juliet Fantasy Overture

s u c h a s Swan Lake a n d The Nutcracker.

a s well a s ballets

The ballet The Sleeping

Beauty

was

first performed by the Imperial Ballet at the Maryinsky Theatre, St Petersburg, in 1 8 9 0 . He a l s o c o m p o s e d the beautiful Serenade 1812 Overture

for Strings

a n d the stirring

with cannonfire for s o u n d effects.

More information at: www.pianoparadise.com/Tchaikovsky.html

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Appendix 2: Ballet and other stories Coppelia This story w a s written by Charles Nuitter a n d Arthur S a i n t - L e o n from a story by Ε A Hoffmann. L e o Delibes c o m p o s e d the first p e r f o r m a n c e at the Opera in Paris in 1 8 7 0 . The s t o r y o f Coppelia is a s follows: Dr Coppelius w a s a toymaker w h o m a d e m e c h a n i c a l life-size dolls and lived in his h o u s e and w o r k s h o p with his daughter Coppelia. Every day Coppelia sat o n the balcony reading, but never m o v e d o r spoke. She even ignored Swanhilda, the friendliest girl in the village, w h o tried t o m a k e her speak. Swanhilda's boyfriend w a s Franz, w h o loved her dearly and w a n t e d t o m a r r y her, but o n e day she c a u g h t him blowing kisses t o Coppelia and this m a d e Swanhilda very angry. The lord o f the village w a s to give a n e w bell t o the village a n d this w a s to be rung for the first time the next day for all the n e w brides. The b u r g o m a s t e r asked if Swanhilda w a s to be o n e o f t h e m but she w a s angry with Franz s o s h o o k her h e a d and r a n off. That evening several small boys w e r e messing a b o u t outside Dr Coppelius' h o u s e w h e n he w e n t out. He set a b o u t t h e m with his c a n e and c h a s e d them away. As he did so, h e didn't notice that he had dropped the key t o his h o u s e . When Swanhilda and her friends c a m e b a c k they found the key. Swanhilda said s h e w a s going t o g o into the w o r k s h o p and talk to Coppelia, but her friends s h o o k their h e a d s . However, they followed her into the h o u s e . . . Just then Franz c a m e t o the h o u s e with a ladder - he w a s going to s e e Coppelia t o o and placed the ladder against the window. In the w o r k s h o p Swanhilda a n d h e r friends m e t Coppelia face to face, but she wouldn't notice or talk t o t h e m . As they got n e a r e r they realised t h a t Coppelia wasn't a girl at all, but a life-size doll. The girls then b e g a n to play with all the musical toys in the w o r k s h o p and set t h e m all working. They d a n c e d a m o n g the toys and had a wonderful time, until Dr Coppelius suddenly c a m e h o m e ! He w a s angry a t t h e m and s h o u t e d t o t h e m t o get out. They all r a n a w a y except Swanhilda w h o hid behind the curtain in the window w h e r e the doll Coppelia w a s sitting. Then Franz c a m e up the ladder into the w o r k s h o p and asked Dr Coppelius

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if he could m a r r y his daughter not knowing that s h e w a s just a doll. Dr Coppelius asked Franz to have a drink with him, but also filled his glass with a m a g i c potion. Franz fell asleep a n d Dr Coppelius set to work. He pushed Coppelia's chair into the c e n t r e o f the r o o m and got out his m a g i c book. He drew e n e r g y from Franz's eyes, m u s c l e s and b o n e s and thrust it at Coppelia. Coppelia b e g a n to smile and then started to b r e a t h e . Her eyes blinked, her s h o u l d e r s m o v e d and s h e s t o o d up and t o o k a few steps. Poor Dr Coppelius didn't k n o w that Swanhilda had c h a n g e d clothes with the doll Coppelia a n d w a s pretending to be her. He really thought that his doll had c o m e to life. Coppelia d a n c e d faster a n d faster and then b e c a m e tired. She noticed Franz in the corner, fast asleep a n d tried to wake him. Then s h e s t a r t e d winding up all the toys a n d dolls a n d they b e g a n to d a n c e again. Dr Coppelius didn't know w h a t to d o with all the dolls out o f control. He pleaded with Coppelia to be good, but s h e seized Franz's hand and r a n out into the street leaving Dr Coppelius in despair next t o his doll Coppelia w h o h a d never c o m e t o life a t all. Next day all the villagers c a m e to listen to the new bell. Swanhilda a n d Franz led a p r o c e s s i o n o f brides and g r o o m s , but just a s the b u r g o m a s t e r w a s thanking the lord for the new bell, Dr Coppelius c a m e a c r o s s the s q u a r e . He h a d w r a p p e d Coppelia in a blanket and brought her from the w o r k s h o p . He w a s very a n g r y and w a n t e d an explanation from the y o u n g people o f the village. Swanhilda a n d Franz b e g g e d him to forgive t h e m for their trick, a n d Swanhilda asked him to take her dowry to m a k e up for it. Dr Coppelius forgave her at o n c e and w h e n the b u r g o m a s t e r gave Dr Coppelius a b a g o f gold c o i n s he stopped being angry, gave the gold back, smiled at everyone a n d w e n t b a c k to his w o r k s h o p . Franz hugged Swanhilda and promised to love her forever, saying that a doll w a s not a s g o o d a s a real bride. He said he would give his h e a r t to Swanhilda and promised always to be faithful to her. She a c c e p t e d him a n d s o they w e r e married.

Nutcracker C o m p o s e d by Tchaikovsky a n d b a s e d o n a G e r m a n s t o r y by Ε Τ A Hoffmann. The first p e r f o r m a n c e w a s in Maryinsky T h e a t r e St Petersburg in 1 8 9 2 . The story is a s follows: Clara a n d her little brother Fritz had a big party o n Christmas Eve. The children could hardly wait to o p e n their p r e s e n t s under the big Christmas tree. Clara's godfather, Drosselmeyer, and his nephew c a m e in to bring their presents. He turned keys that set three toy people dancing, before they w e r e taken a w a y to

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keep t h e m safe. Clara and Drosselmeyer's n e p h e w quickly b e c a m e friends and played together. Her godfather then gave Clara a special present - a painted w o o d e n soldier that w a s really a nutcracker. He s h o w e d her h o w it worked. She thanked him for the present a n d then little Fritz grabbed it, dropped it and it broke o n the floor. Her godfather b a n d a g e d the w o o d e n n u t c r a c k e r ' s head with a handkerchief a n d said it would be better s o o n s o Clara put it into o n e o f her doll's beds for the night. Then all the o t h e r children w e n t h o m e , Fritz w a s sent t o bed a n d Clara kissed her n u t c r a c k e r g o o d night a n d w e n t to bed herself. Later that night Clara crept downstairs to s e e that the n u t c r a c k e r w a s safe. The r o o m s e e m e d different; the C h r i s t m a s tree s e e m e d to grow larger and began t o shine. Then huge m i c e c a m e t o her a n d s h e cried for help. Fritz's toy soldiers, n o w life-sized, c a m e t o attention and r u s h e d to help. The n u t c r a c k e r sprang to life, leapt to his feet a n d c h a r g e d into the battle fighting the M o u s e King. The n u t c r a c k e r w a s brave, but stumbled; Clara t o o k off her slipper to throw at King M o u s e and the n u t c r a c k e r s p e a r e d him with his sword. The mice all r a n away, taking their king with them. The n u t c r a c k e r vanished t o o and in his place s t o o d her g o d f a t h e r ' s nephew, d r e s s e d a s a prince. He put the Mouse King's c r o w n o n Clara's h e a d a n d led her a w a y into the s n o w y night. They w e n t to the land o f the sweets, walking along toffee p a t h w a y s until they c a m e to the p a l a c e o f the Sugar Plum Fairy. 'Thank y o u for coming,' s h e said. 'Was it a difficult journey?' They told her a b o u t the M o u s e King's battle and h o w Clara h a d helped t o defeat him with her s h o e . The Sugar Plum Fairy told t h e m t o rest a while o n h e r wonderful throne. Then s h e asked for all her sweets to c o m e and d a n c e for them. All the different kinds o f toffees a n d s w e e t s a n d c h o c o l a t e s c a m e to d a n c e . Chocolate did a fiery Spanish dance, Chinese Tea bowed again a n d again to the children a n d Russian peppermints tumbled and d a n c e d everywhere. Next, Mother Ginger a p p e a r e d with her children all a r o u n d her before the candied flowers d a n c e d in. Then the Sugar Plum Fairy c a m e b a c k with her own h a n d s o m e prince. They, too, d a n c e d for the children. Clara kissed the Sugar Plum Fairy and thanked all the d a n c e r s before taking h e r prince's h a n d and leaving the land o f the sweets. There a r e different endings t o this ballet - s o m e t i m e s Clara w a k e s up in her o w n bed a n d thinks it w a s just a dream; s o m e t i m e s s h e w a v e s g o o d b y e to t h e m a n d rides off with h e r prince into the future o n a golden sleigh. For m o r e information and p h o t o g r a p h s , s e e www.radacadabra.org/nutcracker. htm

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Swan Lake Tchaikovsky first performed this in M o s c o w

1887. A new

version

was

c h o r e o g r a p h e d and performed in 1 8 9 5 at the Maryinsky Theatre St Petersburg. The story is a s follows: Prince Siegfried a n d the queen lived in a g r e a t s t o n e castle. Every y e a r t h e r e w a s a party for his friends and everyone else in the village. W h e n it w a s his c o m i n g - o f - a g e party the queen gave him a c r o s s b o w for a present. T h e n s h e said that he w a s n o w old e n o u g h to b e c o m e king and that it w a s time h e g o t married. She said s h e h a d invited m a n y lovely ladies t o a g r a n d ball t h e n e x t evening a n d he m u s t c h o o s e his bride before the end o f the ball. Siegfried w a s very upset, but his friend B e n n o said that h e could enjoy himself that day. As a flock o f s w a n s flew up into the sky B e n n o said it would be a g o o d time to try his n ew c r o s s b o w a n d s o Siegfried o r g a n i s e d a hunt. The hunt party c a m e to a lake in the deepest part o f the forest a n d s a w the s w a n s there. As Siegfried got ready t o aim o n e o f the s w a n s c a m e t o w a r d s him a n d suddenly turned into a beautiful y o u n g lady. She said s h e w a s Odette the Q u e en o f the s w a n s a n d that an evil s o r c e r e r Rothbart h a d c a s t a spell o n her a n d all the s w a n s . The s w a n s could only return to h u m a n form a t night, b e t w e e n midnight a n d dawn. She begged Siegfried n o t t o s h o o t t h e m . Siegfried asked h o w h e could help t o b r e a k the spell, a n d Odette said t h a t only w h e n s o m e o n e fell in love with her, promised that he would never love a n y o n e else a n d would m a r r y her would the spell b e broken. Siegfried said h e w a s already in love with her a n d would always be faithful. But the wicked wizard Rothbart w a s hiding w a t c h i n g t h e m a n d w h e n the dawn c a m e he o r d e r e d t h e m b a c k to the lake. She tried to resist but the m a g i c w a s t o o s t r o n g a n d all the s w a n s flew off into the sky. Siegfried w a s very unhappy especially w h e n it w a s time for the ball. Many beautiful p r i n c e s s e s w e r e there and all w a n t e d him to m a r r y them, but he could only think o f Odette. The queen said he m u s t c h o o s e o n e o f the p r i n c e s s e s a s his bride, but the prince refused. Suddenly it w e n t dark a n d thunder roared. TWo s t r a n g e r s a p p e a r e d . One w a s Rothbart, disguised a s a c o u n t a n d the o t h e r his d a u g h t e r Odile disguised a s Odette. Siegfried t h o u g h t t h a t Odette h a d c o m e t o b e with him a n d they d a n c e d w o n d r o u s l y together; he didn't notice the real Odette fluttering a t the window. Siegfried told everyone t h a t he would m a r r y Odile a n d that h e would love her always. At that m o m e n t Rothbart laughed a n d said that Siegfried had broken his promise and that n o w Odette would belong t o him forever. He put his cloak a r o u n d Odile and they disappeared.

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Siegfried realised that he had been tricked and rushed o u t o f the ballroom to try to find Odette. Odette returned t o the s w a n s in the forest; they all tried to c o n s o l e her, saying that Siegfried would c o m e t o her, but Odette said she could n o t b e a r the e n c h a n t m e n t any m o r e a n d would rather die. Just then Siegfried d a s h e d in and e m b r a c e d her, vowing eternal love, but Rothbart a p p e a r e d a n d said that he would never release her. He attacked the prince, w h o fought valiantly trying to save Odette. As Rothbart stumbled, Odette rushed to Siegfried, kissed him o n e last time before climbing the rocks and throwing herself into the lake. Siegfried couldn't b e a r to lose her and followed her to his death. Thus Rothbart's powerful m a g i c w a s destroyed and he collapsed into a heap o f feathers, releasing the s w a n m a i d e n s from the spell.

La Fille mal Gardee by Ferdinand Herold This ballet is about a girl w h o s e old m o t h e r (usually played by a m a n ) tries to keep her safe o n their farm. The girl keeps trying to get a w a y from her c h o r e s to be with her boyfriend and o t h e r village farm boys. This boyfriend is not at all rich and the old m o t h e r tries t o keep t h e m apart. Even though the m o t h e r tries all kinds o f w a y s t o keep her a w a y from him, the two plan to marry. The m o t h e r finds a rich h u s b a n d for her daughter and a r r a n g e s to sign papers to organise a marriage, but the daughter a n d the boyfriend a r e in a n upper r o o m arranging their o w n m a r r i a g e . However, w h e n the m o t h e r s e e s h o w determined her daughter is to have her o w n way, s h e a g r e e s to their m a r r i a g e and it all ends happily. The clog d a n c e is a b o u t half w a y through the ballet, w h e n the old m o t h e r d a n c e s in her clogs with the m u s i c getting faster and faster until she a l m o s t falls over.

Peter and the Wolf Peter lived with his grandfather in a c o t t a g e in a wide g r e e n meadow, n e a r a dark, mysterious forest. In the g a r d e n w a s a tall tree and Peter thought that if he climbed it he would b e able t o s e e the w h o l e o f the meadow, the duck pond and part o f the forest. Grandfather w a r n e d Peter n o t to play in the m e a d o w b e c a u s e o f the wolf that lived in the forest. He told Peter that the wolf might c o m e and gobble him up. But Peter w a s n 't afraid o f the wolf a n d decided t o disobey Grandfather. As he skipped into the m e a d o w he h e a r d a bird singing a n d twittering and then he s a w a duck in the middle o f the pond. The duck w a s quacking a n d it s e e m e d a s though it w a s having an a r g u m e n t with the bird. The bird w a s saying that

88

it w a s better than a duck b e c a u s e he could fly, but the duck said that he w a s better b e c a u s e h e could swim. While they quarrelled, Peter noticed a hungry looking c a t creeping c l o s e r to the pond. Peter s h o u t e d to alert the bird, w h o flew to a b r a n c h o n the tree a n d m o c k e d the cat, w h o couldn't c a t c h him. Peter w a s happy that he h a d saved the bird, but then h e suddenly h e a r d Grandfather shouting angrily. 'What a r e y o u doing in the m e a d o w ? ' he shouted. 'Have y o u forgotten a b o u t the wolf?' Grandfather t o o k hold o f Peter and t o o k him b a c k into the g a r d e n . Then Peter noticed a wolf creeping through the g r a s s t o w a r d s the c a t which had fallen asleep. The wolf looked very hungry a s h e crept n e a r e r a n d nearer. Suddenly the bird noticed the wolf and s t a r t e d to chirp. This w o k e the c a t up a n d h e fled up the tree. But the duck w a s n ' t a s quick a s the c a t a n d in n o time the wolf h a d gobbled him up. Peter decided he would try to c a t c h the wolf; he grabbed a rope a n d climbed up the tall tree in the garden. He tied o n e end o f the rope to a b r a n c h o v e r h a n g i n g the m e a d o w a n d the o t h e r end into a lasso. He told the bird t o try to lure the w o l f t o w a r d s the rope, s o the bird flew a r o u n d the wolf's head, teasing him, calling, 'Can't c a t c h me!' This m a d e the wolf a n g r y and he c h a s e d after the bird getting n e a r e r a n d n e a r e r to the tree. As the wolf p a s s e d under o n e o f the overhanging b r a n c h e s Peter let d o w n the rope and c a u g h t the wolf's tail in the l a s s o . He called t o his Grandfather that h e h a d c a u g h t the wolf a n d just then a b a n d o f h u n t s m e n c a m e out o f the forest. They aimed their rifles a t the wolf to s h o o t him but Peter shouted, 'Don't shoot, w e c a n take him t o the z o o . ' Grandfather w a s happy that the wolf had been c a u g h t a n d there w a s a g r e a t celebration a s the h u n t s m e n p a r a d e d through the town taking the w o l f to the z o o .

The Gingerbread Man A little old m a n and a little old w o m a n w e r e very s a d that they didn't have a child. One day the little old w o m a n m a d e a little boy out o f gingerbread. She put him into the oven t o c o o k . S o o n they h e a r d a voice shouting from the oven, 'Let m e out, let m e out,' a n d w h e n they o p e n e d the oven d o o r a little Gingerbread Man jumped out and r a n a c r o s s the floor, through the d o o r a n d into the wide, wide world. The little old m a n and the little old w o m a n called to the Gingerbread Man t o stop, but he wouldn't. He just called over his shoulder, 'Run! Run! As fast a s y o u can, y o u c a n ' t c a t c h me, I'm the Gingerbread Man.'

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A c o w noticed the Gingerbread Man a s he r a n through the m e a d o w and he called, 'Stop, I w a n t t o e a t y o u up.' But the Gingerbread Man w e n t o n running and he just called over his shoulder, 'Run! Run! As fast a s you can, y o u can't c a t c h me, I'm the Gingerbread Man.' A h o r s e s a w the Gingerbread Man and shouted, 'Stop, I w a n t to e a t y o u up.' But the Gingerbread Man w e n t on running and h e just called over his shoulder, 'Run! Run! As fast a s y o u c a n , y o u c a n ' t c a t c h me, I'm the Gingerbread Man.' A schoolboy and girl s a w the Gingerbread Man and shouted, 'Stop, w e w a n t to eat y o u up.' But the Gingerbread Man w e n t o n running a n d h e just called over his shoulder 'Run! Run! As fast a s y o u c a n , y o u can't c a t c h me, I'm the Gingerbread Man.' A dog w o k e up a s the Gingerbread Man ran past a n d h e called, 'Stop, I w a n t to eat you up.' But the Gingerbread Man w e n t o n running a n d h e just called over his shoulder, 'Run! Run! As fast a s y o u can, y o u can't c a t c h me, I'm the Gingerbread Man.' A c a t spied the Gingerbread Man and shouted, 'Stop, I w a n t to e a t y o u up.' But the Gingerbread Man w e n t o n running and he just called over his shoulder, 'Run! Run! As fast a s y o u c a n , y o u can't c a t c h m e , I'm the Gingerbread Man.' The Gingerbread Man kept o n running a w a y from the little old m a n and the little old w o m a n , from the cow, the horse, the children, the dog and the c a t and not o n e o f t h e m could c a t c h him. Just then h e c a m e t o a river a n d h a d t o stop. How could h e get a c r o s s without getting wet and soggy? Just then he h e a r d a sly little voice, 'I'll help you a c r o s s . ' It w a s a sly old fox w h o tricked the Gingerbread Man to get o n t o his tail to c r o s s the river. The Gingerbread Man's feet got w e t s o h e moved o n t o the fox's back, then o n t o his head and finally o n t o his nose, a s all the fox's body except his n o s e w a s under the w a t e r a s h e s w a m fast to the o t h e r side. The Gingerbread Man thought he w a s safe until the fox threw b a c k his h e a d and tossed the Gingerbread Man into the air a n d snapped his jaws. 'Oh dear, I'm a quarter gone,' said the Gingerbread Man. The fox snapped again. 'Oh dear, I'm half gone,' said the Gingerbread Man. The fox snapped again. 'Oh dear I a m t h r e e - q u a r t e r s gone,' said the Gingerbread Man. The fox snapped again. And the Gingerbread Man said nothing a t all b e c a u s e he w a s all g o n e . But that's w h a t gingerbread m e n a r e m a d e for after all.

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The Wild Swans A princess, Elisa, h a d eleven brothers. Her father married a wicked

queen

w h o s e n t Elisa a w a y from the p a l a c e a n d c a s t a spell o n the eleven b r o t h e r s turning t h e m into swans. W h e n Elisa w a s fifteen s h e r e t u r n e d to the p a l a c e a n d the queen h a t e d her b e c a u s e s h e w a s beautiful. She u s e d m a g i c to m a k e Elisa ugly a n d the king turned her out. Elisa w a n d e r e d through the c o u n t r y until o n e day s h e m e t an old w o m a n w h o told her a b o u t eleven s w a n s with golden c r o w n s . Elisa found eleven white feathers o n the b e a c h a n d waited until the sun set w h e n eleven s w a n s landed nearby a n d c h a n g e d into eleven h a n d s o m e princes. They w e r e overjoyed to s e e her. They told her that in the day they had to be s w a n s a n d lived a c r o s s the sea, but a t night they c h a n g e d b a c k into princes. Elisa p e r s u a d e d t h e m to take her b a c k with t h e m s o they w o v e a basket to c a r r y her a n d w h e n dawn c a m e they started a c r o s s the s e a . It w a s h a r d for t h e m to c a r r y her and a great s t o r m blew up. They put h e r d o w n o n a very small rock in the s e a just a s the sun set a n d the s w a n s c h a n g e d into princes. The rock w a s s o small that they h a d to huddle t o g e t h e r in the terrible s t o r m . In the m o r n i n g the s w a n s carried her b a c k to their h o m e in a c a v e . Elisa d r e a m e d o f the old w o m a n w h o told Elisa that s h e could b r e a k the spell if s h e would knit shirts from nettles to throw t h e m over the princes. T h e r e w a s o n e condition, if s h e spoke even o n e w o r d the princes w o u l d die. W h e n s h e a w o k e s h e started collecting nettles and b e g a n to knit. A y o u n g king c a m e by, noticed her and thought h e h a d never s e e n s u c h a beautiful girl. Elisa r e m e m b e r e d that s h e m u s t not speak. The king t o o k her t o his p a l a c e a n d dressed her in royal r o b e s a n d married her but s o m e people said that s h e w a s a witch. Every night s h e g a t h e r e d nettles in the c h u r c h y a r d a n d knitted shirts out o f them. The king h e a r d a b o u t this a n d followed her. W h e n h e s a w her gathering nettles he, too, thought s h e m u s t be a witch a n d put her in prison a n d said s h e would b e killed a s a witch the next day. The s w a n princes h e a r d a b o u t this a n d w e n t to s e e the king but the s e r v a n t s refused to let t h e m in. W h e n the king h e a r d a b o u t this it w a s already dawn a n d he s a w eleven s w a n s flying over the palace. The next day Elisa w a s to be killed a s a witch and m a n y people c a m e to see. They tried to take the nettle shirts but eleven s w a n s flew d o w n a n d settled a r o u n d her. Their wings b e a t b a c k the c r o w d a n d Elisa threw the shirts over t h e m a n d they b e c a m e eleven h a n d s o m e princes - all except the eleventh w h o s e shirt sleeve w a s n o t quite finished a n d s o he still had a s w a n ' s wing a s a n a r m . The princes told the s t o r y to the king a n d Elisa could n o w s p e a k again. She told the king that s h e loved him s o they all lived happily ever after in the king's palace.

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Appendix 3: Music notation

The Elephant Song Spanish Folk Song

One

She

92

ha-d such

e - le-phant

en-or-mous

fun

went out

that she

to

play

on

a

called for an-oth-er e-lephant

san - dy

to come.

beach one

day.

Days of the Week Traditional Somerset Song

looked

so sweet

T'was

on

In

and char

-

ming

her lin

-

en

a M o n - day mor

ev - ery high

-

ning

deg-ree.

When

She

I

looked

be-held

my dar

so neat

-

ling

and nim - ble-o

7

wash - ing o f

o.

Dash - ing - a - way

with

the

smoo

-

thing iron.

9

Dash - ing

a - way

with

the

smoo

-

thing iron.

She

stole

my hea - rt

a - way.

Tuesday - a hanging out her linen-o Wednesday - a drying of her linen-o Thursday - an ironing of her linen-o Friday - an airing of her linen-o Saturday - a folding of her linen-o Sunday - a wearing of her linen-o

93

She

A

Appendix 4: Resources Venezia, M. (Series) Getting to Know the World's Greatest

Composers.

London:

Franklin Watts Ltd. Kendall, A. ( 2 0 0 0 ) The Chronicle

of Classical

Music.

London: T h a m e s a n d

Hudson Ltd. Newman, B. ( 2 0 0 5 ) The Illustrated

Book

of Ballet Stones.

London: Dorling

Geras, A. & Beck, I. ( 2 0 0 0 ) The Orchard Book of Opera Stones.

London: Orchard

Kindersley.

Books. Jessop, J . ( 1 9 9 3 ) Famous Musicians.

Hove: Wayland Publishers. (OOP)

Song/music books Foss, Ρ & TUrner, B.C. ( 1 9 8 9 ) Oranges

and Lemons,

Castanets

and

Scrapers.

International Music Publications. King, K. ( 1 9 8 6 ) Oranges

and Lemons.

Oxford: Oxford University Press.

Riordan, J . ( 1 9 8 6 ) Peter and the Wolf. Oxford: Oxford University Press. Powell, H. ( 2 0 0 1 ) Game-Songs

with ProfDogg's

Gadsby D. ( 2 0 0 2 ) Flying a Round. Piccolo Book of Favourite

Songs

Ttoupe. London: A&C Black.

London: A&C Black.

( 1 9 9 1 ) Pan B o o k s .

Marks, A. &Cartwright, S. ( 1 9 9 7 ) The Usborne

Children's

Song Book.

Usborne

Publishing. Harop, B. (Ed.) ( 1 9 9 6 ) Apusskidu.

London: A&C Black.

Picture storybooks Axtell, D. ( 2 0 0 0 ) We're Going on a Lion Hunt. London: Macmillan Children's Books. Anderson, H.C. & Monozumi, A. (Illustrator) ( 2 0 0 3 ) The Wild Swans.

Matthew

Price Publishing. Browne, E. ( 1 9 9 5 ) Handa's

Surprise.

London: Walker B o o k s .

Browne, E. ( 2 0 0 3 ) Handa's

Hen. London: Walker B o o k s .

Hull, R. & Allsopp, K. (Illustrator) ( 2 0 0 0 ) Stones Hodder Wayland.

94

From West Africa.

London:

Circle Time books Collins, M. ( 2 0 0 1 ) Circle

Time for

the Very Young.

London: Paul C h a p m a n

Publishing. Collins,

M.

( 2 0 0 2 ) Circling

Round

Citizenship.

London:

Paul

Chapman

Publishing. Collins, M. ( 2 0 0 2 ) Because

I'm Special.

Collins, M. ( 2 0 0 3 ) Enhancing

London: Paul C h a p m a n Publishing.

Circle Time for

the Very Young.

London: Paul

C h a p m a n Publishing. Collins, Μ ( 2 0 0 4 ) Circling Safely. London: Paul C h a p m a n Publishing.

More useful websites http://www.dfes.gov.uk/musicservices National Curriculum: http://www.nc.uk.net/ www. rhymes. org. uk

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