Author: Audrey

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Learn Tonic Sol-fa with GridPlay

Tonic sol-fa is a way to aural recognition of the relationship between the various notes of a scale. This supports inner hearing, singing from solfa notation and, ultimately, sight-singing from music notation. It facilitates memorisation, playing by ear and transposition, and also makes it easier to learn scales and to grasp many aspects of theory. Because it is a matter of internalising aural impressions of melodic intervals, it is extremely difficult to master it without a teacher, unless one can already read music notation sufficiently well to play the intervals on an instrument. Frequent patterning and checking of the pitches is necessary before a ready aural recognition and identification can be achieved.

Nowadays, there are few teachers in Europe and North America who teach the system to adults. Children start with just two pitches and gradually extend their range, following a developmental sequence of pitches common in the spontaneous singing of children from an early age. Adults do not have the luxury of growing up in this gradual progression and generally find it quicker to follow the stepwise movement of notes in a scale, moving on to leaps between notes of the tonic (Key) chord, and then to leaps in the primary chords built on the fourth and fifth degrees of the scale.

Several years ago, I published printed resources for  those who can already play an instrument from notation which helped some people. However, some  readers of this blog, who are not instrumentalists, would like to learn sol-fa. I have now prepared some GridPlay resources which I hope will enable them to do that. With these grids, learners will be able to check their accuracy in reproducing the intervals by playing the notes on  ‘modulators’ and ‘staves’. They can also practise playing familiar tunes ‘by ear’. They are in the treble range, since most melodic material is written in the treble clef, but they can be sung by male voices an octave lower.

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GridPlay: Learn Tonic Sol-fa will probably also prove useful for classroom teachers who are learning with their classes. Several Grids in GridPlay: Creative Explorations Level 1 (ages 3-7) are suitable for Kodaly-based classes and, as an example, I have included one, LSMRD.GRD, in this sol-fa set. If you are a teacher and would like to create resources like this yourself, or customise my grids, you can do so with MIDIgrid, the parent-program in which I authored these materials. You will find a free download of GridPlay: Learn Tonic Sol-fa at the bottom of the website Software page: GridPlay: Learn Tonic Sol-fa

Several posts on my blog deal with aspects of tonic sol-fa, so if you don’t see what you want in this post, check the ‘Category’ menu in the sidebar for more on this subject.

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Creating Resources for Non-Specialist Music Teachers

Seeing so many non-specialist teachers struggling to teach music, it is sad that music coordinators, local authority advisors, etc., don’t make extensive use of  professional music software to create the repertoire/ materials  for non-specialists to access, as they require. I guess that the main hindrance is the lack of a suitable playback only version of some of the software. Even where these versions exist, though, they can still be too forbidding for the non-specialist and are mainly notation-based. But a solution has existed for many years, in the form of MIDIgrid. Although it was originally designed as a tool for composers, it is a superbly simple authoring tool and, even though I can play several musical instruments, read music, compose and improvise, I have found it invaluable to have my resource material available through this software. It means any repertoire I might need in a session can be recorded into a single grid. I can play a new backing track, without fumbling through a book or trying to locate a track on a CD and I can give my full attention to interacting with the class, without distraction. Full recordings, constituent tracks, virtual instruments can all be there on a single screen.

MIDIgrid is such a versatile tool that it has proved almost impossible to ‘market’. How do you describe software, the benefits of which are dependent on the user’s imagination? It was originally created at University of York, as part of the Composer’s Desktop Project, and I hassled York for a long time to create a cut-down version for teachers. This they did and, when the York Electronics Centre closed, I offered to publish and distribute it. They also created GridPlay, a playback only version through which I could distribute the resources I had authored.

GridPlay is a great way to put creative music teaching resources into the hands of non-specialist teachers! It treats the computer as a basic classroom resource, providing instant access to backing tracks, virtual instruments, improvisation resources, inclusive activities, etc.. Excepting where it provides virtual instruments for disabled users, the software is not essential to explore most activities described in the ebook included with each set of grids. The software is a limited version of MIDIgrid, without editing/saving. This means that beneath its simple user interface are some sophisticated MIDI facilities for those who know how to use them.  Visit my new blog at gridplaymusic.wordpress.com to learn more.

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1-handed Recorder for a Beginner?

I was recently asked if I could suggest an instrument to enable a 1-handed child to join a beginner recorder class and thought my reply might be helpful to others:

Lovely to hear about your young would-be recorder player! The good news is that there are 1-handed recorders available and, depending on the child’s disability, may not be strictly necessary but there’s quite a bit of bad news too!

A 1-handed recorder makes all the notes available by adding keywork that can be raised and lowered using just the fingers of the available hand. This means that, once the notes played with just one hand have been mastered, the player must use a totally different system of fingering (ands this varies from one manufacturer to another). The teacher taking a class of players using normal fingering would not know this system and would have to familiarise themself with it without the benefit of having learned the new instrument. Of course, this would be eased by the class only needing to learn one new note at a time. The more complex system of fingering is also challenging for the child and may be beyond her if she has learning difficulties. A child with cerebral palsy is likely to have poor finger control and coordination, adding to the problems.

Although, I have taught a player on two different systems of 1-handed plastic recorder, I am unable to track down either of them at the moment. One was manufactured by Yamaha but there is nothing about 1-handed models on either their global or USA sites. You’d have to contact them directly to enquire. I believe Aulos also do one but, again, I can’t locate a supplier. Quality wooden instruments are available but expensive (over 600 US Dollars) and I wouldn’t recommend such an investment at this stage. There is an Aulos instrument in six sections (as opposed to the customary three) that can be customised to the needs of a player who has 6 digits available between the two hands. This is available from an American source at  http://www.rhythmband.com

Again, the cooperation of the teacher would be required to set it up.

If the child can use all the fingers and thumb on one hand, the first five notes can be played on a standard recorder and I would suggest getting one of these, very modestly-priced instruments to see how she gets on. Simple music for this stage is available in pdf format from the Full Pitcher at

http://www.fullpitcher.co.uk/easyrecordersco.htm

These start with reminders of the written notes, warm-ups and tunes for just the first two note. Using these she could get in the extra practice and home support, likely to be needed by a child with special needs.

Do let me know how you get on and get back to me if you have further queries.

 

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Bringing It All Together!

I’m enjoying the benefits of getting older! I no longer feel the need to worry about a professional persona and being perceived as ‘a Jill of all trades’. For some years, I’ve mantained several websites and blogs to reach different sections of the online community, though ‘Making Music Matters’ has been the one place where I have posted about the breadth of my musical interests. Now, I’ve created a new page, “Audrey’s Places” where I have linked to my other sites and I’ve signed up for Twitter. I’ve only been on it for a day but I’ve already found several really interesting sites  through it. I had studiously avoided Twitter till now because I have great difficulty with social chit-chat. This has been a big handicap to me as a blogger because I don’t feel inclined to post unless I have something I really feel a need to say. The prospect of writing 140 characters, though, is a lot less of a big deal, so I finally checked it out. I think it will be a great place to dip into ‘lots of pies’ and will be a stimulus for more frequent blogging. Hopefully, it may be a cure for my ‘split personality – watch this space!

Follow me on Twitter:@FullPitcher

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New Year, New Beginners – New Music?

Not a few people will be the delighted recipients of new musical instruments as Christmas presents. For beginners, it’s the start of a great new journey and they can’t wait to set off and it’s a joy and privilege for teachers to set them on their way! The first few weeks are not without anxieties for teachers, though, as the pupils discover that there is very little instant gratification in playing a musical instrument. While the pupil can play only 2 or 3 notes, the only available tunes are likely to be in the chosen method book. This is fine for the pupil who can sail quickly through the early lessons but it can be a problem when reinforcement is not only desirable but necessary before proceeding to the next step. This is where the Full Pitcher beginner downloads can come in very useful. The “…. Start Here” series is available for Recorder, Flute, Clarinet, Violin and Cello. Each download has warm-up exercises and several tunes, the first using just 2 notes. They are in pdf format and can be displayed on screen for class use or as many copies printed as are required. Piano accompaniments are also available. Unlike many beginner pieces, though, these do not have the main interest confined to the teacher’s part! The scores can be listened to online and, in some cases, there is also audio of accompaniments only, “minus-one” style.

Have a great journey!

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Singing Rounds in the Classroom

Singing rounds is a simple, accessible activity which provides opportunities for a wealth of musical learning and development. It is an easy introduction to the highly satisfying experience of singing in harmony. The only thing that holds back some teachers and their classes is the lack of strong leaders to aid beginners in holding their part. Since the advent of music technology with multitrack recording , though, backing tracks are available with each voice part played by a separate instrument, or group of instruments, so providing strong support for each part.

Singing in parts isn’t the only way to make use of rounds in class, though. Rounds, by their very nature, are built on very few  chords and, often, only a single chord. This means they can effectively be accompanied by short repeated phrases on a voice or instrument. Quite young children will soon learn to sing the melody over one of these repeated patterns, technically termed an ostinato (‘obstinate’) pattern. As they progress, pupils may be able to manage two, or more, of these accompaniment patterns. This is an easier experience of singing in harmony than singing the entire melody in parts. Special needs pupils, unable to learn the whole melody, may be able to sing, or play, a short ostinato.

Rounds also afford many opportunities for creative involvement including:

  • choosing an instrumental sound for an ostinato which will enhance the mood of the song
  • rearranging the sequence of phrases to create a new piece
  • improvising an ostinato, or even a whole new melody, on the notes of the chord
  • varying the sequence in which instrumental parts enter to create new orchestrations
  • composing an introduction section before the main melody enters.

Some years ago, when Becta’s Teachers Resouce Exchange was in operation, I uploaded two resources based on “A Bell Round”. This is the same tune used in “A Christmas Round” but with different lyrics. Level 1 was intended for use at Key Stage 1 and Level 2 at Key Stage 2. The resources comprised sheet music PDFs and MIDI files, describing a range of activities Now that, sad to say,  TRE is no more, I have adapted the resources to this site and they can be found at http://www.fullpitcher.co.uk/COL_ks1.htm and http://www.fullpitcher.co.uk/COL_ks2.htm. Music and lyrics  for “A Christmas Round”, and several others, can be downloaded at http://www.fullpitcher.co.uk/PDFMusic.htm.

See also: http://fullpitcher.co.uk/SingTogetherKP.htm

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Access to Music: 3 Magic Flutes in ‘Joyful’ Performance

Here is a performance not to be missed! In this YouTube clip you can see three young musicians from My Breath My Music playing their Magic Flutes along with members of the Rotterdam Philharmonic Orchestra. The Magic Flute is a wind instrument developed by My Breath My Music to allow young people with severe motor impairments to participate in live performance. No hand or arm movement is required, the pitch being controlled by changing the angle of the mouthpiece by means of head movements. You can read about the development of this exciting instrument in a previous post at “the true story of a magic flute”    Here, Christian, Glenn and Karin join members of the orchestra in playing an adaptation of Beethoven’s “Ode to Joy”. How L van B must love this performance!

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Creating Recital Pieces for Flute Beginners

When preparing concert music for an absolute beginner, there are a number of tricky points to take into consideration. Having created, what I hope will be, attractive melodies using a very restricted range of notes, I must remember that a flute beginner may be unable to make any appreciable variation in dynamics. Indeed, the teacher may not wish to introduce dynamics in the early stages of tone development. Teachers also introduce articulation at different points. If music is stripped of its expression, however, it loses much of its ability to engage both performer and audience. In the ‘Stars From the Start’ concert music for beginner flute downloads, I have included two versions of the solo part, one with and one without markings. I hope this will make them useful resources for teachers in several ways. The unmarked copy allows the teacher to add dynamics and/or articulation as appropriate for an individual pupil. The pdf files can be printed as required and can be used for aural training, with the teacher playing his/her version and the pupil identifying the dynamics. Unmarked scores also afford pupils the opportunity to improvise their own version.

Most pieces in tutor books, at this stage, are too short to make satisfying concert items, yet it is too challenging to both the skills of the pupil and the time available in a lesson to cover much material. With this in mind, I have made much use of repetition in these tunes to make them a more rewarding length, without adding to the burden.

See: beginner flute concert pieces

 

 

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Sight-reading and notation

Many of the world’s finest musicians do not read music, so perhaps  we teachers worry too much about notation! Pupils have different learning styles with some depending more on aural ability, while others are ‘visual’ learners who are unhappy unless they have ‘the dots’ in front of them. Occasionally, we may encounter a pupil who is downright resistant to reading from the score and I have one of those at the moment – very frustrating! Nevertheless, the player who cannot sight-read is generally at a great disadvantage: opportunities for independent exploration of new music and playing in ensembles are far more limited for the non-reader. So, while I’m unfazed by the pupil who wants to take a predominently aural approach, I want to do all I can to foster reading skills.

Most of my pupils are exploring new pieces all the time, as they learn lots of quick-study pieces and I insist on covering a broad repertoire at each grade. We adopt a creative approach, with most using the commonly-encountered rhythmic and melodic patterns in
improvisational activities. The familiarity of these patterns to mind and fingers is key to elementary sight-reading.

Fluent sight-readers are looking ahead and recognising familiar patterns coming up. Each bar or so is rapidly memorised and executed by the fingers, while the eyes scan the next. Page-turners are often amazed at how far ahead the performer wants the page turned! We can practise this skill in the same way that school-children practise their spellings: Look at a bar of music for a few seconds, then ‘cover’ it and try to reproduce it from memory. Go back to the music and check the ‘spelling’. Repeat the process until accuracy is achieved. We can do this with each or any of the bars of a piece of music that is new to us before attempting the whole. It is good to note down the date and tempo and return at a later date to read it through at a faster speed.

In the field of literacy, the research behind the “Ladybird Keywords Reading Scheme” found that 12 words make up a quarter of all the words we read every day and 100 words account for half those encountered daily. Similarly, a few rhythmic and melodic patterns account for a high proportion of those encountered in music scores. My “Rhythmic Reading Through Improvisation” is designed to familiarise pupils with the patterns used in sight-reading tests at grades 1-3 and to make learning more fun. Part 1 uses just rhythms and mastering these generally has the biggest impact on sight-reading. Part 2 follows the same
sequence with pitched notes. Part 2 has to have a different pitch range for different instruments and I haven’t made that available online, as yet.

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Music Resources for Special Needs Groups

I describe myself as a teacher and facilitator but, in reality, all teachers are facilitators: we try to make pupils aware of, and develop confidence in, their abilities: to enable them to do what they can do. Over the years, as a freelance teacher and independent educational consultant, I’ve been asked to adapt my ideas and resources to many special needs situations. I’ve been approached by carers and teachers who believe passionately in the value of music to those in their care but they seldom dream that they, themselves, can provide such musical experiences.

Often working alone, without an accompanist, I turned to technology to fulfil the latter role so that I could engage fully with the participants. Soon, the amazingly versatile ‘MIDIgrid’ software, developed at York University, became an essential resource. This is ‘content-free’ software, something like a word-processing and presentation package for music. I found that, in addition to providing speedy access to customised backing tracks for the sessions, I was able to use the software to create virtual instruments which could be played with a range of special access devices. Having established a computer-based system with resources that had proven their worth in a range of situations, I saw that this was a way in which I might enable carers to run their own sessions. In 2005, York University created GridPlay, the Full Pitcher’s read-only version of the software, which I could distribute with my resource packs.

Mindful that making provision for someone with a disability is a very individual matter, the special needs resources were offered as a customised, created to order, product. This, however, has proved a bit daunting to many who don’t really know where to start. So, our new GridPlay for Carers/Teachers takes a different approach: the package includes the most generally useful resources, with unlimited post-sales support and customisation. Also included is a 43-page e-book, with ideas for using the grids, sheet music for several original songs and suggestions for initiating and sustaining music sessions for people with profound disabilities. Hopefully, this package will enable many more carers and teachers to make music with those in their care. At a time when it is increasingly difficult to find the funds to buy in specialist provision, this will, hopefully, be ‘half a loaf’ for many who would otherwise go without bread. See:  http://www.fullpitcher.co.uk/softwareSN.htm

Grids from the GridPlay resource packs can be loaded into the parent program and, in the latter, users can create and save their own customised versions of the grids. In this way, teachers can create grids set up for different methods of access and can also save recordings made by pupils playing the virtual instruments.