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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.

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Solfa for ABRSM Aural Tests 4B, 5B

Aural tests at Grades 4 and 5 of ABRSM Grade Exams require that the pupil sing from score. Although at both these grades the notes will be in free time, singing at sight, even without the added complication of rhythm, is a skill that takes time to develop. Time is very much at a premium in instrumental lessons, so this test is often poorly-prepared. No doubt, the examining board hopes to encourage sight-singing from the earliest grades, even though it is not required in Grade 1-3 exams. However, if pupils come to the Grade 4 exam without previous experience, Test 4B is problematic.

A crash course in basic solfa can certainly help pupils, but the pitch-range required at Grade 4 does not correlate with the starting points of the more common solfa-for-beginners resources in this country. These start with the falling minor third, “so-mi”, next adding “la”, a tone up from “so”. Next comes “do-re-mi”, before adding the lower “ti” and “la” required by the Grade 4 test. This sequence is a developmental one, based on the singing of young children in British and North American cultures. Establishments which focus on solfa training for young children usually work on the premise that the youngsters will master the basics before they begin instrumental instruction.

The youngster preparing to take Grade 4 without a foundation in solfa-singing needs a different approach. Some years ago, I published several printed and pdf resources for beginner instrumentalists, encouraging them to sing, as well as play, the first five notes of a major scale Another resource “An Introduction to Solfa for Instrumentalists, Part 1” covered a major scale and the tonic chord. These were more suited to support self-help by the instrumentalist but they did not cover the precise requirements of the Grade 4 and Grade 5 aural tests. The need for instrumentalists to master these has now been made more pressing by the introduction of more advanced sight-singing tests at Grades 6-8, so I have prepared two resources tailor-made to the exam requirements. They can be found on the Resources for Instrumental Teachers page of www.fullpitcher.co.uk. The Grade 5 resource follows on from the material covered at Grade 4.

Update 4/1914: Introduction to Tonic Sol-fa for Instrumentalists Part 1 may prove  a useful starting point for those preparing for the Grade 6 test. I will add part 2 shortly.

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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Sheet Music for Absolute Beginners

In the first few months of instrumental tuition, teachers and pupils are generally very dependent on whatever method book has been selected for the pupil. These methods usually introduce one new note or rhythmic duration at a time, along with tunes to practise the new introduction. There is a plethora of methods on the market, so it should be possible to find something to suit each individual. However, the material provided at each stage is often insufficient for a pupil to master it. Moving on prematurely to the the next unit can leave the learner confused and losing confidence. Matters may not be helped by the way in which these books often head their units “Lesson 1”, “Lesson 2”, etc., which makes the learner feel they are failing if they are unable to master each in a week or two.

I frequently have pupils invest in two method books so that they have more repertoire at each level. With adult pupils, this allows me to draw their attention to the fact that teachers have different ideas about the way in which new learning should be sequenced: one may introduce note values more quickly, while restricting pitch to very few notes; another will adopt the opposite approach, and so forth.In the same way, pupils may progress in one area quicker than another. I prefer to delay selecting a method for an absolute beginner until I get a bit of a feel for their individual learning style. As a composer, I’m able to produce original materials for my pupils and I greatly enjoy the challenge of composing satisfying music from severely restricted resources. This was the origin of the “…..Start Here” series and “Sheet Music Starters” Many of these pieces are now available as downloads from the “Music for Beginners” section. They are intended to supplement popular method books. When a pupil needs supplementary repetoire for a particular unit, or to revisit an earlier one, it’s great to have access to another source of sheet music!

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Easy Ensemble Music in the Classroom

An exciting aspect of music teaching is that of introducing diverse people to a shared heritage that each can enjoy and recreate in their own way! Thus, one of the first resources I wanted to make available when I set up the Full Pitcher website was a collection of arrangements that had enabled me to facilitate music groups made up of players of hugely different musical and technical skills, where the composition of a group was subject to change from week to week. Although the basic arrangements stayed the same, parts were frequently customised to the needs of individuals. The core arrangements I made available as Easy/Classroom Ensembles and Flexible Ensembles. For the website, many easy pieces were standardised to meet the needs of classes at Key stages 2 an 3. In my own sessions, group members, who were able to do so, were given the freedom to elaborate their parts, or I adapted them, and I frequently introduced improvisational activities which allowed everyone to contribute at their own level. Ideas for this kind of creative work with beginners  can be downloaded from the Easy/Classroom Ensembles page.

For the first few years, sheet music downloads were in the format of Sibelius ‘Scorch’ files, which meant that users could preview the written music and could transpose parts to any key before downloading. This had all the flexibility I wanted to offer but proved prohibitively expensive to run!  It also meant peoples had to install special software and many found it confusing. I came to actually dread selling a score, anticipating the support that might be required! In 2006, I moved the site to a new hosting platform, where I could make the playback available in Flash audio, which is compatible with the vast majority of browsers and could sell PDF sheet music downloads. It isn’t currently practicable, or economically sensible, to offer parts in every transposition but, if what you need is not available on-site, the custom-print service will make a custom set of parts available at very reasonable cost. Printed Packs for the classroom ensembles, with multiple copies of parts for C, Bb and Eb instruments can be found at Packs: Easy/Classroom Ensembles

Happily, few teachers will have to cope with the the enormous range of ability and floating populations that characterised my community workshops, but all could surely benefit from having a few really flexible pieces up their sleeve for when things don’t go to plan! :>)

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Special Needs: Starting the Session

Setting the scene is important in any music session and in the classroom or rehearsal  space this usually begins non-verbally with the arrangement of the furniture that greets participants when they enter the ‘music space’.  If the session is taking place in the general living area, there may be limited scope for rearranging the physical setup but it’s vital that the the music leader should be able to get close to each participant and make eye contact. The best arrangement is to seat them in a semi-circle around the leader and/ or accompanist. Anyone who needs a wheelchair tray or small table to support an instrument or switch should have this in position, ready to receive an instrument at the appropriate time.

When sessions take place in the living space, televisions, music-players, etc., should be switched off well before the session. In this ‘quiet time’, attention will be engaged by watching the leader set up for the session. When the moment to begin finally arrives, the air of expectancy may be further enhanced by the leader playing a very quiet and simple tune on melody instrument, whilst endeavouring to make eye contact, or singing a song such as “Something Is Going To Happen”, written by Clive Robbins and Paul Nordoff, expressly for this purpose.

‘Gathering’ songs further secure the engagement and will pay dividends later in the session by focusing attention. This is particularly true of those which elicit both a verbal response and physical activity, such as tapping an instrument, clapping hands or raising arms.

See Living My Song Specials to download  sheet music and listen to two examples. You can also see the lyrics and listen to the music of “Come On, Everybody, It’s Music Time!” by clicking here.

Update 23/9/2914:  (The music of the latter song is the same as for “Come on, Everybody, Let’s Sing God’s Praise! which is a free pdf download on the Sacred Music page)

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Piano: Absolute Beginners Can Improvise!

To some extent, improvisation is a state of mind. A lot of people feel they could never do it because they have a model in mind that is unattainable. When piano teachers adopt a creative approach to tuition, though, the pupil feels free to explore the simple resources to which they are exposed in the early days of tuition and it is more likely that they will continue to experiment when left to their own devices.

The latest addition to improvisation-based resources on www.fullpitcher.co.uk is an article suggesting simple improvisatory activities for absolute beginners. The important word here is ‘simple’ because, in truth, great music is essentially simple and the same resources can be used by players at different levels of ability and experience, with very different results.

The article quotes the Dalcroze teacher, Laura Campbell, whose book “Sketching at the Keyboard” won the ‘Music Teacher’ Magazine Music Education Award in 1983. That publication and its  follow-up, “Sketches for Improvisation” is full of examples of famous composers building their works from the same simple ideas suggested to the readers. These courses have been followed by ” child piano pupils, amateur adult piano pupils, professional music students and class teachers”. Highly recommended!

So, what I am saying is: don’t dismiss the ideas suggested at the following link because they are accessible to absolute beginners. There are things we can all learn by focusing on the basic building blocks of music from time to time.  :>)

See: Improvisation for Beginner Pianists.

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Piano Improvisation for Beginners

Getting started with improvisation can be more daunting for pianists than for players of melody instruments because of the need to combine both melody and accompaniment. Nevertheless, we have uploaded some ideas for improvisation which can be explored by absolute beginners, whilst remaining absorbing and useful activities for more advanced players.

See Improvisation for Beginner Pianists

Enjoy!

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Interacting With Other Users

I was absolutely delighted that one user responded to the “Welcome” post saying “It’s really exciting to “hook-up” with other folks who are enabling all kinds of individuals to make music.” This is what I hope so much to facilitate through this blog and what I tried to initiate through the Full Pitcher Forums.

Ours is a large website and it occurs to me that many of you may have missed the links to the forums, which cover areas of interest identified by subscribers to the newsletter which this blog replaces. so, I have created a permanent page on the blog, “Discussions“, which explains the rationale behind the forums with a link to each one.

I hope, of course, that many more people will participate by commenting on posts, here on the blog, and on other people’s comments. When you post a comment here, your email address is not published but your comment is public. If you wish to communicate more widely with other users, you can do this by subscribing to the forums, where members can opt to send and receive private messages from other subscribers, in addition to posting publicly. There is also a ‘live-chat’  facility (limited to 3 subscribers at any one time).

I look forward to some lively discussions!

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Family Music-Making With Our Resources

Activities shared by the whole family are the stuff of precious memories. And creative activities, in particular, are a potent way to build a strong family, or group, identity.

Computers have often been blamed for causing fragmentation in family life and encouraging children to spend long periods in isolation. But computers don’t have to be isolating. Today, there are many interactive applications that can simultaneously engage the interest of users with very different levels of knowledge and skill. Our GridPlay Level 1 software is a good example. This is not intended to be used by a solitary child, focused on the computer but as a shared activity in the home, playgroup or classroom, as we explain in “Using GridPlay with Young or Disabled Children”

On this site, we make suggestions for using our online music scores as the focus of activities shared by groups of mixed age and ability. One, of many examples, is the arrangement, ‘One Man Went to Mow’, on the Summer Music page. In this, the written parts are for experienced instrumentalists. However, the very simple tune of the song can be substituted for any of these parts. It is an easy song to sing and there are suggestions for involving a very young, or disabled child. There are similar family-fun pages for Spring, Autumn and  Christmas seasons. See: Miscellaneous Scores.

Most of our music is flexibly arranged, with optional parts suitable for beginners and for the basic instruments most likely to be available.Experienced players and beginners can each contribute at their own level. Parents may be surprised at the amount of practice their children will put in on music used in this manner!

Suggestions are often made about ‘how to improvise with this piece’. Sometimes a lot of mystique surrounds the improvisation of music and people often think it requires lots of skills they couldn’t hope to have! In truth, it is a very natural thing to do. We do it all the time in various aspects of our daily lives and music is, really no different. It has been said that all we need to improvise is ‘the courage to move from one note to the next’. What better way is there to develop the confidence and self-trust, necessary to explore,  than learning to improvise in the accepting and sharing environment of the family circle?

Families with disabled members should be aware of our custom arrange & print service. We are very happy to supply custom-arranged prints to meet the needs of would-be musicians with disabilities that prevent the playing of conventional instruments, or who must play them in unconventional ways.

We want our family resources to be accessible for all so, if you need something different, please ask.

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Improvisation Resources for the Classroom

Good news for the creative classroom! From the end of September the Get Creative! teachers’ notes, providing lots of activities based on music included in our Easy Ensembles series, are available as free PDF downloads.

The activities are presented in the notes in a way we felt would be most useful for teachers at key stages 2 and 3. However, we have used both the ensembles and the activities across a wide age range. No doubt instrumental teachers and would-be improvisers will see how they might be adapted to their own situations.

The pieces are:
Anon: The Carnival of Venice
Anon: Portsmouth
Handel: Minuet II from Music for the Royal Fireworks
Schubert: A German Dance

You will find them at:
http://www.fullpitcher.co.uk/ClEnsSco.htm