Music Express 8-9

BOOK

EARLY YEARS FOUNDATION

England/Wales EYFS N. Ireland Year 1 Scotland Pre-school, and P1

EYFS ISBN 978-1-4081-8707-4

BOOK 1 AGE

5–6

England/Wales Year 1 N. Ireland Year 2 Scotland P1

ISBN 978-1-4729-0017-3

BOOK 2 AGE

ISBN 978-1-4729-0018-0

BOOK 3 AGE

7–8

AGE

8–9 second edition

ALL NEW CONTENT

Book • 12 units comprising 36 lessons with over 100 teaching activities and photocopiable lyric sheets

DVD-ROM

TS: PACK CONOTMEN+ 3 CDs

• Whiteboard displays for all lessons with audio, graphics, movies and slide shows • 6 medium term lesson plans and 36 fully prepared weekly lesson plans • Glossary and background information

CDs x 3

• All the audio recordings needed to accompany the activities, including backing tracks, teaching tracks and performance tracks

England/Wales Year 3 N. Ireland Year 4 Scotland P3

plans n o s s e L • s ie v o dio • M t-outs Activities • Au in r P • s y la p is d eboard Full-colour whit

BOOK + DVD-R

AGE 8-9

6–7

England/Wales Year 2 N. Ireland Year 3 Scotland P2

Music Express Age 8–9 pack includes:

COMPLETE MUSIC SCHEME FOR PRIMARY CLASS TEACHERS

4

MUSIC EXPRESS

Supports the Music Curriculum for England, Wales, Northern Ireland and the Scottish Curriculum for Excellence

MUSIC EXPRESS Second Edition provides a completely new scheme of work for primary class teachers. Created to support the 2014 National Curriculum, Music Express is a ready-to-use resource of teaching activities which are simple, straightforward and fun to use in any primary classroom. Combining a complete scheme of work with dip-in flexibility, this edition has been created to support a topic-based, cross-curricular approach to music teaching and provides all the resources for musical learning in the curriculum.

usic No m ing read red i requ

ISBN 978-1-4729-0019-7

BOOK 4 AGE

8–9

England/Wales Year 4 N. Ireland Year 5 Scotland P4

ISBN 978-1-4729-0020-3

BOOK 5 AGE

ISBN 978-1-4729-0021-0

BOOK 6 AGE

10–11

www.musicexpress.co SUBSCRIBE TO MUSIC EXPRESS ONLINE!

.uk FREEDOM TO TEACH Find us at www.collins.co.uk and follow our blog – articles and information by teachers for teachers. @CollinsPrimary ISBN 978-1-4729-0020-3

England/Wales Year 6 N. Ireland Year 7 Scotland P6

Second Edition

9–10

England/Wales Year 5 N. Ireland Year 6 Scotland P5

NEW!

9 781472 900203

ISBN 978-1-4729-0022-7

Written and compiled by Maureen Hanke, Helen MacGregor, Stephen Chadwick, Matthew Holmes and Ian Lawrence 6743_Music_Express_Age8to9_PBandCDs_Cover.indd 1

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L E SS O N

Poetry

1

Musical focus: Performance Subject link: English

Hand on the bridge

1/1

Watch the performance of the poem, Hand on the bridge

1

• Display and watch the movie of Hand on the bridge. Join in

with the actions, which help with memorising the lines. Learn the poem, saying it with the performance audio.

Hand on the bridge, feel the rhythm of the train.

Hand on the window, feel the rhythm of the rain…

• Most of the lines have exactly the same rhythm as the first but

there are some exceptions. Can the children tell which ones have a slightly different rhythm? (Lines 2, 6, 7 and 8.) Line 8 is repeated but how does the sound change? (It gets quieter each time.)

Teaching tip: the poem is about feeling rhythm. Pay attention to chanting it very rhythmically.

Feel the rhythm of time

1 / 1-3

Learn an ostinato to accompany the poem

• Display and listen to Feel the rhythm of time teaching audio.

    

feel

the

2

rhy - thm

of

(Hand

on

What do the children hear? (A second voice quietly repeats the phrase ‘feel the rhythm of time’; a percussion instrument plays the same rhythm.)



the

• Explain that the phrase ‘feel the rhythm of time’ is an ostinato – a repeated rhythm pattern. Ask the children if they can hear which words are emphasized to give the ostinato a good musical shape. (‘Rhy-thm’ and ‘time’.) Notice the accent sign over the notes for ‘rhythm’ and ‘time’. Ask the children how these affect the performance. (The performer emphasizes those words.)

time

• How does the ostinato phrase begin? (The second voice joins

bridge…)

• Try repeating the line vocally (whispered) as an accompaniment

the first voice on the last line of the poem and keeps repeating it while the first voice starts the poem from the beginning again.) to the poem. Experiment with adding body percussion, paying attention to the accented notes. The rhythm could be split between two sounds, eg tap knees on ‘feel the rhythm’; tap finger in palm on ‘of time’.

• Add instruments to the ostinato, eg shakers on ‘feel the rhythm’; drums on ‘of time’.

Teaching tip: ensure that the children are comfortable with playing the ostinato on body percussion before adding instruments. Initially, ask a few confident children to play while the rest carry on with body percussion.

Hand on the bridge performance

1 / 1-2

Perform the poem in canon and add an ostinato accompaniment

• Display Hand on the bridge performance and listen again

Voice 1: chants the poem, joined on the last line by Voice 2: ‘feel the rhythm of time’ ostinato

Second time:

Voice 1: chants the poem, accompanied by Voice 2: ‘feel the rhythm of time’ ostinato

Third time:

to the performance audio. What do the children notice about the way the performance has been arranged? (The poem is performed three times with the vocal ostinato starting the second time through; a third voice joins in saying the poem the third time through; the third voice starts a bit behind the first voice.)

Explain that the voices are in canon, when they perform one behind the other like this.

• Practise chanting the poem in two groups, starting one after the

other. Support the groups by playing a steady beat on tambour, or use Hand on the bridge backing audio.

Voice 1: chants the poem Voice 3: chants the poem, starting just after Voice 1;

• When this is secure, add the ostinato, ‘feel the rhythm of

time’, as an accompaniment. Decide how you will end, eg all together; ostinato continuing and fading. Perform the complete arrangement and evaluate it. Make changes if required.

Voice 2: ‘feel the rhythm of time’ ostinato

LESSON LEARNING

EXTENDED LEARNING

• Looking at music notation with reference to metre and accent • Building an extended performance piece from a poem • Using canon and ostinati as accompaniments • Paying attention to notation, accent, diminuendo and balance

Work in groups to make new arrangements of the poem. Encourage the groups to explore different combinations of voices, eg solo/group. Encourage them to explore using different vocal tone qualities as they did with the whispered ostinato.

Music Express Age 8-9 © 2014 HarperCollinsPublishers Ltd

First time:

3

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L E SS O N

Poetry

2

Musical focus: Performance Subject link: English

Write-a-rap rap

1 / 4-5

Learn the poem, Write-a-rap rap, by Tony Mitton

4

• Display Write-a-rap rap and ask the children to follow the text

as they listen to the Write-a-rap rap performance audio. Ask them if they could hear any instruments in the accompaniment.

(No. It is made up of vocal beatbox sounds and body percussion.) How many verses are there? (Six.) Are they all the same length? (No; verses 1 and 2 are short; verse 5 is much longer.) How are the verses separated musically? (There are beatbox and body percussion sections between them.)

Hey, everybody, let’s write a rap.

First there’s a rhythm you’ll need to clap (tap clap tap tap clap, tap clap tap tap clap)

Keep that rhythm and stay in time, ‘cause a rap needs rhythm and a good strong rhyme. (tap clap tap tap clap, tap clap tap tap clap)

• Using the Write-a-rap rap performance audio, learn the poem.

Pay close attention to the rhythm patterns of the words and the ‘tap clap, tap tap clap’ body percussion to ensure that the group performs tightly in unison.

Teaching tip: the children will probably be very familiar with rap music but it is rarely performed with more than one ‘rapper’ speaking the lines at any one time so attention will need to be given to chanting in exactly the same rhythm when performing a rap as a large group.

The rhyme keeps coming in the very same place…

Beatbox rhythms

000-000 4

Learn a beatbox accompaniment to a rap

Beatbox group 1 b

k

• Watch the Beatbox movie demonstrations of how to make these four vocal sounds, which imitate parts of a drum kit: – b is the bass drum/kick drum sound; – k is the snare drum rim shot; – ts is the closed hi-hat cymbals; – tsss is the open hi-hat cymbals.

Beatbox group 2

bb k

ts ts ts ts, ts ts ts tsss

• In two groups, combine the patterns to accompany the rap: – group 1: performs the bass and snare drum patterns; – group 2: performs the closed and open hi-hat pattern.

• Which of the two patterns matches the tap-clap pattern? (The bass and snare.) All practise combining the body percussion with the bass and snare drum pattern.

Teaching tip: some of the children may be quite expert at beatboxing but may use slightly different sounds and techniques. You may decide to let them teach the class their version instead. There are more opportunities to practise beatboxing in the Sounds unit.

Write-a-rap rap performance

1 / 4-5

Record a complete performance of Write-a-rap rap

4

• Rehearse a complete performance of the poem in groups: – beatbox groups 1 and 2: group 1 begins and is joined by group 2;

– all: perform the ‘tap clap tap tap clap’ pattern x 2 between each verse and to accompany verse 6.

It’s a rap,

rap,

rap,

rap

RAP!

Ensure that the beatbox group maintains a steady tempo: support them by tapping a steady beat on tambour, or play the backing audio. Encourage the children to move to or step to the beat while they perform.

• Perform and record the complete rap. Listen back and evaluate

where improvements can be made. Did the groups keep in time with each other? Was the ending effective – did everyone stop together?

LESSON LEARNING

EXTENDED LEARNING

• Using beatbox techniques to imitate the sound of a drum kit • Performing a rap with a vocal beatbox accompaniment

Explore beatbox rhythm accompaniments to some of the other strongly rhythmic poems the children are learning.

Music Express Age 8-9 © 2014 HarperCollinsPublishers Ltd

– rap group: perform in unison or in smaller groups, taking turns to perform a verse each. Verse 5 would work well performed by up to eight solo rappers taking one line each;

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L E SS O N

Poetry

3

Musical focus: Performance Subject link: English

From a railway carriage

1 / 6-7

Read and discuss the poem, From a railway carriage,

by Robert Louis Stevenson

• Display and listen to From a railway carriage performance audio.

• Ask the children to look closely at the text. What is the location and the theme of the poem. Notice how the writer uses the word rhythms to suggest the speed (tempo) of the train.

Faster than fairies, faster than witches, Bridges and houses, hedges and ditches; And charging along like troops in a battle, All through the meadows the horses and cattle…

• Learn the poem and say it or read it together to the backing audio.

Teaching tip: insist on clear diction and rhythmic accuracy. In this kind of ‘choral speaking’ it is essential that everyone keeps to exactly the same rhythm. If everyone interprets the lines in their own way the result will be muddled and unclear to the audience.

Train wheel rhythms

1 / 6, 8

Learn a vocal ostinato accompaniment to the poem

   

Paint - ed

a - long

What do the children notice about the vocal accompaniment?

(There is an introduction with a voice repeating the phrase ‘charging along’; this is repeated throughout; a second voice joins in halfway through with the phrase, ‘painted stations whistle by’.) What is a repeated rhythmic pattern called?

(Ostinato.)

   

sta

-

Charg-ing

tions whis

-

6

• Listen to From a railway carriage performance audio again.

         

Charg-ing

5

a - long

tle

• Display and listen to Train wheel rhythms teaching audio. Join in repeating the phrases individually as a whole group then divide into two groups to combine the two ostinati: – group 1: keep repeating ‘charging along’; – group 2: join in with ‘painted stations whistle by’; – swap groups.

by…

Teaching tip: children familiar with singing or playing independent parts should have no problem combining the parts. If they are less experienced it may take longer to gain confidence. It is easier to perform independent parts if the two groups are clearly separated – a left and right split is easier than a front-line, back-line separation.

From a railway carriage performance Combine the poem and ostinati in a performance

1 / 6-7

5-6

• Listen to From a railway carriage performance audio. Ask the

children if they can clearly hear all the words of the poem even though there are other voices in the performance. Ask them why they think the repeated lines did not drown out the poem. (They are spoken quietly – sotto voce.)

• Together, count how many times the two train wheel rhythms are

performed during the introduction and interlude. (Rhythm 1 is repeated four times as an introduction and interlude; rhythm 2 is repeated twice in the interlude.) How does the poem end? (All the voices stop together.)

• Invite a small group of percussion players to select two quiet,

contrasting instrumental sounds to play the ostinati. Rehearse the vocal and instrumental accompaniment together, taking care that they balance.

• Divide the children into three groups – two small groups for the accompaniment and a larger one to chant the poem – and rehearse a complete performance.

LESSON LEARNING

EXTENDED LEARNING

• Performing a poem with rhythmic accuracy (choral speaking) • Devising a rhythmic accompaniment based on repeated text fragments • Balancing voices in a performance

The performance of the poem could be further extended by breaking it into four stanzas of four lines each, and adding two interludes using train-wheel rhythms taken from the text (or other patterns developed form sounds such as hissing or whooshing).

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