A warm welcome to this issue from Dr Liz Stafford.
NAVIGATINGTHEMUSIC CURRICULUM 06.
How specialists can help generalists teach the curriculum with confidence.
11. EXCELLENCEINEARLY EDUCATION
Top tips for teaching tinies!
19.
MAJORDILEMMA
What’s the best way to teach a C Major scale?
SINGASONGOFSIXES
Advice for keeping boys singing.
PERFECTPARTNERS
How to find the ideal curriculum scheme for your school. 36.
YOUDON’THAVETO WRITEASYMPHONY
Advice for those taking over as Music Lead in a primary school
ROCKINGRECORDER
Can you play Rock music on the recorder?
Introducing the Primary Music in Conversation podcast. 26.
F R O M T H E E D I T O R
Welcome to our Summer 2025 issue! As ever, we have a great mix of features written by teachers just like you! Whether you’re considering which curriculum scheme to invest in, how to support non-specialist colleagues, strategies for keeping boys singing, or even how best to teach the major scale, you’ll find all this and more amongst our pages.
I’d like to express my thanks to everyone who responded to the plea in our last issue following the Issuu price hike. I’m delighted to say that through your collective efforts, the magazine is back on budget and better than ever!
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As ever, we are really grateful for your support to help us continue to produce a magazine that is free to read for teachers all around the world.
Navigating the music curriculum
Richard Bushby discusses how specialists can help generalists to teach music with confidence
I’ve spent years working with primary schools across the UK, witnessing first-hand how powerful music can be in a child’s development. Yet I also know how daunting it can be for nonspecialist teachers (and even for some specialists!) to navigate the curriculum confidently.
When non-specialists are supported effectively in delivering music education, the difference in both the teacher and their pupils is truly remarkable. That’s what I want to explore in this article: how specialists can help non-specialists find their footing, develop confidence and deliver lessons that ignite children’s love for music.
Delivering the KS1 and KS2 National Curriculum brings its own set of unique opportunities and challenges for anybody teaching music in the classroom. For specialist music teachers, the National Curriculum provides a flexible framework that allows for progressive music lessons, encouraging exploration and musical advancement. It offers the opportunity to be creative and tailor lessons, whilst being confident they’re meeting national standards. For non-specialists, it is, at least at face value, accessible and inclusive, meaning teachers with little or no musical experience can deliver music lessons that cover the essentials. Using voices expressively? Listening
with attention to detail? That should be relatively straightforward, right? Of course, we know it isn’t.
For generalist primary teachers with minimal training in the subject, there are numerous and all too familiar challenges. Busy timetables can mean music gets squeezed out, and finding time and budget for proper music teacher training isn’t easy. On top of that, there are so many digital tools and schemes out there that it’s hard to know which ones are most suitable for their needs or where to even start.
Teachers, generalist or otherwise, don’t want to teach the ‘bare minimum’ when it comes to music, or any other subject for that matter. They want to deliver enriching music lessons that keep pupils engaged, all within clear and structured progression routes, designed to inspire each pupil to achieve their full potential. So what can we do to support non-specialists to achieve this?
From my perspective, one of the most powerful ways we, as specialists, can support nonspecialists is through honest, tailored guidance. It’s not about overwhelming our peers with theory, but helping them see how accessible and fun teaching music can be when approached with the right tools and mindset. After all, in over two thirds of the primary schools visited by Ofsted during their Striking the Right Note: The Music Subject Report, the curriculum was being delivered mainly by non-specialist teachers.
So, how can specialists provide expertise and support non-music specialists? How can we share our ability to deliver inspirational and engaging music lessons so more children are inspired to develop a long-term love for the subject?
Demystify digital tools
Most schools have access to digital schemes and resources, but knowing how to use them effectively is key. I always suggest guiding teachers through these tools step-by-stepperhaps by co-teaching a lesson that incorporates one - and then encouraging them to try it themselves. It’s about building confidence, not just knowledge; once a non-specialist has worked out a couple of lesson plans using these tools, they will find themselves more comfortable fitting them into lesson planning.
Involve your local hub
Specialists are expertly placed to support non-specialists to leverage the wide range of resources, services, training and development programmes, networking and mentoring, and other support opportunities offered by their local music hub. These can then be tailored to the needs of the school and take on board factors such as available provision and budget. Encouraging collaboration with local music hubs can really help to elevate provision and bring a buzz and excitement about music into school. And, of course, increased interest or engagement with music in schools is great for hubs, so it’s mutually beneficial.
Encourage a whole-school approach
In my experience, the best way to embed music more deeply into school life is through collaboration. Specialists should lead and encourage peer to peer sharing of tips and challenges to bring the whole school on a journey that builds confidence to teach music. It’s about creating a culture where everyone feels they can contribute.
I’ve seen schools where the leadership team champions music, making it a visible part of development plans. That buy-in from leadership makes all the difference. As specialists, we need to advocate for this culture in schools - they need to see that music belongs to everyone.
Host hands-on workshops
For non-specialists, another challenge is they may not have had sufficient training to teach music beyond the basics. Music remains an unfamiliar concept with unfamiliar terminology. By breaking it down into fun, easy-to-teach activities, we can prove to non-specialists that teaching engaging, informative and fun music lessons is most definitely achievable.
An example of this is when a colleague and I visited a group of non-specialist teachers in Cornwall to deliver a training day. We started off by running an interactive Rocksteady band lesson, teaching them a basic, simplified version of Shotgun by George Ezra (a Rocksteady firm favourite!).
By stripping the song back, starting with the chords and breaking them down to the root notes - and then focusing on timing by playing the first note of the bar - we had unlocked a pop song as if by magic! Those teachers left with an understanding of the fundamentals of music that they could then relay back in the classroom. Even better, it was a modern, relevant pop song that their pupils would engage with!
I am a huge advocate for using relevant materials to teach music that children will recognise and likely be more inclined to engage with Of course, a wide range of musical genres, time periods and instruments should enrich the curriculum, but from personal experience, children will relate most to songs and pieces that are familiar and relevant to them and their life experience.
Provide practical assessment tools
Referring again to the Striking the Right Note report, it tells us that “leaders told us that they were unsure how to assess pupils in music”. For non-specialist teachers, assessing progression can, understandably, feel like venturing into uncharted territory when they don’t have a fundamental knowledge of music or the skills they are supposed to be assessing themselves. This is precisely where specialists can provide valuable insights and advice. Specialists should support non-specialists by showing what musical progress actually looks like in the classroom. By modelling how to listen in, spot
pupils’ strengths, and work out those next steps together, assessing their pupils’ progress becomes far more manageable.
This isn’t just about sharing expertise in core skills, but also equipping nonspecialist teachers with practical tools to remove the guesswork from assessment and build their confidence. Helping non-specialists to break down the key bullet points of the curriculum into observable skills makes the process of assessing progress far more manageable.
However music is assessed in primary schools, it’s important to remember that progress can look and feel different for every child. As specialists, we should reassure nonspecialists that it’s okay to focus on children’s personal growth and positive holistic outcomes over the pursuit of perfection.
As a former music teacher, and in my current role as Head of Curriculum and Teaching Standards at Rocksteady, I understand the challenges of delivering genuinely inclusive and engaging whole-class music lessons that encourage progression and foster creativity. But when it’s done successfully the rewards are immense.
To see the impact on a child or young person when a musical concept clicks - when they suddenly realise this isn’t a scary subject to be feared - is incredibly powerful. Or when a pupil who once insisted they don’t do music tells you they’ve asked for a
guitar or keyboard because they want to play more at home. Music is now their thing! It’s moments like these, which as educators we have all experienced, that highlight why it’s so important children receive considered, progressive music lessons to keep them engaged.
This is only possible when everyone teaching music feels confident and equipped to navigate the curriculum and bring it to life. This comes from honest reflection, understanding available support, and knowing when to seek help. That’s why a proactive, collaborative relationship between specialists and non-specialists is so important.
We all want as many children as possible to love learning music, because we know the benefits can be life-changing. Music as a subject can be a powerful leveller for children who struggle in other areas of school. It has a unique place in the curriculum to amplify children’s selfbelief and instil a sense of belonging. That’s why specialists and nonspecialists have a role to play, ensuring music is taught in a way that encourages progress, ignites passion and inspires children to want to keep learning for as long as possible – no matter who teaches it.
Richard Bushby is Head of Curriculum and Teaching Standards at Rocksteady Music School.
Excellence in Early Education
Dr Liz Stafford shares her top tips for teaching tinies!
Music is a powerful tool for supporting early development in children, particularly in the crucial early years between the ages of three and five. During this period, children are naturally curious, imaginative, and eager to explore the world around them. Here are some practical and effective strategies for introducing and teaching music to young children in this age group.
Create a music-rich environment
The first step to embedding music in the early years is creating an environment where music is naturally part of daily life. This does not require a specialist music room—just a thoughtful selection of resources and opportunities for exploration. Include a range of instruments (both tuned and untuned), scarves or ribbons for movement, and recorded
music from diverse genres and cultures. Having instruments easily accessible allows children to explore sound independently, as well as during more formal taught activities.
Follow the children’s lead
At this age, child-led learning is essential. Music activities should be playful and responsive rather than overly structured. Pay attention to the sounds children are naturally drawn to — banging on a drum, humming a familiar tune, or making up their own songs. Use these moments as opportunities to engage and extend their musical thinking. If a child starts tapping a rhythm, join in and repeat it back. If a group begins singing a nursery rhyme, explore how it might sound if sung slowly, loudly, or accompanied by movement.
Incorporate singing daily
Singing is one of the most accessible and effective ways to introduce musical concepts. Songs help children develop listening and memory skills, improve their vocabulary, and build confidence. In the EYFS setting, singing can be woven into all parts of the day— greeting songs in the morning, tidyup songs, transition songs between activities, and lullabies for calm time.
Choose songs with repetitive patterns, clear melodies, and actions that support understanding. Traditional nursery rhymes are a great place to start, but do not be afraid to introduce new songs, particularly those that reflect different cultures and languages.
Promote movement and expression
Music is inherently physical for young children. They experience rhythm and pulse through movement long before they can express it in words. Incorporate dancing, marching, clapping, and body percussion to help children internalise musical elements like tempo and dynamics. Use scarves, hoops, or streamers to help children interpret music through expressive movement, and allow for freedom in how they choose to move to the beat. This type of active participation supports not only musical development but also gross motor skills and coordination — key areas of the EYFS curriculum.
Use stories and imagination
Linking music to stories and imaginative play is a powerful way to deepen engagement. Many songs naturally tell stories, and you can build on this by creating musical soundscapes or using instruments to add sound effects to familiar tales. Encourage children to invent their own songs as part of role play or storytelling activities, helping them to see music as a form of creative expression.
Introduce musical concepts
While it’s important not to overwhelm children with formal terminology, foundational musical concepts can be introduced playfully. For example: Use high and low voices or instruments (pitch); clap along to syllables in names or stories (rhythm); play ‘fast and slow’ games with marching or dancing (tempo).
Inclusion and Accessiblity
Not every child will immediately gravitate towards music, so offer different entry points. Some may prefer listening to recorded music, while others enjoy creating their own sounds or moving to music. Be mindful of children with additional needs; some may be sensitive to noise or overstimulated by large group singing. Offer quiet musical spaces or one-to-one sessions when appropriate, and ensure a range of instruments and approaches to support and encourage all children.
Wider community collaboration
Children benefit when their musical learning is reinforced at home and in the wider community. Share songs with families so children can sing them at home, and invite parents or local musicians into the setting to share music from their cultures or backgrounds. Celebrating musical events or festivals also offers rich opportunities to connect learning with real-world experiences.
Teaching music to early years children is not about producing mini maestros. It’s about nurturing a lifelong love for music and supporting children’s holistic development through joyful, engaging experiences. By embracing play, movement, and creativity, educators can make music an integral and inclusive part of the early years journey, laying the foundation for confident, expressive, and curious musical learners
Dr Liz Stafford is editor of Primary Music Magazine, Director of Music Education Solutions, and author of The Primary Music Leader’s Handbook.
Major dilemma
Sean Tait explores the best way to teach a C-major scale
The names Kodály and Orff are synonymous with music education and the theories of both educators are used in music classrooms around the world.
Zoltán Kodály was a Hungarian educator and composer who came to prominence working with the famous composer Béla Bartók. His theories on music education are centred around singing and rote learning folk/children’s songs before moving on to notation/dictation, hand signing whilst singing the solfege syllables (originally created in England by John Curwen) and using rhythm duration syllables to assist in memorising and notating music (originally created in France by Jacques Chevé).
Kodály synthesised many existing systems and created a teacher training programme that is still very influential in music schools today.
Carl Orff was a German educator and composer whose education system is based on rhythm, movement and playing various untuned and tuned percussion instruments. Starting with untuned percussion and rhythm, the student progresses to tuned percussion and improvising, until finally being able to create their own compositions using the tools they have learned. There is an emphasis on playing and performing on instruments throughout the Orff system as opposed to signing and notation for the Kodály method
I had been working with a Year One class at an International School in Japan for approximately a year. We had been using several methods of singing and reading the C Major Scale drawn from Kodaly and Orff, and I was curious to investigate which methods the children themselves felt were most effective.
During regular class time, students could confidently demonstrate their ability with the C Major Scale whilst comfortably in their Zone of Proximal Development. Taking cues from peers and teacher, they could sing, hand sign, and play the C Major Scale on various instruments. This research project was designed to explore the possibility of removing those scaffolds and evaluating the understanding of students via recall and performance.
I organised a series of individual interviews where students could demonstrate the C Major Scale using Curwen Hand Signs, recall of various notational schemes, and by playing on instruments. I collected feedback on which method they felt had been the most effective, and their opinion on why.
A great deal of the question/answer and demonstration sessions produced results in line with my expectations, but their opinions and insight into why they were able to display understanding from the different methods was not as I had anticipated.
Research Questions and Tasks:
Kodály: Recall, singing and hand signing.
1. Starting on Do please sing an octave to the next Do using the hand signs as well
2. Starting on C please sing an octave to the next C using the hand signs as well
3. Starting on 1 please sing an octave to 8 using the hand signs as well
4. Starting on Red please sing an octave to the next Red using the hand signs as well
5. What is another name for Yellow?
6. What is another name for Ti?
7. What is another name for 4?
8. What is another name for G?
Qualitative Question 1 – Which method did you find the easiest to remember and why did you think this was the case?
Qualitative Question 2 – Which method did you like the best and why did you think this was the case?
Orff: Instrumental performance
1. Play the C Major scale on the Xylophone. Play Red, F, 7 and then La. 2. Play the C Major scale on the Desk Bells. Play Red, F, 7 and then La.
3. Play the C Major scale on the iPad using the Prodigies Bell App. Play Red, F, 7 and then La.
Qualitative Question 1 – Which instrument did you find the easiest to play and why did you think this was the case?
Qualitative Question 2 – Which instrument did you like to play the best and why did you think this was the case?
All interviewees were confidently able to demonstrate the C Major Scale with the Curwen Hand Signs, Solfege (Do, Rei, Mi, Fa, So, La, Ti, Do), Numeral Notation (1, 2, 3, 4, 5, 6, 7, 8), and Colour Coding (Red, Orange, Yellow, Green, Teal, Purple, Pink and Red). There was some hesitancy for the Letter Names (C, D, E, F, G, A, B, C) from two of the students, but both were able to slowly work their way through. I had anticipated this could be the most difficult as it was not designed to be as easy to remember as the others, and we had only just started talking about this notation in class. The Solfege system is widely used in Japan, making this more familiar and therefore more easily demonstrated by the students, and the numbering system and colour coding were both designed to be child friendly.
Moving on to the next section, all students were able to successfully demonstrate the ability to change between the notation systems. In music classes we often talked about how there are several words for the same object; for example, there are many ways to articulate ‘apple’ if we use different languages. We had explored that this concept also applies to music as it is basically another language. This meant that students were comfortable with there being several names for the same note/pitch. Some of the changes were a little more difficult than others, but the students were able to navigate this by themselves using the Curwen Hand Signs, Solfege and/or Number Notation.
All the students agreed that Number Notation was the easiest to remember as they were “just numbers and easy” (Student T), and there was a consensus that Letter Names were the hardest “because they should start at A and not C, because that’s hard to remember” (Student H). All students agreed that “starting at C was ok” (Student T), but then having to remember “there is no H, so we go back to A” (Student K) was not the easiest thing to remember. The participants also expressed they liked Colour Coding best because it was fun and assigning colours “felt like they were playing a rainbow” (Student L). None of them mentioned Solfege or the Curwen Hand Signs as being particularly easy or difficult, but all defaulted to them when trying to work out another name for notes.
All interviewees were excited to play on instruments and showed an enthusiasm and confidence when using all three of the instruments available. Each participant was able to proficiently play the C Major Scale and change between the notation systems more quickly and accurately than they could with hand signing and singing. Having the instruments really helped participants to focus and there were minimal hesitations and self-corrections when changing between the notation systems. Letter Name recall/demonstration was still the slowest, but these were performed much more confidently than without the support of the physical instruments.
All students agreed that the iPads were the easiest to play as they required the least effort. They also stated, “it was easy to play fast” (Student T) on the iPads and to “think about rhythm more” (Student K). Due to the ease of physically playing the iPad they were able to concentrate on the notation and timing. However, they all chose either the detachable xylophone or the desk bells as their preferred instrument as they “were fun to play” (Student H), “easy to make louder” (Student T) and “were real instruments” (Student L).
Implications & conclusions
The interview project was aimed at seeing which methods were modelled correctly to inform both teaching practice and preparation, and to gain an understanding of opinions regarding which methods they thought made the learning process easier and more engaging.
All students were able to use the four methods of notation (Solfege, Letter Names, Numbers and Colours) for the C Major Scale whilst singing and hand signing, with the letters proving the most difficult. As previously stated, I contend this was due to letter names being the least child friendly notation and the method we had only recently started in class. I was impressed that interviewees could work their way through the scale by referring to different notation and/or hand signs. This showed an understanding of the interchangeability of the different approaches and students were able to correctly correlate a known system with one they were not as
confident with to produce the required answer. Although students took longer on letter names, all were able to work through the scale using other notation for support, rather than relying on a more confident peer or the teacher.
It was interesting and informative to hear that all students surveyed preferred Number Notation. I had predicted Solfege would be the most popular as it is commonly used throughout Japan, but each student stated they found numbers were the easiest to remember. The participants also defaulted to numbers and/or hand signs when trying to work out alternative names for notes, which indicated this may be the easiest for students to converse in. It was also interesting that all students stated they liked Colour Notation the best. I had not expected a consensus on the qualitative questions, but the fact there was clearly indicated patterns and preferences in the students’ preferred method of learning and understanding.
Once each student switched to the use of instruments, they were much more confident in demonstrating the various methods of notation and were also able to interchange between notation with greater ease. It became apparent they were often using Numbers to move around the instruments when changing between notations. I had expected that having the instruments would aid notation memory and students demonstrated that this was the case, being able to
recall quicker on all three of the instruments (detachable xylophones, desk bells, and iPads) than they were with singing and hand signs. Students also displayed more facility with alternating notations, which indicated that having an instrument allowed the students to demonstrate their understanding more fluidly than they were able to vocally or with hand signs.
I had expected iPads to be the most popular, but not for the reasons expressed by the students. I had not considered the effort and coordination that was needed to play the detachable xylophones and desk bells, and the students stated they were able to concentrate on the notes and rhythm on the iPads rather than the physicality of playing the instruments. The ease of playing the iPad app allowed them to focus on other musical concepts, and this was something I would take into consideration when planning future lessons.
Before conducting the interviews, I knew the students could demonstrate their understanding using singing, hand signs and instruments in a group situation where they were firmly in their Zone of Proximal Development. During the individual interviews the scaffolding
was removed, and each interviewee demonstrated the ability to recall and play the C Major Scale via various methods.
Our regular classes had focused on several notations, and the students were able to switch between these as needed and reference other methods to enhance their performance. As much of the learning that takes place in classes is informal, it was very useful to see that these concepts had been internalised and could be demonstrated via performance in a formal situation.
Due to the space limitations and lack of instruments, I had to rely on technology to help in teaching and performing. Whilst I had expected students to state they enjoyed making music with the iPads, I was intrigued to learn this was due to the ease of playing these as an instrument. My belief that a mixture of singing, hand signs and instruments (which in turn is a mix of guiding principles of Orff and Kodály music teaching) is an effective teaching method was reinforced; however, moving forward I am incorporating more technology into my lessons – not for its novelty value, but as a valid method of performing and learning.
Sean Tait is the the K–6 PYP Music teacher at AOBA-Japan International School.
Sing a song of sixes
Dr Liz Stafford offers advice for keeping boys singing
As boys enter Year 6 at the age of 10, a unique set of developmental changes begins to take shape physically, emotionally, and socially. This transitional age presents specific challenges when it comes to singing, especially for boys. With the looming presence of secondary school, shifting peer dynamics, and the first signs of vocal change, many boys begin to lose interest in singing, even if they once enjoyed it.
However, Year 6 is also a crucial window of opportunity. With the right environment, repertoire, and encouragement, boys can continue to sing confidently and benefit from the many rewards that music brings.
Singing helps improve confidence, emotional expression, group collaboration, and wellbeing, all of which are essential components in preparing for the transition to secondary school. So how can we as teachers keep boys singing during this pivotal stage?
Boys in Year 6 are especially sensitive to peer approval. If singing is seen as “uncool” or overly associated with younger children, many boys will distance themselves from it. Therefore, the first step is to build a classroom and school culture where singing is normal, valued, and inclusive.
Avoid singling out boys or separating them unnecessarily from girls, unless they request it. Instead, model enthusiastic singing as a class activity, include singing across the curriculum (not just in music lessons), and celebrate progress over perfection. Encourage all staff, especially male teachers, to sing with pupils and be seen enjoying it.
Music selection is key. At this age, boys are becoming more discerning in their musical tastes and may be reluctant to sing songs they view as childish or irrelevant. To keep them engaged, choose songs with contemporary appeal, and with neutral rather than emotional lyrics. Songs in other languages can be great for this! Avoid songs that may feel too “young” or those that unintentionally carry gendered assumptions. And always test the water by playing examples and seeing how pupils respond before committing to repertoire that is going to cause you problems!
For some boys, vocal change begins in Year 6, although the most noticeable changes usually happen later. This stage is often marked by subtle shifts in vocal range and stamina. If not handled with understanding, boys may grow selfconscious or stop singing altogether. Reassure boys that voice change is natural and different for everyone. Where possible, expose them to role models (e.g., older boys or professional singers) who sing confidently during or after voice change.
Highlight stories of male singers from diverse backgrounds, including those who defy stereotypes — footballers who sing, singers from different cultures, or men in musical theatre. Showing the breadth of what “a singer” can look like helps dismantle limiting beliefs. This helps boys understand that singing is for everyone!
Empowering boys to take charge of their musical experiences helps sustain motivation. Give them choice over what they sing, how they sing it, or how songs are arranged. Involving them in selecting repertoire, creating harmonies, or choreographing movements boosts ownership and engagement. Creating a strong group identity, such as a Year 6 choir or vocal group with its own name, Tshirts, or special events, can also help boys feel proud to belong to something meaningful.
If you have the resources, invite boys to try beatboxing, vocal effects, or solo sections if they feel ready. Offer positive feedback and set up opportunities for low-stakes performances where the emphasis is on fun and progress rather than critique. Additionally, incorporate group work where boys can practise together without fear of embarrassment in front of the whole class.
Keep the focus on effort, enjoyment, and improvement rather than technical perfection. Praise boys for their bravery in trying something new, and celebrate the group’s
overall progress regularly. A short end-of-term sharing session, certificate, or group reflection can go a long way in reinforcing positive experiences.
Peer encouragement also makes a huge difference. Encourage a classroom ethos where students are taught to support each other, and use team-based activities to foster cooperation and shared success. Use your behaviour policy to make sure it is always more embarrasing to be the person who makes fun of other people’s singing than it is to be the person who gets teased for singing!
Year 6 boys often respond well to activities that have clear, meaningful goals. Link singing to real-world outcomes such as performances for the school community, fundraising events, or digital recordings. Whether it’s preparing for a leavers’ assembly, a talent show, or a collaborative project with a local choir or secondary school, having a purpose brings motivation.
When teachers create a supportive, inclusive, and vibrant musical environment, boys can continue to sing with confidence—developing not only musical skills but also resilience, self-expression, and joy. The aim isn’t just to keep them singing now, but to lay a foundation that will carry their voices forward into adolescence and beyond.
Not every boy will want to stand front and centre, and that’s okay. The key is ensuring that every child feels they have a valued place in the musical experience. At this turning point in their development, boys are forming their identities, grappling with social expectations, and beginning to experience physical changes. Yet they also remain full of energy, humour, and potential.
Dr Liz Stafford is editor of Primary Music Magazine, Director of Music Education Solutions, and author of The Primary Music Leader’s Handbook.
SINGING, LAUGHTER, FRIENDSHIP, FUN & JOY
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How to find the ideal curriculum scheme for your school
With the increasing emphasis on delivering a broad and balanced curriculum in primary schools, music education has once again come into the spotlight. For many schools— especially those without a specialist music teacher— commercially produced music schemes offer an accessible way to provide structured, progressive music lessons across all year groups.
But with multiple schemes available, each promising curriculum coverage, engagement, and ease of use, how do you decide which one is right for your school?
Here are key factors to consider when choosing a music curriculum scheme that will work for your school’s context, staff confidence, and pupils’ needs.
First and foremost, ensure that the scheme is aligned with the National Curriculum for Music. Look for schemes that clearly map out curriculum links and progression, offer long-term and medium-term plans across KS1 and KS2, and integrate performing, listening, and composing & improvising across each year group.
Schemes that provide a visible progression of musical skills, vocabulary, and understanding from EYFS through to Year 6 will support whole-school consistency.
Any chosen scheme must be userfriendly and confidence-building. Is the interface easy to navigate? Are there video tutorials, backing tracks, and examples to support teaching? Do the lessons include detailed step-
by-step guidance? Are there flexible options for adapting lessons to suit different classroom situations or teacher experience? Schemes that offer clear, structured lessons with supporting media can make all the difference to teacher confidence and lesson quality.
A strong music scheme should expose children to a wide range of musical genres, cultures, and traditions. This supports the National Curriculum aim of developing a love of music while also promoting cultural capital. Some questions worth asking are: Does the scheme include diverse musical examples from around the world? Is there a balance between modern and classical music? Are the songs ageappropriate, varied, and engaging? Does the scheme include opportunities to explore both tuned and untuned instruments? Variety in repertoire ensures that all pupils find something they connect with, while also broadening their musical horizons.
Good curriculum design includes not only what to teach but also how to know if it’s being learned. Assessment in primary music should be manageable and meaningful. Look for schemes that offer clear learning objectives and outcomes for each unit, include formative assessment ideas or simple tracking tools, and allow for reflection, peer feedback, and opportunities to revisit and consolidate key skills. Some schemes include end-of-unit performance tasks or optional summative
assessments that make it easier to report on progress without excessive workload.
Music should be accessible to all children, regardless of ability or background. The scheme you choose should offer adaptations for pupils with SEND, include a range of entry points for different abilities, and encourage inclusive participation, especially for children who may lack confidence in performing. Consider whether the scheme also provides resources for EAL learners or includes accessible notation formats (e.g. graphic scores or colour-coded notation).
Budgets are tight in most schools, so cost is a practical consideration. When comparing schemes, check what the licence includes (e.g. wholeschool access, CPD, updates), consider whether it’s a one-off fee or an annual subscription and be sure to ask whether the cost includes extras like instrumental schemes, singing assemblies, or digital tools. Some platforms also provide free trials or sample units — take advantage of these to explore content before committing.
A good scheme should support teacher development as well as pupil progress. Investigate whether the scheme includes: online or in-person training opportunities, ongoing support (e.g. forums, helpdesks, or CPD webinars) and materials for subject leaders to support monitoring and development. Schemes that invest in teacher
learning help create a stronger, more sustainable music offer across the school.
Finally, think beyond the classroom. A scheme is most effective when it supports your school’s wider vision for music. Does it support wholeschool singing or performance opportunities? Can it be linked with peripatetic instrumental lessons or extra-curricular music? Will it prepare pupils for further musical engagement at secondary level?
Choosing the right music curriculum scheme isn’t just about finding the “best” platform — it’s about finding the best fit for your school.
Take the time to explore different options, involve staff in the decisionmaking process, and consider your school's unique needs and ambitions. With the right tools in place, every primary teacher can feel confident in delivering high-quality music education and every child can find joy in making music.
When I first stepped into the role of music lead at our primary school, I’ll admit—there was a flicker of panic. The expectation, real or imagined, loomed large: would I be expected to compose a musical masterpiece from scratch? Could I sustain and develop a culture that already hummed with life?
But then I remembered something that my own music teacher had said to me many years before: you don’t have to write a symphony. Sometimes, a series of little bagatelles—a collection of small, playful, and heartfelt pieces—is all it takes to create something meaningful.
Our school’s musical journey has never relied on grand overtures or virtuoso solos. Instead, it has grown through small, deliberate moments,
often built in partnership with others who share our belief in the power of music. These moments, like bagatelles, may seem modest on their own—but together, they form a rich, ongoing composition that defines our musical experience and culture.
One of our most transformative collaborations has been with i-Rock, whose contemporary band sessions have struck a powerful chord with our children. Their hands-on, engaging approach has helped children explore instruments in a modern, relatable context. More than that, it has allowed them to feel the thrill of performing in a group. For
many of our children, it has lit a spark, showing them that music isn’t just something to listen to, but something they can actively create.
In a different, but equally musical overture, our involvement with ENO’s Finish This programme has nurtured the creative composer within our older pupils. By inviting them to finish a piece started by a professional opera composer, this initiative has stretched their musical imagination and given them real ownership over their artistic choices.
We’ve also found solid footing through our membership with Music Mark, which has helped reinforce music as an integral part of our curriculum and community. Their resources, guidance, and the support from them and our local music hub have made it easier to offer highquality musical experiences throughout the year.
Beyond these partnerships, a key part of embedding music across our school has been bringing colleagues on board. Collaboration has been essential—working together to make music a natural and enjoyable part of school life. We’ve explored many ways to support staff and integrate music creatively into different aspects of the curriculum.
One such initiative is our ‘Composer of the Term’ program, which introduces the entire school—from our youngest children to our oldest— to a different composer each term. This has helped build musical
knowledge and appreciation across year groups. Teachers weave the composer’s work into lessons, discussions, and even use it as background music during independent tasks, giving students regular, meaningful exposure to a wide range of musical styles.
We’ve also embraced themed assemblies, where music plays a central role in reinforcing school values and learning. Whether linking songs to historical events, cultural celebrations, or values like resilience and kindness, these assemblies create shared, memorable experiences that bring the school community together through song.
In the classroom, cross-curricular projects have been another powerful tool for relevance and engagement. We’ve brought music into subjects like history, literacy, and science— singing about the battle between white blood cells and viruses or using rhythm and chant to support times tables during TT Rockstars sessions. These moments help children view music not as a standalone subject, but as a vibrant tool for learning and understanding the world.
Even outside the structure of lessons, we’ve worked to cultivate a musical atmosphere throughout the school day. Playing music during break times, encouraging spontaneous singing, and using songs as transitions between activities may seem small—but these everyday choices have had a big impact on making music feel joyful, natural, and ever-present.
Taken together, these efforts mean that music is not a once-a-week subject or an annual production — it’s part of the everyday rhythm of school life. Our children sing while they work, compose in the classroom, perform for their peers, and experience the joy of self-expression through sound. We haven’t aimed to build a concert hall; we’ve created a music-filled playground.
So, to anyone stepping into the music lead role and feeling overwhelmed, I say this: don’t worry about orchestrating a symphony. Focus on the bagatelles—the little steps, joyful experiments, and shared experiences. Piece by piece, they will create something beautiful. And if you listen closely, you’ll realise that you are composing something after all— something that lasts.
Marc Danton is Assessment Lead and Music Curriculum Subject Lead at White Cliffs Primary & Nursery School in Kent.
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Hitting the AI notes
Dr Liz Stafford explores the benefits and disadvantages of AI in music teaching, with a little help from everybody’s favourite robot
Discussions about the impact of AI are making waves across every sector at the moment, and education is no exception. Many governments are pinning their hopes on AI being the tool that both finally solves teacher workload crisis and stablises school budgets, but there is currently resistance and sceptisism from schools, teachers, and parents to a vision of the future where AI plays a central role in our education system.
As a ‘creator’ of content, I have my own conflicted views about AI. I see the potential but also the risks to creatives and creators as more tools are released which can replicate our work. As an educator I also worry about the lack of human touch and care in AI, the potential for misinformation and bias (particularly against women, as highlighted in Laura Bates’ excellent book The New Age of Sexism), and also the effect on reflective practice and teacher skill
set if these tools are used to ‘do the thinking for us.’ On the other hand, I already use many AI tools to save myself time for administrative tasks of the sort that take up far too much of busy teachers’ time.
Faced with a quandary within my own thinking about AI, I needed some more input to prepare for this article. So I turned, inevitably, to Chat GPT.
What follows in italics is AI’s thoughts on how AI can support or hinder music teaching. Hold my hand as we step inside the Matrix...
In today’s ever-evolving educational landscape, artificial intelligence (AI) is making inroads into classrooms across the globe — and music teaching is no exception. For primary school teachers, many of whom are not music specialists, AI tools promise to support and simplify the delivery of music education.
Benefits of AI in Music Education:
One of the most significant advantages AI offers is support for teachers who may lack formal musical training. With AI-powered lesson planning tools, composition apps, and virtual instruments, generalist teachers can confidently deliver engaging and structured music lessons.
AI can tailor musical experiences to suit the needs of individual pupils. For example, apps that adjust the difficulty of rhythm or pitch exercises in real-time help ensure every child remains both challenged and encouraged — particularly valuable in classrooms with mixed ability levels.
Young children are naturally drawn to technology, and AI-powered music tools can captivate them in ways traditional methods may not. From interactive composing platforms to rhythm games with real-time feedback, these tools can boost enthusiasm and deepen musical understanding.
AI tools can offer real-time assessments, track pupil progress, and even provide automated feedback. This helps teachers manage large or lively classes more effectively, freeing up time to focus on creativity and classroom interaction.
Disadvantages and Cautions
While AI can replicate sounds and generate compositions, it cannot replicate the emotional nuance and creative spontaneity that lie at the heart of music. There is a danger that overreliance on technology might limit children's opportunities to express themselves through live performance, improvisation, and human interaction.
Not all schools have equal access to devices, high-speed internet, or funds for premium AI software. This digital divide can exacerbate inequalities in music education, leaving some pupils with fewer opportunities to explore music creatively.
AI-generated music content can sometimes lack cultural depth or nuance. Algorithms may favour Western classical norms or popular styles at the expense of global musical diversity. It’s important for teachers to be mindful of maintaining a rich and inclusive curriculum.
AI tools are most effective when used as part of a balanced approach. Teachers still need to guide interpretation, lead active listening, and cultivate collaborative performance. There is a risk that teachers unfamiliar with the technology may feel overwhelmed or overly reliant on digital solutions.
The best outcomes arise when AI is used to complement — not replace the teacher’s role. With thoughtful integration, AI can enhance music teaching by enriching learning experiences, building confidence among non-specialist teachers, and engaging pupils in new and exciting ways.
However, human creativity, emotional intelligence, and musical expression remain irreplaceable. For primary music education to truly flourish, AI should act as a helpful accompanist — not the conductor.
A couple of things struck me when reading through Chat GPT’s ‘thoughts’ on AI. One was that it presents a pretty balanced view, and a respect for human endeavour and the things that AI cannot replace. This gives me a comforting sense that our digital overlords are not planning to overthrow us anytime soon! Or perhaps they’re just lulling us into a false sense of security...?
The final thing that struck me was that the ‘disadvantages’ that it listed were the same issues that we know exist in music education already: availability of resources, lack of cultural diversity, teacher confidence and skill. It strikes me that if these issues already exist, then application of AI is by its own admission likely to compound these, not address them. Do we run the risk of creating a future where music teaching becomes less equitable and more variable in quality, but we don’t notice because we are blithely following the machine’s instructions?
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Rocking Recorder
Laura Brooke explores an unusual combination of instrument and genre!
My name is Laura, I work as a Music Teacher at a Primary School in Harare, Zimbabwe. I conducted a student questionnaire and I was surprised to learn from one of our Grade 2 students that they had an interest in Rock music. This student’s feedback gave me the intention to look at the genre of Rock music in our next Music Assembly. I had just recently acquired my old electric guitar that I had brought back to Zimbabwe from the UK. I thought it would be fun to surprise the school by bringing it in.
Last year our school received a wonderful donation of recorders from Drums for Schools in the UK. Before, I was teaching the recorder to a whole school of sixty children with only 1 recorder available. Thanks to Drums for Schools it meant a whole class now have access to their own instrument. My aim is to teach the recorder to more students and this is all thanks to the generosity of Drums for Schools. I wanted to act on this child expressing their interest in Rock music and combine it with learning the recorder, to open student’s minds on the possibility of playing more contemporary genres on traditional instruments.
In Assembly I played a recording of Eye of the Tiger by Survivor as it is considered an iconic rock song. I asked students to close their eyes, open their ears and just listen. After we listened to the recording, I asked all of the student’s questions about what they had heard. For example, what was the animal mentioned in the song? What instruments did you hear? One student put up their hand and said they heard drums, another said they heard a guitar. I asked if anyone knew what kind of guitar was playing in the song. Another student answered that it was an electric guitar and they could identify the track as Rock music. As a surprise, I had brought my own electric guitar from home to show to the school. The reaction was one of excitement as I’m sure that most of these students had never seen an electric guitar up close before.
I feel it is really important to give students access to as many different instruments and songs as possible to ignite a student’s passion for music. One of the challenges with living in Zimbabwe is accessibility. I selected a couple of students to stand at the front and invited them to strum the electric guitar as I worked the chords. As a whole school we sang a couple of our usual school songs using the electric guitar.
Laura
The next part of the lesson was using the recorder. As a group we revisited the notes B-A-G that we had learned previously. One of the Grade 2 students recalled all of these notes and was rewarded by being invited to the front to play the recorder. The student successfully managed to play B on the recorder, they needed some assistance sounding the notes A and G but they managed to produce these too which I hope gave the student a boost of confidence.
I then played the tune of The Eye of the Tiger on the recorder and asked the students to identify the song which was the recording we had heard at the beginning. I said how I would like to teach everyone to play this rock song on the recorder using BAG. Altogether students were asked to identify what fingers I was using to make each note, e.g. the first finger down is the note B. The notes for the song were written out on a whiteboard which goes like this B, BAB, BAB, BAG.
When you think of Rock music you don’t often think of the recorder. My aim for this lesson was to show that all music is within our reach. That music can be open to interpretation, it is open for experimentation, it is flexible and it is playful at all levels and right at our fingertips.
Brooke is a music teacher at Ladder of Learning School in Harare, Zimbabwe.
Earlier this month, the brand new Primary Music in Conversation podcast launched. With weekly episodes available on all major podcasting apps and YouTube between now and the UK summer holidays, this podcast champions the work of primary music subject leaders, giving them a platform to share the work that they do and inspire other schools with their journeys. Each episode shines a light on what is happening with music in primary schools across the UK, sharing both challenges and successes.
The idea for the podcast came to Music Education Solutions director Dr Liz Stafford due to growing frustration with the way that music in schools is being represented by music industry figures and arts professionals in the press. We hope that this new podcast will amplify the voices of real teachers in an arena where we are too often hearing the opinions of individuals who do not have secure knowledge of what is truly happening in music education.
A new voice for Primary Music
Introducing Primary Music in Conversation,
a new podcast from Music
Education Solutions
Season 1 features guests working in a variety of settings, from those where generalist class teachers teach their own music, to those using exclusively specialist provision, and everything inbetween! There are huge three form entry schools and tiny mixed-year group schools represented, all of whom have a wealth of experience to share.
We’re now looking towards Season 2 which we hope will air in the autumn. For this season we’re casting the net wider, and hoping to speak to teachers not just in the UK but also elsewhere in the world. To be considered as a guest you need to be the teacher who is currently responsible for music in your primary school; in the UK this would be the ‘Music Subject Leader’ role. If you would like to be considered as a guest, please contact us for more information.
Listen to Primary Music in Conversation wherever you get your podcasts, or watch on YouTube!
