The Tempest
Music Workshop
2
Contents
Page
The Song Tree Welcome 3-5
Programme 1 Rock The Ship 6
Programme 2 Set Me Free 7
Programme 3 Full Fathom Five 8
Programme 4 Toledo Steel 9
Programme 5 Barracuda 10
Programme 6 Brave New World 11
Programme 7 Spellbound 12
Programme 8 Sea Change 13
Programme 9 & 10 Performance: The Tempest 14
Words and music 15-47
Credits
Teacher’s notes: Alistair Salmond & Angel Scott Composer: David Chilton Song lyrics: Neil Richards and David Chilton
Producer: Ruth Chalmers Music set by: Andrew Hardy Teacher’s notes designed by:
Nick Redeyoff
Welcome to The Tempest…
A wizard, a mischievous sprite, a passing ship… and a storm so tempestuous it changes the lives of those who witness it forever.
Whatever your musical experience this teaching package can help you and your pupils enjoy music in the classroom.
We’ve written eight new songs and vocal coach Carrie Grant is here to teach them to you – one song per programme. Pupils should follow the words or words and music on the separate printouts. The styles range from rap to rock anthem to ballad and back…there’s an African flavour, lots of opportunity for percussion…and some very tongue-in-cheek romance. During Programmes 9 and 10, we invite you to sing all the songs again in a forty-minute ‘production’ of the show.
These programmes are available on pre-recorded CDs (for UK schools only) at cost price. Details can be found at the BBC School Radio website. However, the programmes are also available in the following ways:
Podcasts
Programmes can be downloaded in mp3 file format for 7 days following transmission. You can subscribe to the download by clicking on the podcast link available on the BBC School Radio website. The podcast is an effective way to acquire the series in a flexible, high-quality audio format… and without paying!
However, for copyright reasons, we are unable to include the listening music for this series within the podcasts.
For more information go to:
www.bbc.co.uk/schoolradio/podcasts.shtml
Audio on demand
The programmes are available as audio on demand, streamed over the internet, for 7 days following transmission. This service is best used to sample the programmes prior to ordering them on CD.
Freeview/digital cable/digital satellite
Most digital TV packages include Radio 4 Digital, making it possible to listen to School Radio through your TV! If you have Freeview, you can find Radio 4 Digital at Channel 74.
Programmes are easy to record off-air using a VHS recorder.
There is a free CD available which has full versions of all the songs – plus backing tracks, which you are free to use for school performances. If you would like a copy of the CD please write to us at:
BBC School Radio
Room MC3 D5 Media Centre 201 Wood Lane
London W12 7QT
Or email us at: [email protected]
On the following pages, there are guides to each programme.
We tell you what you’ll need to do before the programme begins, what to expect during it and loads of ideas for afterwards. As well as the imaginative musical exercises and further listening ideas, there are drama and literacy activities which give lovely insights into the play.
Music Workshop Age 9–11
4
MuSiC CurriCuluM PrOGrAMME liNKS FOllOW-uP
1. Controlling sounds: performing skills
a) Use of voice for speaking and singing 1: communicating a message 2: singing two-part harmony 3: vocal ad-libbing 4: singing two-part harmony 5: using different tones of voice
6: singing in two parts and communicating a message through expression 7: using different tones of voice and singing in 3 groups
8: communicating a message through expression, adding dynamics and changes of tempo
9: see Programmes 1-4 10: see Programmes 5-8
4: practise rap with keyboard backing 5: using different tones of voice
6: listening to changes of key: listening to further backing vocals and adding to song
7: focus on diction, breathing, expression and dynamics and work on coda 8: how to achieve a quality performance
b) Playing tuned/untuned instruments 1, 2, 5, 9 and10: adding instrumental accompaniments to songs 1: practise instrumental ending to song 2, 5 and 8: practise addition of instruments c) Practise, rehearse and perform Each programme ends with a performance of the featured song.
9 and 10: provide opportunity for performances of songs 1-4 and 5-8 respectively. 1-10: practise to improve diction and singing together 7-10: practise to improve performance and to memorise lyrics 2. Creating and developing musical ideas: composing skills
a) Improvise and develop patterns 3, 8, 9 and10: vocal ad-libbing 8: improvise clapping in choruses
b) Explore, choose, combine and organise musical ideas 1: create a storm soundscape
2: compose a calypso
3: vocal ad-libbing; create a sea soundscape 4: compose other raps
5: develop raps
7: explore changes of dynamics to improve performance 8: listen to and add backing vocals to song
3. Responding and reviewing: appraising skills
a) Analyse and compare sounds 1: recognising chromatic movement and how sense of drama created 2: noting the second (harmony) part
3: recognising chromatic movement and how sense of mystery created 4: identifying underlined words in rap
5: comparing line of verse to descending major scale
1: compare and contrast two extracts of storm music 6: discussing how key words 'paint' the mood
b) Explore and explain ideas and feelings using expressive language 6: listening to backing vocals and adding as second part 7: listening to parts overlapping and interacting 8: listening to vocal ad-libbing and copying
4: listen to use of words and 'attitude' in rap
c) Improve own and others' work 3, 6 and 7: using imagination and expressive language in response to listening 4. Listening and applying knowledge and understanding
a) Internalise and recall sound 1: internalising rhythm through words of song and clapping/playing 6: listen to changes of key in song b) Combining elements
c) Different ways of making and recording sounds
d) How time and place can influence music 1, 2, 3, 4, 6 and 7: listening to music influenced by country of origin,
context or situation 1, 3, 4, 6 and 7: listen to music related to the programme
links to QCA schemes of work Unit 15: On-going skills Progs 1-10: breathing/posture; Progs 5, 7, 8 and 10: dynamics; Progs 1-10: pitch accuracy; Progs 1-10: tone production; Progs 1, 3, 4, 8, 9 and 10: pulse, rhythm and metre; Progs 1, 2, 4, 5, 6, 7, 9 and 10: phrase structure; Progs 1, 2, 3, 5, 6, 7, 9 and 10: expressive techniques; Progs 1, 3, 4, 6, 7, 8, 9 and 10: improve concentration/memory
Unit 20: Performance Progs 1-10: context; Progs 1-10: diction; Progs 2, 3, 6, 7, 9 and 10: two-part singing; Progs 1, 2, 4, 5, 8, 9 and 10: instrumental
accompaniments; Progs 1-10: rehearsal; Progs 9 and 10: presentation to audience; Progs 9 and 10: how to achieve a quality performance
Music CD
There is a music CD available with all the songs in full-vocal and backing track only versions. This free resource is ideal to help you practise the songs and put on your own performance.
If you would like a copy of the CD please write to us at:
BBC School Radio
Room MC3 D5 Media Centre 201 Wood Lane
London W12 7QT Or you can email us at:
[email protected]
Organising the class
Singing
Warm-ups prior to the broadcast
Pupils’ participation and attainment will benefit greatly if time is taken to warm up prior to each broadcast. Vocal warm-ups are featured in the broadcasts as follows:
• singing a phrase from the featured song: programmes 1, 3 and 7
• singing 1-8 up and down major scale: programmes 1, 3, 4 and 5
• singing fortissimo, accelerando: programmes 5, 8 and 9.
Certain vocal warm-ups, e.g. tongue-twisters will assist where the song takes the form of a rap. Other voice exercises will prepare pupils for songs which require a lot of upper register singing. To encourage a good upper register tone, ask the children to ‘think high’ (imagining the sound to be coming from their eyes) and to
‘look down’ on high notes.
Because time is limited in the broadcasts, additional preparation, as described below, prior to each programme, will greatly assist the children's singing and their stamina.
Posture: encourage good posture by asking children to stand tall, knees loose and feet apart.
The singing face: encourage the children to lift the face muscles by smiling. Humming phrases of songs will also encourage an unforced, well-blended sound.
Facial: smile – screw up the face – stick out tongue – chewing toffee – open mouth as widely as possible.
Breathing: encourage low breathing (that is without breathing into the chest and without raising the shoulders) by asking pupils to imagine an inflatable ring around the waist. Breathe in silently through the mouth, causing the ring to inflate all the way round the middle – taking a drink of air that goes right down low as if their tummy is a tank of air – hold – and then release the air
slowly and silently through the mouth. As you breathe out, count 1-5 slowly, then 1-10, controlling a steady release of air and increasing the time with practice.
Vocal warm-ups
Vowels: sing up and down scale to the numbers 1-8, starting note B on a chime bar. As demonstrated in programme 4, ask pupils to omit a number (e.g. 4), singing it silently in their heads and challenge them to pitch the following note (5) correctly.
Change the number to be omitted and increase the omissions as children progress.
Sing fortissimo, accelerando as demonstrated in programmes 5, 7 and 9.
Sing down scale to ‘Do you chew blue glue?’, ‘We three bees need trees’, ‘Chocolate and banana sponge’ or other suitable combinations.
After singing down from C’ – C, start next scale one note higher.
Continue higher each time while it remains comfortable Consonants: ‘Scrape your windscreen with your credit card’.
Tongue-twisters: (say or sing as for vowels) ‘Red lorry, yellow lorry; red leather, yellow leather’.
Rhythmic chants: use a chant or a rap from the current or a
previous broadcast.
6
P r o g r a m m e
rock The Ship Focus
Steady beat and phrases.
Before the programme
Ask pupils to look at the print- out of the song ‘Rock the Ship’.
Divide pupils into two groups to clap, stamp or play the instrumental at the end.
listening music
Storm from Four Sea Interludes by Benjamin Britten.
1 in today’s programme
we will…
listen to the story
A wizard, a mischievous sprite, a passing ship… and a storm so tempestuous it changes the lives of those who witness it for ever.
Warm up
We focus on posture and relaxing our face muscles. We warm up our voices by singing the last line of the song four times.
learn the song
• Learn verse 1.
• Listen to the intro (chromatic phrase) and sing verse 1.
• Learn verse 2.
• Add backing vocals.
• Add instruments to the instrumental section of the song.
• Sing the song through.
Hear more storm music
Excerpt from Storm from Four Sea Interludes by Benjamin Britten.
After the programme
1. Practise the instrumental. It consists of one bar repeated 5 times. There is a one bar count between each of the first 4 playings and on the 5th time (which is played immediately after the 4th without a bar count between), both groups play the same rhythm. Some pupils could use drums and tambours or tuned percussion while others clap and stamp. These may also be played along with the backing vocals during verse 2.
Appropriate tuned percussion, such as chime bars, xylophones, glockenspiels play the notes C, Eb or G (as shown below).
2. Listen to Mendelssohn’s Hebrides Overture (Fingal’s Cave).
How does it build a picture of a storm? Compare and contrast with Britten’s piece.
3. Using tuned and untuned percussion provide opportunity for the class to create their own storm. In groups, prepare: the calm before the storm; the storm brewing; the storm at its height and the calm after the storm. Each group could draw a graphic score depicting their section. Record the performance and discuss refinements.
Drama
Rehearse the poem Sounds of the Sea that you have written (see below) as a class or in small groups. You can only use your voice and the words to create the dramatic effect so you will need to think about techniques like spacing, tone, articulation, rhythm, sound levels. Discuss any refinements before you perform the poem.
Compare this poem, using voices and words to create dramatic effect, with the percussion piece in which you created a storm using musical sounds.
1
literacy links
Y5 T2: word level 11, Y5 T2: text level 4, Y6 T1:
text level 10
As a class or in small groups write a poem called Sounds of the Sea. Choose, use and even invent onomatopoeic words to recreate the sounds of the sea. Add further sound effects using the voice only. Think of the sentence lengths and their rhythms.
Y6 Tl: text level 18
Using IT create a poster version of your poem for display in the classroom. Devise an interesting way of indicating the voice sound effects.
Tuned or untuned percussion Part 1
down,
Example 1
down, down,
Part 2 Piano
C C'G (clap)
C C'G (clap)
(clap)
C C'G
Untuned percussion
(stamp)
(stamp)
in today’s programme we will…
listen to the story
Prospero has some explaining to do! Miranda wants to know why he’s almost killed the passengers of a passing ship. And Ariel is feeling moody – yearning for the day long promised when Prospero will set him free.
Warm up
With a focus on posture, relaxing face muscles, breathing, voice exercise.
learn the song
• Learn verse 1.
• Learn chorus in 2 parts.
• Learn verse 2 (and chorus).
• Learn the two short raps.
• Sing the song through (option to add instruments).
Hear more calypso
Singing Sandra’s Music from the ghetto helps us identify some characteristics of calypso music – the singing style, rhythm and instrumentation.
After the programme
1. Involve the pupils in making their own instruments and/or finding scrap material which can be used to hit or shake. Metal dustbin lids make a great sound along with bongos, claves, maracas or coconut shells.
2. The parts below can be played along with the chorus on tuned percussion, home-made instruments – or any other instruments the pupils play (recorder, flute, violin etc). Encourage budding guitarists to join in too.
Drama
In pairs choose to be Ariel or Prospero and arrange yourselves as if for a photograph and freeze the image. Your pose should try to convey the relationship and the conflict and tension between you.
Remember that the faces and body language might be showing one thing whereas the thoughts could be very different. Present your freeze frame to the class. After a few moments speak aloud in character the thoughts that are running through your head.
Compare your image and thoughts with that of others and discuss the similarities and differences.
Music area
Encourage the children to compose their own calypso – words and music, perhaps based on the theme of being free.
2 P r o g r a m m e
Set Me Free
Style: Calypso.
Before the programme
Print out the words to the song from these notes or from the School Radio website.
Divide pupils into two groups to sing the 2-part harmonies in the chorus.
Do some additional warm-ups – see page 3.
Tell the pupils the chorus in this song is high! Encourage them to
‘sing from the eyes’ or imagine the sound is from their foreheads.
Suggest that rather than ‘stretch- ing up to the high notes’ that they try to ‘look down on top of them’.
listening music
Music from the ghetto by Singing Sandra.
2
literacy links
Y5 T1: text level 3, Y5 T3: text level 2
Whichever way you look at it nothing’s what it seems. I’m just a prisoner on the island of dreams.
Ariel is not the only character who is trapped on the island.
Make a list of all the characters, including Ariel, and for each one say how and why they are trapped.
What does Ariel mean when he says that nothing’s what it seems?
Both of the above activities would be enhanced by reading The Tempest Act I, scene ii, lines 188-300.
(Both parts below may be played on instruments - divide between players)CHORUS
Example 2
Repeat twice
D'B Oo,
AE' set
D'G me
C'E free,
G
D'B
D'B
G
D'B
D'B
G
E'C'
E'C'
A
D'C'
D'C'
8
P r o g r a m m e
Full Fathom Five
Style: Jazz.
Before the programme
Print out the words to the song from these notes or from the School Radio website.
Do some additional warm-ups – see page 3. Focus on posture, breathing and relaxing the face muscles.
listening music
Always be my baby by Mariah Carey.
Blue Planet – Sharks sequence.
3 in today’s programme
we will…
listen to the story
An invisible Ariel (at Prospero’s command) convinces a soaking wet Ferdinand that his father really is dead. Ariel does this by singing softly to Ferdinand – asking him to imagine a dead body floating ‘fully five fathoms’ under the sea. (Bit cruel really – since said father is alive and well on the other side of the island).
Warm up
We use the opening phrase 'full fathom five'.
learn the song
• Learn first four lines.
• Learn second four lines.
• Learn the end of the song.
• Try vocal ad-libbing.
• Sing the song through.
listen to
Mariah Carey ad-libbing in Always be my baby, and music inspired by the sea from the BBC series Blue Planet.
After the programme
1. Practise the song – especially the ad-libbing at the end.
Ad-libbing is a solo art. The whole class trying to ad-lib at the same time will sound chaotic – but the children may feel less inhibited! Once they have confidence, some children will be willing to sing on their own.
2. You may wish to play examples of other singers who ad-lib, e.g. Craig David or Alicia Keys.
Developmental work
1. Listen to further examples of music associated with the sea or water, e.g. Mendelssohn – Hebrides Overture (Fingal’s Cave), Aquarium from Saint-Saens’ Carnival of the Animals.
2. Create a seascape using tuned and untuned percussion.
An ocean drum would create an ideal backdrop but drums, cymbals and shakers of all descriptions may be used. First, as a whole class, brainstorm words associated with the sea.
Words like pebbles, sand, waves, breakers, foam, sparkling, reflections, sun, shells, fish, coral, jellyfish, starfish, whales, dolphins. In groups, ask the children to choose three words, then come and select instruments which could be used to depict them. Pupils could notate their composition(s) in the form of a graphic score. Possibly link in an appropriate poem and create and display art work.
Drama
Building on the drama work done in Programme 2, in pairs improvise the scene between Ariel and Prospero where Ariel is trying to persuade Prospero to release him. Improvising means taking a situation and working out what happens and what characters say by acting it out without any previous planning and not following a script. It can be hard to do because you need to think on your feet and react to what is happening.
3
literacy links
Y5 T1: text level 9, Y5 T1: text level 14
Using all the information that you have acquired so far
about the island and the characters on it, draw a map of the
island. Mark on it where all the key places are and where
all the characters are and think about how to show these on
the map. Present your map attractively as a poster for the
classroom wall.
in today’s programme we will…
listen to the story
King Alonso of Naples and his old advisor, Gonzalo, are asleep.
Antonio and Sebastian are awake, plotting to kill them.
Warm up
We sing the major scale from 1-8 and back again missing out the number 4.
learn the song
• Learn the chorus.
• Learn the harmony part of the chorus (two groups).
• Learn the rap (two groups).
• Sing the song through.
Hear some Spanish music
Rodrigo’s Concerto de Aranjuez, extract from the 2nd movement.
After the programme
1. Try the warm-up heard during today’s programme – singing 1-8 ascending and descending. Omit one or more numbers to be sung silently and challenge the children to pitch the following notes successfully. This is excellent both as aural training and as a voice exercise.
2. Try the rap verses to a rhythm set up on an electric keyboard or to pupils playing on drums or bongos.
Developmental work
1. Listen to other raps (e.g. Black Eyed Peas Where is the love?).
Note the flowing, almost swing rhythm that characterises rap – sometimes SO fast, sometimes more slowly. Notice how effective it is when the rapper stops for a beat. How does the pace help deliver the meaning? Discuss the attitude of the performer – and try to copy that as you compose and perform your own raps. Great rap performance is all about attitude!
2. Obtain a recording of Rodrigo’s Concerto de Aranjuez and listen to more of the 2nd movement.
3. Listen to flamenco music and other music of Spain.
Drama
Choose a few people in the class to take it in turns to be in role as Antonio. In small groups think of questions you would like to ask them in character about Antonio’s behaviour in the past towards Prospero and now. Your questions should try to explore his motivation, the morality of his behaviour and whether he is troubled by his conscience.
4 P r o g r a m m e
Toledo Steel
Style: Spanish music; mini rap.
Before the programme
Print out the words to the song from these notes or from the School Radio website.
Divide pupils into two groups for today’s activities.
Do some additional warm-ups – see page 3.
listening music
Rodrigo’s Concerto de Aranjuez, extract from the 2nd movement.
4
literacy links
Y5 T3; text level 19, Y6 t2: text level 18 and/or 19
Look closely at the lyrics of the rap. They advocate violence
and the end justifying the means. In this rap the weapon
is a sword made of Spanish steel. In other raps what would
the weapon be? What do you think of the message of this
rap? Do you think that raps should be banned? Do you
think they have a bad influence on young people and their
behaviour? Discuss these questions as a class summarising the
arguments for and against.
10
P r o g r a m m e
Barracuda
Before the programme
Print out the words to the song from these notes or from the School Radio website.
Divide pupils into two groups, one to sing the final choruses, one to sing the words in brackets.
Do some additional warm-ups – see page 3.
Read through the verses together in different ways – speaking and whispering the words in time, allocating different lines to different groups, etc.
5 in today’s programme
we will…
listen to the story
Prospero’s slave monster Caliban meets up with comic duo Stephano, the butler, and Trinculo, the jester, who have come ashore on a barrelful of wine. It’s not long before the barrel is empty and the stupid trio are mooting plans to kill Prospero and take over the island. Prospero, being proud possessor of an invisibility cloak, sees it all!
Warm up
We use the vocal exercise fortissimo accelerando.
learn the song
• Learn verse 1.
• Learn the chorus.
• Sing verse 1 and chorus.
• Learn verse 2.
• Sing verse 2.
• Learn verse 3.
• Learn extended chorus in groups.
• Add instruments.
• Sing through song.
Listen to verse 2 of Barracuda and say which line most resembles a descending scale. Add instruments to the chorus: castanets on the words ‘Badaboom’ or eggz, maracas, bongos and claves (see below).
Hear some Spanish music
Rodrigo’s Concerto de Aranjuez, extract from the 2nd movement.
After the programme
1. Practise the song and learn the words. Also, allocate different lines of the song to different groups or individuals according to the characters singing, e.g. Caliban, Stephano.
2. Practise the percussion accompaniments below and add them to the song. lf pupils struggle to keep time, give them a pulse, then encourage them to say the words salt and pepper, beef burger, coffee or tea in their heads.
Barracuda
Play these ostinato (repeated pattern) accompaniments in the chorus.
Drama
Acting drunk is very difficult to do convincingly. Think about the way a person who is drunk moves, walks and talks. In pairs, practise acting as if you were drunk. Comment on each other’s performance to help improve it.
Read through the scene in the playscript where Caliban meets up with Stephano and Trinculo using the skills you have practised.
Developmental work in the music area
Continue from last week the opportunity for pupils to develop the raps they’ve been writing, working on percussion or electronic keyboard.
5
literacy links
Y6 Tl: text level 2 and 3
This part of the story links up with Programme 2 when Ariel talks about being a prisoner on the island of dreams. Other characters are also trapped on the island which works its magic on them all as they try to make their dreams come true. Here we discover three more characters. Add them to your list explaining how and why they are on the island.
Add another column to your list and write down what each character’s dream or wish is.
Prospero has a lot to answer for. His actions have affected most of the characters. What do you think of Prospero and his treatment of the other characters so far? Do you think his behaviour is justified?
Example 3
maracas/eggz
claves/wood block bongos
salt and pep-per etc.
cof - fee
tea
beef - bur-ger cof
fee
- cof
fee
- cof - fee
2
cof - fee
tea
etc.
