INFINITY

BEGINS WITH I
A CREATIVE MUSIC PROJECT
Infinity
begins with i

This theme is the starting point for creative music workshops with young people, and can be explored in
many ways to generate musical ideas. This could be the relationship between the minutiae and vastness of
life, or the personal contribution we can each make to the world as an individual.

SUPPORTED BY
 1

CONTENTS
Music for Youth 2
Introduction and Project Overview
Timeline
Overview of the Pack

Working in Partnership 6

How to Use 9
How to use this composition Resource Pack aimed at 6-12 year olds

Project Teaching Guide 11

Learning Intentions
The Theme
Six Week / Session teaching points

Creative Resources 32
Musical Structures
Starting Points
Musical Activities
Pitch
Musical Devices
Listening Samples
 MUSIC 2
FOR
YOUTH
INTRODUCTION &
PROJECT OVERVIEW

Music for Youth is a national music education

organisation which presents performance
opportunities and showcase events on a large
scale across the country for young musicians.
The Infinity Project provides grass roots support
to non-specialist teachers in the form of a music
resource pack and CPD opportunities, as well as the
chance to be involved in one of our national events,
alongside other participating schools.

THE OFFER

1. Resource Pack
Music for Youth has commissioned this free
Resource Pack to support the teaching of creative
music making by non-specialists to 6 to 12 year olds.
It is intended primarily for use in school settings,
but can be used just as effectively in other settings
with the same age group. Using this pack, teachers
and music leaders should be able to undertake their
own creative music project, linking to other parts of
the curriculum, and involving other project partners
from their school or locality, as appropriate.

2. Online tutorials -
practical musicworkshops in action
From February, online music tutorials will be made
available online to complement the project work
presented in the Resource Pack.

3. Professional review and feedback

Participating schools can sign up for professional
feedback, through submitting video material of their
work to Music for Youth.

Through submitting video material of your work,

reviewed by the MFY Project Director, your group
will be eligible to attend the MFY National Festival
in Birmingham in July (see below). A small number
of groups will be invited to present their Infinity
performance at the MFY National Festival, to share
with other participating schools.

4. Into Infinity @ the MFY National Festival

By registering your school or group on the Infinity
 Project with MFY, you will automatically be able to
apply for places at the Into Infinity schools day 3
at MFYs National Festival in Birmingham in July.
The MFY National Festival attracts 8,000 young
musicians from all over the country for an amazing
celebration of young peoples music making, from
orchestras to folk bands to junk percussion groups.

The Into Infinity day at the festival will include

participatory music workshops and activities
for your group, Infinity project presentations by
invited schools, and tickets to the other live music
stages, where all the performers are young people
themselves.

More information on the Into Infinity day will be

published on the MFY website in February.

To take advantage of the full Infinity offer, register

your project by emailing mfy@[Link] and we
will send you more information.

We hope you find this teaching resource a useful

tool, and that you will register your project and
share your work with us and other participating
schools at our National Festival.

SUPPORTED BY
TIMELINE 4

DECEMBER 2013

Launch of Infinity begins with I

resource park

JANUARY - JANUARY - JANUARY -

MARCH 2014 MARCH 2014 MARCH 2014

Project Online Submission

Registration tutorials made of project
available videos for
professional
feedback and
review

APRIL - MAY 2014

Schools apply for places on Into

Infinity day at the MFY
National Festival

JULY 2014

Into Infinity day @ the MFY

National Festival
OVERVIEW OF THE PACK 5

This music composition project is aimed at 6-12

year olds and is suitable for use by all classroom
teachers, youth workers and arts leaders regardless
of their previous musical experience and confidence.
Whilst presented as a six week Unit of Work the
pack can be used more flexibly in informal settings,
perhaps as a workshop day or an ongoing creative
project.

The Unit contains practical ideas for working with

others, starting points to explore and develop, and
progressive lesson guides.

The children will

immerse themselves in practical musical
exploration
use their vocal and instrumental skills
be encouraged to draw on their own unique
musical experiences
be introduced to a broad range of stimuli

The leaders role will be to act as a facilitator

drawing out individual contributions, challenging
each child to move outside of their comfort zone
and together take ownership of the project. For
schools there will be the opportunity to make links
across the curriculum and to encourage learning
outside the classroom.

In this project the shared understanding of the

process will be central so progress should be
recorded and used to support and focus learning.
The final performance will be a celebration of this
musical journey.

Leaders will be encouraged to work with other

groups such as Music Education Hubs, professional
and amateur musicians, arts organisations, schools,
students and the local community.

The project has been devised with an awareness

of the key aspirations of OfSTED and the National
Music Plan and will support the aims of the new
2014 National Curriculum for Music.
 WORKING IN 6
PARTNERSHIP
The Resource Pack has been written to be used
by non-specialist teachers and leaders with a
breadth of musical experience and expertise, but
every project can be enhanced by a partnership
approach. Working with others offers a richer, more
diverse experience for the children as well as the
opportunity for leaders to share knowledge and
skills.

WHO

Nationally
Across the country there are Music Education
Hubs responsible for ensuring every child has the
opportunity to experience a high quality music
education. These hubs are working partnerships and
include professional and amateur musicians, music
education providers, teachers, schools and artists
who may be able to get involved.

To find your local hub, you can download a list

of Music Education Hubs from the Arts Council
website: [Link]/funding/our-
investment/funding-programmes/music-education-
hubs/

Other arts organisations, teacher support or

professional development providers may be able to
work with you or signpost you to others who can.

Locally
Approach your local primary and secondary schools
to suggest working together, perhaps involving
some of their students.

Build on existing partnerships eg: some schools

may already be working with their music service
on First Access (whole class instrumental teaching)
programmes or with visiting instrumental teachers.

Research your local area for interesting arts

organisations and community groups.

Carry out an audit of the childrens friends and

families to see who would like to get involved
musically or in a supportive role.
HOW 7

Before starting the project consider how a

partnership approach would work best in your
context, with your children and your personal skills.

Where do you need help?

How could partnership working help the project
to expand to new areas?

Then ask yourself, would it be best to work together

at the start to set the project up, midway to hone
and shape ideas, towards the final performance or
even throughout the whole process?

Partnership working could mean you are able to

involve more children in the project working
with other providers might mean you could devise
several parallel and complimentary strands of work
such as an art or film project.

Below are some examples of how partnership

working could translate into your settings whether
a school or a community setting. It is important
to share your aspirations for the project and the
main points from this Resource Pack with potential
partners.

EXAMPLE FOR A
PRIMARY SCHOOL SETTING

Before the project begins, the Year 4 class teacher and the music service First
Access visiting tutor discuss the project and decide that they are going to create
a Theme and Variation composition.

They want the children to consider the idea that music is an integral part of
human life. As a class they will compose the theme and then work in groups to
create the variations, each exploring a contrasting genre.

To help them explore these contrasting genres they are going to invite four local
musicians (one of whom is a parent) who have an understanding of a particular
genre to work with the groups for the second and third weeks.

They will enlist three of the GCSE music students from the local secondary
school to help prepare the children for their final performance by visiting in week
5. These students will also film this performance so that the children will have a
keepsake of the event.

Within the school there will be open practice sessions on Tuesday and Thursday
 lunchtimes where the children can rehearse and receive support from the year 6 8
children who are learning to play an instrument.

During the project the children will explore the origins of the contrasting genres
and will design and create a programme for the final performance in their art,
literacy and technology lessons.

EXAMPLE FOR A
PERFORMING ARTS CLUB

There are two leaders who work with the children in a weekly performing
arts club. They have 20 children who attend regularly and seven of these play
instruments.

The leaders are keen to link music with art and movement so they have decided
to do a moving soundscape where the sounds will be entwined with movement.
The group is made up from children from a range of schools and backgrounds
so they are using the project to encourage a sense of unity and to underline
the concept that everyone deserves to be treated with respect, encouraged to
grow as an individual and that together they can make a real difference to their
community.

As the Performing Arts Club do not have any instruments other than the ones
that some of the

children play through school, they are going to make junk instruments and have
asked one of the parents to help with this.

To prepare for the project both leaders enrolled on a primary music workshop
run by the local music education hub in partnership with a national organisation.
They are able to seek advice from the workshop leader during the project should
they feel they need this additional support.

There will be time, and the facilities, at the club for groups of young people to
create project blogs and a film of the project, as well as spend time creating
costumes and staging for the final performance. An ex member of the club has
volunteered to help organise and oversee this part of the project.
 9
HOW
TO USE
INTRODUCTION

This Resource Pack for 6 12 year olds has been

commissioned to encourage creativity amongst our
children. Whilst we have provided possible routes
through, it is designed to enable each class or group
to create their own journey taking into account the
experiences, interests and skills of those involved.

The intention is that every project will be unique and

special in the same way that each child is unique
and special.

In order to facilitate this individual pathway some

of the materials have been organised in collections
in the Creative Resources section (page 32) such as
Musical Activities and Listening Samples rather than
as they might appear chronologically in a lesson
plan. You can of course replace these resources with
any of your own which you prefer. (See the Project
Teaching Guide page 11.)

ITS ABOUT THE JOURNEY

AS WELL AS THE FINAL DESTINATION

Central to the project is sharing of experiences

through practical music making, creating and
developing original ideas, taking the lead and
encouraging self expression through a personal
motif such as a musical phrase, a poem or picture.

The children will be involved in creative decision

making from the start cultivating a sense of
ownership with the music as an extension of their
individual and group identity.

YOUR ROLE
AS A LEADER

You will not need any particular musical skills but

you will want to draw on your own interests in
music, perhaps familiarity with a particular style of
music such as pop or jazz, or revive your forgotten
recorder playing skills! Simply add to this your
enthusiasm, teaching skills and the ability to support
childrens natural curiosity.
HOW TO REALLY INVOLVE 10
AND ENGAGE THE CHILDREN

Before starting the project build a sense of

expectation and interest, including the opportunities
to share and perform. Challenge the children to get
involved in fresh, measurable ways beyond their
comfort zone; perhaps in terms of instrumental or
leadership skills. Each child should understand the
ways in which they have personally contributed to
the project - a specific motif, ideas for development,
or suggestions of how improvements can be made.

There are also many cross curricular opportunities

and suggestions for ongoing tasks such as research
into specific aspects of music, making costumes,
sets, props, acting as an audio/visual technician, and
writing articles or blogs. More details are available in
the Project Teaching Guide.

WHAT WILL A SUCCESSFUL

PROJECT LOOK LIKE?

Partnership working with a range of people to

share and challenge skills and ideas
Quality both of the process and the final
performances whether at a local or regional level
Inclusivity where each child contributes and
recognises their unique involvement, and is
challenged to do new things
Enjoyment and Ownership providing the
framework for the children to develop skills for
the future
 PROJECT 11
TEACHING
GUIDE
LEARNING
INTENTIONS

Through practical music making the children will

create, explore and refine musical ideas inspired by
a variety of creative stimuli and their own unique
experiences. These ideas, based on the theme
Infinity ... begins with I, will be developed using
voices, instruments and other sounds. Each child will
be encouraged to contribute a personal motif such
as a musical phrase, a poem or picture. The project
should work towards creating a group composition,
carefully crafted from all the ideas shared and
developed during the course of the project, thereby
enabling the children to hone their critical skills.
Ideally, the group should then aim to perform or
share both the project and piece in an assembly,
concert or gathering.

ASSESSMENT

As the learning process is so central to this project,

progress should be evidenced through ongoing
audio/video footage. These recordings will allow
the children to listen again objectively and make
suggestions for development and improvements.

Additionally a Project Display Board (notice or

display board) could be used to save thoughts and
musical ideas, perhaps written melodic lines, poems,
words or pictures.

At the end of the project the children will be able to

explain their involvement both during the learning
process and in the final performance.

Whilst the final performance should aim to be of

the highest quality, the complexity and length will
depend on the age and experience of the children.

RESOURCES

Audio or video recording equipment such as a

video camera or mobile phone to record and play
back to the class
Notice or display board for the Project Display
Board
 A range of percussion instruments from week 2
Any other instruments the children are learning 12
to play
Materials to create junk instruments or sound
effects as required
Creative Resources section/your own examples

BETWEEN
SESSIONS

Through the project the children will learn, develop

and share new skills which they can use in the
future.

These may include:

Working together and with others
Learning how to collaborate and listen to other
peoples ideas
Developing critical skills and the ability to self-
edit
Learning new instrumental skills
Being involved in a top quality performance
Writing weekly reports or blogs
Researching specific areas
Promotion and advertising

THE
THEME

Infinity celebrating the mystery of our universe and

mankinds constant search for further understanding
of the world we live in

begins with I reflecting the essential and unique

part each one us plays within humanity, all equally
important whether seemingly great or small

This theme could be explored in many ways -

perhaps the relationship between the minutiae and
vastness of life, or on a more personal level, the
individual contribution we can each make.

Mankind is always striving to go further and faster

than ever before. Hundreds of years ago the moon
seemed so far away but now we have visited and
travelled much further. NASAs spacecraft New
Horizons will be passing Neptune in 2014 on its
course to reach Jupiter by 2015.

But its not just going into outer space that interests
us. In 2014 the 838m high Sky City skyscraper in
China, almost three times as tall as the Shard in
London, is due to be completed. This building will
 have 202 floors, housing for 17,000 people, a huge
hotel, a hospital, five schools, 10 tennis courts and 17 13
helipads!

What other examples of infinity can we think of

the longest, loudest, deepest, oldest...? Could it be
a story or fable; a picture or a single word. See the
Creative Resources section (page 32) for helpful
Starting Points on how to use the theme.

In this project we are going to explore musical

sounds and create our own composition which is
inspired by this idea. We are also going to think
about how we can stretch ourselves to do new,
braver and bigger things.

There will be lots of ways to develop this project

think about doing something youre already good at
but also something thats a challenge that will take
you outside your comfort zone.

The final composition will be inspired and created

by each one of us and will be as unique as we all are.

SIX WEEK / SESSION

PROJECT STRUCTURE OVERVIEW

WHAT TYPE OF COMPOSITION?

Before you begin consider the type of composition
you are going to create. For example you may
want to write a song, tell a musical story or create
a soundscape - a piece inspired by ideas and
emotions of a particular place or time. See the
Musical Structures in the Creative Resources section
(page 32).

Choose what starting point for the theme you want

to use (either from the Creative Resources section
or your own) that will best kick start the project and
create a good discussion amongst the group.

Consider, too, whether you want to link the Infinity...

begins with I theme with any other events such as
the transition to a new school or a local or national
event. Consider which partners you would like to
bring on to the project and at which point.

Involve the children in these decisions and where

necessary save unused ideas for future projects.

AIMS FOR WEEKS/SESSIONS 1 AND 2

Introduce the theme, consider with the group
which type of composition youre going to create
and clarify any additional links
 Explore a range of Musical Activities, Listening
Samples, Starting Points and the childrens motifs 14
Encourage the children to work together and in
groups to ensure everyone contributes

AIMS FOR WEEKS/SESSION 3 AND 4

Start to refine the shape or structure of the
composition
Consider how each part or section can be
developed and improved perhaps revisiting some
of the activities, samples and starting points as
examples
Challenge the childrens involvement and set high
expectations

AIMS FOR WEEKS/SESSION 5 AND 6

Finalise the composition and rehearse for the
performance
Consider writing a score for the composition to
share with others
Decide how each child will contribute to the final
performance

THINGS TO REMEMBER
Try to start and end each session with a Musical
Activity as a group warm up and warm down.
Record as much as you can, but be careful not to
let this dominate - the children should keep the
music making live rather than worrying about
repeating exactly what was recorded last week.
Be careful not to create too many musical
building blocks before you know it, it will be
very hard to shape these into a coherent piece
with a beginning, middle and end.
WEEKS/SESSIONS 15
1 AND 2 OUTLINE
These two weeks will focus on defining the
composition type and exploring musical ideas and
techniques

AIMS
Introduce the theme, confirm the type of
composition and clarify any additional links with
potential partners.
Explore a range of Musical Activities, Listening
Samples, Starting Points and the childrens
motifs.
Encourage the children to work together and in
groups to ensure everyone contributes.

More details have been provided for Week 1 to

get you underway. From Week 2 onwards just the
suggested teaching points are outlined.

Younger children may need more direction and

support and you may prefer to work as a whole
group or class more often. Do allow some time for
smaller group work though as this allows each child
to contribute.
WEEK/SESSION 1 16

SUMMARY OF AIMS AND OBJECTIVES

Prepare for the session.
Introduce the project.
Begin with an appropriate Musical Activity (page
40).
Listen to (part of) an appropriate listening
sample twice.
Share ideas in pairs and then altogether and add
to Project Display Board.
Explore one musical feature of the song/piece
or one of their ideas in groups using voices and
body percussion and create a short pattern or
phrase a musical building block.
Pick a group to share, discuss how this building
block could be taken and developed.
Allow each group to consider how they would
take their own idea forward.
Record each group audibly/visually and add
comments to the Project Display Board.
Set the homework task. Each child should reflect
on the theme and bring something, perhaps
a picture, phrase, melody that reminds or
challenges them about this topic.
Finish with a brief version of the Musical Activity
from the start of the lesson or a musical activity
of your choice.

PREPARE FOR THE SESSION

1. Consider the type of composition you are going
to create for this project eg: song, soundscape,
musical story etc. You may want to discuss this
with your group.
2. Decide whether you are going to link this project
with a particular event or occasion or other cross-
curricular work.
3. Choose a Listening Sample from the Creative
Resources (page 32) or a piece of your own of a
similar type of composition eg: song.
4. Identify one key feature of this piece/song -
perhaps a strong rhythmic pattern or a rich
layered sound and prepare the appropriate
Musical Activity from the Creative Resources or
one of your own you may want to change this a
little to suit your needs.
5. Finally, to capture the childrens interest pick
one of the Starting Points, from the Creative
Resources section or use one of your own, to help
inspire their creative thinking.

INTRODUCE THE PROJECT

Introduce the theme of the project Infinity... begins
with I; discuss the type of composition eg song,
soundscape, musical story and any links to other
occasions you wish to include. Pose some questions 17
to provoke their thinking about the theme and also
about types of composition.

(Each lesson from now on should start with music

and always aim for more musical communication
and less talking.)

BEGIN WITH AN APPROPRIATE MUSICAL

ACTIVITY (PAGE 40)
Without any further speaking begin the activity you
have prepared, modelling and using hands signs to
explain what you want. This approach will demand
that the children focus on watching and listening
as an orchestra or band would.

LISTEN TO (PART OF) AN APPROPRIATE

LISTENING SAMPLE TWICE
Play your chosen Listening Sample, or piece of your
own, for a couple of minutes allowing the music to
wash over the children.

At an appropriate point, stop or fade the music and

very briefly explain you will play more, or repeat
some, of the piece and you want them to write or
draw any thoughts that come to them. (They will
need paper for this.) Ask them to do this on their
own.

Everyone will respond in different ways, some may

think about the instrumentation, or how they feel,
something it reminds them of, colours and so on
encourage this diversity.

SHARE IDEAS IN PAIRS AND THEN ALTOGETHER

AND ADD TO YOUR PROJECT DISPLAY BOARD
Ask the children to discuss these ideas in pairs
before inviting them to share the ideas their partner
had, rather than their own - this will foster a positive
sharing atmosphere. Add these thoughts to the
Project Display Board in the most appropriate
format.

Note that some of the ideas may be new ones

whilst others may be as a result of their previous
experience and knowledge encourage both.
EXPLORE ONE MUSICAL FEATURE OF THE
SONG/PIECE OR ONE OF THEIR IDEAS IN 18
GROUPS ASKING THEM TO USE VOICES AND
BODY PERCUSSION TO CREATE A SHORT
PATTERN OR PHRASE A MUSICAL BUILDING
BLOCK
This is the opportunity for the group to explore and
experiment with musical ideas. Explain that you are
looking for a musical building block, a small idea or
snippet about ten seconds long.

Depending on the maturity of the children decide

whether to allow them to choose their own feature
or decide one for them. A feature could be:

a rhythmic pattern
a short four note melody
a distinctive timbre (all wooden or all metal
sounds)

If they are going to choose, limit the time they have

for this so that they still have time to explore and
experiment as this is the key learning.

Use a prepared feature of your own which was

linked to the Musical Activity from the start of the
session as a default if there arent workable ideas
on the Project Display Board.

Move around the groups to facilitate this exploration

asking questions to stimulate their thinking

PICK A GROUP TO SHARE, DISCUSS HOW

THIS BUILDING BLOCK COULD BE TAKEN AND
DEVELOPED
Choose a group who are working well and ask them
to share their example. Ask them what they would
do next if they were to continue with this idea -
open the discussion to everyone.

Ideas might include:

repeating the building block on instruments
dividing it out so that each person plays one note
playing it forwards and then backwards

There are more suggestions in the Musical Devices

section of the Creative Resources (page 32). As
much as possible ask open questions to elicit their
responses. Add these ideas to the Project Display
Board for future reference.

ALLOW EACH GROUP TO CONSIDER HOW THEY

WOULD TAKE THEIR OWN IDEA FORWARD
For a few minutes each group should decide what
they would do next encouraging them to think of
their own ideas but prompting as necessary.
 YOU MIGHT FIND IT HELPFUL TO RECORD EACH 19
GROUP AUDIO/VISUALLY AND ADD COMMENTS
TO THE PROJECT DISPLAY BOARD
Get into the habit of recording (and carefully titling
and dating) the performances each week/session to
act as a record of progress but also as a reminder
to the children. You may want to create a recording
team who do this for you (see below).

SET THE HOMEWORK TASK (SEE BELOW).

First stress that in this first week you have just
begun the project there will be more time to
explore their ideas over the next few weeks. Set the
homework task.

FINISH WITH A BRIEF VERSION OF THE MUSICAL

ACTIVITY FROM THE START OF THE LESSON OR
A MUSICAL ACTIVITY OF YOUR CHOICE
Always finish with a musical moment, perhaps an
activity they enjoy or something that went well.

HOMEWORK

Each child should reflect on the theme and bring something, perhaps a picture,
phrase or melody that reminds or challenges them about this topic.

You would like each child to think hard about the theme - infinity and their place
within that - and to decide on their motif. They must bring it with them next
time.

OPTIONS FOR EXTENSION

AND CROSS-CURRICULAR WORK

You could start the project with an Art class ask the group to draw pictures
of what the theme means to them and what it makes them think of. This can
then form part of your Project Display Board.
Working in partnership with another teacher, local artist or local organisation,
you could create a parallel film project. This could be your Recording Team.
WEEK/SESSION 2 20

SUMMARY OF AIMS AND OBJECTIVES

Prepare for the session.
Begin with another of the Musical Activities
(page 40) this time exploring a different key
feature.
Listen to a contrasting Listening Sample (page
49) and discuss the ways in which this is different
to the song/piece they heard before do they
have a preference and if so why? Add these
thoughts to the Project Display Board.
In groups ask the children to introduce their
homework motifs (their personal responses to
the theme Infinity ... begins with I). Allow enough
time for each child to share, and eavesdrop
looking for interesting ideas such as an unusual
rhythm pattern or a challenging word, something
which could be developed by the whole class.
Share a few of the most interesting motifs with
the whole class/group and decide together on
one motif, preferably one which is popular with
most of the children. This motif will now become
your whole groups unique building block which
you are going to develop.
Refer to the ideas you noted on the board last
week and those in the Creative Resources (page
32) and together try out some of these ideas
the work you are doing now will become part of
your final composition.
Record the outcomes.
Add the rest of the motifs to the Project Display
Board for another time.
Set homework tasks.
Finish with a short version of the Musical Activity
from the start of the lesson or an activity of your
choice.

Where possible refer to the project regularly

throughout the week and replay the Listening
Samples whenever there is an opportunity so that
the children really get to know and appreciate the
music. This will add to their palette of musical ideas.

HOMEWORK

All children should spend time practicing and experimenting with the motif and
come back with ideas to share.
 If you have time: 21
Assign children to a team of Researchers their task is to find listening examples
for your type of composition.
Assign children to a team of Reporters their task is to share whats been
happening so far. Ask them to think about how they want to present this.

If appropriate assign other children to in-session activities such as filming or

keeping the Project Display Board updated.

OPTIONS FOR EXTENSION

AND CROSS-CURRICULAR WORK

How about start a project blog or group newspaper?

Before moving on:

Check that you are still keeping the link to the theme alive.
Review the material you have so far with the group. Will they be able to
remember it?
Keep in the back of your mind the importance of creating structure. When
should you stop making new material? What will you use and what will you
put aside for another day/project?
WEEKS 3 AND 4 OUTLINE 22

These two weeks will focus on refining the structure

of the composition and developing musical ideas.

AIMS
Start to refine the shape or structure of the
composition see Musical Structures in the
Creative Resources (page 32)
Start to think about a beginning, middle and an
end to the piece
Consider how each part or section can be
developed and improved, perhaps revisiting some
of the activities, samples and starting points as
examples
Challenge the childrens involvement and set high
expectations
Start to think and plan for the final performance
considering when and venue
WEEK/SESSION 3 23

SUMMARY OF AIMS AND OBJECTIVES

Prepare for the session and think about when
your group will perform their piece to others.
Begin with a Musical Activity from this pack or
one of your own, using instruments if possible.
Allow the Research Team to share their listening
examples and have an update from the Reporters.
Watch/listen to last weeks recording of the
whole group motif performance. This will
become the basis of the main section of the final
performance.
Discuss altogether what will need to happen for
this to work well eg: does it need extending or
developing. Refer to the Musical Devices in the
Creative Resources (page 32) as necessary to
help you refine and work to a structure. Invite the
children to share the work they have done during
the week and include this where possible. Record
progress.
Set them the challenge of creating a contrasting
section in groups. Suggest various starting points
eg: one of the unused motifs from the Project
Display Board or something from the starting
Musical Activities.
Share and record progress for further work next
week.
Set homework tasks.
Finish with a short Musical Activity.

HOMEWORK

All children to develop the ideas for the contrasting section/s.

If you have time:

Researchers to find more listening examples for your type of composition ask
them to think about what are the distinctive features of this type of structure
(eg: repetition).

Reporters to come up with ideas of where and who they should promote the
date of the final performance.
OPTIONS FOR EXTENSION 24
AND CROSS-CURRICULAR WORK

Design a flier and poster to promote the concert or sharing of the project and
piece.
Discuss whether this could be part of a fundraiser for your youth group or
school. Ask members in the group to nominate a charity and then give a short
presentation on why their charity should be picked. As a group take a vote.
Research and explore links to your chosen theme via history, geography or
culture. What else was happening in that place / country when the Infinity
discovery took place?
WEEK/SESSION 4 25

SUMMARY OF AIMS AND OBJECTIVES

Prepare for the session.
Begin with a Musical Activity perhaps develop
one you have used before to include instruments.
Share homework tasks. In particular, discuss the
Research Teams listening examples of similar
types of composition from the one you are
working towards. As a group, discuss what the
defining features are how is your composition
shaping up? Challenge them to think about
whether composers/songwriters have to edit
their work that sometimes you can have
too many good ideas. This will help them to
understand the need for structure a beginning,
middle and an end.
Watch/listen to the group work contrasting
sections from last week. Decide how many of
these you will need for the final composition and
together choose which you will use.
Work on this/these as a class or in groups if more
appropriate. Share and record.
Revisit the main section from last week what
improvements are needed? Discuss and record
progress.
Set homework tasks.
Finish with a performance of the one of the
sections, a short Musical Activity or one of the
childrens listening examples.

HOMEWORK

All children to practice their parts and prepare to share these next week.

If you have time:

Researchers to explore what is needed for a successful performance. Can they
come with examples (say on youtube or in their personal experience).

Reporters to update everyone on progress if you have chosen to do the

extension work, this could be sharing the project blog with the whole group, or
the project newspaper.
OPTIONS FOR EXTENSION 26
AND CROSS-CURRICULAR WORK

You could design and create a programme for the concert.

Would your performance benefit from scenery or artwork to create an
atmosphere? It could be another way of showing how your group has been
inspired by the theme. This could be particularly relevant if you have chosen
to do a soundscape or a Musical Story.
How about investigating whether there is a local dance company or teacher
who could develop a piece of choreography to the music your group is
creating.

Before moving on:

Review the material again. Will they be able to remember it all? How will you
organise it? Is the musical structure you have decided on still appropriate
or does it need to change? It would be better to have a shorter but focused
composition than a longer and rambling one.
Note it is much easier to come up with lots of great ideas than it is to
choose which ones to develop and which ones to leave aside. Encourage the
group to form musical opinions on what works. You may decide to choose
just two or three strong ideas that you then develop in many different ways
(eg: rondo form - see Musical Structures). Or alternatively, you may decide
to create a musical collage with more ideas that are held together with, for
example, a clear framework of changing dynamics, speeds and other devices
(see Musical Devices.)
Make sure you are now rehearsing and not creating more material.
WEEKS 5 AND 6 OUTLINE 27

The last two weeks will focus on rehearsing and

preparing for the final performance.

AIMS
Finalise the composition and rehearse for the
performance
Consider writing a score for the composition to
share with others
Agree how each child will contribute to the final
performance

WEEK/SESSION 5

SUMMARY OF AIMS AND OBJECTIVES

Prepare for the session.
Begin with the children explaining to the
class what they have been practising and
demonstrating their progress. If appropriate,
include those children who are listening by
encouraging them to sing along or by keeping a
steady pulse whilst the players play.
 Listen to the original Listening Sample from week
1 and think about the journey you have been on. 28
Are there any influences from this piece in your
composition now?
Reflect on how your ideas reflect the theme.
Feedback from Reporters, have they had any
response to their updates?
Ask the Researchers to explain their findings
about what is needed for a successful
performance and note these on the Project
Display Board.
Revise and rehearse the sections of the
composition. Then perform (and record) the
whole piece without stopping and re-watch.
What areas need improvements? Do the sections
work together well or do you need to make any
changes or add in connecting passages?
Explore these ideas and decide on any
improvements. Play through the whole piece
again.
Discuss the performance itself and the Research
Teams findings on what makes a good
performance. Who will introduce the piece and
perhaps give an explanation of the journey?
Do you want to include anything else such as
movement or graphics? Do you need someone
to direct the piece and if so, who will do this? Try
out these ideas and record.
Set homework tasks.
Finish with a performance of part or all of the
group composition, a short Musical Activity or
Listening Sample.

HOMEWORK

All children to practice their parts.

If someone has volunteered or been picked to direct the piece, ask them to
research conductors and directors of different types of groups (eg rock bands,
choirs etc). Ask them to devise a system of hand signals with the group.

Set a group the task of writing the introduction to the piece, and another group
to write the explanation of the journey.

OPTIONS FOR EXTENSION

AND CROSS-CURRICULAR WORK

You could spend some time reflecting back on the theme Infinity... begins
with I and now that you are two thirds of the way through the project and
 thinking about the performance, could you include other work inspired by this 29
theme in the concert? For example, ask the children to write a poem on the
theme these could then be shared. Work with a local film maker and make a
show reel of the project journey so that the audience see how your group got
to where they did.

Before moving on:

Check if your structure is clear to everyone why not ask another member
of staff or a parent to come and listen and give feedback?
Keep rehearsing and making sure the group can remember it all.
If you are having a director / conductor from within the group, ensure you
leave enough time to rehearse their role in the performance.
Think about the stage management for the performance. How are they
going to stand? How will they start?
WEEK/SESSION 6 30

SUMMARY OF AIMS AND OBJECTIVES

Prepare for the session.
Begin with their favourite Musical Activity.
Discuss what a musical performance is, who do
they like to watch or listen to on TV, youtube or
live and why? The most successful performances
are of a high standard and have a special quality
that makes you want to watch/listen them.
Ask the group member who is going to direct the
performance to report back on their research.
As the groups who have written the introduction
and the explanation of the journey to share their
work. Agree who is going to read these out at the
performance.
Watch/listen to your recording from last week. Is
the composition good has it got star quality?
Which areas need improvement, how will you
achieve this? Try these out and decide what you
will include.
Ensure you rehearse the piece as much as you
can as it might take time to remember it all and
piece it together. It would also be a good idea to
rehearse a few times in the same space that the
performance will be in.
Set homework task.
Final preparations for the performance setting
up the space etc
Look forward to sharing your composition with
your audience!

HOMEWORK

Ask everyone to write a paragraph explaining their own involvement through the
project. This might be a specific task eg acting as a reporter, or it might include
contributing ideas in groups or suggestions in the discussions etc.

 PTIONS FOR EXTENSION AND

O
CROSS-CURRICULAR WORK

You could ask your Reporter Team to come up with questions to form part
of your project evaluation. They could then interview the group and some
individuals.
Members of the group could gather audience reaction to the performance
video or audio.
Ask the group to think about what they would do differently if they were to
start the project again. Perhaps start them off on one of the other ideas that
they came up with in Week 1. Or ask them to set another theme?
If you havent involved any partnership work, think about how could now do
 this perhaps think about incorporating dance or other art forms into the
project for a second performance.
Be brave And send your project in to Music for Youth and see what their
professional Music Mentors think. You might be invited to share your project
at the MFY National Festival in July.
 32
CREATIVE
RESOURCES
INTRODUCTION &
PROJECT OVERVIEW

This section contains six groups of resources.

1. Musical Structures to help you define your
composition
2. Starting Points to inspire creative thinking
3. Musical Activities based on musical elements/
dimensions
4. Pitch to introduce ideas around scales
5. Musical Devices - to help develop and extend
your ideas
6. Listening Samples supporting a rich musical
palette

MUSICAL
STRUCTURES

Before you begin your project agree which type of

composition, and the structure you intend to use,
following the guidance given here.

THE IMPORTANCE OF STRUCTURE

In music we use the term structure to define the way
musical ideas are juxtaposed and built together.

Whatever the type of composition, as with a written

story, it is important that your completed piece
has a clear beginning, middle and end and a sense
of direction or purpose. Most stories, and musical
compositions, have a climax, the most important
or intense part which you build towards and bring
closure from afterwards.
Structures are sometimes specific to the type of
composition eg: a song is a combination of verses
and a chorus, and will offer recognised and familiar
frameworks to work within.

Composers will often begin and end with a similar

idea or melody, perhaps developed or altered in
some way. This gives the feeling of coming home.
BINARY
33
A B - known as binary form is a musical structure in two related
sections. Repetition is common in this form. A good example of
binary form is Polly put the kettle on.
A1 Polly put the kettle on
A2 Polly put the kettle on
A3 Polly put the kettle on
B Well all have tea

TERNARY
A B A known as ternary form is a three-part musical structure.
The first and third parts (A) are musically identical, or very
nearly so, while the second part (B) in some way provides a
contrast with them. A good example of ternary form is Twinkle
Twinkle.

A Twinkle twinkle little star how I wonder what you are

B Up above the world so high, like a diamond in the sky
A Twinkle twinkle little star how I wonder what you are

RONDO
A B A C A etc known as rondo form. A principal theme (A)
alternates with one or more contrasting themes (B, C etc),
generally called episodes. The number of themes can vary
from piece to piece, and the recurring element is sometimes
embellished and/or shortened in order to provide for variation.
A good example is One, two, three, four, five where the music
(not the words) follows the start of a rondo pattern and then is
repeated again.

A One, two, three, four, five

B Once I caught a fish alive
A Six, seven, eight, nine, ten
C Then I let it go again
A Why did you let it go?
B Because it bit my finger so
A Which finger did it bite?
C This little finger on my right

Alternatively some compositions use the repetition of the A

section at the start to give a sense of familiarity before moving
onto new material.
TYPES OF 34
COMPOSITION
SONG
Songs are usually sung or rapped and may be a
cappella (unaccompanied) or accompanied by a
range of instruments from a simple piano to a full
orchestra.

Listening Samples
(for youtube links see the Listening Sample section)
Song and Rap: Fire by Star featuring Penzance
Youth String Orchestra at MFY Schools Prom in
2012
Song and simple accompaniment: Fix You by
Vocalize at MFY National Festival in 2012
Song with orchestral accompaniment: Hallelujah
Chorus from the Messiah by Handel

The basic format for a song is alternating verses and

a repeated chorus ie: V C V C V C

However many songs have two verses before the

initial chorus and end with a repeated chorus ie:
VVCVCC

More complex song structures will have a bridge

or middle 8 which is an additional theme, almost
like an extra verse with a new melody. The bridge is
usually only used once in a song, most commonly
after the second chorus ie: V V C V C Bridge C C

There may also be an introduction at the beginning

and a coda (an ending).

SOUNDSCAPE
Usually a soundscape would depict a particular
environment or moment in time, almost like a
musical picture perhaps of a rainforest or factory
workshop.

The music often includes sounds which are

representative of specific items eg: animals or
machines.

Listening Samples
(for youtube links see the Listening Sample section)
The Hours by Philip Glass
Sounds of Dolphins

To some extent the structure will be led by the

content but as explained at the start of this section,
care needs to be given to how the piece begins,
develops in the middle, and ends. If the beginning
and end are based on the same material this would
be an example of ternary form A B A.
35
ie: Beginning Developing ideas Climax End

MUSICAL STORY (PROGRAMMATIC)

These compositions tell a specific musical story and
can be accompanied by sounds and musical devices
that follow the story behind the music.

Mussorgskys Pictures at an Exhibition is a well

known example of storytelling where there is a
Promenade theme portraying people walking
around the gallery and a series of separate pieces
or movements depicting the paintings on the walls
such as Ballet of the Unhatched Chicks.

For this composition Mussorgsky uses the rondo

structure - A B A C A etc - to give the piece a sense
of unity with the ever developing Promenade theme
being played between some of the pictures.

Listening Samples
(for youtube links see the Listening Sample section)
Pictures at an Exhibition by Mussorgsky
Atmospheres by Gyorgy Ligeti

By its nature the structure will need to follow the

story line but in many case the composers will use
a structure such as binary (A B), ternary (A B A)
or rondo (A B A C A etc) to provide the sense of
familiarity.

Alternatively the music may have a less prescriptive

structure:
ie: Beginning Developing ideas Climax End

THEME AND VARIATIONS

Hundreds of years ago music was written down in a
simpler format or shared aurally and the musicians
would be expected to repeat and gradually
embellish or change it as they played.

More recently composers have written music with

a theme (the main musical idea) and a number of
variations based on this theme.

It can be described as:

A A1 A2 A3 A4

Pachelbels Canon is a well known example of this

where typically the melody begins very simply and
becomes more and more complex as it develops.

Elgars Enigma Variations has a simple theme which

is explored in different ways in a number of pieces
depicting his friends.
 Listening Samples
(for youtube links see the Listening Sample section) 36
Canon in D by Pachelbel
Enigma Variations by Elgar

CONCERTO
Historically a concerto performance was a single
or small group of soloist/s accompanied by a full
orchestra.

This concept can be adapted to suit your

composition. For example, you may wish to
showcase some of your instrumentalists so you
could have sections where everyone plays together
and other times where just the soloists play.

Listening Samples
(for youtube links see the Listening Sample section)
Two soloists accompanied by a string orchestra:
Fire by Star featuring Penzance Youth String
Orchestra at MFY Schools Prom in 2012
Piano accompanied by orchestra: Piano Concerto
No 21 by Mozart

SUITE
A suite is a collection of pieces, or sections, with a
connecting link such as The Planets by Holst with
the pieces or movements all depicting different
planets. Often they can be based on dances.

Whilst the suite itself is a type of composition

each piece or movement within it also has its own
composition type.

Listening Samples
(for youtube links see the Listening Sample section)
Mars from The Planets by Holst
Black, Brown and Beige by Duke Ellington

HOW MANY COMPOSITION PIECES OR MOVEMENTS SHOULD WE DO?

Concertos and suites all have a number of pieces or movements. For this project
you may not have time to compose more than one piece or movement but you
could add more in time, perhaps using the ideas and motifs you have collected
on your Project Display Board.
STARTING 37
POINTS

These Starting Points are designed to spark the

childrens imagination and broaden their responses
to the central theme: Infinity begins with I.

Although you are working towards a musical

composition exploring the theme from a number
of angles through a range of stimuli (eg: visual art
will help inspire ideas) this broad approach will also
encourage and create links to other subject areas,
art forms and moral or social topics.

The Starting Points provided are examples of the

different types of stimuli that you will use in weeks
1 and 2 and perhaps into weeks 3 and 4. You may
prefer to source your own starting points as this will
ensure they are bespoke for your group of children.

NARRATIVES

Grains of Rice on a Chessboard (fable)

There is a story that the ruler of India was so pleased with one of his palace wise
men that he offered this wise man a reward of his own choosing.
The wise man, who was also a wise mathematician, told his Master that he would
like just one grain of rice on the first square of the chess board, double that
number of grains of rice on the second square, and double again on the third
square... (count up and see what happens!)

Dame Ellen MacArthur (fact)

Dame Ellen is best known as a solo long-distance yachtswoman. On 7 February
2005 she broke the world record for the fastest solo circumnavigation of the
globe. Thats a distance of 21,600 nautical miles and meant 71 days alone in the
vessel

Breaking News! (fiction)

A story leaked today appears to confirm that the space probe New Limits has
8 people on board. Previously it had been thought that this was an unmanned
mission although there had been growing rumours. The space craft left our earth
eight years ago on a course for the dwarf planet Pluto. The crew have found
life on one of Saturns distant moons and have made contact, communicating
through a series of codes...

William Blake (poem)

To see a World in a Grain of Sand
And a Heaven in a Wild Flower
Hold Infinity in the palm of your hand
And Eternity in an hour.
VISUAL ART 38

Sand in the desert

Lunch Atop a Skyscraper

by Charles C Ebbets
Photo taken of construction
workers enjoying their
lunch whilst working on the
Rockefeller Centre

Great Blue Hole

This large sinkhole off the
coast of Belize, Central
America is over 300m
across and 264m deep.
INDIVIDUAL WORDS 39
What does Infinity mean in relation to these words and how does it link to the
individual?

Concepts
Space
Nature
Ocean
Time
Life

Adjectives
Tallest
Coldest
Bravest
Heaviest
Kindest
MUSICAL 40
ACTIVITIES

Below is a bank of musical activities to use at

the start of your session based around musical
elements. They have been designed to be useful for
any non-school based groups too.

The activities are designed to consolidate

understanding and encourage exploration of the
concepts. Involve the children in designing your own
versions based on these.

Always try to link the activities with the learning

that will take place later eg: if you are going
to concentrate on the tempo (speed) of your
composition, choose the appropriate tempo activity
as a warm up.

(NB: Musical elements will be renamed dimensions

in September 2014 when the new curriculum
begins.)

Musical element/ Activity try to use demonstration and gestures, not

dimension words, to introduce these
Pulse/beat: this is the Keep the Beat
steady heart beat of
the music Listen to a piece of music and find the pulse/beat. Join in
with the pulse/beat by slapping your hands on your thighs.

Once the group is confident, extend the activity by

exploring other body percussion sounds and movements
eg; stamping, tapping your nose etc

Let the children take the lead.

Rhythm: long and Clap your Favourite
short sounds
Establish a group beat by stamping feet in turn as if
walking in time.

Decide on a topic (football teams, childrens names,

favourite food) and create a short phrase.

My favourite food is.....(sausages or chips)

Everyone claps along to the syllables as they say the first

part of the phrase this creates a rhythm. Take care to do
this in time to your feet.

Each child takes it in turns to add in their answer clapping

and saying it at the same time, whilst the rest of the
children listen.
Musical element/ Activity try to use demonstration and gestures, not
dimension words, to introduce these 41
Rhythm: long and When everyone has had a go discuss the rhythm patterns
short sounds in their answers.
(continued)
Change the topic regularly to keep the interest going.
Pitch: high and low Sirens
sounds
With your hand stretched out in front of you horizontally
(to symbolise the pitch) choose any comfortable middle-
ish note and hum loudly, encouraging the children to join
in.

Slowly raise or lower your arm whilst changing your hum

up or down in pitch. Encourage the children to follow
accordingly with a higher or lower hum.

As soon as they have grasped this pass the conductor role

to one of the children.

Duration: length of Step by step

sound
Walk around the room at a normal speed counting one on
each step ie: 1 1 1 on each step.

Repeat but this time count for 2 beats on each step ie: go
at half speed.

Try this with 3 and 4 counts and see if you can all stay
upright!

This will introduce the idea that music is made up of

different lengths of notes.

Dynamics: loud and Take the Applause!

quiet sounds
Without speaking start to clap quietly and encourage the
children to join in. Gradually change the volume and ask
them to copy.
This requires control and close watching and listening.
Pass to a child as soon as possible.

Tempo: the speed of How does this sound?

the music
Pick a well known song eg: Twinkle Twinkle and try singing
it at different speeds, perhaps very fast or very slow.
Which speed sound best, how does it change the feel of
the song?
Musical element/ Activity try to use demonstration and gestures, not
dimension words, to introduce these 42
Timbre: the quality of Quality Counting
the sound eg: how you
know which instrument Count to 20 in different voices eg: as a witch or robot. Let
youre listening to the children pick the voices.
What do the different voices do to the words?

Texture: eg: layers of Round and round

sound
Sing Frere Jacques or Londons Burning in unison
(altogether) and then as a round.

What happens when you sing it as a round? Does it feel

different, is the sound thicker?
PITCH 43

Using tuned instruments - experimenting with pitch

The three notes C, D and E have been used to give
examples but you can use these ideas, or variations
of them, with any notes you are working with.

When starting your work with tuned instruments, it

is often easier to limit the notes you use in the first
instance, picking for example a set of five notes to
work with before experimenting further. Experiment
with different collections of notes (pitches). You can
choose any five notes. Some examples are provided
below to start you off.

Each collection of notes, also called a scale (where

the successive notes move up or down by step) has
a different feel and will create a different mood. Try
playing the following examples on a piano/keyboard
or xylophone. What do they sound like?

ABCDE

CDEFG

EFGAB

C D E G A (for ease, you could remove all the F and

B notes from your xylophone.)

Just use the black notes on a piano or keyboard

(starting on any note). This combination is called a
pentatonic scale.

C D E F# G# (F# is the black note between F and G,

and G# is the black note between G and A).
This is called a whole tone scale.
Ask the children to make up short phrases or tunes
just using one of these groups or scales. Then 44
choose a different scale to work with. Which do they
like best? Experiment by playing the same pattern
or tune using two different scales. What happens if
you use two different scales at the same time? See
what works and ask the children to find out which
combinations they like best and why.
MUSICAL 45
DEVICES

The following ideas can be used to develop, extend

and layer musical phrases. They can be used
individually or you can build them together.

Technique Explanation
Exact repetition Simply repeat the idea as many times as you wish to ie: at
same pitch using exactly the same notes and speed.
Repetition in octaves: Repetition in octaves: an octave is 8 notes Repeat the
an octave is 8 notes idea playing up or down an octave - ie use the same letter
names C D E but move up (or down) to the next C D E.

The picture below (see over page) shows the starting note
C for this example in 2 different places on the keyboard.
They will sound similar but not the same.

Using a sequence: Play the same pattern but start on a different note. As
the same pattern but shown on the keyboard you could start originally on:
starting in a different
place C and play C D E

or you could play the same pattern starting on the:

E so it would become E F G

or start on:

A so it would become A B C etc

Technique Explanation
Using a sequence: 46
the same pattern but
starting in a different
place (continued)

The pattern will have a different quality depending on the

starting note so decide which you prefer. Experiment with
joining a number of these sequences together.
Exploring dynamics: Repeat the idea but using different dynamics eg: perhaps
loud and quiet sounds starting quietly and then building to loud, or starting
loudly and dying away or a mixture of the two.
Exploring tempo: Experiment with the idea at different speeds so
speed
C_D_E_

could be played slower so that each note lasts longer ie:

C___D___E___

or faster so that the notes are closer together

CDE
Exploring rhythms: Repeat the original idea but with a different rhythm so
long and short sounds instead of playing single notes you could repeat them eg:

C D E could be played as
CCCCDDDDEEEE

or add word patterns eg: Humpty Dumpty so

C D E could be played as
C CC CD DD DE EE E
Hump -ty Dump -ty Hump -ty Dump ty Hump -ty
Dump -ty
Technique Explanation
Exploring timbre: the Try repeating using different instruments, body percussion 47
quality of the sound or voices this will change the timbre.
(how we know what
the sound is) Perhaps begin with the idea played with body percussion,
move to, or add in, voices and then instruments.

Explore the different combinations and see which works

best for the effect you want.
Exploring texture: Repeat the idea with different combinations of performers.
layers of sound For example, you might start by singing the idea, the
repeat it with a single instrument playing along, and then
repeat again with everyone playing along.
Exploring character: Repeat the idea several times exploring different ways of
the style of the music playing it - perhaps starting very smoothly and ending
with very short notes.

For example if children are playing string instruments try

with or without the bow.
Playing as a round Play the idea as a round where everyone sings or plays the
same idea but starting at different places eg:

CDECDE
CDECDE
CDECDE

You may want to play it all through altogether first and

then begin the round. Explore different starting points to
see which you prefer.

Using a round will allow you to build the layers of sound

(texture) up so that the piece seems more complex.
Reversing the idea Playing the same idea but backwards so C D E would
become E D C.
Inverting the idea Turning the idea upside down so that steps or jumps
upwards become steps or jumps downwards eg:

C going up to D then up to E

ie: C D E would inverted would become

C going down to B and again to A

ie: C B A
Add an ostinato: a Play the original idea and add another simple repeating
repeating pattern pattern eg: add in continuous claps shown here with *

C D E C D E
* * * * * *

Once this is secure you can add in another line eg: a

pattern of Cs
Technique Explanation
Add an ostinato: a C D E C D E 48
repeating pattern * * * * * *
(continued) C C C C

As with the round, this technique enables you to build the

sound by creating layers. The ostinato patterns could be a
fragment of the idea itself - in this case the note C.
LISTENING 49
SAMPLES

These samples cover a range of different genres

and composition types but you will have many more
examples of your own. Some are recordings by
professional musicians and others are performances
from previous Music for Youth festivals.

They are predominantly for listening to, rather than

watching, to encourage the children to focus on
sound but you may wish to watch some at the end
of the project for performance ideas.

CONTEMPORARY
Atmospheres: Gyorgy Ligeti [Link]
Doctor Who (Main Theme) 2013: Murray Gold [Link]
Small Raptures in Space [Link]
The Hours: Philip Glass [Link]
Hedwigs Theme, Harry Potter: John Williams [Link]

CLASSICAL
Hallelujah Chorus from the Messiah: Handel [Link]
Pictures at an Exhibition: Mussorgsky [Link]
Canon in D: Pachelbel [Link]
Enigma Variations: Elgar [Link]
Piano Concerto No.21 Andante: Mozart [Link]
Fifth Symphony: Beethoven [Link]
Mars from The Planets: Holst [Link]
Toccata and Fugue in D minor: Bach [Link]
The Rite of Spring: Stravinsky [Link]

WORLD & FOLK

Kingsmead Dynamix at MFY [Link]
Inkanyezi Nezazi: Ladysmith Black Mambazo [Link]
Raag Khamaj: Ravi Shankar & Anoushka Shankar [Link]
Chan Chan: Buena Vista Social Club [Link]
Batala Atenas [Link]
A Tea Ballad Chinese [Link]
The Boys of the Lough [Link]

POP & ROCK

Crazy in Love: Beyonce [Link]
Livin on a Prayer: Bon Jovi [Link]
Suspicious Minds: Elvis Presley [Link]
Blame it on the Boogie: Jackson 5 [Link]
A Hard Days Night: The Beatles [Link]
HIP HOP / URBAN 50
Star featuring Penzance Youth String Orchestra [Link]
at MFY Schools Prom 2012
Vocalize at MFY National Festival 2012 [Link]
Empire State of Mind: JayZ and Alicia Keys [Link]
Run DMC: Its Like That [Link]

REGGAE
Tomorrow People: Marley [Link]
Israelites: Desmond Dekker [Link]

JAZZ & TRADITIONAL

NKS Jazz Quartet at MFY National Festival 2011 [Link]
Trad Lads at MFY Primary Prom 2012 [Link]
Detroit: Marcus Miller [Link]
When the Saints go Marching in: Louis Armstrong [Link]
Black, Brown and Beige: Duke Ellington [Link]

REAL SOUNDS
Sounds from Space recorded by NASA Voyager [Link]
Rainforest natural sounds [Link]
Amazing Natural Bird Sounds [Link]