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A ROALD DAHL MUSICAL CD-ROMA ROALD DAHL MUSICAL CD-ROM

Roald Dahl’sGoldilocksThree Bears

and the

ROALD DAHL’S GOLDILOCKS AND THE THREE BEARS • © 2005 A & C BLACK • ALL RIGHTS RESERVED

CONTENTSLYRIC SHEETS . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

DANCE DEVELOPMENTS . . . . . . . . . . . . . . . . . 16

ACTING GAMES . . . . . . . . . . . . . . . . . . . . . . . . 25

LITERACY AND DRAMA ACTIVITIES . . . . . . . . 30

MUSIC ACTIVITIES . . . . . . . . . . . . . . . . . . . . . . 36

INSTRUMENTAL PARTS . . . . . . . . . . . . . . . . . . .54

Bb CLARINET . . . . . . . . . . . . . . . . . . . .55

VIOLIN . . . . . . . . . . . . . . . . . . . . . . . .68

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2ROALD DAHL’S GOLDILOCKS AND THE THREE BEARS • © 2005 A & C BLACK • LYRICS PHOTOCOPIABLE WITH A PERFORMANCE LICENCE


1n the dockWe love porridge1 2 3 porridgeGenuine, unique antiques1 2 3 chairs / 1 2 3 bedsLitigation lullaby1nnocent or guilty?Little Bear’s revengeGoldilocks

LYR1C SHEETSClick on the title you would like to go to.


A ROALD DAHL MUSICAL CD-ROM LYRIC SHEETSA ROALD DAHL MUSICAL CD-ROM LYRIC SHEETS

1n the dockALL Chorus

Goldilocks! Goldilocks!Innocent or guilty, you stand on trial in the dock!

Verse 1

The Three Bears are traumatised,The father wants his gun.His house has been vandalised,He wants some justice done!The ushers are usheringA witness to the box.The public in the galleryShout, ‘Lock up Goldilocks!’The Defence cry, ‘Objection!’The Judge grunts, ‘Overruled!’Prosecution are adamant,‘This Jury won’t be fooled.’

ChorusGoldilocks! Goldilocks!Innocent or guilty, you stand on trial in the dock!

Verse 2A witness gave evidence,He’d seen her breaking in.An expert psychologistConfirmed her guilty grin.Forensics had analysedSuspicious looking clues.They said the muddy foot prints,Were made by Goldie’s shoes.The Defence cry, ‘Objection!’The Judge grunts, ‘Overruled!’Prosecution are adamant,‘This Jury won’t be fooled.’

ChorusGoldilocks! Goldilocks!Innocent or guilty, you stand on trial in the dock!

(continued)



ALL Verse 3Reporters are scribblingTo make the press in time.Their headlines say: BOLDILOCKS,SHOCK HORROR! TRIPLE CRIME!Policemen did apprehendThe culprit on the spot.They said they found her comatoseIn little teddy’s cot.The Defence cry, ‘Objection!The Judge grunts, ‘Overruled!’Prosecution are adamant,‘This Jury won’t be fooled.’

Final ChorusGoldilocks! Goldilocks!Innocent or guilty, you stand on trial in the dock!Innocent or guilty, you stand on trial in the dock!

1n the dock (continued)



Verse 1 (+ Optional 2nd group: Porridge bowl rhythm)

ALL/BEARS We love honey, (2nd group: Tsh, tsh tsh, tsh tsh …)We love toast.But there’s just one thing we bearsReally love the most ~

ChorusALL We love porridge,MOTHER BEAR I make it runny or thick.ALL We love porridge,FATHER BEAR It’s ready just in a tick.ALL It’s so filling,L1TTLE BEAR So lumpy, creamy and white.ALL It’s so thrilling,FATHER BEAR A gastronomic delight!ALL You know, Father’s secret recipe

Is a porridge speciality!


ALL/BEARS We love coffee, (Tsh, tsh tsh, tsh tsh …)We love tea.But if milk’s involved we knowWhat we’d like to see ~

ChorusALL We love porridge,MOTHER BEAR It’s so essential for bears.ALL We love porridge,FATHER BEAR Because it makes you grow hairs.ALL It’s so filling,L1TTLE BEAR Right from our heads to our toes.ALL It’s so thrilling,FATHER BEAR It even sticks to your nose!ALL You know, Father’s secret recipe



ALL/BEARS We love bacon, (Tsh, tsh tsh, tsh tsh …)We love eggs.But then for a spoon of oatsWe’d sit up and beg ~ (continued)

We love porridge



ChorusALL We love porridge,MOTHER BEAR I make it runny or thick.ALL We love porridge,FATHER BEAR It’s ready just in a tick.ALL It’s so filling,L1TTLE BEAR So lumpy, creamy and white.ALL It’s so thrilling,FATHER BEAR A gastronomic delight!ALL You know, Father’s secret recipe


We love porridge (continued)



Verse 1Here I come. Yum! Yum! Yum!Bowls of porridge for my tum.Though the sight makes you sick,Watch me gobble super quick,Then give the bowl a final lick.

One! Two! Three!Which one is right for me?

One?(Sound effect)Much too hot to eat in haste.

Two?(Sound effect)This is such a gritty pasteIt’s much too salty for my taste.


Verse 2Here I come. Yum! Yum! Yum!Bowls of porridge for my tum.Though the sight makes you sick,Watch me gobble super quick,Then give the bowl a final lick.


Three?(Sound effect)Three it’s got to be!

1 2 3 porridge

8


ChorusPORTERS At the auction you will see,

We are selling history.ALL Everything’s a genuine, unique antique.MOTHER BEAR Every week you’ll find me there,

On the look out for something rare.ALL She just loves a genuine, unique antique.

Verse 1Up for sale is lot twenty-nine,A Georgian style decanter for wine.Watch it sparkle, glisten and gleam,It’s every collector’s cut glass dream!

AUCT1ONEER Let’s start the bidding atFive, ten, fifteen, twenty,Twenty-five, thirty, thirty-five, forty ~

ALL Then up jumps a bearWith her hand in the air.The tension is rising, is this the last bid?Going once! Going twice! (BANG)SOLD to Mrs Bear for forty-five quid!




Verse 2Up for sale is lot thirty-eight,An early Chinese porcelain plate.Blue and white with decorative glaze,We’ve heard it’s the latest ceramic craze!

AUCT1ONEER Let’s start the bidding atTwenty, thirty, forty, fifty,Sixty, seventy, eighty, ninety ~

ALL Then up jumps a bearWith her hand in the air.The tension is rising, is this the last bid?Going once! Going twice! (BANG)SOLD to Mrs Bear for one hundred quid!

(continued)

Genuine, unique antiques

ROALD DAHL’S GOLDILOCKS AND THE THREE BEARS • © 2005 A & C BLACK • LYRICS PHOTOCOPIABLE WITH A PERFORMANCE LICENCE






Verse 3Up for sale is lot forty-two,The very first Victorian loo.It’s the finest specimen seen,Restored to perfection and squeaky clean!

AUCT1ONEER Let’s start the bidding atOne hundred, two hundred, three hundred,

four hundred,Five hundred, six hundred, seven hundred,

eight ~ALL Then up jumps a bear

With her hand in the air.The tension is rising, is this the last bid?Going once! Going twice! (BANG)SOLD to Mrs Bear for nine hundred quid!

Genuine, unique antiques (continued)



Verse 1Here I come. Creak! Creak! Creak!Rest my bottom, cheek by cheek.Wriggle here, wriggle there,My buttocks bouncing on the chair,They bash it till beyond repair.


One?(Sound effect)Much too high, I need it low.

Two?(Sound effect)Much too high, I’d need to grow,These chairs they give me vertigo!


Verse 2Here I come. Creak! Creak! Creak!Rest my bottom, cheek by cheek.Wriggle here, wriggle there,My buttocks bouncing on the chair,They bash it till beyond repair.



Verse 1Here I come. Yawn! Yawn! Yawn!Been up since the break of dawn.On the bed, made so neat,I jump about with dirty feetAnd stain the pretty linen sheet.


One?(Sound effect)Much too hard, I’d never sleep.

Two?(Sound effect)Much too springy, soft and deep,It’s useless even counting sheep.


Verse 2Here I come. Yawn! Yawn! Yawn!Been up since the break of dawn.On the bed, made so neat,I jump about with dirty feetAnd stain the pretty linen sheet.



1 2 3 chairs 1 2 3 beds

11


Verse 1USHERS Shhhh! DEFENCE I say objection! Objection!

I’d just like to mention,The girl you’re accusingSuffered bites, burns and bruising.What terror, she’s dreamingOf hot porridge steaming.She scalded her jawAnd now eats through a straw.ChorusFor this she will sue.Compensation is due For negligence claim.The Three Bears are the ones to blame!


I’d just like to mention,The girl you’re accusingSuffered bites, burns and bruising.Afflicted by nightmaresOf dangerous armchairs,She fell with a bump,Now her head has a lump.ChorusFor this she will sue.Compensation is dueFor negligence claim.The Three Bears are the ones to blame!


I’d just like to mention,The girl you’re accusingSuffered bites, burns and bruising.She’s tossing and turning,The bad dreams returning.The bed bugs and mitesGave her third degree bites.ChorusFor this she will sue.Compensation is dueFor negligence claim.The Three Bears are the ones to blame.

ALL Shhhh! Shhhh!

Litigation lullaby




Verse 1ALL Crime One, the Prosecution’s case:

She breaks and enters someone’s place.JURY We the Jury will decide,JUDGE Innocent or guilty, take your side.

‘1NNOCENT’ GROUP Innocent! Innocent! Innocent! Innocent!It’s such a predicament,But we think she’s innocent!

Chorus (+ optional part – ALL JURORS)

ALL Twelve good folks, (Twelve good folks,)Honest and true, (Honest and true,)But they can’t agree (Can’t agree)On what they should do. (On what to do.)They haven’t got a clue.

ALL Should they acquit her (YES!) (‘1NNOCENT’ JURORS)And let her walk free? (NO!) (‘GU1LTY’ JURORS)Should they convict her (YES!) And throw away the key? (Throw away the key!)

‘1NNOCENT’ GROUP Oh no!‘GU1LTY’ GROUP Oh yes!ALL We wish the girl would just confess.

Verse 2ALL Crime Two, the Prosecutor notes:

She steals a bowl of porridge oats.JURY We the Jury will decide,JUDGE Innocent or guilty, take your side.

‘GU1LTY’ GROUP Guilty! Guilty!Guilty as can be!Goldilocks guilty!It’s very plain to see!



(continued)

1nnocent or guilty?



ALL Should they acquit her (YES!) (‘1NNOCENT’ JURORS)And let her walk free? (NO!) (‘GU1LTY’ JURORS)Should they convict her (YES!)And throw away the key? (Throw away the key!)


Verse 3

ALL Crime Three: She breaks a precious chairBelonging to the Baby Bear.

JURY We the Jury will decide,JUDGE Innocent or guilty, take your side.

‘1NNOCENT’ AND ‘GU1LTY’ GROUPS TOGETHERInnocent! Innocent! Guilty! Guilty!Innocent! Innocent! Guilty as can be!It’s such a predicament, Goldilocks guilty!But we think she’s innocent! It’s very plain to see!



ALL Should they acquit her (YES!) (‘1NNOCENT’ JURORS)And let her walk free? (NO!) (‘GU1LTY’ JURORS)Should they convict her (YES!)And throw away the key? (Throw away the key!)


Verse 4

ALL Crime Four: She smears each spotless sheetWith filthy messes from her feet.

JURY A judge would say without a blink,JUDGE Ten years’ hard labour in the clink!

1nnocent or guilty? (continued)



ALL Goldilocks! Goldilocks! Goldilocks!Goldilocks!Goldilocks!Goldilocks!

GOLD1E (Shriek)ALL Little Bear is hungry,

And justice will be done! Goldilocks!

Little Bear’s revenge




Verse 1Goldilocks! Goldilocks!A pretty girl with cotton socks.But now you know, she’s so rude,Stealing, gobbling all your food.

ChorusShe fooled the Jury,They got it wrong.So Goldie ran off,Just laughing and dancing along.

Verse 2Goldilocks! Goldilocks!A pretty girl with cotton socks.But now you know, she’s a slob,Vandal, thief and full time yob!

ChorusShe fooled the Jury,They got it wrong.So Goldie ran off,Just laughing and dancing along.

Moral warningNow if you ever annoy a bear,You’d better be cautious, you’d better take care.For one day soon, he’ll catch you unaware,You’ll walk round the corner and he’ll be there!

Verse 3Goldilocks! Goldilocks!A pretty girl with cotton socks.But now you know, sleepy eyesJust disguise her web of lies.

ChorusShe fooled the Jury,They got it wrong.So Goldie ran off,Just laughing and dancing,With hungry Little Bear chasing along.

Goldilocks

ROALD DAHL’S GOLDILOCKS AND THE THREE BEARS • © 2005 A & C BLACK • ALL RIGHTS RESERVED 16

DANCE DEVELOPMENTSClick on the dance development you would like to go to.

Bears’ porridge danceBears’ promenadeGoldie, the sneak1 2 3 porridge1 2 3 chairsGoldie’s angry dance1 2 3 bedsCelebration dance for Goldie

A ROALD DAHL MUSICAL CD-ROM A ROALD DAHL MUSICAL CD-ROM

17ROALD DAHL’S GOLDILOCKS AND THE THREE BEARS • © 2005 A & C BLACK • ALL RIGHTS RESERVED

A ROALD DAHL MUSICAL CD-ROM DANCE DEVELOPMENTSA ROALD DAHL MUSICAL CD-ROM DANCE DEVELOPMENTS

Bears’ porridge danceThe Bears perform a dance sequence during the song in Scene 2, ‘We loveporridge’. This is accompanied by CD track 4.

Introduction

First section – the Three Bears take position, either sitting at the table or standing side byside facing the audience. During the four beats before the song begins they perform a simplemovement, eg swaying in unison LRLR or miming eating porridge with wooden spoons fromthe bowls to a count of four. All three bears can tap the vocal/cymbal rhythm on the edge oftheir porridge bowls as an introduction to the singing of each verse.

Verses

During each verse the Bears can perform simple repeating sequences of movements to acount of four beats in a relaxed manner. They may each be holding a bowl and wooden spoonwhich can be used in the sequence, and might use any of these movements:

• sitting at the table tapping spoons to the beat• swaying from side to side• simple patterns of four steps – side to side, forwards and back, one foot over

the other• simple patterns of bowl and spoon – circular stirring movement, lifting the spoon

up and down as if eating, waving from side to side • kneeling.

At the end of each verse each bear in turn performs a movement individually to match thefirst, second and third beats which link the end of the verse and the start of the chorus:

1 2 3

Really love the most

They might:

• if sitting during verse stand up one by one • stretch arm (and spoon if used) out to right side of body• turning around full-circle once on the spot.

Chorus

Devise a simple sequence to perform, eg:

• link arms to dance in unison, eg step and kick right, step and kick left• hold hands and dance in a circle• step forwards, backwards, side to side in formation – side by side, one in front of

the other, two behind with one in front.

Ending

Decide on a finishing position for the Bears.

Choose a final gesture to be performed by each bear in turn, and held in position until themusic stops.



Bears’ promenadeDevelop a promenade dance to perform with the short extract of orchestralmusic which describes the Bears’ walk as their porridge cools, CD track 5. Youmay choreograph this for the Three Bears only, or for a large group of bearsand other extras to involve more children.

Listen to the orchestral music and note the following features:

• a relaxed tempo• a repeating 2-beat walking rhythm in the bass• a smooth, sliding, step-by-step, jazzy melody• the stops and starts in the melody with sections when the bass can be heard

on its own.

Ideas for dance movements:

• move in single file, following a curved path around the performance space• walk in a line with linked arms, stopping and changing direction to match

changes in the music• move diagonally across the performance space to left and right sides• stand in facing lines, moving forwards and back• incorporate turns, knee bends, hops or skips into the walking movements• create a sequence of dance steps, eg step right right right hop, left left left hop.

Develop a structure for the chosen dance steps using sections of music as aural cues.

Aim to develop a dance which includes a variety of different directions, formations andindividual movements.

Ending

Use the three repetitions of the musical phrase at the end to bring the Three Bears intotheir final positions and hold them still on the last chord.



Goldie, the sneakPlay a drama game to develop a sequence of dance movements for Goldilocksto perform as she sneaks around nosily in the Bears’ house (prior to stealingthe porridge and breaking the chairs) to the accompaniment of CD track 6 andtrack 9.

Drama game

Ask the children to suggest all the nosy things Goldilocks might do as she looks around theBears’ room. She might:

• tiptoe around the room• open a cupboard• look under chair cushions• stretch up and take things off shelves• pick up and open containers• pick up and sniff food or objects• pull open a drawer and rifle through contents• try on clothes• read a letter• spray on perfume.

Write each of the actions on a card. Distribute the cards amongst small groups or pairs ofchildren, then ask each to perform their action after everyone else chants:

Goldilocks in the Bears’ house,Boldilocks sneaking round.Nosilocks peeking everywhere,What do you think she’s found?

Can the others guess what Goldilocks is doing?

Dance development

From the actions developed in the game above choose a sequence of movements forGoldilocks to perform to the orchestral music. Encourage Goldilocks to use the whole spaceavailable and to include different levels and speeds of movement in the sequence, eg:

• quickly tiptoe around the space, looking about from left to right• quickly stretch up and open a cupboard, take out an object and throw it away• turn round, lift and look under objects• pull open a drawer, take out and spray perfume on neck, wrists and all around the

room in large circles.

Ending

Choose a final gesture and position for Goldilocks to perform and hold still as the last verylow-pitched (and rather disrespectful!) phrase of the music is played, eg pulling a rude faceat a photo of the Bears and/or putting her foot on a Bear’s chair.



1 2 3 porridgeDevise movements for Goldilocks to perform during the porridge-stealing song, CD track 7.

Add large, simple exaggerated movements to each line of the verse to bring the story to life, eg:

Verse 1Here I come. Yum! Yum! Yum! Tiptoe up to bowls – shake fists excitedlyBowls of porridge for my tum. Rub tummy in three large circlesThough the sight makes you sick, Bend to side, mime being sickWatch me gobble super quick, Mime holding spoon and scooping up foodThen give the bowl a final lick. Lick bowl or use finger to scrape it

One! Two! Three! Point to each bowl in turnWhich one is right for me? One hand on hip, the other pointing to

forehead, head held on one side as if thinkingOne?

(Sound effect)Much too hot to eat in haste. Take a taste – pull a face

Shake both hands from side to sideTwo?

(Sound effect)This is such a gritty paste Take a taste – pull a faceIt’s much too salty for my taste. Shake both hands from side to sideOne! Two! Three! Point to each bowl in turnWhich one is right for me? One hand on hip, the other pointing to

forehead, head held on one side as if thinking

At the end of the song, Goldilocks mimes gobbling all the porridge from Little Bear’s bowl.She displays disgusting table manners, eating greedily, licking the front and back of thespoon or even using her finger to scrape the last remains from the bowl.



1 2 3 chairsDevise movements for Goldilocks to perform during the chair-breaking song, CD track 10.

Add large, simple, exaggerated movements to each line of the verse to bring the story to life, eg:

Verse 1Here I come. Creak! Creak! Creak! Tiptoe up to chairsRest my bottom, cheek by cheek. Bend at waist and sit, moving knees

left then rightWriggle here, wriggle there, Wriggle to the left, wriggle to the rightMy buttocks bouncing on the chair, Bounce four times to the beatThey bash it till beyond repair. Repeat with larger, more energetic

bouncesOne! Two! Three! Stand and point to chairs one by oneWhich one is right for me? One hand on hip, the other pointing to


One?(Sound effect)Much too high, I need it low. Make little jumps, trying to sit on chair

Raise hand high, then indicate low Two?

(Sound effect)Much too high, I’d need to grow, Make little jumps, trying to sit on chair

Raise hand high, stretch up on tiptoesThese chairs they give me vertigo! Hold forehead and wobble One! Two! Three! Stand and point to chairs one by oneWhich one is right for me? One hand on hip, the other pointing to


At the end of the song Goldilocks breaks the chair. She mimes falling off the chair, whichmakes her very cross. She quickly stands, rubbing her bottom, then picks up a broken sectionof chair and angrily waves it in the air at the remains of the chair.



Goldie’s angry danceCreate a dance which shows Goldilocks in a temper after falling off Little Bear’schair when it breaks. This is accompanied by the children’s own music (seepage 46) or by CD track 11.

Choose movements which convey Goldilocks’ mood, eg:

• scowling looks from left to right side and towards the audience• holding both fists, tightly clenched, up to either side of the head• kneeling down on the floor and beating arms up and down, head lowered• large, heavy stamping steps across the space in diagonal lines or circles• miming picking up an object and flinging it furiously across the room

(or into the audience!).

Use these movements to create a dance for Goldilocks to perform in different areas of theperformance space as she interacts with the various members of the courtroom, eg:

• She moves towards the public gallery. Her supporters make gestures to try to calmher down, eg fingers on lips to quieten her, putting an arm round her shoulder.The Bears’ supporters stand and point, shaking their fists angrily at her and shaking their heads in disgust.

• The court officials remove the pieces of broken chair from the stage.• The Police attempt to calm Goldilocks: they link arms with her and try to escort

her off-stage but she struggles and pulls them from left to right. Their attempts to bring her behaviour to order fail and she shakes them off.

• The Jury and Press are horrified and make frantic notes.

Explore the movements with the music (orchestral extract or composition) to decide on a sequence which can be used as a framework for an improvised dance.

At the end of the dance the courtroom is in uproar (see CD-ROM Literacy and dramaactivities, page 32).



1 2 3 bedsDevise movements for Goldilocks to perform during the bedroom song.

Add large, simple, exaggerated movements to each line of the verse to bring the story to lifeeg:

Here I come. Yawn! Yawn! Yawn! Tiptoe to the beds, stretch arms inlarge yawn

Been up since the break of dawn. Repeat large, slow stretch with botharms

On the bed, made so neat, Step onto bedI jump about with dirty feet Four jumps on the beat, lifting right

then left legAnd stain the pretty linen sheet. RepeatOne! Two! Three! Stand and point to beds one by oneWhich one is right for me? One hand on hip, the other pointing to


One?(Sound effect)Much too hard, I’d never sleep. Sit on bed and stand up immediately

Two?(Sound effect)Much too springy, soft and deep, Bounce up and down in time with the

beatIt’s useless even counting sheep. Point and mime counting sheep one by

oneOne! Two! Three! Stand and point to beds one by oneWhich one is right for me? One hand on hip, the other pointing to




Create a dance for Goldilocks which expresses her euphoria at being found innocent.

Listen to the extract of Kurt Schwertsik’s music for Goldie’s celebration dance, CD track 16.

How does he create the feeling of joy as she celebrates her freedom after the verdict?(A quickly moving, light melody which is made of small jumps in pitch. Phrases whichmove up higher in pitch. Skipping rhythms in the melody with a short, lightaccompaniment playing a fast beat. Growing in volume to make a crescendo as theinstruments join together in a climax at the end.)

Suggested movements:

• light skipping around the performance space in a large circle with supporters fromthe public gallery and witnesses joining her

• waving one hand and arm at the audience• clapping hands together and skipping or turning on the spot• raising both fists in the air and shaking them in triumph• fast, light travelling movements towards the Defence team• shaking hands or embracing each of the Defence team in turn• shaking hands with members of the audience or Jury.

Practise these with the orchestral music and decide on a sequence which is appropriate foryour particular circumstances, using as much of the performance space as possible. Makesure that the child playing Goldilocks remembers to smile throughout!

Celebration dance for Goldie



Telling talesA game to help children focus on the meaning of their lines, rather than on therhythm of the poetry. [Relevant for all scenes.]

Walking and talkingA game to help with character. [Relevant for all scenes.]

CopycatsA game to help with movement. [Relevant for all scenes.]

Who am 1?A game to develop mime. [Relevant for all scenes.]

ACT1NG GAMES– FOR DEVELOP1NG CONF1DENT PERFORMERS

Click on the game you would like to go to.


A ROALD DAHL MUSICAL CD-ROM ACTING GAMESA ROALD DAHL MUSICAL CD-ROM ACTING GAMES

A game to help children focus on the meaning of their lines, rather than on therhythm of the poetry. [Relevant for all scenes.]

1. Allocate to each child a couplet from one section of the poem.

2. Ask them to find an alternative way of saying the same thing, without resorting to rhyme.

3. Ask the children to deliver their new lines, in sequence, so that the original story is beingtold, but in their own words.

4. Ask the children to return to the original poem and to recite this, with the same attentionto meaning. They will now be less concerned with the text as a piece of poetry, and morefocused on the importance of the meaning.

Telling tales



A game to help with character. [Relevant for all scenes.]

1. Choose a simple couplet from the poem, such as ‘Now just imagine how you’d feel/Ifyou had cooked a lovely meal’, and ask the children to learn it off-by-heart.

2. Ask the children each to choose a character from the story (they can, of course, choose aJuror, a court official, or any character they like), but not to tell anyone what they’vechosen.

3. Now ask them to start moving around the room and in their own time to start repeatingthe couplet in character, concentrating on the voice, ie whether it is high or low, gruff orsmooth-sounding.

4. Ask the children to continue to repeat the chosen phrase, but to combine their character’svoice with movement too.

5. Choose some of the more confident children to show their work to the group. The otherchildren can have fun guessing which character is being represented.

Walking and talking



A game to help with movement. [Relevant for all scenes]

1. Ask the children to get into pairs and decide who is A and who is B.

2. All the As secretly choose a character they would like to be (including courtofficial characters).

3. Ask Bs to stand to the side of the room and watch their partners closely, while As startmoving around the room as their chosen character.

4. At a given signal (you might tap a drum, or clap), Bs go to their partners and follow them,copying their movement as closely as possible.

5. Ask Bs what character they thought that they were.

6. Repeat the exercise with Bs leading and As following.

Copycats



A game to develop mime. [Relevant for all scenes.]

1. Ask the children to choose a character, but not to tell anyone who it is.

2. Now ask them to start moving, either on the spot or around the room as appropriate,concentrating on gesture, facial expression and body position.

3. Choose one child and tap a drum close by to indicate whom you have chosen. At this signal all the other children stop to watch as this child continues moving in character.

4. The watching children try to guess which character is being mimed.

5. Tap the drum again to continue the game.

Who am 1?



L1TERACY AND DRAMAACT1V1T1ESClick on the activity you would like to go to.

Silence in courtAn activity to extend the role of the court officials (see Script page 8).

Entry of the accused / Uproar in thepublic galleryAn activity to extend the role of members of the public gallery (see Script page 8).

1n the courtroomAn activity to help the children mime some of the non-speaking roles during the musical.

Defending GoldilocksThis literacy activity helps the children to create a scene in which the Defenceteam call witnesses to put their case for the defence of Goldilocks.


A ROALD DAHL MUSICAL CD-ROM LITERACY & DRAMA ACTIVITIESA ROALD DAHL MUSICAL CD-ROM LITERACY & DRAMA ACTIVITIES

Silence in courtAn activity to extend the role of the court officials (see Script page 8).

Discuss the formalities of a courtroom and how this might affect the language usedby the officials during the proceedings. Ask the children to contribute any courtroomphrases they have heard in television dramas or at the cinema.

Ask the children to suggest phrases that the court ushers and officials might say tosilence the people in the courtroom in preparation for the entry of the Judge, eg:

Silence in court!

Be silent for the Judge!

Hush! Here comes the Judge!

All stand for the Judge!

Can the children describe how court officials might behave when speaking thephrases, to draw the public’s attention? For example:

• standing still with heads held up, hands by sides• gesturing with an outstretched arm• looking straight ahead across the courtroom with a serious facial expression• using a loud, resonant voice.

Say each phrase in a strong, deliberate and formal manner. The children copy,matching the tone, speed and pitch of your voice. Invite individual children todemonstrate ways of saying the phrases for everyone to copy. Discuss which of theseways are the most impressive.

Repeat this activity in a large space. Ask the children to spread out within the spaceand practise increasing the volume of their voices as appropriate.

Choose a number of children to be the courtroom officials and ask them to select oneor two phrases each. Designate an area for the courtroom seating, using bean bags orPE markers and allocate each child a place to stand around the perimeter of thespace. As the children enact coming in and finding their seats in the courtroom, theofficials call out their chosen phrase at random until everyone is settled and silent.



Entry of the accused /Uproar in the public galleryAn activity to extend the role of members of the Public Gallery (see Script,pages 8, 13, and 17). This is accompanied by CD track 2.

Remind the children playing members of the Public Gallery which role they have selected.For example: Goldilocks’ parents, relatives and neighbours; forest animal friends of theBears; press reporters; members of the general public.

They each decide whether they are for or against Goldilocks at the start of the court caseand then divide into two groups to suggest phrases they can say as Goldilocks comes intocourt, and during the episodes of uproar later in the trial. For example:

For Goldilocks

O, my darling little girl!

She looks so innocent!

What a sweet child – and such a pretty dress!

Bless her cotton socks! She wouldn’t hurt a fly!

For the Bears

Here she comes, the little sneak.

She was always pinching me at school, you know.

Don’t be fooled by that little-miss-innocent-look!

She’s always been selfish and greedy.

It’s her parents I feel sorry for!

Still, that’s what you get when you spoil a child.

Divide the children into pairs within their groups. They practise saying their chosen phrasesin a mini-conversation, adding gestures and facial expressions to match.

Each pair then performs their mini-conversation to the whole group, exaggerating anymovements, vocal and facial expressions.

Decide on a sequence in which to perform these conversations and whether any willinterrupt or overlap.

Practise performing them as Goldilocks is brought into the courtroom by the Ushers andduring the later scenes of uproar to check the timing and adjust as necessary (it will dependon the size of your performance area and the route Goldilocks is taken to her place in thedock).



1n the courtroomAn acting exercise to help the children mime some of the non-speaking rolesduring the musical.

Ask the children to suggest all the characters that might be present in the courtroom. Theymight suggest:

PoliceForensics teamReportersJuryProsecutionDefencePublic GalleryJudge.

Ask individuals to suggest some of the actions that the various roles might perform and trythese out together. Develop two or three actions for each role, which can be repeated as asimple sequence. For example:

• Police – bending knees, hands behind back• Forensics – taking samples, looking closely through a magnifying glass• Reporters – looking down to scribble lines in a notebook, looking up• Jury – shaking head silently, making notes• Prosecution – waggling a pointed finger accusingly, gesturing to the Jury• Defence – pleading with both arms outstretched, raising eyes to the ceiling• Public Gallery – putting hand over mouth in shock, raising both hands and

eyebrows in horror• Judge – silent and still with fingers interlocked.

Now play ‘In the courtroom’. Choose a leader who calls out one of the roles. Everyone movesabout the room performing actions for that role. When the leader calls out a new role, theplayers immediately change actions. If the leader calls out ‘Judge’, then everyone standsstill, and is silent with fingers interlocked and a serious expression. The child whom theleader judges to be the most prompt and in role becomes the next leader.

Use the actions developed in this game to encourage the children to bring the courtroomscene alive by miming their roles at any time during the musical when they are not involvedin singing or other action.



Defending GoldilocksThis literacy activity helps the children to create a scene in which the Defenceteam call witnesses to put their case for the defence of Goldilocks.

Choose characters for the defence

Ask the children to make up a list of characters who might be on the side of Goldilocks andprovide evidence against the Bears. They will need to think of valid reasons why they woulddefend Goldilocks. For example:

• her teacher – she was always good at maths and the first in her class to be able to count to three!

• the local hairdresser – she is a regular customer and takes great pride in her hairstyle!

• Cinderella – I once lost a shoe and Goldilocks was kind enough to lend me her favourite trainers!

• Little Miss Muffet – Goldilocks stamped on a spider that was just about to attack me!

Explain their motivation for giving evidence against the Bears

Discuss the list the children have created and select four or five characters who will becomewitnesses. Divide the class into groups and allocate one character to each.

Now ask each group to write a list of reasons why their character might have a grudgeagainst the Bears. For example:

• the teacher – Little Bear often truants from school. At parents’ evening Mr and Mrs Bear say they think it’s more important for him to learn about woodcraft – how to climb trees and make wooden furniture – than to learn how to read andwrite at school.

• the local hairdresser – the Bears brought Little Bear in for a haircut once but he didn’t want it cut and wouldn’t sit still. They haven’t been back since and their hair is always untidy!

• Cinderella – the Bears were very good friends of her sisters. They made her dust and polish Mrs Bear’s antiques once a week and no one ever said thank you!

• Little Miss Muffet – the Bears were very rude about her favourite food, saying thatcurds and whey had no taste at all!

Write witness statements for the defence of Goldilocks

The children discuss and decide on evidence which their character will give against theBears and/or to defend Goldilocks’ actions.

They will need to think about the crimes she is accused of and write a witness statementwhich addresses one or more of the crimes:

• Crime One – breaking and entering• Crime Two – stealing (the porridge)• Crime Three – criminal damage (breaking the chair)• Crime Four – malicious damage (dirtying the sheets).



Defending Goldilocks (continued)For example, the teacher explains that, the day before the crimes, she had mentioned to theclass that she was worried about Little Bear’s truancy and so Goldilocks decided toencourage him to go to school. She got up especially early and called at Little Bear’s house,only to find no one in. As she had missed her own breakfast and was extremely hungry, shewent in when she smelled the porridge and couldn’t resist a spoonful!

The hairdresser might explain how Goldilocks went upstairs to tidy her hair after falling offthe dangerous chair and only lay on the bed to recover from the accident!

Create a Defence scene for the play

Use the witness statements to prepare a Defence scene.

Choose two or three children to act as the Defence team. They will take it in turns to calland question the Defence witnesses in order to reveal the evidence which explainsGoldilocks’ innocence, as developed in the witness statements.

Ask them to write a series of questions or statements which they can used to prompt thewitnesses when giving evidence. For example:

In your own words, please tell the court what you know about Goldilocks.

Where were you on the morning in question?

What do you know about…?

What happened when…?

Describe the events leading up to…

Explain why you think…

Use these questions and prompts to improvise scenes in which the individual charactersdeveloped previously give their evidence in support of Goldilocks.

Select lines to create a Defence scene. Encourage the children giving evidence to improviseanswers in role in response to the prepared questions from the Defence team. This oftenproduces a much less stilted performance with more expression in delivery. Some childrenmay prefer to prepare and learn their lines by rote, but ensure that they speak their linesnaturally, with meaning and expression.

MUS1C ACT1V1T1ESThere are several opportunities for the children to create their own music, using the orchestral music and songs as a starting point.

Click on any of the following to go to the activity you would like to develop.

Fanfare: Entry of the JudgeThe children compose fanfares for the opening of the musical as the Judge enters the court [Scene 1.]

Goldie, the sneakA composition to accompany Goldilocks as she enters and nosily sneaks around the Bears’ house prior to stealing their porridge [Scene2] and breaking their chairs [Scene 3].

Sound effects: 1 2 3 porridgeSound effects to build into the song, 1 2 3 porridge [Scene 2].

Sound effects: 1 2 3 chairsSound effects to build into the song, 1 2 3 chairs [Scene 3].

Sound effects: Breaking Little Bear’s chairSound effects to build into the action at the point when Goldilocks breaks Little Bear’s chair [Scene 3].




MUS1C ACT1V1T1ES (CONT1NUED)Goldie’s angry danceIncidental music to compose as an accompaniment to Goldilock’s dance of fury following the breaking of the chair [Scene 3].

Sound effects: 1 2 3 bedsSound effects to build into the song, 1 2 3 beds [Scene 4].

Sleeping musicIncidental music to compose as an accompaniment to Goldilock’s mime of falling asleep in Little Bear’s bed [Scene 4].

Sound effects: Filthy shoesSound effects to describe Goldie’s final crime of climbing into Little Bear’s bed with dirty shoes [Scene 4].

37

A ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIES

A ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIESA ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIES


Compose fanfares to perform at the opening of the musical asthe Judge enters the court. Substitute these for CD track 1.[Scene 1]

FanfaresDiscuss the main characteristics of fanfares with the children. Whenmight they be played? (For example, at royal events, opening ceremonies forimportant occasions such as the Olympics.)

What do they sound like? (Often played on brass instruments; widelyspaced leaps in pitch; short, repeated patterns; players sometimes playingin turn at opposite sides of the space.)

Create a short phrase to announce the entry of the JudgeAsk the children to suggest short phrases which might be called out tobring the courtroom to attention as the Judge enters, eg the openingrhythm of the trumpet fanfare (CD track 1) might represent these words:

Rise! Rise for the Judge! Stand and rise for the Judge!

Decide on a rhythm to speak the phrases. For example:

Compose a simple fanfareUsing the notes D G B D' create a fanfare pattern on keyboards orrecorders to play the chosen rhythm. For example:

Ask the children playing keyboards to select a setting (tone/voice) on thekeyboard which matches the importance and serious nature of theoccasion. They may wish to explore the brass sounds and select the onethey think most impressive.

Perform the fanfareDecide whether one child will play a solo on keyboard or recorder, orwhether a small group will play in unison. You may wish to have a pair ofplayers playing from each side of the performance area, one playerstarting the fanfare and the second echoing.

Fanfare: Entry of the Judge

D' D D D GRise_______________________________Rise for the Judge

B B G G G D '_ Stand up! Rise for theJudge_______________________________(repeat)

What you will needKeyboards and/or recorders with notes D G B D'

1 2 1 2 1 2

Rise_______________________________Rise for the Judge

_ Stand up! Rise for theJudge_______________________________(repeat)

1 2 1 2 1 2

Compose a theme representing Goldilocks to play each time sheenters the scene of the Bears’ house to commit her crimes.Substitute CD tracks 6 and 9 with the children’s music. [Scenes2 and 3]

Learn to play the Goldilocks rhythmAll practise clapping this rhythm (see page 40):

1 2 1 2 1 2 1 2Gol - di - locks Gol - di - locks Pret-ty girl with cot-ton socks

Invite the children to suggest ways of performing the rhythm on a varietyof body percussion, as shown on page 40.

Play the pattern in unison, then stand in a circle to perform it one by one,taking a phrase/body percussion pattern each:

Player 1 clicks

Player 2 claps

Player 3 taps knees

Player 4 stamps feet

Repeat this activity but this time each player chooses their own bodypercussion to play the rhythmic phrase.

Combine the body percussion rhythm with an ostinato – a repeatingpattern – played on the beat on xylophones as shown on page 40.

Practise the rhythm in unison with the ostinato, then one by one aroundthe circle as before, keeping the ostinato going constantly.

Choose untuned percussion to play Goldie’s rhythmWhen the children are secure at playing the body percussion rhythm withthe ostinato, ask them to select untuned percussion instruments to replacethe body percussion. Practise playing the instruments with the ostinato.

Compose Goldilocks theme music.Discuss how the players might organise the ostinato and rhythm patternto make a piece of theme music for Goldilocks. Consider the structure ofthe piece:

• will the music begin with the beat or the rhythm pattern?

• will the rhythm players play –

– together – in unison– layering the instruments– joining in one by one – sharing phrases between them as in the sample on page 40?

• how many times will the patterns repeat? (For example, the music might need to be repeated until the players see the actors are readyon stage.)

• will the music be played the same for each of the three times it occurs in the play or will there be variations?

What you will needA selection of untuned percussion instruments

Xylophone – notes D and A

Goldie, the sneak





Gol-di-locks Gol-di-locks Pret-ty girl with cot-ton socks Gol-di-locks Gol-di-locks etc

1 2 1 2 1 2 1 2 1 2 1 2

D D DA A A A A A

D D D

Goldilocks rhythm

Tuned percussion ostinato

Body percussion

Sample untuned percussion

Goldie, the sneak

Key triangle= = == guiro handdrum== =finger

click clap kneetap = stamp indian

bells



Compose and perform sound effects to add to the countingsection of the song, 1 2 3 porridge, CD track 7. [Scene 2]

Discuss the sounds which could represent each of the bowls of porridge bydescribing the different temperatures, flavours and textures:

Bowl 1 – too hot

• soft beaters rolled on a cymbal• cymbals tapped together• tambourines shaken

Bowl 2 – too gritty and salty

• scraping sounds on graters• salt pots shaken to make a long, continuous sound• pepper mills turning

Bowl 3 – just right

• slurping and gobbling sounds made by plastic bottles of water shaken from side to side

• wooden spoons scraping round plastic beakers.

Decide whether each of the sounds will be played rhythmically or as acontinuous long sound. Practise playing the chosen combinations ofsounds while counting the beats as shown in the grids on page 42.

Finally practise adding the sounds to the song.

What you will needA selection of percussion and kitchen sound-makers, for example:

cymbals and soft beaterstambourinesplastic beakerswooden spoonsplastic bottlessalt pots containing ricepepper millscheese graters and chopsticks.

Sound effects: 1 2 3 porridge


A ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIESA ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIESPorridge sound effects

One? Much too hot to eat in haste

Key voice sound effects

Two? This is such a gritty paste it’s much too salty for my taste

Three? Three it’s got to be!

Bowl 1 – Hot sounds

Bowl 2 – Salty and gritty

Bowl 3 – Just right

1 + 2 + 3 + 4 +

1 + 2 + 3 + 4 + 5 + 6 +

1 + 2 + 3 + 4


Compose and perform sound effects to add to the countingsection of the song, 1 2 3 chairs, CD track 10. [Scene 3]

Discuss the sounds which could represent each of the chairs by describingthe materials they are made from and the different sizes:

Chair 1 – much too high

• Alto xylophone tapped with wooden beaters – use two high-pitched adjacent notes (B and C) to created a clashing chord.

• Wood block tapped with wooden beater.

Chair 2 – much too high

• Soprano xylophone played with two wooden beaters – use two high-pitched adjacent notes (B and C) to create a clashing chord.

• Woodblock tapped with wooden beater.

Chair 3 – Just right

• Alto xylophone played with felt beaters – try both Cs together.

• Tambour tapped with felt beater.

Play these sound rhythmically as shown in the grids on page 44.

What you will needInstruments:

alto xylophonesoprano xylophonewoodblocktambour wooden and felt beaters

43


Sound effects: 1 2 3 chairs

CB


A ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIESA ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIESChairs sound effects


Two? Much too high 1 need to grow these chairs theygive me ver- ti- go


Chair 1 – Much too high

Chair 3 – Much too high

Chair 3 – Just right

1 + 2 + 3 + 4 +

1 + 2 + 3 + 4 + 5 + 6 +

1 + 2 + 3 + 4

One? Much too high 1 need it lowCB

CB

CB

CB

CB

CB

CB

CB

A ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIES


Compose sound effects on instruments for the breaking ofLittle Bear’s chair. [Scene 3]

Create graphic notations of vocal sound effectsAsk the children to suggest the sound of the breaking chair using their voices.

Draw and write these on a large sheet of paper, discussing the shape,pitch and volume of each of the sounds. Do the notations show that thesounds are:

• long or short• thick or thin• jagged or smooth• continuous or made of many smaller sounds?

Do they show the voices becoming:

• higher in pitch, lower or staying the same?

Do they show the volume as:

• increasing• decreasing• or staying the same?

Ask the children to perform each of the sound effects together, followingthe notations.

Select one effect or combine two to make a short, descriptive sound.

Use instruments to perform the chosen sound effectDiscuss which instruments or sound-makers might be used to performthe chosen sounds. Explore keyboard settings as well as percussion andjunk instruments.

Consider combining instruments to exaggerate the effect of the breaking chair.

Record some of the ideas, and then select the most effective.

What you will needlarge sheet of paper and a penselection of instruments or junk sound-makers

Sound effects: Breaking Little Bear’s chair A ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIES



Compose a piece of music for Goldilocks to dance to in her rageafter breaking Little Bear’s chair. Substitute this for track 11.[Scene 3]

Listen to Goldie’s angry dance, CD track 11.How does Kurt Schwertsik’s music describe her angry mood? (Furious,fast-moving, loud, short patterns moving down in pitch. Stamping soundsplayed by timpani and low-pitched woodwind eg bassoons, bass clarinets).

Create angry sounds on percussionAsk the children to suggest the actions which Goldie might perform in herrage after breaking Little Bear’s chair, eg:

• stamping her feet

• shaking her fists

• picking up cushions and hurling them across the room.

Each child selects or makes a sound-maker and finds a way of playing itto match an angry action or mood. Encourage the children to thinkcarefully about the timbre of the sounds they choose:

• stamping feet – wooden spoons tapped on tin lids, claves

• shaking fists – short shakes with bottle top shakers, jingle sticks

• picking up cushions and hurling them – slides on xylophone.

Compose angry dance musicChoose one player to keep a fast, steady beat on two high- and low-pitcheddrums using alternate right and left beaters:

High Low H L H L

Right Left R L R L

Add the angry sounds to the drum beat to make an angry dance. Considerthe texture – will the sounds be played individually in a sequence or willsome be combined? Can the players improvise sounds at random bylistening to each other, making sure that each of the sounds can be heard?

Consider how Goldilocks’ dance will end – will she wear herself out andcalm down or gradually become more and more angry, then suddenlystop? Discuss matching ways of ending the music:

• dropping out one by one, or all playing gradually quieter

• making a crescendo then stopping suddenly at a given signal from one player or a conductor.

What you will needA medium and a large drum (high- and low-pitched) and twosoft beaters.

A selection of untuned percussion and sound-makers, eg

tin lids and wooden spoonsmilk bottle tops threaded on stringbiscuit tin containing buttons.

Goldie’s angry dance


Compose and perform sound effects to add to the countingsection of the song, 1 2 3 beds, CD track 12. [Scene 4]

Discuss which sounds could represent each of the beds by describing thedifferent types of mattresses. Choose sounds which can be playedrhythmically on the beat, and think about appropriate dynamics for each,eg too hard – loud, too soft – quiet, just right – medium loud.

Bed 1 – much too hard

• Claves tapped together loudly.• Guiro scraped with a wooden stick.• Small drum tapped with a felt beater.

Bed 2 – much too springy

• Slide a soft beater along several bars of a metallophone.• Rotate a beater around the bars of an octachime.• Vibraslap or triangle played quickly from side to side in one corner.

Bed 3 – just right

• Play chords on chime bars, notes F and C.• Hold a tambourine horizontally and tap the beat with your fingers

on its rim.• Play Indian bells on the beat.


alto xylophonesoprano xylophonechime bars – notes F and Cmetallophoneclavesguiro drumtambourineoctachimevibraslapIndian bells

47


Sound effects: 1 2 3 beds


A ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIESA ROALD DAHL MUSICAL CD-ROM MUSIC ACTIVITIESBeds sound effects

One? Much too hard 1’d ne - ver sleep


Two? Much too springy soft and deep it’s use-less e-ven coun-ting sheep


Bed 1 – Much too hard

Bed 2 – Much too springy

Bed 3 – Just right

1 + 2 + 3 + 4 +

1 + 2 + 3 + 4 + 5 + 6 +

1 + 2 + 3 + 4


Compose a soothing piece of music to lull Goldie to sleep as shelies down on Little Bear’s bed. You could substitute this for CDtrack 13, Sleeping music [see sample score page 51]. [Scene 4]

Discuss the most common characteristics of lullabies, asking the childrenwhat elements their sleeping music will need:

• quiet dynamics and soothing, gentle timbres

• a medium slow tempo with a steady beat

• medium to low pitch

• repetitive regular patterns

• a smooth, sustained melody.

Listen to the excerpt from Kurt Schwertsik’s Sleeping Music, CD track 13.

How does he create a lullaby for Goldilocks? (A slow, smooth, step-by-stepmelody played on the strings, then repeated more quietly and at a higherpitch by woodwind instruments; a quiet, continuously movingaccompaniment which sounds like she is dreaming and long, very low-pitched single notes played underneath as a drone.)

Create a drone accompaniment Ask the children to find ways of playing long sustained sounds using thenote E to make a continuous drone on a variety of low-pitchedinstruments, eg:

• keyboards – find a setting which makes a long sound when a key is held down

• guitars – alternate between high and low open E strings

• bass xylophone – use alternate soft beaters to play a roll on the E bar.

Encourage the children to think carefully about the timbre of the soundsthey choose.

A small group of children may add their own sounds to the drone usingnotes B and G.

Discuss the ways they might choose to play with the drone:

• playing one note each then combining them

• playing them together as a chord

• alternating between B and G in a repeating pattern.

Add rocking ostinatos (repeating patterns)The ostinato group play rocking patterns over the drone using pairs ofadjacent notes to ‘rock’ between, eg B C or G A:

1 2 1 2 1 2 1 2

B C B C B C B C

G A G A G A G A

Choose instruments to play the ostinatos, eg recorders and chime bars.

Decide whether the ostinato players will take turns to play on differentinstruments or will play together. Practise combining this with the drone,choosing a slow, steady beat.

49


Sleeping music



Add a lullaby melodyUsing notes E G A B C choose an instrument to compose a simple, mainlystep-by-step melody to add to the drone and ostinato accompaniments.

Practise the melody with the drone and ostinatos.

Finally choose the structure of the lullaby, deciding when the elements ofdrone, ostinato and melody will be played or combined during the piece.


Keyboards, guitars, bass xylophone – notes E B G

Recorders, chime bars, glockenspiels – notes E G A B C

Sleeping music (continued)



1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2Lullaby rhythm (at a gentle rocking pace)

Tuned percussion ostinato

Step by step melody

Drone

Keytunedinstrument(1 note)

== =melodyinstrument(EGABC)

tunedinstrument(2 notes)

= keyboard guitar

C C CB B B B B B

A A A A A A AG G G G G G G

E E E

C C C C C C C C C C C C CB B B B B B B B B B B B B

A A A A A A A A A A A A AG G G G G G G G G G G G G

B B B B BG G G G G G G G

E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E

E

E E’ E E’ E E’ E E’ E E’ E E’ E

Sleeping music

=


Compose sound effects to describe Goldie’s final crime ofclimbing into Little Bear’s bed with dirty shoes. [Scene 4]

Read the relevant lines of Dahl’s poem to the children before discussingtheir ideas for describing the words using instrumental sounds:

Her filthy shoes were thick with grimeAnd mud and mush and slush and slimeWorse still, upon the heel of oneWas something that a dog had done

Practise each of the sound effects to go with the main words of this text.For example:

Grime low-pitched notes played in a cluster; rolls played on large drums

Mud/mush/slush/slime watery sounds; descending slides in pitch

Dog dirt short, loud, shocking clashes of neighbour notes played together on pitched instruments; fast, loud rolls on snare drum,rattles

Using the words grime, slime and done as cues, perform each sound effectin turn. Make sure that the players are able to play their soundspromptly, but without obscuring the speaker. The speaker should say thewords decisively and dramatically, pausing to allow spaces for the soundeffects to be heard.

52


+ 1 + 2 + 3 + 4Her filth - y shoes were thick with grime

Sound effects: Filthy shoes

And mud and mush and slush and slime

Worse still, u - pon the heel of one

Was some - thing that a dog had done




Large drums, snare drums and rattles

Glockenspiels and instruments that make watery sounds, eg rainsticks,plastic bottles filled with water

Pitched instruments, eg xylophones, metallophones

Sound effects: Filthy shoes (continued)


A ROALD DAHL MUSICAL CD-ROM A ROALD DAHL MUSICAL CD-ROM

Bb clarinet1n the dockWe love porridge1 2 3 porridgeGenuine, unique antiques1 2 3 chairs1 2 3 bedsLitigation lullaby1nnocent or guilty?Little Bear’s revengeGoldilocks

Violin1n the dockWe love porridge1 2 3 porridgeGenuine, unique antiques1 2 3 chairs1 2 3 bedsLitigation lullaby1nnocent or guilty?Little Bear’s revengeGoldilocks

1NSTRUMENTAL PARTS


A ROALD DAHL MUSICAL CD-ROM INSTRUMENTAL PARTSA ROALD DAHL MUSICAL CD-ROM INSTRUMENTAL PARTS

Bb clarinet

1n the dock

Dramatically

f

Chorus

6

3

10

Verses 1 – 3 mf

14

18

cresc.

3

21

ff

play 3 times

3 3 3

24

f

Final chorus

28

3

31

3



We love porridge

Jauntily

Verses 1 – 3

mp

10

16

poco cresc.

24

Chorus mf

29

34

39

f

44

49 1., 2. 3.

Bb clarinet



Bb clarinet

1 2 3 porridge

Busily

mf

Verse 1

7

13

19

25

31

Verse 2

38

45



Bb clarinet


Fast waltz

f

9

Chorus

mf

17

25

30

35



Bb clarinet

Genuine, unique antiques (continued)

41

Verses 1 – 3

f

52

60

mp

67

poco a poco cresc.

73

f

79

86 rit. (last time only)

dim.

play 3 times



Bb clarinet

1 2 3 chairs

Busily

mf

Verse 1

7

13

19

26

33

Verse 2

39

45



Bb clarinet

1 2 3 beds

Busily

mf

Verse 1

mp

7

mf

13

19

26

33

Verse 2

mp

39

mf

45



Bb clarinetLitigation lullaby

Gently but firmly

rit.

mf

mp

Verse 1

a tempo

4

mp

16

Chorus

mp

22 rit.

cresc.

a tempo

28 rit.

1., 2.

f

mp

Verses 2 – 3

a tempo

3.

31 rit.

f

mp

p



Bb clarinet1nnocent or guilty?

Decisively and detached

Verse 1

5

11

mf

16

Chorus f

21

mp

cresc.

f

25

f

Verse 2

30

36

mf

41

Chorus

f




46

mp

cresc.

50

f

Verse 3

f

55

61

mf

66

Chorus

f

71

mp

75

cresc.

f

79

f

Verse 4

Slowly and solemnly84 rit.

mf

Bb clarinet



Bb clarinet

Little Bear’s revenge

Darkly

p

5 poco a poco cresc.

10

f

15

pp

cresc.

f



Bb clarinetGoldilocks

Brightly

mf

12

Verses 1 – 2

mf

18

21

Chorus

f

27

mf

31

Slower

Moral warning

mp



Bb clarinet

Goldilocks (continued)

41

46rit. a tempo – brightly

Verse 3

53

mf

57

Chorus

f

62

67

71



Violin1n the dock

Dramatically

Chorus

f

6

3

10

Verses 1 – 3mf

15

18

cresc.

21

ff

play 3 times

3 3 3

24

Final chorus

f

28

3

31

3



Violin

We love porridge

Jauntily

Verses 1 – 3

mp

8

13

poco cresc.

18

24

Chorus

mf

29

34

39

43

48 1., 2.

3.

pizz.



Violin

1 2 3 porridge

Busily

Verse 1

mf

10

19

24

29

Verse 2

38

43



Violin


Fast waltz

f

9

Chorus

mf

36

Verses 1 – 3

f

45

53

mp

62

poco a poco cresc.

70

f

78

86 rit. (last time only)

dim.

play 3 times



Violin1 2 3 chairs

Busily

Verse 1

mf

10

19

24

29

Verse 2

37

42



Violin1 2 3 beds

Busily

Verse 1

p

10

mf

19

24

29

Verse 2

p

38

mf

43



Violin

Litigation lullaby

Gently but firmly

rit.

p

Verse 1

a tempo4

p

sul pont.

17

mf

Chorusnat.

cresc.

23

rit.

a tempo

28 rit.

1., 2.

f

p

Verses 2 – 3

a tempo

3.

31 rit.

f

pp



Violin

1nnocent or guilty?

Decisively and detached

Verse 1

6

11

mf

16

Chorus

f

21

mp

cresc.

f

26

Verse 2

31

36

mf

41

Chorus

f



Violin


46

mp

cresc.

50

f

Verse 3

f

55

60

mf

65

Chorus

f

70

mp

75

cresc.

f

79

Verse 4

Slowly and solemnly84 rit.

mf

pizz.



Violin

Little Bear’s revengeDarkly

mp

pizz.

arco

poco a poco cresc.

6

f

11

15

pp

cresc.

f

pizz.

arco



Violin

Goldilocks

Brightly

mf

13

Verses 1 – 2

mf

17

21

Chorus

f

28

mf

Slower33

Moral warning

pp

mp



ViolinGoldilocks (continued)

rit.47

a tempo – brightly

Verse 3

mf

52

56

Chorus

f

62

66

70

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