teaching music with garageband for ipad...introduction and assessment guide 2. our two core...
TRANSCRIPT
Teaching Musicwith Garageband for iPad
Ben Sellers
2ND EDITION
Copyright © Ben Sellers 2017
Teaching Music with Garageband for iPad
2ND EDITION
A Creative Curriculum for Ages 8-16
Preface to the second edition
I wrote the first edition of ‘Teaching Music with Garageband for iPad’ in 2014, when iPads were first making an impact in the classroom. I had no idea whether or not anyone else would be interested in it. Happily, the response was fantastic, and myself and the Transformance Music team are eternally chuffed that thousands of young people across the world are using the methods we have developed to create and share top quality compositions.
Three things motivate me to update that textbook with this one. Firstly, the new version of Garageband, with its new ‘Live Loops’ feature, has proved a game-changer in our classroom sessions, with pupils able to record arrangements in realtime and emulate the compositional process used by many professional producers.
Secondly, feedback from teachers highlighted a desire for more pupil-facing videos and individual lesson plans. The main feature of this new book, therefore, is a complete set of carefully crafted, high-quality videos that can be played on the classroom whiteboard and followed directly by pupils. These are accompa-nied by detailed lesson plans and, crucially, a new assessment framework that allows teachers to assess in a way that benefits the pupil and fulfills any need for quantative data.
Thirdly, the years since the first book came out have been hard on our young people and the education system that is so crucial to their, and our, future. Societies are becoming more atomised, engagement more passive, the future less and less certain. It is absolutely essential that our young people have a voice and creative outlet as we move forward, and that their culture - including the music they listen to - is valued and nurtured by the education system. I believe the resources on offer in this book offer some small way to facilitate this. Onwards!
Ben Sellers, January 2017
Introduction 5
Tools for Assessment 11
Core Songwriting Projects 15 Composition Project 1: Hello Garageband! 16 Composition Project 2: Theme & Variation 34 Whole Class Compositions 1. Remix 53 2. Soundscapes with ostinatos and found sounds 59
Group Performance Projects 65 Playing Together: Preliminary Exercises 67 1. A Message to You 71 2. A 12-Bar Blues 79 3. Performance Poetry 83 4. Music Video 89 One Lesson Wonders 95 Compose using a I-V-vi-IV Progression 95 Waltzes and Pirate Songs in 3/4 Time 97 Compound Time and Chord Inversions 99 Sampling Historical Speeches 102 Drum Patterns from Found Objects 106 Creating Body Percussion Rhythms Using the SmartDrums 109
The Science of Music 112 The Relationship Between Pitch and Wavelength 112 The Harmonic Series 116 Creating Waveform Shapes 120 Creating Natural Reverb 122
Instrumental Teaching 124 Aural Training with Autoplay 124 Practising Jazz
Contents
Best practice in SEN/D contexts 129 Guided Access 130 Multitasking Gestures 131 The Transformance Music iPad Glove 131 Amplification 132 Cases & Stands 132
Appendix Setting up a Soundcloud account 134 Equipment Guide 135 Transformance Music Training Programme 137 Glossary of terms 138
Printables 142 Assessment Radar Worksheet Core Composition 1 Worksheets Core Composition 2 Lead Sheet
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IntroductionWe live in a society that overflows with sound. From supermarket radio to video game soundtracks, young people are constantly exposed to music, yet there are often few opportunities outside school for them to participate in music-making, and even fewer forums in which they can create their own.
The 2014 National Curriculum for Music states that we, as teachers, should ‘engage and inspire pupils to develop a love of music and their talent as musicians’. However, unless pupils can relate the music they are taught in the classroom with the music they hear in the outside world, they may well conclude that ‘proper’ music must be played by professional adult musicians, with ‘real’ instruments, and will, as a conse-quence, underestimate the power of their own creative musical voice.
GarageBand on the iPad allows music lovers young and old to create music that, as one eight year-old pupil put it, ‘sounds like it’s off the radio’. It provides an interface that allows users to get the rhythms, melodies and lyrics that have accumulated in their body and mind out into the world, without the need for prior experience of playing a musical instrument or a theoretical understanding of music. The compo-sitional process is intuitive and engaging, and the final product develops self- belief and a commitment to further music-making.
This book provides methods for all young people to compose high-quality, mean-ingful music in styles that are present in their daily lives. It develops their core musicianship and provides musical learning outcomes orientated around the UK National Curriculum.
We hope you and your pupils enjoy every minute of it.
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You don’t need to be a music teacher to teach musicWe wanted this book to be accessible to the non-musician and technology-shy teacher, whilst remaining engaging and exciting for specialists. The solution to this balancing act? Make no compromises when it comes to musicianship and theoretical depth, and instead focus our attention on how we can simplify the planning and delivery of each lesson for teachers. So was born the ‘pupil-facing video tutorial’. Teachers prepare for the class by completing the sessions themselves using the tutorial video, absorbing the relevant theory, vocabulary and learning outcomes. The same video can be played on the class whiteboard during the lesson, clearly demonstrating both the learning outcomes and the nitty-gritty of the compositional process. Each video contains clear breaks for pupils to ‘Press pause and have a go!’. The bitesize tasks keep pupils engaged, allowing the teacher time to troubleshoot, listen to the pupils as they complete the tasks, and offer musical advice.
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Navigating the bookThe book is contains eight sections, plus an appendix:
1. Introduction and Assessment Guide
2. Our two Core Songwriting Projects sit at the heart of the book. If students are new to GarageBand, we recommend beginning with the ‘Hello Garageband’ project. Both projects contain lesson plans, video tutorials and an assessment criteria. Note: the walkthrough videos focus on the practical tasks, and do not include details of the warm-ups. Teachers should use the lesson plans as a guide to the overall structure of the lesson.
3. Two Whole Class Compositions focus on songwriting as a class.
4. The four Core Group Performance Projects are designed for groups of 2-10 pupils working together, but can also be completed alone. They are presented in the same format as the individual projects, complete with learning outcomes, but are more suited to after school clubs and other non-formal settings. A school ‘iPad Orchestra’ or ’iPad Rockband’ performance can be very impressive!
5. Our nifty One Lesson Wonders can be completed as standalone exercises or as part of a wider project. Each is designed to teach a specific concept, e.g. compound time, 3/4 time, the 1-5-6-4 progression.
6. Science of Music - The Sampler and Keyboard instruments allow us to demon-strate the physics behind sound creation and manipulation - frequency, sound waves, harmonics, reverb.
7. A short Instrumental Teaching section offers advice on creating backing tracks for scales and tunes, as well as using Garageband to develop improvisatory skills on pupils’ own instruments.
8. The Best practice in SEN/D contexts section passes on our experiences around the practicalities of working with iPads in SEN/D contexts
9. The Appendix provides:
• An equipment guide, including amplification options and how to set up multiple iPad performances.
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• A guide for setting up a class Soundcloud account.
• A glossary of terms.
• Various Printable worksheets
Planning your iPad journeyWe strongly recommend completing the first ‘Hello Garageband’ project yourself (it will take around an hour to complete). This serves as an introduction to both the app and the videos tutorials. Ideally, the next step is to run an after-school club with 10-12 pupils. Not only does this allow a ‘trial run’ of the curricula, it also trains up a cohort of ‘pupil iPad experts’ that can help their peers in a whole-class setting. Don’t worry about pupils repeating sessions: the projects are designed to be completed multiple times with increasingly accomplished results, and populating the after school club with less able pupils give them a headstart (as well as a great boost in confidence) in a whole-class setting.
Once the first project is completed, pupils will be ready to tackle the second core project, ‘Theme & Variation’, or move into one of the Group Composition projects (working alone or in groups). Alternatively, you may wish to move to one of the ‘whole class projects’ or work some of the ‘one lesson wonders’ into a non-ipad based unit. Either way, there is around five terms’ worth of material in this book - plenty to get your teeth into!
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Our approach to compositionThere is of course no single compositional process, and the projects are designed to provide a strong framework within which students have the maximum freedom to follow the flow of their creativity. What nearly all compositions do have in common is the presence of some element of rhythm, harmony and melody. We use these interrelated concepts as our creative building blocks, and provide several methods to generate each one, allowing students to build songs according to their ability and taste.
As the projects progress, the methods of generating material become more complex, but offer more control over the resulting music. We demonstrate the benefits of control over the compositional process, and the value of music theory for bringing instruments together in accomplished ways. Acoustic instruments offer the most control - over timbre, articulation and volume - and thus students come to see the rewards of dedicating themselves to mastering an acoustic instrument.
Teaching Tip:
Someone one said, in relation to the speed of composition, that Bob Dylan ‘moulded songs out of clay’ whilst Leonard Cohen ‘chiseled songs out of marble’. Similarly, pupils compose at variable speeds, which can be hard to manage with the bitesize nature of the video tutorials. We have tried
to mitigate this by providing extension exercises to each composition, but slower pupils shouldn’t worry if they don’t complete all the tasks in a lesson.
Less can most certainly be more.
PublishingSongs often share ideas and emotions that are difficult to communicate using words alone, and can create a big impact when shared with parents, families, friends, and the world at large. We have chosen to use Soundcloud as our publishing platform as it allows students to join thousands of other musicians - both amateur and profes-sional - who use the website to share their work and communicate with each other. Students can use Soundcloud to explore new genres and artists, and develop their own musical identity. Soundcloud is also very straightforward to use, shares minimal personal details, allows students to add artwork to their songs, and allows direct uploading from GarageBand. A guide for setting up a class Soundcloud profile is in the appendix.
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EquipmentWe find working in pairs to be the most productive when composing: Two (or three) pupils sharing an ipad. Headphones are essential when working in a classroom en-vironment, and we also recommend using headphone splitters, allowing you to use two sets or more of headphones with one iPad. See page 135 for a full guide to equipment.
Pupils with Additional Support NeedsA guide for using iPads in SEN/D contexts in on page 130
Composing in GarageBand minimises the need for physical dexterity and knowledge of music theory when compared to, say, composing using a piano or guitar. As such, the iPad is a great tool for empowering students with additional physical and learning needs to use critical listening, musical risk-taking and their creative voice to develop compositions at the same high standard as their peers. With thought and a little creative planning all of the exercises in this book can be made accessible.
Teaching Tip - Wavey Hands!:Finding it hard to get pupils’ attention when everyone has their headphones
on? A system of ‘wavey hands’ does the job, without you having to raise your voice. As pupils see you waving your hands, they take their headphones off and join in, mexican wave style, until you have the attention of the whole
class
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Radar DiagramsPupils can be assessed over the course of the project by combining the learning outcomes of each lesson with the radar diagram below* (a printable copy is available in the appendix).
Name____________ Class_________
Project_______________________________
Feedback:
Dates:
The seven spokes on the diagram can be understood as ‘themes’ of learning, and; each learning outcomes addresses one or more spokes, and over the course of the project each spoke is covered multiple times, allowing opportunities for progression.
Tools for Assessment
*I am very much indebted to blog posts from Jane Werry and John Kelleher for the concept of radar diagrams, and how they can best be used. This post from Jane offers invaluable information on how to maximise their function as a tool for pupil improvement whilst minimising additional time needed for summative assessment.
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As shown above, the teacher can add ‘dots’ to each spoke to indicate the level ofthepupilforeachcriteria(1islow,5ishigh)andaddcomments.Differentcoloursdenotedifferentlessons,offeringaclearindicationofimprovement.They can be used for self-directed learning, as well as a basis for conversations with the teacher about how higher levels can be achieved.
Tip Box
The appropriate spoke for each learning outcome is noted on the lesson plans using the following abbreviations:
Tex –texture, Tim – timbre, Rhy - rhythm, Mel - melody, Har - harmony,
Lis - listening, Vox - vocals/writing
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Assessment examples A) Learning Outcome: Create an arrangement of four loops (Tex). Score for radar diagram
Reason for score
0 Did not attempt1 All loops playing together - no contrasting textures3 Two contrasting sections, with carefully chosen samples. 5 Clear beginning, middle and end with high and low melodies
positioned to add contrast and interest.
B) Learning Outcome- Use effects to create tension and release (Tim)
Score for radar diagram
Reason for score
0 Did not attempt1 Useofeffectssoundsrandom;pupilunabletoexplain
musical decisions.3 Individualeffectsusedtoemphasisedownbeat.
5 Combinationsofeffectsusedtocreatetensionbeforefinalbass entry.
If summative assessment is necessary, the highest point scores from each spoke can be added up to create an overall mark out of 35 and graded as follows:
0-10 11-18 19-27 27-35Eurovision Entrant
Bedroom studio Talent show School Video Prospectus
.
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Peer evaluation: The best type of formative assessment?There is no such thing as an objectively ‘good’ or ‘bad’ composition. There are, however, compositions that have been created with thought and intent, that are refined and balanced and make musical sense. We find a system of peer evaluation and feedback focuses minds and gets the best results from pupils. Before presenting their compositions to the teacher/class, pupils seek feedback from their peers and if necessary change their composition in response. It is crucial that this is done in a supportive, non-competitive atmosphere.
The UK National CurriculumWhilst this book’s focus is on the key area of composition/songwriting, it neverthe-less contains material that addresses most of the core aims of the UK curriculum
for Key Stages 2-3 (Ages 7-14):
We introduce all of the NC’s ‘inter-related dimensions’ of music over the course of the two Core Songwriting Projects.
“The national curriculum for music aims to ensure that all pupils:
Perform, listen to, review and evaluate music across a range of historical periods, genres, styles and traditions.
Learn to sing and to use their voices, to create and compose music on their own and with others, have the opportunity to learn a musical instru-ment, use technology appropriately and have the opportunity to progress to the next level of musical excellence.
Increase their self-confidence, creativity and sense of achievement.
Understand and explore how music is created, produced and communi-cated, including through the inter-related dimensions: pitch, duration, dynamics, tempo, timbre, texture, structure and appropriate musical notations.” - Department for Education, 2013
Core Composition Projects
It is time to get down to business! Our two Core Composition projects are carefully tailored to work with a range of ages and abilities, with clear learning outcomes in each session. Before delivering the first session, watch the accompanying video and attempt the lesson yourself – you will enjoy it! You can then deliver the lesson yourself, or use the video directly with pupils.
One more thing - make sure there is a system to make sure each pupil can access the same iPad in the next session – perhaps a numbering system, or stickers on the iPad cases with pupils’ names on them?
CLICK HERE FOR THE VIDEO TUTORIALS
This lesson sees pupils uploading for the first time. One of the the broader aims of the project is to get pupils believing in themselves as musicians, and Soundcloud is the ideal platform for this. Set up a soundcloud page for your class in advance,
perhaps using your school logo as the image. Encourage pupils to share the link with their friends and family, and explore the thousands of other musicians on the site.
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Hello Garageband Planning OverviewLesson Title Curriculum Focus Instrument Focus Lesson Objective Additional Resources
1. Arranging Loops Texture, listening Samples
Create a composition using rhythmic, harmonic and melodic loops.
2. In Form Texture, listening Samples
Finish the composition and export it to Soundcloud
Music: Since I Left You- The Avalanches
3. Dynamic Foundations Texture, dynamics Drums, Strings
Create the rhythmic and harmonic foundation of a composition.
4. Melody Maker Pitch, timbre Keyboard, Arpeggiator
Create three contrasting keyboard melodies
Music: Someone Like You - Adele
5. Wordsmith Singing, tempo Voice RecorderCreate and record lyrics on a chosen theme
Music: Hebrides Overture -Mendelssohn
6. Improvise! Improvisation Bass, Guitar
Use improvised musical phrases to construct solos.
7. Making Arrangements Structure, texture Effects Processors
Create and record an arrangement for the composition.
8. Finale Freedom Performance
Review, refine and record a final version of the composition.
Core Composition 1
Hello Garageband
CLICK HERE FOR THE VIDEO TUTORIALS
Overview
A printable assessment sheet is on the next page for your convenience. Feel free not to use it!
Tip Box
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Hello Garageband Lesson Plan Session 1 - Arranging Loops - 1 hour Lesson Objective Create a composition using rhythmic, harmonic and melodic loops. Overview This first lesson introduces the principle interfaces of Garageband, as well as the concept of arranging loops into a structured piece. Learning outcomes, key vocabulary, (assessment themes)
● Understand the interrelated concepts of rhythm, melody and harmony. (Lis)
● Identify thin and thick musical textures . (Tex) ● Identify low and high pitch ranges, and contrast them within a
composition. (Mel) ● Create an arrangement of four loops. (Tex) ● Understand the ‘Live Loops’ interface of Garageband.
Warm-Up (10 mins)- See Teaching Notes 1) Introduce Live Loops. Open one of the Live Loop sets and
explore individual and combinations of loops. Pupils indicate how much they like each loop/set of loops by raising between one and five fingers while the loop is playing. Why do they like certain loops more than others?
2) Extension: Introduce the concepts of melody, harmony, rhythm and pitch using examples. Can pupils create a musical example with their voice that is only melodic or only rhythmic?
Core Composition (40 mins) – See walkthrough video or step-by-step outline below.
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Plenary Discussion (10 Mins) - Was it easy to find loops that worked together? How did you start and end the piece?
Core Composition Outline Full walkthrough available in the accompanying video Live Loops Practice
1. Choose a Live Loops set. Practice moving between loops in the final quarter and triggering whole sets.
Making arrangements
1) Open a new Live Loops set. 2) Add four loops to the grid:
a) A loop that contains a single melodic line; e.g. from the Woodwind, Mallets and Synths sample banks.
b) A loop from the Kits or Percussion sample banks. c) A loop containing harmony e.g. from the Pianos, Strings or
Guitars bank. d) A melodic loop with a high pitch, e.g a flute.
3) Create an arrangement of the loops. 4) Record the arrangement. 5) Name the song
Extension: Swap iPads with another pupil, listen to their work and give constructive feedback.
Hello Garageband Session 1 Page 2
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‘Hello Garageband’ Lesson Plan Session 2 - In Form - 1 hour
Lesson Objective Finish the composition and export it to the internet. Overview The second and final session of this introductory composition develops a form for the composition, and invites pupils to fine-tune the arrangement, before exporting the completed work to a class Soundcloud page. Resources - Soundcloud Account login details, ‘Since I Left You’ - The Avalanches Learning outcomes, key vocabulary, (assessment themes)
● Add vocal and percussion loops to the composition. (Lis) ● Develop an ABAB form for the piece (Tex) ● Balance the volumes of multiple instruments.. ● Develop contrasting textures through the manipulation of clips: cut, copy and
paste, split, resize. (Tex) ● Export a song to the internet.
Warm-Up (15 mins) ● Listening: ‘Since I Left You’ - The Avalanches
Australian duo The Avalanches are well known for their extensive use of samples, demonstrating thoughtful and creative layering of pre-recorded tracks. As they listen, pupils can consider how many layers of instruments are playing at various points in the track and pick out high and low pitched sounds.
● Show the class their new Soundcloud page! Knowing that they will be uploading their work by the end of the session will definitely focus minds!
Core Composition (40 mins) – See walkthrough video or step-by-step outline below. Plenary Discussion: What do we mean by the phrase ‘less is more’?
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Core Composition Outline Full walkthrough available in the accompanying video Add additional sections.
1. Open up the composition. 2. Reduce the length of Section A if necessary 3. Add a second section, Section B, and make it 4 bars long. 4. Add 2 loops to Section B:
a. Any vocal loop b. Any percussion loop
5. Create an ABAB form. 6. Make three alterations to the piece, using one or more of the following
functions: a. Duplicate, remove or change the length of clips b. Remove sections within clips c. Change the length of sections.
Final production
1. Check track volumes 2. Turn off the metronome & add a fadeout 3. Export the song to Soundcloud.
Extension: Add a third section to the piece using your choice of loops.
Hello Garageband Session 2 Page 2
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Hello Garageband Lesson Plan Session 3 - Dynamic Foundations - 1 hour
Lesson Objective Create the rhythmic and harmonic foundation of a composition. Overview This lesson begins a new composition, this time creating musical materials for loops using instruments, rather than the app’s pre-recorded sets. Pupils will build a succession of drum and string loops and further explore texture and dynamics. Resources - Worksheet 3 Learning outcomes, key vocabulary, (assessment themes) – Count bars in 4/4 time. (Rhy) – Create a chord progression. (Har) – Deploy contrasting rhythmic patterns. (Rhy) – Deploy contrasting harmonic textures. (Tex) – Explore dynamics, including crescendos and diminuendos, on the Smart Strings. – Understand and use the concept: 'Less is more'! (Lis) Additional vocabulary : Fills, Hi-Hat, Shaker, Kick drum, Snare, Harmony, Cells.
Warm-Up (15 mins) 1) Game: In a Silent Way – Begin a 'one finger clap' pulse. Sound a loud clap on every fourth beat, creating bars in 4/4 time. Remove the pulse so only the fourth beat is sounded. Reduce the clap to every second bar (students can count ' ONE-2-3-4, TWO 2-3-4') then every fourth bar (ONE-2-3-4, TWO 2-3-4 THREE-2-3-4, FOUR-2-3-4). Confident students could close their eyes. Explain that moving the body makes keeping time much easier. The aim is to have the whole class clapping as one. 2) Triggering Loops On Garageband, open the 'Live Loops' menu and choose the 'RnB' Loop set. Play the first column. Point out that most of the 'cells' are four bars long. Using the above method, count time to the loops. Move between columns by triggering the new column on the last bar of each four bar cycle, allowing the cycle to complete before moving on to the next one. Explain that we will be creating our own ‘set’ as the project progresses.
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Core Composition (40 mins) – See accompanying walkthrough video or step-by-step outline below. Plenary Discussion How does the feeling of the music change when you add the strings to the drums? Thicker texture, more powerful, adds harmony, creates emotion. Is it better to contrast the texture of the drums and strings, or have them both either thick or thin together? Listening Outside the Classroom Next week we will be adding melody to the composition. Invite students to listen to, and pick out the strong melodies from their favourite songs.
Core Composition Outline Full walkthrough available in the accompanying video Percussion 1. Open a new song and create a 'new' grid in Live Loops. 2. Open the 'Drummer' instrument. 3. Choose a drummer and preset. 4. Minimise the 'fills' and complexity of the drum matrix. 5. Choose the drums and pattern variations until you are happy with the beat. 6. Copy and paste this beat into the neighbouring cell. 7. In the new cell, increase the complexity and number of fills. Observe the difference. Tweak the pattern variations. 8. Repeat steps 6 and 7 in the third cell. This last pattern should have a thick, full texture. 9. Go back to the 'Live Loops' screen and practise moving between the four bar cycles. Strings 1. Create a new SmartStrings instrument 2. Explore the available chord inversions on the C chord. 3. Choose a second chord to create a two chord progression. 4. Record your progression, with each chord lasting two bars. Each chord should have dynamic movement (e.g. a crescendo or swell) 5. In the adjacent cell, record the same progression but without the two violins. 6. In the third cell, repeat this process using only the cello and double bass (no viola) 7. Return to the Live Loops screen. Experiment with different combinations of strings and drums.
Core Composition (40 mins) – See accompanying walkthrough video or step-by-step outline below. Plenary Discussion How does the feeling of the music change when you add the strings to the drums? Thicker texture, more powerful, adds harmony, creates emotion. Is it better to contrast the texture of the drums and strings, or have them both either thick or thin together? Listening Outside the Classroom Next week we will be adding melody to the composition. Invite students to listen to, and pick out the strong melodies from their favourite songs.
Core Composition Outline Full walkthrough available in the accompanying video Percussion 1. Open a new song and create a 'new' grid in Live Loops. 2. Open the 'Drummer' instrument. 3. Choose a drummer and preset. 4. Minimise the 'fills' and complexity of the drum matrix. 5. Choose the drums and pattern variations until you are happy with the beat. 6. Copy and paste this beat into the neighbouring cell. 7. In the new cell, increase the complexity and number of fills. Observe the difference. Tweak the pattern variations. 8. Repeat steps 6 and 7 in the third cell. This last pattern should have a thick, full texture. 9. Go back to the 'Live Loops' screen and practise moving between the four bar cycles. Strings 1. Create a new SmartStrings instrument 2. Explore the available chord inversions on the C chord. 3. Choose a second chord to create a two chord progression. 4. Record your progression, with each chord lasting two bars. Each chord should have dynamic movement (e.g. a crescendo or swell) 5. In the adjacent cell, record the same progression but without the two violins. 6. In the third cell, repeat this process using only the cello and double bass (no viola) 7. Return to the Live Loops screen. Experiment with different combinations of strings and drums.
Hello Garageband Session 3 Page 2
Extension: Return to the 'Drummer' interface. Experiment with different drummers underneath your string parts (the number of fills and complexity will remain the same)
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Hello Garageband Lesson Plan Session 4- Melody Maker- 1 hour
Lesson Objective Create contrasting keyboard melodies over a chord progression. Resources - Worksheet 4, Someone Like You - Adele Overview This lesson offers a great example of embedding theoretical learning in a creative process. Pupils will identify the position of notes and chords on the keyboard in order to create melodies over a two chord progression. We will also look at the interesting process of ‘decomposition’ - creating melodies through the removal, rather than addition, of notes. Learning outcomes, key vocabulary, (assessment themes)
- Locate the notes of the C major scale on the keyboard. (Mel) - Locate the chord tones of the seven chords in the key of C major on the
keyboard. (Har) - Choose a keyboard timbre that compliments the composition. (Tim) - Create a melody using an arpeggiator. (Mel) - Compose a ‘question and answer’ melody using chord tones. (Mel, Har) - Create a melodic pattern through a process of decomposition - the removal of
notes. (Mel) Tip : arpeggio: the notes of a chord played in sequence, rather than at the same time.
Warm-Up (15 mins) 1) Game: A Question of Rhythm : Ask the class a question verbally, then clap the rhythm that each syllable creates. Ask for an answer, spoken and clapped. Pupils take it in turns to verbalise a question and answer, with the rest of the class repeating the rhythm with claps. Tip: The game can be expanded into the world of call and response body percussion quickly and effectively! 2) Listening: Someone Like You, Adele. The opening piano line is a good example of an arpeggiated chord progression. Also note how the vocal line contrasts with the busy arpeggios by using long notes and leaving plenty of space between phrases. Feel free to sing along!
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Hello Garageband Session 4 Page 2Core Composition (30-40 mins) – See the accompanying tutorial video or step-by-step outline below. Plenary Discussion
- Is it possible to describe the timbre of your keyboard line using descriptive words? E.g. Warm, bold, smooth, fuzzy
Listening Outside the Classroom In the next session we will be looking at lyrics. Invite pupils to listen to three songs, and write down the theme of the song, the first line, and the line of the song that sticks in their head the most.
Core Composition Outline Full walkthrough available in the accompanying video Arpeggio
1. Listen again to your composition from last week. 2. Open a new keyboard instrument. 3. Identify the notes/chords in the key of C major. 4. Choose a keyboard voice that fits with your composition. 5. Turn on the arpeggiator, explore the parameters, and practise moving
between the two notes/chords in your progression. 6. Record the arpeggio. 7. Open the MIDI piano roll of the track and remove notes until you have
created an interesting melodic pattern. Less is more! Question & Answer
1. Using the worksheet, write down a question and answer. Clap out the rhythm of the question.
2. Open a new keyboard cell. Turn off the arpeggiator. Play the question rhythm on the keyboard.
3. Map the rhythm over two or more notes of the C chord. 4. Repeat this process with the answer using the notes of your second chord. 5. Play the drum and string tracks and and find a way to fit your question and
answer over the groove. You might need to alter it slightly. 6. When you have something you are happy with, record it in. 7. Go back to the ‘live loops’ screen. Experiment with different drum and string
textures underneath the two new melodies. Extension In a new keyboard cell, create a second question and answer phrase. Raise the keyboard up an octave for added impact.
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Hello Garageband Lesson Plan Session 5- Wordsmith- 1 hour
Lesson Objective Create and record lyrics on a chosen theme. Overview This lesson is focused on lyric writing, and can be easily adapted to augment any creative writing projects your class are working on. The fantastic Musical Futures website also contains numerous free vocal warm-up and lyric generation ideas. Resources: Worksheet 5, The Hebrides Overture - Mendelssohn, Post-it notes. Learning outcomes, key vocabulary, (assessment themes)
- Understand and employ the concept of program music. (Vox) - Develop an initial thematic idea into a complete lyric. (Vox) - Understand the ‘beats-per-minute (bmp ) measurement (Rhy) - Choose a tempo based on an original lyric. (Lis)
TIp: A piece of ‘programme music’ is designed to evoke a specific scene, idea and/or atmosphere.
Warm-Up (15 mins) 1) Listening: Hebrides Overture, Mendelssohn Play the first 90 seconds of the
Hebrides Overture, an example of ‘program music’. Can pupils guess what the music is inspired by? Pupils should write down descriptive words and scenes that are implied by the music on post-it notes, and post them on the whiteboard. Discuss the class’ ideas, and reveal Mendelssohn’s inspiration - waves crashing around a huge cave on the island of Staffa in the Outer Hebrides.
2) Rearrange the post-it note ideas to create simple four line verses.
Core Composition (30-40 mins) – See the accompanying tutorial video or step-by-step outline below.
Tip: The iPad microphone picks up lots of ambient noise, and in a room full of students it can be hard to get takes free from background noise. Solutions include setting up ‘recording booths’ in different rooms, corridors or classroom corners; groups of students singing together on each other’s pieces; using compatible external microphones .
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Plenary Discussion
- How did it feel to interpret and inspire another person’s work? Listening Outside the Classroom The focus of the next session is Soloing. Ask some friendly adults to get out their air guitars and play you a solo...
Core Composition Outline Full walkthrough available in the accompanying video Lyrics
1. Pupils swap their iPad and worksheet with a neighbour and listen carefully to their neighbour’s composition at least twice, before filling in the questions on the worksheet. Emphasise the responsibility of each pupil to provide the best inspiration possible to their neighbour.
2. Pupils swap back iPads and write their first verse. For pupils needing additional support, options include using some lines generated in the post-it note warm up, creating mind-maps of ideas, or using the formula:
First line names the scene Up on Ilkley Moor Second line introduces the character I met a fox called Jim Third line describes the character He was looking pretty chilly Fourth line describes some action. So I lent him my thermal Rhyming couplets and first person narratives can be particularly powerful. Recording
1. Open the composition and try singing along with the new lyrics. 2. Consider altering the tempo (bpm) of the song. 3. Record the vocals 4. Experiment with the effects presets.
Extension Add additional sets of lyrics.
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Core Composition (30-40 mins) – See the accompanying tutorial video or follow the step-by-step outline below. Plenary Discussion
- What were the most effective ways to create tension and release in the music? Contrasting dynamics, textures, pitches. Use of silence and note bending,
Listening Outside the Classroom Listen to the beginning of three songs from your favourite artist. Which instruments are played first, and how do the layers of instruments build up?
Core Composition Outline Full walkthrough available in the accompanying video Bassline 1. Open the composition and create a new SmartBass instrument. 2. Choose a bass voice. 3. Choose one of the four ‘autoplays’. Your choice should enhance the rest of composition. 4. Practise changing between the two chords in the progression along with the track. 5. Record the progression. 6. Repeat steps 4 and 5 in an adjacent cell using the same autoplay but this time triggering the chord with two fingers. A more complex variation of the pattern will sound. 7. Repeat steps 4 and 5 with three fingers. A second variation will sound. Guitar Solo
1. Open a new SmartGuitar track, navigate to the ‘notes’ interface and change the ‘scale’ to ‘major pentatonic’.
2. Choose a guitar sound. 3. Try playing the rhythmic phrases from the warm-up on the guitar, first on one
note and then on several. Make each note count! 4. Repeat step 3 with the track playing in the background. Pay particular
attention to how the notes sound over the two different chords - which ones create tension?
5. When you are ready to record, extend the length of the loop to 8 bars. Record your solo.
6. Experiment playing the solo over a variety of combinations of cells. Extension Change the scale to ‘Mixolydian’ or ‘Klezmer’ and try the solo again. Notice and make the most of the increased amount of ‘tension’ notes!
Hello Garageband Lesson Plan Session 6 - Improvise!- 1 hour
Lesson Objective Use improvised musical phrases to construct solos. Overview This session explores an extremely important aspect of music - Tension & Release. From the perfect cadence in classical music to the bass drop in dance music, all genres of music use it in some form. It creates interest and movement in music, and is central to any meaningful improvisation. Resources: Worksheet 6 Learning outcomes, key vocabulary, (assessment themes)
- Understand and employ ‘tension & release’ using dynamics, tempo and phrasing. (Mel, Lis)
- Create a short story with elements of ‘tension & release’. (Vox) - Choose a bass timbre and pattern. (Tim) - Record a bassline with three contrasting textures. (Rhy, Tex) - Record a melodic improvisation using a major pentatonic scale. (Mel)
Warm-Up (15 mins) 1) Solo story - Model a story about your journey to school in four phrases. The
penultimate phrase should end in tension before the final one resolves it. For example:
I woke to the smell of toast
Ethel opening the jam with a cricket bat The jar flew high in the air (tension)
And landed in the compost - phew! (release). Repeat the story, this time mouthing the words, but (as in lesson 2) clapping the syllables rather than speaking them aloud. 2) In pairs, students repeat this process, then write their sentences down. Any pupils having trouble clapping along to their story should choose a few key words or try telling it in ‘slow motion’. Tip: There are lots of ways to create tension, including using silence, contrasting speeds and extreme dynamics.
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Core Composition (30-40 mins) – See the accompanying tutorial video or follow the step-by-step outline below. Plenary Discussion
- What were the most effective ways to create tension and release in the music? Contrasting dynamics, textures, pitches. Use of silence and note bending,
Listening Outside the Classroom Listen to the beginning of three songs from your favourite artist. Which instruments are played first, and how do the layers of instruments build up?
Core Composition Outline Full walkthrough available in the accompanying video Bassline 1. Open the composition and create a new SmartBass instrument. 2. Choose a bass voice. 3. Choose one of the four ‘autoplays’. Your choice should enhance the rest of composition. 4. Practise changing between the two chords in the progression along with the track. 5. Record the progression. 6. Repeat steps 4 and 5 in an adjacent cell using the same autoplay but this time triggering the chord with two fingers. A more complex variation of the pattern will sound. 7. Repeat steps 4 and 5 with three fingers. A second variation will sound. Guitar Solo
1. Open a new SmartGuitar track, navigate to the ‘notes’ interface and change the ‘scale’ to ‘major pentatonic’.
2. Choose a guitar sound. 3. Try playing the rhythmic phrases from the warm-up on the guitar, first on one
note and then on several. Make each note count! 4. Repeat step 3 with the track playing in the background. Pay particular
attention to how the notes sound over the two different chords - which ones create tension?
5. When you are ready to record, extend the length of the loop to 8 bars. Record your solo.
6. Experiment playing the solo over a variety of combinations of cells. Extension Change the scale to ‘Mixolydian’ or ‘Klezmer’ and try the solo again. Notice and make the most of the increased amount of ‘tension’ notes!
Hello Garageband Session 6 Page 2
Hello Garageband Lesson Plan Session 6 - Improvise!- 1 hour
Lesson Objective Use improvised musical phrases to construct solos. Overview This session explores an extremely important aspect of music - Tension & Release. From the perfect cadence in classical music to the bass drop in dance music, all genres of music use it in some form. It creates interest and movement in music, and is central to any meaningful improvisation. Resources: Worksheet 6 Learning outcomes, key vocabulary, (assessment themes)
- Understand and employ ‘tension & release’ using dynamics, tempo and phrasing. (Mel, Lis)
- Create a short story with elements of ‘tension & release’. (Vox) - Choose a bass timbre and pattern. (Tim) - Record a bassline with three contrasting textures. (Rhy, Tex) - Record a melodic improvisation using a major pentatonic scale. (Mel)
Warm-Up (15 mins) 1) Solo story - Model a story about your journey to school in four phrases. The
penultimate phrase should end in tension before the final one resolves it. For example:
I woke to the smell of toast
Ethel opening the jam with a cricket bat The jar flew high in the air (tension)
And landed in the compost - phew! (release). Repeat the story, this time mouthing the words, but (as in lesson 2) clapping the syllables rather than speaking them aloud. 2) In pairs, students repeat this process, then write their sentences down. Any pupils having trouble clapping along to their story should choose a few key words or try telling it in ‘slow motion’. Tip: There are lots of ways to create tension, including using silence, contrasting speeds and extreme dynamics.
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Hello Garageband Lesson Plan Session 7 - Making Arrangements- 1 hour
Lesson Objective Create and record an arrangement for the composition. Overview ‘Live Loops’ offers a new way to visually represent structure, allowing pupils the ability to create improvised arrangements that can be refined with reflection and practise. This lesson also introduces the exciting ‘FX’ feature, used here in the context of tension and release. Resources: Worksheet 7 Learning outcomes, key vocabulary, (assessment themes)
- Create a vocal motif as part of a group. (Lis, Vox) - Conduct a four-part acoustic vocal performance. (Tex, Rhy) - Create an arrangement using a visual score. (Tex) - Move, duplicate and edit individual loops. (Tex) - Record a live performance. (Lis, Rhy) - Explore audio effects (FX). (Tim)
Warm-Up (15 mins) Game - Voice Orchestra - As a class, practise deep slow breathing followed by long, harmonious notes sung together. What a lovely sound this makes! Next, split the class into four groups: - Group 1 create a simple drum beat. - Group 2 sing a single note/chord that lasts for 4 beats, followed by a four beat rest. - Group 3 create a simple bassline - Group 4 create a simple sung line e.g. ‘Year six are full of tricks! Pupils take turns in the role of conductor, starting and stopping the four different groups to create a spontaneous arrangements. Tips: Use a conducting stick to empower the conductor. They can then pass it on to the new conductor without stopping the music. Try adding additional signals -
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loud/quiet, stop for a bar, speed up/slow down, or split the groups up to create additional layers . This can turn into a great introduction to your iPad performance assembly !
Core Composition (30-40 mins) – See the accompanying tutorial video or follow the step-by-step outline below. Plenary Discussion
- Describe the impact that the chosen effects had on the music.
Core Composition Outline Full walkthrough available in the accompanying video Arrangement 1. Open the ‘loops view’ of the composition. 2. Starting with the furthest column to the right, move the cells one by one to columns on the far right of the screen. 3. Choose a cell to begin the arrangement with and move it back to the furthest column to the left. 4. Copy the cell into the second column, and add any additional cells to complete the second column. 5. Repeat this until the piece is finished, making sure you can identify in the completed arrangement: - A beginning, middle and end. - At least two contrasting sections (achieved through using different textures or musical material). Recording 1. Practise moving between the columns. 2. Record a complete performance. It should be between 20 and 80 bars in length. Adding Effects 1. Open the FX interface. 2. Trigger on a single drum loop and experiment with the filter effect. 3. Trigger a single SmartStrings loop and experiment with the wobble effect. 4. Trigger the arpeggio loop and experiment with the delay effect. 5. Turn on the 'Gyro Control' and alter the loops by tipping the iPad. Extension
Create variations within columns by triggering or stopping individual cells.
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2016 Composition Challenge Lesson Plan Session 8 - Finale Freedom- 1 hour
Lesson Objective Review, refine and record a final version of the composition. Overview This final session offers pupils the freedom to add personality and flair to their compositions. There is no time limit, and if appropriate this session can be spread over several lessons. Finished compositions should be uploaded to Soundcloud (we would love to hear them!), and a live performance in assembly could go down a treat! Resources: Worksheet 8, large space for pupils to move around in. Learning outcomes, key vocabulary, (assessment themes)
- Evaluate a recording using vocabulary developed over the course of the project. (Lis)
- Give and respond to constructive peer feedback (Vox, Lis) - Record effects in real time. (Tim) - Export the composition to the internet. - Create a persuasive piece of writing. (Vox)
Warm-Up (15 mins) 1) Game - Shape Up! The aim of the game is for pupils to create physical
representations of everyday objects that are then improved by their peers. a) Designate between 2 - 5 pupils to the role of ‘polisher’. b) The remaining pupils walk around the space. c) Call out the name of an object, e.g. ‘grandfather clock’, ‘helicopter’.
Pupils quickly form pairs and have ten seconds to create a physical representation of the the object.
d) After 10 seconds, all pairs freeze. e) Lead a discussion with the ‘polishers’ as to how the shapes could be
made more realistic. This could include creating ‘moving parts’ (e.g. moving hands on the grandfather clock) to bring the shapes to life.
f) Repeat, changing the ‘polishers’, until pupils autonomously move between pairs, improving positioning and creating moving parts.
Extension: Try the same game but in silence!
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Core Composition (30-40 mins) – See the accompanying video tutorial or follow the step-by-step outline below. Plenary Discussion
- What would a music video to the recording look like? - What have you learnt from the compositional process?
Homework Write a short ‘review’ of your own or another composition. What do you particularly like about the composition? What makes it special? What is the theme of the lyrics?
Core Composition Outline Full walkthrough available in the accompanying video Feedback & Polishing 1. Swap iPads with a peer and listen to their work. Answer the questions on the worksheet: What works particularly well in this piece? Can you hear at least two contrasting sections? Are there any loops that are unnecessary? How could the piece be improved? 2. Discuss the feedback in partners. (5 mins). 3. Make any necessary changes based on this feedback and your own critical listening. Fill in the worksheet checklist. Effects 3. Continue to explore effects, focusing on creating tension and release. 4. Identify two parts of the song that work particularly well with effects. 5. Record the effects in real time. Remember: Less is more! Extension Add additional material e.g. more lyrics. Experiment with reversing, pitch-shifting and changing the speed of some clips. (Tip: You may want to split clips into shorter segments for this) Uploading Upload the song to Soundcloud using the login details provided in the application pack. Take a screenshot of the ‘Track View’ page and add it as the image to the track.
Well done!
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Core Composition 2
Theme &and Variation
CLICK HERE FOR THE VIDEO TUTORIALS
Theme & Variation Planning OverviewLesson Title Curriculum Focus Instrument Focus Lesson Objective Additional Resources
1. Tell Me About It
Writing, listening Voice RecorderCreate lyrics for two verses and a chorus on a chosen theme.
2. Beats Rhythm, timbre DrumsCreate a two bar drum pattern using a grid system.
3. Melody Time
Melody, harmony KeyboardCreate two contrasting keyboard melodies
4. Harmony HarmonyStrings, guitar, bass
Create two chord progressions through a process of melodic harmonisation.
Music: No Woman No Cry - Bob Marley
5. Recording Vocals
Singing Voice Recorder, effectsRecord and process sung melodies
Hallelujah - Jeff Buckley Shout - Lulu
6. Advanced Soloing
Melody Keyboard Improvise over a chord progression using a pentatonic scale
My Baby Just Cares For Me - Nina Simone
8. Final Arrangements
Arranging, effects Effects processors Record an arrangement and finish the composition
Theme & Variation Planning OverviewLesson Title Curriculum Focus Instrument Focus Lesson Objective Additional Resources
1. Tell Me About It
Writing, listening Voice RecorderCreate lyrics for two verses and a chorus on a chosen theme.
2. Beats Rhythm, timbre DrumsCreate a two bar drum pattern using a grid system.
3. Melody Time
Melody, harmony KeyboardCreate two contrasting keyboard melodies
4. Harmony HarmonyStrings, guitar, bass
Create two chord progressions through a process of melodic harmonisation.
Music: No Woman No Cry - Bob Marley
5. Recording Vocals
Singing Voice Recorder, effectsRecord and process sung melodies
Hallelujah - Jeff Buckley Shout - Lulu
6. Advanced Soloing
Melody Keyboard Improvise over a chord progression using a pentatonic scale
My Baby Just Cares For Me - Nina Simone
8. Final Arrangements
Arranging, effects Effects processors Record an arrangement and finish the composition
popular rhymes in pop musicDo/You Be/Me Me/See True/You Baby/Me Go/Know Through/You Around/Down Night/Right Mind/Time To/You Mine/Time Day/Way Free/Me Away/Day Say/Way Away/Say Too/You Be/See Gone/On
Overview
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iPad Core Composition Project 2
Theme & Variation Lesson Plan Session 1 - Tell Me About It - 1 hour
Lesson Objective Create lyrics for two verses and a chorus on a chosen theme. Overview There are, of course, many ways to generate lyrics. We find this method particularly effective, though you may want to use lyrics from other creative writing projects. If you want to use an alternative method to create lyrics, skip straight to the ‘core composition’ section at the end of this plan. Preparation: Choose a topic. This may be a class topic, or a topic addressing an issue in the lives of pupils. Examples: transition, identity, school values, place, family, history, relationships. Ask pupils to suggest songs on this theme for the class to listen to. Resources - 3-4 songs relating to your chosen theme. Project Leadsheet (see Teaching Guide). Learning outcomes, key vocabulary, (assessment themes)
● Develop an initial thematic idea into a complete lyric. (Vox) ● Create rhyming couplets over a regular pulse. (Vox, Mel) ● Understand the measurement of beats per minute (bpm) and match a tempo to
a set of lyrics. (Lis, Rhy)
Warm-Up (15 mins) 1) Introduce rhyming couplets by giving pupils lines from songs and asking them to add a second line to create a couplet. For example:
‘Love me or leave me and let me be lonely …’you won’t believe me but I love you only’
2) Listening - Invite pupils to play their favourite songs to the class. Listen out for rhyming couplets. Ask pupils to think about what makes them memorable. Don’t forget to play your own favourite songs too!
Lyric writing (25 mins) – See teaching notes for a full example
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1. Listen to a collection of songs on your chosen topic, using some of the
suggestions from pupils. Choose a range of styles and perspectives and discuss how effective each song is at getting its message across.
2. Create a list of sub-topics within the chosen theme (e.g. types of transition, different school values).
3. In small groups, use one or two of these as a basis for a mindmap, extracting all the aspects of that theme: the who, what, where, why and how; the facts and emotional implications; the past and future.
4. From this mind map, create a first lyric to draw the listener in; perhaps a small detail or description. Several individuals/pairs can use the same first line.
5. Add three more lines to create a verse. There are several common ways to rhyme in a verse, but it doesn’t have to rhyme at all! (See the Teaching Notes for common rhymes)
6. Have a go at reading the lines out loud. Do they have a natural rhythm or flow? If not, is it possible to take out or substitute some words?
7. Repeat steps four, five and six to create a second verse. This verse should be related to the first verse but move the narrative to a new, perhaps more universal, place.
8. Show the two verses to a classmate and ask them to tell you what they think the song is about. Then try and explain to them in a single sentence what you feel the message at the heart of the song is (the simpler the better!). Write this message down. This single sentence will be the seed, and perhaps the entirety of, your chorus.
9. Write down the lyrics on the project lead sheet. 10. Watch the accompanying walkthrough video, or follow the step-by-step outline
below. Plenary Discussion
Core Composition Outline Setting the tempo
1. Create a new Live Loops set on Garageband 2. Open an audio recorder instrument. `Match the tempo of the song to your
lyrics using the ‘tap tempo’ button in the settings menu. Record the lyrics
3. Record a recitative (spoken) version of the first verse. 4. Record the second verse and chorus in separate cells. 5. Name the song.
Extension: Create and record additional verses.
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to one of the sounds. Add each layer one by one, beginning with the ‘claps’, until everyone is playing their part with ease. Extension: Try altering the position of some of the ‘X’s around to create new patterns. 2) Create a new table:
Beat 1 + 2 + 3 + 4 +
‘Boots’ x
‘Cats’ x
Claps x x x x x x x x
‘Tom’ x x
Practise playing this pattern until it is fluent. It will become the basis of our composition.
Core Composition (35 mins) See walkthrough video or step-by-step outline below. Peer Assessment/Plenary
● Does the beat flow well? ● Are there any hits that seem out of place? ● Is there enough space in the drum pattern for the other instruments to be
added on top?
Core Composition Outline Full walkthrough available in the accompanying video Percussion
1. Open the song from last week and create a new drum instrument. 2. Open the help menu and practise playing a repeated pattern using two
fingers on the hi-hat. 3. Reduce the length of the loop to 2 bars. 4. Record the hi-hat repeating pattern. 5. Open the edit menu of the drum instrument. 6. Add bass drum, snare and tom parts based on the drum grid in the warm-up. 7. Get creative with the drum beat by adding, deleting and moving beats.
iPad Core Composition Project 2
Theme & Variation Lesson Plan Session 2 - Beats - 1 hour
Lesson Objective Create a two bar drum pattern using a grid system. Overview This method of creating drumbeats, whilst offering less instant gratification than the ‘Drummer’ and ‘SmartDrums’, allows pupils complete control over the beat they are making and additional learning outcomes. If this is not a priority, or you are short on time, feel free to use another method! The relatively long warm up is worth doing to really embed an understanding of layered rhythms. Learning outcomes, key vocabulary, (assessment themes)
● Create a visual score using a grid system. (Rhy) ● Create and modify a typical 4/4 pop drum pattern. (Tex, Rhy) ● Identify and accent the strong and weak beats in a bar, and write drum
patterns accordingly. (Lis, Rhy) ● Choose a drum kit based on preference of timbre. (Tim)
Additional vocabulary : downbeat, bass drum, hi-hat, quavers.
Warm-Up (20 mins) 1) Drum Grid - Introduce the concept of the drum grid by re-creating this 4x4 grid:
Beat 1 2 3 4
‘Boots’ x
‘Cats’ x
Body percussion: Claps
x x x x
‘Tom’ x
Try out each pattern as a whole class. Encourage pupils to move their bodies as a way to reinforce time. Next, divide the class into four groups, assigning each group
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to one of the sounds. Add each layer one by one, beginning with the ‘claps’, until everyone is playing their part with ease. Extension: Try altering the position of some of the ‘X’s around to create new patterns. 2) Create a new table:
Beat 1 + 2 + 3 + 4 +
‘Boots’ x
‘Cats’ x
Claps x x x x x x x x
‘Tom’ x x
Practise playing this pattern until it is fluent. It will become the basis of our composition.
Core Composition (35 mins) See walkthrough video or step-by-step outline below. Peer Assessment/Plenary
● Does the beat flow well? ● Are there any hits that seem out of place? ● Is there enough space in the drum pattern for the other instruments to be
added on top?
Core Composition Outline Full walkthrough available in the accompanying video Percussion
1. Open the song from last week and create a new drum instrument. 2. Open the help menu and practise playing a repeated pattern using two
fingers on the hi-hat. 3. Reduce the length of the loop to 2 bars. 4. Record the hi-hat repeating pattern. 5. Open the edit menu of the drum instrument. 6. Add bass drum, snare and tom parts based on the drum grid in the warm-up. 7. Get creative with the drum beat by adding, deleting and moving beats.
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8. Listen to the beat alongside the spoken lyrics from last week. Modify the beat so it works well with the lyrics.
9. Consider using a different type of drum kit. Extension
1. Share your work with a partner and answer the questions in the ‘peer assessment’ section above.
2. Increase the loop length to 4 bars and continue to edit the beat, creating a groove with more variation and interest.
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iPad Core Composition Project 2
Theme & Variation Lesson Plan Session 3 - Melody Time - 1 hour
Lesson Objective Create two contrasting keyboard melodies Overview We use a tried and tested method to take a set of words and turn them into a melody while simultaneously learning to identify the names of notes on a keyboard. The steps presented here work very well, but no formula is as effective as simply playing with a lyric until the melody comes out. Feel free to find the melody in your own way, or follow the steps below. Resources - Project Leadsheet. Learning outcomes, key vocabulary, (assessment themes)
● Exemplify the natural pitch variations in speech (Mel) ● Choose a major or minor tonality. (Har) ● Learn the note names on the keyboard (Mel, Har) ● Create a melody based on a vocal line (Mel) ● Understand the function of quantisation. (Rhy)
Additional vocabulary : Rhythm, monotone harmony, texture, loop.
Warm-Up (15 mins) - you can choose the most appropriate warm-ups for your class from the three below. 1) Identify the notes on the keyboard Introduce the white notes on the keyboard, using the pattern of the black keys as a framework. Recreate a keyboard on your whiteboard and point to notes at random, asking students to name them. Memorisation of the notes could be a homework assignment. 2) Inherent pitch (see Teaching Notes) Demonstrate that even in a normal ‘talking voice’, pitch rises and falls naturally. In pairs, ask pupils to try and speak in a monotone (using only one pitch), and then the opposite, exaggerating the pitch of their voices. 3) Moving to pitch Play a song familiar to the whole class. Ask students to move their hands up and down as the pitch of the melody rises and falls.
Core Composition (40 mins) – See walkthrough video or step-by-step outline below.
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Plenary Discussion
● In what ways are the verse and chorus sections different? ● Would the chorus sound better with a different drum pattern?
Core Composition Outline Full walkthrough available in the accompanying video Building the melody.
1. Open a new keyboard instrument. 2. Play back the first verse of lyrics and tap out the rhythm on the C note of the
keyboard. 3. Line by line, experiment with using more than one note to make the melody.
Use any of the white notes. 4. On the project worksheet, write down each note you have played above the
corresponding word. 5. Record the melody line on the keyboard. 6. Open the neighbouring keyboard cell. Repeat step 2-5 for the second verse. 7. Repeat steps 2-5 for the chorus. This time, try beginning on the ‘A’ note.
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iPad Core Composition Project 2
Theme & Variation Lesson Plan Session 4 - Harmony - 1 hour
Lesson Objective Create two chord progressions through a process of melodic harmonisation. Overview This session sees us experimenting with different chords underneath our melody. We will find a chord progression that brings out the best in the melody, then add additional harmony using guitar and bass. Harmonising the melody takes some thoughtfulness and discipline, but the Smart Instruments on Garageband make the task very achievable, though it may take more than one lesson. Like the melody creation in the last session, it can be done with intuition alone or by using the method below. Resources - Project Leadsheet, ‘No Woman No Cry’ - Bob Marley Learning outcomes and key vocabulary
● Play with contrasting dynamics (Lis) ● Harmonise two melodies. (Har, Mel) ● Understand the I,IV,V chord progression in popular music. (Lis, Har) ● Create a chord progression using a minimum of three chords. (Har) ● Create a strummed or picked guitar pattern over a chord progression. (Rhy,
Harm) ● Extension: Create a bassline. (Har, Rhy)
Additional vocabulary : Tonic (root) chord
Warm-Up (15 mins) 1) Play along to ‘No Woman No Cry’ This Bob Marley classic has a slow, regular chord progression and clear melody, making it a good song to analyse before we begin our own harmonisation. Students can play along with the chord progression on the SmartStrings, Keys or Guitar (or acoustic instruments!): Chorus: C maj / G Maj / A min / F maj (I-V-vi-V)
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C maj / F maj / C maj / G maj (I-IV-I-V) Verse: C maj / G Maj / A min / F maj (I-V-vi-V). The instrumentation is also very similar to our compositions - drum, bass, guitar, organ, vocals.
Core Composition (40 mins) – See walkthrough video or step-by-step outline below.
Core Composition Outline Full walkthrough available in the accompanying video Create the chord progression
1. Add a new instrument, the Smart Strings 2. Practise using contrasting dynamics using the bowing method on the strings 3. Mute the original vocal line. 4. Play the drums and verse one keyboard melody cells. Experiment with
different chords under the melody, using the notes of the melody as a guide. 5. Record the chord progression. 6. Write down the chord progression on the worksheet. 7. Open a new cell underneath the chorus melody and repeat steps 4-6.
Add bass and guitar
1. Open a new Smart Guitar instrument. 2. Choose a guitar sound. 3. Record a simple pattern using picking or strumming 4. Quantise the guitar part if desired.
Extension: Add a bassline to the piece using the same chord progression. Less is more!
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iPad Core Composition Project 2
Theme & Variation Lesson Plan Session 5 - Recording Vocals - 1 hour
Lesson Objective Record and process sung melodies Overview - We have left the vocal recording until this late stage for two reasons: firstly, to allow pupils more time to hear and internalise the melody, and secondly so that they are invested enough in the song to really belt out a good vocal take. Plenty of preparatory vocal warm-ups and group singing makes for much better final recordings! Resources - Spaces within the classroom for small groups to record vocals, ‘Shout’ - Lulu, ‘Hallelujah’ - Jeff Buckley Learning outcomes and key vocabulary
● Record two verses and two choruses of vocals (Vox) ● Use critical listening to pick a final take from several tracks (Lis) ● Add compression and reverb to a vocal take (Tim) ● Extension: Add vocal harmonies to a melody (Har, Vox) ● Extension: Record a bassline with a set chord progression (Har, Rhy)
Additional vocabulary : mute, melisma
Warm-Up (15 mins) There are manifold vocal warm-up games available on the internet, not least from the excellent SingUp! And Musical Futures organisations. 1) Listening- ‘Shout’ - Lulu, ‘Hallelujah’ - Jeff Buckley These two contrasting vocal performances show that emotional intensity can be created in different ways. In addition, ‘Shout’ demonstrates the power of backing vocals, whilst ‘Hallelujah’ offers examples of melismatic singing, both of which can be incorporated into our compositions.
Core Composition (40 mins) – See walkthrough video or step-by-step outline below. Plenary Discussion What emotions does your song evoke? Can you hear any reverb on the vocals?
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Core Composition Outline Full walkthrough available in the accompanying video Vocals
1. Practise singing along to the melody line in the keyboard. 2. Record takes of the first verse vocal melody until you have a satisfactory
one. 3. Using the ‘large room’ present, work with the compressor and track reverb. 4. Repeat steps 2-3 with the second verse and chorus.
Extension:
1. Add harmonies to the chorus vocals. 2. Continue to work on the bassline from last week.
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iPad Core Composition Project 2
Theme & Variation Lesson Plan Session 6 - Advanced Soloing - 1 hour
Lesson Objective Improvise over a chord progression using a pentatonic scale Overview This method builds on the ‘improvisation’ section from the ‘Hello Garageband’ project. It brings together the concept of resonance and dissonance (tension and release in melody) with the idea of building a solo from a short motif. Thanks to the fantastic Musical Futures for the warm-up idea. Resources - My Baby Just Cares for Me - Nina Simone Learning outcomes and key vocabulary
● Create and develop short rhythmic motifs into solos. (Mel, Rhy) ● Identify the notes of C major/A minor on the keyboard. (Mel) ● Solo using a chord progression. (Mel) ● Use resonance, cut-off, attack and release to create a unique timbre. (Tim) ● Create an 8 bar improvisation using a major or minor scale (Mel) ● Understand and employ tension and release (Har)
Additional vocabulary : dissonance
Warm-Up (15 mins) 1) Listening- My Baby Just Cares for Me - Nina Simone Listen to the solo in the middle of this song, noting how it begins very simply and uses space and motif development to build to a dramatic climax. 2) Building solos with developing phrases. Pupils work in pairs. They take turns to speak and clap each of these phrases in turn: ‘In spring’ ‘In spring I went away’ ‘In spring I went away to Whitby’ ‘In spring I went away to Whitby Lifeboat station’ Next, clap them without speaking. We will use this method to develop solos.
Core Composition Outline Full walkthrough available in the accompanying video Vocals
1. Practise singing along to the melody line in the keyboard. 2. Record takes of the first verse vocal melody until you have a satisfactory
one. 3. Using the ‘large room’ present, work with the compressor and track reverb. 4. Repeat steps 2-3 with the second verse and chorus.
Extension:
1. Add harmonies to the chorus vocals. 2. Continue to work on the bassline from last week.
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3) Xylophone Blues (optional) Prepare a C minor blues scale (C, Eb, F, Gb, G, Bb) on a xylophone (by removing additional keys) or keyboard (by adding stickers). Improvise with this scale over a C minor 12-bar blues (you can find backing tracks on the internet, or make your own using Garageband). Demonstrate the tension/dissonance created by some of the notes (Gb, Bb) and release/consonance felt in others (C, G). Invite pupils to have a go at soloing, one by one, over the progression.
Core Composition (40 mins) – See walkthrough video or step-by-step outline below. Plenary Discussion
● Is there a clear melodic development in the improvisation? ● Does the mood of the solo fit with the rest of the piece?
Core Composition Outline Full walkthrough available in the accompanying video Soloing
1. Open a new keyboard instrument. 2. Choose the ‘Hyper Dance’ voice from the ‘leads’ menu 3. Experiment with the timbre parameters to personalise the instrument’s
sound. 4. Follow the chord progression on the keyboard. 5. Repeat the motif exercise development from the warm-up, this time playing a
single note on the iPad. 6. Play the drums, strings and bass cells. Develop a solo using tension and
release. 7. Extend the length of the loop to 8 bars and record a solo. 8. Listen back to the solo, evaluating your use of tension and release.
Re-record if necessary. Extension
1. Add further solos using other instruments and scales. 2. Use the Smart drums to create additional rhythm cells.
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iPad Core Composition - Project 2
Theme & Variation Lesson Plan Session 7 - Final arrangements - 1 hour
Lesson Objective Record an arrangement and finish the composition. Overview We have all the musical content of the song - the raw ingredients - and now it is time to cook them up into a complete song. This session is based on the penultimate session of the ‘Hello Garageband’ project, offering pupils a chance to deepen their ability to arrange using this method. You may want to spread this session over two lessons. Learning outcomes and key vocabulary
● Create a vocal motif as part of a group. (Tex, Vox) ● Conduct a four-part acoustic vocal performance. (Vox) ● Create an arrangement using a visual score. (Tex) ● Develop contrasting textures within an arrangement. (Tex) ● Move, duplicate and edit individual loops. (Tex) ● Record a live performance. (Lis) ● Explore audio effects (FX). (Tim)
Warm-Up (15 mins) The warm up is the same as at the end of the ‘Hello Garageband’project, with the addition of a second section to reflect the verse/chorus structure of this composition . 1) Game - Voice Orchestra - As a class, practice deep slow breathing followed by long, harmonious notes sung together. What a lovely sound this makes! Next, split the class into four groups: - Group 1 create a simple drum beat. - Group 2 sing a single note/chord that lasts for 4 beats, followed by a four beat rest. - Group 3 create a simple bassline - Group 4 create a simple sung line e.g. ‘Year six are full of tricks! Pupils take turns in the role of conductor, starting and stopping the four different groups to create a spontaneous arrangements.
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Now add a second pattern for each group. Practise this, then make a clear signal to indicate to pupils when to change between the patterns. Tips: Use a conducting stick to empower the conductor. They can then pass it on to the new conductor without stopping the music. Try adding additional signals - loud/quiet, stop for a bar, speed up/slow down, or split the groups up to create additional layers . This can turn into a great introduction to your iPad performance assembly !
Core Composition (40 mins) – See walkthrough video or step-by-step outline below. Plenary Discussion Listening Outside the Classroom
Core Composition Outline Full walkthrough available in the accompanying video Arrangement
1. Open the ‘loops view’ of the composition. 2. Identify the location of the verses and choruses. 3. Starting with the furthest column to the right, move the cells one by one to
columns on the far right of the screen. 4. Choose one or more cell(s) to act as an introduction. Paste a copy of each
one in the furthest column to the left. 5. Choose elements of a verse to add to the second column. 6. Choose elements of a chorus to add to the third column 7. Repeat this until the piece is finished, developing at least four contrasting
sections. Recording
8. Practise moving between the columns. 9. Record a complete performance, moving across the columns from left to
right. 10. Make sure the metronome is switched off and the volumes are balanced. 11. Export the piece.
Extension: Adding Effects
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1. Open the FX interface. 2. Experiment with the various effects in different parts of the piece 3. Record effects into the timeline.
Project Complete!
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Whole Class Compositions
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Whole Class Composition 1::
Remix
Learning Objective Adapt an existing song to create a new composition.
LengthTwo to three lessons.
Overview This project isolates the chord progression and groove of a popular RnB/Soul song, allowing students to rewrite the lyrics, alter the sequence of chords, and solo on top of the groove. We use this low-risk compositional method to create impressive class songs that can be performed to the whole school. The preparation of the track is fiddly and should be prepared in advance. It is possible, though time-intensive and not always reliable, to distribute the prepared track to students via the ‘Airdrop’ feature from the Export Song menu.
Key Stage 3 National Curriculum Attainment Target: “Play and perform confidently in a range of solo and ensemble contexts using the
Learning Outcomes and Key Vocabulary• Create lyrics within a clear structure.
• Add appropriate percussion to a song.
• Solo over a I, IV, V (tonic/sub-dominant/dominant) chord progres-sion.
• Take part in a group performance.
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voice, playing instruments musically, fluently and with accuracy and expression.”
IntroductionPlay Aloe Blacc’s song, ‘I Need Dollar’ and display the lyrics to the class. Discuss the lyrics; can students empathise with them, or think of similar scenarios? What is the difference between a ‘need’ and a ‘want’? What does the singer really need?
ListeningThere are several cover versions of this song, in a variety of styles, available on YouTube.
Preparation1. Make sure ‘I Need Dollar’ by Aloe Blacc is in your iPad’s Music collection.
Note: if you do not have your copy of a particular song handy, you can download nearly any song from YouTube using programmes such as YTD Video Downloader and then convert the file into an .mp3 and transfer it to your iPad. There are also karaoke versions of many popular tracks available.
2. Open GarageBand and create a new song.
3. Choose the Sampler instrument and head straight to the Track View page (Note: this is in the ‘tracks’ part of the initial menu, you don’t need to use a ‘Live Loops’ grid).
4. Open the Loops (A), choose Music > Songs and find ‘I Need A Dollar’. Drag it in to a new track in the Track View.
This process can be applied to any song with a clear, regular chord progression.
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5. Zoom in at the beginning of the track by pinching outwards with two fingers. Observe the beginning of the waveform (A).
6. Drag the left hand edge of the clip so that the clip begins with the first downbeat
of the song (B).
7. Drag the clip so that it starts at the beginning of bar one (C).
8. Change the tempo to 95 bpm. (Remember, if you are doing this with another song, you can figure out the tempo by using the Tap to Set Tempo function in the settings menu). Press play and check that the metronome and the song’s pulse are synchronised.
9. Change the loop length from eight bars to four bars.
A
Another fantastic way to generate lyrics is via newspapers, either taking headlines as lyrics or titles, or cutting and gluing words from different
headlines together to create new ones. A great way to overcome writer’s block!
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Composition1. Decide on a new theme and song title. Create a mindmap containing as many
ideas as the group can think of that relate to the theme. Take the most important/vibrant/evocative idea from the mindmap and use it to create a chorus with the same form as the original, but with altered lyrics. For example:
2. If appropriate, split the class into small groups and ask them to take some of the ideas from the mindmap and come up with a verse with an ABBB rhyming structure, as in the original ‘I Need Dollar’. Alternatively, prepare several options for pupils to choose from. Play the song in the background, allowing the groups to test out their lyrics as they go along.
3. Ask each group to share their verse. Give feedback as appropriate and then decide on an order for the verses.
4. Return to the iPad version of the track. Add a drum beat from the Loops Library. We recommend ‘Hip-hop Berlin Beat 01’.
We Need A Football Pitch by Year 6
We are Year Six and We’ll Soon be Outta the Door
Hey hey
We are Year Six and we’re reaching out for more,
Hey hey
We are Year Six and we’ll soon be outta the door
And if we share with you our music will you share
your story with us?
We had a football pitch but the council sold it off
Hey hey
We were the cup finalists till the council sold it off
Hey hey
We had a football pitch but the council sold it off
And now there’s a bunch of houses and we’ve got
nowhere to play
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5. Open a new instrument: the Smart Bass.
6. In the settings menu, change the key to C# minor (the original key of the song). The chord progression of the song is:
G#min // F#min // C#min // C# min
7. Use the Smart Bass to create a simple bassline that follows this chord progres-sion.
8. It’s solo time! Open a new Keyboard instrument. Choose the Reverse Engineering
voice (A) from the Synth Menu. Use the Scale button to set the scale to Minor, and set the track volume to the maximum.
A
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9. Press play on the track and allow students to take turns soloing over the chord progression. Choose a handful of pupils to solo in the performance.
10. Create a structure for the song, with verses and choruses mixed in with soloing. Create enough song sections to fit in all these elements. Perhaps create a different drum pattern for the solo sections to add variety to the texture.
11. Copy Section A. Shorten the new section to four bars and move it to the beginning to form an introduction.
12. Get the whole class singing their hearts out along to the track and get ready for your first performance!
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Whole Class Composition 2:
Soundscapes with Ostinatos and Found Sounds
Learning Objective Create a themed soundscape using ostinatos and found sounds.
LengthTwo to three lessons
OverviewA strong theme is the key ingredient for this project. Beginning with a bass ostinato, we can build soundscapes that evoke subjects as diverse as haunted houses, school kitchens, local neighbourhoods and utopian futures. The resulting compositions can then be used as soundtracks to poems, short stories or even films made by the pupils.
Key Stage 3 NC Attainment Target:“Identify and use the interrelated dimensions of music expressively and with in-creasing sophistication, including use of tonalities, different types of scales and other musical devices”
Learning Outcomes and Key Vocabulary • Create an ostinato.
• Sampling and recording found sounds.
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Introduction Group discussion: What defines a musical instrument? Something that makes sound? Something that can play a tune? Something that sounds good? Is a human a musical instrument? Challenge the group to find sounds in their environment, as well as vocal sound effects, that fit in with the chosen theme of your soundscape.
Listening‘Dead London’ from War of the Worlds (1978 Musical Version) - Jeff Wayne
This double LP from 1978 re-imagines Orson Welles’ War of the Worlds in sound. The track ‘Dead London’ includes many compositional elements that we will use in this project: word painting, ostinatos, use of sound effects, and spoken word.
Composition1. Open the Smart Strings instrument and choose the Bass voice (A). Tap ‘Notes’ (B)
to open the Notes Interface.
B A
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2. Choose a scale that suits the theme of your soundscape. For example, the Klezmer scale offers a brooding, anticipatory quality while the Japanese scale, to our ears at least, sounds ethereal and warm.
3. Use the syllables of your name, or words around the theme (e.g. Haunted House), to form the rhythm of the ostinato. It should be made up of no more than six notes. Map it across the scale and practise repeating the ostinato until it is con-sistent and fluent. Consider playing it pizzicato (C).
4. Use the Tap to Set Tempo function and match the song’s tempo to your ostinato idea. Press play (D) and practise playing your ostinato along with the metronome.
5. When you are ready, record the ostinato for the full eight bar cycle and then
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listen back. This is a good occasion to use the quantize facility to ensure the ostinato is consistent. A 1/16 or 1/32 level of quantization usually works well here.
6. Change the length of the section from 8 to 24 bars, (using the ‘+’ icon). The ostinato should automatically extend to fill the full 16 bars.
7. Open a new instrument: the Smart Drums. Record a subtle layer of percussion (e.g. using the Shaker and Handclap), to develop the momentum of the piece while still leaving plenty of space for other instruments.
8. Open a new instrument, the Audio Recorder, to add vocals to your soundscape. These vocals could be a poem, a narrative or a song and can be enhanced further using the vocal effects. You may need to extend the length of the section beyond 24 bars.
The option to make each individual note legato, staccato or pizzicato, as well as to change the velocity of each note, is available in the Edit Menu from the Track View page.
For Key Stage 1 to 2, an easier alternative to manually creating an ostinato is to use the Autoplay function on the Smart Bass instru-ment.
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9. Open a new instrument: the Sampler. Record one of your found sounds and ma-nipulate it using the trim and reverse options, to create the best possible effect.
10. Press record and play your sample over the track, being careful to accentuate, rather than overpower, the spoken words.
11. Repeat steps eight and nine for each of your samples. Using three or four samples works nicely.
12. Name your song and export to Soundcloud!
EXTENSION- Add panning and effects
Add panning and effects. In the Track View page, highlight the first sample and open the Mixer Menu in the top right-hand corner of the screen. Pan the track to the left. You may also want to add reverb and echo. Repeat this process for all your sampled tracks.
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Peer Assessment Sheet • What feelings does the soundscape evoke?
• Does the placement of the samples respond to the spoken word?
• Are the samples literal or abstract?
Merging Tracks: GarageBand allows up to 32 tracks, but for the sake of avoiding a cluttered screen, or if you need more than 32 tracks, you can merge tracks together. To do this, tap twice on a track icon (A)
and choose ‘Merge’.
Select the tracks you wish to merge and then press ‘Merge’ (B). The resulting tracks will be audio tracks (rather than midi) and cannot be
edited in the same way.
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Overview These projects are designed for more informal settings, and owe a lot to the work of the Musical Futures project. Tasks are focused around developing ensemble playing: communication, leadership, developing material as a group, and allowing space for individual expression within the structure of a given musical idiom. They are well suited to after school clubs, music workshops, and even as a family activity.
All of the projects can be easily adapted to work as projects for a single student: each instrument should be recorded instead of played live. The section begins with four warm-up exercises designed to develop pupils’ timing and conducting skills.
Group Performance Projects
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Performance and RecordingThese group compositions offer scope for dynamic, expressive performances. We recommend staging mini-performances within the group as the pieces grow (devel-oping confidence in performance scenarios), with an external performance, or video recording, upon completion.
In classroom settings, four or less iPads do not need amplifying in order to be heard by all participants (with the exception of the Smart Bass instrument). However groups of two or three can make use of the multi-splitter (see equipment guide) that allows three ipads and three sets of heaphones to be connected simultaneously. However, when performing it is necessary to use some amplification. Again, the multi-splitters come in handy, as they allow us to plug several iPads into the same amplifier.
Most of the projects contain sung lyrics in one form or another. When the iPads are amplified we recommend that the vocalist uses a microphone. This increases the perceived importance of the vocalist and encourages a performance mindset.
GarageBands includes a ‘Jam Session’ function, in theory allowing several performers to record to a single iPad. We find it much more effective, however, to simply video record the performance using a separate camera or iPad. This has the added benefit of providing a visual reminder to students of their note choices in future sessions.
Thumbjam, another app available for iPad, offers a wider range of instruments and more options for expressive technique. It can be
used in conjunction with GarageBand to great effect- see our website www.transformancemusic.org
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Group Performance Projects
Preliminary Exercises
Exercise 1 - Conducting a Vocal OrchestraConfident, clear conducting is the foundation of all of our group compositions. It is a skill that develops communication, leadership and self-confidence in pupils as well as a sense of solidarity within the group.
Time15 minutes.
Additional EquipmentOne drum.
1. Begin with pupils in a circle. All pupils rub their hands together and watch the teacher’s hands. When the teacher claps, all pupils clap at the same time, aiming to create a single sound. Pupils take turns at leading the group.
2. In pairs, students create a simple repeating vocalisation, for example a beatbox pattern, animal sound, or vocal melody.
3. One pair is chosen as the conducting pair. Pairs of pupils stand together in a semi-circle. One of the pair beats a slow pulse on the drum (being careful not to speed up!). The other points to one of the remaining pairs and with their other hand clearly counts ‘1, 2, 3, 4’ to bring that pair in. When this pair have estab-lished their rhythm, the conductor counts in another pair in the same fashion. This goes on until all the pairs are vocalising in time to the drum.
4. The drummer and conductor then swap roles with each other. The new conduc-tor’s role is to instruct the pairs, one by one, to stop their vocalisation, still using a visual count of four using one hand.
5. The conductor begins to dictate volume by raising or lowering a hand to indicate ‘louder’ or ‘quieter’, indicating a single pair or the whole group.
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6. Conductors experiment with different textures.
Exercise 2 - AutoplayThis popular exercise develops timing, awareness of volumes, and communication skills.
Time10 to 20 minutes.
1. Each student chooses a Smart Instrument (Strings, Guitar, Bass or Keyboard) and an Autoplay number, and plays their choice to the group.
2. The group decides on a tempo and a chord and ensures each iPad is fixed to that tempo.
3. Participant A begins their autoplay pattern. Participant B waits for two bars then adds their own, contrasting autoplay pattern. The aim is for the two Autoplays to be in time with one another. This process repeats until all participants are playing, at which point a signal is given and everyone stops together.
4. A conductor is nominated from the group who cues iPads in and out at different times, indicating with their hands which Autoplay number they want the player to enter with.
Extension
Discuss and employ other possible hand signals, e.g. ‘stop for one bar’, ‘speed up/slow down’, ‘do a drum roll with your hands against your knees’. These can all be used in the group performance lesson plans.
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Exercise 3 - Chord ProgressionsThis exercise builds on the previous task and begins to move away from the Autoplay function.
Time15 to 20 minutes.
1. The group is given (or creates) a chord progression and a simple direction for the mood of their groove, e.g. gentle, bold, and are tasked with finding a set of Autoplays that evoke this mood.
2. When each student is ready, a count of four is given and all students begin their autoplay patterns together, moving between the chords of the chord progression. Add a looped drumbeat if necessary.
3. Two participants now replace their Autoplay patterns with simple rhythms on either Smart Guitar or Smart Keyboard. They are now required to play each chord individually, supported by the other students still using Autoplay.
4. One by one, each remaining student switches from an autoplay pattern to a manual pattern, making sure that the group retains solid pulse.
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Exercise 4 - Picking PatternsGroups use the C and G chords, and the C-major pentatonic scale, to create picking patterns within a chord progression.
Time15 to 40 minutes.
1. Participant A creates a drumbeat using Smart Drums.
2. Participant B, using the Smart Keyboard, plays a simple bass note and chord pattern between the two chords, with a chord change every two bars (see Group Composition 1).
3. Participant C, using the Smart Guitar, plays a simple picked pattern over the same chord changes.
4. Participant D, using the regular Keyboard fixed to the pentatonic scale , creates an improvised, repeated melody over this groove.
5. Participant E takes a conductor role, starting and stopping participants as in earlier exercises.
6. Participants swap roles.
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Lesson Objective Perform a version of ‘A Message to You Rudy’ as an ensemble.
Participants2 to 13 (including vocalists).
LengthOne to two lessons.
OverviewThis project is relatively quick and straightforward, and can even work as an alterna-tive introduction to GarageBand for your students. The structure of the project, with everyone learning all the parts before taking on a specific role, as well as the two ex-tensions (soloing and re-writing lyrics), can be used to cover any song. This one has been chosen for its simplicity, fun groove, and potential for soloing over. This great music video includes close-ups of each instrument playing the song.
The two key learning outcomes here are the ability to play off-beats and the ability to lock together two different melody lines within a chord pattern.
Music and CultureThis song, made famous by The Specials, was originally written and recorded in
1967 by reggae artist Dandy Livingstone, who arrived in the UK from Jamaica aged 15. While the original version is pure reggae, the Specials’ version brings together elements of Ska, Punk and Reggae, three genres that have had a sig-
nificant influence over much of the music in the charts today. It exemplifies the way music and culture travels and the value of bringing together diverse
traditions.
Group Project 1: ‘
A Message to You Rudy’
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Key Stage 3 NC Attainment Target“...use staff and other relevant notations appropriately and accurately in a range of musical styles, genres and traditions...”
“...develop a deepening understanding of the music that they perform and to which they listen, and its history”.
Learning Outcomes and Key Vocabulary• Understand and play off-beat chords.
• Play as part of an ensemble.
• Play a bassline using the tonic and dominant notes in the chord.
• Introduce staff notation.
• Understand the connection between Caribbean migration to the UK and the development of Ska.
• EXTENSION: Rewrite lyrics over an established melody
• EXTENSION: Solo over a I - IV - V chord progression.
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Introduction/WarmupIntroduce off beats by asking students to make crocodile shapes with their arms, counting ‘one and two and three and four and’, opening the jaws on the numbers, and snapping them together on the off beat ‘ands’.
Play the song and practise singing along to each of the melody lines.
Invite one student to count the class in and out using a clear visual count of four.
Create a Vocal Orchestra - See Preliminary Exercise 1 on page 67.
Listening There are several versions of ‘A Message to You Rudy’ available on YouTube, including the Dandy Livingstone original and a version by Amy Winehouse.
Composition1. All participants: Create a new song on GarageBand and choose the Smart
Keyboard instrument.
2. With your index finger, use the first (A) and second (B) bass notes to create the
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following dominant/tonic bassline on the C chord.
3. Use the same pattern on the F and G chords to create the following bassline:
4. Add chordal off-beats to each chord with your other hand in between each bass note to create the following pattern:
5. Turn on the metronome (110 bpm, or slower if necessary) and practise, as a group, playing the pattern accurately and in time.
6. Half the group continues to play, while the other half sing the two melodies.
7. Turn off the metronome and open a new instrument: the Keyboard. Identify the F, G, A and C notes. These are all the notes needed for the two melodies, both of which start on a G. Practise the two melodies shown below. Note that if students are struggling, they can set the keyboard to a pentatonic scale.
BA
{
Melody 1
Melody 2
Piano
Bass Guitar
C C F G
& ∑
&‹
&?
?
œ œ œ œ œ œ œ Œ
Ó Œ œ ˙ ˙
‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
{
Melody 1
Melody 2
Piano
Bass Guitar
C C F G
& ∑
&‹
&?
?
œ œ œ œ œ œ œ Œ
Ó Œ œ ˙ ˙
‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
{
Melody 1
Melody 2
Piano
Bass Guitar
C C F G
& ∑
&‹
&?
?
œ œ œ œ œ œ œ Œ
Ó Œ œ ˙ ˙
‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
{
Melody 1
Melody 2
Piano
Bass Guitar
C C F G
& ∑
&‹
&?
?
œ œ œ œ œ œ œ Œ
Ó Œ œ ˙ ˙
‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
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8. Assign a role to each participant:
• Participant A: Smart Drums - Using the Vintage Kit set.
• Participant B: Smart Keyboard - Using the Classic Rock Organ, Electric Piano or Smooth Clav voices.
• Participant C: Smart Bass
• Participant D: Keyboard (Melody One) - Using the Warp Lead or any of the Organ voices.
• Participant E: Keyboard (Melody 2) - Using the Grand Piano sound.
• Participants F: Conductor/Vocalist
• Participant G & H: Vocalists
9. The drummer (Participant A), should create a pattern using the Bass Drum, Snare, Hi-Hat and Shaker and, if desired, one more instrument. Over the course of the performance they can bring in each individual drum one by one, and vary the texture of the tune throughout.
Don’t forget that many of the acoustic parameters on keyboard voices- such as
tremolo and distortion- can be fine tuned to perfect your sound.
Tip Box
Most students are able to play this pattern with more accuracy when using two hands.
If necessary, students should play along to the song to really internalise the melodies and position of the off-beat.
Tip Box
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10. The bass player (Participant B) uses the same bassline as in the keyboard, played on the middle two strings (A and B).
The full score looks like this:
BA
{
Melody 1
Melody 2
Piano
Bass Guitar
C C F G
& ∑
&‹
&?
?
œ œ œ œ œ œ œ Œ
Ó Œ œ ˙ ˙
‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
{
Melody 1
Melody 2
Piano
Bass Guitar
C C F G
& ∑
&‹
&?
?
œ œ œ œ œ œ œ Œ
Ó Œ œ ˙ ˙
‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJ ‰ œœœJœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
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Playing together
11. The conductor should practise bringing in each instrument one at a time, using a clear visual count of four. They should ensure that each new instrument is locked into the rhythm before adding additional ones.
The only instrument with a fixed tempo is the Smart Drums; they should always enter first (we recommend starting with the snare or shaker in the following position).
12. After all the instruments have entered, experiment with different instrument combinations to create contrasting textures. Develop a structure that includes singing and soloing.
13. Record the performance and upload to Soundcloud!
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EXTENSION
• Soloing: Listen again to the solos in either The Specials’ or Dandy Livingstone’s versions of the song, trombone and saxophone respectively, noticing the use of space and development of phrases. Participants who are not in the rhythm section (Smart Keyboard, Bass or Smart Drums) can take turns soloing using the white notes on the keyboard.
• This song works fantastically as a basis for writing new lyrics. Use the first half of each line and change the second half to suit your topic!
Peer Assessment Sheet
• Did the group work well together as a team? How was this shown?
• Were the signals given by the conductor clear?
• Were there a range of textures throughout the piece?
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Lesson Objective Create and solo over a 12-Bar Blues chord progression.
LengthOne to two lessons.
OverviewThis project is a great opportunity to combine iPads and acoustic instruments, with the key learning outcomes focused on constructing cohesive solos. I have not given guidance for lyric writing, but a musical tour of Blues artists such as Billie Holiday and Johnny Lee Hooker offers plenty of inspiration. This composition can be tackled
as part of a wider curriculum topic (slavery, migration, civil rights).
Learning Outcomes and Key Vocabulary`• Perform a chord progression as part of an ensemble.
• Create a repeating rhythmic pattern on piano, guitar or bass.
• Solo using a major blues scale.
• Collaborate in a group to write lyrics in a blues style.
• Understand and employ a swing ‘feel’.
• 12-Bar Blues, Chorus
Group Project 2
A 12-Bar Blues
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WarmupSet down five coloured pieces of A4 paper in a line on the floor to represent the notes of a pentatonic scale. All pupils choose a Smart Instrument (Strings, Guitar or Keyboard), and set it to the C Major Pentatonic Scale.
Ask one pupil to walk/dance up and down the line with all other pupils sounding the corresponding note of the scale on their iPad. Add a simple beat/backing track and ask the walker/dancer to move in time with the music. The rest of the class continue to follow, playing as accurately as possible.
ListeningRock Around the Clock - Bill Haley & His Comets
Everyday I Have the Blues - BB King
These two very different examples show how versatile this form is. Pupils should try to hear the changing chords, and take inspiration from the use of phrasing and melodic development in each solo.
EXTENSION
Add another piece of paper to one side, in between the second and third pieces of paper in the line. This represents the minor third, and adds a dissonant note to the scale. Pupils with iPads should move to a Major Blues Scale and note how the dissonant notes adds colour and interest to solos.
Improvising = self-expression = Motivation to learn
After playing, but rarely completely engaging with, classical music in school ensembles, I only truly found my relationship with music when I began improvising. I suddenly found that my fingers were being controlled by an intuitive part of my mind that I was ordinarily unable to access, and expressed emotions I could never put into words. As an instrumental teacher I try to reach this stage with my pupils as quickly as possible. iPads allow young people with no instrumental background to achieve similar results, thereby encouraging them to consider picking up ‘the real thing’ - an acoustic instrument.
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Composition1. Participant A: Create a new song.
2. Open the Audio Recorder instrument and move immediately to the Track View page.
3. Change the length of Section A from eight to 12 bars.
4. Open the Loops Menu and find the ‘Chicago Blues’ drum loop. Place it across the length of Section A.
5. Open a new instrument: the Smart Bass. Choose the Muted Bass and set it to autoplay pattern number three. Play the drum track and move between the chords of the 12-bar blues as set out in the following chart.
A 12 Bar Blues Progression in
C MajorC C C CF F C CG F C G
6. Participant B: Use the Smart Keys to play the same progression with a pattern using the bass and chord triggers (see page 113). Participants A and B practise playing together.
An authentic blues sound can be acheived by using F7 and G7 (the dominant 7ths) in the progression instead of plain F and G. This can be achieved by altering the chords on screen using the ‘Edit Chords’ function in the settings menu.
Tip Box
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7. The group writes two lines of lyrics to be used as a chorus in bars nine to 12.
8. Participant C (and others): Use the Smart Guitar with the Hard Rock voice, set to the Major Blues Scale (A) to solo over the top of the progression between bars one and eight. Emphasise the use of space and development of small melodic motifs to build solos.
Extension
Develop the use of ‘phrasing’ in solos. This can be based on the question and answer style from step six of the Walkthrough (page 23).
A
Peer Assessment Sheet• Do the lyrics reflect the mood of the music? How?
• Did the solos have a beginning, a middle and an end?
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Group Project 3
Performance PoetryLearning ObjectiveCreate an improvised group composition based on a poem.
LengthOne to three lessons.
OverviewThis is another high-impact project that has been successfully deployed in Pupil Referral Units and established school ensembles. The themes of social change that run through hip-hop allow this project to be incorporated into wider class topics. The first half of the project (steps one to eight), can be delivered as a simple perfor-mance poetry and sampling exercise. The second half delves deeper, moving between chords and adding instrumental motifs. We have also developed a stan-dalone ‘Hip Hop Production’ Scheme of Work for 11-16 year olds available from our website.
Learning Outcomes and Key Vocabulary• Choose a minor or major tonality based on the mood of the text.
• Read a poem in relation to a fixed metre.
• Create a soundscape that relates to a text
• Develop the texture of a harmonic pattern.
• Create a visual, personalised score.
• Create a bpm tempo based on a poem.
• Develop a compositional structure.
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Introduction/WarmupExercise two from the Preliminary Exercises at the beginning of this section (page 68) provides a solid foundation for this project.
Listening ‘The Revolution Will Not Be Televised’- Gil Scott Heron
‘Lonely Daze’ - Kate Tempest
It is important to communicate to students that Hip-Hop and Rap is rooted in social struggle and racial emancipation and not in violence and excess. ‘The Revolution Will Not be Televised’, by an artist that helped define the genre, is a great example of the former. It also demonstrates several key musical attributes: the use of a single chord, outlined in the bass, over an extended period, with a series of modulations over the course of the song; a flute playing improvised melodies around the vocals; the use of repeating phrases to add emphasis to the lyric; the references to popular culture and celebrities to illustrate the core message of the song. All these attributes can be recreated in the pupils’ own compositions.
Kate Tempest’s themes are more rooted in every day life and contemporary beat production, though parallels between the two tracks are easy to find. This track demonstrates a strong narrative and the effect of contrasting rapping and singing.
Composition1. Participants create or choose a set of lyrics. Poetry also works really well. They
should discuss the mood of the lyrics and how this could be reflected in the music, and specifically if the song should be in a major or minor tonality.
2. Participants assign themselves the following roles:
• Participant A: Rhythm - Smart Drums
• Paricipant B: Harmony - Smart Strings
• Participant C: Melody - Rapping/Recitating
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• Participant D: Effects - Sampler
3. All participants create three sampled sounds that reflect, or contrast with, the text. For example, Not Waving but Drowning, a poem by Stevie Smith, could include the sound of seagulls, waves crashing and children playing on the beach, accentuating the contrast between the atmosphere on the beach and the death of the swimmer.
These samples are then recorded by the group into Participant D’s sampler instru-ment, where they are renamed and saved.
Students spend five minutes working on their indi-vidual parts, ideally using headphones:
• Participant A: Using the Hip-Hop Drum Machine on the Smart Drums (A), create a strong rhythm and practise varying it with different textures and percussion choices.
• Participant B: Using the Smart Strings, choose an appropriate Autoplay setting and build tension and release through textural variation and by varying the combination of instruments used, (Violin, Viola, etc.) We suggest initially trig-gering the Autoplay with a single finger for a thin texture and then thickening the texture (by tapping with two and three fingers) as the piece progresses. Use one chord only for this process. We find the ‘Modern’ String set using Autoplay 1 works particularly well .
• Participants C and D: Work together to add the sampled sound effects at appro-priate moments in the poem or rap. This can be done by annotating a written copy of the poem with symbols to show where each sample should be played, or spontaneously.
loopseque (and loopseque kids)‘Loopseque’, ‘Loopseque Lite’ and ‘Loopseque for Kids’ (the latter two of which are free) are apps that offer a fantastic visual representation of the sub-divisions of time within a cyclical drum pattern. They can be used as an alternative to the Smart Drums in this exercise.
A
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4. Participant C: Reads their poem at the tempo of their choice. Participant A uses the Tap to Set Tempo option in the settings menu to find the approximate bpm of the poem, thus setting the tempo of the piece. Participant B matches the tempo on their iPad.
5. Participant C takes on the additional role of conductor (see Preliminary Exercises for Playing Together), counting instruments in one by one. The important thing to get right here is for the Strings and Drums to be synced together.
6. The group fixes a clear beginning and end. They perform to and invite feedback from another group.
A guide to amplifying several iPads simultaneously is available at the end of the
book
Tip Box
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Many contemporary hip-hop songs, like the Kate Tempest example above, contain a strong sung melody that contrasts with the recitative verses. We will recreate this.
7. Returning to the lyrics/text, the group discusses the key message of the poem, as per the example. This could, but does not have to be, a line of the poem itself. This message will form the chorus line.
8. Participant B chooses a contrasting chord or chord progression,from the chords available on the screen, perhaps moving from a minor to major chord, or vice versa.
9. All participants use this new chord/progression and lyrics as a basis to create a new melodic line. One option here is to use one of the melodies in the Smart Bass autoplay as a basis for the vocal line.
10. This new section will form a chorus. The conductor creates a new signal to move the group between sections.
11. Participants practise with the whole form of their song, developing their use of texture and instrumentation, before a grand performance.
12. This is a great project to add acoustic melody instruments to. Pupils who play clarinets, violins, trumpets, etc. can add simple repeating motifs to the texture to great effect. This looks and sounds fantastic in a performance context!
EXTENSION :
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If this is not possible, the Sampler offers an interesting workaround, allowing us to play high-quality saxophone and flute samples mapped across the Sampler’s keyboard. Open the Sampler instrument and tap the Import button (A). In the Apple Loops tab choose either ‘Cuban Son Sax 2’ or ‘Jazz Hustle Flute 02’.
A visual representation of the melody will appear in the sampler. Trim the beginning and end of the loop as shown below. These trimmed clips provide the best available sample from the inbuilt loops. The Saxophone clip even provides a soft vibrato to experiment with. Now try playing a melody on the Keyboard: you have created a wind synthesiser!
A
Peer Assessment Form• Does the music provide enough space for all of the lyrics to be heard?
• Is the core message of the lyric clear?
• Do the samples reflect the theme of the piece?
ADVANCED EXTENSION
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Learning Objective Create a short film with an accompanying soundtrack.
LengthTwo to four lessons.
Additional App iMovie or Pinnacle Studio.
OverviewThis project really brings out the creative side of our students, and the videos created are often very impressive and can be shared with parents online. The use of a film-making app makes this the only project in the book that uses additional apps, but iMovie comes free with new iPads and is a worthwhile app to have for use across the curriculum.
Speaking of working across the curriculum, creating music videos gives us a number of opportunities to view another subject from a new angle. Our film could dramatise a moment from history or the evolution of a caterpillar into a butterfly. It can also be taken directly from a book; the Snowman is one example of this.
Learning Outcomes and Key Vocabulary`• Learn how to use the basic functions of a video editing app.
• Create a storyboard
• Create ‘leitmotifs’- motifs that reflect characters
• Create and deploy a palette of sound effects to reflect the action of the film
Group Project 4:
Music Video
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Introduction/WarmupWe will introduce the idea of a storyboard with the old fashioned parlour game: ‘consequences’. Each student takes a blank sheet of paper and writes down the name of a place. They then fold over the paper to hide what they have written and all students pass their sheet on to the person on their right. The game continues as in the example below:
When all six steps are complete, students can read out their complete story. This game illustrates the concept of storyboarding and the results could become the basis of the short film.
Listening Carnival of the animals - Camille Saint-Saëns
This piece demonstrates clear examples of individual instruments evoking various animals and characters.
E.T. The Extra Terrestrial [final scene] - John Barry
This piece demonstrates an effective building of tension and subsequent release, as E.T. takes off on a bicyle at the end of the film.
Setting: Antartica
Character 1: Micheal Jackson
Character 2: Kermit the Frog
Character 1 said: ‘Have you ever been on TV?’
Character 2 said: ‘That would be lovely,
thank you’.
And the consequence was: Wales won the
world cup.
This project can be done by a single student recording one layer at a time.
Tip Box
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Composition1. Create a storyboard by folding a sheet of A4 paper into six squares and drawing
and/or describing a scene in each one:
2. Bring the characters in the story to life, either by animating objects or direct acting. Develop each of the six scenes, with each one lasting around ten seconds.
3. Open your video editing programme (i.e. iMovie or Pinnacle Studio) and record the six scenes one by one. These scenes can include the characters speaking, or a voiceover, but a silent film is often the most effective, with the music, images and sound effects alone carrying the narrative.
4. Create transitions between each of the scenes.
Scene 1 Scene 2
Introduction of the Introduction of the first
setting/scenario character
Scene 3 Scene 4
Introduction of the second ‘Action’ scene. Something
character or the first dramatic/humorous
action scene happens to the character/s
Scene 5 Scene 6
The climatic scene The conclusive scene
Setting the SceneWhile pupils can act in the films themselves, creating separate figures increases the potential of the characters (e.g. they can fly), and allows the publication of the video on the YouTube without images of the students being shown. We have worked with lego characters, with figures made out of plasticine and cardboard, and have even animated rulers, pencil sharpeners and board rubbers!
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5. Add a title screen to the film. This allows for a smooth entry of the music at the beginning of the film.
We can now look at adding sound effects. Using the Sampler on a separate iPad, sample two to four sounds that augment the narrative. For instance, the wind in the trees, explosions, the glugging of water. These can be created using found sounds, instruments, or with the voice. Save and name these samples.
Using individual iPads, each participant takes on a role within the soundtrack:
• Participant A, Percussion: Using the Smart drums, Participant A follows the video, beginning with a single drum (e.g. hi-hat) and adding drums one by one as the drama in the story intensifies, to the climax in scene five, before ending with a thinner texture.
• Participant B, Harmony: Using the Smart Guitar, Smart Strings or Smart Keyboard, Participant B augments the work of Participant A, creating between one and three simple harmonic motifs that build in intensity as the story pro-gresses. This could be, for instance, a chordal pattern on Smart Keyboards, a repeating motif using one or more chords on the Smart Guitar or a series of Autoplays using the Smart Strings.
• Participants C & D, Character motifs: Each participant finds an instrument and simple motif that reflects one of the characters in the film. (E.g. a monkey could be represented by an ‘wailing’ electric guitar, an elephant by a ‘plodding’ double bass). They play this motif on the initial entry of the character, developing it and improvising as the action develops.
• Participant E, Sound effects: Using the sound effects we created in step four, Participant E plays them to coincide with the action in the film, moving between them as necessary.
6. We are ready to record! After a few practise attempts with all participants playing together, gather around the original iPad with the film-making software (making sure the volume on the film is muted), hit record and perform your soundtrack live.
7. Review your recording, checking for timing and sufficient build up of tension and texture. Re-record if necessary.
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8. Save and export your film to the school intranet or YouTube.
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Project 4.1: Example
Storyboard - Based on The Sand Horse by Ann Turnbull.
Scene 1 Scene 2
A sandy beach with people An artist sculpting a
sunbathing horse out of the sand
Scene 3 Scene 4
The horse opens his eyes and As night falls, a storm
tries to move but cannot. comes over the sea and
A seagull laughs at him. waves wash over the
sand horse
Scene 5 Scene 6
The sand horse rises up The next morning the
and dances in the water artist returns to the
beach to view the patch
of sand where the horse
used to be.
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The exercises in this chapter are designed to hit specific learning outcomes as part of a wider project. For example, the ‘Waltzes and Pirate Songs in 3/4 Time’ exercise could introduce a dance project, or the ‘sampling historical speeches’ exercise could be used at the end of a project on a particular historical figure. They can also be used to create a variation on the core and group compositions.
One Lesson Wonders
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Compose using a I-V-vi-IV Progression
Time10 to 20 minutes.
Age Group12 +
OverviewThis exercise demonstrates how a common chord progression can be used in a variety of genres and contexts.
Activity1. Listen to a several contrasting songs that employ a I-V-vi-IV progression.
Challenge the students to identify what the songs have in common. Possible examples include:
‘Someone Like You’ - Adele
‘Let it Be’ - The Beatles
‘No Woman No Cry’ - Bob Marley
‘Where is the Love’ - Black Eyed Peas
2. Open the Smart Keyboard. Identify the relevant chords and play them in a variety of ways, including with the Autoplay and Arpeggiator functions.
3. Record a version of the chord progression, with each chord allocated to one bar, so that two cycles of the progression play across the eight bar loop.
4. Turn off the metronome. Consider adding a drum/percussion loop.
5. Open a new instrument: the Keyboard. Develop either a melody or solo.
6. Invite students to repeat steps two to six to create their own progression and melody (or solo). They can substitute the Smart Keyboard for the Smart Guitar or Smart Strings.
Instruments on GarageBand are touch sensitive. Pressing harder will result in a louder sounding note. Velocities of individual notes can be adjusted in the ‘edit clip’ screen.
Tip Box
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EXTENSION
Demonstrate the relationship between a key and its constituent chords, with each chord built from alternate notes within a scale. Use it to develop more effective soloing.
Key of C
Scale: C D E F G A B
Chords:
Piano
I
Cmaj
ii
Dmin
iii
Emin
IV
Fmaj
V
Gmaj
iv
Amin Bdim
iiv°
& ∑œœœ œœœ œœœ œœœ œœœ œœœ œœœ Œ ˙̇̇ ˙̇̇ ˙̇̇ ˙̇̇
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Waltzes and Pirate Songs in 3/4 Time
Time40 to 80 minutes.
Age Group9 +
OverviewThis exercise makes use of the Smart Keyboard’s layer of bass notes, providing an easy interface to create the ‘om-pah’ sound synonymous with Waltzes and some accordion music. We have used it as the basis for writing songs with a pirate theme.
Activity1. Listen to a variety of songs that employ the 3/4 time. Challenge the students to
identify what the songs have in common. Songs include:
‘Fairytale of New York’ - The Pogues and Kirsty MacColl
‘House of the Rising Sun’ - Animals
‘Norwegian Wood’ - The Beatles (There is a clue at the beginning of this one!)
‘Greensleeves’ - Trad
2. Watch this impressive video of dancing to Shostakovich’s -The Second Waltz
3. Create a new song on GarageBand and open the Smart Keyboard instrument.
While watching/listening, pupils should silently count the bars as the music plays to internalise the 3/4 rhythms.
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4. With your index finger on the E minor chord, use the first (A) and second (B) bass notes to create a dominant/tonic bassline on the C, F and G chords.
5. With the middle finger of the same hand, complete the pattern using one of the possible chord inversions.
6. Use this pattern as the basis of a composition by adding further melodic or rhythmic lines.
EXTENSION
Accompany your 3/4 songs with some Waltzing in the classroom!
BA
{™™
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Œ œœœ œœœ Œ œœœ œœœ Œ œœœ œœœ Œ œœœ œœœ
˙ ™ ˙ ™˙ ™ ˙ ™
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Compound Time and Chord Inversions
Time40 to 60 minutes.
Age Group 11 +
OverviewIn compound time (6/8, 12/8) , the beat is divided into groups of three (in contrast to the groupings of two in ‘simple time’). Compound time is the basis for the Irish Jig, and is used extensively in Western classical music and European traditional music. We can use the keyboard’s arpeggiator function to instantly achieve a 6/8 feel, and use it as an element in further composition.
Warm-up ‘Fabergas, Faberge’This warm-up contrasts 6/8 and 8/8 time.
Teach two body percussion parts to the whole class:
Pattern One - ‘Little bit of tiny toasting’ - eight syllables.
The first two syllables become foot stamps (Li-tle). The second two, thigh slaps (bit of). The third two become chest slaps (ti-ny). The seventh becomes a clap (toast) and the eighth and last becomes a two handed push into the air (ing).
Pattern Two - ‘Fabergas, Faberge’ - six syllables.
The first two become foot stamps (fab er-). The second two are thigh slaps (-gas fab-). The fifth is a clap (-er) . The sixth and last is a two handed push in the air (ge).
Practise each pattern until the whole group are fluent. Next, split the class into two groups, standing in two lines facing each other, just close enough to reach each other’s hands with extended arms. Group One should perform pattern one three times in a row without stopping, (3 x 8 syllables = 24). Group Two should complete pattern two four times, (4 x 6 syllabes = 24). If this is done correctly, both sets of hands should meet in the middle on beat 24.
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This takes some practise, but is very satisfying when completed correctly!
Activity1. Open the Keyboard instrument in a new song in GarageBand.
2. Open the Arpeggiator (A). Adjust the Note Rate (B) to ‘1/8 Triplet’ (in order to create the compound time) and the set the Octave Range (C) to 1.
3. With the Arpeggiator running, play the following chord sequence using the inver-sions given:
(1) C major Root (2) A minor 1st inversion
(3) F major 2nd inversion (4) D minor Root
ABC
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4. Experiment with different instrument voices, Note Orders and Octave Ranges. Note that you will need to reset the Arpeggiator every time you change the in-strument voice.
5. Go to the Track View page and add a percussion loop with a strong 4/4 beat, (e.g. ‘Four on Floor Drumset 05’, ‘Essential Drumset 01’). This emphasises the compound nature of the piano line.
6. Go back to the Piano track. Record the arpeggiated chord sequence with the drum loop, ensuring that each chord lasts for one bar, creating two cycles of the chord sequence over eight bars.
7. Open another Keyboard track and choose the Simple Lead instrument from the Leads menu. Adjust the central button (A) from ‘Pitch’ to ‘Glissando’.
8. Create a simple melody using the chord tones of each chord.
A
EXTENSION
Develop the melody into a vocal line, by adding lyrics and addi-tional passing tones to aid the movement of the lyrical line.
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Sampling Historical Speeches
Cross-Curricular: HistoryTime30 to 60 minutes.
Age Group10+
Additional Apps Needed if using Method Two Dropbox (Free), Loopy HD (£2.49).
OverviewThis is a great cross-curricular exercise that pairs with a history topic of your choice. Sampling spoken word from popular culture is a common feature of hip hop, and allows us to use composition as a vehicle to explore historical events and movements. This process can be used as part of several other compositions in the book. Here we outline the process of bringing pre-recorded samples into Garage-Band. However, students can of course read the speeches themselves
.
Developmental Focus• Use the mood and meaning of famous speeches as a basis for composition.
• Manipulate audio samples.
The Internet Archive is a great source of historical material, including audio speeches:
https://archive.org/details/opensource_audio
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Method One:- Using iTunes/ or Copytrans ManagerNote: Copytrans Manager is a free alternative to iTunes. It allows the addition of tracks to an iPad without having to sync the whole iPad. It also sidesteps many com-patibility issues (e.g. if the iPad is locked to the school account but you are using your personal laptop to add songs).
1. Download the speech or speeches onto your computer.
2. Connect the iPad and copy the speeches into the iPad using iTunes or Copytrans. Disconnect the iPad after the files have been copied.
3. Open up a new song on GarageBand and navigate to the Track View page.
4. In the Song Sections menu (+) choose Section A and activate the ‘Automatic’ option. Turn off the metronome.
5. Open the Loops Menu (A), choose the Music tab (B) and navigate to Songs (C) Find the speech and drag it in.
6. The full speech will now import as a new track. You can now use the Edit Menu to chop up the clip to repeat and emphasise certain sections.
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Method Two: Without iTunes1. On a PC or Mac, upload your chosen speeches to a Dropbox account.
2. Open the Dropbox app on your iPad.
3. Find and highlight the file containing the speech (A). It will begin to play.
4. Tap the export icon (B) and choose ‘Open in…’ (C). The song will export.
5. Next, choose ‘Open in Loopy HD’ (A). Loopy will open, with the speech in one of the sample bays (B).
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6. Press and hold the middle circle in the sample bay and choose ‘Share’. In the resulting menu, press the top button, Copy (A).
7. Open a new song on GarageBand and navigate to the Track View page.
8. In the Song Sections menu choose Section A and then ‘Automatic’. Turn off the metronome.
9. Tap in the large black space below the first track and choose Paste (A).
10. The full speech will now import as a new track. You can now use the Edit Menu to chop up the clip to repeat and emphasise certain sections.
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EXTENSION
Like many of our compositions, this one works very well when a visual element is added. This could include video clips of the
speech or a montage of relevant photos and drawings.
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Drum Patterns from Found Objects
Time 15 to 30 minutes.
Age Group 7 +
Overview
This compositional technique offers a good crossover between body percussion/beat-boxing and digital drum sequencing.
Activity1. In small groups, gather a collection of five objects.
2. List these objects in order from the least to the most syllables.
3. Each person in the group picks up an object. A conductor is chosen to cue participants in and out. When cued, pupils repeat the name of their object in a rhythmic way. When done with care, this can create excellent rhythmic textures. If the pattern is too monotonous try combining objects, (e.g. ‘bag-ruler’).
Chair, BagRulerMicrophoneWatering Can
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4. Open the Drums (not Smart Drums) in a new song on GarageBand and choose a drum voice.
5. Alter the loop length from eight bars to four bars.
6. Assign each object to a different drum, matching the shorter words with the low pitched percussion sounds.
7. Press record. After the initial count in, record in the simplest part across the four bars. Note that, unlike when recording with all the other instruments, record mode continues as the playhead loops around again. This useful feature allows us to add one drum at a time without having to re-record on different tracks. Continue recording until all the drum parts are added.
ChairWatering
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8. Tap the square stop button to stop recording. Turn off the metronome.
9. Explore different tempos and different drum kits. There is quite a difference in sound sets between each one.
10. This unique drum pattern can now be used as the basis for further composition.
EXTENSION
Transfer each sound into body percussion. E.g. Chair = foot stomp, etc. See if participants can play more than one sound at a time, or all of them simultaneously!
If you make a mistake, press stop and undo. Only the last cycle of recording will be deleted.
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Creating Body Percussion Rhythms Using the SmartDrums
Time10 to 20 minutes.
Age Group7 +
OverviewA simple but effective exercise with incredible potential when patterns are recreated on tuned percussion.
Activity1. Arrange an iPad so the whole class can see and hear it (e.g. using the class
projector and speakers).
2. Split your class into three groups and choose one conductor from each group.
3. Open the Smart Drums instrument. Group One’s conductor should drag the Bass Drum (A) into a square on the instrument’s matrix. The whole class should now play this pattern either by stamping their feet or hitting their cupped hand against their chest, mimicking a bass drum.
4. The conductor of group two now adds the Snare (B) into the matrix. The whole class recreate this pattern with a standard hand clap. A great way of remembering patterns is with verbal mnemonics.
AB
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5. Group three’s conductor then drags the Hi-Hat (C) into the matrix. This is then recreated by the whole class by clapping on their knees with both hands.
6. Beginning with group one, each group adds their designated sound. This can be done with or without the Smart Drums running in the background.
7. Invite volunteers to signal the entry and exit of the various patterns, as well as their relative volume.
Some of the patterns are very intricate. For Key Stages 1 and 2, begin by putting instruments in the left-hand,
‘simple’, half of the matrix.
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EXTENSION
A) Groups use a grid system (see ‘Theme & Variation’ Composition)to transcribe the patterns.
B) Groups come up with their own patterns or sounds which are then layered on top.
C) Groups move the patterns to tuned percussion, with each group using a different note, creating gamelanesque interlocking patterns.
D) Combined drum patterns can be recreated through beatboxing.
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The Relationship Between Pitch and Wavelength
Time15 to 40 minutes.
Age Group 9+
OverviewThis exercise uses the GarageBand sampler to conduct an experiment to prove that pitch and wave frequency (and therefore wavelength) are linked. Every soundwave can be measured in terms of wavelength and amplitude (volume).
The frequency of a soundwave, i.e. the number of waves that pass a certain point in a given time, defines the pitch of a sound. It can be calculated using the following formula.
Frequency (Hertz) = Wave Speed (metres per second) ÷ wavelength (metres)
As the wavespeed is fixed at 340.29 metres per second (the speed of sound), the wavelength and the frequency/pitch have a constant relationship. If the frequency is halved, say from 440 hertz to 220 hertz, the resultant pitch is one octave higher.
Headphones or good speakers are needed to hear the bass tones in this exercise.
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The Science of Music
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Conversely, if the frequency is doubled, the resultant pitch is one octave lower.
GarageBand’s sampler allows playback of a sample at varying pitches. Unlike more sophisticated processors, it achieves this by literally doubling all the wavelengths of the sample. The resultant lower pitch is therefore longer in duration. This happy outcome allows us to demonstrate the frequency/wavelength relationship.
The excellent Openstar CNX website, www.cnx.org, contains many relevant exercises to demonstrate scientific concepts of pitch in
acoustic instruments, such as why string length affects pitch. Find them here.
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Activity1. Open a new song with the Sampler instrument.
2. Press the Import button (A), choose the Woodwind Instrument Set, and press ‘Cuban Son Sax 02’ (B).
3. Trim the clip as shown by dragging each end of the sample area (A).
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4. Trigger the sample using the C3 key and time the duration of the sound.
5. Repeat this process for keys C4, C2 C1, C0 (accessed using the octave key).
6. Create a table to show your results and use it to prove or disprove your hypothe-sis.
7. Create a bar graph to illustrate your findings, as below.
You can zoom in on the clip by pressing and holding the end of each sample area .
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EXTENSION
Repeat steps four to six using the G notes in various octaves and add them to your table.
Is there a pattern in the relationship between Gs and Cs?
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The Harmonic Series
Time10 to 20 minutes.
Age Group11 +
OverviewThis exercise continues the study of frequency from the previous exercise by investi-gating the harmonic series and its impact on timbre.
In short, every tone produced by an acoustic instrument (including the voice) is made up of several frequencies, or partials. The lowest pitched partial, known as the fundamental, is what the ear usually perceives to be the main pitch of the note. The rest of the partials are made up of integer multiples of the fundamental and are the harmonics.
It is the number and relative intensity of these harmonics that create the timbre/tone colour of a given note (and therefore create the difference in sound between, for example, a clarinet and a saxophone).
In contrast, electronic synthesisers produce indi-vidual sound waves, (sine waves, square waves, etc.) that can be combined to generate various timbres. GarageBand’s three Organ voices in the Keyboard instrument seem to be based on the classic Hammond B-3 organ, which provides a series of drawbars that allow the player to adjust their timbre by altering the intensity of various harmonic partials, as shown:
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Garageband therefore provides us with a easy way to investigate how altering the intensity of various partials can affect timbre.
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Activity1. Open up the Keyboard instrument and choose the Soul Organ voice (A).
2. Turn down the distortion (B) and move the percussion (C) and chorus (D) to the off setting.
3. Play the C3 key. Try and pick out as may different harmonics as you can within the note (most people will hear two or three).
4. Demonstrate the presence of each harmonic by turning each drawbar in turn to the maximum (eight) and then the minimum (zero). Ask the following questions:
• Which harmonics are most prominent? Do different people hear different harmonics more prominently?
• Why might this be the case?
• Compare the Heavy Metal and Classic Rock Organs to the Soul Organ. How have the different partial combinations affected the feel of the timbre? (Be aware that some of the organs are set to different octaves (E).
5. Create a new timbre using the drawbars and the chorus and distortion effects.
6. Use this timbre as a melody or harmony voice as part of a composition project.
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EXTENSION
Try this game to develop concise listening skills: Split the group into pairs. One of each pair creates a timbre using between one and three
of the drawbars. The second has to replicate it on a separate iPad.
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Creating Waveform Shapes
Time10 to 20 minutes.
Age Group7+
OverviewThis exercise tasks students with creating waveform shapes using the Sampler instru-ment. It can be used in a cross-curricular context when exploring sound and sound-waves.
Activity1. Demonstrate the Sampler by recording a ‘hello’.
2. Identify the visual representation of the two syllables.
3. Tap ‘new sample’ and re-record hello in a very quiet voice.
4. Compare the two samples using the my samples menu (C), noting how the louder
Developmental Focus• The relationship between sound volume and wave amplitude.
• Experimenting with the use of the voice.
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sample has a greater amplitude .
5. Challenge students to make the following waveform shapes:
Pear Sausage
An arrow pointing left A snake that has eaten four golf balls
EXTENSION
A) Relating pitch to time, (page 112)
B) Record samples of different acoustic instruments and study the waveforms each one makes.
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Creating Natural Reverb
Cross-Curricular: Physics
Time15 to 40 minutes.
Target GroupKey Stage 1 to 2
OverviewThis exercise can be done as a science experiment or as the beginnings of a composi-tion. It makes good use of the high-quality condenser microphone in the iPad.
Developmental Focus• Understanding the nature and behaviour of soundwaves.
• Exploring how materials can either absorb or reflect sound.
• Exploring the flexibility of the human voice.
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Activity1. Open a new song in GarageBand and turn off the metronome (A).
2. Press record and, over the course of the eight bar cycle, record several individual words, being sure to leave plenty of space between them.
3. In the Mixer Menu (B), adjust the reverb level and observe the effect.
4. Find an enclosed or large space with bare walls, e.g. a school hall, bathroom or swimming pool. Attempt to create different amounts of reverb. This can be done by either adjusting the position of the microphone and sound source, or by changing the material on the walls, floor and ceiling, for instance by adding curtains or carpets.
5. Record the results of the experiment on the iPad.
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EXTENSION
Investigate the amounts of reverb naturally created by various instruments, including string instruments and percussion.
To what extent does the shape and material of each instrument affect this?
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The iPad is a fantastic tool for peripatetic instrumental teachers. There are apps available that develop intonation, aural training, sight reading and more. The strength of GarageBand is its ability to create backing tracks that students can play over and record for self-evaluation, send to their tutor or even publish online. We outline a process for developing Jazz improvisation skills below, but the same techniques can be used for practising scales and scale patterns and any accompa-nied melody. Accompaniment can be recorded on the GarageBand instruments, as shown, by the tutor on an acoustic instrument (e.g. the piano), using the Audio Recorder, or by importing the song via iTunes or dropbox.
Instrumental Teaching
Aural Training with Autoplay: A fun exercise to develop the ear
Training the ear is a key part of musicianship, and we can use the Autoplay function in GarageBand as a bank of melodic variations that we can use as source material to replicate on our own instrument.
1. Open the Smart Bass on GarageBand.
2. Turn the Autoplay dial to number three and tap the C chord with one finger. A repeating rhythmic pattern will begin. Replicate this on your own instrument (in a different octave if necessary).
3. Next, tap the same C chord with two fingers. Can you replicate this sound on your own instrument?
4. If you are able to do so tap on the C chord with three fingers. This pattern is very tricky!
You can repeat this process with the Smart Keyboard, Smart Guitar and Smart Strings, with each instrument voice programmed with a different set of Autoplays, offering a total of 320 different motifs for you to work with. Enjoy!
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Practising Jazz
OverviewWhile there are many apps that allow playback of chord progressions, GarageBand offers the simplest method for users to create their own backing tracks and record themselves playing the melody and solos on their acoustic instrument, whether it be a clarinet, violin or electric guitar. This provides the following benefits to the pupil:
• Engagement with all aspects of the song, including the rhythmic feel, bassline and harmonic progression.
• Initial soloing at a comfortable tempo, with a slow increase to full speed.
• Ability to isolate and practice small sections of the progression, such as a single ii-V-I cadence.
• Natural self-evaluation through repetitive recording of and listening to takes.
• Distribution of the completed song to the tutor for assessment.
• Constant simulation of performance and recording contexts.
The following process works for songs with up to eight different chords. We will use Kenny Dorham’s ‘Blue Bossa’ as an example.
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ActivityThis exercise consists of two parts:
Part One: Create the backing track during the lesson.
Part Two: Develop the head and solos during practise time.
Part One-: Create the Backing Track1. Outline the main elements of the song. Include the key, harmonic progressions
and rhythmic feel.
2. Open the Smart Keyboard in a new song on GarageBand.
3. Head to the settings menu to change the key of the song [C Minor].
4. If necessary, change the time signature via the settings menu.
5. Change the length of the cycle. Click on the ‘+’ icon in the top right-hand corner and select Section A. [Eight bars- the song contains 16-bars but the double-time feel means 8 bars is more appropriate for our cycle]
6. Alter the chords, (including chord qualities) so all the chords in the song are represented. Begin with the chord on the far left, selecting it (A) then choose the various qualities of the chord (B). [Cm7 Fm7 G7 Dm7b5 Eb-7 Ab7 Dbmaj7]
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7. Record the progression. Alter the tempo if necessary by opening the settings menu, pressing ‘Tempo’ and tapping the Tap to Set Tempo button [100bpm].
8. Add a drum loop and bassline [Jam Band Basic Drumset 01, Upright Bass]
9. Duplicate the section four times, providing five cycles in total. To do this, go to the Song Sections menu, and press ‘Duplicate’.
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Part Two:- Practising and Recording1. Practise both the head and the melody over the backing track, beginning slowly
and gradually moving to full speed.
2. When ready, put on some headphones and record a version of the complete track using the Audio Recorder.
3. Mute this track and create a new Audio Recorder track. Record another take of the song.
4. Repeat this process, creating three takes of the same song.
5. Listen back to all three versions one by one. Choose your favourite, and delete the other two. (You may want to try a fourth version that incorporates the best licks from all three!)
6. Rename the song and upload it to Soundcloud or e-mail it to your tutor.
Nice work!
EXTENSION
The story goes that John Coltrane and Sonny Rollins used to call each other up on the telephone and trade licks over the line. Students can recreate this, sharing files via e-mail, adding a new tracks before passing them on. One of our Favourite Things.
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iPads come into their own when used by pupils with additional learning needs. The single playing surface, lightness of touch, durability, strong visual element, and relative affordability (compared to bespoke instruments such as the Soundbeam) are well suited to participants with more complex needs. The most important things we have learnt are detailed here.
Best Practice in SEN//D Contexts
Make the iPad fit the user, not the other way around
Golden Rule
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Use Guided Access
Guided access is a tool on the iPad that works on all apps. It allows the iPad to be fixed within a single app, and can de-activate any part of the screen. This has two main uses: Firstly, it enables participants with limited fine motor control to avoid unintentional triggering of instruments. Secondly, it prevents participants leaving the app to play on games, surf the internet etc.
To turn on Guided access, go to the main Settings app on the iPad then tap General > Accessibility > Guided Access.
Switch on Guided Access (A), tap Passcode Settings (B) and set your four-digit passcode.
Next, open GarageBand and triple-click the ‘home’ button (the physical button on the front of the ipad). Draw around the areas you want to disable - it will turn gray - and press ‘start’.
When you want to exit Guided Access mode, triple-click the home button again and enter your passcode.
A
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If you forget your passcode, do a ‘hard reset’ by pressing the power button and the home button at the same time for 5 seconds. This switches the iPad off, allowing you to restart it with Guided Access turned off.
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Turn off ‘multi-tasking gestures’Multi-tasking gestures such as ‘swipe with four fingers to switch between apps’ and ‘pinch the screen to return to the home menu’ are useful for some tasks but very frustrating when trying to play the GarageBand piano! To disable it, go to the Settings app then General > Multitasking > Gestures. Swipe to turn it off (A).`
Build your own: The Transformance Music iPad GloveDesigned for one of our pupils who plays the iPad with her fist, our glove is made out of a scrap of denim, a steel measuring spoon and a small amount of velcro. It affords the user more control over their playing. Details of how to make your own glove, and videos of it in action, are available from the Transformance Music website.
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Use Appropriate AmplificationIt can be very important to ensure that there is a clear link between the instru-ment and the sound source (i.e. speaker). Using an individual speaker for each iPad is useful, or when this is not possible, choose one of the louder voices in the app (’Hard Rock Guitar’ and ‘Warp Lead Synth’ are both good for this).
For blind or partially sighted pupils, vibrating speakers (e.g. the X-Mini) are invalu-able. The user can play with one hand and hold the speaker with the other, or you can set the speaker up so it is touching their neck or ear.
For pupils who are averse to loud noise, an iPad set up with a calming app such as Bloom or Aquasonic (and a pair of headphones)should be available for pupils to take constructive ‘time out’ from group activities. Musical results could then be fed back and form part of a group composition.
Use iPad Cases and Stands There are several cases that keep the iPad safe when dropped, spilt on, thrown out of a window etc., These include the Griffin Survivor case and the cheaper and only slightly less robust Pepkoo case. There are also excellent iPad stands, including some that fit standard wheelchair attachments.
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Setting Up a Soundcloud AccountSoundcloud is ‘an audio platform that enables sound creators to upload, record, promote and share their originally-created sounds.’ Pupils can upload their own songs, as well as:
• ‘Like’ and comment on each other’s work.
• Listen to work from other artists and ‘connect’ with them, developing their own identities as musicians. You can set up a Soundcloud account using a laptop or an iPad.
1. Navigate to www.soundcloud.com and press ‘Sign up’.
2. Enter your email address and choose a password that can be passed to your pupils.
3. Name your Soundcloud account e.g. ‘Scarborough Primary iPad Club’
4. Open your email account and confirm your email address to activate the account.
5. Upload a picture of your school logo via the ‘Profile’ setting.
6. Distribute the soundcloud URL (e.g. https://soundcloud.com/scarboroughprima-ry-ipad-club) to parents, allowing the to listen to their child’s compositions online.
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Equipment:Guide
Headphones
We use folding overhead headphones for our pupils, giving a good balance of strength and portability. Around £7 per pair.
6-way headphone Spitters
Definitely the biggest equipment innovation for us in the last few years, 6-way headphone splitters allow either
- Five headphones connected to a single iPad
- Five iPads connected to a single speaker (no need for a mixing desk)
- Three iPads and three sets of headphones all connected together.
When students are working in pairs, the teacher is able to plug their own head-phones in to listen and give feedback without disturbing other groups. Search for ‘6-way splitter’.
iPad
Headphones
Headphone Splitters
Speaker
Cables
VGA Connector
Mixer?
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Amplification
We recommend the excellent ‘minirig’ speaker. This is small, loud, and has a rechar-gable battery that lasts for hours. Costs around £130. Mini-speakers, such as the ‘X-mini’ provide less power, but can be useful in small group collaborative sessions for pupils using quieter instruments, such as the Smart Bass and Smart Strings. £15-20 each.
Both of the above offer options for wireless Bluetooth connections. However, we have experienced reliability and latency issues when using bluetooth in this way. In SEN settings, the physical disconnect between the sound source and speaker can be disconcerting for pupils.
Mixer
For group performances, each iPad’s sound is sent to a mixer, allowing one speaker to amplify many iPads, and for each volume to be centrally controlled. A basic 4/6 track mixer costs between £40 and £50. However, the 6-way splitters mentioned earlier are enough for most situations.
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Cables
As shown above, each iPad is connected to the mixer using:
6.35mm (1/4”) Jack to 3.5mm Mini Jack Stereo Jack Cable (3 metres long). £3-7 each.
However, if you want a stereo set up and your mixer has the correct inputs, you may prefer a 3.4mm Stereo Jack to 2 x 6.35mm Mini Audio Cables.
VGA - lightning Adaptor
A VGA adaptor connects an iPad to a projector, monitor or interactive whiteboard. It is essential for whole-class teaching. Despite being outrageously expensive, they break easily if handled roughly. £50
Additional equipmentMicrophones
The internal iPad microphone is high-quality and sensitive, but in a classroom situation it often picks up too much background noise. One solution to this is to use an external microphone that plugs directly into an iPad. We use IK Multimedia’s ‘iRig’, but other brands, including Apogee, also produce quality equipment. External microphones also give young people a sense of purpose and importance, and can encourage vocalisations in SEN settings. They start at £30.
Cases
We use the extremely durable Griffin Survivor case and the cheaper and only slightly less robust Pepkoo case in both mainstream and SEN settings. There are, of course, many options available.
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Want to go further?
We also do training...
Getting Started with iPads in the Music ClassroomWe can come to your school help you to plan curricula appropriate to the needs of your pupils, and deliver workshops with small groups and whole classes to demon-strate best practice. We also offer more advanced training for teachers who have some experience with iPads, but would like to deepen their practice.
“Ben responded to the needs of each individual group: from the more able to SEN and was ableto provide access for all. The children learnt lots, both musically and in terms of using the apps.” - ICT co ordinator, Thoresby Primary School.
Training & Support for MEHs, School Districts & Arts OrganisationsThis book is part of our desire to share our teaching tools as widely as possible. We have worked with organisations as diverse as the BBC Symphony Orchestra and the National Association of Headteachers to provide a platform for professionals from diverse organisations to access our training.
‘The training was informative, well presented, and provided me with plentiful ideas to takeback to the classroom for projects large and small’. – Milton Keynes Music Hub
“The whole day’s session was really well paced and I felt that you really helped me understand how the iPads could be used to help the children explore composition in a really meaningful way. Your explanation about finding a rhythm, harmony and melody, with a simple 8 bar structure using GarageBand was powerfully simple and clever, giving the children complete empowerment to create songs that sound very sophisticated. I no longer feel terrified about how to use GarageBand in a classroom setting.” National Association of Headteachers delegate
We also offer iPad Songwriting Clubs in the London area
www.transformancemusic.org
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Glossary
12-Bar Blues A common chord progression using the I, IV7 and V7 chords that forms the basis for numerous Blues and Rock ‘n’ Roll tunes.
AArpeggiator A tool found on synthesisers that programmes and plays a sequence of notes based on a given chord.
BBars A unit of musical time with a regular pulse, containing two or more beats.Bass drum A low pitched drum, often played with the foot, that marks the downbeat in most popular music. Beats per Minutes (BPM) A measurement of tempo in music. Can be calculated using the ‘Tap Tempo’ function in GarageBand.
CChord A set of three or more notes that are played simultaneously Chord inversion An inverted chord has a note that is not the root note (e.g. the ‘C’ in ‘C major’) as the lowest note in the chord. Chord progression A series of chords in a given key that are harmonically related and provide a sense of movement in a composition. Chord Tones The notes that make up a chord within a given scale. E.g the chord tones of the C major chord are C, E and G. Clip In GarageBand, a clip refers to a section of audio or midi notes as shown on the Track View page.Compression Compression is a audio production tool that decreases the dynamic range between the loudest and quietest parts of an audio signal. It does this by boosting the quieter signals and attenuating the louder signals. The overall effect of this is to make the music seem more ‘present’ and defined. DDominant Chord A chord based on the fifth note of a scale (e.g. G is the dominant in the key of C)
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FFundamental The first harmonic of a note, and often the one considered to be the main pitch of the note.
HHarmony Two or more notes played at the same time. Harmonic Tones produced on an instrument that have an integer ratio to the first harmonic, the fundamental. Harmonics contribute to a note’s timbreHi-Hat A type of cymbal with two metal heads. A key component of a drum kit.
KKey A set of notes that corresponds to a certain scale. In tonal music, every composition has one or more keys.
LLatency In electronic music, the time taken between a sound being played and reaching your ears.
MMelisma The singing of a single syllable of text while moving between several different notes in succession.Melody A linear succession of musical notes that the listener perceives as a single entity. Metronome A device that produces a regular, metrical pulse, counted in beats per minute (bpm).Mnemonic A learning technique that allows information to be retained more effectively (e.g. ‘Elephants And Donkeys Go Bathing Everyday – the letters of each guitar string). Motif A short melodic music idea. When linked to musical drama (e.g. Opera), motifs can be linked to a particular character or action (leitmotif).
OOctave The interval between one musical pitch and another with either half or double its frequency, e.g. A = 440Hertz and A = 220 Hertz.Off-beat 1. The second and forth beats of a bar 2. Notes that fall between the pulse. (e.g one AND two AND three AND four AND)
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PPassing Notes / Non-chord tones The notes of a given scale that are not chord tones. E.g. in C major the non-chord tones are D, F, A, BPitch The position of a sound in relation to other sounds based on its frequency. Measured in Hertz.Pizzicato A playing technique that involves plucking the strings of a string instrument that is usually bowed.
QQuavers A note length that forms 1/8th of a whole note (semi-breve). An ‘eighth note’ in American-English.
RRecitate To speak - not sing - lyrics, but with accentuated rhythm and melody. A common tool used in opera and some West and East African music.Reverb The natural phenomenon of a sound bouncing off a surface (e.g. wall) and returning to the ear to give an echo effect. Can be artificially replicated on GarageBand. Rhyming couplet Two lines of lyrics that rhyme and complete a single thought. Rhythm A regular, repeating pattern of sound, often played by on percussion instrument. Root position chord A chord with it’s tonic note (e.g. C in a C major chord) in the bass of the chord.
SScale A collection of notes ordered by pitch. Score A written representation of a piece of music. Soundscape A collection of sounds that are from, or evoke, a particular place or environ-ment. Storyboard A sequence of drawings or descriptions that together represent the shots planned for a piece of drama. Sub-Dominant Chord A chord based on the forth note of a scale (e.g. F is the sub-dominant in the key of C).Swing rhythm A rhythmic device in which pairs of (usually) quavers written with equal values are played unequally, with the first longer than the second. Used extensively in Jazz.
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TTempo From Italian for ‘time’, it denotes the speed of a piece of music. Tension and Release/Consonance and dissonance- the contrasting ideas of melodies and harmonies that sound ‘resolved’ or ‘at peace’ (consonance) and those that feel unsettled and clashing (dissonance). This contrast is used as a compositional tool in many cultures to add interest and movement to music. Textures The relationship between various layers of sound within a composition. A texture can be considered ‘thick’ or ‘thin’. Timbre The unique quality of a sound that identifies it as played by a certain instrument, voice or machine. Affected by the relative amounts of harmonics in a given sound. Also known as ‘tone colour’.Tonic chord A chord based on the first note of a scale.
VVibrato An expressive tool used by many instruments, producing an slight oscillation of pitch around a sustained note.
Ipad Composition Worksheet
Name:
Class:
iPad number:
Drummer
Name of Drummer:
Genre(s) of music (circle the ones in your drummer's description):
Hip-Hop Funk & Soul Pop Americana R&B
Rock Electro House Heavy Metal
Strings
Chord Progression:
Vocabulary
Match the word to the meaning
Chord An improvised section at the end of a drum pattern.
Crescendo How loud or quiet the music is
Diminuendo A pair of cymbals forming part of a drum kit
Dynamics Two or more notes played at the same time
Fill An increase in volume
Hi-Hat A decrease in volume
C
Major
Hello Garageband
Session 1
Ipad Composition Worksheet Session 2
Name: Class: iPad number:
Arpeggio
Name of your Keyboard Voice (e.g. 'Grand Piano'):
Mark the chord tones of your two chords on the keyboard below:
Question & Answer phrase
My question:
Number of syllables:
My answer:
Number of syllables:
Vocabulary
Match the word to the meaning
Chord tones The amount and type of layers of composition
Timbre A musical interval of 8 notes.
Arpeggio The character or quality of a musical sound
Octave A chord played in sequence, with the notes one after another
Texture The notes of a scale that make up a chord.
Extension:
What three words describe the timbre of your keyboard choice (e.g. smooth,
crunchy, hard-hitting, sweet):
____________ ___________________ _______________________
Hello Garageband
Ipad Composition Worksheet Session 3 Name: Class: iPad number: Inspiration! (swap your iPad and this sheet with a partner) Name of your partner: Write down three descriptive words that come to mind when you listen (e.g. peaceful, thrilling, light)? ____________________ ______________________ ____________ Imagine the music is the soundtrack to the scene in a film (use the descriptive words above to help you). Where is it set (e.g. a lake, a haunted house)? ______________________ Are there any characters in the scene? Who are they? What are they doing? (e.g. a goose flying over the lake, a postman knocking at the door):_____________________________________________________________ Thanks! Hand the sheet back to your partner. Writing your verses. Write down some lyrical ideas based on your partner's inspiration and describe the scene, or tell a story. Short, imaginative sentences work best. (Sentence starters: 'All around me...' 'I feel...' 'Today is...' 'There once was a...') ________________________________________________ _______________________________________________ ________________________________________________ _______________________________________________ Extension - Add a second verse ________________________________________________ _______________________________________________ ________________________________________________ _______________________________________________
Hello Garageband
Ipad Composition Worksheet Session 4 Name: Class: iPad number: Journey to school - Tension & Release Write down your three/four sentence story: ___________________________________ ___________________________________ ___________________________________ (tension!) ___________________________________ (release!) Smart Bass Name of Bass sound (e.g. ‘Liverpool’, Picked’): ____________________ Autoplay number: ________ Do you remember your chord progression ? C Major and _________________ Smart Guitar Name of Guitar sound (e.g. ‘Classic Clean’): _____________________- Solo Checklist My solo is based on the rhythm of my journey to school story ______ I play nearly all the notes in time with the music ________ It includes a moment of tension and release ______ Extension: What other scales did you try out? (Circle the ones you tried) Klezmer Mixolydian Other _______ Which one sounded the best? _________________________
Hello Garageband
Ipad Composition Worksheet Session 5 Name: Class: iPad number: Before your record checklist: Which instrument(s) begins you composition? _____________________ What is the maximum amount of layers (cells) you have in a single column?_____ Which instrument(s) end of your composition? _________________ Are there at least two contrasting sections in your composition?_____ After recording How many bars is your composition in total? _______ Is there a clear beginning, middle and end in your recording? _____ Effects Which was your favourite effect? _______________ What words describe what the effect makes your composition sound like? _______________ ______________ Vocabulary Score A written representation of music Groove The leader of a group of musicians Conductor A structured version of an existing piece of music Arrangement a section of rhythmic layers, repeated over and over again
Hello Garageband
Ipad Composition Worksheet Session 6 Name: Class: iPad number: Peer Evaluation Swap iPads with another student, listen to their piece at least twice, then consider:
1. What works particularly well in this piece?______________________ ____________________________________________________________
2. Can you hear at least two contrasting sections?______________
3. Can you hear a beginning, middle and end?
4. Are there any loops that are unnecessary? Which ones? (Less is more!) ____________________________________________________________
5. Are any instruments too loud or too quiet? ____________________________________________________________
6. How could the piece be improved? ___________________________________________________________ Discuss your answers with your partner, then think about how you are going to respond to their feedback How am I going to improve my piece? 1. 2. 3. Effects Which effects are you using? 1. 2. Well done, you have completed the Composition Competition Challenge! Don’t forget to upload your work!
Hello Garageband
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About the authorBen Sellers is a multi- instrumentalist, trainer and classroom teacher based in Yorkshire, UK. His educational practice focuses on songwriting/composition and improvisation, often using technology, and often in SEN/D settings. Like his workshop leader heroes, he sees the music workshop as a space for personal and social trans-formation. He prefers seagulls to cats.
AcknowledgementsWe are very grateful to the staff and students at Thornhill Primary School in Islington, St Peters Primary School in Scarborough and Chiltern Primary School in Hull; Marianna Riddle for tireless editing and layout; Mischa Murray-King and Natasha Natarajan for web and design support; Chris Williams and David Andrews from Mr Andrews Online; Dave Darch from A Little Learning; and to Travis Snyder, inventor of the iPad Glove, and Peter Keserue from Transformance Music.
