do something different
Teaching Resource
Sing Song
KS 1 & 2
Contents
Introduction
The Artistic Director
The Presenter and Musicians
Core Activities
Additional Learning Activities
Music Styles, Stories and Instruments
The Songs
The Rhythms
Planning your visit
1
Sing Song
Introduction
We are delighted to welcome you to our
second schools’ concert of this season,
‘Sing Song’. The concerts take place on
19th March 2010 and the accompanying
INSET day for teachers is on 13th January.
In our first schools concert we were joined
in the Barbican by over a thousand
children to explore folk music from the
UK, Ghana and India. In this next concert
we are excited to be taking you back to
the sounds of India and the UK, and also
explore new landscapes including the
Mediterranean and Senegal.
We do hope you enjoy this concert and
please do take time to fill out our survey
and provide us with your feedback. The
Barbican Centre really appreciates both
teachers’ and pupils’ comments to ensure
our work in music education continually
improves to meet your needs.
We look forward to seeing you soon.
With best wishes,
Anna Rice
Music and Cross Arts Education Officer
2
Sing Song
Interview with Sounds Around
the World Artistic Director –
Geoff Johnston
Please could you tell us a little about your
background
Can you tell us about some of the things
you do in your job?
I was born in London, and moved to Canada
before I was 6 months old. I grew up in
Vancouver, where I studied classical piano and
music theory between the ages of 7-14, and then
jazz and blues piano until I was 17. My piano
teacher was in the Vancouver Bach choir, so I
saw a variety of performances of classical music
very early on in my life. My favourite thing was to
arrive early and listen to the orchestra warming
up in the orchestra pit. I would go down to the
edge of the pit and talk to the musicians and
listen to the sounds of all their instruments.
I find many of the musicians who perform in the
shows, I write the script for the animation which
appears in the show, I interview the musicians and
edit these interviews for the performance, and
then during the show I operate several cameras
and mix shots of the live musicians with the
interviews and the animation. It’s a lot of work
but it’s also a lot of fun.
I came back to England on my own when I was
18 and I have lived here now for more than 20
years. My first year here I went to Glastonbury
music festival and found it very exciting. Over
three days I would see dozens of bands, singers
and performers of all kinds from all over the
world.
I went to Sussex University to study American
Literature, and then to California for a year
where I studied film. I now make all kinds of film
and video from documentaries to pop videos,
and I teach film and video. I also do a lot of
work filming musicians when they perform. I
sometimes attach cameras to the musicians or
to their instruments so you get unusual close-up
shots while they play.
Do you like working with other people or
do you prefer to be on your own?
I like both. I like working with people because you
can make more things happen with more people.
You can’t really make films on your own. But I
also love editing film, and this you have to do on
your own.
What should we watch out for at the
concert?
This is the first time I have mixed animation with
live music, so I am very excited about the show.
All the musicians are very talented and there is a
wide range of instruments. I will be trying to show
close up how they all play the instruments.
3
Sing Song
Meet the
Musicians
Ranjana Ghatak
(Concert Presenter
and Singer)
I was born in London and started learning to
sing at the age of 4. I was very lucky to have lots
of music being played in the house; my father
and brother love to sing and my mother plays the
Hawaiian guitar.
I went to India a few years ago and started
learning from Pandit Ajoy Chakrabarty, one of
India’s finest vocalists. He had a huge impact on
my learning and has been a real inspiration to
watch, listen and receive guidance from.
The whole experience opened my eyes and ears
to the rich sounds of Indian music, and created a
huge hunger in me to learn more.
Kalia
(Vocal and Nay)
Kadialy Kouyate
(Kora and Vocal)
I am half Greek and half English. I grew up in
Greece and have been living in London for the
past few years. In the UK I work as a teacher,
performer and radio presenter on the London
Greek Radio.
I was born in Kolda in Casamance, in the south of
Senegal in 1979. I come from a very large musical
African family.
I used to hear old men singing in the local festivals and at the coffee shops in my village in Crete.
I was amazed at how they carried such old songs
from generation to generation just by singing and
I wanted to learn them as well!
My musical training originally started with the
classical flute. Later I started playing the Nay
(Arabic flute) and singing songs from my own
heritage.
I came across lots of wonderful musicians from
all around the world that were learning Indian
music and who came from jazz and other musical
genres.
I enjoy playing with musicians on different instruments and from different music cultures. Playing
with other people makes me realise how close
all music cultures are and how much they have in
common.
At the concert I will be performing music from the
North of India. It’s known as Hindustani music.
The lyrics are generally devotional, and create
different feelings such as love, longing and joy.
Greek singing is very ornamental, with many
small ‘decorations’ added to the basic melody.
See if you can hear these during the performance, and how they add to the effect of the song.
At the concert I will also be playing the harmonium, which supports the voice and provides
music in between verses.
I belong to the great line of Kouyate griots,
descendants of Balla Fasseke Kouyate, the first
Mandinka diali, who became the official griot in
the service of the emperor Sundiata Keita.
I played the kora instinctively from an early age.
Music flowed naturally from my fingers and I was
soon playing traditional tunes by ear.
I was raised by my grandmother, from whom I
acquired a great knowledge of songs based on
traditional stories which are the bedrock of my
repertoire.
In 2003 I made my first trip to the UK and
performed solo (voice and kora) in a variety of
community spaces.
I currently teach the kora in the Music Department
at the School of Oriental and African Studies in
London.
I play across musical genres including collaborations with the BBC Scottish Symphony Orchestra,
the New York based jazz ensemble MALIcool
and with Trinidadian steel pan player Fimber
Bravo.
4
Sing Song
Meet the
Musicians
Dan Walsh
(Banjo, vocal)
and Will Pound
(Harmonica)
I got into music by being born into a Morris team
- my mum was a dancer and my dad played the
mandolin, piano and melodeon. (Will)
Harmonica is my main instrument and I perform
regularly on it. The Harmonica is often seen as a
toy instrument but not a lot of people see it played
well so I decided to give it a go! (Will)
I play 5-string banjo, guitar and bodhran. The
banjo was originally an African slave instrument
and has been used for hundreds of years in
Appalachian mountain music, principally in the
‘clawhammer’ style which is also the style I play.
(Dan)
I enjoy meeting new musicians and seeing what
music we end up creating - it’s exciting mixing up
different styles of music. (Dan)
At this concert we will be playing 2 songs in the
bluegrass style. Bluegrass is a form of American
folk music (also called roots music) that emerged
from many other styles of folk music including
Native American, African American (the blues)
and British and Irish folk music. It is ‘tongue in
cheek music’ with words about serious and
melancholy subjects accompanied in an upbeat
and cheerful way.
Taalis
(Cajón)
I come from a musical family and was born and
brought up in Wels in Austria. I was exposed to
music (mostly jazz and classical) from a very early
age.
My parents have a piano shop where they repair
and sell pianos and there was a lot of music in my
house growing up. I started learning the piano
when I was 7, but then picked up the drums when
I was 10. Rhythm seemed to appeal more to me.
We used to have a family band where every person played a different instrument. We practiced
every Sunday for fun and I think the experience of
playing with people in a band really planted the
seeds of my love for making music.
When I was 16 I met my Guru (my Indian teacher)
Pt.Suresh Talwalkar which had a huge effect on
me. Meeting a real master who was so dedicated, sincere and serious about music changed my
perspective of what it means to be a musician.
More important than playing the instrument is to
listen. If we listen closely (to ourselves or others)
we can relate and create. Playing with others is
always a learning experience and is the most
important thing in music to me.
5
Sing Song
Activities
Core Activities
In order for children to get the maximum learning
and enjoyment from the concert on 19th March it
is essential that these 3 activities are covered prior
to the concert.
1 Learn the songs on page 10. Also download
the song from our website (www.barbican.org.
uk).
2 Learn the 5 rhythms which are notated on
pages 11 to 15. Also download the rhythms
from our website (www.barbican.org.uk).
3 Research the following instruments which will
appear in the concert: nay, cajón, tanpura and
kora. Find out about their background, how
they are played and the materials they are
made from.
Additional Learning
Drones and Modes
(KS1 & 2)
• Drones are featured in the Indian music that
will be played at the concert. A drone is a single
sound or harmony that is played continuously.
• Try singing some simple songs then adding
a drone and seeing what happens. So for
example, with Twinkle Twinkle have some
children sing the words but stay on the first note
whilst others sing the tune. Try the same thing
with 3 Blind Mice and the Wheels on the Bus.
• You will find that for some songs a drone works
well (3 Blind Mice and Twinkle Twinkle) but for
others like the Wheels on the Bus there are lots
of clashes. Indian classical music goes well with
a drone and it is usually played on the tanpura
(see page 9)
• You can experiment with drones by playing the
notes C, E, and G together – repeating them
every 2 or 4 beats to give a continuous sound.
• Now add a melody using the notes of a mode.
A mode is the series of notes that are used in a
piece of music. Indian musicians call this mode
a raga and western musicians call it a scale.
• Use the notes C,D,E,G,A as your mode. Have
some of the children improvise a melody over
the CEG drone. You could then add an untuned
percussion beat part to the piece.
6
Sing Song
Stories with Sound
(KS1 & 2)
Rhythms (KS1 & 2)
7s (KS2)
The Kora (KS2)
• Have the class count a steady beat of 7 several
times
• Download the story about Sundiata Keita as
described on page 8.
• Begin by showing the children some internet
footage of the tabla (the Indian drums) being
played. There is footage available that explains
the different tones that the drums can make.
• Explain to the children that Sunjata Keita had
a friend and companion who always made up
music to tell the stories of Sunjata Keita’s life.
This man was called a Griot.
• Then explain that drummers learn different
patterns by saying them to the pitch names
before playing them and that we will be doing
this at the concert.
• The kora, which will be played by Kadialy
Kouyate at our concert is a remarkable
instrument and its players have remarkable skill.
They play 3 different parts at the same time
by using one thumb to play the bass line, the
other thumb to add a melody and both of their
forefingers to improvise another melody on top.
• Now explain that they are going to get the
chance to be Griots for each other today.
• Now look at the 3 rhythms on pages 13, 14 and
15 and listen to them by downloading them
from the website.
• Split the children into pairs and get them to
share stories about themselves. Perhaps these
stories will be about something funny, scary or
dramatic that has happened to them.
• Now get each pair to choose one of their
stories that they think is particularly exciting or
dramatic.
•Explain that together they are going to set this
story to music. Children may like to do this in
one of two ways. They may have one person
telling the story by speaking, rapping or singing
whilst the other adds musical accompaniment
or they may lose the words and simply describe
what happened using music.
• You will probably need to give the children 2
or 3 goes at this activity – reviewing it as you
go - before having them perform it to the rest of
the class.
• You could audio or video record the
performances for other children to listen to.
• What do the children notice about the pitch of
the sounds and the way they are written on the
page? (Answer: the high pitched sounds are
written higher on the 5 lines of music known as
the stave and the notes written lower down on
the stave sound lower.)
• Now try saying the rhythms together. Start with
the simple basic rhythm and then move to the
variations.
• Now transfer these rhythms to percussion
instruments.
• Begin by exploring the sounds of available
percussion instruments and finding a
high, low and medium sound (eg triangle,
a large drum, a tambourine.)
• KS1 children will be able to play the basic
rhythm in this way with just 2 parts.
• An extension to this would be to add some
children improvising on a mode above the
repeated rhythm – you could use the Indian
raga called DESH which uses the notes C, D, F
• Now try clapping on every beat 1 and when
that is steady add a stamp on another beat and
a knee slap on another
• Have half the class stamp on 1, 3, 5 and the
other half clap on 2, 4, 6, 7
• Move this beat onto percussion instruments with
low and high sounds – eg drums and claves
• Kora playing can be used as a guide for some
playing in the classroom. You will need a
selection of tuned and untuned percussion.
• Listen to ‘Unsquare Dance’ by Dave Brubeck.
The children will recognise it because it has
recently been used in a advertisement (you can
download this from itunes for 79p.)
• Begin by having a group of children play a
bass line. This will be C GG, C GG, played in a
repeating pattern as low down the instrument
you are using as possible.
• Can they hear that it is in the same time?
• Then have another group of children add a
repeated melody –GABbA GABbA G GG
G---------
• Now explain that one of the Indian pieces of
music in the concert will also be in 7 time.
• Can they try clapping the pattern 123,12,12?
• Then add the high, medium and low sounds as
shown
• Explain that in Indian music the tabla is a pair
of drums which has 7 different sounds (you may
have a set in your school).
• Show a video clip on the internet of the
tabla being played and taught – they should
recognise some of the names of the sounds
although they are sometimes spelt differently
• Have the children make up their own tabla beat
patterns using tin (medium), na (high) and dhin
(low).
• Finally have some other children improvise
using the notes G, D, Eb, F#, G, A, Bb. (You
may have to leave the Eb out if you are using
diatonic – that is, single row-xylophones.)
• You now have the 3 parts playing in your
classroom in a similar way to a kora piece
of music. If you wish you can discuss with the
children whether they should try adding a
percussion part to the piece. This could be
done on any classroom untuned percussion
instruments. Can the children create a
percussion line that complements the other 3
parts?
• Listen to Toumani Diabate play kora on the
internet. He describes the way he builds up the
3 parts of the piece. You can also find Kadialy
playing on the internet.
7
Sing Song
Music styles
and instruments
Traditional Greek
Music
Music from the
Mande Empire
Traditional Greek Music is very influenced by
its history and geographical position. Greece
formed part of the Byzantine Empire in the
middle ages and its proximity to Arabia has also
influenced its heritage. Greek music is based on
a small number of notes known as a mode and
quarter tones are often used. Such small intervals
between notes are unfamiliar to western ears, as
a semi-tone is usually the smallest interval used in
the west.
The West African area known historically as
the Mande Empire includes countries such as
Senegal, Mali, Gambia and Guinea. It had a
tradition of wandering musicians and story tellers
known as Griots whose job it was to preserve the
ancient stories of the area. One such story was
about the founder of the Mande Empire whose
name was Sunjata Keita.
Sundiata Keita was born to the royal family in
Mali but was disabled and could not walk. His
father chose a Griot called Balla Fasseke to be
his companion and so his story was recorded and
handed down from generation to generation.
Hindustani Music
English Folk Music
The tradition of North Indian Classical music
or Hindustani Music began in the Vedic times,
(around 1000BC) and further developed around
the12th century. It includes the music of Pakistan
and Bangladesh. The music is based on a
melodic mode or raga and is played or sung to
a rhythmic cycle or tala. The pure classical form
begins with an Alap (introduction), followed by a
composition in slow, then medium tempo. Finally
a composition is played in a faster speed along
with combinations of notes, called Taans. There
are several lighter forms of classical music that
start with an Alap, followed by a composition in
a fixed tempo again sung or played in a chosen
Raga or mode.
English Folk Music is traditional music that has
been transmitted orally, and is often preserved
later through print and recordings. It has
produced or contributed to several important
musical genres, including sea shanties, jigs,
hornpipes and dance music, such as that used
for Morris Dancing. It has distinct regional and
local variations in content and style. For more
information about Bluegrass music please see the
teacher’s pack on our website for 8th February.
There is a short children’s download of the story
at: www.globaleye.org.uk/primary_spring03/
eyeon/sundiata.doc
Or an illustrated book called Sundiata: Lion
King of Mali by David Wisniewski available on
Amazon.
8
Sing Song
Music styles
and instruments
The Nay
The Cajón
The Tanpura
The Kora
The nay is a simple, long, end-blown flute which is
the main wind instrument of Middle Eastern and
classical Arabic music. It has six finger holes on
the front and one on the back. It is a very ancient
instrument. Nay players are seen in wall paintings
in the Egyptian pyramids. It is known therefore
that the nay has been played for 4,500-5,000
years. It is one of the oldest musical instruments
still in use.
A cajón is a kind of box drum, with the player
sitting astride it and slapping the front face with
their hands. Enslaved people from West and
Central Africa were the first people to use them
in America. Spanish slave masters forbade music
but because these instruments could easily be
disguised as seats they did not arouse suspicion
and so slaves could carry on their music making.
Nowadays the instrument is especially connected
with Cuba and Peru and particularly the Rumba
dance. It produces 3 different sounds: 1) a low
bass sound 2) a high treble sound 3) filling notes
in between. It is sometimes known as a “mini
drum kit” because it is suitable to adapt rhythms
from the drum kit onto it.
The tanpura is an Indian instrument that plays
a drone. A drone is a single sound or single
harmony that plays continuously throughout a
piece of music. The tanpura looks like another
Indian instrument, the sitar, the difference being
that it has no frets on the finger board. It has four
or five wire strings, which are plucked one after
another in a regular pattern to create a harmonic
resonance on the basic note. The instrument is
known for its very rich sound.
The kora is a beautiful 21-string African Harp
instrument played by the traditional storytellers of
West Africa, known as griots in French, and jeli,
jali, guewel, or gawlo in African languages.
Skilled players are able to play a drone, an
accompaniment and an improvisation all at the
same time. The Kora is popular in a number of
African countries, including Guinea, Guinea
Bissau, Mali, Senegal, Burkina Faso, and
Gambia.
9
Sing Song
The songs
Dili Dili
A mouse went and nicked the wick
From the lamp that shone
For the girl to embroider her handkerchief
Dili dili dili
Dili dili dili
A cat went and ate the mouse
That took the wick
From the lamp that shone
For the girl to embroider her handkerchief
Dili dili dili
Dili dili dili
A dog went and ate the cat
That ate the mouse
That took the wick
From the lamp that shone
For the girl to embroider her handkerchief
Dili dili dili
Dili dili dili
The stick went and hit the dog
That ate the cat
That ate the mouse
That took the wick
From the lamp that shone
For the girl to embroider her handkerchief
Dili dili dili
Dili dili dili
The oven went and burnt the stick
That hit the dog
That ate the cat
That ate the mouse
That took the wick
From the lamp that shone
For the girl to embroider her handkerchief
There is a professional recording of this song
available at ‘The Great North Wind and Other
Traditional Songs for Children’
Collection - Musical Supervision Domna Samiou
(Available from www.studio52.gr )
It is also available to download from our website,
sung by Kalia Baklitzanaki
Miniyamba
Miniyamba saaba Miniyamba
Miniyamba saaba Miniyamba x 2
(Miniyamba you are a great Snake Miniyamba)
Verse 1
Miniyamba saaba Miniyamba
Miniyamba saaba Miniyamba x 2
Verse 2
Miniyamba saaba Miniyamba
Miniyamba saaba Miniyamba x 2
Verse 1
Miniyamba saaba Miniyamba
Miniyamba saaba Miniyamba x 2
Verse 2
This is a traditional story from Senegal about a big
snake that helped a pregnant woman give birth in
the middle of the forest.
10
Sing Song
Rhythm 1
11
Sing Song
Rhythm 2
12
Sing Song
Rhythm 3
Basic
13
Sing Song
Rhythm 3
First Variation
14
Sing Song
Rhythm 3
Second Variation
15
Sing Song
Nearest train stations: Liverpool St, Farringdon,
City Thameslink, Barbican, Moorgate
Coach: there is a setting down and picking up
point in Silk St. Parking is limited to the metered
bays in Silk St and Fore St. For further information
contact 020 7606 3030, asking for Parking
Services
Disabled visitors Barbican Centre is fully
accessible for wheelchair users. For full Access
information please visit http://www.barbican.org.
uk/visitor–information/disability–access. You can
also call or email the Barbican Access Manager
on [email protected]
020 7382 7389/7083.
Cloakrooms
There is a free cloakroom on Level -1, directly
outside the Hall.
Toilets
There are toilets on Level –1 directly outside the
Concert Hall.
Further information
There is medical assistance available on site at
all times. Full evacuation staff are available at all
times. Barbican Education has a full CRB child
protection policy. If you would like to see the full
policy please contact Barbican Education on 020
7382 2333.
Please also contact Barbican Education if you
would like risk assessment information.
© Barbican Education 2009
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How to find us
Nearest tube stations: Barbican, Moorgate, St
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For all group bookings and general enquiries
please call the Groups Booking Line on 020
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If you have brought packed lunches you can eat
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Planning your visit
London Wall
Mansion House
Bank
Barbican Education
Barbican Centre
Silk St
London EC2Y 8DS
T: 020 7382 2333F: 020 7382 7037
E: [email protected]
www.barbican.org.uk/education
Credit and thanks to the What that’s Sound?
Team:
Artistic Director – Geoff Johnston
Illustrator and Animator – Mel Northover
Writer and Education Consultant – Denise Barber
Musicians – Ranjana Ghatak, Dan Walsh, Will
Pound, Joystna Srikanth, Kalia, Kadialy Kouyate
and Taalis
Barbican Centre – Anna Rice, Violeta Amargant,
Natasha Anderson, Ingo Reinhardt, Abi Wood
16