The Tempest
Music Workshop
Credits
Teacher’s notes: Alistair
Salmond & Angel Scott
Composer: David Chilton
Song lyrics: Neil Richards and
David Chilton
Producer: Ruth Chalmers
Music set by: Andrew Hardy
Teacher’s notes designed by:
Nick Redeyoff
Contents
Page
The Song Tree Welcome
3-5
Programme 1
Rock The Ship
6
Programme 2
Set Me Free
7
Programme 3
Full Fathom Five
8
Programme 4
Toledo Steel
9
Programme 5
Barracuda
10
Programme 6
Brave New World
11
Programme 7
Spellbound
12
Programme 8
Sea Change
13
Programme 9 & 10
Performance: The Tempest
14
Words and music
2
15-47
Welcome to The Tempest…
A wizard, a mischievous sprite, a passing ship… and a storm so
tempestuous it changes the lives of those who witness it forever.
Whatever your musical experience this teaching package can help
you and your pupils enjoy music in the classroom.
We’ve written eight new songs and vocal coach Carrie Grant is
here to teach them to you – one song per programme. Pupils
should follow the words or words and music on the separate
printouts. The styles range from rap to rock anthem to ballad
and back…there’s an African flavour, lots of opportunity for
percussion…and some very tongue-in-cheek romance. During
Programmes 9 and 10, we invite you to sing all the songs again in
a forty-minute ‘production’ of the show.
These programmes are available on pre-recorded CDs (for UK
schools only) at cost price. Details can be found at the BBC
School Radio website. However, the programmes are also available
in the following ways:
Podcasts
Programmes can be downloaded in mp3 file format for 7 days
following transmission. You can subscribe to the download by
clicking on the podcast link available on the BBC School Radio
website. The podcast is an effective way to acquire the series
in a flexible, high-quality audio format… and without paying!
However, for copyright reasons, we are unable to include the
listening music for this series within the podcasts.
Freeview/digital cable/digital
satellite
Most digital TV packages include Radio 4 Digital, making
it possible to listen to School Radio through your TV! If you
have Freeview, you can find Radio 4 Digital at Channel 74.
Programmes are easy to record off-air using a VHS recorder.
Music Workshop
Age 9–11
There is a free CD available which has full versions of all the
songs – plus backing tracks, which you are free to use for school
performances. If you would like a copy of the CD please write to
us at:
BBC School Radio
Room MC3 D5 Media Centre
201 Wood Lane
London W12 7QT
Or email us at: [email protected]
On the following pages, there are guides to each programme.
We tell you what you’ll need to do before the programme begins,
what to expect during it and loads of ideas for afterwards. As well
as the imaginative musical exercises and further listening ideas,
there are drama and literacy activities which give lovely insights
into the play.
For more information go to:
www.bbc.co.uk/schoolradio/podcasts.shtml
Audio on demand
The programmes are available as audio on demand, streamed over
the internet, for 7 days following transmission. This service is best
used to sample the programmes prior to ordering them on CD.
3
Music Curriculum
PROGRAMME LINKS
FOLLOW-UP
1. Controlling sounds: performing skills
a) Use of voice for speaking and singing
1: communicating a message
2: singing two-part harmony
3: vocal ad-libbing
4: singing two-part harmony
5: using different tones of voice
6: singing in two parts and communicating a message through expression
7: using different tones of voice and singing in 3 groups
8: communicating a message through expression, adding dynamics and
changes of tempo
9: see Programmes 1-4
10: see Programmes 5-8
4: practise rap with keyboard backing
5: using different tones of voice
6: listening to changes of key: listening to further backing vocals and
adding to song
7: focus on diction, breathing, expression and dynamics and work on coda
8: how to achieve a quality performance
b) Playing tuned/untuned instruments
1, 2, 5, 9 and10: adding instrumental accompaniments to songs
1: practise instrumental ending to song
2, 5 and 8: practise addition of instruments
c) Practise, rehearse and perform
Each programme ends with a performance of the featured song.
9 and 10: provide opportunity for performances of songs 1-4 and 5-8 respectively.
1-10: practise to improve diction and singing together
7-10: practise to improve performance and to memorise lyrics
2. Creating and developing musical ideas: composing skills
a) Improvise and develop patterns
3, 8, 9 and10: vocal ad-libbing
8: improvise clapping in choruses
b) Explore, choose, combine and organise musical ideas
1: create a storm soundscape
2: compose a calypso
3: vocal ad-libbing; create a sea soundscape
4: compose other raps
5: develop raps
7: explore changes of dynamics to improve performance
8: listen to and add backing vocals to song
3. Responding and reviewing: appraising skills
a) Analyse and compare sounds
1: recognising chromatic movement and how sense of drama created
2: noting the second (harmony) part
3: recognising chromatic movement and how sense of mystery created
4: identifying underlined words in rap
5: comparing line of verse to descending major scale
1: compare and contrast two extracts of storm music
6: discussing how key words 'paint' the mood
b) Explore and explain ideas and feelings using expressive language
6: listening to backing vocals and adding as second part
7: listening to parts overlapping and interacting
8: listening to vocal ad-libbing and copying
4: listen to use of words and 'attitude' in rap
c) Improve own and others' work
3, 6 and 7: using imagination and expressive language in response to listening
4. Listening and applying knowledge and understanding
a) Internalise and recall sound
1: internalising rhythm through words of song and clapping/playing
6: listen to changes of key in song
d) How time and place can influence music
1, 2, 3, 4, 6 and 7: listening to music influenced by country of origin,
context or situation
1, 3, 4, 6 and 7: listen to music related to the programme
Links to QCA schemes of work
Unit 15: On-going skills Progs 1-10: breathing/posture; Progs 5, 7, 8 and 10: dynamics; Progs 1-10: pitch accuracy; Progs 1-10: tone production; Progs 1, 3, 4, 8, 9
and 10: pulse, rhythm and metre; Progs 1, 2, 4, 5, 6, 7, 9 and 10: phrase structure; Progs 1, 2, 3, 5, 6, 7, 9 and 10: expressive techniques; Progs 1, 3, 4, 6, 7, 8, 9 and
10: improve concentration/memory
Unit 20: Performance Progs 1-10: context; Progs 1-10: diction; Progs 2, 3, 6, 7, 9 and 10: two-part singing; Progs 1, 2, 4, 5, 8, 9 and 10: instrumental
accompaniments; Progs 1-10: rehearsal; Progs 9 and 10: presentation to audience; Progs 9 and 10: how to achieve a quality performance
b) Combining elements
c) Different ways of making and recording sounds
4
Organising the class
Singing
Warm-ups prior to the broadcast
slowly and silently through the mouth. As you breathe out, count
1-5 slowly, then 1-10, controlling a steady release of air and
increasing the time with practice.
Vocal warm-ups
• singing a phrase from the featured song: programmes
1, 3 and 7
Vowels: sing up and down scale to the numbers 1-8, starting
note B on a chime bar. As demonstrated in programme 4, ask
pupils to omit a number (e.g. 4), singing it silently in their heads
and challenge them to pitch the following note (5) correctly.
Change the number to be omitted and increase the omissions as
children progress.
• singing 1-8 up and down major scale: programmes
1, 3, 4 and 5
Sing fortissimo, accelerando as demonstrated in programmes
5, 7 and 9.
Pupils’ participation and attainment will benefit greatly if time
is taken to warm up prior to each broadcast. Vocal warm-ups are
featured in the broadcasts as follows:
• singing fortissimo, accelerando: programmes 5, 8 and 9.
Certain vocal warm-ups, e.g. tongue-twisters will assist where the
song takes the form of a rap. Other voice exercises will prepare
pupils for songs which require a lot of upper register singing. To
encourage a good upper register tone, ask the children to ‘think
high’ (imagining the sound to be coming from their eyes) and to
‘look down’ on high notes.
Because time is limited in the broadcasts, additional preparation,
as described below, prior to each programme, will greatly assist
the children's singing and their stamina.
Posture: encourage good posture by asking children to stand tall,
knees loose and feet apart.
Sing down scale to ‘Do you chew blue glue?’, ‘We three bees
need trees’, ‘Chocolate and banana sponge’ or other suitable
combinations.
Music CD
There is a music CD available
with all the songs in full-vocal and
backing track only versions. This
free resource is ideal to help you
practise the songs and put on your
own performance.
If you would like a copy of the CD
please write to us at:
BBC School Radio
Room MC3 D5 Media Centre
201 Wood Lane
London W12 7QT
Or you can email us at:
[email protected]
After singing down from C’ – C, start next scale one note higher.
Continue higher each time while it remains comfortable
Consonants: ‘Scrape your windscreen with your credit card’.
Tongue-twisters: (say or sing as for vowels) ‘Red lorry, yellow
lorry; red leather, yellow leather’.
Rhythmic chants: use a chant or a rap from the current or a
previous broadcast.
The singing face: encourage the children to lift the face muscles
by smiling. Humming phrases of songs will also encourage an
unforced, well-blended sound.
Facial: smile – screw up the face – stick out tongue – chewing
toffee – open mouth as widely as possible.
Breathing: encourage low breathing (that is without breathing
into the chest and without raising the shoulders) by asking pupils
to imagine an inflatable ring around the waist. Breathe in silently
through the mouth, causing the ring to inflate all the way round
the middle – taking a drink of air that goes right down low as
if their tummy is a tank of air – hold – and then release the air
5
Programme
1
Rock The Ship
In today’s programme
we will…
1
2. Listen to Mendelssohn’s Hebrides Overture (Fingal’s Cave).
How does it build a picture of a storm? Compare and contrast
with Britten’s piece.
Listen to the story
A wizard, a mischievous sprite, a passing ship… and a storm so
tempestuous it changes the lives of those who witness it for ever.
Warm up
We focus on posture and relaxing our face muscles. We warm up
our voices by singing the last line of the song four times.
Learn the song
Focus
Steady beat and phrases.
Before the programme
Ask pupils to look at the printout of the song ‘Rock the Ship’.
Divide pupils into two groups
to clap, stamp or play the
instrumental at the end.
Listening music
Storm from Four Sea Interludes by
Benjamin Britten.
• Learn verse 1.
• Listen to the intro (chromatic phrase) and sing verse 1.
• Learn verse 2.
• Add backing vocals.
• Add instruments to the instrumental section of the song.
• Sing the song through.
Hear more storm music
Excerpt from Storm from Four Sea Interludes by Benjamin Britten.
Drama
Rehearse the poem Sounds of the Sea that you have written
(see below) as a class or in small groups. You can only use your
voice and the words to create the dramatic effect so you will
need to think about techniques like spacing, tone, articulation,
rhythm, sound levels. Discuss any refinements before you perform
the poem.
Compare this poem, using voices and words to create dramatic
effect, with the percussion piece in which you created a storm
using musical sounds.
After the programme
1. Practise the instrumental. It consists of one bar repeated 5
times. There is a one bar count between each of the first 4
playings and on the 5th time (which is played immediately
after the 4th without a bar count between), both groups play
the same rhythm. Some pupils could use drums and tambours
or tuned percussion while others clap and stamp. These may
also be played along with the backing vocals during verse 2.
Appropriate tuned percussion, such as chime bars, xylophones,
glockenspiels play the notes C, Eb or G (as shown below).
Tuned or untuned percussion
down,
down,
(clap)
(clap)
Part 1
Piano

   

C'
G

C
6
3. Using tuned and untuned percussion provide opportunity
for the class to create their own storm. In groups, prepare: the
calm before the storm; the storm brewing; the storm at its
height and the calm after the storm. Each group could draw a
graphic score depicting their section. Record the performance
and discuss refinements.
 
 

C'
G

C
Example 1
down,
(clap)
 
 

C'
G

C

Part 2

(stamp)


Untuned percussion
(stamp)



Literacy links
Y5 T2: word level 11, Y5 T2: text level 4, Y6 T1:
text level 10
As a class or in small groups write a poem called Sounds of
the Sea. Choose, use and even invent onomatopoeic words
to recreate the sounds of the sea. Add further sound effects
using the voice only. Think of the sentence lengths and
their rhythms.
Y6 Tl: text level 18
Using IT create a poster version of your poem for display in
the classroom. Devise an interesting way of indicating the
voice sound effects.
Example 2
2
In today’s programme
we will…
Listen to the story
Prospero has some explaining to do! Miranda wants to know
why he’s almost killed the passengers of a passing ship. And Ariel
is feeling moody – yearning for the day long promised when
Prospero will set him free.
Warm up
With a focus on posture, relaxing face muscles, breathing,
voice exercise.
Learn the song
• Learn verse 1.
• Learn chorus in 2 parts.
• Learn verse 2 (and chorus).
• Learn the two short raps.
• Sing the song through (option to add instruments).
Hear more calypso
Singing Sandra’s Music from the ghetto helps us identify some
characteristics of calypso music – the singing style, rhythm
and instrumentation.
After the programme
1. Involve the pupils in making their own instruments and/or
finding scrap material which can be used to hit or shake. Metal
dustbin lids make a great sound along with bongos, claves,
maracas or coconut shells.
2. The parts below can be played along with the chorus on tuned
percussion, home-made instruments – or any other instruments
the pupils play (recorder, flute, violin etc). Encourage budding
guitarists to join in too.
CHORUS
(Both parts below may be played on instruments - divide between players)
 


  
D'
B
Oo,

  
G
 

D'
B
 

D'
B

G


E'
A
set
 

D'
G
me
D'
B




C'
E
free,
 

D'
B


G


 

E'
C'
 

E'
C'


Repeat twice
     
A
D'
C'
D'
C'
Drama
In pairs choose to be Ariel or Prospero and arrange yourselves as
if for a photograph and freeze the image. Your pose should try to
convey the relationship and the conflict and tension between you.
Remember that the faces and body language might be showing
one thing whereas the thoughts could be very different. Present
your freeze frame to the class. After a few moments speak aloud in
character the thoughts that are running through your head.
Compare your image and thoughts with that of others and discuss
the similarities and differences.
Music area
Encourage the children to compose their own calypso – words
and music, perhaps based on the theme of being free.
Programme
2
Set Me Free
Style: Calypso.
Before the programme
Print out the words to the song
from these notes or from the
School Radio website.
Divide pupils into two groups
to sing the 2-part harmonies in
the chorus.
Do some additional warm-ups –
see page 3.
Literacy links
Y5 T1: text level 3, Y5 T3: text level 2
Whichever way you look at it nothing’s what it seems. I’m just a
prisoner on the island of dreams.
Ariel is not the only character who is trapped on the island.
Make a list of all the characters, including Ariel, and for each
one say how and why they are trapped.
What does Ariel mean when he says that nothing’s what
it seems?
Both of the above activities would be enhanced by reading
The Tempest Act I, scene ii, lines 188-300.
Tell the pupils the chorus in this
song is high! Encourage them to
‘sing from the eyes’ or imagine
the sound is from their foreheads.
Suggest that rather than ‘stretching up to the high notes’ that
they try to ‘look down on top
of them’.
Listening music
Music from the ghetto by
Singing Sandra.
7
Programme
3
Full Fathom Five
Style: Jazz.
3
In today’s programme
we will…
Listen to the story
An invisible Ariel (at Prospero’s command) convinces a soaking
wet Ferdinand that his father really is dead. Ariel does this by
singing softly to Ferdinand – asking him to imagine a dead body
floating ‘fully five fathoms’ under the sea. (Bit cruel really – since
said father is alive and well on the other side of the island).
Warm up
We use the opening phrase 'full fathom five'.
Learn the song
1. Listen to further examples of music associated with the sea or
water, e.g. Mendelssohn – Hebrides Overture (Fingal’s Cave),
Aquarium from Saint-Saens’ Carnival of the Animals.
2. Create a seascape using tuned and untuned percussion.
An ocean drum would create an ideal backdrop but drums,
cymbals and shakers of all descriptions may be used. First,
as a whole class, brainstorm words associated with the sea.
Words like pebbles, sand, waves, breakers, foam, sparkling,
reflections, sun, shells, fish, coral, jellyfish, starfish, whales,
dolphins. In groups, ask the children to choose three words,
then come and select instruments which could be used to depict
them. Pupils could notate their composition(s) in the form of a
graphic score. Possibly link in an appropriate poem and create
and display art work.
Before the programme
• Learn first four lines.
Print out the words to the song
from these notes or from the
School Radio website.
• Learn the end of the song.
Drama
• Try vocal ad-libbing.
Building on the drama work done in Programme 2, in pairs
improvise the scene between Ariel and Prospero where Ariel is
trying to persuade Prospero to release him. Improvising means
taking a situation and working out what happens and what
characters say by acting it out without any previous planning and
not following a script. It can be hard to do because you need to
think on your feet and react to what is happening.
Do some additional warm-ups
– see page 3. Focus on posture,
breathing and relaxing the
face muscles.
Listening music
Always be my baby
by Mariah Carey.
Blue Planet – Sharks sequence.
• Learn second four lines.
• Sing the song through.
Listen to
Mariah Carey ad-libbing in Always be my baby, and music
inspired by the sea from the BBC series Blue Planet.
After the programme
1. Practise the song – especially the ad-libbing at the end.
Ad-libbing is a solo art. The whole class trying to ad-lib at the
same time will sound chaotic – but the children may feel less
inhibited! Once they have confidence, some children will be
willing to sing on their own.
2. You may wish to play examples of other singers who ad-lib,
e.g. Craig David or Alicia Keys.
8
Developmental work
Literacy links
Y5 T1: text level 9, Y5 T1: text level 14
Using all the information that you have acquired so far
about the island and the characters on it, draw a map of the
island. Mark on it where all the key places are and where
all the characters are and think about how to show these on
the map. Present your map attractively as a poster for the
classroom wall.
4
In today’s programme
we will…
Listen to the story
King Alonso of Naples and his old advisor, Gonzalo, are asleep.
Antonio and Sebastian are awake, plotting to kill them.
Warm up
We sing the major scale from 1-8 and back again missing out the
number 4.
Learn the song
2. Obtain a recording of Rodrigo’s Concerto de Aranjuez and listen
to more of the 2nd movement.
3. Listen to flamenco music and other music of Spain.
Drama
Choose a few people in the class to take it in turns to be in role
as Antonio. In small groups think of questions you would like
to ask them in character about Antonio’s behaviour in the past
towards Prospero and now. Your questions should try to explore
his motivation, the morality of his behaviour and whether he is
troubled by his conscience.
• Learn the chorus.
Programme
4
Toledo Steel
Style: Spanish music; mini rap.
• Learn the harmony part of the chorus (two groups).
• Learn the rap (two groups).
Before the programme
• Sing the song through.
Print out the words to the song
from these notes or from the
School Radio website.
Hear some Spanish music
Rodrigo’s Concerto de Aranjuez, extract from the 2nd movement.
Divide pupils into two groups
for today’s activities.
After the programme
Do some additional warm-ups –
see page 3.
1. Try the warm-up heard during today’s programme – singing 1-8
ascending and descending. Omit one or more numbers to be
sung silently and challenge the children to pitch the following
notes successfully. This is excellent both as aural training and as
a voice exercise.
2. Try the rap verses to a rhythm set up on an electric keyboard or
to pupils playing on drums or bongos.
Developmental work
1. Listen to other raps (e.g. Black Eyed Peas Where is the love?).
Note the flowing, almost swing rhythm that characterises
rap – sometimes SO fast, sometimes more slowly. Notice how
effective it is when the rapper stops for a beat. How does the
pace help deliver the meaning? Discuss the attitude of the
performer – and try to copy that as you compose and perform
your own raps. Great rap performance is all about attitude!
Listening music
Literacy links
Rodrigo’s Concerto de Aranjuez,
extract from the 2nd movement.
Y5 T3; text level 19, Y6 t2: text level 18 and/or 19
Look closely at the lyrics of the rap. They advocate violence
and the end justifying the means. In this rap the weapon
is a sword made of Spanish steel. In other raps what would
the weapon be? What do you think of the message of this
rap? Do you think that raps should be banned? Do you
think they have a bad influence on young people and their
behaviour? Discuss these questions as a class summarising the
arguments for and against.
9
Programme
5
Barracuda
Before the programme
Print out the words to the song
from these notes or from the
School Radio website.
Divide pupils into two groups,
one to sing the final choruses, one
to sing the words in brackets.
Do some additional warm-ups –
see page 3.
Read through the verses together
in different ways – speaking
and whispering the words in
time, allocating different lines to
different groups, etc.
5
In today’s programme
we will…

maracas/eggz  
salt
Listen to the story
Prospero’s slave monster Caliban meets up with comic duo
Stephano, the butler, and Trinculo, the jester, who have come
ashore on a barrelful of wine. It’s not long before the barrel is
empty and the stupid trio are mooting plans to kill Prospero
and take over the island. Prospero, being proud possessor of an
invisibility cloak, sees it all!
claves/wood block
bongos

2
 
 
beef
 





 
etc.


Example 3

and
-


pep - per





cof


bur - ger

-

 
 

 
-


cof
fee
cof
-
fee


etc.










fee
 


cof


   
-

tea

fee




cof

-


fee



tea


Warm up
Drama
We use the vocal exercise fortissimo accelerando.
Acting drunk is very difficult to do convincingly. Think about
the way a person who is drunk moves, walks and talks. In pairs,
practise acting as if you were drunk. Comment on each other’s
performance to help improve it.
Learn the song
• Learn verse 1.
• Learn the chorus.
• Sing verse 1 and chorus.
• Learn verse 2.
• Sing verse 2.
• Learn verse 3.
• Learn extended chorus in groups.
• Add instruments.
• Sing through song.
Listen to verse 2 of Barracuda and say which line most resembles a
descending scale. Add instruments to the chorus: castanets on the
words ‘Badaboom’ or eggz, maracas, bongos and claves (see below).
Hear some Spanish music
Rodrigo’s Concerto de Aranjuez, extract from the 2nd movement.
After the programme
1. Practise the song and learn the words. Also, allocate different
lines of the song to different groups or individuals according to
the characters singing, e.g. Caliban, Stephano.
10
Barracuda
Play these ostinato (repeated pattern) accompaniments in the chorus.
2. Practise the percussion accompaniments below and add them to
the song. lf pupils struggle to keep time, give them a pulse, then
encourage them to say the words salt and pepper, beef burger,
coffee or tea in their heads.
Read through the scene in the playscript where Caliban meets up
with Stephano and Trinculo using the skills you have practised.
Developmental work in the music area
Continue from last week the opportunity for pupils to develop
the raps they’ve been writing, working on percussion or
electronic keyboard.
Literacy links
Y6 Tl: text level 2 and 3
This part of the story links up with Programme 2 when Ariel
talks about being a prisoner on the island of dreams. Other
characters are also trapped on the island which works its
magic on them all as they try to make their dreams come
true. Here we discover three more characters. Add them to
your list explaining how and why they are on the island.
Add another column to your list and write down what each
character’s dream or wish is.
Prospero has a lot to answer for. His actions have affected
most of the characters. What do you think of Prospero and
his treatment of the other characters so far? Do you think his
behaviour is justified?
6
In today’s programme
we will…
Listen to the story
Miranda and Ferdinand meet. They fall hopelessly in love.
Miranda is the most beautiful woman Ferdinand has ever seen.
Ferdinand is the… only man Miranda has ever seen (apart from
her dad, of course).
Learn the song
• Learn verse 1.
• Learn the chorus.
• Learn verse 2.
Developmental work
Listen to other music where the lead male and female characters
fall in love, e.g. You’re the one that I want from Grease. Or songs
from West Side Story by Leonard Bernstein – an adaptation of
the Romeo and Juliet story.
Drama
Acting out love scenes can be very embarrassing, especially when
it is love at first sight as happens between Miranda and Ferdinand!
In pairs read through this scene in the playscript. Think about the
difficulties of performance. Is it a scene that needs to be played for
‘laughs’ or is it serious? Listen to other pairs reading the scene and
discuss ways in which the performances can be improved.
• Learn the middle section.
Programme
6
Brave New World
Style: Tongue-in-cheek pop.
Before the programme
• Sing the song right through.
Print out the words to the song
from these notes or from the
School Radio website.
Hear more music on the theme of love
An excerpt from Tchaikovsky’s Romeo and Juliet Fantasy Overture.
Do some additional warm-ups –
see page 3.
After the programme
Identify a group of pupils who
would enjoy doing ‘backing
vocals’.
1. Listen to how the song changes up a key at the beginning
of the middle section – point this out to the children.
Ask them what they hear happening at the end of that section.
Answer: it returns to its original key.
Listening music
2. Listen to the backing vocalists singing throughout the song.
Divide the class into two groups – one group on the main
melody and the other trying the backing vocals.
Tchaikovsky’s Romeo and Juliet
Fantasy Overture.
3. Find and listen to other pop songs with a similar sentiment.
Literacy links
Y5 T3: text level 3
Choose to be either Miranda or Ferdinand and write a diary
entry in character describing meeting each other and falling
in love. Remember that Miranda has lived on the island all
her life and the only other man she has ever known is her
father. Ferdinand is much more a man of the world.
11
Programme
7
Spellbound
7
In today’s programme
we will…
Listen to the story
Prospero’s enemies are in his power, but he is full of questions.
Should they be killed or forgiven? Has he himself become
spellbound by the magic and the mayhem? Could it be time to
move on – and move home?
Print out the words to the song
from these notes or from the
School Radio website.
For the introduction and link to
verse 3, you will need to divide
into two groups. For the ending,
divide into three groups. Group
one (half the class) sing the words
‘we are such stuff…’ The rest are
subdivided into two groups –
group two sing ‘ya wa’ and group
three sing ‘aa-mmm’.
Go over the words of verse 3.
Do some additional warmups – especially scales to get the
children singing and thinking
‘up high’.
Listening music
Lungisa indela yakho by
Ladysmith Black Mambazo.
12
Invite people to audition for the role of Prospero. They can
either choose a speech from the playscript or the key speech from
Shakespeare (see below.) What qualities are you looking for in the
acting of this main character?
This speech is really important as it is the turning point of the
play. Compare the oral performance of the speech with the song.
Which do you think is more effective and why?
Warm up
We use the words of the intro ‘ya wa-ya ya wa-ya yey’.
Before the programme
Drama
Learn the song
• Learn the intro.
• Learn verse 1.
• Learn verse 2.
• Learn the link to verse 3.
• Learn the coda in three parts, and diminuendo to pianissimo at
end of song.
• Sing the song through including verse 3 (not learned).
Hear more African singing
From Lungisa indela yakho by Ladysmith Black Mambazo.
After the programme
1. Practise the song. It is contemplative and gentle but requires
clarity to communicate the words.
2. Work on the coda in three parts and encourage expressive singing
through observing the diminuendo to pianissimo at the end.
Developmental work in the music area
1. Discuss the effect of varying the dynamics in a performance,
i.e. forte (loud), piano (quiet), crescendo (getting louder),
decrescendo or diminuendo (getting quieter), pianissimo
(very quiet).
2. Try to add appropriate changes of dynamic in the verses
of Spellbound. This could be a group activity in the music
area, followed by class discussion leading to a performance
incorporating the ideas.
Literacy links
Y5 T3: text level 6, Y6 T1: text level 3 and 5
In small groups or as a class read Prospero’s speech from
The Tempest Act IV, scene i, lines 148-160.
Our revels now are ended. These our actors,
As 1 foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep. Sir I am vexed.
Bear with my weakness: my old brain is troubled.
Be not disturbed with my infirmity.
It inherit means occupy it
Rack means wisp of cloud.
Together try to sort out what this means. Don’t worry too
much about individual words but aim for the gist of it.
What is Prospero saying about life? What is the message that
Shakespeare is trying to send to his audience? The lyrics of
the song will help you.
8
In today’s programme
we will…
Listen to the story
The finale. Can Ariel now be set free? Does Antonio get what he
deserves? Will Ferdinand ever see his father King Alonso again?
All this and – are those wedding bells?!
Warm up
We sing fortissimo accelerando seven times.
Learn the song
• Learn verse 1.
• Learn verse 2.
• Learn middle.
• Learn chorus.
• Learn verse 3.
• Learn next two choruses, including singing pianissimo and
crescendo and vocal ad-libbing near the end of the song.
• Sing final chorus.
• Sing song right through.
Developmental work in the music area
There are six chords used in Sea Change:
F
(notes
F
A
C)
Bb
(notes
Bb
D
F)
C
(notes
C
E
G)
Dm
(notes
D
F
A)
A7
(notes
A
C#
E
G)
G7
(notes
G
B
D
F)
1. Using chime bars, xylophones, glockenspiels and
metallophones, or any other instruments played by the
children, invite pupils to play each time their chord is indicated.
Some notes appear in more than one chord – either allocate one
chord to each player as notes are distributed or allow pupils to
play on more than one chord.
2. A bass part can be played using only the root of the chord
(i.e. F on chord F and so on) – perhaps on bass xylophone,
low notes on a keyboard or piano or on bass guitar. The chords
are used throughout the song (verse, middle and chorus) and
it is for you to decide which parts of the song should have
instrumental accompaniment.
Programme
8
Sea Change
Style: Gospel.
Before the programme
Print out the words to the song
from these notes or from the
School Radio website.
This is a high energy song – so
do some additional warm-ups
(see page 3).
Hear more gospel singing
Drama
Listening music
Featuring ‘call and response’ style singing in Oh, happy Day by
the African Children’s Choir.
Invite people to audition for the role of Prospero. They can
either choose a speech from the playscript or the key speech from
Shakespeare (see below.) What qualities are you looking for in the
acting of this main character?
Oh, Happy Day by the African
Children’s Choir.
After the programme
1. Try to clap along with the music in the choruses - ideally on the
off-beat (i.e. clap after the word ‘sea, ‘change’, ‘comin’, etc.) but
whatever comes naturally. Invite the children to improvise their
own clapping patterns.
Literacy links
2. Listen to and add backing vocals to Sea Change.
Y6 T3: text level 9
Tell the story of The Tempest in a comic strip with captions
for each picture. Try to get hold of a copy of Marcia
Williams’s book Mr William Shakespeare's Plays which
includes The Tempest retold in a wonderfully detailed
comic strip.
13
Programme
9
&10
Performance:
The Tempest
In these programmes
9
&10 we will…
Warm up by singing fortissimo accelerando seven times; recap some
tricky bits, then sing all the songs, and hear the story again.
Programme 9
• Rock the Ship (we revise instrumental rhythm)
• Set Me Free (we revise chorus harmonies)
• Toledo (we revise chorus harmony)
Programme 10
• Brave New World (we revise backing vocals)
• Spellbound (we recap three parts in coda)
• Sea Change (we recap slow line at end of song)
Before the programme
Handy reminder of the groups needed to sing
each song
Warm up well.
Programme 9
Remind yourselves of groups
required for each song (see above).
1. Rock the Ship needs two groups for lead and backing vocals and
for the instrumental – clapping, stamping and / or instruments.
Prepare any percussion being
added and identify players.
Listening music
Play the extracts provided
after programme 9 and ask the
children to identify which of the
six recordings is music associated
with the sea, calypso, Spain,
Africa, gospel and storm. They
are playing in this order – storm,
calypso, sea, gospel, Africa, Spain.
Posture: stand well-balanced, equal weight on both legs, knees
loose, feet apart, head up. Warm up well.
Facial: use smiling muscles to achieve a brighter sound.
Breathing: breathe through the mouth, encourage low breathing
(without breathing into the chest or raising the shoulders). Discuss
the appropriate breathing places in the songs and practise these.
Diction and tone: when singing in a higher register, sing ‘from
the eyes’, open mouths, aim at rounded vowel sounds and sound
consonants together.
Expression: discuss the meaning of the song lyrics and the mood
to be achieved. Practise how to best communicate the rneaning:
through adding dynamics; tempo changes; or facial expression.
Lyrics: communication will be greatly enhanced if the songs are
well rehearsed. The start and end of songs are most important so
do get familiar with the length of introductions.
Stagecraft: discuss how to walk on and off the stage and how
pupils should react to applause.
2. Set Me Free needs two groups for the chorus harmonies.
There are raps and instruments to be added too.
Literacy links
3. Full Fathom Five – consider the vocal ad-libbing at end –
everyone to ad-lib or choose an individual?
Y5 T1: text level 19 and 20
4. Toledo Steel needs two groups to sing in harmony in chorus
(upper and lower) and two groups for rapping (one group for
underlined words only).
Programme 10
5. Barracuda – lead vocals and backing vocals (words in brackets),
add instruments.
6. Brave New World – lead vocals and backing vocals.
7. Spellbound – three groups (group one – half the class – sing ‘we
are the stuff…’, group two sing ‘ya wa’, and group three sing
‘aa-mmm’).
14
How to achieve a quality performance
8. Sea Change – consider one pupil to do the slowed down bit?
As a class read through the playscript in preparation for
performance. Annotate the script to help the production and
direction. Think about pace, movement, gesture and delivery
of the lines and the songs.
Allocate different groups of people to different tasks:
• Director, producer and cast
• Musical director and singers and musicians
• Technical crew
• Publicity and programmes.
Rehearse and get ready for the performance. Invite school
mates, family and friends and entertain them with your
version of The Tempest.
Rock the Ship
Verse 1
Verse 2
Bosun and sailors:
Bosun and sailors:
Looks like we’re goin’ down!
Wish I was on solid ground in Africa.
The ship won’t take the strain –
will I see the shore again in Africa?
The rig is burning,
the flash of lightning is in the air. (burn burn burn)
Timbers breaking,
I see the water rising everywhere. (down down down)
And we’re riding out the storm.
We’ve never been so far from home.
And the wind and rain driven by the hurricane –
Ariel and sprites:
Gonna rock the ship, rock the ship tonight.
The point of no return,
now the ship is gonna burn in Africa. (burn burn burn)
Ariel and sprites:
You’re going down below,
dancing to Diabolo in Africa. (down down down)
Bosun and sailors:
The rig is burning,
the flash of lightning is in the air. (burn burn burn)
Timbers breaking,
I see the water rising everywhere. (down down down)
And we’re riding out the storm.
We’ve never been so far from home.
And the wind and rain driven by the hurricane –
Ariel and sprites:
Gonna rock the ship, rock the ship tonight.
Instrumental
clap, clap, clap, stamp stamp
clap, clap, clap, stamp stamp
clap, clap, clap, stamp stamp
clap, clap, clap, stamp, stamp, clap clap clap.
15
16
17
Set me Free
Verse 1
Verse 2
Ariel:
Ariel:
In the shade of the lemon tree
the bluebird spreads his wings.
Flying high right over me
his journey just begins.
For a moment I am he –
I can just pretend.
Oh I wish that I could be
the lightning and the wind.
And the monkeys go…
And the monkeys go…
Chorus
Repeat chorus
Oooo oooo set me free (all is confusion)
Oooo oooo set me free (it’s an illusion)
Oooo oooo set me free (nothing’s what it seems)
Rap 2
Rap 1
The monkeys and the parakeets are all in collusion.
The bird of paradise is just an illusion.
18
I hear the song of the mocking bird
floating on the breeze.
And the monkeys fool around
high up in the trees.
And I hear the seagulls call
far across the sea.
Like a river running wild
is how I long to be.
Whichever way you look at it nothing's what it seems.
I’m just a prisoner on the island of dreams.
Repeat chorus
Set Me Free

 

10


 
 





le - mon
mock - ing
14
 
 


o - ver
fool
a-
18

22






tree
bird


me
round


I
am he,
sea - gulls call
 
 


I
could
run - ning


be
wild


 









his

 


I
far


the
is





pre - tend.
the
sea.
can
just
a - cross


light
how
-
 


ning
I

and
long




the
to




Fly - ing
and
the


the shade
the song
 




 
gins.
trees.


1. In
2. I hear




wings.
breeze,

just be in the
   



his
the


Verse



spreads
on
jour - ney
high
up



the blue - bird
float - ing
  




For
And


of
of
the
the


high
right
mon - keys



 
that
wish
ri - ver
I
a


mo - ment
the
hear
a
I

Oh
Like
wind.
be.




(and the monkeys go)
(and the monkeys go)
19
25


Chorus



Oo,
  
   
set

 
all
noth
40

20


me





set
34
38
  

me
free,





in
- ing's what

just
an
is - land




 




  
ill - u - sion.
dreams.
of


1. The
2. Which
the
 CODA

Oo,

  



  

last time to Coda

col - lu - sion
it seems,
2nd time D.S. Chorus


(all is confusion)


free,




bird
I'm


set


me

mon - keys
- e - ver

of





free


the
you










Oo,


par - a - keets are
look at
it
par - a - dise
just
a
pris - oner


(it's an illusion)
and
way




is
the
on


Full Fathom Five
Verse 1
Full fathom five, thy father lies in the ocean.
Full fathom five, his body disappears from view.
Those are the pearls that were his eyes
an unexpected shade of blue.
Full fathom five, thy father lies in the ocean.
Full fathom five, his body disappears from view. (oo ooo)
And of his bones are corals made
like stardust in a masquerade.
Verse 2
And now all that remains
has been gradually claimed
by a sea change of many hues.
And we’re all far from shore lost once more in the blue. (oo oo oo)
Yes we’re all far from shore lost once more in the blue. (oo oo oo)
In the blue.
In the blue.
21
Full Fathom Five

 

7

12

17





















fath - om
   










Full

fath - om



are the

five,
 
bo -dy dis - ap - pears

    



 

 
Thy
 

   
fath - er

     


the
     
his bo - dy dis - ap - pears

in



lies

from view.

 

  
pearls that were his eyes, an un - ex - pec - ted shade of blue.


 


       
Thy fath - er lies

 

five,



 

Full fath - om five,
Those
Full
22

o - cean,
 
22


from view.

  





in the o - cean,
 



And




   

Full fath - om five,

     



his


    
of his bones are co - rals made,
like
2
27


 
star - dust
30

33

39

44


in
a





all

 


 

 

from

shore
 

far


- ly claimed

shore


lost

once
more


in

the

mas - quer - ade.

gra - dual

  
   




by




a

lost
once
 
in





 
And now
change

 

more

the




of



 


blue,








re - mains

ma - ny
in the blue.


that



sea

all






And


hues.
 




 
in



has
 


we're
all

 
the blue,
rall.


been

And


we're

far

from


blue.
23
Toledo Steel
Chorus
Repeat Rap
Toledo, Toledo. The loving embrace of the steel.
Toledo, Toledo. You cannot deny its appeal.
Chorus
Rap
Let me tell you how I’m gonna set you free
I’m talkin’ about an opportunity.
This ain’t no question of morality
it's simply a matter of legality.
So why be a victim all of your life?
Just pull out the steel and
slip in the knife.
The rights and the wrongs are inconsequential.
The name of the game – fulfil your potential.
Do the deed and you can make him feel
the sweet caress of Spanish steel.
I’ll make it easy for you if you don’t understand –
it's a one way ticket to the Promised Land.
Chorus
Toledo, Toledo. The loving embrace of the steel.
Toledo, Toledo. You cannot deny its appeal.
24
Toledo, Toledo. The loving embrace of the steel.
Toledo, Toledo. You cannot deny its appeal.
It’s a one way ticket to the Promised Land.
Chorus
Toledo, Toledo. The loving embrace of the steel.
Toledo, Toledo. You cannot deny its appeal.
You cannot deny its appeal.
Toledo Steel









1.



2.

 


 


To
8




 
le - do,
14







   








the





 
peal.
23



set



Let

  

you
em - brace


free,

 

 



me

I'm talk - in'

of
the



tell
you


a - bout


 





 
 




You can - not
de - ny




I'm
gon

how

To
To





an

 
steel.

 



  


le - do,

 



-



To - le - do




lo - ving


le - do,
20


 


 




its



op - por - tu - ni - ty.
ap-

-
na

  
This
25
2
26




ain't
29
no





gal - i
32

 
pull
35

 




out

ques -





-
ty.

 
the steel


 
Do
26

the


deed


tion



of



So
and

why



 
in

vic - tim

 
the knife.

the name of the

you

can



make

him


game



feel

It's


sim - ply

all
of
rights





a
of le -




life,



the sweet

the wrongs

 
ful - fil your po - ten

just


and

mat - ter



  


your






The




 







slip


a

 
ty,


be

and




mo - ral - i -

in - con - se - quen - tial
38


 








-


ca - ress
are


tial.

of

3
41

44







Span - ish

 
steel.


 

 
I'll
make



one way tick - et to the
 
50




  


CODA
    
   

can - not
de - ny
its
it ea - sy for

you


 


ap - peal.



if you don't un - der - stand,
To - le - do,
a
  
  


the



   




To - le - do
to the Prom - ised Land.





 




  
  
ap - peal.
 


it's
To - le - do,

 





It's a one way tick - et
its

 

  
  









      
 




    

Land.




     
    




To - le - do,

de - ny



 





You can - not
   
    

the steel.

   
   

 
Prom - ised
2nd time to Coda
57
 

 
lo - ving em - brace of
62


Tol
   
   

You can - not
   
    

de - ny
its





ap - peal.
27
Barracuda
Verse 1
Verse 3
Stephano:
Stephano:
I’ll be your royal sovereign, and rule across the land –
get married to Miranda and she will hold my hand.
Should anybody ask us how this has come to pass –
I would give the answer: it all comes down to class.
Chorus
Extended chorus
And I would be ‘Your Majesty’,
they call me the big barracuda.
We’re living in a paradise as you can plainly see
here on the island of dreams.
And I would be ‘Your Majesty’.
(They call him the big enchilada).
The call me the big barracuda (bada-boom)
The top banana (bada-boom)
The fat piranha (bada-boom)
We’re living in a paradise as you can plainly see,
Here on the island of dreams.
Verse 2
Caliban:
You are my royal master, on that we can agree.
I’ll be your loyal monster and serve on bended knee.
Coz that’s the way we like it, that’s how it’s meant to be
and I would be as happy as the fishes in the sea.
Chorus
And I would be ‘Your Majesty’,
they call me the big barracuda.
We’re living in a paradise as you can plainly see
here on the island of dreams.
28
I’d love to do my duty and wear the royal crown.
The soldiers will salute me, I’ll look them up and down.
They know their royal sovereign is always in demand,
and every now and then they’ll say ‘Your wish is my command’.
Extended chorus
And I would be ‘Your Majesty’.
(They call him the big enchilada).
The call me the big barracuda (bada-boom)
The top banana (bada-boom)
The fat piranha (bada-boom)
We’re living in a paradise as you can plainly see,
Here on the island of dreams.
Here on the island of dreams.
Here on the island of dreams.

 





1. I'll
be your
(2. You) are my
(3. I'd) love to
5



  

Barracuda











a - ny - bo - dy
that's the way we
know their
ro - yal
9






and
and
I'll
ask
us
like
it
sov - ereign
 


how
that's
is







   

 
and rule a - cross the land.
on that we can
a - gree.
and wear the roy - al crown.
she will
serve on
look them





ro - yal sov - ereign,
ro - yal mas - ter,
do my du - ty
mar - ried to Mi - ran - da,
be
your lo - yal
mon - ster
sol - diers will sa - lute
me,
7
 











hold my hand.
ben - ded knee.
up
and down.


this has come
how it's meant
al - ways in


 
to
to
de -
pass,
be
mand,
get
I'll
The
Should
Coz'
They


and
and
3rd time to

 

I would
I would
ev - ery


give the
be
as
now and

 
ans
hap then


wer,
py
they'll

as
say




"It
all
comes
the
fish - es
"Your wish
is

down
in
my



 
to
class."
the
sea.
com - mand."



And
29
11
Chorus (after verses 1 and 2)


 




I would be
15



 
li - ving
17


 

here
20


 
the

a



on


30


call
par -
is - land

(They




me
the
big
bar

a -
dise

-

 

as














We're


can plain - ly
   



2. You
3. I'd





call
him
the
big
see,


I
would





cu - da,





be



 




the


'Your
 
en - chi - la - da.)
(bad - a - boom)

-

you
dreams.
ra







 Chorus (after verse 3)


 


of


they call me the big bar - ra - cu - da.





   

ma - je - sty,'

ma - jes - ty'.
23




in



'Your



They

top


ba - na -
25
(bad - a - boom)


 
-
27
 



34
1.
   





Here


on
 
a par - a - dise

 
 

dreams.

 
 

the
li - ving in
30

na,


 

And

the



is - land


of

fat
 


pi - ran




-


as you can plain - ly
2. 



dreams,















We're




see,




ha.
here on the


(bad - a - boom)

here

 
is - land

on


of



the





is - land of


dreams.


dreams.
31
Brave New World
Verse 1
Middle section
I can’t believe the wonder of it all.
I waited, oh so long for love to call.
It’s a brave new world
with a brand new girl,
and a boy who wears his heart upon his sleeve.
Let me tell you now…
I can’t believe the wonder of it all.
(The lightning and the thunder of it all).
I can’t believe the wonder of it all.
(The lightning and the thunder says it all).
And every time I look at you
my heart just skips a beat,
and if a girl like you could love a boy like me,
what a brave new world it’s gonna be.
Chorus
Oh I love you so (oh I love you so)
I’m never gonna let you go (never gonna let you go)
Oh I love you so (oh I love you so)
I’m never gonna let you go (no no no)
Verse 2
It seems to me there’s magic in the air.
I’m overcome by one so debonair.
It’s a brave new world
with a brand new girl,
and a boy who wears his heart upon his sleeve.
32
Chorus
Oh I love you so (oh I love you so)
I’m never gonna let you go (never gonna let you go)
Oh I love you so (oh I love you so)
I’m never gonna let you go (no no no)
Brave New World
 
 









   




1. I
can't
(2. It) seems


7


won ma -


11


16



der
gic
for love
so


with a

it
the




call
nair.



girl,





   
and







It's



I
I'm





all.
air.
to
de - bo -
brand new




of
in

long
one
 







a


a

 
boy who

wears


 

be - lieve
to
me
the
there's
  


wai - ted, oh
o - ver come
so
by


  
brave new



   
world


   
his heart




up - on his


sleeve.

33
2
to Coda
      

20




 

24


Let





 



 


34



me tell you





 

ne - ver gon - na let you
27


   



oh I love you




so.



now,
oh


(ne - ver


I



gon - na


let you


go)


Oh,
No,

I'm ne - ver gon - na let you go.


no,


so,

I

 





    


oh I love you

 

 





love you so,
go.
  



  


 

I'm







love

  
no.
you
CODA
 
 

so,
so,
        


2. It
I


31
 


3


can't
35










be - lieve




  
can't be - lieve




 

And ev - 'ry

time





it


all.
and

I look at

you


    
and thun -
der
it

 
my

heart

all.



 

I

says it
 
all.








of




 

the thun - der


  
 

The light - ning


all
 


 



it



The light - ning
the won - der of

 
 

of



   

 
39

the won - der








just skips

a

beat
 

35
4
43


 


 





and if a girl like you
 

48


 
world
 

53

36




 
it's


could

   

gon - na



be.
ne - ver



love




 





 



a
gon - na


let you

go,
 

boy

like




me,


gon - na
  

let

I
  

you


love you




go,
 
Oh, I

so,
 


so,



what a brave new
oh


 
   

Oh I love you





  

ne - ver




I'm







love
you
so,
so,
56

  


 


5



    

 
58
No,
   




oh
I

love


so,


     
no, no.




you







I'm



ne - ver




gon - na




let


you

go.


37
Spellbound
Introduction
Link to verse 3
Ah mmm ya waya ya wa ya yeh
Ah mmm ya waya ya wa ya yeh
Ah mmm – ah. We are such stuff as dreams are made on.
Ah mmm. And our little life is rounded with a sleep.
Verse 1
Verse 3
Prospero:
Ferdinand and Miranda:
I dreamed that I had found the answer,
a magic book could set me free.
But now I’ve come to understand
that I was just spellbound,
and if you’re a prisoner of your dream
then no meaning can be found.
Verse 1
Antonio and Sebastian:
Toledo steel, Toledo steel,
the finest in the land,
but now it means no more to me
than a castle in the sand.
Stephano:
Ending
I dreamed that I’d be top banana.
Ah mmm – ah. We are such stuff as dreams are made on.
Ah mmm. And our little life is rounded with a sleep.
Ah mmm – ah. We are such stuff as dreams are made on.
Ah mmm. And our little life is rounded with a sleep.
Ah mmm (ya waya ya wa ya yeh).
We are such stuff as dreams are made on.
Ah mmm (ya waya ya wa ya yeh).
And our little life is rounded with a sleep.
Ah mmm (ya waya ya wa ya yeh).
Ah mmm (ya waya ya wa ya yeh).
Ah mmm (ya waya ya wa ya yeh).
Caliban:
I’d serve my Lord on bended knee.
Trio:
And all the time we wandered round
like fishes in the sea
and now all our dreams have broken down,
what is lost cannot be found.
38
I dreamed that joy could last forever,
A brave new world where love is all.
Spellbound
  
All  


 







 






 







Group 1
Group 2
Group 3
 
All 
10


Group 2
Group 3















  
 

Aa mmm





 



  
ya - wa - ya


ya











   

ya - wa - ya
 
ya






wa - ya - yey



 


  
 
Ah mmm

  
 



wa ya - yey


1. I
2. I
3. I


dreamed
dreamed
dreamed




that
that
that

I
I'd
joy



had
be
could


found
top
last



the
ans
ba - na for
e -

39
15
All






-
wer,
na.
ver,
-
21
All

 




All
40







 


a
I'd
a


But now I've
And
all
the
To - le - do
24







and
and


if
now
but



you're a
all
our
now
it

stand
round
steel,


pris dreams
means

oner
have
no

of
bro
more




I
was
fish - es
fi - nest



-
your
ken
to



free.
knee.
all.

that
like
the


set
me
ben - ded
love
is





could
on
where







book
Lord
world
to
un - der we
wan - dered
To - le - do
come
time
steel,


ma - gic
serve
my
brave new





just
in
in

spell the
the



bound,
sea
land,


dream
down,
me

then
what
than

no
is
a
 
All 
27


Group 1
Group 3


32





stuff





be
be
the

1.

found.
found.
sand.

as




2.





 




dreams


are

made


on,






with


a


sleep.














 
 

We



and

 

our


lit - tle




 
Aa
mmm



such

life





is


We

are




mmm







Aa


Aa mmm






roun - ded
Group 3

can
mean - ing
lost
can - not
in
cas - tle
 
Group 1 

36
3rd time to




 
Group 1 
Group 3



are


such

41
 
Group 1 
41




stuff
Group 3

as
dreams







with







a
sleep.




on,




 

on,
 









and

 
 
Aa mmm


  
 
our


lit




- tle
life


our




are




is


as
is


dreams




such stuff
 
are

made




life



lit - tle
mmm











 
We


and
Aa mmm
 
Group 1 
 
42
made



roun - ded
Group 3
are


Aa
45
50


 
Group 1 

Group 3




roun - ded


with


a


sleep.






 

Aa
 
Group 1 
55


Group 2
Group 3









ya - wa - ya

ya
 







mmm


such





ya

our





stuff
as



dreams

 
  


are made
  

ya - wa - ya


 
diminuendo
ya wa - ya
-


on,
 
yey
diminuendo

  

Aa

ya - wa - ya






wa - ya - yey
and
Group 3


  
Group 1 
Group 2

We are
mmm
59

diminuendo





lit - tle

life




wa - ya - yey



is


roun
-
ded



ya - wa - ya



 



with a
  
ya
sleep.

wa - ya -

43
 
Group 1 

62
Group 2










yey
Group 3
44
 







Aa



ya


-
mmm

wa
-

ya

ya



wa
-

ya
-



yey



Repeat twice
Repeat twice
Repeat twice
(Omit last time)


 
Aa



Sea Change
Verse 1
Verse 3
Ferdinand and Miranda:
Caliban:
We’re gonna walk, we’re gonna talk
we're gonna step right up and say:
‘We’ve got everything we need
we're gonna get married today!’
Verse 2
Prospero
I’m comin’ back, I’m goin’ home
My dreams have all come true.
Look out kingdom here I come
I’m comin’ on home to you.
Middle section
Courtiers, Trinculo and Stephano:
I’ve seen the light
I’m here to stay –
seen the error of my ways.
I was lost and now I’m found
I’m ready for the judgement day
Chorus
A sea change is comin’,
A sea change is comin’,
A sea change is comin’ to us all
A sea change is comin’ to us all
Yes a sea change is coming to us all (woah ooooo).
Middle section
Courtiers, Trinculo and Stephano:
Was a day we’d find a way
to do bad things to you,
but now our sins are washed away
and we’ve been made brand new.
Chorus
Was a day we’d find a way
to do bad things to you,
but now our sins are washed away
and we’ve been made brand new.
A sea change is comin’,
A sea change is comin’,
A sea change is comin’ to us all
A sea change is comin’ to us all (oh yeah).
Chorus
Chorus
A sea change is comin’,
A sea change is comin’,
A sea change is comin’ to us all
A sea change is comin’ to us all.
(pianissimo) A sea change is comin’,
A sea change is comin’,
(crescendo) A sea change is comin’ to us all (oh yeah)
(slow) I said a sea change is comin’
Yes a sea change is comin’ to us all.
45
Sea Change


 






 
12


  
Was
16

46


a

now our
the
day

sins

walk,
back,
light,
  
We've
Look
I
we'd
 
are
find

washed

a

way

a - way




talk,
home,
stay,


thing
here
now
we're
I've

got ev - ery out king - dom,
was lost and


 



to
 
and

2. I'm

we
I
am
do

bad


we've
things



 
been
made
you.

brand

new.
we're
I'm
I'm

you.
day.
to



need,
come,
found,
 
com - in'


gon - na
my
seen
the
2.3.



   
repeat 1st time only
mar - ried to - day.
home
to judge
ment
-

  
we're gon - na
I'm
go - in'
I'm here
to

1. 


 



  



and say,
come true.
my ways.
 
get
on
for
gon - na
com - in')
seen
the)

up
all
of

gon - na
com - in'
rea - dy



step right
dreams have
er - ror
9

1. We're
(2. I'm
(3. I've
5
 
   





But

  
2nd time to
A
20

 

sea
24

sea


 

change

  
com - in'
34
to

   
sea
39


change



change

 
29






is
com


is

-
com - in'
  
to

us
is

 
a
a
all.


all.


3. I've seen
com - in',

  
sea
   







change
sea
D.S. Verse 3


a




change

us



in',

   



   

sea
the

change
is

com

-
is
com - in',







is
 
com - in'
a


sea
in',

to
us


change
is
 
  
-



sea change

com
a
  
a

  



   
in',
 
 
is

change





sea



 Chorus
    


 


a


all.


is

com
47
43

crescendo
 
 

- in',
48



sea

56


 
-
48
a


change

   
52

 

 


is
a tempo
 
A
sea

com -

 


in',

sea
a sea
is



change
is

is


yes
 
change

 


a
sea

 
com - in',



 
com - in',
us






to us
a

 
sea



 
to us

change
    
all.


I said
com - in'
 

 
 
all.

chan - ge's


     
to
Slow ad lib.
 
  

 

com - in'



     

change


in'





a
 
all.

is



com