Everything you need for class assemblies in one ready-to-use pack. Fourassemblies specially tailored for Year 2 with accompanying songs andmusic as well as ideas for dances costumes and sets with supporting teaching notes. Four complete class assemblies for Year 2 carefully designed to take the stress out of whole-class performances. Each assembly is based on a story which links to literacy topics as well as cross-curricular themes. The stories are semi-scripted allowing the class to join in with lines actions and choral speech. Supporting teaching notes provide ideas for sets costumes and dances as well as advice for preparing the performance and forlinking the assembly to classroom work and SEAL themes. The accompanying audio CD provides music for entering and exiting the assembly performance and backing tracks for the songs and music for optional dances. No music reading required.

A Manual of Techniques and Possibilities for the Adventurous Improvising Musician. Par KANE DAVID. Sure - everybody has an opinion on how to play ?outside?. But until now, no one has made an in-depth exploration of the commonalities and differences in how the greatest jazz players on the planet have incorporated their inspiring, harmony defying techniques. With Playing Outside the Chord, David Kane invokes a thoughtfully curated selection of transcribed phrases that take the reader beyond the simple mechanics of what is being played and offer revelatory insights into what the players are (or might be) thinking when they play it. It?s a daunting, seemingly impossible objective; yet here it is, beautifully examined, notated, and explained in an accessible way that every musician can understand. 'This book is a treasure trove, full of important information on chromaticism and its usage. From Bach to Schoenberg, Dave covers a lot of ground and the book is very well organized. He specifically addresses the melodic aspect of improvisation, including lines and phrases, rather than the usual emphasis on harmony. What's special is that he explores the ?feeling? and overall effect of the lines on the listener. This book is all you need as a working guide towards understanding the implications of 20th century jazz and classical music.? -David Liebman LEVEL-UP!!! If you?re feeling uninspired, stuck, or limited by your current play, this is the perfect book to help you break those chains, stimulate your creativity, and take your playing and composing in compelling new directions. Enthusiastically endorsed by modern jazz luminaries such as David Liebman and Richie Beirach, Playing Outside the Chord is devoted to melodic phrasing that transcends conventional chord/scale relationships. This exciting technique incorporating the theory and practice of horizontal playing and extended tonality pioneered by jazz titans such as Michael Brecker, Cory Henry, John Scofield, Brad Meldhau, and Jacob Collier is a vital component of the modern jazz performance and improvisation toolbox. Featuring over 200 musical examples gleaned from classic solos, plus 15 extensive transcriptions of legendary performances, this book is skillfully designed to clue you in on the theoretical basis of ?outside? play as practiced by these trail-blazing musicians. It systematically describes each type of technique used, including timing and source considerations, and by doing so unlocks a wealth of modern ideas that offer rich possibilities for the creative improviser. Kane?s insightful treatise on outside playing represents an important expansion of the ideas available to the dedicated student of improvisation. / Date parution : 2022-04-01/ Etude / Tout Instrument

MUSIC & MÚSICA es una metodología que abarca los 6 cursos de Educación Musical de la etapa de Educación Primaria. Esta metodología nos presenta dos novedades fundamentales: 1. El tratamiento bilingüe de todo el material lo que hace que la metodología pueda ser utilizada tanto por un profesor que quiera impartir el área de música en inglés como por otro que la quiera impartir en español. 2. La audición activa y lúdica de piezas del repertorio clásico como eje alrededor del cual van a girar todas las actividades de cada Unidad Didáctica. De esta forma se dasentido musical y una visión global a los conceptos musicales que se trabajan. Pedagogía Musical DVD

Par BRYANT ANN. This book is ideal for primary teachers with little or no experience of teaching music. It will also offer fresh ideas and inspiration to the most experienced music specialists. 'Teaching Foundation Music' is the first of Ann Bryant's music work schemes for primary teachers. The book includes lots of songs and rhymes with flexible lesson plans built around them as well as a CD of performance and accompaniment tracks to accommodate teachers with limited keyboard skills. This scheme offers guidance for those with no formal musical training and will build the confidence of all primary level teachers. The lesson plans are completely flexible and can accommodate mixed age and mixed ability groups, making them perfect for schools with more than one intake. Any teacher will benefit from Ann's broad experience and imaginative ideas and Children will love getting involved and singing the wide range of original songs and rhymes that have been incorporated into this structured and accessible set of lesson plans. Following Ann Bryant's training at the Royal College of music and her postgraduate course in Dalcroze Eurythmics, she has taught music movement and Drama to young people both here in the U.K and in Europe. For the last fifteen years Ann has specialised in Foundation and Key Stage 1, developing a unique and dynamic style of teaching. Author of the award-winning 'Teaching Key Stage 1 Music' (best New Music Product - Music Industry Associations Awards 2002), she has also established a highly successful career as a children's author./ Méthode / Formation Musicale

L?Opus 5 de Musicologies nouvelles est le premier à s?affranchir des thématiques régulièrement abordées dans notre revue, liées aux sujets du baccalauréat et du concours d?agrégation, que nous continuerons à traiter dans les prochains numéros. Il inaugure un projet éditorial que nous espérons pouvoir développer à plus long terme, visant à offrir une image des tendances et des centres d?intérêt les plus marquants dans la musicologie d?aujourd?hui. Livre 21 X 28 cm 140 pages L?Opus 5 de Musicologies nouvelles est le premier à s?affranchir des thématiques régulièrement abordées dans notre revue, liées aux sujets du baccalauréat et du concours d?agrégation, que nous continuerons à traiter dans les prochains numéros. Il inaugure un projet éditorial que nous espérons pouvoir développer à plus long terme, visant à offrir une image des tendances et des centres d?intérêt les plus marquants dans la musicologie d?aujourd?hui.

Musician?s Union Practice Diary is a must-have practice diary for all instrumental and singing teachers based on Paul Harris? renowned Simultaneous Learning strategy (which develops musical insight by making connections between all aspects of musicianship). Diary pages for a teaching year feature Focus for the week What we did in the lesson and Practice connections boxes. In addition there are inspiring Practice Starter pages and Holiday projects ? plenty of fun and inspiring ideas to get students practicing the Paul Harris way! The Musicians? Union is the representative organisation for musicians working in every area of the progression. Thisdiary is one of a series of resources provided to assist members in their work.

5 Simple Strategies for Developing Jazz Language and Fluency. Par GABRIC LUKAS. According to musician and musicologist Gunther Schuller, 75% of all harmonic movement in jazz consists of ii-V-I progressions. Consequently, for the jazz improvisor, it is extremely important to be capable of playing a coherent phrase based on any member note of the ii chord and its extensions, in any key. In this book, music educator and world-renowned jazz saxophonist, Lukas Gabric focuses on helping you develop this essential skill.The five strategies outlined in Jazz Course for All Instruments are specifically designed to enhance your vocabulary and fluency as a jazz improviser. In a key segment, Gabric explains how longer phrases can be generated by combining minimal source materials. He also seeks to further your transposition and memorization skills as well as instrumental technique?all of which are required for effective improvisation. For those familiar with other styles of music, this reasoned, incremental approach could well open the door to the exciting world of improvised jazz. / Date parution : 2022-02-03/ Théorie / Tout Instrument

12 excellent topic-based songs-Sing! Play! Learn! with Go Kid Music brings you 12 excellent songs that teachers and children will love! Based on popular Key Stage 2 topics these catchy tunes enable primary class teachers to teach music while supporting learning across the whole curriculum. Each song comes with an easy-to-follow teaching video with on-screen lyrics and demonstrations of Makaton signs performance and backing audio PDF lyrics for whiteboard display and teaching notes. In addition many have optional percussion parts which are also demonstrated on the videos and there?s a selection of warm-ups and focus-builders to get everyone ready for singing! Written with thegeneralist class teacher in mind the accompanying notes are divided into three main sections: SING ? Straightforward step-by-step instructions to help you teach the song from scratch; PLAY ? Ways to use the song to meet the requirements of the Primary Music Curriculum and First Access (Wider Opportunities); LEARN ? Creative extension activities relating to the song or topic. Supports the National Curriculum for Music Topic-based approach Ideas for First Access (Wider Opportunities) Supports SEND (via Makaton signs) No music reading required Promotes physical activity Ridiculously fun! ?What a lovely voice Al Start has and I love the way she uses real instruments to accompany her songs? ~ Julia Donaldson

Ready-To-Use Lessons and Reproducible Activities-Here's a fantastic resource for busy music teachers everywhere ? a curriculum teaching the basics of music theory in a practical easy-to-use reproducible kit that's ideal for choirs bands general music classes andorchestras.Each of the thirty lessons includes basic music concepts presented in a logical sequence with explanation vocabulary activity and practice all correlated to the National Standards. There are evengames and extension activities to encourage creativity and composition. Can be used for whole group small group or individual study. For Gr. 4-8.

A resource for all teachers and leaders involved in Wider Opportunities and group music-making.Written by two of the UK's leading music educationalists: Paul Harris and Leonora Davies MBE.Provides practical strategies and advice to enable class teachers instrumental teachers and music services to deliver a holistic primary music curriculum at Key Stage 2 and into Key Stage 3.Essential and unique; based on years of experience and thorough research; takes into account recent findings from Ofsted's 'Making More Of Music' report.Supports the five key aims of the Music Manifesto.Topics covered: Teacher roles; Basic principles of teachingbeginners; Differentiation; Expectations for achievement; Evaluatinf pupils' work; Transition and the relationship to the Key Stage 3 curriculum; Involving parents/carers; Creating and refining lesson plans and Trouble shooting.Also includes: 10 lesson plan exemplars for wind/brass and strings; starter repertoire and songs; enhanced CD comprising of backing tracks and PDF lesson plans.Supplementary material available online in association with Yamaha and Pure Solo.

A lively and exciting cross-curricular song by Suzy Davies exploring the wonders of our bodies as applicable to studies in Science as well as Music!This excellent resource offers an opportunity to enliven topic work through song and includes: Key facts reinforced with superb music Photocopiable lyrics CD of backing/teaching/performance tracks Full Piano and Vocal score Dedicated website support Fulfills QCA Music Scheme Unit 20 Performing Together.

Lorsque nous aurons réussi à donner à l'enfant une base auditive sensorielle et que nous l'aurons amené à réagir affectivement aux divers éléments sonores, nous pourrons entreprendre le développement musical sans risquer de faire un faux travail. Gamme, sens tonal, intonation, lecture et écriture se révéleront tour à tour comme un épanouissement normal, comme une prise de conscience qui vient à son heure.

Edgar Willems (1)


L'idée d'une base auditive sensorielle représentant un préalable indispensable à toute éducation musicale est sans doute le point commun le plus marquant reliant les courants pédagogiques musicaux du XXe siècle. De Kodály à Willems, de Martenot à Dalcroze, en passant par Orff, toutes ces pédagogies, aux sensibilités pourtant bien différentes, se rejoignent en effet lorsque se pose la question du sens donné à l'enseignement de la musique. C'est bien par le ressenti que l'enfant peut discerner, mémoriser, reproduire pour ensuite analyser, comprendre et même transmettre. Puisque, comme l'écrivait si justement Maria Montessori L'enfant nous demande de l'aider à agir tout seul , nous nous sommes posé, lors de la conception de cet ouvrage, la question suivante : comment proposer à l'enfant, et ce dès le début de son éducation musicale, une méthodologie l'amenant à être le plus autonome possible, à s'ouvrir sans inhibition aux différents paramètres sonores, à découvrir de vastes répertoires, à appréhender de manière ludique l'acte musical, sa lecture, son écriture, pour faire sienne cette maxime de Guillaume de Machaut : Et Musique est une science qui veut qu'on rie et chante et danse ?
Nous avons choisi de structurer cette méthode en chapitres se composant chacun d'une partie rythmique et d'une partie mélodique.

1. Par rythme, nous entendons tout d'abord l'éveil à la pulsation et à la durée, au sentiment mesuré et à la battue de mesure, à la carrure et à la conscience des phrases musicales et de la forme. En ce sens, nous proposons un éveil rythmique axé autour des longues et des brèves ( courtes ) permettant ainsi à l'enfant d'asseoir sa pulsation tout en ancrant les notions de binaire et de ternaire. Cela permet aussi d'éveiller son sens de la prosodie et des métriques dites irrégulières, proches notamment des répertoires populaires de l'Europe de l'Est.
Bien entendu, toutes les formules rythmiques constituant le programme usuel d'une première année sont abordées. Nous tenons à ce que l'élève s'imprègne ainsi du système rythmique au sens large du terme et développe en conséquence une réelle autonomie de jeu et de lecture. Les rythmes sont abordés avec des exemples variés issus de nombreux répertoires. En changeant ainsi les contextes, l'enfant dissocie les notions essentielles du rythme et du tempo qui lui est associé.

2. Les chapitres mélodiques ont pour vocation d'éveiller la vocalité et de développer l'écoute intérieure. Une attention toute particulière est donnée aux textes vocaux, issus notamment des répertoires traditionnels (chansons, comptines...).
La découverte de l'échelle musicale se fait en partant du La du diapason, dont on ne saurait trop encourager l'usage. La lecture se fait en lien direct avec le son : on doit entendre et chanter ce qui est lu. Nous proposons pour cela une écriture ludique constituée de cubes permettant de relier l'oeil à l'oreille de façon plus immédiate. Ne voulant pas bloquer l'enfant dans un seul système de lecture, nous proposons d'axer le travail autour de la lecture relative, qui permet d'être tout de suite à l'aise dans les clés les plus usuelles, tout en montrant l'importance du ressenti de l'échelle diatonique composée de tons et de demi-tons. A ce titre, l'éveil aux différentes modalités nous paraît essentiel - ainsi l'on trouvera nombre de textes issus du répertoire ancien, et grégorien en particulier. Partant de la construction de la portée, ligne par ligne, nous pensons aider l'enfant à se familiariser avec les hauteurs et à comprendre et mieux maîtriser la construction de l'écriture musicale.
La conscience des intervalles est éveillée par la technique de la note imaginaire , qui permet à l'élève de construire l'écart entre les notes, de fixer les hauteurs et de développer une empreinte sonore préalable à l'acte vocal comme à l'acte instrumental.
Des travaux d'écriture sont d'ailleurs proposés tout le long de l'ouvrage : petites dictées, écriture en clés de Sol et de Fa, transpositions... L'oreille harmonique est aussi développée par des jeux autour des cadences qui représentent la ponctuation du langage tonal. Il en va de même pour la conscience des timbres instrumentaux.

Le solfège proprement dit consiste à chanter en nommant les notes et en battant la mesure , écrivait Albert Lavignac ()2. Bien qu'un peu réductrice, cette phrase démontre que la question d'un solfège relié directement à la musique se posait déjà au XIXe siècle, reprenant aussi les idées pédagogiques déjà présentes dès la Renaissance. Nous avons souhaité inclure dans l'ouvrage les données théoriques essentielles, tout en les reliant directement à l'événement sonore. Ainsi, elles prennent du sens et la théorie devient vraiment musicale .
Fruit de notre expérience, de l'étude des courants pédagogiques et d'une recherche de répertoires tant variés qu'appropriés, L'Ouverture à la musique propose au professeur et à l'élève, enfant ou adulte, de débuter son apprentissage musical en se plongeant d'emblée dans la matière sonore, en goûtant au plaisir de la découverte et de l'expérimentation.

Benoît Menut, Pierre Chépélov

(1) Edgar Willems, L'Oreille musicale, tome 1 La préparation auditive de l'enfant, Fribourg, Editions Pro Musica, 1977, p.136.
(2) Albert Lavignac, L'Education Musicale, Paris, Charles Delagrave, 1902, p.24. / Partition CD /

Music Express Early Years Foundation Stage is a fantastic new edition of a long-established resource for Early Years practitioners. The new edition incorporates the whole Early Years age range from birth to five and includes old favourites alongside exciting new songs rhymes and activities. Authors Sue Nicholls Sally Hickman and Patricia Scott have fully revised this edition to support the 2012 Statutory Framework for the Early Years Foundation Stage curriculum.Music Express Early Years Foundation Stage comprises a book and three audio CDs and is supported by videos graphics and lesson plans on the Early Years section ofthe Music Express website. Forty-two starting points and holistic activities guide the practitioner through the revised curriculum for Early Years from birth to Early Learning Goals. Arranged in popular themes within the areas of learning and development the content ranges holistically from songs stories and rhymes to dances and games for indoor and outdoor learning. The fresh new design incorporates photographic images of children in real play situations and includes new features such as ideas for child-initiated learning and parent participation plus even more activities for exploring the outdoor environment. Music Express Early Years Foundation Stage was a 4-star winner in the Teach Early Years Awards 2018. ?This resource offers simple enough songs that even the youngest children can actually sing and participate in making the music.? ?It features a good range of musical activities including creative opportunities for dance instruments and singing all clearly set out in age-specific sections.? Judges? comments Teach Early Years Awards 2018

This series of competitively prices workbooks is a carefully graded to assist students intending to attain the relevant ABRSM standard. Every aspect of the theory for grade 3 is introduced gradually for ease of learning, and are clearly laid out with simple instructions explaining the principles for each section thoroughly. There is plenty of ooprtunity for the pupil to fill-in along the way, thus providing the perfect gradual method for learning.

This series of competitively prices workbooks is a carefully graded to assist students intending to attain the relevant ABRSM standard. Every aspect of the theory for grade 1 is introduced gradually for ease of learning, and are clearly laid out with simple instructions explaining the principles for each section thoroughly. There is plenty of ooprtunity for the pupil to fill-in along the way, thus providing the perfect gradual method for learning.