Faber teach & play
Faber Teach & Play
Faber Music Ltd Burnt Mill, Elizabeth Way Harlow, Essex CM20 2HX United Kingdom T: +44 (0)1279 828989 F: +44 (0)1279 828990 e:
[email protected] w: fabermusic.com | fmdealers.com (trade)
M00045
Table of Contents Simultaneous Learning by Paul Harris 2 Motivation by Pam Wedgwood 6 Getting the Basics Right by James Longworth & Nick Walker 12 Ukulele for Young Players by Lorraine Bow 16 Faber Graded Rock & Pop Series by George Double 20 Sight-reading in Exams by Jessica O’Leary 24 A World Full of Rhythm by Mary Cohen 28 Becoming a Jazz Musician by Ned Bennett 34 Piano Treasuries by Dame Fanny Waterman 36 School Musicals by Lin Marsh 40 Singing Schools by Alexander L’Estrange 46
Welcome to Faber Music’s Teach & Play This catalogue, alongside the accompanying price list, covers many important educational and pedagogical subjects through the eyes of some our most distinguished authors. It also highlights the publications that support this thinking and provides valuable resource to both teachers and learners. Faber Music has a long and rich tradition within educational music publishing, and we believe our close association with leading music examination boards helps to give our titles academic rigour and provide support in preparation for assessment. We do hope you enjoy reading these thought provoking articles. You may question some of the concepts and ideas that are proposed and discussed – these are all positive reactions as we aim to provide stimulating reading that supports and enhances creative, proactive teaching and learning. Faber Music | Teach & Play
Simultaneous learning by Paul Harris Teaching should be a positive, stimulating, imaginative and effective process. Do you agree or disagree? Of course you agree! But many teachers find themselves buried deep in the negative world of reacting to pupils’ mistakes or poor work, or trying to meet unrealistic exam or concert preparation deadlines. These teachers are simply teaching as they were probably taught. For most pupils that way doesn’t work. We need to find another approach. There is another method, which I call Simultaneous Learning. It is a pro-active (rather than reactive) approach based on the brain’s natural desire to learn organically. I have written extensively about it and so here I’ll just mention its basic principles. It’s about creating a flow of continuously achievable and appropriate musical activities that lead to real understanding and ultimately produce independent- and positive-thinking learners. Each activity is set up (pro-actively) from a point of knowing what the pupil already understands and can already do, and each subsequent activity then follows on naturally, sequentially, progressively and successfully. These activities explore (through simple musicianship exercises and improvisation) all the various features of music (as appropriate) to build a really strong understanding (key, scale, rhythm, improvisation, technique, intonation and so on). As we move forward in the lesson we (instinctively) make the appropriate connections that help pupils to build a real understanding of whatever it is they are learning. Everything connects! (And
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teaching should be a positive, stimulating, imaginative and effective process
that’s the way our brains work best, too.) We build these connections through identifying and working via the relevant ingredients. We might pick out key, rhythmic patterns, markings and character, and base the activities around these ingredients, mixing, matching and experimenting with them before finally putting them back into the piece when they are really understood. Thorough learning will have taken place and mistakes will be few and far between. Both parties are working positively, imaginatively and effectively and are having a good time! There is still an important place for reactive work – we may ask a pupil to play a whole phrase or section – but this is set up carefully and pro-actively. Very little is left to chance. We are in control and we are always moving forward in a positive manner. SIMULTANEOUS LEARNING
PRACTICE MAP Paul Harris
M em ory
Im
prov
Techniq
Rhythm
Keys/Scales
Postu re
Title:
isin g
Character:
S ig
ht
in read
ue
Aur al
g
The
or y
Performing
ng teni L is
To purchase any of Paul’s publications, please visit www.fabermusicstore.com •
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What about practising? We simply extend the method: you can try it using my Practice Map. Imagine the piece in question is in G major, with a range of rhythms and markings. Write the title in the central box, including words to describe the character. Add the scale, appropriate rhythms and other markings in the appropriate bubbles. Pupils then work at the scale, connecting it with the rhythms. This can be developed into a little improvisation in the key, adding some other markings and character. Then perhaps some work on a sight-reading piece (carefully chosen for having the same key or rhythms or both!), and so on. Pupils will realise how it all fits together by adding lines to connect it all up.
Teaching the Simultaneous Learning way will cause our whole teaching life to become positive and highly satisfying.
Paul Harris’ new Practice Map pad is available from Faber Music. His latest publications include Improve Your Sight-reading! Piano Initial to Grade 5, specifically developed to support Trinity College London exams.
Paul Harris
studied the clarinet at the Royal Academy of Music with Professor John Davies, winning the August Manns Prize for outstanding playing; composition with Timothy Baxter, and conducting with Maurice Miles. He then went on to study music education at the University of London where he was a pupil of Professor Keith Swanwick. He now has over six hundred publications to his name; among them his latest best-seller, The Virtuoso Teacher, the Improve Your Scales!, Improve Your Practice!, Improve Your Aural!, and Improve Your Sight-reading! series, through which he has assisted thousands of young players worldwide to develop these vital musical skills.
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Books featuring Paul’s Simultaneous Learning approach: The Virtuoso Teacher By considering The Virtuoso Teacher and how a teacher might attain virtuoso status, renowned educator and writer Paul Harris delves into the core issues of being a teacher and the teaching process. A fascinating look at topics such as self-awareness and the importance of emotional intelligence, getting the best out of pupils, dealing with challenging pupils, asking the right questions, creating a masterplan, taking the stress out of learning and teaching for the right reasons. This seminal book is an inspirational read for all music teachers.
Improve Your Teaching! Energising and inspirational, Improve your teaching! and Teaching Beginners are ‘must have’ handbooks for all instrumental and singing teachers. Packed full of comprehensive advice and practical strategies, they offer creative yet accessible solutions to the challenges faced in music education.
Improve your sight-reading! The Improve your sight-reading! series of workbooks is available for 14 different instruments and is designed to help incorporate sight-reading regularly into practice and lessons, and to help prepare for the sightreading test in grade examinations. It offers a progressive series of enjoyable and stimulating stages which, with careful work, should result in considerable improvement from week to week. Supports the sight-reading criteria for both ABRSM and Trinity College London exams.
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improve your scales! The Improve your scales! workbooks not only contain the complete scales and arpeggios for the current ABRSM syllabus but also use finger fitness exercises, scale and arpeggio studies, key pieces, sight-reading, simple improvisations and plenty of top tips to help you play scales and arpeggios with real confidence.
Improve Your aural! Improve your aural! is designed to take the fear out of aural. Through fun listening activities, boxes to fill in and practice exercises, these workbooks and CDs focus on all the elements of the ABRSM aural tests. Because all aspects of musical training are of course connected, the student will also be singing, clapping, playing their instrument, writing music down, improvising and composing – as well as developing that vital ability to do well at the aural test in grade exams!
Improve your practice! The Improve your practice! books enable the student to develop ways of getting the most out of their practice sessions – whatever their length. Most importantly, the wider musical skills such as aural, theory, sight-reading, improvisation and composition develop alongside, resulting in a more intelligent and all-round musician. Practice makes perfect!
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motivation
by Pam Wedgwood
It’s is a huge responsibility for us, as teachers, to guide and inspire our pupils with well-balanced teaching that will ensure they are musically motivated. If we get the mix wrong and our pupils begin to lose interest then we must question and change our teaching strategies. During my 30 years of teaching I have been constantly on the search for new ideas to motivate my pupils. Here are some of my suggestions: Introduce music that the pupil really wants to play. This simple but effective strategy ensures steady progress, especially if you use the chosen pieces to introduce and consolidate aural and theory. If general musicianship is not dealt with from the beginning it’s always going to lag behind and the pupil will struggle when it comes to exam time. To help with the understanding of rhythm I work with my pupils on various instruments – the current favorite being my lovely set of African drums! We play rhythmic duets of new pieces – in my opinion an essential teaching tip at any stage. (In the absence of drums, clapping will also do.) Teaching pitch awareness is also really important and I have a few ways of incorporating this into lessons. Sing or play a note on the piano then ask your pupil to find it (they’re allowed three tries). I do this at the end of lessons – it’s amazing how much pupils improve in one term. You can also ask them to listen to household equipment (ambulance sirens, hair dryers and doorbells) and try to work out the pitch on the piano (my vacuum is in F). In addition there are some great apps that deal with pitch which are worth exploring. 6
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‘The only thing better than singing is more singing’. Being able to sing the notes is just as important as being able to play them, I believe, and it’s important to include this skill in lessons right from the start. Some pupils (especially boys) think that singing is not cool – you’ll need to find a song that sounds cool and they’ll soon start to enjoy the experience. At the end of a lesson you could also try singing the upper or lower notes of an interval (always keeping it simple!), and singing back a two-bar phrase of their ‘top’ piece. Learning theory can seem dull and uninspiring without the right approach. I teach my pupils on Sibelius: getting them to compose simple pieces by inputting all the information is a brilliant way of understanding theory and makes it much more fun. In lessons, don’t forget to use the pieces you are working on to discuss keys, accidentals, tempo marks, metronome marks and so on – always keeping it relevant and interesting.
the only thing better than singing is more singing
And finally, allow yourself to step outside your comfort zone and try some improvising with your pupils. Teaching your pupils modal and blues scales is a useful tool, or using the pentatonic scale on the black notes is a great way to start. You can do this from lesson one! Pam’s new piano method, Piano Basics 1 and 2, will be available in 2013, encapsulating her many years of teaching experience and understanding of how to motivate pupils from the very beginning. These books cleverly incorporate fun theory and aural work around great pieces which pupils will love, helping to develop a well-rounded musician.
Pam Wedgwood
Born in 1947, Pam’s musical career began with the recorder and piano, moving on to tenor horn and euphonium through the brass band tradition at her school. She then took up the cello and french horn, entering Trinity College of Music in London to study piano, horn, cello and composition at the age of sixteen. In 1988 her long association with Faber Music began with the publication of Jazzin’ About, a series that now numbers over 30 books and has featured on many an examination syllabus. Since then her output has grown to over 200 books including the successful Up-Grade! and After Hours instrumental series, the recorder method RecorderWorld and the adult piano method It’s Never Too Late to Play Piano. In the UK she has led many workshops for the European Piano Teachers’ Association and has inspired teachers in workshops as far afield as Singapore and Malaysia, Australia and New Zealand. Pam now concentrates on composing and teaching, though she is also a keen sportswoman and international traveller!
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Books by Pam Wedgwood: piano basics 1 & 2 Pam Wedgwood’s Piano Basics 1 and 2 takes you on your first steps to becoming a pianist and well-rounded musician. This unique method provides the building blocks to develop a sound technique in an imaginative and practical way, whilst also establishing essential theory and aural, as well as general musical knowledge. Packed with plenty of Pam’s toe-tapping, irresistible pieces, there’s no better way to learn the piano!
it’s never too late The ground-breaking It’s Never Too Late… series gives adults the opportunity to learn the piano or how to sing with methods devised especially for them. These best-selling tutors break the learning into manageable chunks, feature accompanying CDs and are packed with irresistible music and fascinating information: all the motivation needed to make learning fun!
piano for fun Piano For Fun is ideal as recital repertoire or just for fun as these 36 pieces are gently progressive and carefully tailored for Elementary Level players. A perfect introduction to a jazzy style of playing, the pieces in this compilation are taken from Pam Wedgwood’s Up-Grade series, featuring imaginative pieces from her jazz repertoire such as Cool Calypso, Lazy Days and Spider In The Bath.
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up-grade! Pam Wedgwood’s hugely successful Up-Grade! series provides instrumentalists of all ages with fantastic repertoire to bridge the gap between grades. Guaranteed to breathe new life into your playing, the varied pieces in these collections are designed to ease you gently on to the next grade. The series includes books for piano, wind and string instruments, with several other spin-offs specifically for piano, covering pop, jazz and Christmas repertoire.
jazzin’ about This incredibly popular, best-selling series has it all: cool syncopation, funky riffs and smooth, stylish tunes. Get into the groove as you cruise from blues to rock to jazz! There are a range of books suitable for different levels, from beginners - Very Easy Jazzin’ About, through Grades 0-2 - Easy Jazzin’ About, up to Grade 3-4 level - Jazzin’ About. The series is available for a wide variety of instruments as well as piano,including flute, clarinet, saxophone, recorder, trumpet, trombone, violin, cello and piano duet.
after hours Alarm clocks, barking dogs, telephones, meetings and rush hour… the hustle and bustle of life. What better way to relax than to sit down at the piano, chill out and indulge yourself with music from Pam Wedgwood’s After Hours series? From sentimental ballads to dinner jazz, wistful blues to cheerful, upbeat tunes, this series is ideal for the intermediate to advanced player. The series is available for piano and a wide range of wind instruments. Faber Music | Teach & Play
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More piano books: Little peppers The Little Peppers series contains five books that progressively take the young pianist from pre-grade 1 to grade 5 level. Each of the pieces in the series has been written with the young pianist in mind, avoiding leaps that are difficult for small hands and incorporating relatively short, lighthearted pieces. Technique is developed alongside musicality, helping young players to move towards grade exams and the other books in the series. Little Peppers books are suitable for beginner to grade 5 level players, Pepperbox Jazz is suitable for grades 4-7 level players. The perfect next-step for players who’ve enjoyed Little Peppers.
Pepperbox jazz Pepperbox Jazz provides exquisite pieces that are vibrant, evocative, colourful and often humorous, expertly crafted in a variety of jazz styles. Introducing a range of keys, rhythms and performance techniques, the pedagogy is carefully disguised by jazzy rhythms, fun melodies and quirky moments of cool, providing great teaching material as well as stunning performance repertoire.
simply series The Simply Classics books contain a wonderful array of classics from the orchestral and operatic repertoire, superbly selected and arranged by Peter Gritton to be perfect for piano. The three books are designed for grades 0-1, grades 2-3 and grades 4-5 players and come with fingering, informative comments and vital statistics of each piece. A perfect introduction to some of the greatest music ever written! Also available: SImply Film and Simply Jazz. 10
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Improve your sight-reading! duets Improve Your Sight-reading! Duets for piano give players a chance to practise their sight-reading skills with another player (the second parts are easily playable by other pupils or teachers). As well as providing a fun break from solo sight-reading practice, these duets will help develop a strong sense of rhythm and the all-important ability to ‘keep going’. Complete with associated questions to help prepare each piece. Carefully paced to be used alongside the best-selling Improve Your Sight-reading! series.
pianoworld PianoWorld is a series of story-based tutors that entice pupils into a world of piano exploration. There are colourful characters whose escapades provide the inspiration for new techniques and pieces with illustrations by the highly-acclaimed ‘Stik’, that will have children and adults chuckling with delight. Games and puzzles galore provide hours of fun at, and away from the piano, and are valuable built-in revision.
improve your sight-reading! electronic keyboard New to the Improve Your Sight-reading! series are three books for electronic keyboard, covering Initial-Grade 1, Grades 2-3 and Grades 4-5. Specifically written to support the Trinity College London electronic keyboard sight-reading criteria, the books are designed to overcome sight-reading problems in the context of graded exams. New techniques and ideas are introduced gradually through a series of progressive stages per grade which incorporate rhythmic and melodic exercises, ‘Prepared Pieces’ with associated questions and ‘Going Solo’ sight-reading pieces. Faber Music | Teach & Play
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getting the basics right by James Longworth & Nick Walker Child:
“I want to be a rock star and be the next winner of the X Factor”
Parent:
“I always wished that I’d learned an instrument when I was young and never did, so I want my child to have that opportunity”
Teacher: “It is very important to learn good habits from the beginning as mistakes are very difficult to rectify later” Learning an instrument is always a group activity even in a one-to-one situation. The group comprises the student, parent and teacher. Each member comes to the activity with different expectations and offerings. The success of the enterprise depends on how these are integrated and harnessed from the outset. Most of us would agree that getting the basics right is crucial. But what are the basics? As music teachers we know that establishing good posture, technique, sound production, listening skills and musicality are all vitally important, but a young student’s priorities will probably be different to say the least! However certain we feel that our priorities are the correct ones it is important not to neglect those of our young charges.
getting the basics right relies on repertoire that moves the student forward while minimising painful stumbling blocks
Students need fun, encouragement and lots of positive feedback. They also need to feel a sense of ownership of the process: that they are discovering things and not simply being given them. With the right preparation it is possible to teach skills and knowledge incorporating a wide variety of activities (instrumental, singing, rhythmic, physical) in such a way that instills good habits at the same time as having fun. Parents have a unique opportunity to provide a positive and encouraging support environment at 12
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home and can help by pointing, singing and clapping and by just listening. If a parent sees a child that is engaged and excited about learning they are more likely to get involved in the process. Getting the basics right relies on repertoire that moves the student forward while minimising painful stumbling blocks. It should be logical, easy to follow, offer variety of style and be enjoyable. The Guitar Basics series does just that and readers’ reviews seem to agree with us - “my son has loved learning the guitar and this gives short simple pieces that he can learn quickly and feel proud of”. Establishing a nurturing teaching environment where having fun and being positive are always to the forefront will more than likely dictate how receptive the student will be. We believe in teaching serious basics in a way that brings a smile to children’s faces, with backing tracks, teacher accompaniments, activities and lots of humour! Instilling good habits is very important and doesn’t have to be painful. James Longworth and Nick Walker are the authors of the successful Guitar Basics publications which are now internationally used both for individual and group learning scenarios. The books are designed to take pupils from the absolute beginner stage to the initial/preparatory grade.
James Longworth
studied both jazz and classical guitar at the NSW State Conservatorium of Music in Sydney and has since performed at London’s Festival Hall, Ronnie Scott’s and the 606 jazz clubs. He has been teaching adults and children since the mid nineties and holds an M.A. in Music Education from Middlesex University. James currently teaches nearly 300 children per week in both large and small groups.
Nick Walker
studied Classical Guitar at Trinity College of Music, London. He has performed in venues such as St John’s, Smith Square as well as extensively in various bands as a lead guitarist. Nick is Head of Guitar and Popular Music for the local authority music service in Haringey, London. He currently co-ordinates the whole-class instrumental ‘Wider Opportunities’ scheme and is a highly respected instrumental teacher. Faber Music | Teach & Play
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Must-have guitar tutors: GUITAR BASICS Guitar Basics is a landmark method for young guitarists. It starts at absolute beginner level and progresses to Initial/Preparatory Grade. The method is set out in sixteen stages and contains original pieces and traditional tunes in an array of styles including classical, folk and world music as well as well-known favourite film and TV themes such as James Bond, Batman and The Flintstones.
GUITAR BASICS WORKOUTS Guitar Basics Workouts offers aspiring players a fun and accessible way to learn their scales and arpeggios. Following the step-bystep approach and clear layout of the Guitar Basics tutor, this book introduces major and minor scales and arpeggios through an assortment of simple pieces, activities, warm-ups and technical tips. Introduces the scales and arpeggios that feature in the current ABRSM and Trinity Grade 1 syllabuses.
GUITAR BASICS REPERTOIRE Containing over forty pieces, and now with CD, Guitar Basics Repertoire offers a rich and varied mixture of folksongs from around the world (Aura Lee, Sakura), classical tunes (Bizet – March of the Kings, J. S. Bach – Minuet in G) and popular film music (including themes from Pirates of the Caribbean and Harry Potter), alongside evocative originals (Falling Leaves, Havana Goodtime, Samurai Sword, Tudor Dance) and established guitar repertoire by Sor and Carulli.
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the ultimate guitar tutor The Ultimate Guitar Tutor provides a comprehensive introduction to playing the guitar using both notation and tabulature. Suitable for acoustic or electric guitar, the step-by-step approach means no prior knowledge of music is necessary. Whether you are a budding lead guitarist or simply want to strum along with your favourite songs, this book provides all you need and more!
the ultimate guitar tutor: playlist The Ultimate Guitar Tutor: Playlist is a collection of original pieces and popular songs suitable for electric or acoustic guitar. Carefully arranged for the beginner guitarist, the material provides useful consolidation of techniques learnt in the tutor book, as well as more tips and guidance from author Tom Fleming. A CD of backing tracks is also included.
bert weedon’s play in a day Bert Weedon’s Play in a Day remains one of the world’s most successful guitar tutors. It is as much a legend as the stars that have learnt from it including Eric Clapton, Mike Oldfield, Paul McCartney, George Harrison, John Lennon, Sting, Brian May, Pete Townshend and many, many others! Play in a Day is easy to use, with plenty of tips for selecting the right guitar, the correct amplifier, how to hold your instrument and plenty of tunes and exercises to get to grips with. Faber Music | Teach & Play
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ukulele for young players by Lorraine Bow Over the last few years, ukuleles have taken the world by storm. From gigs and concerts to schools and festivals, they have become a key part of musical life across the country. So why has the ukulele become so popular? And what makes it such a great instrument for young players? The key is simplicity: ukuleles are very easy to learn, fun to play and give immediate satisfaction. And don’t forget that they are excellent value for money! If you are looking to try something fun and different in your classroom, perhaps after having focused on the recorder for many years, why not try the ukulele? Non-specialists need not worry as no prior musical knowledge is needed to learn or teach the ukulele. However, to get you started, here are a few practical tips and ideas: Tuning Tune ukuleles every day to begin with: if you do this for a week, they should only need a little adjustment before your lessons. Nowadays ukuleles are usually tuned to G, C, E & A, making the chord of C6, (or Am7). The alternative traditional English tuning was A, D, F# & B – the D6 chord. Either one is fine, but there’s less music available for the D tuning these days.
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Behaviour tips • If you have different coloured ukuleles at your school, the children may make a fuss about colour in the first few lessons. I overcame this by getting children to play each colour ukulele in turn to the rest of the class. I asked them to tell me what the difference in sound was, and what a ukulele is for. After this exercise, the boys played pink ones with no hesitation! •
Even as an adult, it is difficult to sit whilst holding an instrument and not play with it. Spend time establishing a ‘rest’ position as well as the correct ‘playing’ position. Rest position could be strings down on the children’s laps, or back in the boxes, or holding the ukulele out in front of them. Think about which strategy you feel most comfortable with, and establish that from lesson one.
Singing and playing One of the great things about the ukulele is that children get to practise singing as well as playing. In my method Ukulele Basics, we have included the ukulele parts to loads of great songs. While the key of each song has been selected primarily with ukulele learning and development in mind, many songs sit comfortably within children’s vocal ranges. Many also feature in the Sing Up songbank – so you can link your ukulele lessons with school singing.
one of the great things about the ukulele is that children get to practise singing as well as playing
Having fun! Finally, making music should be enjoyable! Get everyone playing as soon as possible, and always try to use tunes that your pupils will love. Faber Music’s Ukulele Playlist books offer a huge amount of repertoire, while Ukulele Basics has been specially designed with young players in mind. The combination of these resources should provide you with all that you need to get teaching the ukulele next year!
Lorraine Bow
is a highly respected teacher who came to music as an adult. In 2007 she attended a workshop run by the Ukulele Orchestra of Great Britain and was so inspired that she set up the first ukulele ‘jam’ in London (Ukulele Wednesdays) and a band (KaraUke). She teaches adults through Learn To Uke and school children and teachers at INSET sessions through Uke’s Cool.
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Popular ukulele and banjo books: Ukulele Basics Ukulele Basics is a landmark ukulele method for young beginners. Carefully designed for use in both individual- and group-learning contexts, Ukulele Basics supports players and teachers through the early stages of learning, providing the ideal foundation for budding musicians. From how to hold your ukulele, through basic chords and strumming patterns, to playing accompaniments and simple tunes, this carefully paced method provides a complete resource for aspiring players. Suitable for absolute beginners aged 6+.
The really eAsy Uke Book Ideal for beginners, this book shows you how to play loads of wellknown songs, plus playing tips and instructions on tuning and chords. The book contains over 30 traditional and pop songs specially arranged for the ukulele, including All Along The Watchtower, I Do Like To Be Beside The Seaside, Greased Lightnin’, Is This The Way To Amarillo?, Somewhere Over The Rainbow, When I’m Cleaning Windows and many more, with full lyrics, strumming patterns and ukulele chord diagrams.
The Ukulele Playlist: kids’ songs The Ukulele Playlist: Kids’ Songs is a fantastic selection of songs old and new, specially arranged for ukulele! Contains over 40 well-known favourites such as If You’re Happy And You Know It, Let’s Go Fly A Kite and The Circle of Life. Includes full lyrics, strumming patterns and ukulele chord diagrams. The Ukulele Playlist series consists of more than 10 different books.
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the Ukulele playlist: shows The Ukulele Playlist: Shows features over 30 showstoppers specially arranged for ukulele! The book includes well-known favourites such as All That Jazz, The Impossible Dream, Consider Yourself and Can You Feel The Love Tonight. Includes full lyrics, strumming patterns and ukulele chord diagrams. The Ukulele Playlist series consists of more than 10 different books.
The Easy Uke Library The Easy Uke Library series provides fantastic collections of songs all specially arranged for beginner ukulele players. Each of the four books in the series includes melody line, full lyrics and easy to read chord diagrams. The four genres covered are musicals, kids’ songs, classics and festive songs.
The banjo Playlist The Banjo Playlist: Blue Book is a fantastic selection of over 30 classic songs to play and sing, specially arranged for the beginner banjo player. Contains classics from Jonny Cash, Woody Guthrie and Bill Monroe, with a handful of more recent hits from Amy McDonald, Paolo Nutini and The Proclaimers. Includes full lyrics, strumming patterns and banjo chord diagrams. Suitable for 5 string banjo.
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faber graded rock & pop series by George Double
The Faber Graded Rock & Pop series takes well-known, classic tunes from the Rock and Pop catalogue and presents them in graded arrangements aimed at all levels from beginner to the budding pro. The charts are faithful to the original tune whilst including elements which will broaden Rock and Pop vocabulary and allow room for stylistic interpretation. They are also particularly effective in developing musical literacy amongst non-readers.
for the nonreader, the Faber Graded Rock & Pop series provides an approachable method for improving understanding of staff notation 20
Perfect for performance situations, the books serve as a companion to Trinity College London’s new Rock & Pop syllabus and the arrangements work perfectly as the own choice or “Song 2” element of the exams. The arrangements also fit neatly into GCSE, their graded level making accurate assessment simple and transparent. For the non-reader, the Faber Graded Rock & Pop series provides an approachable method
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for improving understanding of staff notation. Players can join up what they may be able to recreate by ear (either from the original recordings or from the professionally produced demo tracks on the accompanying CD) with what is written on the page. Working in the sphere of popular music, where much of the repertoire may already be familiar, the learner is free to concentrate on areas in which they may feel less confident, such as reading rhythms and melodic patterns and understanding key signatures. In a music industry where freelance players working in television, theatre, studio or function bands are frequently required to interpret guide charts and lead sheets, the Faber Graded Rock & Pop series is a valuable and rare resource of authentic practice material. The charts are arranged by working professionals to be representative of what is encountered in the real world of playing and are the perfect preparation for Rock and Pop musicians who want to be able to say “yes” to wider range of gig offers and playing opportunities. The Faber Graded Rock & Pop series songbooks are available for guitar, bass, keyboards, drums and vocals (Initial-Grade 5) with tutor books scheduled for release early 2014.
George Double
A busy player, George’s credits include Jack Jones, Marc Almond, Ruthie Henshall and Kym Mazelle. He is also active in West End and touring theatre, having worked on Wicked, Guys and Dolls, Avenue Q, Sinatra and Anything Goes. As a writer, George’s books and arrangements are published by Trinity College London and Faber Music and as a contributor to the New Grove Dictionary of Music his articles include Steely Dan and drummer Billy Cobham. Faber Music | Teach & Play
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The Faber Graded Rock & Pop series
This progressive series of playalong books is suitable for musicians of all abilities. Each song is specially arranged according to the appropriate grade level which makes it ideal for use as additional repertoire or simply for fun. The books also include handy hints and tips and a fantastic sound-alike backing track suitable for practice, performance and the exams. Includes songs from bands such as Ting Tings, The Ramones, Green Day, Chubby Checker, Goldfrapp, Cher and The Kinks. Available for guitar, bass, keyboards, drums and vocals, the books are divided into Initial-Grade 1, Grades 2-3, Grades 4-5 and Grades 6-8.
The Authentic Playalong series
One of the most popular rock and pop series ever to be published, the Authentic Playalong books contain the biggest hits from the most popular bands of our time in dedicated arrangements for drums, bass or guitar. What make the publications so popular are the fantastic soundalike CDs with full performance tracks and backing tracks for fans to play and sing along to. 22
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R.E.M.
10 Demo 5
FIND THE RIVER
BT 6
Words and Music by William Berry, Peter Buck, Michael Mills and Michael Stipe
q = 77 Alternative Rock 2 bars count-in Intro
let ring
let ring
D
mp
2
0
2 3 2 0
3
let ring 5
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Dm/F
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let ring
Em9
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G5
let ring 0 3 0 2
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let ring 2 3 2 0
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Dm/F
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G5
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let ring
Dm/F
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let ring
A7sus4
let ring
Hey now little speedy head, the read on the speedometer says you have to go to task in the city,
2 3 2 0
3
2
3
3 2 3
let ring 13
D
Dm/F
0 3 0 2
3
0
3
Em7
3 3 0 0
2 3 2 0
G5
D
let ring
3
3
2
3
3 2 3
0 3 0 2
3
0
3
3 3 0 0
3
3 2 3
Dm/F
let ring
people drown and people serve, don’t be shy. Your just deserve is only 2 3 2 0
2
2 3 2 0
just
3
2
3
0
2
0
A7sus4
let ring
light years to go.
3
3 2 3
0
2
0
where
0
3
0
© 1992 Night Garden Music Warner/Chappell North America Ltd All Rights Reserved.
from the Faber Graded Rock & Pop series (Guitar, Grades 2-3) Faber Music | Teach & Play
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sight-reading in exams by Jessica O’Leary As an ABRSM examiner, I find that many candidates could easily gain extra marks in their sightreading test. This may not come as a surprise – after all, sight-reading is probably the most dreaded element of exams for many players. So what’s the secret to achieving sight-reading success? And what is it that examiners are looking for? The ability to sight-read well is a reflection of the amount and variety of repertoire that musicians have played, along with their overall level of confidence. Here are some approaches I have found helpful in preparing my students:
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First and foremost, give students the opportunity to play plenty of repertoire covering a variety of styles and technical challenges. Alongside ‘specimen tests’, graded repertoire books provide ideal material at the right level and are often excellent value (e.g. The Best of Grades 1–5 Violin books).
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Use the word ‘sight-reading’ in lessons and encourage students to practise their skill at every opportunity. Be clear that a few minutes every week will give the greatest confidence and quickest results.
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Develop musical understanding through improvisation. A large part of sight-reading is
Faber Music | Teach & Play
guessing what is likely to be the next note or rhythm, and simple improvisation is a great way to develop this skill.
Sight-reading: easy exam marks?
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Ask students to score their confidence level each week out of ten. What could be done to increase it? It is often surprising where their anxiety lies.
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Choose pieces that are easy. If they have already passed Grade 3, then use a Grade 3 repertoire book. Put the backing track on, if there is one, and ask them to keep their eyes moving forward and keep going!
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Choose one line of music from the piece, and ring all of the notes that form arpeggios. Then ring any scalic fragments in another colour. Ask your student to focus on the familiar and improvise the rest – this helps relieve anxiety and reinforces vital links with scales.
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Play the scale and arpeggio using rhythmic elements from the piece, then improvise for two minutes using those rhythms. Finally, play the first two lines and ask your student to finish it at home.
Jessica is the editor of The Best of Grade Violin series, which includes pieces from current and past Trinity and ABRSM syllabuses.
Jessica O’Leary
toured internationally and recorded extensively as a professional violinist and member of the Academy of St. Martin in the Fields and Principal 2nd violin of the Orchestra of St. John’s for twenty-five years. Combining teaching, performing, examining, adjudicating and editing for Faber Music, she has a successful portfolio career. Her recent Best of Violin graded books were published and released by Faber Music in 2012. She has presented seminars and recorded a podcast for the ABRSM and is the Violin Moderator for the 2015–19 syllabus. Faber Music | Teach & Play
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Other books for instrumental exams: the best of grade series A collection of the best-loved pieces and studies ever selected by the major examination boards, from current favourites to forgotten gems. Technically tried and tested, all the pieces have been rigorously researched by an expert in each instrument and feature on current or past ABRSM and Trinity exam syllabuses. A CD of performances and piano accompaniments is included, as well as useful practice tips. Available for piano, clarinet, flute, violin and singing.
graded exercises and studies Warm-ups, technical exercises and studies are an essential part of all brass players’ training – building stamina as well as establishing technique. Graded Exercises and Studies provide tried and tested exercises and studies that present core material for every stage of technical development. Suitable for players within a year of starting right through to Grade 8 level, the basics are presented in bite-sized exercises, working up progressively and imaginatively to more advanced techniques. Also ideal as warm-ups for players whatever their level. Visit fabermusic.com for Euphonium/Baritone and Tuba downloads.
graded studies Studies are an established part of every instrumentalist’s training. They place technical problems in musical contexts, and can be invaluable aids to development. The best-selling Graded Studies series for recorder, oboe, clarinet, flute, and saxophone concentrates on a number of techniques such as tone quality, dynamics, intonation, articulation and playing in characters and provides an opportunity to foster a musical understanding in the young instrumentalist.
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first and concert repertoire series Faber Music’s best-selling First and Concert Repertoire series have been a favourite with teachers and players for many years. The First Repertoire series is aimed at the early grades while Concert Repertoire contains pieces suitable for Grade 4 and above players. The books all feature original pieces and imaginative arrangements of well-known material that has been selected on numerous exam syllabuses. Available for recorder, vioin, viola, cello, trumpet, flute, clarinet and saxophone.
ith C
D
w
Saxophone Basics Basics ith C
D
w
A method for individual and group learning
A method for individual and group learning
N ew o N iti ND e w oe N iti eD
John Miller’s Andy Hampton’s Trumpet
Basics series The Basics series offers landmark methods for clarinet, flute, saxophone and trumpet players, written by some of the leading figures in wind instrumental tuition. An array of books and resources is available for each instrument, including tutor book, teacher’s book with accompaniment/duet parts, in-depth online teaching notes and additional repertoire. Starting at absolute beginner level and progressing to around grade 2, this series really does provide everything required to embark on a fun and informative journey with your chosen instrument.
Team Series The Team series is firmly established as a leading series of tutors for strings, brass and woodwind. It presents a flexible course which can be tailored to suit each student, ideal for individual, group and class tuition - including the ABRSM music medals. The books contain plenty of carefully graded music in a wide range of styles, from Baroque and Classical eras to film, folk, jazz and Latin American. The series divides into strings, woodwind and brass. Faber Music | Teach & Play
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a world full of rhythm by Mary Cohen Rhythmic! Whacky! Engaging! Can classical music really be like this for beginner string players? Of course it can! Alongside the fun and games, classical music itself should be an essential part of the mix at the earliest stages, especially in a culture where it is becoming sidelined. We live in a world full of vibrant rhythm – it leaks out of earphones everywhere. So first lessons should be rhythmic – and you can easily introduce open strings using rhythms that fit with well-known classical tunes. Fragments of pop and jazz rhythms can be found in Bach, Telemann and Vivaldi! How to teach rhythm effectively? Simple – just do lots of it. In the earliest stages it’s easy to use words to reinforce rhythms: a good start to the lesson is inventing ‘News of the Day’ rhythms, using a phrase like ‘I had pizza for lunch today’. Straight or syncopated, begin with open strings; as skills progress try harmonics or col legno, sul ponticello or even the squeaky bits of string behind the bridge. As finger patterns are established, move on to half scales, full scales and arpeggios. (A fun way of sneaking some musical general knowledge into the lessons is to imagine what Mozart, Beethoven or other classical composers might have had for their lunch.) Years of observation has convinced me that pupils need to learn to sight-say the rhythm of new pieces. It doesn’t matter which rhythm-name scheme you use as long as it is consistent. (All the material in the Superseries is designed to be introduced in this way.) Pupils who learn rhythm as a language, and can use rhythm names on autopilot, are brilliant at duets and chamber music from a very early stage. It’s fun to get intermediate pupils to play some Vivaldi to a beginner class and then for everyone to sit down together and ‘rhythm sing’ bits of it. You only need about six different rhythm names to do a big chunk of the A minor double concerto – a great motivator for pupils. Another winner is singing rhythm names to part of Mozart’s Symphony No. 40 – a real tongue twister if done up to speed.
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Much of my time is spent doing chamber music and accompanying pupils from the piano, so they are contributing to a ‘greater picture’. But I also give them material that is complete with just one line. This completeness is an important ingredient of the Bags of… series (eight books of fun solo pieces for violin, viola and cello that range from beginner to grade 4). As well as strong tunes, the pieces are full of patterns designed to encourage rhythmic playing and confident reading skills from the beginning – and they also work really well with late starters and timid adult re-starters.
we live in a world full of vibrant rhythm Rhythmic confidence produces fluent musical playing that gives pleasure to performer and listener alike. And the wonderful bonus is that when pupils focus on getting the rhythm right they often play better in tune! Visit marycohen.co.uk to peruse Mary’s entire catalogue of books for string players.
Mary Cohen
studied violin, piano, chamber music and composition at the Royal College of Music, then spent several years in the City of Birmingham Symphony Orchestra before setting up a full-time teaching practice. Mary has an international reputation as an educational composer, with over 60 titles in print. Many of her publications centre around the technical requirements specific to particular stages of string playing, but always in the context of a ‘real’ musical experience. Mary enjoys writing news blogs for her Faber Music website, and also posts photos and tips on her Mary’s Music Cupboard Facebook page.
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More educational strings books: bags of... The Bags of... series is a collection of small, fun books designed to get young string players learning through playing plenty of enjoyable, well-known tunes, folk music and original pieces. Meticulously written and arranged by string pedagogue Mary Cohen, the pace is very gradual, making the books ideal consolidation material alongside a tutor, or useful and enjoyable sightreading practice. Available for violin, viola and cello.
superstart Superstart is a breakthrough series for beginner string players, full of exciting music and fun activities from the very first lesson to inspire and stimulate pupils and teachers. Complete technique is introduced from the start, providing a solid foundation and taking the player up to Grade 1 level. The books are organised into progressive units, each covering clear technical points with expertly written pieces. Specific tutors are available for violin, viola and cello, all a distillation of Mary Cohen’s many years of teaching and research.
superstudies Teachers and pupils will find these invaluable yet light-hearted collections both enjoyable and stimulating. Throughout the books, progressive technical points go hand-in-hand with musical development. The studies included in the series cover a variety of key modes, rhythmic patterns and styles (including jazz), while also encouraging self-expression. The descriptive titles are intended to help the cellist play in style appropriate to each study.
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superpieces Superpieces provides invaluable additional repertoire for violin and piano which can be used to complement the Superstar tutor books or any other beginner method. Superpieces is a wonderful collection of classic and folk tunes suitable for pupils of grade 1-2 standard. As with all of Mary Cohen’s publications, the emphasis is on melodic and rhythmic vitality! This book is suitable for either individual or group teaching.
Technique takes off! Technique Takes Off! presents fourteen original, imaginative studies for violin, viola and solo cello, specially designed to lead on from elementary studies for younger players to more advanced material by Dotzauer and Popper. Each piece concentrates on one or two aspects of technique, and the whole set covers a wide range of left and right hand skills, including spiccato bowing, string-crossing, moto perpetuo, cantabile, and easy double stops. Teachers and pupils will find these invaluable, yet light hearted, collection both enjoyable and stimulating.
Technique flies high! Technique Flies High! follows on from Technique Takes Off! and contains new performance studies for the intermediate to advanced violinist. Using baroque, romantic, contemporary and folk styles, these studies are also ideal as unaccompanied concert repertoire. Practice and performance tips guide the student and outline the technical and musical goals. Techniques covered include: advanced position changing, fast passage work and string crossings, natural and artificial harmonics, slow bowing and and playing many notes in one bow and more. Faber Music | Teach & Play
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Theory and exercises for young players: theory made easy for little children The Level 1 book provides notes, number of counts, dotted minim, the piano keyboard, time signatures, barlines, notes in the bass clef, revision notes, games, tests and some manuscript paper to practice music writing. There is also a lesson record and a certificate for signing by a teacher or parent when the book is completed. Specifically suited for children aged 4 to 7, this is the first of two books that present music theory using colourful illustrations and stickers for the exercises. Level 2 provides revision of Level 1 as well as notes in the treble clef, rests, notes in the bass clef, position of stems, treble clef, bass clef, games, tests and more.
My First, Second and third theory book My First Theory Book by Lina Ng is the first workbook in a series of three, designed to offer a smooth transition to Grade 1 theory. There are plenty of exercises and games to encourage a wider understanding of music, even at the very early stages of learning. Included within this first book are exercises in writing treble and bass clefs, note names and counting, time signatures, the piano keyboard, writing notes in the bass and treble clef and more. My Second Theory Book and My Third Theory Book are also available.
theory of music made easy Theory of Music Made Easy presents the rudiments of theory divided into short chapters. This popular series by Lina Ng is designed to prepare musicians for exams as the information is presented in bitesize sections, and each volume in the series builds on the work of the last. There are revision chapters covering two topics at one time and it is interspersed with cheerful illustrations, making learning more fun.
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Piano lessons made easy Piano Lessons Made Easy features popular tunes and captivating full-colour illustrations to stimulate musical interest and imagination in beginner piano players. Each of the three books in the series is complemented by its corresponding level in the Finger Exercises Made Easy series.
finger exercises made easy Finger Exercises Made Easy helps beginners develop flexible fingers and improve technique and includes additional activities such as rhythm clapping, singing, body movement, percussion and souflege. The books are most suited for younger children and have larger notes and full colour illustrations.
playing piano is fun Playing Piano Is Fun is a novel approach developed through the author’s practical experience derived from teacher-pupil interaction. The large music font size captures the students’ attention and helps them to focus. Meanwhile, pages are left intentionally without pictures to encourage students to further express their creativity by providing illustrations for the songs themselves. New elements are introduced incrementally and are incorporated progressively. Accompaniment by teachers is encouraged to enhance the musical experience. Faber Music | Teach & Play
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becoming a jazz musician by Ned Bennett Here is a conversation I have had with many a beginner saxophonist arriving for their first lesson: Me: “So, what type of music do you like?” Pupil: “Jazz.” Me: “Great! Who do you like in particular?” Pupil: “Erm…” Me: “Okay, can you name any jazz musician?” Pupil: “Erm…” The concept of playing jazz is exciting for any student, whether of saxophone or viola, as it conjures up an antidote to serious music. Yet any good music is serious and should be taught and studied as such, particularly at beginner level. Why should Bach’s Minuet in G be studied before Miles Davis’ So What? In addition, early attempts at improvisation enable pupils to play pieces that can last for two minutes or so, rather than the usual 30 seconds of a pre-grade 1 piece, thereby developing fluency, tone and stamina. There are two fundamental prerequisites for becoming a jazz musician. Firstly, the appreciation of what jazz sounds like, and secondly the ability to improvise. These two probably should be studied independently of each other, at least initially. Playing written-out jazz pieces, or (at a more advanced
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listening to jazz is vital to fully understand the role of each instrument in the group
level) transcriptions from recorded solos (there are many of these available in books or online) is all very well, but listening to jazz is vital to fully understand the role of each instrument in the group, the form of a jazz performance and especially how to swing properly at different tempos (a skill which, sadly, many classically trained world-class musicians lack). Imagine learning French purely from a book, having never heard anyone speak a word of it!
As for improvisation, the approach to this is twofold. Primarily your concern is to play instantaneously whatever comes in to your head. This requires practice in playing by ear: start with very simple diatonic tunes you know well, or try some call-and-response games with another musician. Firstly repeat the phrases, then try creating an answering phrase, or perhaps a contrasting one. The other side to improvisation is using notes that fit with the accompaniment. When you are confident with creating simple phrases spontaneously, try some modal improvisations: using a range of notes from a single scale over a repeated accompaniment. (This is a great incentive for learning scales, by the way.) These improvisations can be in any style: Samba or Bossa Nova (no swing to worry about), or Celtic (maybe in a roistering 6/8), or if you are confident, swing itself. Faber Music publish a number of useful books that can help you; Getting Started with Improvisation and Getting Started with Jazz offer step-by-step guides to this process from the very beginning, with backing CDs to play along to. The brand new Jazz Sax Collections combine performance pieces with opportunities for easy improvisation in a contemporary jazz style for intermediate-level saxophonists. See you at Ronnie Scott’s then! Ned’s latest offerings are The Jazz Sax Collection for alto (or baritone) saxophone and piano, and The Jazz Sax Collection for tenor (or soprano) saxophone and piano, available in summer 2013. Both are for Grade 4-7 level and feature unmissable authentic jazz, written and arranged by professional jazz saxophonist Ned Bennett.
Ned Bennett
has been working as a professional saxophonist since his school days, and these days combines his performing commitments with a busy teaching schedule. He also has time to compose, arrange and produce music, with several books and assorted works in the Faber Music catalogue. He lives in London with his wife and two young children. Faber Music | Teach & Play
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piano treasuries by Dame Fanny Waterman
These two volumes contain my own choices of many of the pieces which I have enjoyed teaching to pianists of all ages, as well as my own interpretative insights on them, reflecting many years’ teaching and performing experience. I hope that these collections and my thoughts of a lifetime will help to inspire players: remember there is no age at which we stop learning. The pieces I have chosen have all been popular with great pianists such as Rubinstein and Horowitz. Pupils should similarly strive to make the piano sing and to capture the range of styles and timbres of the great composers: the cantabile melodies of Schumann, the dignified pace of Handel’s Sarabande, the languor and longing of the Chopin mazurka, the violin-like tone of the light-hearted finale from Haydn’s Sonata in F, the hymn-like feel of the slow movement of Beethoven’s Pathétique Sonata and the peace, hope and serenity of Jesu, Joy of Man’s Desiring (Bach/Hess). The teacher’s imagination will be needed to help students with impressionistic pieces such as Bartók’s From The Diary of a Fly, Daquin’s Le Coucou and Debussy’s La fille aux cheveux de lin. I do believe that every piano lesson should have a musical injection so the forthcoming practice reflects the interpretation worked on and stimulated by the teacher. Pupils should be encouraged to attend recitals as well as listening to recordings, and also to listen to other genres by the composers they are studying to broaden their knowledge and experience.
remember there is no age at which we stop learning
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Dame Fanny Waterman: Piano Treasury Volumes 1 & 2 are suitable for intermediate to advanced players, especially selected and edited by the renowned Dame Fanny Waterman. Ideal for performance in competitions, school concerts and as encores, each piece has been carefully chosen by Dame Fanny for its charm, musicality and educational value and comes complete with her own teaching notes and insights. There are two collections: Volume 1 is for approximately Grade 5 to 7 level and Volume 2 for Grade 6 to 8 level. • • • • • • • • • • • • • •
Albumblätter III in A Flat Major, Op.99 (Schumann) Sarabande from Suite In D Minor HWV 437 (Handel) From The Diary Of A Fly from Mikrosmos (Bartók) Prelude In D Flat (‘Raindrop’), Op.28, No.15 (Chopin) Toccatina Op.8 No.1 (Maykapar) Albumblätter I in F Sharp Minor, Op.99 (Schumann) A Musical Snuffbox, Op.32 (Liadov) From Foreign Countries And People (Schumann) Mazurka in A Minor, Op.7 No.2 (Chopin) Waltz in B Flat from German Dances, Op. 33, No. 7 (Schubert) Le Coucou (Daquin) Sonata in F Minor, L.118 (Scarlatti) Jesu, Joy Of Man’s Desiring (JS Bach/Hess) Grande Valse Brillante, Op.34 No.2 (Chopin)
• • • • • • • • • • • • • • •
Partita No.1, Bwv 825: Prelude & Gigue (JS Bach) Allegro In A (CPE Bach) Sonata In F, Hob 16 No.23 (Finale) (Haydn) Theme And Twelve Variations, Kv 265 (Mozart) Pathétique Sonata, Op.13 No.8 (Second Movement) (Beethoven) Nocturne No.4 In A, H.36 (Field) Scherzo In B Flat, D.593 (Schubert) Waltz In B Minor, Op.69 No.2 (Chopin) Nocturne In E Flat, Op.9 No.2 (Chopin) Träumerei From Kinderszenen, Op.15 (Schumann) Spring Song From Songs Without Words, Op.62 No.6 (Mendelssohn) Kinderstücke No.2, Op.72 (Mendelssohn) October From The Seasons, Op.37b (Tchaikovsky) La Fille Aux Cheveux De Lin (Debussy) Prelude, Op.32 No.5 (Rachmaninoff )
Dame Fanny Waterman
occupies an eminent position in the piano teaching world. Over the years she has given master classes on six continents, appeared on television and radio and has compiled a series of best-selling piano publications which have achieved sales of two million copies. She was the joint founder of the Leeds International Piano Competition and is a highly sought-after jury member of many international competitions. In recognition of her services to music, Dame Fanny has been awarded the DBE (Dame Commander of the Order of the British Empire). She has also received the Lifetime Achievement Award from the World Federation of International Music Competitions, the Distinguished Musician Award from the Incorporated Society of Musicians and has been elected an honorary member of the Royal Philharmonic Society. Faber Music | Teach & Play
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More publications by Dame Fanny Waterman: Me and My Piano Me And My Piano is the best-selling series by distinguished authors Dame Fanny Waterman and Marion Harewood. Designed especially for the needs of the younger beginner and delightfully illustrated throughout, the series aims to make learning the piano an enjoyable experience for both pupil and teacher. The series consists of seven books, which together provide solid technical and musical foundations for young pianists.
the waterman/harewood piano series The Watermann/Harewood Piano series is established as one of the foremost piano methods for the older beginner and represents a distillation of the thoroughness, inspiration and sense of adventure that characterises Dame Fanny Waterman’s own teaching methods. The excellence of the musical material and attractive presentation of the books have won universal acclaim, and the series is established as one of the foremost modern piano methods.
monkey puzzles These sets of individual theory papers are perfect for the young beginner, providing lively games and puzzles that will hold the player’s interest and add to the fun of learning the rudiments of music. The papers cover all aspects of basic theory including time signatures, rests, sharpened and flattened notes, clefs and note duration. The games aid memory and encourage children to think about what they are learning in the context of play.
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the young violinist’s repertoire series Selected and edited by Dame Fanny Waterman and Paul de Keyser, The Young Violinist’s Repertoire series is an ideal introduction to the established repertoire for the violin. Progressively arranged to take the young player from the very early stages to intermediate standard, the four books bring together music from all over Europe and span a wide range of composers, periods and styles. All piano accompaniments are written by Dame Fanny Waterman herself.
More books by Paul de Keyser: With Violin Playtime, the beginner violinist can make music from the very first lessons. In the three books that make up the series, there are over a hundred little pieces, a treasuretrove of attractive tunes – some traditional, some by composers of the past, some newly composed. This is more than just an easy anthology, as the underlying approach is ‘learn as you play’, and a carefully devised ground plan of technical development makes it a manual in disguise, a tutor without text. Violin Study Time is an anthology of established and newly-composed studies which develops the young violinist’s technique in several directions and can be used in conjunction with the Young Violinist’s Repertoire series.
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school musicals by Lin Marsh Lin Marsh discusses one of her popular school musicals, Penny the Raindrop, which is aimed at children aged 5-7: “This is the story of the water cycle told through the eyes of a raindrop. All children study the water cycle and this is an imaginitive and creative way of learning about it, which will help with literacy skills as well as giving them appropriate and enjoyable singing material. The story and seven songs take us through cloud, drain, sewer, stream, river and out in to the sea, finally evaporating back to the cloud. Most of the songs can stand on their own either for dance, movement or singing or you can put them all together with the narration and go to town with costume and scenery! Young children enjoy moving when they sing—find simple choreographic ideas for them to perform and include in some of the songs. There are also ample opportunities for class compositions in many of the places Penny visits. Discuss and create ‘rainstorm music’ or music for ‘under the ground’.“
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More tips from Lin:
movement often enhances a performance, but it needs to be simple and effective
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You may find pupils who would like to sing a solo verse or sing in a small group. Do encourage them to do this—it is great for confidence, and often very effective for a first verse.
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Always find time in your singing session to warm up the voices. This will focus the mind on the work, make pupils aware of posture and support, and get voices moving. Work lips and tongue in some tongue-twisters or imagine chewing gum with big mouths!
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Movement often enhances a performance, but it needs to be simple and effective. If you are going to add actions, take ideas from children. They may even like to devise their own choreography!
Toy Box and Penny The Raindrop features two sets of songs guaranteed to capture the imagination. Toy Box is a set of seven fun action songs about robots, trains, kites and dressingup. Penny the Raindrop is a delightful cantata with narration, telling the story of the water cycle through the eyes of a raindrop. Audio performance and backing tracks are included, as well as performance notes and photocopiable lyrics to download from the enhanced CD. The Junior Spotlight Series represents a variety of imaginative repertoire for stage or concert performance, from Key Stage 1 to 3 (Scottish P1 to S2). Some of the cantatas provide scope for activity through the addition of movement, whilst others are fully contained ‘mini-musicals’. Written appropriately for the age-group by experienced educational composers, there are songs and shows to suit all abilities and ages.
Lin Marsh
has worked extensively in music education and has been an advisory teacher of music in Oxfordshire, director of Oxfordshire Youth Music Theatre, and vocal coach and Musical Director for the National Youth Music Theatre. A prolific composer, Lin also tours the UK inspiring singers through her dynamic workshops.
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Other books in the Junior Spotlight Series: along came man Along Came Man is a thought-provoking cantata about the world we live in, with an ecological theme. One of Lin Marsh’s best-loved works – now available in a new edition with CD – it is mainly unison with some two and three-part singing. The cantata lends itself well to the addition of movement, but is equally effective performed as a concert piece. Audio performance and backing tracks are included, as well as performance notes and photocopiable lyrics to download from the enhanced CD. Suitable for children aged 5-14.
tam lin Tam Lin is part of the Junior Spotlights Series, designed for Key Stage 2 children (aged 7-11). There are thirteen fun and imaginative songs by Lin Marsh that have been written with the range and capabilities of this age group in mind. This musical, based on a celtic folk legend, lends itself to the addition of movement and some optional descant lines have been added. The book comes with a CD and photocopiable lyrics.
prodigal rock! Prodigal Rock! is a musical for Key Stage 2 pupils, and is published as part of the Junior Spotlight Series. This modern re-telling of the parable of the prodigal son delivers an important message with humour and fun. Incorporating citizenship themes throughout, the eight catchy songs will delight Year 6 (Scottish P7; age 11) leavers who will love to perform it, and may well astound with their prolific part-singing, hand-jiving and kazoo playing! The pack includes script, vocal score and enhanced CD (including reproducible script and lyrics).
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Books from the Songscape Series: songscape Songscape is a timeless collection of 24 songs covering an exciting range of musical styles, from ethnic music, theatre, pop classics and rounds, to Lin Marsh’s wonderful original pieces. Perfect as a Key Stage 3 (ages 11-14) singing resource, it is also ideal for bringing confidence to classroom and concert singing, and a must for recently formed choirs. Songs included are Problem Child (Marsh), I Believe I Can Fly (Kelly) Babylon (Traditional), Fernando (ABBA), The Maid (Arne), While The Tanks Roll By (Marsh), A Magpie Sitting On A Broken Chair (James Mayor), Sea-sickness! (Marsh) and more.
songscape: stage and screen Songscape: Stage and Screen is the perfect resource for Key Stage 3 (Scottish P7+, ages 11-14) singing and is an invaluable collection of 12 classic songs both old and new from stage and screen. Featuring well-known classics alongside songs from shows written especially for children it includes useful context on each song and suggestions for adding movement. Songs include Circle Of Life (The Lion King), When You Sing (A Winter’s Tale), 42nd Street (42nd Street), Hernando’s Hideaway (The Pajama Game), Corner of the Sky (Pippin) and more.
Junior Songscape: Children’s favourites Junior Songscape: Children’s Favourites comprises a timeless collection of 20 best-loved children’s songs for infant and lower primary school singing. Ideal for bringing confidence and fun to the classroom, with vocal ranges carefully considered for Key Stage 1 (Scottish P1-2, ages 5-7) voices. High-quality audio tracks with complete performances and backing tracks are included to help non-specialists. Songs include Heigh-Ho (Snow White and the Seven Dwarfs), Feed The Birds (Mary Poppins), Chitty Chitty Bang Bang (Chitty Chitty Bang Bang) and more. Faber Music | Teach & Play
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Other vocal books: the Best of Grade Singing These vocal collections will prove an invaluable resource for singers and their teachers. Comprising four books, The Best of Singing series brings together best-loved songs in a range of styles at grades 1-3 and 4-5, from current favourites to forgotten gems. Technically tried and tested, all of the pieces have been rigorously researched by singing expert and ABRSM syllabus selector Heidi Pegler.
It’s never too late to sing Have you always wanted to be able to sing? Then this book is for you – because it’s never too late! It’s Never Too Late To Sing is an allin-one tutor book that covers approximately two years of singing lessons, and includes essential music theory and technical skills for beginners. Also available is It’s Never Too Late To Sing: Songbook that brings together 12 timeless songs in an array of styles, all specially selected and arranged for adult beginners.
The Joy of Singing Brenda Rattray’s The Joy of Singing is for children, young people and adults in primary schools, secondary schools, youth groups and churches who would like to build a singing community. Whether musician or non-specialist, the 21 songs in this collection will bring variety and confidence to any choir. There are unison songs through simple part-singing to songs with four or more parts; arrangements of well-known spirituals Rocka My Soul, Wade In The Water, Kumbayah and Swing Low, Sweet Chariot; and original songs in a range of styles, including African and gospel influences. 44
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the language of folk The Language of Folk offers a wealth of folk repertoire from around the British Isles and further afield, carefully selected and arranged to develop the key skills and vocal styles integral to folk song. Produced in association with The Sage Gateshead and its nationally renowned folk music programme, these books provide a wealth of material both for established folk singers and those new to the world of folk. All unaccompanied songs feature on the current Trinity singing syllabus (‘Technical Work’ section).
the language of song The Language of Song is a successful series by Heidi Pegler and Nicola-Jane Kemp. The ability to sing in foreign languages is a much-needed skill for singers, but few vocal training resources tackle this aspect comprehensively in one book. With this in mind, ABRSM examiners and professional singers Heidi and Nicola-Jane have written a graded series of songbooks that provide classic song repertoire, carefully selected to develop the vital skills required to sing in a foreign language. Includes books for low, medium and high voice.
sing musical theatre The Sing Musical Theatre series features fifteen musical theatre songs in a range of styles, both classic and contemporary, with useful background and performance notes, handy singing tips and exercises and backing track CD. Suitable for Trinity Singing and Musical Theatre candidates (two books for grades 1-3 and two for grades 4–5) or for anyone looking for a new, practical compilation of the repertoire, carefully selected to be appropriate for the grade. Faber Music | Teach & Play
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Singing schools by Alexander L’Estrange Young minds need creativity to learn, and older minds need flexibility to teach. Getting choral music into schools successfully and sustainably has been an issue over the years, and teachers are faced with the challenges of finding time for singing in a strict curriculum, catering for students with very particular musical tastes (!), locating the right resources with which to teach and also finding the confidence in their own musical abilities to carry all of this forward. From the outset there are so many opportunities to sing during the school day, whether it’s at registration (getting a primary school class to sing through the register), or in a more advanced manner within a lesson – not just music lessons. Using singing across the curriculum gives many more chances for creativity and variation in music making, as well as enhancing and accelerating education. I distinctly remember learning my times tables by song, and think how many pre-school children can sing “A, B, C, D, E, F, G” to the tune of ‘Twinkle twinkle’ even before they know what it means! It’s important that we do not view choral singing as something which has to be squeezed between the tightly packed blocks of the school curriculum, but as a tool to further learning across the board. My own children, Toby and Harry (both under 7) are learning French at the moment, and thanks to a CD we listen to in the car, their pronunciation is amazing – they repeat what they hear, with no ‘filters’, and not too much thinking.
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I personally believe it’s crucial to make singing something that the whole community can engage in, and in pieces like “Zimbe! Come sing the songs of Africa”, “Ahoy! Sing for the Mary Rose” and “Zadok Rules - Hallelujah!” I’ve made sure to include parts for unison Primary School children as well as approachable SATB material that works with teenagers.
everyone has a voice, so don’t be afraid to use it
There can be a challenge in engaging kids and teenagers who are really only interested in One Direction and/or Jay-Z. Whilst it’s likely that none of us will ever reach the dizzying heights of cool that these pop artists have done, we can all embrace the present day trends to more easily connect with and tap into the talent of our children. Compromise is the key: letting students be creative around their own favourite genres before introducing them to something new. I find gospel and world music is a particularly good way in with this age group. Bringing choral singing into the classroom on a regular basis can be a daunting task for teachers or leaders who don’t feel confident in their own musical abilities, but do not fear! There are plenty of tools out there to help you, including more and more ‘minus one’ CDs, backing tracks and demos of the pieces you have chosen so you can learn all the parts just by listening. Everyone has a voice, so don’t be afraid to use it. Alexander is Consultant Editor of Faber Music’s successful Choral Basics series and also composer of the highly popular 40-minute work for SATB chorus, Zimbe! His latest offering, Ahoy!, is a cantata for SATB chorus, unison children’s choir and band and was premiered in June 2013.
Alexander L’Estrange “If you had to create from scratch the perfect 21st century musician, Alexander L’Estrange would be your template.” This accolade (from composer and broadcaster Howard Goodall) acknowledges not only L’Estrange’s outstanding musicianship – he graduated with a First in Music from Merton College, Oxford, and was a chorister in the famous New College Choir – but also his huge versatility. Born in 1974, he is active as a composer, arranger, jazz double bass player and pianist, and has carved a successful career working in a variety of musical fields and with respected musicians around the world. He has shared the stage with jazz greats John Dankworth and Kenny Wheeler, toured the world with The Swingle Singers, conducted thousands of children at the Royal Albert Hall for the Primary Proms and musically directed the National Youth Music Theatre in shows on Broadway and in Edinburgh, Japan and London. Faber Music | Teach & Play
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Choral works by Alexander L’Estrange: ahoy! sing for the mary rose Ahoy! Sing for the Mary Rose is an uplifting celebration of King Henry VIII’s famous warship, the Mary Rose. Fusing the music of Tudor times with an array of catchy sea shanties, L’Estrange takes us on a whirlwind journey across the oceans – and the centuries – in this glorious celebration of English maritime history. If you loved Zimbe! and are looking for your next big choral project, look no further than Ahoy! Scored for SATB chorus, unison children’s choir and band.
zimbe! Zimbe! is a 40-minute work for SATB chorus, children’s choir and jazz quintet with percussion, by the composer Alexander L’Estrange. It is a vibrant sequence of twelve African and gospel songs, charting a day in the life of an African village. There are simple children’s playground songs from Ghana and Zimbabwe, a Xhosa lullaby for mothers of the victims of Apartheid, a rousing drinking song, and music used on religious occasions.
the choral basics series Choral Basics has been carefully designed to provide rewarding, varied repertoire for beginner choirs. Perfect for singers of all ages, the series offers: • simple choral arrangements for 2 parts (soprano and alto) and 3 parts (soprano, alto and a combined male-voice part) • an array of repertoire including world music, spirituals, pop classics, show hits and original pieces • attractive, idiomatic arrangements, with breathing and vocal range considered for the level • straightforward piano accompaniments that support the vocal lines. 48
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