This document provides guidance for teaching students songwriting in a non-formal setting. It suggests starting with coming up with a song topic or musical ideas, then developing lyrics or a melody. Students can work on lyrics first by brainstorming ideas, coming up with rhyming words, and developing verses. Or they can start with music by improvising a chord progression and adding a melody. The guide stresses that there is no single correct way to write a song and encourages an iterative process of reviewing and refining lyrics and music. It aims to help students express themselves creatively through songwriting.
This document outlines two music lessons for a Grade 3/4 class. The first lesson focuses on creating a performance combining music with other art forms. Students will be split into groups to create either an original song incorporating wildlife sounds, a dance to an existing song, or a storyboard for a song. The second lesson focuses on listening and responding to music. Students will discuss songs from a school choir performance and reflect on lyrics through a worksheet activity. Both lessons aim to meet learning outcomes around music making, responding to music, and combining music with other art forms.
This document discusses the benefits of using music in the ESL classroom. It provides examples of how music can be used to introduce topics, build vocabulary, teach pronunciation, and make learning fun. Suggested activities include using background music, teaching songs about grammar rules and vocabulary, and having students create their own songs. The document also provides specific suggestions for using music to teach vocabulary and transitions to young students, including alphabet songs, animal songs, and encouraging student-led songs in their native language. Overall, the document advocates for incorporating music into ESL lessons to improve memory, concentration, motivation and make learning more enjoyable.
Songs can be a useful tool in teaching young language learners. They provide variety, help improve listening skills and pronunciation, and aid in vocabulary acquisition. Songs also make learning enjoyable and help create a relaxed classroom environment. However, teachers must select songs carefully to match the target language structures and avoid songs with complex or unfamiliar language. While fun, songs alone are not enough for communication and must be supplemented with other activities.
Music can be an effective tool for teaching foreign language as it creates a positive learning environment, helps students remember vocabulary more easily, and makes the learning process more enjoyable. While songs may not always follow strict grammar rules, using music appropriately alongside traditional methods can boost student motivation and allow them to make connections between the new language and their own lives. Discretion is needed in song selection to avoid confusing students. Overall, learning language through music engages students' emotions and allows the information to be better retained in their memory.
Cynthia Estebo observed her first class at a secondary school in Argentina. She observed 26 students aged 17, with 22 girls and 4 boys. During the class, the teacher introduced Cynthia and explained her role. Students asked Cynthia questions about distance learning for teaching. The class involved the teacher writing on the board while students commented on upcoming events. There were several interruptions, including students arriving late and a preceptora asking for notebooks. Students worked in pairs from their booklets and the class ended with the bell ringing. Cynthia observed students drinking mate and frequently asking to use the bathroom during class.
Students were tasked with learning new vocabulary through songs. An assessment of two students found that they had greater success learning and using unknown words in written contexts compared to oral contexts. When writing compositions, the students were able to correctly use some of the new words derived from songs. However, in an oral chain story activity where they had to incorporate unknown words, the students struggled and had difficulty continuing the story without teacher assistance. Overall, the results showed that songs can help increase vocabulary learning, but oral use of new words posed a greater challenge than written use.
Action song / How to teach kids new songIstek Schools
This document discusses using action songs in English language classrooms. It outlines the benefits of action songs for language development in children and proposes that songs can be used to promote a stress-free learning environment. Specific benefits include allowing self-expression, encouraging participation, and developing skills like listening, attention, and following directions. The document also provides guidelines for teachers to select age-appropriate songs aligned with learning objectives and to design related activities like guessing, matching words, and acting out the songs.
Lesson Plan Primary School. Class 1. Jimena BenitoJimena Benito
This lesson plan is for an 80-minute primary school lesson about festivals for 11-year-old advanced students. The lesson plan includes objectives to develop vocabulary about festivals, describe festivals, and understand cultural issues. It involves warmup activities to introduce festival vocabulary and pictures. Students then listen to descriptions of Thanksgiving, Bonfire Night, and the Lantern Festival and complete a table. They read a dialogue using present perfect tense and identify grammar examples. Homework includes practicing irregular past participles.
This document outlines two music lessons for a Grade 3/4 class. The first lesson focuses on creating a performance combining music with other art forms. Students will be split into groups to create either an original song incorporating wildlife sounds, a dance to an existing song, or a storyboard for a song. The second lesson focuses on listening and responding to music. Students will discuss songs from a school choir performance and reflect on lyrics through a worksheet activity. Both lessons aim to meet learning outcomes around music making, responding to music, and combining music with other art forms.
This document discusses the benefits of using music in the ESL classroom. It provides examples of how music can be used to introduce topics, build vocabulary, teach pronunciation, and make learning fun. Suggested activities include using background music, teaching songs about grammar rules and vocabulary, and having students create their own songs. The document also provides specific suggestions for using music to teach vocabulary and transitions to young students, including alphabet songs, animal songs, and encouraging student-led songs in their native language. Overall, the document advocates for incorporating music into ESL lessons to improve memory, concentration, motivation and make learning more enjoyable.
Songs can be a useful tool in teaching young language learners. They provide variety, help improve listening skills and pronunciation, and aid in vocabulary acquisition. Songs also make learning enjoyable and help create a relaxed classroom environment. However, teachers must select songs carefully to match the target language structures and avoid songs with complex or unfamiliar language. While fun, songs alone are not enough for communication and must be supplemented with other activities.
Music can be an effective tool for teaching foreign language as it creates a positive learning environment, helps students remember vocabulary more easily, and makes the learning process more enjoyable. While songs may not always follow strict grammar rules, using music appropriately alongside traditional methods can boost student motivation and allow them to make connections between the new language and their own lives. Discretion is needed in song selection to avoid confusing students. Overall, learning language through music engages students' emotions and allows the information to be better retained in their memory.
Cynthia Estebo observed her first class at a secondary school in Argentina. She observed 26 students aged 17, with 22 girls and 4 boys. During the class, the teacher introduced Cynthia and explained her role. Students asked Cynthia questions about distance learning for teaching. The class involved the teacher writing on the board while students commented on upcoming events. There were several interruptions, including students arriving late and a preceptora asking for notebooks. Students worked in pairs from their booklets and the class ended with the bell ringing. Cynthia observed students drinking mate and frequently asking to use the bathroom during class.
Students were tasked with learning new vocabulary through songs. An assessment of two students found that they had greater success learning and using unknown words in written contexts compared to oral contexts. When writing compositions, the students were able to correctly use some of the new words derived from songs. However, in an oral chain story activity where they had to incorporate unknown words, the students struggled and had difficulty continuing the story without teacher assistance. Overall, the results showed that songs can help increase vocabulary learning, but oral use of new words posed a greater challenge than written use.
Action song / How to teach kids new songIstek Schools
This document discusses using action songs in English language classrooms. It outlines the benefits of action songs for language development in children and proposes that songs can be used to promote a stress-free learning environment. Specific benefits include allowing self-expression, encouraging participation, and developing skills like listening, attention, and following directions. The document also provides guidelines for teachers to select age-appropriate songs aligned with learning objectives and to design related activities like guessing, matching words, and acting out the songs.
Lesson Plan Primary School. Class 1. Jimena BenitoJimena Benito
This lesson plan is for an 80-minute primary school lesson about festivals for 11-year-old advanced students. The lesson plan includes objectives to develop vocabulary about festivals, describe festivals, and understand cultural issues. It involves warmup activities to introduce festival vocabulary and pictures. Students then listen to descriptions of Thanksgiving, Bonfire Night, and the Lantern Festival and complete a table. They read a dialogue using present perfect tense and identify grammar examples. Homework includes practicing irregular past participles.
Elyse M. Hatch seeks a teaching position to share her passion for music. She graduated magna cum laude from Miami University with a Bachelor of Music in Music Education. Her experience includes teaching K-8 general music and beginning band instruments. She is skilled at differentiating instruction and integrating music across curriculums. Hatch is dedicated to enriching students' lives through music.
This document provides details of 11 weekly activities for an English Language Society. The activities include committee meetings, creating a literature scrapbook from magazines and newspapers, drawing a story, making mini sandwiches from a recipe, writing poems, labeling pictures with words and phrases, singing songs, creating captions for pictures, making scrapbooks on literature and personalities, analyzing news items by identifying parts of speech, and displaying chosen adjectives to describe themselves. The document also provides materials needed and notes for teachers for each activity.
going to test their culture -introduce
- Elicit from ss knowledge by looking at key
if they have an pictures of famous vocabulary.
idea what people, movies and -elicit
"Culture Vulture" cities from different opinions.
really means. cultures. -develop
- Paste pictures - Ss look at pictures cultural
on board and and tell names/info. awareness.
elicit names/info - Encourage use of -build
from ss. opinion expressions. confidence.
- Encourage ss - Elicit more ideas 5 mins
This document provides a teaching guide for a Grade 1 music class focusing on dynamics and tempo. It includes lesson plans, activities, and assessments for two 40-minute classes on dynamics and two 30-minute classes on tempo. The lessons introduce key concepts like loudness vs softness and fast vs slow through songs, games, movement, and discussion. Students demonstrate their understanding by performing songs at different volumes and speeds, creating poems using loud and soft words, and identifying dynamics and tempos in various sounds and activities. The goal is for students to understand how to apply these musical elements appropriately based on the mood or style of different pieces.
This document describes an innovative flip book project created by a student called "The Very Hungry Caterpillar Flip Book". The flip book is based on the story "Two Brothers" and aims to enhance reading comprehension and writing skills. It contains a brief background of the author, the story, and a story map graphic organizer to help students visualize the key elements of the plot, including characters, setting, problem, and solution. The story map provides a framework to improve understanding and caters to different learning styles.
This article discusses using songs and movie songs specifically to teach grammar in English language classes. It outlines three stages the presenters went through in developing their use of songs - initially just for fun, then seeking more meaningful instructional uses, and now taking a more professional approach focusing songs on specific language aspects. Literature on this topic is reviewed, showing songs have been used to teach functions, structures and grammar. The workshop demonstrated using DVD technology and various song sources, and showed different activity types like fill-in-the-blank, multiple choice, matching and sentence building to design grammar lessons around songs. The goal is to make grammar teaching more engaging for learners and effective for language acquisition.
This article discusses using songs to teach grammar in English language classes. It outlines three stages the authors went through in developing their approach: initially using songs casually, then creating their own activities focused on listening and pronunciation, and more recently taking a more professional approach informed by workshops and research. The article reviews literature on this topic and provides an example of a workshop the authors gave demonstrating how to design various activity types around movie songs to teach specific grammatical concepts, with the goal of making grammar learning more engaging and effective through music.
This article discusses using songs to teach grammar in English language classes. It describes the authors' experience incorporating songs into their lessons at Chinese Culture University over 14 years, progressing from using songs generally for fun to developing specific grammar teaching activities linked to songs. The authors now use DVD technology and various song sources, demonstrating activities like fill-in-the-blank, multiple choice, matching, dialogues, and sentence building. Literature on this topic shows songs can successfully combine with grammar instruction. The workshop showed teachers how to design different activity types to teach word and sentence grammar through movie songs.
What we call Action Songs ( songs with movements for miming and role-playing the words and the language structures), have been used in the foreign language classroom to help in a lot of different aspects
3Rs: Lesson Plan (Zoom Meeting) - 3° Year, Secondary SchoolValeriaZentner1
This lesson plan summarizes a 40-minute Zoom lesson on reducing environmental pollution for a group of 15 secondary students at a pre-intermediate English level. The lesson aims to raise awareness of environmental issues like pollution and promote reducing, reusing and recycling habits. It includes a warm-up discussion of pollution photos, a survey on student habits, group work matching conditional sentences about pollution consequences, and a closing Jamboard activity for students to share their plans. Scaffolding strategies like questioning, modeling, and feedback are integrated throughout teacher-guided and independent activities to support language development.
The document outlines a series of lessons that use music to help students learn vocabulary. It discusses how music can make vocabulary more memorable and impactful. The lessons have students analyze song lyrics to understand word meanings, create their own songs that incorporate target vocabulary, and present their songs to the class. Assessments include a vocabulary test and measuring any impact on reading fluency.
The document provides details of an English lesson plan for young learners focused on food vocabulary. The 50-minute lesson has several stages: a routine involving greetings songs; a lead-in revising actions words like peel and chop through a banana song; developing activities where students imagine being chefs and make a fruit salad using the new vocabulary. Assessment involves observing students' use of language and participation. The lesson aims to consolidate food vocabulary, cooking verbs, and phrases for expressing likes/dislikes through engaging activities like singing, role-playing as chefs, and a cooperative cooking game.
The document provides instructions for a lesson where high school music theory students will compose their own four-part chorales. Students will research four-part chorale structure and composition rules. They will then create an original 8-bar chorale by writing a melody and harmonizing it according to music theory principles learned in class. Students will be evaluated on their demonstration of techniques like proper chord progressions, non-harmonic tone usage, and avoidance of parallel fifths.
Tpd2018 assignment reflection cycle on secondary-arroyoRoxaana Arroyo
This document contains a reflective report from a student teacher analyzing their third practicum period teaching English at the secondary level according to Kolb's reflective cycle. The student teacher presented lessons using various techniques including videos, PowerPoints, games and visual aids. Students engaged well and seemed to appreciate the interactive materials. While nervous at first about teaching adolescents, the student teacher was able to relax and establish a positive classroom environment with respect and empathy. Going forward, the student teacher plans to incorporate more motivating activities using music and technology that adolescents enjoy, to better connect with and engage students as language learners.
This lesson plan is for a first grade class about zoo animals. The lesson aims to develop students' listening skills through a song, and to identify, produce and name numbers and colors. The teacher will review zoo animals, colors, and numbers one to three. New material will introduce numbers four and five through the song "Five Little Monkeys Jumping on the Bed". Activities include listening to the song, a worksheet matching numbers to monkeys, and whole-group participation. The plan provides for behavior management and support for students having difficulty with the language.
One of the biggest challenges during the practicum was classroom management, as the class was very talkative and difficult to control. Another challenge was finding age-appropriate activities and texts at the right level for the students on the topic of "Family". The most enjoyable lesson was the last one, where students presented projects they had created at home on their favorite idols. The students were engaged and excited to present. Evidence of student learning included posters where they wrote sentences using new vocabulary about their idols, and answering comprehension questions correctly after listening activities to show understanding.
This summary provides the key details from the document in 3 sentences:
This document describes a trainee's experience doing their secondary practicum at a public school in Pigüé, Buenos Aires, Argentina. The trainee observes that most students come from disadvantaged backgrounds and have difficulties concentrating. The English class has 25 students aged 14-15 who have a poor level of English and rely on the teacher translating everything into Spanish.
275 англ. яз. 7кл. spotlight (английский в фокусе). teachers book (с ответам...dfdkfjs
This document provides information about a teacher's book for the English coursebook Spotlight 7. It was published by Express Publishing in 2007. The teacher's book contains lesson plans, exercises and answers to support teaching Spotlight 7. It is designed for students at an A2+ level according to the Common European Framework.
This document summarizes rules for using prepositions in the English language. It begins by defining prepositions as relationship words that provide clues about how parts of a sentence fit together. There are two main rules for using prepositions: 1) Choosing the correct preposition, as certain prepositions must follow certain words, and 2) Placement in a sentence, as prepositions must be followed by nouns or pronouns. Examples are provided to illustrate idiomatic expressions that require specific prepositions and the rule that verbs cannot be the object of a preposition.
A lesson plan in english using suggestopediaKat Lutao
This lesson plan aims to teach students how to express feelings and emotions implicitly through analogies using the song "Father and Son" by Cat Stevens. The lesson begins with playing the song and asking students to reflect on their relationships with their parents. It then discusses how analogies can be used to indirectly compare two things, using examples like "Time is like a river". Students are asked to think of analogies that relate to the message of the song. Finally, they must work in groups to generate analogies for other topics and individually analyze another song of their choice.
This document provides an overview of Mr. Alzaher's music class. The class meets five times a week to focus on vocal technique, choral technique, and music reading. Students will learn to sing various genres of choral literature and develop musicianship skills. In addition to standard music curriculum, the class aims to develop students' life and career skills like flexibility, initiative, social skills, and leadership. As an example activity, students will analyze songs from different eras in groups and present their findings using technology. The goal is to help students become critical thinkers and informed consumers of music.
This document provides an overview of Mr. Alzaher's music class. The class meets five times a week to focus on vocal technique, choral technique, and music reading. Students will learn about musicianship and performance etiquette through rehearsing and performing various choral literature. The class will also help students develop 21st century skills like flexibility, leadership, and social skills. As an example, students may complete a project analyzing songs from different genres and eras in groups, then presenting their findings using technology. The goal is for students to learn technical music skills as well as general skills needed for future success.
Elyse M. Hatch seeks a teaching position to share her passion for music. She graduated magna cum laude from Miami University with a Bachelor of Music in Music Education. Her experience includes teaching K-8 general music and beginning band instruments. She is skilled at differentiating instruction and integrating music across curriculums. Hatch is dedicated to enriching students' lives through music.
This document provides details of 11 weekly activities for an English Language Society. The activities include committee meetings, creating a literature scrapbook from magazines and newspapers, drawing a story, making mini sandwiches from a recipe, writing poems, labeling pictures with words and phrases, singing songs, creating captions for pictures, making scrapbooks on literature and personalities, analyzing news items by identifying parts of speech, and displaying chosen adjectives to describe themselves. The document also provides materials needed and notes for teachers for each activity.
going to test their culture -introduce
- Elicit from ss knowledge by looking at key
if they have an pictures of famous vocabulary.
idea what people, movies and -elicit
"Culture Vulture" cities from different opinions.
really means. cultures. -develop
- Paste pictures - Ss look at pictures cultural
on board and and tell names/info. awareness.
elicit names/info - Encourage use of -build
from ss. opinion expressions. confidence.
- Encourage ss - Elicit more ideas 5 mins
This document provides a teaching guide for a Grade 1 music class focusing on dynamics and tempo. It includes lesson plans, activities, and assessments for two 40-minute classes on dynamics and two 30-minute classes on tempo. The lessons introduce key concepts like loudness vs softness and fast vs slow through songs, games, movement, and discussion. Students demonstrate their understanding by performing songs at different volumes and speeds, creating poems using loud and soft words, and identifying dynamics and tempos in various sounds and activities. The goal is for students to understand how to apply these musical elements appropriately based on the mood or style of different pieces.
This document describes an innovative flip book project created by a student called "The Very Hungry Caterpillar Flip Book". The flip book is based on the story "Two Brothers" and aims to enhance reading comprehension and writing skills. It contains a brief background of the author, the story, and a story map graphic organizer to help students visualize the key elements of the plot, including characters, setting, problem, and solution. The story map provides a framework to improve understanding and caters to different learning styles.
This article discusses using songs and movie songs specifically to teach grammar in English language classes. It outlines three stages the presenters went through in developing their use of songs - initially just for fun, then seeking more meaningful instructional uses, and now taking a more professional approach focusing songs on specific language aspects. Literature on this topic is reviewed, showing songs have been used to teach functions, structures and grammar. The workshop demonstrated using DVD technology and various song sources, and showed different activity types like fill-in-the-blank, multiple choice, matching and sentence building to design grammar lessons around songs. The goal is to make grammar teaching more engaging for learners and effective for language acquisition.
This article discusses using songs to teach grammar in English language classes. It outlines three stages the authors went through in developing their approach: initially using songs casually, then creating their own activities focused on listening and pronunciation, and more recently taking a more professional approach informed by workshops and research. The article reviews literature on this topic and provides an example of a workshop the authors gave demonstrating how to design various activity types around movie songs to teach specific grammatical concepts, with the goal of making grammar learning more engaging and effective through music.
This article discusses using songs to teach grammar in English language classes. It describes the authors' experience incorporating songs into their lessons at Chinese Culture University over 14 years, progressing from using songs generally for fun to developing specific grammar teaching activities linked to songs. The authors now use DVD technology and various song sources, demonstrating activities like fill-in-the-blank, multiple choice, matching, dialogues, and sentence building. Literature on this topic shows songs can successfully combine with grammar instruction. The workshop showed teachers how to design different activity types to teach word and sentence grammar through movie songs.
What we call Action Songs ( songs with movements for miming and role-playing the words and the language structures), have been used in the foreign language classroom to help in a lot of different aspects
3Rs: Lesson Plan (Zoom Meeting) - 3° Year, Secondary SchoolValeriaZentner1
This lesson plan summarizes a 40-minute Zoom lesson on reducing environmental pollution for a group of 15 secondary students at a pre-intermediate English level. The lesson aims to raise awareness of environmental issues like pollution and promote reducing, reusing and recycling habits. It includes a warm-up discussion of pollution photos, a survey on student habits, group work matching conditional sentences about pollution consequences, and a closing Jamboard activity for students to share their plans. Scaffolding strategies like questioning, modeling, and feedback are integrated throughout teacher-guided and independent activities to support language development.
The document outlines a series of lessons that use music to help students learn vocabulary. It discusses how music can make vocabulary more memorable and impactful. The lessons have students analyze song lyrics to understand word meanings, create their own songs that incorporate target vocabulary, and present their songs to the class. Assessments include a vocabulary test and measuring any impact on reading fluency.
The document provides details of an English lesson plan for young learners focused on food vocabulary. The 50-minute lesson has several stages: a routine involving greetings songs; a lead-in revising actions words like peel and chop through a banana song; developing activities where students imagine being chefs and make a fruit salad using the new vocabulary. Assessment involves observing students' use of language and participation. The lesson aims to consolidate food vocabulary, cooking verbs, and phrases for expressing likes/dislikes through engaging activities like singing, role-playing as chefs, and a cooperative cooking game.
The document provides instructions for a lesson where high school music theory students will compose their own four-part chorales. Students will research four-part chorale structure and composition rules. They will then create an original 8-bar chorale by writing a melody and harmonizing it according to music theory principles learned in class. Students will be evaluated on their demonstration of techniques like proper chord progressions, non-harmonic tone usage, and avoidance of parallel fifths.
Tpd2018 assignment reflection cycle on secondary-arroyoRoxaana Arroyo
This document contains a reflective report from a student teacher analyzing their third practicum period teaching English at the secondary level according to Kolb's reflective cycle. The student teacher presented lessons using various techniques including videos, PowerPoints, games and visual aids. Students engaged well and seemed to appreciate the interactive materials. While nervous at first about teaching adolescents, the student teacher was able to relax and establish a positive classroom environment with respect and empathy. Going forward, the student teacher plans to incorporate more motivating activities using music and technology that adolescents enjoy, to better connect with and engage students as language learners.
This lesson plan is for a first grade class about zoo animals. The lesson aims to develop students' listening skills through a song, and to identify, produce and name numbers and colors. The teacher will review zoo animals, colors, and numbers one to three. New material will introduce numbers four and five through the song "Five Little Monkeys Jumping on the Bed". Activities include listening to the song, a worksheet matching numbers to monkeys, and whole-group participation. The plan provides for behavior management and support for students having difficulty with the language.
One of the biggest challenges during the practicum was classroom management, as the class was very talkative and difficult to control. Another challenge was finding age-appropriate activities and texts at the right level for the students on the topic of "Family". The most enjoyable lesson was the last one, where students presented projects they had created at home on their favorite idols. The students were engaged and excited to present. Evidence of student learning included posters where they wrote sentences using new vocabulary about their idols, and answering comprehension questions correctly after listening activities to show understanding.
This summary provides the key details from the document in 3 sentences:
This document describes a trainee's experience doing their secondary practicum at a public school in Pigüé, Buenos Aires, Argentina. The trainee observes that most students come from disadvantaged backgrounds and have difficulties concentrating. The English class has 25 students aged 14-15 who have a poor level of English and rely on the teacher translating everything into Spanish.
275 англ. яз. 7кл. spotlight (английский в фокусе). teachers book (с ответам...dfdkfjs
This document provides information about a teacher's book for the English coursebook Spotlight 7. It was published by Express Publishing in 2007. The teacher's book contains lesson plans, exercises and answers to support teaching Spotlight 7. It is designed for students at an A2+ level according to the Common European Framework.
This document summarizes rules for using prepositions in the English language. It begins by defining prepositions as relationship words that provide clues about how parts of a sentence fit together. There are two main rules for using prepositions: 1) Choosing the correct preposition, as certain prepositions must follow certain words, and 2) Placement in a sentence, as prepositions must be followed by nouns or pronouns. Examples are provided to illustrate idiomatic expressions that require specific prepositions and the rule that verbs cannot be the object of a preposition.
A lesson plan in english using suggestopediaKat Lutao
This lesson plan aims to teach students how to express feelings and emotions implicitly through analogies using the song "Father and Son" by Cat Stevens. The lesson begins with playing the song and asking students to reflect on their relationships with their parents. It then discusses how analogies can be used to indirectly compare two things, using examples like "Time is like a river". Students are asked to think of analogies that relate to the message of the song. Finally, they must work in groups to generate analogies for other topics and individually analyze another song of their choice.
This document provides an overview of Mr. Alzaher's music class. The class meets five times a week to focus on vocal technique, choral technique, and music reading. Students will learn to sing various genres of choral literature and develop musicianship skills. In addition to standard music curriculum, the class aims to develop students' life and career skills like flexibility, initiative, social skills, and leadership. As an example activity, students will analyze songs from different eras in groups and present their findings using technology. The goal is to help students become critical thinkers and informed consumers of music.
This document provides an overview of Mr. Alzaher's music class. The class meets five times a week to focus on vocal technique, choral technique, and music reading. Students will learn about musicianship and performance etiquette through rehearsing and performing various choral literature. The class will also help students develop 21st century skills like flexibility, leadership, and social skills. As an example, students may complete a project analyzing songs from different genres and eras in groups, then presenting their findings using technology. The goal is for students to learn technical music skills as well as general skills needed for future success.
This lesson plan aims to teach students how to compare art, discuss cultural activities, and talk about movies and cultural differences. It includes activities to learn comparatives using "as...as/not as...as" and superlatives, as well as adjectives for describing arts and culture. The plan
picture and tell the name(s) of
pictures - elicit
this person, movie, play or city, vocabulary
making sure ss understand the already
instructions. known.
- T. encourage ss to share any
other information they know
about the people and
characters in the pictures.
- Elicit some more ideas from
the class.
Extend theme: - T. writes 6 or 8 words which are - pairs - board - extend
form of art (e.g. theatre, vocabulary
photography, music, painting, - learn
opera, ballet, sculpture, adjectives
movies, etc.) in scramble order for
on
This document contains Chelsea Chafin's teaching portfolio which includes her teaching philosophy, a sample syllabus, and lesson plans. Her philosophy emphasizes treating each student as an individual and engaging them through connecting course content to their lives. The sample syllabus is for an introductory composition course focused on analyzing music. It includes course objectives, assignments, and a tentative schedule. The three lesson plans provided give examples of how she would teach invention and research skills, collaboration strategies, and editing/proofreading. Her assessments emphasize critical thinking skills and applying course concepts through analyzing music.
This document discusses the use of rhyme, songs, and chants in primary classrooms. It notes that they aid language and physical development when used with dance or mime. Their repetitive nature helps activate children's language acquisition abilities. Songs extend children's vocabulary beyond everyday words in a fun, low-pressure way. Tips are provided for choosing and teaching songs, such as involving movement, learning songs thoroughly, using visual aids, singing enthusiastically, and building up participation over multiple lessons. Both repetition and variation in follow-up activities are recommended.
The document discusses the reasons for using music in education. It states that music can be used for affective, cognitive, and linguistic reasons. It then provides examples of how music can be used to introduce vocabulary, renew student attention, encourage creativity, improve listening skills, and create a relaxing environment. It also notes some disadvantages like content being abbreviated or losing meaning in translation. Finally, it provides tips for selecting songs and follow-up activities that are appropriate for the students' ages and language levels.
The document discusses the reasons for using music in education. It states that music can be used for affective, cognitive, and linguistic reasons. It then provides examples of how music can be used to introduce vocabulary, renew student attention, encourage creativity, improve listening skills, and create a relaxing environment. It also notes some disadvantages like content being abbreviated or losing meaning in translation. Finally, it provides tips for selecting songs and follow-up activities that are appropriate for the students' ages and language levels.
The document discusses using various materials like newspaper articles, audio cassettes, tape recorders, and songs in language learning. Newspaper articles can be used to enrich vocabulary and challenge reading skills at different levels. Audio cassettes are commonly used for listening activities. Tape recorders can be used to record students and diagnose problems. Songs help practice language while keeping classes lively, with themes depending on student age and interests.
Lesson two the history of music in advertisingbecclehead
This document provides an overview of a Year 8 music lesson on the history of music in advertising. The objectives are for students to examine how music has been used in advertising over time, identify compositional techniques used in jingles, and listen attentively to musical examples. The lesson involves an introduction to jingles and their components, a student activity to recognize slogans and their purpose, and a short quiz to review key terminology. Student progress will be assessed through teacher observations, work samples, and performances of their own jingle compositions.
The document outlines 5 key facets of effective music teaching: 1) musical knowledge and theory, 2) performance and technique, 3) aural skills, 4) creativity and composition, and 5) historical and cultural context. It discusses the importance of each facet and provides examples of how teachers can develop them in their students. The conclusion states that a well-rounded music education approach incorporates all five facets to foster musical competence and appreciation.
This document provides information about a lesson on holiday traditions for 4th grade students. It outlines the students' characteristics and competencies. The lesson will use short videos, arts and crafts, songs, and a scrapbook to teach about Christmas, Hanukkah, Kwanzaa, and Ramadan. Students will identify key concepts and traditions of each holiday through class discussions, crafts, and by completing a scrapbook which will be graded for accuracy. The teacher will evaluate students based on their participation in songs, crafts, discussions, and the quality of their completed scrapbooks.
This project is about a research study applied in a second level EFL course at a university in Tunja. The study examines the listening performance of students throughout the development of six workshops based on the songs.
This document discusses how to incorporate music into Common Core classrooms to foster collaboration, discussion, and deeper learning. It argues that quiet classrooms are no longer optimal and that music can help create student-centered environments that align with Common Core standards. Specific tools like Pandora, Spotify, and YouTube are recommended for accessing music to set moods, engage students, and support different types of learning activities. The document advocates putting music selection tools in students' hands and references research on how background music can benefit learning and behavior.
The document describes a lesson plan for teaching 4th grade students about various winter holiday traditions. There are 20 students total, ranging in age from 8 to 10 years old. The lesson plan involves students watching short videos, doing arts and crafts, singing songs, and creating a scrapbook to document their learning about the key concepts and traditions of Christmas, Hanukkah, Kwanzaa, and Ramadan. Activities will include making a Christmas tree, menorah, mkeka (African mat), and lantern. The teacher will evaluate students based on their participation in activities and the completion of their scrapbooks to show their understanding of the different holidays.
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Norman Brodeur Awesome Songwriting Music Artist
1. Musical Futures Section 2: Non-formal Teaching 101
SECTION2:NON-FORMALTEACHING
Guide to
Songwriting
This section provides guidance on how you can support
students with songwriting. Songwriting can be an
excellent way of enabling students to express themselves
about topics that are important to them, and in musical
styles and genres with which they are familiar. This
guide suggests some processes, techniques and ideas
for encouraging your students to write their own songs,
without suggesting actual musical or lyrical content – this
should come from the students themselves.
All songwriters, whether individuals or groups, write best
in their own way, in the order which suits them and their
songs, and very often dealing with more than one aspect
of the writing at a time – for example, coming up with
words and music together. Furthermore, they may well
write different songs in different ways. So there is no one
way to teach songwriting.
Consequently, there isn’t one set way of using this guide.
We have suggested a skeleton structure for how you
might incorporate this guidance into a six-week project.
However, this guide could also be used in a much less
formal way, to support students working on composing/
songwriting as part of the informal learning model for
example (see page 154).
This guide should be treated as a framework – student
voice and creativity should form the content and
determine the direction of all songwriting work.
PREPARATION
q Either ask students to bring songs to the lesson (for the
comparison exercises) or have a number of popular songs
of different structures/styles prepared that students can draw
upon for discussion and inspiration
q Photocopy the student prompt sheets, if required
GUIDE TO SONGWRITING
2. Musical Futures Section 2: Non-formal Teaching102SECTION2:NON-FORMALTEACHING
RESOURCES
q Practice spaces, one per small group
q Range of instruments – ideally a typical ‘band’ set up (drums, guitar,
bass, keyboards, microphones), and/or acoustic instruments, classroom
percussion
q Ideally, access to computers with music sequencing/sampling software
for students who want to compose electronically
q Flipchart paper and pens, and if possible audio recording equipment,
for students to record their ideas
q Copies of the student prompt sheets, if required
STUDENT PROMPT SHEETS
The following student prompt sheets are available to download from
www.musicalfutures.org.uk/songwriting:
q Prompt Sheet 1: Adding to our song
q Prompt Sheet 2: Finishing your song
q Prompt Sheet 3: If you just can’t get started
Your students may not need to use these prompt sheets and they should
be offered as optional guides, rather than fixed instructions.
TEACHING ADVICE
The following set of activities provides a step-by-step guide for how
students might start, continue and finish a song. This is not a prescription
of how students must write songs, but a series of suggestions and
exercises for things they could do, especially if they get stuck.
It is important to stress to students that, when they express themselves
in a song, no-one can say that something is right or wrong. However, it is
beyond doubt that some songs are better than others and the care used
when choosing notes, lyrics, chords, etc, can make the difference between
a satisfactory school exercise and a song which is really exceptional.
In this project, we use the word ‘write’ for making up or creating words
and music. This does not necessarily imply writing on paper – and it
refers both to the mental activity of creation and the recording of the
song. Though some students may prefer to write songs on their own, the
material here is written for groups of students writing collaboratively.
LISTENING TO OTHER SONGS
We make specific suggestions for linking listening with songwriting
throughout this guide, to encourage students to listen to as many songs as
possible.
Students are likely to prefer writing the sorts of songs they enjoy listening
to, but encourage them to challenge themselves and write other types of
songs as well. Not only will this expand the range of possibilities, but it
should improve their overall songwriting style. It also could lead them to
discover some new music which they would never have chosen to listen to.
TECHNOLOGY TIP
As listening can guide young songwriters
through investigating how others have
created great songs, enabling students
to have in-school access to online music
streaming sites such as Spotify, Last.fm,
Deezer and We7 (current sites at time of
going to press) can be beneficial.
GUIDE TO SONGWRITING
3. Musical Futures Section 2: Non-formal Teaching 103
SECTION2:NON-FORMALTEACHING
RECORDING AND REVIEWING
Recording and reviewing work is a critical part of the creative process.
It can be particularly frustrating for students if they forget an idea
developed in a previous lesson. Flipchart pads and pens should be made
available for jotting down ideas and lyrics in progress in whatever way the
students choose, and also audio recording devices to record their ideas.
These ongoing notes/recordings should be available every lesson.
Recording (either audio or video) is also a crucial way of tracking student
progress, both for the teacher and students. It can be very beneficial for
each group of students to have a means of jotting down ideas aurally. This
could be on their mobile phones (depending on school policy), or other
available recording equipment.
COPYRIGHT
It is useful to remind students that, if they are using other artists’ words,
music or recordings in their songs, they may not be able to play their
songs in public or record them for distribution because the material
will be protected by copyright. Soundrights (www.soundrights.co.uk)
is a web-based resource developed by UK Music that provides lesson
activities and online resources to help students at Key Stage 3 understand
copyright, and how they might need to go about protecting their own
material.
WRITING A SONG
‘Writing a Song’ provides an illustration of the songwriting process, and
links the stages to the exercises in this guide.
GUIDE TO SONGWRITING
5. Musical Futures Section 2: Non-formal Teaching 105
SECTION2:NON-FORMALTEACHING
SONGWRITING ACTIVITIES
Students often ask whether the words or the music are written first in
a song. It may be either, or both together. However, it can be useful to
decide before starting what the song is going to be about, which may or
may not actually be mentioned in the song.
Students using lyrics as a starting point should work through Exercises
A1–A3, and students using music as a starting point should go straight to
Exercises B1/B2. If students are beginning with fragments of words and
music together (lines for a song) they may use aspects of both methods
simultaneously.
Songs don’t need to be written in the order in which they are
sung/performed when they are finished. In practice, songwriting
usually happens as a non-linear process, therefore students should
follow the exercises in the order most appropriate to them, and be able
to revisit the exercises and refine their work as and when necessary.
STARTING POINT: WORDS
EXERCISE A1: SONG TOPIC IDEAS
Students start by establishing the theme/topic that their song will be
based on.
q Ask students to divide into friendship groups, or to work on their own
q Each group should choose a topic on which to write a song and discuss
it, writing down or recording any interesting ideas that could be used
to inspire their song and its lyrics
q Some of the words and phrases chosen may later be used in the song.
But, at this point, encourage students to concentrate on the topic and
what arises from it, rather than thinking about the song
q Students should make a note of all of their ideas, and then go through
them and decide which ones to use
It is possible that their ideas will be a mixture of words and music or even
simply bits of tunes or chord progressions. If the ideas include music, see
the B section (page 107).
As part of this exercise, ask students to choose one of their favourite
songs, listen to it and discuss what the song is about, for example:
q How many of the lyrics refer to the central theme/topic?
q Do they tell you everything at once or build up a story?
q Is anything else brought in from a different topic; if so, why?
EXERCISE A2: LYRIC IDEAS
After establishing a topic for the song, students now begin writing their
lyrics.
q Ask students to review their bank of material for possible lyrics for their
song. These needn’t be the first lines in a song, although they could be;
students are looking for something which fits anywhere in a song
GUIDE TO SONGWRITING
6. Musical Futures Section 2: Non-formal Teaching106SECTION2:NON-FORMALTEACHING
q Where there are verbal phrases, encourage students to find a good
rhythmic way of expressing them
q If there are some strong words or phrases, encourage students to search
for more words about the topic which rhyme with them and make a list
of useful rhyming words
q Students should work on this until they have a few useful sentences
and phrases
As part of this exercise ask students to choose one of their favourite songs
and:
q Select examples of short phrases – words and music – where these two
elements work particularly well together
q Ask them to consider:
p Why are these so good? Are there any places where the words and
music don’t fit together well? Does this spoil the song?
p How are rhymes used – on any words, or on words important to the
message? Do the rhymes fit with the rhythmic stresses in any way?
p Are the words easy to sing: which vowels work well on long notes;
which consonants get lost when one word follows another?
q Encourage students to make a phrase of their own modelled on one
of these phrases, either by adding their own ideas to what the original
song is about, or by choosing another topic for their phrase
EXERCISE A3: DEVELOPING LYRICS
AND BRINGING IN MUSIC
Students should now be in a position to develop their lyrics, using some of
the material they have developed in Exercise A2.
q Students should spend some time saying aloud, in rhythm, the words
they already have written. They should then work on these, adding and
taking away words, until they have two lines which work well together
as lyrics for a song
q Next, using exactly the same rhyme scheme and rhythm, write another
two lines
q If the meaning is not complete, students should continue the pattern
(or choose another pattern) to grow the four lines into a longer section
q Students can start to think about how their lyrics might fit to music.
If there is no music with the words yet, encourage them to say their
phrases in different ‘sing-song’ ways, gradually singing lines to a new
tune
q The second of the two-line groups will usually have new words, but
could have the same music as the first two lines. However, students
could change the music at the end to make a slightly different second
half of the fourth line
As part of this exercise, ask students to choose one of their favourite
songs, pick out some two-line phrases and consider:
q Is that structure then repeated immediately afterwards?
q If so, is it changed at all? Is it used again later in the song? How do
GUIDE TO SONGWRITING
7. Musical Futures Section 2: Non-formal Teaching 107
SECTION2:NON-FORMALTEACHING
other two-line phrases – different ones in the same song – relate to the
one they chose?
q Why are things so often expressed in two-line phrases?
q Encourage students to create a verse or a chorus modelled on the
best of these examples, either by adding their own ideas to what the
original verse is about, or by choosing another topic
At this stage, it is particularly important to encourage peer feedback,
because having another point of view can open students up to writing a
song which will be relevant to more listeners. It can also alert students to
a songwriting ‘habit’ which they may use without being aware of it, or
warn them of other songs which they may have copied by mistake.
Remind students that the language of song lyrics is different from that of
speech, stories, official forms, or even poems. This is because the sound
of the words is as important to the message as the meaning. It is also
because the songwriter may want to imply more than is being said openly.
The music also contributes to the meaning – sometimes the music and
the lyrics can give deliberately different messages. Students will need to
consider what type of language (vocabulary and grammar) they will be
using.
STARTING POINT: MUSIC
EXERCISE B1: IMPROVISING A BACKING
In this exercise, students use jamming and arranging to work up musical
ideas for their songs.
q Ask students to divide into friendship groups, or to work on their own
q Using instruments and/or voices they should jam around a
chord-sequence and rhythm with which they are familiar
q Encourage students to keep looping their musical ideas until
they flow well
q If students already have an idea for a melody (with or without words),
the chords of the backing should fit with it
If the above doesn’t work, or as a preparatory exercise, ask students to
choose one of their favourite songs and do the following:
q Play along with the basic accompaniment a few times, and then play
their version of the backing without the recording
q Encourage students to try a few slight changes, for example the order
of the chords, the bass line or the feel of the drum beat
q Practise the new music and continue as above
EXERCISE B2: ADDING A VOCAL
AND BRINGING IN WORDS
If there is already an idea for a melody, it could be used as the basis for
the next exercises. If not, students should improvise a melody (with or
without words) over the backing developed in Exercise B1.
TECHNOLOGY TIP
There are many websites where you can
download samples, which may be bass
sounds, drum sounds and loops, vocal
samples and FX. Students can use these
sites to keep their productions sounding
fresh and current.
GUIDE TO SONGWRITING
8. Musical Futures Section 2: Non-formal Teaching108SECTION2:NON-FORMALTEACHING
q Encourage students to improvise lines of a tune, or to rap verbal
phrases in a rhythm which fits their backing
q When students have part of a tune which fits the chord progression,
they can try putting words or phrases to it
q Encourage them to go round this sequence, trying new ideas which
work with the backing – they may be able to get more than a single
line this way
q Once the improvisations bring up some useful lyric ideas consider
referring to Exercise A3
The style of an accompaniment can completely change what a song is
saying. It can be a good exercise to try out different ways of playing a
song to discover the different effects this can have.
PUTTING IT TOGETHER
Students should now have some small sections of a song with words and
music. At this stage, the sections may not fit together, but they should feel
like part of the same song.
EXERCISE C1: REVIEWING THE MATERIAL
Regularly reviewing and refining music and lyrics is an important ongoing
part of the songwriting process.
q If the ideas don’t really fit together as part of the same song, students
could consider which elements could be put aside or changed
q As well as coming up with new lyrics ideas, students could try using
different words and word orderings to improve the effect of the words
that they already have written
q As well as practising the music and improving the performance of it,
students should be alerted to how small changes can have a powerful
effect, and try out different chords and rhythms
As part of this exercise ask students to choose one of their favourite songs
and:
q Explore how ideas are repeated, developed or replaced in the song
q Consider whether any parts of the song don’t fit well with the rest of it
q Try to write some new words and music which develop these ideas
EXERCISE C2: MOVING ON
Students will potentially have some song material by now, probably
still as separate bits. Students can use any structure they like to put this
together, however we suggest the basic verse and chorus structure here:
Verse 1, Verse 2, Chorus, Verse 3, Chorus.
Students should listen to their work and decide whether each completed
section or uncompleted idea would work better as part of a verse or part
of a chorus.
To help with this exercise, ask students to choose one of their favourite
songs and:
GUIDE TO SONGWRITING
9. Musical Futures Section 2: Non-formal Teaching 109
SECTION2:NON-FORMALTEACHING
q Try splitting it up into different sections, identifying verse(s) and
chorus(es)
q Listen to what is ‘said’ in each part of the song. Do the words in a verse
have a different message from another verse, and from the chorus?
Is the music different in the introduction?
Now students should try to shape their own material into verses and
chorus.
EXERCISE C3: COMPLETING A CHORUS
Students now work to finish their choruses.
q If students already have part of a chorus but don’t know how to finish
it, encourage them to analyse what they have already got
q Is there anything that still needs to be ‘said’ in their chorus? Does the
music feel complete in itself or is there something missing? If there is
still something missing in their chorus, try these suggestions:
p Repeat one or two lines in the chorus, or repeat a line with a very
slight change (perhaps in the harmony)
p Include a line from the verse in the chorus
p Check that the students are sure that what they actually have is a
chorus. Might it be a different section?
As part of this exercise, ask students to choose one of their favourite songs
and analyse the chorus by asking questions such as:
q How long is it, related to the verses?
q Is it in the same key as the verses?
q Does it end with the home key or lead to that?
q Does the rhythmic feel change in it?
q Does it ‘represent’ the song?
Then encourage students to write their chorus on the same model.
EXERCISE C4: COMPLETING VERSES
Students now work to complete their verses.
q If students already have part of a verse, encourage them to try finishing
it off as described in Exercise A3
q When students have finished one verse, they should write a second and
perhaps third verse, using the same music and rhyme scheme as the
first, but with new words. As far as possible, encourage them to keep
the number of syllables in the lines the same, and to be careful where
the stresses in the words and sentences fall
q Encourage students to try to move the ‘story’ of the song on and not
simply say the same things again. Students might do this in various
ways, for example by telling the next thing that has happened or that
they want to happen, or by explaining the first verse further
q If while working on Verse 2 they decide that they want to change the
order of the lines or the verses around, that is fine; just because they
wrote one verse first, it doesn’t mean that it needs to be sung first
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As part of this exercise ask students to choose one of their favourite
songs and:
q Analyse the rhyme scheme in the verse, and the structure of the verse
as couplets (two-line bits)
q Find out if any rhymes then come back later in the verse, if so what
effect does that have?
q Analyse what is taken forward by each new verse of the song. Is
anything revealed that was hidden before?
q Encourage students to base their verses on the same model
FINISHING THE SONG
By now, students should have a song structured Verse 1, Chorus , Verse
2. (There may be more or fewer than two verses.) In a six-week project,
students may only get as far as this, and it is a good achievement if they
do. But if they have the opportunity, they could now extend and refine
what they have already written. The student prompt sheets are designed
to provide some questions and ideas students might consider if they are
unsure about how to finish their song.
PERFORMING AND RECORDING THE SONG
Performance opportunities can provide motivation for students to finish
their songs, and also a sense of achievement when performing music of
their own creation to others. Therefore, we would strongly recommend
building in some form of performance at the end of any songwriting
project – either recording student work and uploading it to NUMU
(www.numu.org.uk), students performing to their classmates, or
performing in a school or local concert.
OPTIONAL OUT-OF-HOURS LINK
Consider establishing a songwriting club, ideally with a music technology
link, for budding songwriters to continue with their work. The Writers
Unblocked resource developed by the Leeds pathfinders, gives some ideas
for developing songwriting as an extra-curricular activity. Download it
from www.musicalfutures.org.uk/songwriting
GENERAL
q Regular and frequent peer review of developing work is important as
this helps students to see how others’ work is developing
q As an end assessment for the unit, give each student a sheet with
basic levelling criteria on and ask them to mark every group’s songs.
They should be asked to find positive things to say as well as questions
they would like to ask the writers about anything they felt didn’t
work as well
NOTE
Your Music Service, Local Authority, local
radio stations or other organisation may
well run songwriting competitions for
young emerging talent in which your
students could enter their class-work
into. Also, NUMU (www.numu.org.uk) is
a great way for students to publish their
own music, as well as receiving reviews
and comments from other students.
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q Ensure that students with Special Educational Needs receive the right
sort of support – either focused teacher support or older students
working alongside students
q Stretch Gifted and Talented students by asking them to compose in a
style which is unfamiliar to them, or setting a challenging topic for the
song
q Encourage students to make use of music technology (for example
creating beats/backing tracks to rap over) where appropriate
q Upload student’s songs to NUMU (www.numu.org.uk), and use the
blogging tool as a means of recording musical and lyrical ideas as songs
progress
q Consider developing a cross-curricular project with the English
department, with lyric-writing forming part of a creative writing course
FAQS: SONGWRITING
The following provides some guidance on questions that may come up
when running a songwriting project.
Should students use rhymes in their lyrics?
Rhymes play an important role in the effect of a song. Because people
expect them, there is often a feeling of disappointment if they are not
there. However this doesn’t necessarily mean they have to be used.
If students need a rhyme, but can’t find one, they could try changing the
order of words in the sentence to have a different one at the end (for
example ‘leave for the town right away’ changed to ‘leave right away
for the town’). However, no rhyme at all is usually better than a sentence
which doesn’t sound right (for example ‘right away, for the town you
must leave’).
A half-rhyme can sometimes be used. For example, ‘town’ and ‘now’ are
sort of rhymes in:
‘Really got to go,
Got to get to town,
There’s no time to lose,
I must be there now’
However, if this gets taken too far it often doesn’t work. This will depend
on other things, such as how rhymes are used elsewhere in the song.
Encourage students to try saying the phrase out loud and listen to it
carefully. If they have to do this a few times before they are happy with it,
it probably isn’t good enough. Rhymes need to be made by matching the
strong syllables: ‘singing’ rhymes with ‘ringing’ and not with ‘one thing’.
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Another professional songwriter trick is to use the same word again, for
example:
‘There’s no time to lose,
Got to get to town,
It’s all far too late, and I
Have to be in town’
A rhyming dictionary can be a useful resource to have available for
students to refer to. Or they could write their own collection, based on the
topic of the song.
Does it matter if it is difficult to sing the words?
This doesn’t matter provided that somebody can sing the words. But as
students probably won’t want their songs to be show-off pieces for clever
singers, encourage them to do all they can to make the words singable,
either by changing the speed or rewriting the music.
Using one note per syllable can work well (unless students are looking for
a specific effect). It is always effective to match strong beats, rhymes and
words which are important to the message of the song.
Some words are more easily sung on high notes than others and some
words are more easily sung in fast succession than others. Changing
words can often help, for example ‘get down quickly, please take care’ is
more difficult to sing quickly than ‘come on down and take more care’.
(Students could be asked to analyse why.)
If the words could easily be mistaken for others, this could either be a
disaster or a triumph depending on what effect your students want. (Did
he sing ‘robber banned’ or ‘rubber band’?)
Does the rhythm come first from the words or the music?
It depends, and it could be either, but what is important is that the words
and music fit well together rhythmically.
When speaking the words, you would be unlikely to have long extended
syllables in the way that you do when singing. From this point of view, the
music is more important in giving the rhythm. But in all other respects it is
the other way around, the song will work if the rhythm fits the words and
it won’t work if the rhythm doesn’t fit the words.
What if a student is struggling with writing tunes to lyrics?
Encourage your students to repeat their lyrics in rhyme with the
accompaniment, and gradually a simple tune should come. If it doesn’t,
they could try writing a simple chord sequence and choosing one or two
of the notes of each chord in turn, singing the words on those notes until
the chord changes. Then sing the next bit on notes from the next chord.
Again, a tune is likely to emerge gradually. Another approach is to write
the tune first and then add the lyrics.
Often, during the course of working on a song, the tune will change as
people keep singing it, and this can mean it gets better.
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One of my students’ songs sounds like somebody else’s, but they don’t
want to make big changes.
Sometimes changing just one small part of a tune can make a lot of
difference, especially if it is the first, last or highest note. Encourage your
students to try to find another note which fits with the chord and carry on
from there. Then, they may be happy to move a few more notes around.
Another method is to keep the notes the same but change the rhythm.
For example, a tune that starts with four even notes will sound very
different if you make the first note longer and the next three shorter. This
may also mean changing the words.
Students may also consider changing the chords. This can have a
surprisingly strong effect on how the tune sounds.
What if the verse and chorus sounds the same?
Suggest that your students try:
q Changing the harmonies within either the verse or the chorus
q Changing the key within either the verse or the chorus
q Putting the musical lines in a different order
q Adding an extra line in the verse, possibly a repeat
q Changing the texture or the basic beat (for example swing the chorus)
Alternatively, unless their song is of the kind where this doesn’t matter (as
in some kinds of Blues, for example) it might be worth writing a new tune
for one of the sections.
Students are saying their song sounds boring
Is this because they keep repeating the same idea? Could they say the
same thing in different ways? Encourage them to try changing one or two
words to see what happens. Or try changing where the main word (which
relates to the topic of the song) is placed; at the very beginning or end of
a line is often good. Changing the order of the verses may help.
In a good song, there should be a balance between repeated elements
and new things. This will depend partly on the style of the song. It
is worth students analysing good songs to find the moment when
something new is brought in.
Sometimes, words sound dull because they are not focused on one subject
and wander between different ideas. Unless this is the whole point of
the song, students could improve lyrics by making sure that they keep
to the subject. You could also encourage them to think of a new image
to express their ideas (if something is boring, maybe it feels like having
to ‘live with your head full of porridge’; if someone is beautiful, maybe
that person ‘makes you feel like rain is made of fizzy blue water’) or to
come up with a surprising way of saying what you think, by exaggerating
(‘the lesson lasted a million years’) or using unexpected words (‘he plays
football like a soapy superstar’).
The effect of a song comes from all of its elements, so what may sound a
dull lyric when spoken can be fantastic when sung. Other helpful changes
may arise from considering the following:
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14. Musical Futures Section 2: Non-formal Teaching114SECTION2:NON-FORMALTEACHING
q Does the music contain too many lines with the same tune following
one another?
q Do the chords always come in the same order and end the same way?
q Does the bass line only ever play the main chord note on the first beat
of the bar?
q Could the highest note in the tune get moved towards the end of the
section?
q Could the rhythm in the accompaniment get adjusted slightly to
change the feel?
q Is the tempo right?
q Is the texture always the same?
What if the group disagrees about something in the song?
This can be the result of having a few students with strong creative
ideas in the same group. Encourage everyone to try out all of the ideas,
ensuring everybody’s suggestions get heard. They may then discover what
works best, and choose from all the available material.
Encourage students to play different versions of the song to other people
– students from other groups for example – whose opinions they trust,
and ask for comments.
Sometimes, a compromise is possible (using different versions in different
verses, for example). But ultimately students are going to have to go with
one agreed song. If they are performing it themselves, encourage them to
go for what they can perform best.
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Lesson Content
1 (5 mins)
(10 mins)
(40 mins)
(5 mins)
2 (10 mins)
(40 mins)
(10 mins)
3 (10 mins)
(40 mins)
(10 mins)
4 (10 mins)
(40 mins)
(10 mins)
5 (10 mins)
(40 mins)
(10 mins)
6 (10 mins)
(20 mins)
(30 mins)
PROJECT SNAPSHOT
The following splits the materials into six lessons. The various interlinked
activities are separated out as individual exercises, but students should be
reminded that, when they write a song on their own, they may want to
deal with things in a completely different order. This process could and
should take place over as many weeks as students need; some exercises
may each need two or three lessons. This is just a guide to illustrate one
way of structuring a songwriting module in a six-week period.
GUIDE TO SONGWRITING