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G. Annie Lennox: ‘sometimes you just have to force yourself to sit down and face a blank page’ (Randal, 1996). moving into part singing The third part of this section on music for voices looks closely at part singing from its absolute beginnings through to first partsongs. planning points Moving from single-line, unison singing to singing songs in which two or more parts are combined represents a huge leap for children, one which teachers sometimes rush ambitiously. It is worth remembering that learning to sing in parts does not represent a ‘benchmark’ in a stage by stage progression of learning to perform songs but alternatively represents a broadening of voice music work into another dimension.

This raises the rib cage and increases the volume of air in the lungs. Allow the hands to hang loosely down by the sides. Keep the head well positioned at the top of the spine, feel that a ‘thread’ at the top of the head draws it upward. Widen and lengthen the torso. 39 primary music: later years breathing-ready? Breathe low in the chest, filling the lower, abdominal part and not high in the chest. Children will find this kind of breathing by lying flat on the floor and feeling their stomachs gently rise and fall.

This is because, ideally, teaching input will always take its cue from issues raised by the child’s own work, and techniques will be developed as the need for them arises. Otherwise progress is far too slow and much time wasted imparting techniques which have already been grasped aurally, or which have no present meaning for the child. developing song-writing The key role for the teacher in developing children’s song writing is the role of a listener who can reflect back to the child how the song is heard, what structures are apparent, how the music changes as it goes on, how words and music interrelate, and also, subjectively, what the impact of the music is.

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