The Tempest - BBCdownloads.bbc.co.uk/schoolradio/pdfs/tempest_notes.pdf · Welcome to The Tempest ... internalising rhythm through words of song and clapping/playing 6: listen to

The TempestMusic Workshop

2

Contents

Page

The Song Tree Welcome 3-5

Programme 1 Rock The Ship 6

Programme 2 Set Me Free 7

Programme 3 Full Fathom Five 8

Programme 4 Toledo Steel 9

Programme 5 Barracuda 10

Programme 6 Brave New World 11

Programme 7 Spellbound 12

Programme 8 Sea Change 13

Programme 9 & 10 Performance: The Tempest 14

Words and music 15-47

Credits Teacher’s notes: Alistair Salmond & Angel Scott Composer: David ChiltonSong lyrics: Neil Richards and David Chilton Producer: Ruth ChalmersMusic set by: Andrew HardyTeacher’s notes designed by: Nick Redeyoff

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Welcome to The Tempest…A wizard, a mischievous sprite, a passing ship… and a storm so tempestuous it changes the lives of those who witness it forever.

Whatever your musical experience this teaching package can help you and your pupils enjoy music in the classroom.

We’ve written eight new songs and vocal coach Carrie Grant is here to teach them to you – one song per programme. Pupils should follow the words or words and music on the separate printouts. The styles range from rap to rock anthem to ballad and back…there’s an African flavour, lots of opportunity for percussion…and some very tongue-in-cheek romance. During Programmes 9 and 10, we invite you to sing all the songs again in a forty-minute ‘production’ of the show.

These programmes are available on pre-recorded CDs (for UK schools only) at cost price. Details can be found at the BBC School Radio website. However, the programmes are also available in the following ways:

PodcastsProgrammes can be downloaded in mp3 file format for 7 days following transmission. You can subscribe to the download by clicking on the podcast link available on the BBC School Radio website. The podcast is an effective way to acquire the series in a flexible, high-quality audio format… and without paying! However, for copyright reasons, we are unable to include the listening music for this series within the podcasts.

For more information go to:www.bbc.co.uk/schoolradio/podcasts.shtml

Audio on demandThe programmes are available as audio on demand, streamed over the internet, for 7 days following transmission. This service is best used to sample the programmes prior to ordering them on CD.

Freeview/digital cable/digital satelliteMost digital TV packages include Radio 4 Digital, making it possible to listen to School Radio through your TV! If you have Freeview, you can find Radio 4 Digital at Channel 74. Programmes are easy to record off-air using a VHS recorder.

There is a free CD available which has full versions of all the songs – plus backing tracks, which you are free to use for school performances. If you would like a copy of the CD please write to us at:

BBC School Radio Room MC3 D5 Media Centre 201 Wood Lane London W12 7QT

Or email us at: [email protected]

On the following pages, there are guides to each programme. We tell you what you’ll need to do before the programme begins, what to expect during it and loads of ideas for afterwards. As well as the imaginative musical exercises and further listening ideas, there are drama and literacy activities which give lovely insights into the play.

Music Workshop Age 9–11

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MuSiC CurriCuluM PrOGrAMME liNKS FOllOW-uP

1. Controlling sounds: performing skills a) Use of voice for speaking and singing

1: communicating a message2: singing two-part harmony 3: vocal ad-libbing4: singing two-part harmony5: using different tones of voice6: singing in two parts and communicating a message through expression7: using different tones of voice and singing in 3 groups8: communicating a message through expression, adding dynamics and changes of tempo9: see Programmes 1-4 10: see Programmes 5-8

4: practise rap with keyboard backing5: using different tones of voice6: listening to changes of key: listening to further backing vocals and adding to song7: focus on diction, breathing, expression and dynamics and work on coda8: how to achieve a quality performance

b) Playing tuned/untuned instruments 1, 2, 5, 9 and10: adding instrumental accompaniments to songs 1: practise instrumental ending to song2, 5 and 8: practise addition of instruments

c) Practise, rehearse and perform Each programme ends with a performance of the featured song.9 and 10: provide opportunity for performances of songs 1-4 and 5-8 respectively.

1-10: practise to improve diction and singing together7-10: practise to improve performance and to memorise lyrics

2. Creating and developing musical ideas: composing skills a) Improvise and develop patterns

3, 8, 9 and10: vocal ad-libbing 8: improvise clapping in choruses

b) Explore, choose, combine and organise musical ideas 1: create a storm soundscape2: compose a calypso3: vocal ad-libbing; create a sea soundscape 4: compose other raps 5: develop raps7: explore changes of dynamics to improve performance 8: listen to and add backing vocals to song

3. Responding and reviewing: appraising skills a) Analyse and compare sounds

1: recognising chromatic movement and how sense of drama created 2: noting the second (harmony) part3: recognising chromatic movement and how sense of mystery created 4: identifying underlined words in rap 5: comparing line of verse to descending major scale

1: compare and contrast two extracts of storm music 6: discussing how key words 'paint' the mood

b) Explore and explain ideas and feelings using expressive language 6: listening to backing vocals and adding as second part 7: listening to parts overlapping and interacting 8: listening to vocal ad-libbing and copying

4: listen to use of words and 'attitude' in rap

c) Improve own and others' work 3, 6 and 7: using imagination and expressive language in response to listening

4. Listening and applying knowledge and understanding a) Internalise and recall sound

1: internalising rhythm through words of song and clapping/playing 6: listen to changes of key in song

b) Combining elements

c) Different ways of making and recording sounds

d) How time and place can influence music 1, 2, 3, 4, 6 and 7: listening to music influenced by country of origin, context or situation

1, 3, 4, 6 and 7: listen to music related to the programme

links to QCA schemes of work Unit 15: On-going skills Progs 1-10: breathing/posture; Progs 5, 7, 8 and 10: dynamics; Progs 1-10: pitch accuracy; Progs 1-10: tone production; Progs 1, 3, 4, 8, 9 and 10: pulse, rhythm and metre; Progs 1, 2, 4, 5, 6, 7, 9 and 10: phrase structure; Progs 1, 2, 3, 5, 6, 7, 9 and 10: expressive techniques; Progs 1, 3, 4, 6, 7, 8, 9 and 10: improve concentration/memory Unit 20: Performance Progs 1-10: context; Progs 1-10: diction; Progs 2, 3, 6, 7, 9 and 10: two-part singing; Progs 1, 2, 4, 5, 8, 9 and 10: instrumental accompaniments; Progs 1-10: rehearsal; Progs 9 and 10: presentation to audience; Progs 9 and 10: how to achieve a quality performance

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Music CDThere is a music CD available with all the songs in full-vocal and backing track only versions. This free resource is ideal to help you practise the songs and put on your own performance.

If you would like a copy of the CD please write to us at:

BBC School Radio Room MC3 D5 Media Centre 201 Wood Lane London W12 7QT

Or you can email us at:[email protected]

Organising the class

Singing

Warm-ups prior to the broadcast

Pupils’ participation and attainment will benefit greatly if time is taken to warm up prior to each broadcast. Vocal warm-ups are featured in the broadcasts as follows:

• singingaphrasefromthefeaturedsong:programmes 1, 3 and 7

• singing1-8upanddownmajorscale:programmes 1, 3, 4 and 5

• singingfortissimo, accelerando: programmes 5, 8 and 9.

Certain vocal warm-ups, e.g. tongue-twisters will assist where the song takes the form of a rap. Other voice exercises will prepare pupils for songs which require a lot of upper register singing. To encourage a good upper register tone, ask the children to ‘think high’ (imagining the sound to be coming from their eyes) and to ‘look down’ on high notes.

Because time is limited in the broadcasts, additional preparation, as described below, prior to each programme, will greatly assist the children's singing and their stamina.

Posture: encourage good posture by asking children to stand tall, knees loose and feet apart.

The singing face: encourage the children to lift the face muscles by smiling. Humming phrases of songs will also encourage an unforced, well-blended sound.

Facial: smile – screw up the face – stick out tongue – chewing toffee – open mouth as widely as possible.

Breathing: encourage low breathing (that is without breathing into the chest and without raising the shoulders) by asking pupils to imagine an inflatable ring around the waist. Breathe in silently through the mouth, causing the ring to inflate all the way round the middle – taking a drink of air that goes right down low as if their tummy is a tank of air – hold – and then release the air

slowly and silently through the mouth. As you breathe out, count 1-5 slowly, then 1-10, controlling a steady release of air and increasing the time with practice.

Vocal warm-ups

Vowels: sing up and down scale to the numbers 1-8, starting note B on a chime bar. As demonstrated in programme 4, ask pupils to omit a number (e.g. 4), singing it silently in their heads and challenge them to pitch the following note (5) correctly. Change the number to be omitted and increase the omissions as children progress.

Sing fortissimo, accelerando as demonstrated in programmes 5, 7 and 9.

Sing down scale to ‘Do you chew blue glue?’, ‘We three bees need trees’, ‘Chocolate and banana sponge’ or other suitable combinations.

After singing down from C’ – C, start next scale one note higher. Continue higher each time while it remains comfortable

Consonants: ‘Scrape your windscreen with your credit card’.

Tongue-twisters: (say or sing as for vowels) ‘Red lorry, yellow lorry; red leather, yellow leather’.

Rhythmic chants: use a chant or a rap from the current or a previous broadcast.

6

P r o g r a m m e

rock The Ship

FocusSteady beat and phrases.

Before the programmeAsk pupils to look at the print-out of the song ‘Rock the Ship’.

Divide pupils into two groups to clap, stamp or play the instrumental at the end.

listening musicStorm from Four Sea Interludes by Benjamin Britten.

1in today’s programme we will…

listen to the story

A wizard, a mischievous sprite, a passing ship… and a storm so tempestuous it changes the lives of those who witness it for ever.

Warm up

We focus on posture and relaxing our face muscles. We warm up our voices by singing the last line of the song four times.

learn the song

• Learnverse1.• Listentotheintro(chromaticphrase)andsingverse1.• Learnverse2.• Addbackingvocals.• Addinstrumentstotheinstrumentalsectionofthesong.• Singthesongthrough.

Hear more storm music

Excerpt from Storm from Four Sea Interludes by Benjamin Britten.

After the programme1. Practise the instrumental. It consists of one bar repeated 5

times. There is a one bar count between each of the first 4 playings and on the 5th time (which is played immediately after the 4th without a bar count between), both groups play the same rhythm. Some pupils could use drums and tambours or tuned percussion while others clap and stamp. These may also be played along with the backing vocals during verse 2. Appropriate tuned percussion, such as chime bars, xylophones, glockenspiels play the notes C, Eb or G (as shown below).

2. ListentoMendelssohn’sHebrides Overture (Fingal’s Cave). How does it build a picture of a storm? Compare and contrast with Britten’s piece.

3. Using tuned and untuned percussion provide opportunity for the class to create their own storm. In groups, prepare: the calm before the storm; the storm brewing; the storm at its height and the calm after the storm. Each group could draw a graphic score depicting their section. Record the performance and discuss refinements.

Drama

Rehearse the poem Sounds of the Sea that you have written (see below) as a class or in small groups. You can only use your voice and the words to create the dramatic effect so you will need to think about techniques like spacing, tone, articulation, rhythm, sound levels. Discuss any refinements before you perform the poem.

Compare this poem, using voices and words to create dramatic effect, with the percussion piece in which you created a storm using musical sounds.

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literacy linksY5 T2: word level 11, Y5 T2: text level 4, Y6 T1: text level 10

As a class or in small groups write a poem called Sounds of the Sea. Choose, use and even invent onomatopoeic words to recreate the sounds of the sea. Add further sound effects using the voice only. Think of the sentence lengths and their rhythms.

Y6 Tl: text level 18

Using IT create a poster version of your poem for display in the classroom. Devise an interesting way of indicating the voice sound effects.

Tuned or untuned percussion

Part 1

down,

Example 1down, down,

Part 2Piano

C

C'G

(clap)

C

C'G

(clap)

(clap)

C

C'G

Untuned percussion

(stamp)

(stamp)

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in today’s programme we will…

listen to the story

Prospero has some explaining to do! Miranda wants to know why he’s almost killed the passengers of a passing ship. And Ariel is feeling moody – yearning for the day long promised when Prospero will set him free.

Warm up

With a focus on posture, relaxing face muscles, breathing, voice exercise.

learn the song

• Learnverse1.• Learnchorusin2parts.• Learnverse2(andchorus).• Learnthetwoshortraps.• Singthesongthrough(optiontoaddinstruments).

Hear more calypso

Singing Sandra’s Music from the ghetto helps us identify some characteristics of calypso music – the singing style, rhythm and instrumentation.

After the programme1. Involve the pupils in making their own instruments and/or

finding scrap material which can be used to hit or shake. Metal dustbin lids make a great sound along with bongos, claves, maracas or coconut shells.

2. The parts below can be played along with the chorus on tuned percussion, home-made instruments – or any other instruments the pupils play (recorder, flute, violin etc). Encourage budding guitarists to join in too.

Drama

In pairs choose to be Ariel or Prospero and arrange yourselves as if for a photograph and freeze the image. Your pose should try to convey the relationship and the conflict and tension between you. Remember that the faces and body language might be showing one thing whereas the thoughts could be very different. Present your freeze frame to the class. After a few moments speak aloud in character the thoughts that are running through your head.

Compare your image and thoughts with that of others and discuss the similarities and differences.

Music area

Encourage the children to compose their own calypso – words and music, perhaps based on the theme of being free.

2P r o g r a m m e

Set Me Free

Style: Calypso.

Before the programmePrint out the words to the song from these notes or from the School Radio website.

Divide pupils into two groups to sing the 2-part harmonies in the chorus.

Do some additional warm-ups – see page 3.

Tell the pupils the chorus in this song is high! Encourage them to ‘sing from the eyes’ or imagine the sound is from their foreheads. Suggest that rather than ‘stretch-ing up to the high notes’ that they try to ‘look down on top of them’.

listening musicMusic from the ghetto bySinging Sandra.

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literacy linksY5 T1: text level 3, Y5 T3: text level 2

Whichever way you look at it nothing’s what it seems. I’m just a prisoner on the island of dreams.

Ariel is not the only character who is trapped on the island. Make a list of all the characters, including Ariel, and for each one say how and why they are trapped.

What does Ariel mean when he says that nothing’s what it seems?

Both of the above activities would be enhanced by reading The Tempest Act I, scene ii, lines 188-300.

(Both parts below may be played on instruments - divide between players)CHORUS

Example 2

Repeat twice

D'BOo,

E'Aset

D'Gme

C'E

free,

G

D'B

D'B

G

D'B

D'B

G

E'C'

E'C'

A

D'C'

D'C'

8

P r o g r a m m e

Full Fathom Five

Style: Jazz.


Do some additional warm-ups – see page 3. Focus on posture, breathing and relaxing the face muscles.

listening musicAlways be my baby by Mariah Carey.

Blue Planet – Sharks sequence.


listen to the story

An invisible Ariel (at Prospero’s command) convinces a soaking wet Ferdinand that his father really is dead. Ariel does this by singing softly to Ferdinand – asking him to imagine a dead body floating ‘fully five fathoms’ under the sea. (Bit cruel really – since said father is alive and well on the other side of the island).

Warm up

We use the opening phrase 'full fathom five'.

learn the song

• Learnfirstfourlines.• Learnsecondfourlines.• Learntheendofthesong.• Tryvocalad-libbing.• Singthesongthrough.

listen to

Mariah Carey ad-libbing in Always be my baby, and music inspired by the sea from the BBC series Blue Planet.

After the programme1. Practise the song – especially the ad-libbing at the end.

Ad-libbing is a solo art. The whole class trying to ad-lib at the same time will sound chaotic – but the children may feel less inhibited! Once they have confidence, some children will be willing to sing on their own.

2. You may wish to play examples of other singers who ad-lib, e.g. Craig David or Alicia Keys.

Developmental work

1. Listentofurtherexamplesofmusicassociatedwiththeseaorwater, e.g. Mendelssohn – Hebrides Overture (Fingal’s Cave), Aquarium from Saint-Saens’ Carnival of the Animals.

2. Create a seascape using tuned and untuned percussion. An ocean drum would create an ideal backdrop but drums, cymbals and shakers of all descriptions may be used. First, as a whole class, brainstorm words associated with the sea. Words like pebbles, sand, waves, breakers, foam, sparkling, reflections, sun, shells, fish, coral, jellyfish, starfish, whales, dolphins. In groups, ask the children to choose three words, then come and select instruments which could be used to depict them. Pupils could notate their composition(s) in the form of a graphic score. Possibly link in an appropriate poem and create and display art work.

Drama

Building on the drama work done in Programme 2, in pairs improvise the scene between Ariel and Prospero where Ariel is trying to persuade Prospero to release him. Improvising means taking a situation and working out what happens and what characters say by acting it out without any previous planning and not following a script. It can be hard to do because you need to think on your feet and react to what is happening.

3

literacy linksY5 T1: text level 9, Y5 T1: text level 14

Using all the information that you have acquired so far about the island and the characters on it, draw a map of the island. Mark on it where all the key places are and where all the characters are and think about how to show these on the map. Present your map attractively as a poster for the classroom wall.

9


listen to the story

King Alonso of Naples and his old advisor, Gonzalo, are asleep. Antonio and Sebastian are awake, plotting to kill them.

Warm up

We sing the major scale from 1-8 and back again missing out the number 4.

learn the song

• Learnthechorus.• Learntheharmonypartofthechorus(twogroups).• Learntherap(twogroups).• Singthesongthrough.

Hear some Spanish music

Rodrigo’s Concerto de Aranjuez, extract from the 2nd movement.

After the programme1. Try the warm-up heard during today’s programme – singing 1-8

ascending and descending. Omit one or more numbers to be sung silently and challenge the children to pitch the following notes successfully. This is excellent both as aural training and as a voice exercise.

2. Try the rap verses to a rhythm set up on an electric keyboard or to pupils playing on drums or bongos.

Developmental work

1. Listentootherraps(e.g.BlackEyedPeasWhere is the love?). Note the flowing, almost swing rhythm that characterises rap – sometimes SO fast, sometimes more slowly. Notice how effective it is when the rapper stops for a beat. How does the pace help deliver the meaning? Discuss the attitude of the performer – and try to copy that as you compose and perform your own raps. Great rap performance is all about attitude!

2. Obtain a recording of Rodrigo’s Concerto de Aranjuez and listen to more of the 2nd movement.

3. ListentoflamencomusicandothermusicofSpain.

Drama

Choose a few people in the class to take it in turns to be in role as Antonio. In small groups think of questions you would like to ask them in character about Antonio’s behaviour in the past towards Prospero and now. Your questions should try to explore his motivation, the morality of his behaviour and whether he is troubled by his conscience.

4P r o g r a m m e

Toledo Steel

Style: Spanish music; mini rap.


Divide pupils into two groups for today’s activities.


listening musicRodrigo’s Concerto de Aranjuez, extract from the 2nd movement.

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literacy linksY5 T3; text level 19, Y6 t2: text level 18 and/or 19

Lookcloselyatthelyricsoftherap.Theyadvocateviolenceand the end justifying the means. In this rap the weapon is a sword made of Spanish steel. In other raps what would the weapon be? What do you think of the message of this rap? Do you think that raps should be banned? Do you think they have a bad influence on young people and their behaviour? Discuss these questions as a class summarising the arguments for and against.

10

P r o g r a m m e

Barracuda


Divide pupils into two groups, one to sing the final choruses, one to sing the words in brackets.


Read through the verses together in different ways – speaking and whispering the words in time, allocating different lines to different groups, etc.


listen to the story

Prospero’s slave monster Caliban meets up with comic duo Stephano, the butler, and Trinculo, the jester, who have come ashore on a barrelful of wine. It’s not long before the barrel is empty and the stupid trio are mooting plans to kill Prospero and take over the island. Prospero, being proud possessor of an invisibility cloak, sees it all!

Warm up

We use the vocal exercise fortissimo accelerando.

learn the song

• Learnverse1.• Learnthechorus.• Singverse1andchorus.• Learnverse2.• Singverse2.• Learnverse3.• Learnextendedchorusingroups.• Addinstruments.• Singthroughsong.

Listentoverse2ofBarracudaandsaywhichlinemostresemblesadescending scale. Add instruments to the chorus: castanets on the words ‘Badaboom’ or eggz, maracas, bongos and claves (see below).

Hear some Spanish music

Rodrigo’s Concerto de Aranjuez, extract from the 2nd movement.

After the programme1. Practise the song and learn the words. Also, allocate different

lines of the song to different groups or individuals according to the characters singing, e.g. Caliban, Stephano.

2. Practise the percussion accompaniments below and add them to the song. lf pupils struggle to keep time, give them a pulse, then encourage them to say the words salt and pepper, beef burger, coffee or tea in their heads.

BarracudaPlay these ostinato (repeated pattern) accompaniments in the chorus.

Drama

Acting drunk is very difficult to do convincingly. Think about the way a person who is drunk moves, walks and talks. In pairs, practise acting as if you were drunk. Comment on each other’s performance to help improve it.

Read through the scene in the playscript where Caliban meets up with Stephano and Trinculo using the skills you have practised.

Developmental work in the music area

Continue from last week the opportunity for pupils to develop the raps they’ve been writing, working on percussion or electronic keyboard.

5

literacy linksY6 Tl: text level 2 and 3

This part of the story links up with Programme 2 when Ariel talks about being a prisoner on the island of dreams. Other characters are also trapped on the island which works its magic on them all as they try to make their dreams come true. Here we discover three more characters. Add them to your list explaining how and why they are on the island. Add another column to your list and write down what each character’s dream or wish is.Prospero has a lot to answer for. His actions have affected most of the characters. What do you think of Prospero and his treatment of the other characters so far? Do you think his behaviour is justified?

Example 3

maracas/eggz

claves/wood block

bongos

salt and pep per- etc.

cof fee-

tea

beef burger- cof

fee- cof

fee- cof fee-

2

cof fee-

tea

etc.

11


listen to the story

Miranda and Ferdinand meet. They fall hopelessly in love. Miranda is the most beautiful woman Ferdinand has ever seen. Ferdinand is the… only man Miranda has ever seen (apart from her dad, of course).

learn the song

• Learnverse1.• Learnthechorus.• Learnverse2.• Learnthemiddlesection.• Singthesongrightthrough.

Hear more music on the theme of love

An excerpt from Tchaikovsky’s Romeo and Juliet Fantasy Overture.

After the programme1. Listentohowthesongchangesupakeyatthebeginning

of the middle section – point this out to the children. Ask them what they hear happening at the end of that section. Answer: it returns to its original key.

2. Listentothebackingvocalistssingingthroughoutthesong.Divide the class into two groups – one group on the main melody and the other trying the backing vocals.

3. Find and listen to other pop songs with a similar sentiment.

Developmental work

Listentoothermusicwheretheleadmaleandfemalecharactersfall in love, e.g. You’re the one that I want from Grease. Or songs from West Side StorybyLeonardBernstein–anadaptationofthe Romeo and Juliet story.

Drama

Acting out love scenes can be very embarrassing, especially when it is love at first sight as happens between Miranda and Ferdinand! In pairs read through this scene in the playscript. Think about the difficulties of performance. Is it a scene that needs to be played for ‘laughs’orisitserious?Listentootherpairsreadingthesceneanddiscuss ways in which the performances can be improved.

6P r o g r a m m e

Brave New World

Style: Tongue-in-cheek pop.



Identify a group of pupils who would enjoy doing ‘backing vocals’.

listening musicTchaikovsky’s Romeo and Juliet Fantasy Overture.

6

literacy linksY5 T3: text level 3

Choose to be either Miranda or Ferdinand and write a diary entry in character describing meeting each other and falling in love. Remember that Miranda has lived on the island all her life and the only other man she has ever known is her father. Ferdinand is much more a man of the world.

12

P r o g r a m m e

Spellbound


For the introduction and link to verse 3, you will need to divide into two groups. For the ending, divide into three groups. Group one (half the class) sing the words ‘we are such stuff…’ The rest are subdivided into two groups – group two sing ‘ya wa’ and group three sing ‘aa-mmm’.

Go over the words of verse 3.

Do some additional warm-ups – especially scales to get the children singing and thinking ‘up high’.

listening musicLungisa indela yakho by LadysmithBlackMambazo.


listen to the story

Prospero’s enemies are in his power, but he is full of questions. Should they be killed or forgiven? Has he himself become spellbound by the magic and the mayhem? Could it be time to move on – and move home?

Warm up

We use the words of the intro ‘ya wa-ya ya wa-ya yey’.

learn the song

• Learntheintro.• Learnverse1.• Learnverse2.• Learnthelinktoverse3.• Learnthecodainthreeparts,anddiminuendo to pianissimo at

end of song.• Singthesongthroughincludingverse3(notlearned).

Hear more African singing

From Lungisa indela yakhobyLadysmithBlackMambazo.

After the programme1. Practise the song. It is contemplative and gentle but requires

clarity to communicate the words.

2. Work on the coda in three parts and encourage expressive singing through observing the diminuendo to pianissimo at the end.


1. Discuss the effect of varying the dynamics in a performance, i.e. forte (loud), piano (quiet), crescendo (getting louder), decrescendo or diminuendo (getting quieter), pianissimo (very quiet).

2. Try to add appropriate changes of dynamic in the verses of Spellbound. This could be a group activity in the music area, followed by class discussion leading to a performance incorporating the ideas.

Drama

Invite people to audition for the role of Prospero. They can either choose a speech from the playscript or the key speech from Shakespeare (see below.) What qualities are you looking for in the acting of this main character?

This speech is really important as it is the turning point of the play. Compare the oral performance of the speech with the song. Which do you think is more effective and why?

7

literacy linksY5 T3: text level 6, Y6 T1: text level 3 and 5

In small groups or as a class read Prospero’s speech from The Tempest Act IV, scene i, lines 148-160.

Our revels now are ended. These our actors,As 1 foretold you, were all spirits and

Are melted into air, into thin air:And, like the baseless fabric of this vision,

The cloud-capped towers, the gorgeous palaces,The solemn temples, the great globe itself,Yea, all which it inherit, shall dissolve,

And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuffAs dreams are made on, and our little lifeIs rounded with a sleep. Sir I am vexed.

Bear with my weakness: my old brain is troubled.Be not disturbed with my infirmity.

It inherit means occupy it

Rack means wisp of cloud.

Together try to sort out what this means. Don’t worry too much about individual words but aim for the gist of it. What is Prospero saying about life? What is the message that Shakespeare is trying to send to his audience? The lyrics of the song will help you.

13


listen to the story

The finale. Can Ariel now be set free? Does Antonio get what he deserves? Will Ferdinand ever see his father King Alonso again? All this and – are those wedding bells?!

Warm up

We sing fortissimo accelerando seven times.

learn the song

• Learnverse1.• Learnverse2.• Learnmiddle.• Learnchorus.• Learnverse3.• Learnnexttwochoruses,includingsingingpianissimo and

crescendo and vocal ad-libbing near the end of the song.• Singfinalchorus.• Singsongrightthrough.

Hear more gospel singing

Featuring ‘call and response’ style singing in Oh, happy Day by the African Children’s Choir.

After the programme1. Try to clap along with the music in the choruses - ideally on the

off-beat (i.e. clap after the word ‘sea, ‘change’, ‘comin’, etc.) but whatever comes naturally. Invite the children to improvise their own clapping patterns.

2. ListentoandaddbackingvocalstoSea Change.


There are six chords used in Sea Change:

1. Using chime bars, xylophones, glockenspiels and metallophones, or any other instruments played by the children, invite pupils to play each time their chord is indicated. Some notes appear in more than one chord – either allocate one chord to each player as notes are distributed or allow pupils to play on more than one chord.

2. A bass part can be played using only the root of the chord (i.e. F on chord F and so on) – perhaps on bass xylophone, low notes on a keyboard or piano or on bass guitar. The chords are used throughout the song (verse, middle and chorus) and it is for you to decide which parts of the song should have instrumental accompaniment.

Drama

Invite people to audition for the role of Prospero. They can either choose a speech from the playscript or the key speech from Shakespeare (see below.) What qualities are you looking for in the acting of this main character?

8P r o g r a m m e

Sea Change

Style: Gospel.


This is a high energy song – so do some additional warm-ups (see page 3).

listening musicOh, Happy Day by the African Children’s Choir.

8

literacy linksY6 T3: text level 9

Tell the story of The Tempest in a comic strip with captions for each picture. Try to get hold of a copy of Marcia Williams’s book Mr William Shakespeare's Plays which includes The Tempest retold in a wonderfully detailed comic strip.

F (notes F A C)Bb (notes Bb D F)C (notes C E G)Dm (notes D F A)A7 (notes A C# E G)G7 (notes G B D F)

14

P r o g r a m m e

Before the programmeWarm up well.

Remind yourselves of groups required for each song (see above).

Prepare any percussion being added and identify players.

listening musicPlay the extracts provided after programme 9 and ask the children to identify which of the six recordings is music associated with the sea, calypso, Spain, Africa, gospel and storm. They are playing in this order – storm, calypso, sea, gospel, Africa, Spain.

9 &10

in these programmes we will…

Warm up by singing fortissimo accelerando seven times; recap some tricky bits, then sing all the songs, and hear the story again.

Programme 9

• Rock the Ship (we revise instrumental rhythm)• Set Me Free (we revise chorus harmonies)• Toledo (we revise chorus harmony)

Programme 10

• Brave New World (we revise backing vocals)• Spellbound (we recap three parts in coda)• Sea Change (we recap slow line at end of song)

Handy reminder of the groups needed to sing each song

Programme 9

1. Rock the Ship needs two groups for lead and backing vocals and for the instrumental – clapping, stamping and / or instruments.

2. Set Me Free needs two groups for the chorus harmonies. There are raps and instruments to be added too.

3. Full Fathom Five – consider the vocal ad-libbing at end – everyone to ad-lib or choose an individual?

4. Toledo Steel needs two groups to sing in harmony in chorus (upper and lower) and two groups for rapping (one group for underlined words only).

Programme 10

5. Barracuda – lead vocals and backing vocals (words in brackets), add instruments.

6. Brave New World – lead vocals and backing vocals.

7. Spellbound – three groups (group one – half the class – sing ‘we are the stuff…’, group two sing ‘ya wa’, and group three sing ‘aa-mmm’).

8. Sea Change – consider one pupil to do the slowed down bit?

How to achieve a quality performance

Posture: stand well-balanced, equal weight on both legs, knees loose, feet apart, head up. Warm up well.

Facial: use smiling muscles to achieve a brighter sound.

Breathing: breathe through the mouth, encourage low breathing (without breathing into the chest or raising the shoulders). Discuss the appropriate breathing places in the songs and practise these.

Diction and tone: when singing in a higher register, sing ‘from the eyes’, open mouths, aim at rounded vowel sounds and sound consonants together.

Expression: discuss the meaning of the song lyrics and the mood to be achieved. Practise how to best communicate the rneaning: through adding dynamics; tempo changes; or facial expression.

Lyrics: communication will be greatly enhanced if the songs are well rehearsed. The start and end of songs are most important so do get familiar with the length of introductions.

Stagecraft: discuss how to walk on and off the stage and how pupils should react to applause.

9 &10

Performance: The Tempest

literacy linksY5 T1: text level 19 and 20

As a class read through the playscript in preparation for performance. Annotate the script to help the production and direction. Think about pace, movement, gesture and delivery of the lines and the songs.

Allocate different groups of people to different tasks:• Director,producerandcast• Musicaldirectorandsingersandmusicians• Technicalcrew• Publicityandprogrammes.

Rehearse and get ready for the performance. Invite school mates, family and friends and entertain them with your version of The Tempest.

15

Verse 1

Bosun and sailors:Lookslikewe’regoin’down!Wish I was on solid ground in Africa.The ship won’t take the strain – will I see the shore again in Africa?The rig is burning, the flash of lightning is in the air. (burn burn burn)Timbers breaking,I see the water rising everywhere. (down down down)And we’re riding out the storm.We’ve never been so far from home.And the wind and rain driven by the hurricane – Ariel and sprites:Gonna rock the ship, rock the ship tonight.

rock the Ship

Verse 2

Bosun and sailors:The point of no return,now the ship is gonna burn in Africa. (burn burn burn)Ariel and sprites:You’re going down below,dancing to Diabolo in Africa. (down down down)Bosun and sailors:The rig is burning, the flash of lightning is in the air. (burn burn burn)Timbers breaking,I see the water rising everywhere. (down down down)And we’re riding out the storm.We’ve never been so far from home.And the wind and rain driven by the hurricane – Ariel and sprites:Gonna rock the ship, rock the ship tonight.

Instrumental

clap, clap, clap, stamp stampclap, clap, clap, stamp stampclap, clap, clap, stamp stampclap, clap, clap, stamp, stamp, clap clap clap.

16

17

18

Verse 1

Ariel:In the shade of the lemon treethe bluebird spreads his wings.Flying high right over mehis journey just begins.For a moment I am he – I can just pretend.Oh I wish that I could bethe lightning and the wind.

And the monkeys go…

Chorus

Oooo oooo set me free (all is confusion)Oooo oooo set me free (it’s an illusion)Oooo oooo set me free (nothing’s what it seems)

Rap 1

The monkeys and the parakeets are all in collusion.The bird of paradise is just an illusion.

Set me Free

Verse 2

Ariel:I hear the song of the mocking birdfloating on the breeze.And the monkeys fool aroundhigh up in the trees.And I hear the seagulls callfar across the sea.Likeariverrunningwildis how I long to be.

And the monkeys go…

Repeat chorus

Rap 2

Whichever way you look at it nothing's what it seems.I’m just a prisoner on the island of dreams.

Repeat chorus

19

Set Me Free

Verse

2. I

hear1. In the

theshadesong

ofof

thethe

10

le

mock

moning

--

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the blue

float

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o

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mohear

mentthe

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18

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22

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lighthow

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(and the monkeys go)(and the monkeys go)

20

25

Oo,

Chorus

set

me

free, (all is confusion)

Oo,

set

me

free (it's an illusion)

Oo,

34

set

me

free,

last time to Coda

1. The

2. Which

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38

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udreams.

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CODA

21

Verse 1

Full fathom five, thy father lies in the ocean.Full fathom five, his body disappears from view.Those are the pearls that were his eyesan unexpected shade of blue.Full fathom five, thy father lies in the ocean.Full fathom five, his body disappears from view. (oo ooo)And of his bones are corals madelike stardust in a masquerade.

Verse 2

And now all that remainshas been gradually claimedby a sea change of many hues.And we’re all far from shore lost once more in the blue. (oo oo oo)Yes we’re all far from shore lost once more in the blue. (oo oo oo)In the blue.In the blue.

Full Fathom Five

22

Full Fathom Five

Full

fath om- five,

Thy fath

er- lies

in the

7

o

cean,-

Full

fath om- five,

his bo

dy- dis

ap- pears-

from view.

12

Those

are the pearls

that were

his eyes,

an un

ex- pec

- ted- shade

of blue.

17

Full

fath om- five,

Thy fath

er- lies

in the o

cean,-

Full

fath om- five,

his

22

bo

dy- dis

ap- pears-

from view.

And

of his bones

are co

rals

- made,

like

23

27

star

dust-

in a mas

quer- ade.

-

And now all

that re mains

- has been

30

gra

dual

- ly

- claimed

by a sea

change

of ma

ny

- hues.

And we're

33

all

far from shore

lost once more

in the blue.

And we're all

far from

39

shore

lost once more

in the blue,

in the blue,

44

in the blue.

rall.

2

24

Chorus

Toledo, Toledo. The loving embrace of the steel.Toledo, Toledo. You cannot deny its appeal.

Rap

LetmetellyouhowI’mgonnasetyoufreeI’m talkin’ about an opportunity.This ain’t no question of moralityit's simply a matter of legality.So why be a victim all of your life?Just pull out the steel and slip in the knife.The rights and the wrongs are inconsequential.The name of the game – fulfil your potential.Do the deed and you can make him feelthe sweet caress of Spanish steel.I’ll make it easy for you if you don’t understand – it'saonewaytickettothePromisedLand.

Chorus

Toledo, Toledo. The loving embrace of the steel.Toledo, Toledo. You cannot deny its appeal.

Toledo Steel

Repeat Rap

Chorus

Toledo, Toledo. The loving embrace of the steel.Toledo, Toledo. You cannot deny its appeal.It’s a one way ticket to the Promised Land.

Chorus

Toledo, Toledo. The loving embrace of the steel.Toledo, Toledo. You cannot deny its appeal.You cannot deny its appeal.

25

Toledo Steel

1. 2.

To

le

- do,

-

To

8

le

do,

-

the

lo

ving

- em

brace

- of

the

steel.

To

14

le

do,

-

To

le

- do

-

You

can

not

- de

ny

- its

ap

-

20

peal.

Let me tell

you

how

I'm gon na-

23

set

you

free,

I'm talk

in'- a bout-

an op por- tu

- ni

- ty.

-

This

26

26

ain't no

ques

- tion of mo ral

- i

- ty,

-

It's

sim

ply- a mat ter

-

of le

-

29

gal

i

- ty.

-

So

why

be a vic

tim

-

all

of your life,

just

32

pull

out the steel

and

slip

in the knife.

The rights

and the wrongs

are

35

in

con- se- quen

- tial

-

the name

of the game

ful fil

- your po ten-

tial.-

38

Do

the deed

and you can make

him

feel

the sweet

ca ress

- of

2

27

41

Span

ish

- steel.

I'll make it ea

sy- for you

if you don't

un der- stand,

-

it's a

44

one

way

tick

et- to the Prom

ised

- Land.

To

le

- do,

-

To

le

- do,

-

the

50

lo

ving

- em

brace

- of

the

steel.

To

le

- do,

-

To

le

- do

-

57

2nd time to Coda

You

can

not

- de

ny

- its

ap

It's

a

peal.

one

-

way

tick et- to

the Prom

ised

- Land.

Tol

62

can

CODA

not

- de

ny

- its

ap

peal.

-

You

can

not

- de

ny

- its

ap

peal.

-

3

28

Verse 1

Stephano:I’ll be your royal sovereign, and rule across the land – get married to Miranda and she will hold my hand.Should anybody ask us how this has come to pass – I would give the answer: it all comes down to class.

Chorus

And I would be ‘Your Majesty’,they call me the big barracuda.We’re living in a paradise as you can plainly seehere on the island of dreams.

Verse 2

Caliban:You are my royal master, on that we can agree.I’ll be your loyal monster and serve on bended knee.Coz that’s the way we like it, that’s how it’s meant to beand I would be as happy as the fishes in the sea.

Chorus

And I would be ‘Your Majesty’,they call me the big barracuda.We’re living in a paradise as you can plainly seehere on the island of dreams.

Barracuda

Verse 3

Stephano:I’d love to do my duty and wear the royal crown.The soldiers will salute me, I’ll look them up and down.They know their royal sovereign is always in demand,and every now and then they’ll say ‘Your wish is my command’.

Extended chorus

And I would be ‘Your Majesty’.(They call him the big enchilada).The call me the big barracuda (bada-boom)The top banana (bada-boom)The fat piranha (bada-boom)We’re living in a paradise as you can plainly see,Here on the island of dreams.

Extended chorus

And I would be ‘Your Majesty’.(They call him the big enchilada).The call me the big barracuda (bada-boom)The top banana (bada-boom)The fat piranha (bada-boom)We’re living in a paradise as you can plainly see,Here on the island of dreams.Here on the island of dreams.Here on the island of dreams.

29

Barracuda

1. I'll

(2. You)(3. I'd)

bearelove

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rorodo

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--

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5

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30

11

I

Chorus (after verses 1 and 2)

would be

'Your ma

je- sty,'

-

they call

me

the

big

bar

ra

- cu

- da.

-

We're

15

li

ving- in

a par

a- dise-

as you

can plain ly- see,

17

here

on

the

is land

- of dreams.

2. You3. I'd

I

Chorus (after verse 3)

would be

'Your

20

ma

jes- ty'.

-

(They call

him

the

big

en

chi

- la

- da.)

-

They

23

call

me

the

big

bar

ra

- cu

- da,-

(bad a- boom)

-

the top

ba na-

-

31

25

na,-

(bad a- boom)

-

the fat

pi ran-

ha.-

(bad a- boom)

-

We're

27

li

ving- in

a par

a- dise-

as you

can plain ly- see,

here

on

the

is land

- of

1.

30 2.

dreams.

And dreams,

here

on

the

is land

- of dreams.

34

Here

on

the

is land

- of dreams.

32

Verse 1

I can’t believe the wonder of it all.I waited, oh so long for love to call.It’s a brave new worldwith a brand new girl,and a boy who wears his heart upon his sleeve.Letmetellyounow…

Chorus

Oh I love you so (oh I love you so)I’m never gonna let you go (never gonna let you go)Oh I love you so (oh I love you so)I’m never gonna let you go (no no no)

Verse 2

It seems to me there’s magic in the air.I’m overcome by one so debonair.It’s a brave new worldwith a brand new girl, and a boy who wears his heart upon his sleeve.

Brave New World

Middle section

I can’t believe the wonder of it all.(The lightning and the thunder of it all).I can’t believe the wonder of it all.(The lightning and the thunder says it all).And every time I look at youmy heart just skips a beat,and if a girl like you could love a boy like me,what a brave new world it’s gonna be.

Chorus

Oh I love you so (oh I love you so)I’m never gonna let you go (never gonna let you go)Oh I love you so (oh I love you so)I’m never gonna let you go (no no no)

33

Brave New World

1. I

(2. It)can't

seems

beto me

lieve-

the

there's

7

wonma

dergic

--

ofin

itthe

all.air.

I

I'mwaio

ted,ver

--

ohcome

soby

11

longone

forso

love

de

tobo

-callnair.-

It's a brave

new world

16

with

a brand

new girl,

and a boy

who wears

his heart

up on

- his

sleeve.

34

to Coda20

oh I love

you so,

Let me tell

you now,

oh

I

love

you so,

I'm

24

(ne ver- gon na- let

you go)

so,

ne ver- gon na- let

you go.

Oh,

I

love

you so,

27

CODA

oh I love

you so.

No,

no, no.

I'm ne

ver- gon na- let

you go.

2. It

I

2

35

31

The light

ning

- and

the thun

der

- of it

all.

can't

be lieve-

the won

der

- of it

all

I

35

The light

ning

- and

thun

- der

says

it

all.

can't

be lieve-

the won

der

- of it

all.

39

And ev 'ry- time

I look

at you

my heart

just

skips

a beat

3

36

43

and if a girl

like

you

could

love a

boy

like

me,

what a

brave

new

48

oh I love

you so,

world

it's

gon na- be.

Oh

I

love

you so,

I'm

53

ne ver- gon na- let

you go,

so,

ne ver- gon na- let

you go,

Oh,

I

love

you so,

4

37

56

oh I love

you so,

I'm ne

ver- gon na- let

you go.

58

No,

no, no.

5

38

Introduction

Ah mmm ya waya ya wa ya yehAh mmm ya waya ya wa ya yeh

Verse 1

Prospero:I dreamed that I had found the answer,a magic book could set me free.But now I’ve come to understandthat I was just spellbound,and if you’re a prisoner of your dreamthen no meaning can be found.

Verse 1

Stephano:I dreamed that I’d be top banana.Caliban:I’dservemyLordonbendedknee.Trio:And all the time we wandered roundlike fishes in the seaand now all our dreams have broken down,what is lost cannot be found.

Spellbound

Link to verse 3

Ah mmm – ah. We are such stuff as dreams are made on.Ah mmm. And our little life is rounded with a sleep.

Verse 3

Ferdinand and Miranda:I dreamed that joy could last forever,A brave new world where love is all.Antonio and Sebastian:Toledo steel, Toledo steel,the finest in the land,but now it means no more to methan a castle in the sand.

Ending

Ah mmm – ah. We are such stuff as dreams are made on.Ah mmm. And our little life is rounded with a sleep.Ah mmm – ah. We are such stuff as dreams are made on.Ah mmm. And our little life is rounded with a sleep.Ah mmm (ya waya ya wa ya yeh).We are such stuff as dreams are made on.Ah mmm (ya waya ya wa ya yeh).And our little life is rounded with a sleep.Ah mmm (ya waya ya wa ya yeh).Ah mmm (ya waya ya wa ya yeh).Ah mmm (ya waya ya wa ya yeh).

39

Spellbound

All

Group 1

Group 2

Group 3

ya waya- ya

wa ya

- yey

-

Aa mmm

Ah mmm

10

All

Group 2

Group 3

1. I2. I3. I

dreameddreameddreamed

thatthatthat

II'djoy

hadbe

could

foundtoplast

thebafor

ansnae

-

--

ya waya- ya

wa ya

yey

-

40

15

All

wer,na.ver,

-

-

a

I'da

maservebrave

gicmynew

- bookLordworld

could

onwhere

setbenlove

mededis

-free.knee.

all.

21

All

ButAndTo

nowallle-

I'vethedo-

cometimesteel,

toweTo

un

lewan

-dered

do

der

-

--

standroundsteel,

-

thatlikethe

I

fifish

wases

nest--

justinin

spellthethe

bound,sealand,

-

24

All

andand

ifnowbut

you'reall

now

a

ourit

pris

dreamsmeans

onerhaveno

- ofbromore

yourkento

- -

dreamdown,

me

thenwhatthan

noisa

41

27 1.

2.

All

Group 1

Group 3

meanlostcas

ingcantle

-

-

cannotin

-

3rd time to

bethe

befound.sand.

found.

We are

such

Aa mmm

32

Group 1

Group 3

stuff

as dreams

are made

on,

and

our

lit

tle

- life

is

Aa mmm

36

Group 1

Group 3

roun

ded

- with

a

sleep.

We are

such

Aa mmm

42

41

Group 1

Group 3

stuff

as dreams

are made

on,

and

our

lit

tle

- life

is

Aa mmm

45

Group 1

Group 3

roun

ded

- with

a

sleep.

We are

such

stuff

as dreams

are made

Aa mmm

50

Group 1

Group 3

on,

and

our

lit

tle

- life

is

roun

ded

- with

a

sleep.

Aa mmm

Aa

43

55

Group 1

Group 2

Group 3

We

diminuendo

are

such

stuff

as dreams

are made

on,

ya waya- ya

wa ya

- yey

-

ya

diminuendo

waya- ya

wa ya

- yey

-

mmm

diminuendo Aa

59

Group 1

Group 2

Group 3

and

our

lit

tle

- life

is

roun

ded

- with

a

sleep.

ya waya- ya

wa ya

- yey

-

ya waya- ya

wa ya

- -

mmm

44

62

Group 1

Group 2

Group 3

Repeat twice

yey

ya

waya- ya

wa ya

- yey

-

Repeat twice

Aa

mmm

Repeat twice(Omit last time)

Aa

45

Verse 1

Ferdinand and Miranda:We’re gonna walk, we’re gonna talkwe're gonna step right up and say:‘We’ve got everything we needwe're gonna get married today!’

Verse 2

ProsperoI’m comin’ back, I’m goin’ homeMy dreams have all come true.LookoutkingdomhereIcomeI’m comin’ on home to you.

Middle section

Courtiers, Trinculo and Stephano:Was a day we’d find a wayto do bad things to you,but now our sins are washed awayand we’ve been made brand new.

Chorus

A sea change is comin’,A sea change is comin’,A sea change is comin’ to us allA sea change is comin’ to us all.

Sea Change

Verse 3

Caliban:I’ve seen the lightI’m here to stay – seen the error of my ways.I was lost and now I’m foundI’m ready for the judgement day

Middle section

Courtiers, Trinculo and Stephano:Was a day we’d find a wayto do bad things to you,but now our sins are washed awayand we’ve been made brand new.

Chorus

A sea change is comin’,A sea change is comin’,A sea change is comin’ to us allA sea change is comin’ to us all (oh yeah).

Chorus

(pianissimo) A sea change is comin’,A sea change is comin’,(crescendo) A sea change is comin’ to us all (oh yeah)(slow) I said a sea change is comin’Yes a sea change is comin’ to us all.

ChorusA sea change is comin’,A sea change is comin’,A sea change is comin’ to us allA sea change is comin’ to us allYes a sea change is coming to us all (woah ooooo).

46

Sea Change

1. We're(2. I'm(3. I've

goncomseen

nain')the)

--

walk,back,light,

I'mI'm

we're gongo

here

nain'to

--

talk,home,stay,

we're

I've

gon

seen

namythe

-

5

step

dreamser

righthaveror

-

upallof

and

comemy

say,true.ways.

We'veLook

I

gotoutwas

evkinglost

ery

dom,and

--

thingherenow

- we

Iam

need,come,found,

we'reI'mI'm

9 repeat 1st time only1.

3.2.

goncomrea

nain'dy

---

getonfor the

marhomejudge

ried

-

toto

ment

-

day.

-

-

2. I'm com in'- you.

day.

12

Was

a day

we'd find

a

way

to do

bad

things

to

you.

But

162nd time to

now

our

sins

are washed

a

way

-

and we've

been

made

brand

new.

A

47

20

sea

change is com

in',-

a sea

change is com

in',-

a

24

sea

change

is

com

in'

-

to us

all.

a sea

change

is

29D.S. Verse 3

com

in'

-

to us

all.

3. I've seen the

sea

Chorus

change is com

in',-

a

34

sea

change is com

in',-

a sea

change

is

com

in'

-

to us

all.

39

a

sea

change is com

in',-

a sea

change is com

48

43

crescendo

in',-

a sea

change

is

com

in'

-

to us

all.

I

said

Slow ad lib.

a

48

sea

change

is com

in',-

yes a sea

chan

ge's- com

in'

- to

us all.

52

a tempo

A sea

change is com

in',-

a sea

change is com

56

in'-

a sea

change

is

com

in',

-

to us

all.

Documents

The Tempest - BBCdownloads.bbc.co.uk/schoolradio/pdfs/tempest_notes.pdf · Welcome to The Tempest ... internalising rhythm through words of song and clapping/playing 6: listen to