graphic scores

Spanner Glockenspiel Workshops

Making your own musical instrument is a fun way to explore sound. Recently, I introduced students at the Folville Summer Music Camp to Spanner Glockenspiels. The Spark Arts organised these lovely music sessions and were brilliantly supported by the staff of Folville Junior School in Leicester.

The same workshop was delivered to two groups:

22 students in Years 2 and 3
18 students in Years 4 – 6

We got into our musical groove with a drumming session on Folville’s marvellous collection of djembes. As an introduction to graphic scores, students were asked to compare loud/quiet sounds and to choose shapes which represented them. Students was invited to create a pattern of loud/quiet sounds using foam circles and we all played their compositions. I was particularly impressed with the excellent musical discipline and ensemble work shown by the older students.

Next, we discussed how sounds could be made using a spanner (tapping , knocking, scraping on various surfaces). I demonstrated the sound made by a suspended spanner when it was tapped firmly with another spanner. The clear chiming sound and extra resonance it produced caught the attention of the students. We then compared the sounds of two different spanners, concluding that one was higher than the other and used coloured stickers to identify the spanners which made high/low sounds.

After a quick tutorial on how to assemble the spanner glockenspiel, each student assembled their own instrument. Most students found that their constructs were rather wobbly. Some came up with clever ideas to stabilise their instruments by stretching a third pair of rubber band at right angles to the other two pairs.

The students recorded their ideas using a simple pitch graphic score with coloured stickers to differentiate the pitch of their spanners. The older students added different musical elements to their graphic scores:

*This graphic score included timbres. Squiggly lines = scraping sounds, coloured circles= tapping sounds.*

Another student chose to add rhythms: brown circles for high pitched spanner and long sounds, blue circles for low pitched spanner and short sounds.

Pitch and Dynamics : loud= big circle, quiet = small circle

One student traced and coloured in the shape of his spanners to decorate his graphic score

The workshop ended with some musical colouring and a few rounds of musical bingo.

If you would like to have a go at making your own spanner glockenspiel, you will need :

some spanners
a sturdy box (square or rectangular biscuit tins, or wooden boxes / trays. Sturdy cardboard boxes will also be fine as long as they can hold their shape. Plastic takeaway boxes are another good option)
4 big rubber bands
a variety of beaters.Any metal/wood/ felt/rubber/silicone-tipped kitchen implements tend to be perfect for sound exploration. I use chopsticks, table knives, silicone spatulas, and pencils.

I prefer to use recycled / found materials to make these instruments. It encourages sound explorers to adopt a more informal can-do approach to music making, and helps them think of creative uses for things in their everyday environment.

To make the spanner glockenspiel:

Step 1. Collect lots of old interesting spanners. The old fashioned heavy ones are the best as they create the nicest sounds. The Reusers in Sutton Coldfield is one of my go-to place to stock up on spanners for Rhythm Circle workshops. It took me 2 visits over 2 years to acquire 40-45 spanners of just the right kind.

Before…
….and after the ‘Spanner Spa’ treatment

Step 2. If you need to clean your spanners, soak them in some mild acid and dish-drops to shift the rust and grime (you don’t need industrial strength acid bath for the job. In a pinch, Coca Cola or vinegar will do). Soak the spanners in the acidic solution for a couple of hours, then scrub them to remove more rust and grime. Best tools seem to be a steel mesh scrubber and toothbrush to clean the little grooves and hard-to-reach places.

Step 3. Dry the spanners and rub lightly with oil to prevent further rusting. Skin-friendly oils are preferable as the spanners will be handled by little hands. I used Johnsons’ baby oil, but plain cooking oil will also work.

Step 4. Now for the fun bit! Stretch 2 rubber bands around your box and keep them bunched up together. Tuck one end of a spanner in between the rubber bands. Repeat with the other two rubber bands and tuck the other end of the spanner in. Before putting a second spanner into your rubber band cradle, twist each rubber band around the other one in its pair. This will tighten the rubber bands around the first spanner to stop it from wobbling in its cradle.

Step5. Tap spanners with a beater. Metal-tipped beaters give a clearer bell-like sound and wooden/soft-tipped beaters make a muted sound.

You can group the spanners in sets which are in tune with itself – they don’t need to be arranged according to concert pitch tuning. For younger students, I normally start with 2 spanners: one high-pitched and one low- pitched.

To extend learning, you can add more spanners of different pitches to explore more complex pitch patterns, or introduce different musical elements. Older students can be challenged to arrange a bunch of random spanners by pitch order, or to compose tunes which they can play on their spanner glockenspiels.

Enjoy!

Sensory Music: Exploring the sensory and well-being aspects of music

“What part of your body did you use to experience music?”

It is always a pleasure to explore a Rhythm Circle pet topic and one of my favourites is the multi-sensory aspects and benefits of music.

For the second year now, I’ve had the privilege of introducing this aspect of Rhythm Circle work to doctors of the future. At the University of Leicester, 3rd year medical students who chose the SSC Disability and the Arts module spend several weeks with the Attenborough Arts Centre learning how art in its myriad forms support people with special needs.

Composing music for spanner glockenspiels

This year’s intrepid medical cohort rose to the challenge by assembling, playing and composing music for spanner glockenspiels and balloon drums. They used a simple graphic score to capture ideas about sound patterns and this led explorations of different playing techniques (tapping, glissandi and different ways of combining different pitches.

Simple graphic scores capture ideas about sound patterns – each coloured dot represents a different spanner. Each team had slightly different ideas – we even had performance directions to use specific beaters (1st score at the top) and glissandi was represented by a dots played in rapid succession vertically (4th score from the top).

We concluded that the experience of making, playing and composing music involved many parts of the body, not only the ears and fingers, but also eyes, skin, and brains.

Many thanks to the fabulous Marianne Pape and the Attenborough Arts Centre for hosting the annual event.

Graphic Score Love

After exploring the concept of articulation (smooth and ‘spiky’ sounds) one of our young students S surprised us with this graphic score which she created entirely on her own.

She explained that “They each make different noises. The red one makes smooth sounds, the orange one makes the loudest sound. Yellow makes spiky”. S drew triangles in different colours to represent her ideas.

The idea that there are different types of sounds can be a very abstract one. Most young children find it helpful to visualise their understanding of how a particular sound can be different to another.

The symbols we use for articulation then simply become another way of ‘writing down’ sounds – this time using lines: a curved line for smooth and joined sounds (legato), dots for short separated sounds (staccato), and a wedge for accents.

Artist in Residence

Reflections on online workshops delivered to young people with special needs.

A pivotal moment in my inclusive work came along recently in the form of a residency at the Attenborough Arts Centre’s BBC Children in Need’s Inclusive Youth Arts Programme (IYAP). I led a monthly multi-sensory online music workshop called Sound Play for young people with special needs.

Challenges

When I was invited to take up this role, my first thoughts were about how to offer young people with learning needs a meaningful musical experience. It seemed important to create a sophisticated musical experience that would support their well-being, invite active participation, and offer them ways to develop and explore their musical interests.

The IYAP workshops stretched me:

– to expanded my understanding of what it means to have different learning needs, how wide those range of needs can be, and the best ways to support them

– to develop new musical resources which would suit a variety of needs and ages. In the same workshop, there would be participants ranging from those with limited mobility to those with ADHD. It was quite a challenge to produce an activity pack which could 1.) be posted out easily 2.) be safe to handle 3.) would interest both a 3 year old as well as an 18 year old

– to sustain engagement and promote musical exploratory play in online sessions. Pacing of the 60 min sessions was important – should I move on to the next activity, or allow more time for exploration? In participant-led sessions, what happens if one group wanted to move on and another group wanted to explore?

Cardboard Guiro – a multi-sensory way to explore timbre and rhythm. Tracing different lines and shapes result in different rhythms

Building bridges

Being able to address the same core group of young people and their families repeatedly became a highlight of the programme.

there was time to get to know the families who showed me how they adapted my ideas to better address their young person’s needs.

repeated engagement with the IYAP families enabled me to recognise meaningful responses: in inclusive sessions, it is not uncommon to get what looks like a lukewarm response from an attendee. In actual fact, this could turn out to be quite a profound response from the young person in question. Unless you knew how they normally responded, this could easily have been dismissed as disinterest.

these sessions were ideal to fine-tune new resources and approaches. A young person who might offer indifferent response to an activity, might become quite animated and responsive when the same activity is presented in a different way – instant feedback about what methods worked and what didn’t.

Support from the AAC

All good online experiences tend to come with good support. Having had to deliver other workshops entirely on my own, I was very lucky to have the support of Hannah Pillai (IYAP Project Coordinator). Her insights, experience and enthusiasm underpinned successful deliveries of every Sound Play workshop. It was especially useful to have another pair of eyes and ears on board to keep things on track. Thank you, Hannah!

Beyond IYAP

Other areas of my work were enriched by my IYAP experience:

I headed a team on the Digital Games Project to create online musical games for neurodiverse young people. The IYAP residency gave me early first- hand experience of addressing this audience remotely. I was able to test out some of the resources created during IYAP workshops –the playdough video and activity to explore musical tempo was especially popular. We also tried out a 3D version of Dynamic Dots activity using big /small pom-poms to represent loud/quiet sounds (hint: if you do try this at home, really big glue dots work best to stop the pom-poms from flying off your worktop).

A graphic score made using pom-poms — Dynamic Dots graphic score made with pom-poms

Most of my piano students are fairly happy learning with ‘mainstream’ teaching approaches. Others have specific learning needs and learn best in their own unique ways. But all of them were far more engaged in their musical learning when I incorporated lessons learnt from the IYAP residency.

Rhythm Circle Digital Games Project – Part 3

Digitizing Rhythm Circle – a long and twisty road from analogue to digital

‘I want big buttons and no clutter’ was the quick / panicked answer I gave to my long-suffering digital consultant who asked what I wanted in the digital versions of my RC games.

Before we began this project , I was already using digital ‘quick wins’ – simple ways of digitising my teaching resources e.g. downloadable pdfs, audio and video explainers. These digitised resources helped me reach out to my students in remote lessons, and circumvented the vagaries of dodgy internet connections. But I still delivered the lessons live and in-person albeit remotely.

The Digital Games project forced me to contemplate digitising my business processes. As a music educator, this meant digitising my teaching methods – an important consideration for this project because I, the teacher would not be with the students to guide them through the games or check their answers.

How would I introduce a musical concept? How would I provoke thought and experimentation? Make corrections?

A fun way to familiarise students with musical symbols .

In Musical Sudoku, the processes we wrestled with involved pedagogical choices: should players be allowed to put down wrong answers? Should the programme make auto-corrections to wrong answers or should the player analyse and correct their own mistakes?

The teacher in me valued the process of self-correction and so Wayne, our digital consultant designed the game programme to allow the player to fill in the game board with any symbols chosen from the menu. The programme would automatically highlight wrong answers – this made it easy to take note of where the wrong answers were. But the programme will not tell a player what the correct answer should be.

In Dynamic Dots the process is much simpler: the game programme was designed to prompt players step-by-step to create a simple graphic score.

Big or Small? A Dynamic Dots ‘game board’ prompting the player to choose a size to make a pattern .

Digitising working processes can be expensive: Trifort Solutions advised me on the best value-for-money digitisation I could achieve with a tiny pot of funds:

Automation was necessary to allow users to generate new and different game boards for Musical Sudoku – something thing which raised a cheer amongst my Sudoku-fiend students . LOTS and LOTS of new Musical Sudoku boards to be had at the press of a button!

Good digital design was always a priority so we spent lots of time in this area: to support users with visual processing disorders, the game ‘boards’ were designed with an emphasis on clean, clutter-free displays and large buttons (I did mean it!). Only small amounts of information are shown in an organised fashion. High-contrast visuals are used and backgrounds are lightly tinted to remove the usual glare from stark white screens.

For other digitisation options, I used open-sourced software which was either free or very affordable:

Audacity to edit sound samples
Inkscape to create better pdfs using vector graphics which scaled beautifully without losing their sharpness (instead of enlarging picture files)
Animaker to edit and produce live capture / cartoon video explainers

We are now nearing the end of the project and my thought to share with anyone looking to digitise their work is this:

think about the whole user’s experience from beginning to end and beyond. Not just the person who is your average Jane, but also users who have different needs.

think about your working processes and define it: how and why do you do things? Digitising your working processes will most certainly help you work with more efficiency and clarity.

More importantly ….. just have a go! It could be anything from live capture of audio samples, creating your first pdf worksheet / video explainer, signing up for your first CRM (customer relationship management) system.

Whatever you choose to digitise and however you choose to do it , your first attempts at digitisation might not be perfect but it is so worthwhile to try. I thought I’d learn loads about digital working – and I have, but I also far more about Wai Sum Chong – the teacher, the musician and the person.

Accessible and inclusive music notation

What do you do when you have time on your hands and a glut of tomatoes? Make a tomato graphic score, of course!

Last summer during the 2020 Covid pandemic, my little veg patch produced an abundance of 3 different varieties of tomatoes, little Sungold cherry tomatoes, big fat Mallorcan ones, and some random ones which self-seeded from previous years’ crops.

I laid the semi-ripe tomatoes out in the sun to hasten ripening and amused myself making little impromptu graphic scores. Musical doodling using fruit.

Polyphony – multiple layers of sound, with a pattern of loud and quiet sounds.
Pitch – highs and lows
Crescendo and Diminuendo – sound gradually getting louder, then quieter

Graphic scores are a way of ‘writing down’ sounds .

They are a very accessible, creative and intuitive way to record and share ideas about sound: a non-conventional form of music notation. Different musical meanings can be assigned to shapes, colours, and lines or simply left to the interpretation of the player.

You can use anything to create graphic scores. I have tried sand (real, kinetic, edible), cardboard, bottle caps, vegetables, sticks and stones, leaves, flowers, pasta shapes, shells, even scrunched up balls of paper.

Runner beans are very useful vegetables. Different lengths represent different durations of sound

Pumpkin pulse! 3 beats in a bar represented in pumpkin form.

Graphic scores are very useful to children with special needs because we can tailor a graphic score to meet the needs of that individual. You can make ones which can be contained within reach for people with restricted mobility or spread out over a wide area to promote movement for those who crave kinaesthetic input. Those who find deep pressure calming may like graphic scores made out of playdough which they can knead and form into shapes.

A 3D graphic score made from building blocks. Each knob is 1 count and blank spaces represent musical silences.

It allows children who have limited mobility, are non-verbal / speech-delayed / pre-literate to express and share their ideas about sound and music. Visually-impaired learners are able to feel textures in 3D graphic scores and ‘read’ musical ideas much like they do with Braille text.

Pitch sirening activity - if you're handy with a hot glue gun, these coloured glue squiggles are very satisfying to trace and vocalise. — Tactile coloured squiggles (made with a hot glue gun) are very satisfying to trace whilst using vocal pitch to match the rise and fall of the line.

Although they are primarily visual and/or tactile, enticing possibilities are there to develop associations with scent or taste as part of a more multi-sensory experience. For example:

a spiral shape + lemon scent = fast music (whirlwind)

a blobby shape + cinnamon = slow, chilled-out music

I can just feel a baking session coming on… flavoured cookie dough for making edible graphic scores, anyone?

Rhythm Circle Digital Games Project – Part 2

Helpful ideas from Early Years.

“Children should copy first and understand later”.

This statement from a well-meaning but pushy parent was one of the big factors which drove me to start Rhythm Circle.

About 5 years ago, I was struggling to engage with a new transfer student – a 5 year old boy who had a very poor understanding of musical elements despite having had a year’s worth of piano lesson.

I explained to his mother that I would like to spend some time helping her son gain had a better understanding of musical elements and notation instead of pushing on with pure pianistic skills. However, she disagreed strongly, and insisted that I taught him the piano by rote, saying “Children should copy first and understand later”.

This was immediately abhorrent to me as a teacher and as a parent: how could we hope to raise a new generation of critical thinkers if we began by bludgeoning and disrespecting the natural intellect and learning capacity of a child?

She was not entirely wrong, however. Children ARE natural and curious parrots – I suppose it is part of their survival instinct to copy the actions of their grown-ups.

But educators and parents can do so much more to channel that natural instinct whilst nurturing the child’s intellectual faculties at the same time. The learning journey does NOT need to be dumbed down just because the learner is a child. This sentiment is felt strongly by Zoë Challenor , the founder director or B’Opera and a working partner on the Digital Games Project.

Zoë Challenor , in a performance of A Winter’s Tale, an opera specially created for babies and toddlers.

It was really a lucky accident that brought me and Zoë together in June 2019, and we have since found a shared ethos of bringing sophisticated and high-quality musical experiences to young children.

The incident with the pushy parent drove me to think about how I could encourage children to engage more with music: not just as operators of an instrument, but as curious explorers who WANTED to understand every aspect of sound.

Music is organised sound. There are several different elements which work together to create music. A small child experiencing the world is constantly bombarded with a constant influx of information. He/she learns gradually how to filter out less interesting or less important bits and to focus on specific elements.

For a young child, sound exploration is no different to….
….mud exploration!

To promote concentration amongst my youngest students, I embraced some commonly used concepts in Early Years education. One of the most useful was the Montessori practice of ‘isolation of quality’. This meant eliminating all other elements apart from the one which you wanted the child to learn. Very useful for children who are easily distracted as it promotes focus.

This idea was incredibly helpful in my work with neurodiverse children: one of the common characteristics shared by those who have learning differences is that they experience sensory overload, and do not have the ability to filter out less important information.

Isolation of quality : only blue plastic milk bottle caps which are identical in size and shape have been used. The only different element present is visual: the note value symbols

Whilst recording musical examples for the Rhythm Circle Digital Games Project, this meant recording the same piece of music played in different ways to demonstrate the difference between loud and quiet instead of two different pieces of music which demonstrated the same thing. This was particularly important as chords are often mistakenly associated with loud music and single notes with quietness.

When choosing shapes to use in Dynamic Dots, a graphic score activity , this meant using different sizes of a single shape , colour and material. The size of that shape is the single changing element which corresponded to the ‘size’ of a sound.

Learning by exploratory play was also another idea from Early Years education which was particularly useful. For me, this concept kicked of the creation of many musical games and activities (e.g musical versions of Bingo, Tic Tac Toe, Bowling).

Scientists tell us that when knowledge or skills have recently been learnt, new neural pathways are created in the brain. Repetition of that knowledge strengthens the pathways and aids long term retention. Since, children find games and activities fun they will want to keep repeating those games. So musical games REALLY help learners retain music knowledge !

B’Opera’s presence and support in this project has been a strong reminder about respecting the learning journeys of our youngest members of society – both in the depth and breadth of experiences offered to them. So many neurodiverse children have delayed learning and it is crucial that the Digital Games Project understands how to leverage good Early Childhood working practices to support their learning.

In the next blog, I will be charting my digital working partnership with Trifort Solutions.