Vaughan Williams – the Lark Ascending

SECONDARY 10 PIECES PLUS!

THE LARK ASCENDING by VAUGHAN WILLIAMS

TEACHER PAGES THE LARK ASCENDING BY RALPH VAUGHAN WILLIAMS http://www.bbc.co.uk/programmes/articles/3l2p7df6Yhg8dRp20Hp85VG/ten-pieces-secondary

CONTEXT The Lark Ascending – A Romance for Violin and Orchestra - was originally composed in 1914 for violin and piano and then orchestrated in 1921. It was inspired by an eponymous poem by George Meredith (1881) and evokes the vision of a lark floating freely in the sky on a peaceful summer’s day. These lines are inscribed in the score:

He rises and begins to round,

He drops the silver chain of sound

Of many links without a break,

In chirrup, whistle, slur and shake...

For singing till his heaven fills, ’Tis love of earth that he instils,

And ever winging up and up,

Our valley is his golden cup,

And he the wine which overflows

To lift us with him as he goes...

Till lost on his aërial rings

In light, and then the fancy sings.

The music is gentle and lyrical, reflecting an idyllic and calm scene in the English countryside in the period just before war broke out in Europe. The ‘sweet’ and reassuring mood is typical of much of Vaughan William’s ‘pastoral’ style which grew out of his interest in traditional music and reflected his national roots: this resonated with a movement pioneered by Cecil Sharp, who collected folk songs and established an archive of indigenous English music. The scales and modes present in folk songs shaped Vaughan Williams’ melodies and harmonies, giving his music the characteristic sound which pervades The Lark Ascending.

Vaughan Williams was a prolific composer who contributed many orchestral works to the English repertoire and established a new musical language which broke the mould of nineteenth century European styles. He was influenced by earlier English composers, Tallis and Purcell, and also by a strong sense of character and place e.g. Norfolk Rhapsody; London Symphony; Hugh the Drover – opera that reflected English life. He believed classical music was the each person’s birthright and to this end, as a passionate community musician, he edited books of hymns and carols, created many folk song arrangements and composed choral works to make music accessible to choral societies and community groups.

The Lark Ascending has captured people’s imagination in recent years and has been played at many reflective and poignant occasions such as the tenth anniversary of 9/11 in New York and similar commemorations.

Read the full poem at http://www.bartleby.com/246/680.html Discover more about Vaughan Williams at http://www.rvwsociety.com

MUSICAL INGREDIENTS

Tonality Mixolydian mode (created by playing the white notes only on a keyboard from G to G). Beginning on E as the root, this becomes: E F# G A B C# D E).

Harmony The modal harmony is centred on E, but not always clearly in one key. Triads have added notes (e.g. the main chord at the opening is E-G-B-F#) which produce a richer and more luscious harmonic sound, making it expressive and ‘romantic’. Chords shift up and down the scale in parallel motion, making the music ‘float’ and feel ‘seamless’, without a strong direction. Juxtaposition of two different chords at the same time (e.g. C major and D major).

Melody Based on a pentatonic scale. The main theme uses D E F# A B. The melody repeats short phrases and also ‘floats’ across the instrumental range. Use of extremely high solo violin writing creates a strong visual image. Short and faster rhythm patterns suggest bird song (see Related Listening). The middle section changes character – a more energetic pulse and a stronger folk-like melody.

Tempo and rhythm The outer sections are mainly in 6/8 which creates the flowing lilt to rhythm. Lengthy cadenza passages marked ‘flessibile’ (rhythmically free-flowing melody over sustained chords).

Orchestration Wind and brass instruments echo elements of the violin solo.

Dynamics The whole piece is very quiet – mostly ppp to p and never loud. Changes in ‘dynamic’ are created by texture – thicker chords or several instruments moving independently.

LEARNING ACTIVITIES SUMMARY

Active Listening Challenge: Creating Graphic Scores Performing Challenge: Two songs (with instruments) – Free Bird and The Lark’s Song Composing Challenge 1: To create ambient music for a Spa and Wellbeing Centre Composing Challenge 2: Setting a text to music – four poems using birds as metaphor

KEY LEARNING

Knowledge of modes and modalities Contemporary musical styles Developing singing skills, including part-singing

KS3 MUSIC CURRICULUM LINKS

 Folk music: adapting and arranging  Single movement descriptive pieces for orchestra or solo instruments: o Nocturnes (piano): Chopin, Debussy, Billy Joel (1971) o Rhapsody: Single-movement pieces based on popular or folk tunes:Liszt, Brahms, Paganini, Delius, Gershwin o Romance: Short gentle pieces e.g. Mozart, Schumann, Elgar  The violin: its history and use as a classical, folk and popular instrument: o Pictures of a Stradivarius http://www.classicfm.com/discover/fast-and-friendly-guides/stradivarius-violin-history-facts- pictures/habeneck/ o ‘Winter’ from The Four Seasons (1725) – Vivaldi https://www.youtube.com/watch?v=YKfuhLCVldg o Concerto No. 1 (1867) – Max Bruch played by Nicola Benedetti https://www.youtube.com/watch?v=gK3_K1C2lYc o Gipsy Csárdás (1904) – Vittorio Monti played by Nigel Kennedy https://www.youtube.com/watch?v=OkeWj9ykXPw o Sweet Georgia Brown – Stefan Grappelli https://www.youtube.com/watch?v=rJw-tCHDDqQ o Celtic duelling violins from Hyde Park https://www.youtube.com/watch?v=ywMPtwM8avs o Bryson Andres performing Secrets One Republic (street busking) https://www.youtube.com/watch?v=czkJYLqylzs

SUGGESTED LINKS WITH OTHER SUBJECTS

English  WW1 poetry  Birds in literature, symbolism (death – hope – resurrection)  Poems about birds (see texts for Composing Challenge 2)  https://www.poets.org/poetsorg/text/thirteen-ways-looking-poems-about-birds  Poems about larks https://nosleepingdogs.wordpress.com/poems-in-which-skylarks-appear/

Humanities  Bird habitats, migration and conservation of natural habitats

RMS/Philosophy  Birds as omens, symbols and signs  Spiritual journey; life and death  Hope: overcoming adversity

Art  Representation of birds through the ages and in different cultures  Symbolism and metaphor  Graphic scores; visual representations of sound, mood and feeling

Drama: Greek plays – The Birds by Aristophanes 414 BC

Dance  Movement and ballet – Swan Lake  Representations of birds through mime, action and costume

Science  Evolution of birds from dinosaurs  Habitats and Birdwatch surveys 3

LEARNING ACTIVITIES – TEACHER NOTES ACTIVE LISTENING CHALLENGE: CREATE A PIECE OF ART WORK BASED ON GRAPHIC SCORES

Teacher resources  Graphic scores v traditional notation – ‘Thought’ sheet – for and against  YouTube references: o 21 graphic scores – a selection of graphic and pictorial representations of music http://www.classicfm.com/discover/music/graphic-scores-art-music-pictures/ o Year 7 Graphic Score of Wirrkul Girl by Aboriginal group Yothu Yindi, from N Australia https://www.youtube.com/watch?v=yKWoY8qjUiM o Spem in Alium – Motet for 40 voices by Thomas Tallis (1570) represented graphically https://www.youtube.com/watch?v=Z3FJxDsa-5k o Queen of the Night – Aria from opera The Magic Flute by Mozart (1791) represented graphically https://www.youtube.com/watch?v=qLSzKrr-O-4

Pupil resource found in the pack  Active Listening Challenge – The Lark Ascending – creating a graphic score (to be copied onto A3 paper) Tasks  Investigate, discuss and understand the term ‘graphic score’, explore examples and recognise the use of this scoring style for composers.  Listen to the extract of The Lark Ascending and create original graphic score extracts.  Present these scores collectively as a piece of art.  Additional creative task - interpreting the graphic scores.

Suggested approach  Introduce the concept of Graphic Notation - representing music in alternative forms that differ greatly from traditional notation: using visual symbols, graphics, pictures and other images.  Show the YouTube examples above and discuss what pupils see and hear: identify techniques used. The Wirrkul Girl extract is particularly clear and informative.  Discuss how graphic notation compares with traditional staff notation and list the advantages/disadvantages of these contrasting styles for composers. Could Nicola Benedetti have played The Lark Ascending if Vaughan Williams had written it as a graphic score?!  Agree on a whole-group definition of ‘graphic notation’ and write it for all to see.  Organise pupils into groups of 4. Listen to the BBC extract of The Lark Ascending (only 6 minutes). The listening task is divided into four sections (boxes), with a timeline for each one.  Pupils should interpret what they hear, graphically, in any chosen way, following the examples explored in discussion. Encourage the use of colour.  Repeat the exercise if necessary and when complete, allow three minutes for each group to compare and discuss their results. Whole-class comparison and discussion could follow, exploring common patterns and themes emerging from their work.  Presentation: Cut out the squares and group each of the sections on the wall to create one large score. Listen to the work again, following the collective score. Extension activities:  Create one graphic score from the collected ideas  Set a composing/performing task – to interpret the giant graphic score as a class  Create a dance or movement piece in response to the music using a similar approach

PERFORMING CHALLENGE: TWO SONGS

Teacher resource  FREE BIRD and THE LARK’S SONG full scores  Midi files: Vaughan Williams – Free Bird and Vaughan Williams – Larks Song (optional backing tracks)

Pupil resource found in the pack  FREE BIRD and THE LARK’S SONG vocal and instrumental parts

FREE BIRD This song is aimed at younger voices with accessible instrumental parts which can work in a variety of combinations. It is intended to be a gentle ‘rock song’ in the style of artists such Ed Sheeran.

Commonalities and inspiration ‘pointers’ from Vaughan Williams’ style and The Lark Ascending:  The opening 2 bars of melody are the same as the first 6/8 theme in the violin part  The piano/keyboard accompaniment consistently uses open 5ths and parallel chords which produce a mildly rich harmony  The middle section (bars 14-26) changes tonality and features superimposed triads  The melody and instrumental riff-like parts are mainly pentatonic  The words reflect someone longing to be free, like the bird that can fly away from trouble

Suggested approach Sing the song with everyone; the bare minimum for performance is piano/keyboard simply playing what is written. This could be managed by guitar, playing the basic chords if the full ones with ‘added notes’ are not possible. A competent keyboard player or guitarist should feel free to embellish the basic part provided, adding as much style as possible. The percussion parts (drum and cymbal) would be the simplest form of rock accompaniment, if a drummer is not available, but that would be ideal. A bass guitar could play the bottom piano notes, again improvising something more interesting if desired. The pitched instrumental parts 1 & 2 are designed for classroom percussion or keyboards but can be adopted by any melody instrument. The most important aspect of the performing challenge is that everyone can be involved and that the result is lively with accurate singing and a good sense of rhythm.

Suggestions for involving more players:  Add extra percussion instruments  Mix pitched percussion and other orchestral instruments  Encourage confident players to improvise or invent some new riff lines of their own using the models provided  Introduce an instrumental break featuring any new tunes over the chords of Section A  Compose a Section C with new material

THE LARK’S SONG A two-part song for soprano and alto/tenor with flute/violin solo.

This is a more challenging song requiring confident singing and good breath control and would suit older voices. The violin/flute part also requires assured performance in the upper register. It pays homage to The Lark Ascending both musically and thematically. The lyrics borrow something of the language and atmosphere of George Meredith’s poem and the music absorbs elements of the composer’s style and structure:

 The rhythm reflects the characteristic 6/8 feel of a ‘pastorale’ and the harmony moves in parallel chords with occasional surprising shifts in tonality  The melody contains strong references to the shape of Vaughan Williams’ melodies, mostly pentatonic, particularly the descending third interval  The high violin/flute part floats above the voices like the original lark in flight  As in the original, the B section is in 2/4 offering a more robust, changing character

Suggested approach  Notice that the two A sections are very similar but that the B section has a different character and can be sung more strongly.  Begin by learning the song: this should be established accurately and confidently.  The instrumental line can be learnt separately then added later.  To expand the ensemble, add a cello to the bottom line of the piano part  Consider arranging the complete piano part for a string quartet.

COMPOSING CHALLENGE 1: COMPOSING A SOUNDSCAPE FOR A SPA AND WELLBEING CENTRE

Pupil resources found in the pack  Composing challenge 1: Composing a soundscape for a spa and wellbeing centre – thoughts sheet  Composing challenge 1: Composing a soundscape for a spa and wellbeing centre – ideas sheet

Tasks  To create a Soundscape (piece of suitably atmospheric music) for the Larkrise Spa and Wellbeing Centre in response to a client’s letter.  To demonstrate an understanding of the use of music for a specific purpose and environment.  To show recognition of specific musical features in The Lark Ascending: to adapt and use these elements in a piece of creative work.

Suggested approach  It would be helpful if pupils complete the Active Listening Challenge first, so they have a good idea of the musical sounds and effects which are listed on their thoughts/ideas sheet. They will need to work in groups.  Read through their ‘Thoughts Sheet’ and encourage them to articulate how music features in our lives in ways over which we have no control i.e. ‘canned music’ in shops, malls, waiting areas etc. Why is this? What is the purpose? (increasing retail activity, filling the silence, creating ambience) What would a world be like without any such music?  Consider which type of music would suit the Spa and Wellbeing Centre. What is its purpose? What type of music wouldn’t work and why not?  Ensure that pupils understand why The Lark Ascending is so popular. Discuss how it impacts on certain occasions (reflection and loss, peacefulness) and identify which musical features achieve this effect.  Examine the musical resources available (pupil ‘ideas sheet’) and discuss suitable instrumental/vocal sounds before they start their task.  Consider what non-instrumental/vocal resources could be used – electronic keyboard effects, recordings of live sounds or using composing software.  Allow pupils time to think and experiment, encouraging innovation. Limit the actual ‘composing’ time so that an element of ‘improvisation’ is retained: this can be refined later. Record their first attempts.  Return to these compositions on a second occasion. Listen to pupils’ first attempts and undertake some brief analysis with the group. Is anything working particularly well? What isn’t working? Gather some whole group responses.  Depending on progress at this stage you could:

o Take a few effective ideas and ask small groups to expand on them o Pool ideas for a whole-class recording o Ask original groups to polish and record their pieces if they started successfully

 IMPORTANT: This task does not necessarily require a completely finished and polished result: the process is as important as the product! Success can be evaluated by pupils’ understanding, demonstrated through their work and the effectiveness of their ideas.  Record any completed pieces: play them in the school foyer and monitor their impact on visitors!

COMPOSING CHALLENGE 2: COMPOSING MUSIC TO ILLUSTRATE POEM TEXTS

Pupil resources found in the pack  Composing challenge 2: Composing music to illustrate poem texts. Four poems for illustrating or setting to music  The Skylark. Rhythm settings of an extract from ‘The Skylark’ for composing a song

Tasks  To compose music for one of the four texts inspired by birds. This could be illustrative music to support a reading or a song (a cappella or accompanied)  To demonstrate an understanding of how expressive music can enhance the metaphorical and deeper meanings of texts

Suggested approach  Read the poems and identify how birds are used as metaphors and imagery to express deeper meaning and to make statements. The YouTube links are very useful and appropriate for pupils:

o Hope is the thing with feathers – Hope, faith and a free spirit http://genius.com/Emily-dickinson-hope-is-the-thing-with-feathers-254-annotated o I know why the caged bird sings – Freedom from slavery and oppression https://prezi.com/kaz9c6maii37/sympathy-by-laurence-dunbar-and-caged-bird-by-maya- angelou/ o The Eagle – Alliteration, personification, association, old age, vulnerability http://www.encyclopedia.com/article-1G2-2691900014/eagle.html o The Skylark – Commentary on humanity, idealism and faith

Explore the options for illustrating some of the text:

 Compose a song for single voice or several parts. Two possible rhythmic settings of an extract from The Skylark have been supplied as a starting point to illustrate different approaches. Note that the 4/4 version gives opportunities for melismas – setting one syllable to two or more notes. This is indicated by the dotted ties.  Set The Skylark as a rap. The mechanical ugliness of the ‘armoured lizard’ tearing up the landscape suggests something quite ‘aggressive’ or invasive deployed in the name of progress.  Compose some ‘incidental music´ which can be played or sung as the poem is recited. This requires analysis of the poem’s meaning so that it reflects the message. Poems 1-3 are particularly suitable for this.

This task should take place in stages over several sessions and may suit small groups or individuals – possibly suited to older pupils. Structure the activity as follows:

o General discussing, selecting, investigating and brainstorming ideas o Choosing resources and trying out ideas, possibly dividing and sharing tasks o Selecting and refining early ideas and exploring; focus on material which is successful and develop as required o Running through, ‘tidying’ pieces then perform

GRAPHIC SCORE V TRADITIONAL NOTATION

TRADITIONAL MUSIC NOTATION GRAPHIC NOTATION

ADVANTAGES  Accurately represents many interrelated  Better for representing imaginative dimensions of music (pitch, duration, ideas: looser, flexible, less restrictive volume etc.)  No rules other than those chosen by the  Universally understood: trained composer/inventor musicians know the rules and how to apply and interpret them  Visually clear: looks like the music sounds  Almost exact performances can be repeated from the same score  Gives composer greater expressive freedom  Impossible to represent melody precisely without it  May allow performers more interpretive license, removing artistic decisions from  Communicates composers’ intentions the composer very clearly  Musical outcome is less determined: exciting for musicians who enjoy risk

 More accessible to ‘non-musicians’

DISADVANTAGES  Needs to be learnt properly, otherwise  Much less accurate and not universally difficult to access and participate in understood: fewer common rules and performing: high skill level required conventions

 Limited scope for individual interpretation  Precise communication of what is required is much more difficult; additional  Not flexible enough to represent a range instructions often added to the score of sounds or ways of performing  Composers can ‘lose control’ of their  When using notation, accuracy is work because performers have fewer essential restrictions

 Cannot precisely notate some  Can make composers ‘lazy’: not performance styles (e.g. many forms of formulating their creative ideas fully improvisation)

SECONDARY 10 PIECES PLUS!

THE LARK ASCENDING by VAUGHAN WILLIAMS

PUPIL PAGES

ACTIVE LISTENING CHALLENGE - THE LARK ASCENDING - CREATING A GRAPHIC SCORE

SECTION 1: Start to 3 minutes SECTION 2: 3 MINUTES TO 3’ 52”

SECTION 3: 3’ 53” to 5’ 14” SECTION 4: 5’ 15” to End (6’ 24”)

COMPOSING CHALLENGE 1: COMPOSE A SOUNDSCAPE SUITABLE FOR LARKRISE, A NEW SPA AND WELLBEING CENTRE

THOUGHTS SHEET

Letter to a company which produces music for different locations e.g. offices, retail outlets, shopping malls, leisure centres) THE IMPORTANCE OF MUSIC IN HEALTH SPAS After a recent visit to one of the UK’s top health spas, I came to realise the importance of having background music. On a single day I had two spa treatments and they were both in identical rooms. During the first treatment there was no background music playing. After a while I noticed the sound of fans and some noise from staff talking: it wasn’t the most relaxing of treatments – I was slightly disappointed. The second treatment was totally different. There was some well-chosen soundscape music playing in the background which I hardly noticed until I realised that it was really helping me to relax. Jenny

Research has shown that:

 Background music influences the way people shop and what they buy. Sales improve with music!  Music changes your perception it can create emotional connections and alter how you feel.  Music has health benefits: it can change your behaviour.  Music in public places can put you in a certain frame of mind and affect your mood.

Three facts about THE LARK ASCENDING

 It was played at the funeral of a soap character on TV (Hayley – Coronation Street).  It was chosen for the 10th anniversary commemoration of the 9/11 attack on the Twin Towers.  A Classic FM poll rated it as the ‘Nation’s Favourite Piece’: audiences say it makes them feel calm, relaxed and secure, helping them to slow down and think and to reflect on positive things.

KEY FEATURES OF THE MUSIC (What makes it sound like it does)

 It is slow with gentle rhythms, no sudden changes or surprises: everything is smooth.  Long held chords and sustained sounds which change and move slowly.  Short repeated or ‘looped’ melodies which seem to ‘amble along’ as if they are floating: nothing grabs or distracts your attention.

COMPOSING CHALLENGE 1: COMPOSE A SOUNDSCAPE SUITABLE FOR LARKRISE, A NEW SPA AND WELLBEING CENTRE

IDEAS SHEET

LARKRISE wants a soundscape – background music – lasting for about two minutes, a piece which can be played continuously in their lobbies and treatment rooms to relax and soothe their clients.

Create some ambient or chillout music (listen to Brian Eno example)

Use some of the musical ideas below, taken from The Lark Ascending if you wish, or invent your own. Look at the ‘Key features’ box.

Select sounds and instruments that are suitable and consider voices too. You could experiment with recording natural sounds to include with your own music e.g. Whale Songs, wind in the trees, running water or waves crashing.

TEMPO: Relaxed heartbeat – 50/60 beats per minute

CHORD SEQUENCES Shift slowly between chords – play the notes separately – sustain and overlap them (insert Sibelius files)

PITCHES Use any notes from this scale (Aeolian Mode) Play single notes – develop into short phrases or longer melodies (insert Sibelius file)

MELODY IDEAS Start with these patterns an improvise around them (insert Sibelius files)

DYNAMICS Range from pp (pianissimo) to mp (mezzo piano) – gently changing

COMPOSING CHALLENGE 2: COMPOSING MUSIC TO ILLUSTRATE POEM TEXTS

FOUR TEXTS FOR ILLUSTRATING WITH MUSIC Each of these poems uses the bird as a metaphor to express or illustrate something. Create some music which enhances the meaning or image suggested by the words. The highlighted verses of The Skylark have been set to rhythms to help with writing a song.

Poem 1 Poem 2 HOPE IS THE THING WITH FEATHERS I KNOW WHY THE CAGED BIRD SINGS Emily Dickinson Extract from ‘Sympathy’ by Paul Laurence Dunbar, which later inspired Maya Angelou’s poem of the same name Hope is the thing with feathers That perches in the soul, I know why the caged bird sings, ah me, And sings the tune without words, When his wing is bruised and bosom sore, And never stops at all. When he beats his bars and he would be free; And sweetest in the gale is heard; It is not a carol of joy or glee, And sore must be the storm But a prayer that he sends from his heart’s deep core, That could abash the little bird But a plea, that upward to Heaven he flings. That kept so many warm. I know why the caged sings! I’ve heard it in the chilliest land And on the strangest sea; Yet never in extremity It asked a crumb of me. Poem 4 Poem 3 THE SKYLARK THE EAGLE Peter Fairbrother Alfred, Lord Tennyson As high as reverie, as small as a speck. He clasps the crag with crooked hands; To glimpse it at all one must lie on the deck. Close to the sun in lonely lands, As brief as an inkling, as fleet as a fawn; Ring’d with the azure world, he stands. Everlasting, yet new, aspiring since dawn.

The wrinkled sea beneath him crawls; It sings ‘All is well’, so far above ground. He watches from his mountain wall, It sang ‘All is well’, even when it looked down. And like a thunderbolt he falls. To the huge armoured lizard tearing thigh from bone, While the previous owner crept crippled for home.

It’s as bright as a bell and it rings in this sky; It’s as light as a breath and it sings us alive.

As perfect as marble, as fertile as earth, As maudlin as gravestones, as healing as mirth.

The bird has a vision sustaining it so and contrasts with the frenzy we witness below.

The peculiar version of ‘staying alive’, Of the bull dinosaurs on the M25.

It sings All is well’, even when it looks down. It sang All is well’ and never a frown. It sang All is well’, wherever it flew. It sings All is well’, because up there, it’s true. 29