Okehampton School Band Work
 
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Information about the Musical Futures programme at Okehampton School, Devon and resources for use with band work.
 

Please note that these resources should be used with the Musical Futures pedagogy in mind. The importance of AURAL learning, listening and copying is central to the Musical Futures approaches and therefore it is advised that a recording of the original song is made available as well as the worksheets provided on this resource. 


Okehampton is an 11-18 Comprehensive school located at the gateway to Dartmoor with a specialism in Technology. With a thriving extra curricular culture in the school which includes regular band performances, a recent trip to New York there are over 150 students involved in music activities and over 370 students engage with Musical Futures activities each year.



Members of the department attended one of the first CPD training courses and were able to integrate the introduction of the approaches to year 9 with a new Arts Carousel model. This entailed pupils having three lessons a week of art, music or drama for 3 weeks. After this period they would then move onto the next expressive art. This enabled the students to have an intensive period of time – 9 hours in 3 weeks of Musical Futures. Pupil surveys have shown that students really enjoy this way of learning – far more than 1 hour a week (which still runs through year 7 & 8) . 



The band work resources attached include  a booklet for a range of genres which includes a selection of songs, chord shapes (for guitar/keyboard), tab, conventional notation and lyrics. This has accelerated students learning and enjoyment levels (for both staff and students) have increased significantly. At the end of the 3 week cycle, each group performs in a ‘mini-gig’ scenario. The rest of the class form the audience and each performance is recorded.



As a Technology College, the school has adopted a range of strategies to integrate live performance and Music Technology. As a tech specialist, the Head of Music had always treated it as a stand alone area, never integrating live music with computers. Schemes of work involved recording into Cubase or creating a piece of dance music on Reason but live instruments never really ‘performed’ with the computers. The first attempts at this integration came about purely through necessity. A group due to perform had an absent drummer so he suggested simply using a keyboard drum pattern. This set him thinking about using Reason’s drum patterns which expanded to using the drum matrix on Reason. ‘Redrum’ to create ‘human’ drum loops and patterns. The possibilities now are endless. 



Each group is presented with a digital handheld recorder at the beginning of the 9 hrs. They use it as a digital diary, recording their progress through a running commentary or 'snapshot' performances in each session, they are given free choice over how they complete this task. This has worked particularly well, it helps to personalise the students learning, giving them ownership of their songs and the process by which they have put together the final pieces. 



In terms of software, Reason has been a particularly effective tool. This is used right form the beginning of year 7, initially to create stand alone dance tracks. By the time the students become involved in Musical Futures, they use Reason as another instrument. Some use the drum loops as a replacement drummer, some use guitar loops and some compose an entire backing track, negating the need for a band entirely. 



Through careful planning, use of concert funds as well as capitation and clearly linked to linked to the Department Improvement Plan, the department has always had clear direction regarding the resourcing of Musical Futures activities and there are currently 8 practise rooms (as well as 2 teachings rooms) kitted out with

Drum Kit

1 Bass amp

1 Electric Guitar Amp

Mini P.A.

1 Vocal mic

1 Electric Guitar

1 Acoustic Guitar

1 Bass Guitar

1 Piano/clavinova/keyboard



Each group that is involved in MF therefore knows that whichever practise room they enter, they will be provided with all the equipment they need to succeed. Students also have a hand in the developmental plan. At the end of the year, they are given a blank sheet of paper, an assortment of catalogues from music suppliers and are asked to write down what they think the department needs. The students take it very seriously, knowing that they have a direct influence on the equipment within each space. Various suggestions have been implemented over the last few year, from the very small – ‘Plectrums and lots of them’ to a vocoder –‘ One of those things that make s your voice go all weird’ 



Knock on effects of using the MF approaches has been that other departments – particularly the expressive arts have taken our ideas on board and are all trying to create more schemes which involve independent learning. The SMT often bring visitors around our department because of the vibrant atmosphere created by 10 rooms being filled with the sounds of hands on music learning.



"Don’t be put off by the apparent emphasis on independent learning. Equally do not worry about ‘pop’ and ‘technology’ leanings. Students these days are digital natives, if you show them the basics they will take it, develop it and fly with it. I am a classical violinst but once I saw the benefit of technology I decided to embrace it. Everything I know is self taught. I taught myself a bit of guitar, a bit of bass, a bit of drums and that is enough to get you through. It is also important to get help. The lessons themselves can be very enjoyable affairs if everything is set up correctly. This is what takes the time – making sure the resources are in the right place, tuning guitars, making sure the leads work, checking the computers are on. I do not have a technician so I involve the 6th form and my student teachers. This way, MF can be very successfully delivered." Paul Smith, Head of Music, Okehampton College

 






















 
 
 
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