Level 5, Proactive: performs, improvises and/or composes short and simple pieces of music, which may increase in complexity over time

Observation

People play or sing short and simple pieces, and may improvise or compose new ones. The pieces that are performed may increase in length and complexity over time, as the necessary technical skills develop. At first, tuning and/or timing may approximate to available cultural models, fidelity to which may increase with practice.

Interpretation

People have a grasp of short pieces of music as entities and can produce or reproduce these through one or more modes of performance.

Resources designed for particular groups are available as follows:

• blind and partially sighted children in the early years https://www.ambertrust.org/littleamber/app/level/5/
• children with neurodegenerative disease and vision impairment https://ambertrust.org/withmusicinmind/app/card/

P.5.A performs short and simple pieces of music, potentially of growing length and complexity, increasingly 'in time' and (where relevant) 'in tune'

Individuals reproduce short and simple pieces, either vocally or using instruments. These may be of increasing length and complexity over time, as the necessary technical skills develop, which will also enable tuning and/or timing to become more accurate and conform more closely to available cultural models.

Strategies

Encourage the performance of pieces through introducing and modelling appropriate repertoire, and through music-making in groups (see I.5). Some people may find it motivating to sing or play to an audience (informally or in more formal settings); for others, making music may be a private affair, only every undertaken at home. Some may wish to have their efforts as assessed, and to receive recognition through taking examinations; Sounds of Intent Level 5 corresponds to a range of accomplishment spanning ‘Initial’ to Grade 5 in the UK public music examination system. Some people, particularly those on the autism spectrum, may be content to play or sing the same piece for weeks, months or even years. Others may relish the challenge of the new. Some may enjoy getting every detail of pieces right, and fret if their efforts don‘t match an imagined model, while others may be less concerned with fidelity to the composer’s intentions. Some may show an interest in learning music notation, and may become highly proficient in its use. Others may prefer learning by ear. Either way, absolute pitch (a normally very rare ability that around 5-10% of those on the autism spectrum have), will confer an enormous advantage, since it enables learners to build up detailed cognitive representations of pieces without the need for recourse to external sounds.

The long-term mental images of notes that absolute pitch provides can populate the long-term memory of pieces too, and greatly facilitates the learning and retention of music. Some learners at Sounds of Intent Level 5 may start to develop a knowledge of music theory and its associated terminology, enabling them to label inter alia pitches, chords and note lengths, and to discuss concepts such as ‘major’ and ‘minor’. The crucial thing for practitioners in working with those on the autism spectrum and who have learning difficulties is to adopt a person-centred approach, particularly in the initial stages of the teacher-pupil relationship. Begin by finding out about a new pupil’s interests (from parents, carers or teachers if necessary), and be content observe them in action for a while, and to be directed by their preferences. Gradually, once a relationship of trust is established, you may be able to take the lead, to a greater or lesser extent. Ultimately, if they are to enjoy making music for and with others (see I.5), then they may need to learn to accept compromise, even if they never grow to delight in it. Indeed, music can provide an excellent medium for the these personal qualities to be developed and exercised.

P.5.B improvises on familiar pieces of music, varying the original material in simple ways

Individuals vary short and simple pieces of music with which they are familiar in performance, by changing one feature of rhythm or melody through the addition, removal or alteration of material.

Strategies

Although it is often not taught by instrumental and vocal tutors working in the Western classical tradition (with the notable exception of church organists), improvisation - making up music as it is played or sung - is a natural part of engaging in musical activity that anyone can do. To teach improvisation at Sounds of Intent Level 5, start by encouraging learners to play by ear (if they don’t already do so). Next, try simple rhythmic modifications. One approach to this is to think of a song melody and change certain of the lyrics - as many children’s songs and action songs do. There are also a number of examples in the Tuning In set https://ambertrust.org/amberplus/app/music-resources/. A further stage is to add extra melody notes between those that are already present - for example, filling in the gaps between leaps, or moving away from and then back to the original note. As an example, consider the openings to Twinkle, Twinkle and the theme to the TV series 'Eastenders'. Can you hear how the latter can be heard as an elaboration of the former (or the former a simplification of the latter)? Finally, take a tune with a simple chordal accompaniment, break down each of the harmonies into its constituent pitches, and use these are the basis for creating new melodies that use the original rhythmic structure, and then evolve from that starting point to incorporate new rhythmic ideas. Can the person you are working with do the same?

P.5.C creates short and simple pieces of music, potentially of increasing length, complexity and coherence, whose general characteristics may be intended to convey particular moods or feelings, and which may be linked to external associations

Individuals compose short and simple pieces of music, which may increase in length and complexity over time, and become increasingly musically coherent. The general characteristics of the pieces may be intended to convey particular emotions, and the pieces may be associated with certain activities or events.

Strategies

Teach by example, creating short and simple new pieces with a specific feel or emotional intent, or for a particular purpose, such as a ‘going home’ song, for example, or a song to celebrate an anniversary or success. Assist learners in suggesting ideas for pieces, showing them how to build up a melody by repeating, varying or linking dissimilar motifs (as at Sounds of Intent Level 4) within a given harmonic and/or metrical framework, and using the designs of well-known songs and other pieces within the learner’s culture. Record what is created for future reference and enjoyment.

P.5.D develops the technique to produce short and simple pieces of music, potentially evolving to meet the needs of material of growing complexity and length

Individuals have the physical capacity to perform short and simple pieces through singing, playing or managing technology. Their technique may evolve to enable them to produce material of increasing complexity and length.

Strategies

Promote the acquisition and development of technique through modelling what is required, through verbal instruction and/or through physical assistance - potentially fading support and guidance as a learner’s skills develop. Learners, particular those on the autism spectrum, may be self taught and/or may resist doing something someone in the way that doesn’t immediately come naturally to them. A learner may have physical constraints on what they are able to do. Hence, you may need to be flexible and imaginative in helping someone develop their capacity to play an instrument or sing. Rather than feeling inhibited by established ways of doing things, think creatively about what is important to enable a learner to play music of the type they enjoy. Consider arranging or adapting pieces to make them suitable for those with particular physical needs or abilities. The choice of instrument is particularly important (though a learner’s motivations and interests may be an overriding factor). Bear in mind that some instruments, like the keyboard, can be played with either hand (rather than both). Other instruments can be modified to be played with one hand. And with digital technology - which essentially works as a series of switches operated by gestures or other physical movements that can linked to any sounds - anything is theoretically possible.

Assessment

The complete Sounds of Intent assessment matrix is to be found here [LINK TO DOCa60n] d downloadable assessment sheets here. Assessment DOC 61 Assessment DOC 62

Emerging

Six levels: performs or improvises pieces solo at the level of ‘Initial’ (pass, merit or distinction) or Grade 1 (pass, merit or distinction) in the UK public music examination system, or composes pieces of equivalent length and complexity

Example 1

Alice is 16. She has moderate learning difficulties and is on the autism spectrum. She has been playing the electric guitar for about a year, and for the last few weeks has started working through the Rockschool Grade 1. Although Alice is too shy to want to play in front of other people at this stage, her teacher believes she would get a ‘merit’ were she to take the exam.

Example 2

Neil is seven. He is blind and is on the autism spectrum. He taught himself to play the keyboard, and can manage simple pieces that he has heard, using both hands, with the tune in the right hand and chords in the left. The music teacher at school thinks that pieces are around Grade 1 in difficulty.

Achieving

Six levels: performs or improvises pieces solo at the level of Grade 2 (pass, merit or distinction) or Grade 3 (pass, merit or distinction) in the UK public music examination system, or composes pieces of equivalent length and complexity

Example 1

Zeeshan is 10. He has moderate learning difficulties. He likes to create pieces on the guitar using loop pedals. He builds up a basic framework of two or three chords and then improvises on them. The textures he creates and simple but pleasing and around the level of Grade 2 in the Rockschool system.

Example 2

Georgie is 17. She has moderate learning difficulties, but enjoys playing the piano. She has had lessons for a number of years, and has made gradual but progress. She is now trying a couple of pieces from the Trinity College London Grade 3 book. She sometimes finds coordinating both hands at the same time difficult, but she persists, playing pieces at speeds she can manage, and she is proud of what she has been able to achieve.

Excelling

Six levels: performs or improvises pieces solo at the level of Grade 4 (pass, merit or distinction) or Grade 5 (pass, merit or distinction) in the UK public music examination system, or composes pieces of equivalent length and complexity

Example 1

Maisie is 14. She has moderate learning difficulties, a hearing loss and weakness down her left hand side. As a little girl, she loved the sound of the trumpet, and when she was 10, her parents decided to find her a teacher to see how she would get on. Maisie is doing well, and has recently performed in a school concert, playing one of the pieces from the ABRSM Grade 5 syllabus.

Example 2

Victor is in his twenties. He is on the autism spectrum and has moderate learning difficulties. He likes to improvise on the keyboard, usually basing what he does on songs he knows. He tends to use standard chord figuration in the left hand, and add notes to the melodies - sometimes departing from them quite substantially. The results are straightforward but persuasive, with a sense of musical coherence and a clear structure.