Professional Documents
Culture Documents
October 2019
Zog
Story and images of Zog are used by kind permission of Julia Donaldson, Axel Scheffler,
Scholastic and Magic Light Productions.
‘The Breathing Song’ song lyrics and melody copyright © Julia Donaldson 2016
‘The Breathing Song’ is taken from A Treasury of Songs by Julia Donaldson, illustrated by Axel
Scheffler (Macmillan Children’s Books 2016)
‘The Flying Doctors’ song lyrics and melody copyright © Julia Donaldson 2010, based on
Zog by Julia Donaldson, illustrated by Axel Scheffler (Alison Green Books, an imprint of
Scholastic) and featured in Zog Book and CD edition.
Zog is licensed by Magic Light Pictures Ltd. Film stills from Zog © Orange Eyes Ltd. 2018
LPO BrightSparks concerts in 2019/20 are generously supported by Candide Trust, Dunard
Fund, Mr & Mrs Philip Kan, Gill and Julian Simmonds and the Rivers Foundation.
Introduction 4
The Orchestra 6
The Music 7
Classroom activities 13
Further songs 19
Thank you 20
Sheet music 23
The concert will begin with the Orchestra performing Elgar’s ‘The Wild Bears’ from the Wand
of Youth Suite No. 2. Through this music, we will start to meet the sections and instruments
of the Orchestra.
The audience will then sing two songs, written by Julia Donaldson, with the Orchestra;
these are ‘The Breathing Song’ and ‘The Flying Doctors’. We recommend that you take the
time to learn and teach the songs so that your students can benefit most from the concert
experience. Lyrics and sheet music can be found at the back of this pack. You can also listen
to our audio by going to lpo.org.uk/creativeclassroomsconnect.
The Orchestra will then perform Ravel’s ‘Empress of the Pagodas’ from Mother Goose Suite,
through which we meet more instruments in the Orchestra and hear how they sound.
There will then be a screening of the 2018 Magic light Pictures animation of Julia Donaldson
and illustrator Axel Scheffler’s Zog, with music by René Aubry, arranged by Terry Davies,
performed by the Orchestra.
Finally we will all stand to sing our ‘The Flying Doctors’ song one last time.
The Orchestra regularly record for film – amongst many soundtracks they have recorded are:
• The Lord of the Rings Trilogy
• The Hobbit: An Unexpected Journey
• Thor: The Dark World
The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal
Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also has
residencies in Brighton and Eastbourne, and performs around the UK and the world.
The LPO Education and Community department maintains an energetic programme for
young people and families. Our BrightSparks schools’ concert series provides orchestral
experiences for students from Key Stage 1 all the way up to A Level, providing analysis of
set works at Key Stages 4 and 5. FUNharmonics family days provide interactive concerts and
music-making experiences for the whole family at Royal Festival Hall. Other projects work
with SEN schools, and with young people in the LPO Soundworks creative ensemble, with
accompanying online space The Studio. In primary schools, the Creative Classrooms project
works intensively with KS2 teachers to build confidence in leading music in school, while
parallel online space Creative Classrooms Connect hosts resources for KS2 teachers beyond
the live project. The department also caters for emerging talent – the LPO Young Composers
and Foyle Future Firsts schemes look to support young players and composers at the start of
their careers, while the LPO Junior Artists scheme supports talented musicians from under-
represented backgrounds.
The LPO is proud to be a member of the South Riverside Music Partnership (SRMP) which
comprises the LPO, Trinity Laban Conservatoire of Music and Dance, and the Music Education
Hub leads of Lambeth, Lewisham, Southwark and Royal Greenwich.
Percussion: timpani (large kettle drums) and other types of drums, xylophone,
glockenspiel, shakers, triangles and lots more
Zog
Our concert features the soundtrack of the animated film version of Zog. You’re going to hear
the full orchestral score. The film was produced by Magic Light Pictures in 2018, featuring the
voices of Sir Lenny Henry, Kit Harington, Rob Brydon and Tracey Ullman and is based on the
book by much-loved author Julia Donaldson and illustrator Axel Scheffler.
The film is available to buy on DVD or watch online, and the book,
published by Scholastic, is available to buy, including in the shop at
Royal Festival Hall. We recommend that you explore the book with your
children before the concert day if possible.
©2010 & TM Julia Donaldson/Axel Scheffler. Licensed by Magic Light Pictures Ltd. © Orange Eyes Ltd. 2018.
In Year Three, they learn how to blow fire.
In Year Four, they learn how to capture a princess.
In Year Five, they learn how to fight.
But when a knight, Sir Gadabout the Great, arrives to save her, she declares that she really
wants to be a doctor and not a princess. Together they form the Flying Doctors, with Zog as
their flying ambulance.
In the concert, we will watch the film all the way through. Please ask your pupils to keep
watching the Orchestra as well as the film during the screening. Polly will encourage the
audience not to clap during the end credits of the film and to listen to the orchestra until the
very end of the music.
Fast and characterful melodies pass from the string section to the
woodwind instruments, and then the brass section (see page 6 for
an introduction to these instruments). Rhythmic, driving and loud
percussion instruments all add to the drama! Listen out for the
‘slidey’ sound in the middle – what action could this depict?
We then hear the French horns and the tam-tam (a large metal gong) announcing the arrival
of the dragon. There is a low and moody melody on the clarinet and the celeste. This section
of the piece is slower and has a different mood from the Princess section.
The piece uses a pentatonic scale (a scale of just five notes, commonly heard in music from
Southeast Asia). Ravel wrote that he was hugely inspired by the Javanese Gamelan ensemble
that he experienced at the Paris Exhibition of 1889 when he was 14 years old.
• Ask the children to copy you making different facial expressions, aiming to wake up
the eyes, forehead, cheeks, mouth and tongue. You may like to include faces from
the Zog book, e.g. excited face, grumpy face, surprised face, breathing fire face,
sore throat face, roaring face. Encourage the children to respond without spoken
explanations, to encourage good listening, looking and responding. You could then
ask a child to be the leader/conductor and everyone to copy their facial expressions.
• Next, get your voices warmed up by making some sounds inspired by the dragons
flying e.g. flying fast and free, soar, swoop, loop the loop, zig-zag and crash! You can
use your hand movements to demonstrate the sounds going higher and lower, faster
and slower.
• Ask the children to copy you making the sounds from The Breathing Song e.g. sniff,
gasp, pant, sneeze, puff, sigh, yawn and most importantly – snore!
• Remind children to make their eyes sparkle and smile when singing and it will
automatically improve the quality of the sound!
Taking it further
We have created a wealth of resources all about singing on Creative Classrooms
Connect lpo.org.uk/creativeclassroomsconnect
Take a look at parts 1 and 2 of Let’s Sing, for all the warm-up activities, games and
songs you’ll ever need! You can also find other classroom activities (aimed at Key
Stage 2, but many could be adapted for younger learners).
© Orange Eyes Ltd. 2018.
This song is great at supporting lyric learning and experimenting musically with rhyming
words and phonic sounds. Here are some tips on how to teach this song to your children.
• Lead a simple ‘call and response’ activity, asking the children to copy you saying some
of the words in the song, for example:
• Teacher: ‘pl pl plaster’ Children: ‘pl pl plaster’
• Teacher: ‘d d disaster’ Children: ‘d d disaster’
• Ask the children to copy you in saying rhyming pairs rhythmically. You could use:
• plasters and disasters
• injections and infections
• question and indigestion
• lotions and potions
• Next, you could develop these two activities by singing the words above using two
notes, do and mi, or C and E for example. You could also clap a pulse or ask a child to
keep a steady beat on a drum.
• To learn the song, say the words, then introduce the melody, using a combination of
your solo singing and the recorded audio tracks.
• To develop further, experiment with the dynamics (loud or quiet), timbre (style/tone
quality e.g. growl-like or flute-like) and texture (solo or group singing). Discuss the
mood of the song. What singing voice style could we use to give the song meaning
and character?
• Ask the children to create their own actions to help make the lyrics more memorable
and personal.
• Record or film the children singing and listen or watch back, asking the children to
suggest improvements to their performance.
Links to literacy
1. You could develop your own raps, chants or songs, using the rhythm and rhyme in the
book. This activity uses the following line from the book: ‘Now that you’ve been shown,
you can practise on your own’.
• Stand in a circle
• When this tune is secure, demonstrate some simple body percussion while you sing,
and encourage the children to copy you. Start with simple actions e.g. clapping/knee
pats and progress to more tricky and creative actions e.g. finger clicks/rub tummy/
pat head/the floss. You could change the actions while still singing the tune, or leave
gaps between each singing of the tune to just practise your new “skill”. If leaving
gaps, it is a good idea to keep a steady beat on e.g. a small drum, to keep everyone
together.
• Next, ask a child to teach the other children a new solo skill (e.g. a dance move or
body percussion rhythm) and all the children copy and practise their own versions
until they are all experts!
• Next, try singing a version of the song with some instruments (tuned/untuned/
homemade percussion). One person demonstrates an instrument, and then gives it
to someone else to practise and they continue to play their instrument while you sing
the song again. Add more instruments playing different rhythms and timbres.
This simple song focuses on practising a new skill and sharing our talents. It is also a great
example of adding more actions and instruments and creating a thicker texture of sound. It
is great at encouraging good listening, quick responses and developing children’s own ideas.
3. Ask the children to imagine that they are Madam Dragon and to plan a lesson to show
what they want their pupils to learn. This could link to other elements of the story or to
what your class is learning about, for example:
• ‘Today we are learning how to make a healthy breakfast for Princess Pearl’
• ‘Today we are learning how to care for a horse’
• ‘Today we are learning how to play the recorder’
Write a five step plan, instructing Zog and his friends on the key things required to learn
successfully.
4. Ask children to imagine they are Madam Dragon, writing a school report for Zog, or one
of the other dragons in her school. You could create a school report template, inviting
children to write the name of the dragon at the top, draw a picture of him/her, and
include information about what that dragon is good at, and what skills he/she should
work on. Make sure to sign the report in a grand, Madam Dragon-esque squiggly
signature!
5. After the concert day, ask the children to write a diary entry about their trip to hear the
London Philharmonic Orchestra.
• Create some sounds for the different skills the dragons learn:
• flying sounds
• roaring sounds
• blowing fire sounds
• fighting sounds
• If you have any percussion instruments, discuss which sounds would be good for
each skill (e.g. a xylophone for flying, a thunder drum for roaring, an ocean drum for
blowing fire, claves and cymbals for fighting music).
• Could you make your own instruments or sound makers to sound and look like each
skill?
• Discuss why each instrument is good for those skills – what is it made of? How is it
played? What does it look like?
• Then ask, how the sounds should be played – loudly or quietly, long or short sounds,
as a solo or a group?
• Split into groups with each group making sounds for just one of the dragon skills and
experiment with the different groups of instruments.
• Challenge each group to create a short scene of music to represent their skill. Each
child must play something, but not everyone needs to play all the time.
• Could you sequence your sounds into a longer piece and intersperse the music with
children narrating some of the story?
• In this book, as well as the main characters, there are lots of other animals in the
fields and the woods. Make a character list and discuss, or write a description, of the
features and characteristics of each of them (e.g. describe how they each look, what
they are wearing and how they move or behave).
• Explore some vocal sounds and body percussion for each of the characters and what
they are doing (the sound of a horse’s hooves, worms wriggling in the mud, a squirrel
running up a tree, a unicorn hiding in the tree).
• Add some percussion or homemade instrument sounds for each character (e.g. “the
brave knight is wearing metal armour and riding a strong horse. We could play loud,
galloping music on the coconut shells and saucepan and metal spoons”).
• You could print and laminate picture cards and use them to direct or ‘conduct’ the
children making the different sounds (without giving spoken instructions).
• If the other background characters (e.g. the unicorn, heron, frog, lizard) could talk,
what would they say? Encourage the children to sing their ideas, perhaps using a
simple Do/Mi or C and E motif, experimenting with their voice styles to explore the
characterisation.
• You could extend this further with drawing and writing about the characters.
You could make masks, characters on lollipop sticks to role-play and re-enact the
characters’ conversations and songs.
Body shapes
Explore some yoga moves inspired by the images in the book:
• Listen to some calm recorded music (perhaps ‘Clair de Lune’ from Suite bergamasque
by Debussy or calm classical Indian raga).
• Then, make sure you warm up – look online for how to do this safely and
appropriately with your children. You can find more information at:
• www.namastekid.com (paid subscription)
• www.getset4pe.co.uk (some free resources)
• Can the children suggest new poses or actions for elements from the story, e.g. a
castle, snow, the mountains?
• Research the musical instruments that will be in the concert (see map of the
orchestra on page 6). Discuss the key characteristics of the groups or ‘families’ of
instruments (woodwind, brass, string, percussion). What do they sound like? How do
you play them? Which instruments play the highest sounds? Can you make your own
versions of these instruments using materials in your class (perhaps shoe-boxes and
elastic bands, bottles with different amounts of water, cutlery etc.). Can you invent
your own instrument?
• Make some ‘What am I?’ Riddle Cards. On the front, write ‘I am made of wood. I am
very large. I make very low sounds. What am I?’ And under the flap write, ‘I am a
double bass’. You could make other riddles for characters in the book e.g. scarecrow,
unicorn etc.
• In the concert, we will encourage the audience not to clap during the end credits of
the film and to listen to the orchestra until the very end of the music. Polly will ask
the children to watch, listen and choose their favourite instrument during this section
so it would be great to encourage your children to do this.
• Listen to the first section of this piece and imagine the princess walking, dancing and
taking a bow. Can the children dance or create movements inspired by the music,
perhaps using colourful scarves or ribbons? Move the scarves up and down, side to
side, diagonally, make different shapes (circles, triangles, squares), blow them so they
fly in the air, swish in the air, scrunch in your hand and throw and catch etc.).
• Create your own Dancing Princess music, inspired by the pentatonic scale (a scale of
just five notes, commonly heard in music from Southeast Asia). If you have a piano
or keyboard, demonstrate the sound of this scale by playing just the black notes, or
otherwise the notes C D F G A on chime bars or similar. Using just these five notes
you can improvise simple but evocative tunes.
• In the middle section of the piece, we meet the dragon. Listen to this and then ask
children to describe what they imagine the dragon looks like. What is it doing? How
does it move? What words can they use to describe the dragon music? Could they
make a dragon train and move in response to the music?
• Create your own Dragon music using percussion and homemade instruments,
making sure this has a contrasting mood to the Princess music.
• Now, put your Princess and Dragon music into a structure. Ravel puts his music
in this order:
• Princess music – Dragon music – Princess music
• You might want to do the same as Ravel, or ask your children what order they would
like the different sections to come in. Maybe they would like the Dragon music to
enter before the Princess music?
• Make a storyboard or a comic strip telling your own story of the princess and the
dragon which you could also use as a musical score for your class piece.
What shall we learn at school today? (Inspired by: What shall we do on a rainy day?)
• After each verse, discuss each different dragon skill, and ask your children to think
about the style the next verse should be in (e.g. loud or soft, short or long notes, fast
or slow)
What’s inside the doctor’s bag? (Tune: Have you seen the Muffin Man?)
Please feel free to get in touch at any time about our work here at the LPO, or if you’d
like any future guidance for musical work in the classroom. We’d love to hear from
you about your school’s future musical activities!
THE BREATHING SONG is taken from A Treasury of Songs by Julia Donaldson, illustrated by Axel Scheffler
London Philharmonic Orchestra KS1 BrightSparks 2019 Resources 21
A Treasury of Songs © Julia Donaldson and Axel Scheffler 2016 - Macmillan Children’s Books
The Flying Doctors
At the concert our singer Rosie will perform the verses by herself and the audience will join Polly to sing all of the choruses,
which we’ve highlighted for you below in pink. The chorus has the same music throughout, but each time it repeats, the
third line has different words – so for younger children, teachers could suggest that they just sing lines one, two and four of
each chorus.
Zog © Julia Donaldson and Axel Scheffler, 2010 (Alison Green Books, an imprint of Scholastic)
There’s no question, we’ll cure your indigestion,
So just call the flying doctor crew.
‘The Flying Doctors’ song lyrics and melody copyright © Julia Donaldson 2010
Here is our dragon
I’m big enough to fit both the doctors and their bag on.
They can count on trusty Zog
To carry them in safety through rain and snow and fog. I’ve joined the…
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The Flying Doctors Song
Julia Donaldson
arr. Iain Farrington
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