When I Grow Up?

Some of you may have seen this feature on BBC Breakfast today about 20,000 seven to 11-year-olds who’d been asked to draw pictures of the job they want to do in the future. This got me thinking about my own career aspirations at that age, and how these developed. What did you want to do when you grew up?

When I was at primary school, if you’d asked me what I wanted to do as a job, I’d have said I wanted to be a primary school teacher. In fact, if you’d asked most of us, that would probably have been the most-popular answer. In some ways, this isn’t surprising. At primary school in the late 1980s, early 1990s, we were exposed to very few other professions other than what our fathers did (because of course, in those days, most of our mothers didn’t go out to work). That aside, I can also claim some family connection to teaching; excluding my own mother, the three previous generations of females on her side of the family were all teachers, the earliest stretching back to the mid-1800s. It’s fair to say then that teaching is in the blood.

My great-grandmother (far left), Gertude Helena Hill, as headmistress of Cromford School, Derbyshire

When I went to secondary school in 1995, if you’d asked me what I wanted to do as a job, little would have changed, other than I’d probably have wanted to be a secondary school teacher rather than a primary one! In secondary school, we had careers lessons. The teacher in charge of careers was, in fact, no careers specialist, but rather, the CDT teacher. The careers lessons involved answering a lot of questions on a computer program (in the days when computers practically needed a choke to get them started), and at the end of the ‘quiz’, it told you what career you should pursue. Apparently, I was to be an archivist or librarian. In retrospect, the software was clearly onto something, but at that age, my only experience of librarians were grey-haired old ladies with glasses on a chain around their neck. It’s easy to see why I discounted that potential career option!

I also went through a phase of wanting to do graphic design; I even did work experience in the design department of the Walls Ice Cream factory where I spent the week making a scale-drawing of the office. Trouble is, this was, in the main, pre-computer days, and as I couldn’t draw to save my life, it was probably a flawed plan. I started giving piano lessons when I was in the Lower 6th, but I never considered it a career option. Indeed, despite doing so much music and it being such a huge passion, I never once considered that I’d make a career out of it. I certainly didn’t think that 17 years on, I’d still be doing it!

When it came to the top of secondary school, the expectation was you went to university. The school proudly displayed the destinations of leavers on the back page of the subsequent year’s Speech Day programme. Without any real idea what I wanted to do, and feeling, at that stage, that music seemed to be the only thing I was any good at, I decided to do…yes, you’ve guessed it…music. So it was, in September 2002, I trotted off to Bath Spa University College to do a BA(Hons) in Music. Suffice to say, it took only three months for me to decide it wasn’t for me, that I was totally out of my depth and deeply unhappy. That was the end of that. I guess that afterwards, you could say the rest is history, and all the various music and education things I’m involved with now, have all evolved gradually from that point.

‘What do you want to do when you leave school?’ is a question which often comes up when talking to my own pupils. Years ago, midwife, zookeeper and vet were the most popular career options; now, vet remains, but science, medicine and psychology appear more frequently. That said, it’s soul-destroying to come across instances where pupils have been discouraged from following music and arts subjects because they are perceived not to lead to a ‘proper’ career. Indeed, only recently a pupil was discouraged both by parents and their school from taking music at A-Level. Instead, they were encouraged to pursue a more ‘lucrative’ career such as law which would lead to a ‘proper’ job. It’s such a shame that even when, like me, music is their passion, they are discouraged by the expectations of society from ever believing it could be a potential career option.

But, there’s potentially a wider question to be asked here, and that is how we, as musicians and educators work to break down these barriers. How can we show that music is a valid career option? It’s true that relatively few musicians will go on to be professional performers, but as we all know, there are so many more opportunities these days. Once you accept that as a musician, you’re unlikely to ever have a regular salary and a standard 9-5 job, a whole world of possibilities opens before you. How can we equip our pupils with the skills to embrace that world?

December 2017 New Discoveries

First of all, my I take this opportunity to wish you all a very Happy New Year. There was no ‘New Discoveries’ post in November (sorry!), but here’s some of the books, music and resources I discovered in December.

How to be Free (Tom Hodgkinson)

OK, this isn’t a music book. In fact, it is in no way directly related to music or music teaching at all (other than that the author suggests we should all learn the Ukulele); however, I think Tom’s book How to be Free has so much to offer us ‘creative types’. Yes, he’s a bit of a maverick, but the essence of the book is that there is so much more out there waiting to be discovered, if we seek a simpler and freer way of living. I think this is particularly true for many of us who don’t have ‘conventional’ careers, and for whom the idea of separating ‘work’ and ‘life’ is somewhat alien. Above all, those of us involved in the world of music seek to offer a way, whether it’s by playing or listening, for people to experience the joy and fulfilment that such creative pursuits can bring to life. As the author says:

‘We have a duty to look into our hearts and discover our vocation, find our gift. Once we have done this, we will find the other parts of our life follow quite naturally.’

Seems a pretty good way to start 2018!

Tunes You’ve Always Wanted to Play (arr. Barratt)

Not so much of a new discovery, but rather a rediscovery. These two volumes of piano arrangements of popular classics, Tunes You’ve Always Wanted to Play and More Tunes You’ve Always Wanted to Play were published by Chester Music quite a while back (1990 and 1991 I believe). Indeed, I was playing from them over 25 years ago, and they were probably one of my first introductions to classical music.

If you’ve used Pauline Hall’s Piano Time Classics or More Piano Time Classics (both of which I also highly recommend), these books might be considered a step up; indeed, I’d suggest that most of the arrangements are loosely in the Grades 2-5 area. What I like about these books is that these are quality arrangements. Yes, there are lots of books of ‘easy classics’, but here, Carol Barratt has kept the essence of the music whilst making the pieces accessible to early-stage players. They are also comb-bound which makes for a much easier layout overall.

If you buy them new, then they’re not cheap, though even at around £17 each, they’re pretty good value for nearly 150 pieces. That said, you can buy secondhand copies for just a few pounds so well worth a look.

(There are other books in the series too including Film Tunes You’ve Always Wanted to Play and Jazz Tunes You’ve Always Wanted to Play. I’d be interested to hear from anyone who’s used these.)

Jazz on a Winter’s Night, Book 2 (Nikki Iles)

This is probably a bit late now, so consider it my recommendation for Christmas 2018. Many of you will be familiar with Nikki Iles’ other books, but I think that Book 2 of Jazz on a Winter’s Night is probably my favourite of the set so far. One of Nikki Iles’ greatest assets, is the ability to create jazz arrangements which not only sound like spontaneous improvisations, but also which have something new to say about the pieces themselves. I think this is especially true of her arrangement of Peter Warlock’s ‘Adam lay ybounden’ and Hopkins’ ‘We three kings of Orient are’. Iles offers great advice in her introduction too, saying:

‘As always in these collections of mine, please feel free to use these arrangements as a starting point: interpret them in your own way and enjoy the ride.’

The more I play, and the more I teach, the more I realise how incredibly wedded to the score we are in the Western classical tradition. I think Bach himself would have wholeheartedly agreed with this advice too.

Well, that’s it for the month. Don’t forget to sign up to my mailing list to get news and posts in your inbox as they’re released. Happy New Year!

Autumn Term 2017 Exam Results

Huge congratulations to pupils who took exams this term.

We had two entries with ABRSM: Maureen gained a Distinction for her Grade 5 Singing, and Rubens a Pass for his Grade 4 Singing.

We also had two entries with LCM: both Amy and Alex gained Distinctions for Step 1 Piano and Grade 3 Music Theatre respectively.

Special congratulations to Alex who passed her exam with a phenomenal 98%. Well done, Alex!

Any pupils wishing to take an exam in the Spring Term, my closing date for entries is Friday 19th January, 2018.

Lichfield Festival of Music Success

Congratulations to pupils who took part in the Lichfield Festival of Music last Saturday. This year, we fielded two pupils in four different vocal classes. There were some fabulous results, so congratulations to:

Ladies Solo, open

Ruth C – Commended (2nd place)

Vocal solo (from a musical), open

Ruth C – Commended (1st place)
Megan M – Merit

Vocal Solo (lieder), open

Ruth C – Commended (1st place)

Vocal Solo (religious), open

Ruth C – Commended (2nd place)

Congratulations also to Margaret C who, singing with the Pelsall Ladies Choir came 2nd place in the Senior Choir class.

The adjudicator was Gabrielle Burgin-Lister GRSM ARMCM PGCA.

Well done everyone!

Your Festival Needs You!

On the last two Saturdays, I had the privilege of being part of a wonderful day of music-making at the Lichfield Festival of Music. All ages were taking part, right from those playing for only a few months, to those playing well past Grade 8. Participants travelled from far and wide to take part; this year, people have travelled from as far afield as Shropshire, North Wales and Lancashire.

The Lichfield Festival of Music was founded in 1977, but in its 40th year, it faces an uncertain future. We need your help and support to secure the future of the Festival.

The Festival

The Lichfield Festival of Music, now in its 40th year, takes place annually on the second two Saturdays in November. We are affiliated to The British and International Federation of Festivals and with the support of their expert pool of adjudicators, run classes for piano, vocal, strings and woodwind. Each year, well over 100 people of all ages and abilities travel to take part in the Festival. On the second Saturday, we hold a Festival Concert to showcase some of the best performances. The primary aim of the Festival is to provide a platform for learners to perform, and to gain expert and insightful feedback on their performances.

At the moment, the main bulk of the work needed to run the Festival is done by our Chairman, supported by a small committee. In addition, a small number of people volunteer each year to help on the day as stewards. Unfortunately, we cannot continue on this basis, and unless something can be done soon, the future of the Festival is in serious doubt.

What We Need…

The main bulk of the work needed to run the Festival takes place in the autumn. The committee meets approximately four times a year with an AGM in May/June. We are desperately in need of people to help run the Festival, and to serve on the committee. The main roles and jobs which have to be fulfilled, include:

  • Selecting, contacting and liaising with adjudicators;
  • Collating, printing and distributing the syllabus;
  • Managing and updating the website;
  • Liaising with Festivals House in matters such as DSB checks and insurance;
  • Contacting, booking and liaising with local schools or other venues;
  • Receiving, collating and dealing with entry forms;
  • Publicity, social media and promotion of the Festival, both locally and beyond;
  • Collating entries to form the timetable for both days of the Festival;
  • Producing, printing and sending performers’ tickets;
  • Dealing with matters related to money, such as the day-to-day accounts and banking;
  • Recruiting and liaising with volunteers to provide support on the days of the Festival;
  • Producing and printing the programme for both days of the Festival, and for the concert;
  • Buying, laying out and providing lunch for adjudicators and other guests.

At the moment, nearly all these jobs are fulfilled by just one or two people, but they could be relatively easily divided up between any number of people meaning the workload for each person could be relatively light.

In addition, we need to increase our pool of volunteers to help on the days of the Festival. The jobs which need to be undertaken on the day include:

  • Setting up venues, including putting out chairs, putting signs up, moving the pianos etc.;
  • Entrance door stewards to sell programmes, tickets, raffle tickets etc.
  • Adjudicators’ stewards to formally support the BIFF adjudicators;
  • Venue managers to oversee the running of the Festival venues;
  • Clearing up venues etc.

Being part of the Festival is hugely rewarding. It’s a great way not just to support musicians, but to play a positive part in the local community. But, the Festival cannot continue without more people willing to help. At the beginning of December, we have a meeting which will consider the future of the Festival, and your support, in whatever way possible, would be very welcome.

We are always willing to discuss what’s involved, and David (the current LFM Secretary) is always happy to answer questions. If you think you might be able to help us in 2018 and beyond, please do get in touch. All support offered, however big or small, will be very gratefully received.

Please do follow the Festival on Facebook and Twitter too!

October 2017 New Discoveries

The Novello Guide to Sight-Singing (Ralph Allowed and Timothy Teague)

I was initially a bit reluctant to purchase this book because to me, £20 for a relatively small book seems a lot. I was, however, pleasantly surprised. Firstly, let’s be clear, for the money, you’re not only getting the book, but also access to the eBook version, video demonstrations and the SoundCheck app. The purchase is, therefore, extremely good value.

I’ve seen so many sight-singing books over the years, but this really is, in my view, a game-changer. Not only is it very clearly laid out, but it also applies the skills and knowledge acquired to real life musical situations. It’s fair to say that the book is primarily aimed at choral singers, and the music choices reflect this, but it would be equally useful for solo singers too. It covers everything from singing very basic intervals right through to  chromaticism and tritones. I think that this advanced material really sets this book apart. Using the app allows you to try the exercises and get immediate feedback from your performance. Yes, it’s a machine, so the feedback is never going to be as accurate as a real-life practice situation, but especially for singers working alone (or practising between lessons) it’s ideal. The progression through the book is very clear, and a good amount of theoretical knowledge is also included.

The Secret Piano (Alexis Ffrench)

Classical pianist, Alexis French, was a name new to me, but I was very pleased to be introduced by a very good friend to his music. Making his concert debut in 1992, he has several albums to his name, and indeed, with a new single, Bluebird, recently released, Classic FM have been playing his music recently. This book, The Secret Piano contains 12 pieces for solo piano from his 2011 album of the same name. I’d suggest that these pieces are likely to suit pianists in the Grade 4-6 bracket. This is favourite of mine, ‘I’ll Fly Away’:

Piano Tracks (Barbara Kennedy)

Barbara Kennedy, a piano teacher, composer and organist based in Didcot, Oxfordshire, has been developing an exciting new resource for piano teachers and students. The piano TRACKS programme is a collection of materials designed to help piano teachers assess their students, without necessarily using the traditional graded exams.

Barbara has developed a broad piano curriculum, which is supported by resources, checklists, quizzes, lesson ideas and worksheets. She’s currently aligning these with repertoire suggestions to underpin the overall progression. This is an excellent resource, not just for piano teachers, and much can be adapted for other instruments. The materials are presented professionally and attractively, and are currently available free. Do sign up to Barbara’s piano TRACKS mailing list as the resource continues to grow.


2018 Music Teacher Awards for Excellence

David was shocked and overwhelmed to hear earlier this week, that he’d been nominated for the Musicians’ Union Inspiration Award in the Music Teacher Awards for Excellence. It’s a huge a honour to be recognised in this way, and David is most grateful to those who nominated him.

The awards will be presented on the 22nd February, in a ceremony at the Sheraton Grand London Park Lane Hotel, Mayfair. Created to celebrate excellence in music and performing arts education, the awards are presented in thirteen categories, from new products and resources to hubs, music departments and individual contributions to the sector.

Dubbed the ‘Oscars’ of the arts education sector, over 280 industry guests including teachers, hub leaders, musicians and VIPs – representing the best and brightest in performing arts education – will be present.

You can find out more about the Music Teacher Awards for Excellence here.

Review: ABRSM Songbooks Plus

At the end of October 2017, ABRSM published its new Songbook Plus series, designed to complement the existing Songbook range. There is a new book for each of Grades 1-5, though unlike the previous series, no CDs are included. This brings the RRP to between £8.95 and £10.95 for each book. I have recently blogged about the new 2018 singing syllabus, and you can read that here.

First of all, the overall presentation is attractive and the general design more in-line with recent ABRSM publications. The binding of the books has changed too which does make them lie more easily on the music stand of a piano. In addition to the songs themselves, notes on each piece are included at the beginning of each book. Another useful addition in my view, is the instructions at the top of the songs indicating (if applicable) which verses are required in terms of the new ABRSM singing syllabus.

The books contain a mixture of songs from each of Lists A, B and C. In general, this means some arrangements of folksongs, some classical songs (e.g. German lieder) and some contemporary songs (e.g. from musicals). The selection included is varied, though I suspect that particularly in terms of the List C choices, teachers will already have these pieces in other books and anthologies. Some of the new folk-song arrangements are less successful than others, the danger with folk-songs always being the accompaniments detract from the songs themselves.

Overall, there are some nice choices included, some of which are not readily available elsewhere. Pianists will be familiar with Nikki Iles’s jazz arrangements such as the book Jazz on a Winter’s Night. Her arrangement of ‘Go tell it on the mountain’ in Book 1 is especially attractive, though the vocal line does differ slightly from most of the traditional versions I’ve heard. Her arrangement of the spiritual, ‘Sometimes I feel like a motherless child’ in Book 5 is also appealing and sensitive.

A new (to me) Scottish folk-song, ‘The winter it is past’ is included in Book 2 in a lovely arrangement by David Blackwell. Another attractive choice is Dorothy Buchanan’s ‘Peace Song’ in Book 3, and a good example of a piece which will appeal to children and adults alike. Jay Althouse’s arrangement of ‘The Jones Boys’ in Book 4 is also great fun. Alan Bullard’s arrangement of ‘The water is wide’ in Book 5 is perhaps less successful, with a busy piano accompaniment which I feel detracts from the simple melody of this folk-song.

Unlike the previous series, a pronunciation guide (either written or recorded) has not been provided, and I suspect this makes it tricky for songs such as the Icelandic ‘Fuglinn í fjörunni’ at Grade 4. There’s nothing to say that the pronunciation guides will be available separately, so one is to assume this series won’t include these.

Overall, I think the books are good. There are some slightly odd arrangements, and I feel ABRSM could have been more creative in the List C choices included. The lack of a pronunciation guide is disappointing.

As mentioned earlier, the new books do not come with CDs. Instead, ABRSM have added singing to their Practice Partner series of apps for download. Once downloaded, song accompaniments can be transposed into any key, and played at any tempo. The app is free to download, but except a sample song, all other songs have to be purchased and downloaded separately. Downloads of individual songs cost 79p, and there’s a current offer of three for £1.95. It’s also worth pointing out the tracks don’t download directly to iTunes, but instead need to be downloaded to a computer and synced manually.

Now, for a pupil who’s using the books and choosing three pieces purely for an exam, this is good value. However, most of us teachers wish to discourage pupils from singing only three songs, and therefore, would want to make use of other material from the books. This means that for Book 1, a full set of accompaniment tracks will cost £9.48, and for Book 5, £11.06. In practical terms, it doesn’t make these books as good value as the previous series with their CDs included. A teacher who wishes to use all five books and requires the accompaniment tracks for all the songs would be paying over £100. That said, the ability to transpose and alter the tempo of tracks is useful, and perhaps we need to look at the wider picture here. I agree that downloads are the way forward (I no longer have  CD player in my teaching studio); however, in theory, they should make purchases more, not less cost-effective.

That said, overall, I think the books are a useful addition. They’re especially useful for pupils who wish to sing a variety of styles, and in that sense, I can see them appealing to adult learners, even those with no interest in sitting a singing exam. It’s disappointing that the accompaniment downloads couldn’t have been made more cost-effective and this is something I’d encourage ABRSM to explore further in the future.

ABRSM 2018 singing syllabus: more choice?

A few weeks ago, ABRSM released its revised singing syllabus for use from 2018. This is the first update to the syllabus since 2009.

ABRSM state that they have ‘refreshed’ the repertoire and ‘increased that choice still further by allowing any song to be sung in any key from Grade 1 to Grade 8.’ A new series of songbooks will also be available.

The biggest change in this syllabus is perhaps the removal of the requirement for a song to be sung in a language other than the candidate’s own at Grades 6-8. This change has also necessitated the removal of the fourth song at the higher grades to bring the syllabus in line with other instruments. The lists at Grades 6-8 have been expanded into Lists A to E, with songs required from three of those five lists.

Personally, I think this is a disappointing change, and in some ways, as has been highlighted in some of the comments I’ve already read online, a retrograde step. Whilst I can appreciate the argument that singing in another language is traditionally associated with classical singing, and not everyone wants to follow that path, I think that these days, with LCM Pop Vocals, LCM Music Theatre, RockSchool and Trinity Pop & Rock, there was space in the market for ABRSM to retain a precedent here. Whilst singing in a foreign language is tricky, it is an excellent challenge, and one which many learners are fully committed to meeting. That said, it is what it is. The option to sing in another language still remains, though is avoided by choosing songs from Lists A, C and E. Apparently, ABRSM consulted ‘widely’ on this change.

Firstly, let’s talk numbers. The first thing which struck me as I began to look through the new syllabus was that lists appeared to have shrunk. This appeared to be at odds with the supposed increase in choice. Indeed, a bit of calculating later, a total of 91 pieces have been lost at Grades 1-5, with every list apart from Grade 1B being reduced in the new syllabus. That said, in contrast, the lists at Grades 6-8 have increased by 44 items, though overall, there is a reduction across the eight grades.

Of course, it’s not necessarily about numbers, but about content. It seems to me that the biggest changes have occurred in List C at the lower grades where a number of musical theatre items have been added. This has meant that some previously List C items have moved to List B, and indeed, some previously List B items have moved to List A. From my point of view, finding songs suitable for adult learners at the lower grades has always been problematic. I’d hoped that the new syllabus might have provided a little more choice in this respect, though I can’t help but feel ABRSM have missed the point. For example, Parry’s ‘Jerusalem’ has been added at Grade 4: not quite what I had in mind.

That said, some of the newer musical theatre shows are represented, for example, MatildaSeussical the Musical and Jekyll & Hyde. Also added are a number of songs from Changing Voices, a selection of songs for teenage male singers. These will be useful for that particular group of singers. As previously mentioned, a new set of ABRSM Songbooks (the ‘Songbook Plus‘) has been published offering a selection of pieces from each list at Grades 1-5.

At the higher grades, it’s fair to say the lists have been expanded, perhaps again notably List E which is now comprised of music theatre and opera. For example, ‘Popular’ from the musical Wicked now appears at Grade 8. As has been noted by other teachers online, it’s a shame that with the reordering of the lists, pupils can no longer choose to sing both a music theatre song and a song from an opera as both these now appear in the same list. Again, this feels like a limiting of choice.

It may seem that my review is overly critical, and whilst I have reservations, there have been some improvements to the syllabus. Overall, I think ABRSM have missed the point in some cases. Once again, there’s been some ‘tinkering around the edges’, though it might be fair to say, this is perhaps part of a wider discussion which we need to have about how we assess singers when there is such a varied repertoire available.

September 2017 New Discoveries

In this new monthly series, I’m hoping to share with you some of the new music and resources I come across in the course of my work. There’ll hopefully be a mixture of both flute, piano and singing things, but also general music, education, theory etc. I hesitate to call these ‘reviews’, as above all they’re about sharing these new discoveries with you. I hope you enjoy them as much as I have.

The Intermediate Pianist, Books 1-3 (Karen Marshall & Heather Hammond)

For a number of years now, I’ve found the Hal Leonard Adult Piano Method to be great for adult beginners. These books present a varied mix of styles and genres which is so useful, especially when adults are often unsure of what they want to learn. The Intermediate Pianist series, recently published by Faber Music, will, I believe, provide a good progression from the those books. Whilst the focus is primarily on repertoire, an emphasis is also placed on the development of technical and theoretical skills. These books can be used effectively alongside expanding a pupil’s repertoire beyond the early stages. They will also prove useful for those with some previous piano experience, and I also believe they could be useful effectively with older children and teenagers. They are very clearly presented which is a huge bonus, and in writing this book, Karen Marshall and Heather Hammond have filled a long-standing gap in the market.

Selected Pieces for Flute and Piano, Volume 2 (Ernest Tomlinson)

A lovely discovery in September, was this book of four pieces by Ernest Tomlinson, arranged by K. Roberts for flute and piano, and published by Forton Music. Perhaps the most well-known is the ‘Little Serenade’ which still plays on Classic FM, but the gem in this collection is ‘Pastorella’, or sumptuous lyrical solo, so suited to the flute. These are tunes which you and pupils will go away humming. The presentation is excellent, and they’d suit players of around Grade 5 level.

Sea Fever (John Ireland, freely arranged for piano by Roderick Williams)

I’ll admit, I was sent this as a review copy (a first for me!). I’d seen it advertised, and I admit, I was sceptical. ‘Sea Fever’ is such a gorgeous marriage of text and music, I couldn’t see why anyone would want to play it as a piano solo…but…how wrong I was! What I’d failed to realise was that this wasn’t just an arrangement of the vocal and piano part condensed into one, but rather a completely free arrangement which I believe breathes new life into the setting. The opening very much reminds me of Percy Grainger’s arrangements, where the tune weaves between the hands. It’s challenging to play: big chords, pedalling and voicing are all tricky in places. The cascading demisemiquavers on pages 4-5 are also tricky. Overall, it’s a gorgeous arrangement, and well worth the effort in terms of learning. Although it’s only four pages long, I’d say it’s a Grade 8 or Grade 8+ level piece.

Enjoy Theory (Sofie Kay)

Sofie Kay (who many of you will know through her Enjoy Piano resources) has produced a new site, Enjoy Theory. For just £3 a month (with the first month free) you’ll get 12 new theory printables delivered to your inbox each month. There are, of course, many sites out there with free printable worksheets, but what I like about these, is each month is a surprise. There are worksheets here for beginner, intermediate and advanced pupils, but the thing I like most, is that they’re seasonal. Included with October’s bundle is both an ‘Autumn Matching Game’ and ‘Halloween Wordsearch’. The sheets come in two versions: one with UK, and one with US terminology. They’re clearly and attractively presented, and for such a small amount of money, a really lovely addition to our resources. I applaud Sofie for coming up with such a lovely new idea!